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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1988-06-01

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 ! j
THAT MMiJ^
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s> ROCKERS: "Mock gypsy antics: Leather, studs, metal and plenty of denim to stand up to media attention.
TEDS: "The immaculate perception? Granite quiffs, bootlace ties and the beginnings of the drape. Pose hard!'
SKINS: "Fright tactics: Streamlined, guttersnipe army. Perfect symmetry. . . if you dared to look.
PUNKS: "Backs against the (brick) wall: Anarchy, snakebite and bleached airborne dodecahedrons - spiky
tops against the wind."
MOOS: "Smile & stare: Mobility, cleanliness and asexuality. An upwardly mobile fashion victim's delight."
432    HOMER   SI wot-
V A NCOUVER
INTRODUCING
Divine and Mad
*Custom Design * Gold * Silver disorder
That Magazine from CITR FM 102
JUNE 1988* ISSUE #65
EDITOR Kevin Smith
WRITERS JB Hohm, Marsha Harris,
Laurel Wellman, Bill Mullan,
Dave Campbell, Janis McKenzie,
John Ruskin, Francisco Dinoro
ART DIRECTOR Marty George
DRAWERS William Thompson
PHOTOGRAPHERS Mandel Ngan, j lyall
COVER BY John Giles
PRODUCTION MANAGER Michael Grigg
LAYOUT BY Nicola, Kcrrie Philp,
Renata Oballa, Renee Nybcrg, Ward Prystay,
Melissa Clarke, Sarah Bagshaw, Barb Wilson,
Holly Hendrigan
PROGRAM GUIDE BY Kathryn Hayashi
TYPESETTERS Barb Wilson, AMS Desktop
Publishing Department
ADVERTISING MANAGER Matt Richards
ACCOUNTS MANAGER Randy Iwata
DISTRIBUTION MANAGER John Frymire
PUBLISHER Harry Hertscheg
Discorder Magazine
c/o CiTR   UBC Radio
Student Union Building
Vancouver, B.C. V6T 2A5
(604) 228-3017
Discorder is That Magazine from CiTR
FM 102. It's published monthly by the
Student Radio Society of the University
of British Columbia. It's printed in
Surrey, Canada. Discorder Magazine prints
what it wants to, but pledges to (try and)
put the CiTR On The Dial program guide
and SpinList record chart in every issue.
It also vows to circulate 17,500 copies
by the first of each month. Twelve-month
subscriptions are $12 in Canada, $12(US)
in the States, $18(CDN)elsewhere. Make
money orders or certified cheques payable
to Discorder Magazine. All written, drawn
or photographed contributions are welcome.
But don't expect to get anything back.
Office hours for CiTR, Discorder and the
CiTR Mobile Sound Rental are
Monday-Friday, 10am-4pm. Please call then.
The number is 228-3017. For the News/Sports
Room, call 224-4320. But if you want to talk to
the DJ, call 228-2487 or 228-CiTR.
6.       THE FALL
The Making of the Interview with Mark E. Smith
9.       LAISSEZ— FAIRE
The Method is the Message.
12.    VISIT TO THE FLIPSIDE
A Guide to Guy's Guide
16      PEACE RAP
Reflections on a Peace March
18.  PEACE, LOVE & THE ENVIRONMENT
It's Not a Nostalgia Thing
20.    WHATS MY SCENE?
The Newcomer's Guide to Vancouver's Rich and Vibrant Alternate Scene
27.     NO FUN AT THE CBC
A Wry Protest
MOST ISSUES
4.
5.
27.
AIRHEAD
readers who write
IT'S TRUE
and it's happening
LOCAL MOTION
in a city near you
28.     ON THE DIAL
every person's guide to CiTR AIRHEAD
c/O CITR
6138 SUB Blvd.
Vancouver. B.C.
V6T2A5
Dear Airhead,
I've been reading northwest music rags
regularly for quite a while and I'm amazed at the
number of great alternative/underground bands
skipping Vancouver.
In the past year Seattle has seen the likes of
Big Black, Live Skull, Psychic TV, and Scratch
Acid to name only a few.
What gives? Are the bands unwilling to
travel an extra 130 miles or is there a lack of
booking agents geared to the alternative market?
Vancouver has shown it can support the fast
growing independant music scene, recent But-
tholes/Tackhead gigs have proven that.
If Discorder knows what evil is lurking in
the dark corridors of the Vancouver music underground let me know.
Rockfully yours,
Rob
Well, we could blame it on Bruce Allen but we're
really tired of hearing his name. Let's just say that
we know of at least two contributing factors- it
takes a certain kind of promoter lo bring these
bands to Vancouver, and it takes a hefty chunk oj
American money to pay them.
Dear Airhead,
Well, I must say I thoroughly enjoyed the
last issue. I always seem to be impressed. One
thing I'm not impressed with, though, is MIDI.
Does no one out there know how to use their own
musical talent? A man I know was once a very
good musician. Upon the arrival of all his MIDI
equipment, that musical brain flew straight out of
the window. Anyone with half a brain can use that
stuff. There is musical skill required for its operation. Now I can answer the question - What do you
think the future holds? - Nothing musically, except synthesized molded crap. Let's leave computers out of music I
Also, on my curious side, who is DRAINPIPE? He seems to make quite an impression on
some people. Will he make a public appearance?
What does he think of MIDI? Ponder that if you
will.
SDF woman
Kelowna
Dear Airhead,
Re: "Why Docs Commercial Radio Suck"
(April); cover versions by and large may be poisoning radio airwaves but there are covers that are
not made just for commercial success, and
wouldn't be played by mainstream insipid stations - ever heard the Jesus and Mary Chain's
version of Surfin' USA?
And Payolas play a bigger part in the music
industry than you suggested; how else could Kylie
Minogue have had the number one song here for
five weeks? Help.
As for "Dangers Ahead" - Hip Hop is not
about Loudspeaker, it's about talentless DJ's
shredding and manipulating REAL music to rake
in the cash. "Subversive"? Sure, like limp lettuce.
"Technology"? I still prefer artistry. And "sidestep from punk" - is it, fuck!
Helen E.
Glasgow
Dear Airhead,
Many of your letter writers seem incapable
of writing a note without some kind of swear word
in it and I am getting bored with all of these words
in their letters. They do not impress me, shock me,
or give me any reason to believe I should "listen"
to the writer whether I agree or not.
In my mind frequent swearing by an individual who is not mad at something indicates an
individual who is either immature or uneducated
or a poor product of some of our English language
classes (perhaps all three). Given the fact that
many teachers are more prone to talk of their own
"provincial" political theories than about the
subject they leach. I am not surprised about a
certain notable decline in English standards.
Anyway, there are better ways to swear than
using swear words. One of the great things about
the English language is that there are so many
ways to say some things.
A reader.
Dear Airhead,
While in Vancouver recently, I picked up
my first copy of Discorder magazine (May Issue).
I really enjoyed the articles, and was impressed
that it mainly dealt with alternative and local
groups.
My reason for writing to you is that, while I
was reading the magazine, I noticed that a column
entitled 'Spin List' stated that the group 'Surf
Hippies' has a demo titled 'Love is a Dream
Machine'. I was wondering if it would be possible
to get a copy of this song. I would also appreciate
any information on, or photos of, the band members.
Thank you for taking the time to read this.
Yours truly,
Hippies Fan
ABOUT THAT RETINAL CIRCUS THING
Dear Airhead,
Sure is a weird feeling subscribing to Discorder. When I can read almost instantly about the
antics of some Slurpee- brain called Roger Schiffer who just happens to be miles away, it must be
a global village.
Just who is this idiot anyway? I can understand a big multinational shitting all over the
Comsat Angels, but the former owner of the
Retinal Circus? I mean, come on. Of course, we
shouldn't really blame poor Roger - even if he is
behaving like an imbecile (I mean, if you're
gonna threaten legal action, at least wait until
they're rich and famous, when you're likely to get
some bucks out of it). No, Rog is merely another
sad by-product of the whole overblown, overrated 60's ethos.
Ya, that's right. Overrated. Big Time.
Let's face it, the baby boomers - hippies,
yippies, yuppies, what you will - are probably the
most spoilt, self-centred, unthinking, uncaring
assholes ever put on this planet. OK, so maybe it's
obvious now, since the little shits have achieved
enough financial and sociological clout to foist
their latest momentary obsession on the rest of us,
but think about it. When was it ever any different
with them? Hula hoops, the Beatles, the Summer
of Love, the counter culture, primal scream, flares
(good Christ, flares!), disco, "gold" music, co-
cooning, monogamy (it's Ok now 'cos all the
boomers who matter arc already paired off): all of
'em were/arc obsessions of the average boomer.
More to the point, they all relate only to oneself.
Ego sum, ergo I'm the ony one that matters. It's
the old "fuck you, Jack, I'm all right" mentality.
Boomers have always been obsessed with self-
gratification; obsessed with feeling good rather
than being good. They always avoided suffering
for their "beliefs" whenever possible. Witness the
Vietnam draft dodgers. Oh sure, Daley's cops
beat the shit out of them in Chicago, but there the
boomers forgot who they were dealing with.
Well, anyway, the "feel good" generation is
exactly that. They only gave money to Band-Aid
'cos it made them feel good about being so morally righteous. They voted for Reagan 'cos he
made them feel good about being greedy, materialistic, self-centred shits.
So don't blame poor Roger Schiffer for
betraying his hippie ideals, 'cos he ain't. In fact,
his is exactly the sort of behaviour I'd expect from
a boomer. Which doesn't make him any less of a
jerk for behaving in such a way. I would be
flattered if, 20 years after the fact, a bunch of
young musicians thought to name their band after
my long-defunct nightclub. But Iguess poor Roger
doesn't feel that way.
Thank Christ I wasn't born when Jack
Kennedy was shot.
lain B.
Cambridge,
England.
Dear Airhead,
I enjoy listening to your radio station and
reading Discordermagazine. There has been some
very thought provoking material lately, both in
the form of letters, responses, and articles as well.
What has caused me to write is the letter from
Roger Schiffer concerning Retinal Circus. I have
to agree with him. The name is his. The work and
effort to make it symbolic with the Vancouver
sixties scene was a positive, creative one. I think
a group of musicians can very easily come up with
an origianl band name without using one from the
past. I was not old enough to go into the Retinal
Circus as a teenager at the lime, but I followed the
music at that lime, as I still do. I saw some of their
light shows which were very advanced and revolutionary for the times. The Be ins were great too.
You seem to be upset whh the fact that MR.
Schiffer is now a lawyer. What do you expect?
Would you prefer he sat cross legged on a persian
rug and burned incense like some relic from the
past and have you take cynical pot shots at him?
Times change, people evolve.and whether or not
they become lawyers, musicians, or bricklayers
docs not necessarily mean they change their outlook. There is a great contradiciton in your cynical
attitude towards the sixties. I have heard a lot of
psychedelic music on CITR. I have heard programs devoted to obscure sixties hippie bands.
Your magazine's layout is almost identical to any
Georgia Straight paper of those times. The ads
and posters are not only influenced by those of twenty years ago, there arc direct copies. I have
noticed quite a few references to the ultimate
hippie sacrament: LSD. I'm 34 years old .married,
and have two kids. I look like any other straigh Joe,
but oh, the opinions and memories I carry around
in my head. Let me let you in on some, kids. I love
new music. Camper Van Beethoven was one of
the best psychedelic bands I've ever seen. They
played three Pink Floyd songs circa Syd Barret
before he imploded. I realize the necessity for a
generation gap.gap....I think someone with a purple
mohawk haircut or any other non-ordinary manner of dress is O.K. by me. Expressions of individualism are encouraging in these troubled times.
When I wore long hair and jeans I daily risked,
and occasionally was, punched out by narrow
minded rednecks. Let me tell you what happened
to the hippies and their ideals. They were beaten
into submission, assimilated by the media, and
poisoned by death drugs. The "Zero tolerance"
shit being pushed by the Americans is a great evil
which is seeping unopposed into Canadian minds.
Back then my friend was busied for one oint and
did six months in Okalla. Then things got more
realistic, and a small fine was dished out to lawless weedheads. Now the police are being issued
hollow point bullets, for maximum destruction to
offenders of society. Cocaine and junk are now
being equated with a harmless herb. Cocaine
turned idealistic peace loving hippies into self
centered greedy ripoffs. Cocaine saw the break
down of many a co-operatve commune. Now
people realize it's as shitty a drug as tobacco and
alcohol. I'm putting my money on this current
generation to bail us out of this stinking shithouse.
The ball is in your court gang. No amount of
cynical backstabbing is going to greatly help any
of us. If you want to knock the efforts of a few
brave individualists you had better have something more advanced to come up with besides a
baunch of bitching about the summer of love. We
are all quite aware that flower power was a media
hype. Witness the Death of Hippie in '68. Like it
or not, these were heady times. People's narrow
materialistic outlooks were expanded. My fat
friend who was bullied through 12 years of school
by the usual bunch of neanderthal hot rod cowboys, was accepted as a human being and loved by
the hippies, thus saving him from an untimely
end. I stand firm in my convictions and am ready
for a series of smart assed cheap shots by you
guys. It's about time we reexamine love of your
brothers and sisters. Like I say, it's up to you. I've
got a family to feed. Use your youth and independence. Don't let us lose all we've fought and
died for.
With love,
Norm
IT'S TRUE
Well, there certainly have been some changes
here at Discorder. Last month was Marty George's
first as the mag's art director(the man responsible
for the wondrous Amazing Discorder cover); he
replaced Matt Richards who is now the ad rep.
Alas, Bill Mullan has moved on to greener pastures in the world of film; Kevin Smith replaces
him as the new editor. In concerts for June, CITR
presents the Jazz Butcher at the Town Pump on
the 21 st and 22nd. Finally, in the self-congratulatory section we let you know that Discorder
Magazine has been nominated as a finalist in the
Western Magazine Awards in the categories of
Best Art Direction - Cover and Magazine of the
Year(under 20,000 circulation). Yes, all of the
above is true.
<s<^
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Wit
I I I I I I I L
J I L
J I I I I I I
June 1988 r?585gi
\THE MAKING OFTHEINTERVIEWWLTH ^
IMARKE. SMITH
"Do you do what you did two years
ago?"
"Me?"
"Ya, you"
"Ya."
"Well don't make a career out of it"
(M.ES. interrogating member of
audience)
(Totale's Turn, The Fall, 1980)
don't mean to give the impression that this
was some kind of religious experience. Just g
understand that several times in 19861 was g
 very messed up and perhaps the only thing
X athat kept me between my shadow and the sun was
copy of The Fall's Hip Priest and Kamerads.
JjiSure, you probably think it's just a stinking record
£ album, but then you haven't heard it, have you?
rj Listen to the falsetto bits on "Hip Priest",
y forget what Mark E. Smith intends the song to be
5 " U Sabout, simply hear the pseudo-angelic voice sing
•• J* y ^ing "He is not, appreciated." He is not AP-PRE-
£ || gCI-AT-ED." The line's rhythm is hideous. The
Ik 9l • intent - is it an honest tribute to a cool padre? Is it ■
9&i m f* —mocking the song's you'11-miss-me-when-I'm-""
^ u r SS0116 stance? " wno cares- The important thing
■ about these words is their effect. In this case, after
^hearing the song is was impossible for me tol
\* f!, *i wallow in self-pity for intervals longer than 9
H 5J T seconds - the time it takes to repeat, in the properj
^ ^ tone of voice, "He is not appreciated."
"^CJ But the real cure, for me anyway, comes on |
from the audience of "I don't understand thej
words" and then M.E.S. intros with,
His heart organ is where it should be
His brain is in his ass
** k u His hand well out of his pocket
e i 2 j His...
8 m • 2 There are two points to be made here: the
irst is that Smith sounds like he has a mouth full
beer and I cannot for the life of me make out
JJW J how the next line goes; the second is that I realize
^ ■ • the first three lines are talking about me and the
•jttdispossessed-state-of-soul I was in. The remain
ing lines that I can pick out from the song detail the
*te H sordid highlights of my life: "...heard Kraftwerk
■M^ J tf in '81 /has a synthesizer...", "...didn't get far in
X ^computer teaching job...", "saw History of the
1 i World Part One / and D Bowie's Man Who Fell
jj jfi To Earth / twice each at least / twice each at
least..."
No, I don't mean to give the impression that
this was some kind of religious experience. Religious experiences should make you feel bigger.
They ought to leave you with a life-is-all-this-
and-much-more kind of feeling. The Fall have a
different effect. Mark E. Smith can fit your life
into one song. Reduce you to a single line, a song
title if necessary. To a Petty Thief Lout he says,
"Suburbia offers more than you care for. This is
my happening and it freaks me out.
Of course the above is complete-raving-fan
blather. Really, for the purposes of this interview
all you have to know is:
1) The Fall started about ten years ago in
Manchester, UK., the same place as the
Buzzcocks, Joy Division, The Smiths -forget
it, you don't even need that.
2) The Fall sound like Sly and the Family
Stone, minus the horns, trying to play Iggy
Pop and the Stooges, with Stompin' Tom
Connors on lead vocals.
3) Mark Smith is known for his, umm,
acerbic manner.
Regarding 3) the following additional items
should be noted:
HI) An ex-CiTR programming director told
me that Mark E. Smith is this planet's most
complete ass-hole.
#2) An ex-CJSW music director told me of
a phone interview he attempted with Brix E.
Smith, the Fall's lead guitarist (also, Mark
E. Smith is her husband).   The interview
lasted about 45 seconds and ended with Brix
going, "I just don't feel like doing this.
<click>
#3) For my own protection I had prepared a
short list of things I would not ask Mark E.
Smith about:
a) how he met his wife.
b) the other band that Bra fronts,
Adult Net.
c) if he ever met Joy Division's Ian
Curtis.
#4) Also for my own protection, I prepared
a short list of emergency put downs in case
things got ugly:
a)I'm conducting the interview,Mark.
Stay on your side of the microphone
and nobody gets hurt.
b) Think about it Mark, I had the
choice of talking to you or Howard
Devoto.
In short, I was a little apprehensive about
doing this interview. I shouldn't have been. The
snarly myth of Mark E. Smith is just that. I found
him to be quite reasonable. Indeed he was downright affable. He laughed a lot, a very infectious
"ha-ha" punctuated several questions of mine.
His voice, usually a northern English variation on
Stompin' Tom Connors (I'm serious, the guy
from P.E.I, who used to be on CBC all the time)
cracked into the M.E.S. trademark of irritation
only twice. It's a high-pitched squawk that has
roughly the same effect as hearing a snake rattle
or seeing a skunk raise its tail: "SUBstance
abuse? You must be joking? I drink BEER.
What, you're not allowed to drink beer now?"
Yes, it was a stupid question.
The interview was done on the phone while
The Fall were in Washington, D.C. Polygram
picked up the long distance bill. The woman
operating the hotel room switch board in D.C.
said, "I'll try Mr. and Mrs. Smith's room." and
then giggled ever so faintly as if she thought 'Mr.
and Mrs. Smith' couldn't possibly be the name of
any real couple. Brix answered the phone. The
long distance operator said "This is Canada calling for Mr. Mark Smith." Brix yelled out, "Mark,
it's Canada." The interview (ed.):
Discorder: For your gig in Vancouver you've
been advertised as an idiosyncratic cult band
from England. Is that a good description?
M: I don't think so, no. I think eccentric is good.
I would say more individual.
D: What makes The Fall special? Why should I
listen to them instead of something from America?
M: It's a whole different ball game, really, we're
an intelligent group. I mean if you have to ask me
that then why bother doing the interview.
D: The press releases we' ve got use the word beer
a lol. Are you into substance abuse - that's the
impression I get.
M: Substance abuse? You're joking. I drink beer.
What, you're not allowed to do beer now?
D: Recently V ve heardan album called Son ofSgt.
Pepper, [sic. actually it's Sgt. Pepper knew my
Father] Who called you up to do that?
M: It was a music magazine in England, New
Music Express, and we did it for a charity, for
Child Line or something which is for child abuse.
They rang me up and said Sgt. Pepper and I
thought no, you know. But they said A Day in a
Life. I do like that song actually, it's about the
only song I like from the LP of the Beades.
D: That's quite an honor to do the big song on the
album.
M: It is. I was quite shocked. It's nice.
D: You end with, instead of having two grand
pianos being dropped on each other,you end with
a burp or something.
M: It's not a burp (laughs). The long note's there
though. The long note is really there. It resounds
as much as the original does. It's all of atmosphere
in the background. I think everyone else on the LP
was doing it a bit too holier than holy, but not me.
I don't think the Beatles would do that number
like that now. If they were of our age group, I'm
quite sure they wouldn't. When you break the
song down actually you find that it's very much
your regular Beatles song. But the brilliant thing
they did was disguise it with orchestras, pianos,
big drops and that But you just play the chords
and it's quite a simple Beatles song, so you have
to add something to it like they did.
D: After len years of doing this, how does your
band keep sounding new?
M: I don't know. I'm very bloody minded about
carrying on. If we ever get a bit disheartened
there's something that generally comes along that
annoys us, or stimulates us, or somebody leaves,
you know. We don't do any long term planning.
It's ironic, that. A lot of groups plan for the next
three years and then don't last two.
As for me I'm just trying to perfect my
writing style. I'm always trying to hone it in, to
make it a bit beUer. I'm always not there yet, if you
know what I mean.
D: Do you not know who will be in the band next
year?
M: I think this band is really settled now, it's
really good. The average age is only about 24-25.
Brix, my wife and guitarist, she really has a lot of
input. Simon, the drummer has only been in about
two years, but he plays like he's been with us just
a little while, with enthusiasm you know what I
mean. So we've got good balance 'cause the bass
player (Steven Hanley) has been with me for
about eight-nine years now.
D: What about the fans? Do you have old fans
from 1978 who just can't tolerate the new lineup?
M: Not many, no. We do obviously lose fans.
Sometimes I go for that. I don't want to get settled
into the college market, or settled into this market
or that market. I think it makes it very boring. The
Fall can do anything it wants.
D: As a record buyer in Canada - a lot of Fall
releases are singles, British import singles. It's
kind of expensive following the band. Why do you
release so many singles?
M: It's strange and I've noticed this. In Britain
we've had two top-forty hits, one this year and one
last year, and that means a big deal in Britain. I
don't know why. I mean this is our first LP in two
years, actually. We've done three singles in between.
D: Do you like singles rather than packaging a
big album.
M: No, I love doing LP's. I really enjoy the
planning of it. With singles I always treat them as
a bit of a laugh you know. Not to be detrimental
but it's totally different from the album work. I
like our singles to be a bit topical, a bit wacky, you
know.
D: Tell me about the song order on an album, on
Frenz do you consciously decide - you know I'm
gonna need a song to follow the song on side B?
M: Ya, I think the way songs follow each other is
one of the most important things. I'm really obsessed with that. That's part of the enjoyment of
doing it.
On side one and two of the Frenz Experiment there is a sort of theme running through. I
like that and it usually happens by accident. If
you're writing continually you usually Find that
comes out by itself anyway.
D: This is a weird comparison. I find The Fall
remind me of Sly Stone, the music, is hypnotic and
repetitious, with fairly loose production. Should
The Fall remind me of Sly and the Family Stone?
M: I think that's a great compliment actually. I've
not heard all his work, I've noticed that Prince is
like a lot of him. I think that's great. It's all
different influences I suppose - this movin' in the
groove - this American, British, Irish, coming in
and out.
D: What is the fourth line of the song Mere Pseud
Mag. Ed? You know the one that goes, "His heart
organ is where it should be..."
M: His psyche - is - in - the - hearth.
D: You've got a couple of top forty singles out in
Britain. Are you actually making a living at this?
M: It goes up and down financially. It always does
you know. We've always gotten along. It's not a
big sort of prerogative of ours to make a lot of
money. Of course we're very strict on it. I like to
have a six piece band and it's not easy to keep it
going sometimes.
D: Do the members have other jobs or bands they
play in?
M: No. I won't allow that. No way.
D: Except, of course, for Adult Net. But that's
another story.
M: Ya, ya.
D: One last question on producers. Are you going
to work with John Leckie again?
M: I'm thinking of it. I wouldn't mind it. He's
good, you know. He's an old hand. He's got a
good attitude. He used to work with Phil Spector
and that. My ideas of recording music arc quite
old fashioned in a certain way. I don't believe in
recording things sepcrately and all that shit and
taking a week to overdub. I find it a waste of time.
Leckie is very good in that he'll spend a lot
of time getting the sound. Then we can do it
straight off. We don't just walk in and start playing. He'll spend quite a bit getting the sound right,
then we just go in and do it in a couple of takes. It's
quite important, really. A lot of groups go in and
record bit by bit which is why I think you get a lol
of stale music nowadays. It's all at the same level.
Or a lot of people just record one bass line and do
it like twenty times - you know sample it through
the song, which makes for lots of horrible - well
it really is all at one level.
Anyway I've got to go..
postmortem notes:
1) "Hispsyche's in the hearth." llmm. I've been
mulling that line over for the last few days. I was
expecting something like "His vices ar all harmless." It'sail the same I guess. Kindofanticlimac-
tic.
2) I wasn't joking about the Sly Stone business.
Listen to the Family doing I doing I Want to Take
You Higher and then the Fall's Bombast. Trivial
items like rhythmn and melody aside, the two
songs are identical- if only MarkE. Smith would
sing "boom chalka locka locka, boom chalka
locka locka" instead of going on about "the wrath
of his bombast."
3) Of course he doesn't burp at the end of A Day
in the Life. He says "Fall" then the pianist hits a
two handed E-flat Major - BLAmmmmm... The
End!
JB Hohm
June 1988 m du MAURIER
INTERNATIONAL
THIRD
ANNUAL
170
Performances
350 Musicians
Canada • USA • Europe
Africa • South America
Australia
JAZZ AT THE PLAZA
July 1,2,3, 12:00-8:00 pm
FREE ADMISSION
Plaza of Nations, Discovery
Theatre, Comedy Club. 40
national and international
bands, international food fair
and festivities.
Expo Theatre
Friday June 24,8:30 pm
Opening Night Double Bill
The Zawinul Syndicate •
Youssou NDour et les Super Etoiles
de Dakar
Vancouver Playhouse
Sunday June 26,8:00 pm
J.J. Johnson Quintet
Commodore Ballroom
Friday July 1,10:00 pm
Real Sounds (of Zimbabwe) plus
Themba Tana's African Heritage
Saturday July 2,10:00 pm
Bill Bruford's Earthworks
Sunday July 3,10:00 pm
Ornette Coleman and Prime Time plus
Lunar Adventures
86 Street Music Hall
Saturday June 25,10:00 pm
Manteca
Tuesday June 28,10:00 pm — Double Bill
Randy Brecker Quartet • Hugh Marsh
VANCOUVER
JUNE 24 - JULY 3 1988
Western Front
Sunday June 26,5:30 pm
Horace Tapscott
Monday June 27,5:30 pm
George Lewis
Tuesday June 28,5:30 pm
John Oswald and Alex Varty
Wednesday June 29,5:30 pm
Hal Russell's NRG Ensemble
Thursday June 30,5:30 pm
Tom Cora
plus Rene Lussier & Jean Derome
Thursday June 30,5:30 pm
Robert Leriche Trio
Friday July 1,9:00 pm
Contrevent
Saturday July 2,9:00
brave new jazz
traditional and
contemporary
uniquely west coast
Concert tickets and festival
passes on sale at
BlackSwan Records,
Highlife Records, and all
Ticketmaster/VTC outlets
Charge by Phone
280-4444
Festival Passes
Jazz Pass One $140
(Entry to all 22 concerts except
Expo Theatre. Only 100 passes on sale.)
Jazz Pass Two $90
(Entry to all 9 VECC and 7 Western
Front concerts. Only 100 passes on sale.)
Jazz Pass Three $60
(Entry to the 2 86 Street and 3
Commodore shows. Only 300 passes on sale)
Vancouver East
Cultural Centre
Saturday June 25,8:00 pm
Andrew Hill plus Unit E
Sunday June 26,8:00 pm
String Trio of New York with Jay Clayton
plus Joe Bjornson Quartet
Monday June 27, 8:00 pm
Six Winds plus Chief Feature
Tuesday June 28,8:00 pm
Masqualero pius Video Barbeque
Wednesday June 29,8:00 pm
Charlie Haden's Quartet West plus
Claude Ranger Quartet
Thursday June 30, 8:00 pm
Michele Rosewoman Quintet plus
Turnaround
Friday July 1,8:00 pm
Semantics plus Rene Lussier,
Jean Derome and
Tom Cora
Saturday July 2,8:00 pm
Gary Burton Quintet plus
John Rappson Quartet
Sunday July 3,8:00 pm
Archie Shepp and Horace Parian
plus Celso Machado
Landmark Jazz Bar, Hot Jazz Club. Isadora's. Classical Joint. Hogan s Alley.
daily at Granville Island Public Market. Pacific Centre TO Plaza. Oakridge Centre
ia\ programs with complete info available at at all ticket outlets, or call
THE JAZZ HOTLINE 682-0706 The product in question is music.
For the time being, it's just a single
ninety minute compilation cassette:
"Define by Example". The artists
featured—James Rigney, Stephen
Ugo Rosin, John Oglow, Chris Peterson, Nick
Pawliuk, Ben Wilkins, John McLean and
Campbell Burnett — are all locally based, and,
for the most part, their work is representative of
what can best be termed as "the ongoing revolution in home recording". The music covers a lot
of ground, none of it traditional. If it fits a genre,
it's one which hasn't been named yet. Call it
"post-modern-personal-film-score" or better,
"industrial new age". Belter yet, don't label it.
Indeed, that would run quite contrary to what
they're trying to do at Laissez Fa ire. They're
pretty clear about that. So clear, they have a
manifesto.	
THE METHOD IS THE
MESSAGE
The formation of LAISSEZ-FAIRE was a
direct response to the need for an organized representational system for the Independent/Alternative artists with
whom (It) is associated.
Jay: Basically, we promote and make available
for distribution.
~\^
a
LAISSEZ
FAIRE
ii
Steve: It's in a very embryonic stage at this point,
but eventually what we intend is to provide a
service for artists to be able to distribute and
promote their work, because the production of
any individual piece of work is now quite easily
accessible to any one person, but when you approach getting it out to a wide audience, you
definitely have to have a more organized and
structured format.
Discorder met in mid-April with Stephen Ugo
Rosin and James Rigney, two-thirds of the triumvirate which forms Laissez-Faire's central management (D. Amanda Blache was absent). The location was a low rent second storey apartment in
the West End. The view out the window was Davie
Street with a good angle on The Mansion. Various tape recorders, musical instruments and related hardware were pushed neatly aside. Flick
a few switches and you'd have an operational
recording studio.
With the recent advances in technology
relevant to the creative process, the
means of individual production are
within the grasp of anyone committed to
their art. These advances have made it
possible to circumvent the established
methods of production and have helped
to close the gap between the "Professional" producer and his independent
counter-part.
Steve: We wanted to involve a lot of people that
we were associated with just by our own chance:
the people that we'd met over the years in being
involved and being creative. We came to the
realization that there were a lot of us who were
producing our own music, and it made us think
that there must be a lot more beyond that as well.
The whole idea of Laissez Faire was basically to
try and develop a means of getting all this product
out to the public.
With the means of production no longer
a significant stumbling block, the greatest challenge for the independent artist
is to develop more effective means of
reaching the public conciousness. High
quality VCRs, digital/analogue tape
recorders and photocopiers have all
made it possible to duplicate information easily. What is needed now is an effective means of distribution for independently produced material. This entails becoming aware of the present
state of communications mediums and
the advances occurring within that
state, which is crucial in determining
the most appropriate points of access,
and in achieving the greatest effect
once that access has been gained.
June 1988 Steve: We're just looking at it from the perspective of, that if each one of us that we're producing
were trying to develop a distribution network individually, there's a lot of work going on there.
Whereas we're closely associated with each
other, it just seemed logical for us to form an
organization which could basically provide a
channel for communications.
One of LAISSEZ-FAIRE's functions is to
provide an outlet through which the
creative mind may vent/express (It)self
in WHATEVER form it chooses to manifest (It)self; to indulge creative fantasies and oppose inhibiting moral structures which obstruct creative freedom
and thus impose precreated/predi-
rected growth.
Steve: The term "laissez faire" means to leave
alone or not to interfere with things. We adapted
that name for our activities because we basically
didn't want to set up a situation where we were
trying to dictate to anybody how they should
direct themselves. One of our goals is to try and
encourage people to develop their own sense of
direction and not rely on other outside opinions or
dogmas or whatever - -
Jay: Knowing that they have a conduit - - Laissez
Faire - - to just put it into without hardly any effort
at all.
LAISSEZ-FAIRE is not a "Control" system. LAISSEZ-FAIRE DOES NOT/WILL
NOT try to control the artists, their
styles, the directions they take or the
manner in which they choose to express
themselves in their works. In the same
vein, LAISSEZ-FAIRE DOES NOT take responsibility for (Its) artists.
Steve: One thing we try to avoid with the people
that are involved is a sense of obligation. We
don't want people to feel trapped in a situation or
obligated to do something. We want people to be
there and contribute because they want to, not
because they feel they have to, because once you
introduce that sense of obligation, you get a lot of
undercurrents happening - - resentment and stuff
like that. People grow in different directions and
then they start feeling, ahhh, I don't really belong
in this anymore, but I have to - -
LAISSEZ-FAIRE's goal is directly related to the concept that being "Commercial" means: "Making yourself available to your audience and not sacrificing your ideals for those of someone
else." The unimpeded development and
creative journeys of the Independent
Artist are at the base of all LAISSEZ-
FAIRE's goals, the formation of LAISSEZ-FAIRE's moral structure and the
bonding between LAISSEZ-FAIRE and
(Its) Artists.
THE METHOD IS THE
MESSAGE
e
Tape available from Odyssey,
Zulu, Track, and Collector's RPM
Laissez - Faire:   P.O. Box 3783
or wrile Vancouver, B.C. V6B 3Z1
Steve: Everything we're doing presupposes that
art and commerce do mix, because we are approaching a commercial level of communication.
There's an attitude in art, that if you are commercially viable then it somehow discredits your
work, whereas I tend to look at it from the perspective of I create to satisfy my own wishes and
if anybody wants to purchase that, I'd like to make
it available to as many people as possible because
I don't want it hidden away. Because we're into
communication, I think that kind of approach
would be completely contradictory. In this day
and age, commerce is an incredibly useful tool for
dealing with your art.
LAISSEZ-FAIRE is a response to the
social axiom "Supply and Demand".
Steve: Myself, I do enjoy being involved in the
business end of it. It does hold a certain fascination for me. I like talking to people who are
suppliers, I like going through the Yellow Pages
and phoning up people and trying to get good deals
on things and stuff like that. It's enjoyable. When
you do get a good deal on something, it's satisfying. And I think there is a lot of creativity involved
in making the best of the limited resources you
have at hand. It requires a lot of imagination.
Jay: It's interesting. You sit there and you go,
okay, what do we need? We need a piece of yellow
plastic stapled over in a rectangle about a yard
square. So we pick up the yellow pages and within
an hour or so, we've found a place that'll do a
thousand of them at three and a half cents a piece
and they'll deliver them tomorrow. You can do a
lot with just a very reasonable ammount of money.
LAISSEZ-FAIRE makes no claims of
uniqueness in this endeavour. There
have been and still are many such organizations which have strived to
achieve similar goals, some of which
have met with reasonable success.
Jay: Through good organization and a little bit
more backing, I'd really like to make this big. Just
to make this accessible to people all over the
world. I mean, Canada's becoming very well
known internationally for all kinds of music.
Things are happening here. This is the right time
to start Laissez Faire. Internationally.
Steve: I'd like it to be a gradual kind of thing so
that things don't happen too fast and you end with
foundations that aren't properly structured. If you
do it gradually, you can make sure that
everything's done right and you don't find out that
something way down there is totally fouled up. If
something goes wrong, you find out immediately.
We make lots of mistakes and we'll make lots of
mistakes in the future, but hopefully we'll learn
from them.
The future for Laissez-Faire appears focussed on
the coming summer. Expect more cassettes, more
obvious promotion. There will probably be some
live shows, possibly even some vinyl. If nothing
else, they're thinking about it.
Bill Mullan
DISCORDER GfOK fm9
PRESENTS
BLOW UP YOUR VIDEO WORLD TOUR
WITH SPECIAL GUEST
MONDAY JUNE 13
7:30 PM
B.C. PLACE BOWL
Tickets available at all VTC/CBO Outlets,
or charge by phone 280-4444.
TICKETS ON SALE
NOW
A PERRYSCOPE PRODUCTION ,,r ,;,,„■ iqnn ,;,,„. iir w< .|,|i.. ,,|„m r^p>- mF"' ll'^TF^ Tr^TF"1 'l|n" 'HP" 11"" M|ff"-TF"Vg7
VISIT TO
THE FLIPSIDE
^oc
Guy Bennett is nothing if not a cooperative interviewee. He offers to
loan me his tape recorder, then takes
me on a whirlwind tour of his place,
introducing me to a nameless mother cat and her
three shellshocked kittens. He also points out the
toilet, painted by a previous tenant, with a giant
Rolling Stones lips-and-tongue logo. The ice is
truly broken, however, when we put the tape into
the tape recorder and it turns out to be a leftover
from my mother's days with the Human Resources ministry, interviewing the unemployed.
My mother: And how long have you been unemployed?
Unidentified man: Uuuh... about thirty years.
"Thirty years!" roars Guy delightedly. "Yeah, it's
sort of a stage I've been going through! Time to
get a new resume!"
The author of Guy's Guide to the Flipside,
which has recently sold out of its second printing
and has been named to the Best of B.C. Books list
for the decade 1977-1987, is an average-looking
guy with sandy hair. Mostly, it's his air of serious
enthusiasm, the kind usually evinced by preschoolers absorbed in creating artwork, that is
striking. He seems intensely happy. This is rare in
people of at least normal intelligence.
"Mexico has amazingly beautiful cemetar-
ies! Just amazing! All pastel colours and dead
flowers dangling from these cement crosses."
Guy has recently returned from a two and a half
month trip to Mexico, Belize, and Guatemala, and
still has the remains of a tan. Yes, he was able to
travel on the proceeds from the sale of Flipside.
This is one of the rewards of self-publication.
Guy decided to self-publish for two reasons. The
first is that he thought it would be fun to do it all
on his own. The second is that he was afraid he
couldn't find a publisher without compromising
the book too much."I knew that it was going to be
fairly bawdy and unusual. And I knew that its
wildness would be a big part of what made it
work, if it worked, and that if someone came in
and tamed it it would just die on its feeL" So Guy
scraped together his savings, ran his charge card
up to the limit, and became his own publisher.
While the books were being printed, Guy
began looking into how he was going to get them
into the stores. Told that he needed a distributor,
he set out to acquire one. "I spent about ten days
soliciting the distributors in town, seeing who
would want to distribute it. And I got turned down
by every single one." But he was undaunted.
"Actually, even at that time, amidst all those
rejections, I was getting this little inkling that the
book would sell. People would come over and
they'd open it up and I'd notice that 20 minutes
later they were still leafing through it I didn't
12 DISCORDER
"The Ivanhoe is intimate and smug like Christmas time in a small college faculty lounge.
The musk is strictly top 40, and there are no pretty woman my own age. The Ivanhoe has no
aspirations to trendiness or sexual perversity. It is a place where one may exist and drink in
a most uncomplicated manner." - Guy's Guide to the Flipside
ymmmm^k free cappuccino
TflF5 CAFE
829 Granville Street,
Telephone: (604) 684-8900
(ACROSS FROM CAPITOL 6 CINEMAS)
June 1988 13 think they were doing it to be polite, because I
didn't know them."
With 500 copies of Flipside on his hands,
Guy tried a more direct approach. "I packed the
books up in my briefcase and I started lo go
around to the big bookstores. The book buyers at
the bookstores liked the book and they said "Yeah,
well, okay, leave us two." And then a couple of
days later I'd get a phone call that said "Hey, we
sold those two books! Come by and leave us six!"
And then a few days later I'd get another call. "We
sold those, Guy! Come by- we'll take 25!" And
then the next thing I knew I was all over town
firing these books out."
In case this sounds to you like an easy way
to achieve fame and fortune, or at least qualify for
a Canada Council grant, Guy (who, incidentally,
has never had a Canada Council grant) has a few
more words on the subject of self-publication. "If
you don't enjoy the mechanics, the day-to-day
logistics of small business - if you don't Eke
getting out there and making eye contact, trying to
convince people that what you're doing is worthwhile - if that whole feehng leaves you with a sick
feehng in your stomach, then you shouldn-t self-
publish." But Guy rejects my suggestion that he
may be a salesman at heart. "This is the only thing
I've ever sold successfully. I had a 20-minute
career as a telephone soEcitor once."
Guy has Eved in the U.K., New Zealand,
New York and CaEfomia as weU as Vancouver.
He says that the short stories that function as
introductions to the six sections of Flipside are
about 80% autobiographical. I asked him whether
he did actuaUy drown his pet rat, as he says in the
book, "either through deEberate cruelty, or at the
very least, groundbreaking stupidity." He did.
"But the worst part, which I couldn't figure out
how to work into the story, was that song by
Michael Jackson,'Ben", was the number one song
right then. It was on the radio constantly." Guy
was eleven and traumatized.
Flipside is about Vancouver, but Guy is the
first to admit that he has a problem with straight
joumaEsm. "I just can't do it." After reading the
book I came to beEeve that a less personal view
would have been much less interesting. It takes
true grit to attempt to capture the soul of the city
by interviewing the denizens of its dog-grooming
parlours and funeral homes. But the subject matter is secondary. "I reaEzed that it didn't really
matter what it was. The whole point was just to
observe it closely and capture the essence of it."
Guy pauses. "Not that I thought of this until after
it was all written."
Walking to the B.C. Marine Club,
Guy teEs^me that in Mexico city there is at least
one shoe store per block. "I think it's a municipal
ordinance," he says.
He loves the bar, which is new to him. "This
reminds me of the Princeton." What it reminds me
of the most is the Escenced lounge on the CPR's
old ferry The Princess of Nanaimo, The bartender
has a thick neck and a militarily short haircut.
Arranged at one end of the bar there are five large
jars. They contain pickled eggs, sausages, pep-
peroni sucks, packages of salted peanuts, and
donations for the Crippled Children's Fund. Guy
is enchanted by the jukebox. He picks out three
songs and then can't figure out if the ones that get
played are the ones he chose. When the jukebox is
playing a string of Christmas Eghts on the
enormous model of The Prince George that adorns
the far waU blink on and off. Examining the
model, Guy teUs me that he once had a job with
AEied, welding propellor shafts. This demands a
great deal of precision, he says. I teU him that I can
believe it. After two years as a steelworker, Guy
finished his degree and applied to med school. But
he blew the admissions interview by showing up
for it with the worst hangover of his life.
The B.C. Marine Club has, as one might
expect, a nauucal motif. The wrought iron anchors adorning the planters fuU of dusty plastic
philodendrons are a dead giveaway. However,
it's the unique sloping floor in the washroom, that
gives the patron the feehng of having just found
his or her sea legs, that really lends authenticity.
The back room contains two 3/4 sized pool tables.
Guy and I have a couple of games of pinbaU. It's
a low-key place. Guy says, "Ii I were going to
drink I'd want to spend a lot of time here."
Right now Guy is spending most of his time
working on two novels, one of which is based on
his experiences in Mexico and Central America.
He plans to complete them over the summer. He's
taken the correction ribbon out of his typewriter
and refuses to buy any Liquid Paper, so that
whatever he writes has to stand as is until the next
draft. In the meantime, he is also considering
releasing a third printing of Flipside.
I teU him I hope he doesn't go home and
write down what I've said word for word, as he
mercilessly recorded so many conversations in
Flipside. I'd sound Like the most banal person in
the world. Guy laughs. "I'm a pretty banal con-
versationaEst myseLf. I mean, that's one of the
amusing things about conversation. It tends to be
a very pale reflection of what is actuaEy going on
in people's heads. You have these increible
emotions, and it's Eke, duh-uh! I guess that's one
reason I write- to try and make a sEghtly less pale
reflecuon of what's in my head."
Laurel Wellman
ROBSON&
David Lowery of Camper Van Beethoven,
Town Pump Mandcl Ngan
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On the morning of the Peace March I
accidentaUy knocked a woman on
the head with an orange golf ball. I
had meant to pass the ball to a friend
but it took an unfriendly bounce and knocked the
woman on the head. She was a short, middle aged
woman with thin Eght brown hair tied up in a bun,
new white running shoes and a duU blue vinyl
windjackeL She froze on the sidewalk clutching
her temples and grimacing as if I had bludgeoned
her with a basebaU baL I attempted to apologize
but she evaporated amidst a circle of frowning
friends.
The day was developing a rhythm and it
scared me. At the south end of the Burrard Street
Bridge I joined a group of Iranians. We marched
silently across the bridge coUecting pamphlets
from outstretched hands. There was a fine-faced
young woman shuffling along beside me in a pair
of sheepskin sEppers, streaks of purple through
her shining hair and a spider-web tattoed on one
cheek. She turned to me and said, "Beat someone
up for peace," - and I laughed alone as she turned
away.
The sun came ouL I trudged the loop through
the downtown core, lost the Iranians and the girl
with the spider-web tattoo. I wedged myseLf Euo
a group of indignant people chanting slogans
against the perpetrators of commercial and scien-
uficaEy motivated animal experimentation. They
were noisy, shrill, ripe for confrontation. I fell
behind them, Ep-synching occasionaUy for the
onlookers.
Twenty thousand Peace Marchers emptied
out into Sunset Park. I threaded my way through
the crowd towards the stage as Mayor Gordon
CampbeU spoke about the need for World Peace
and the importance of us all being there that day.
He seemed Eke a very young man to be holding so
prominent a position, but I couldn't find anything
to fault in the things he said, or the way he said
them.
Later a woman named Charlotte Diamond
(a professional children's entertainer) sang us a
song assuring us that we all need four hugs a day
- and I give her fuE credit for having the power to
embarrass me so intensely from a distance of a
hundred and twenty feet. "Come on people! Turn
to the person next to you. Look them right in the
eyes. Give them a hug. Goon! Turn to the person
next to you!"
16 DISCORDER
I swivelled gingerly and found myseLf
wrapped in the arms of an enormous, sweating,
unshaven man in a dirty red mack. I heard the
punks snickering and snorting around me, their
pale faces cast to the ground. They seemed,
somehow, in a more dangerous place - a place
beyond hugs.
FoEowmg Ms. Diamond a group of seven
girls from Queensbury Elementary School took
the stage and performed a song called Peace Rap,
written for them by their music teacher, John
Palmer.
Within ftfteen seconds of being on stage
these seven adolescent girls had the crowd stamping their feet, smiling Eke freed slaves. The punks
looked up; the ak seemed to clear.
When the girls cried out "AL-RIGHT!",
and cupped their hands to their ears, twenty thousand people called back, "AL-RIGHT!" It was a
moment of pure electricity. A moment to dissolve
an ulcer.
They were tough and sweet and strong and
lovable.
I walked home with a friend, bouncing the
golf ball where the crowds had cleared.
The next day I found myseLf thinking about
the Rap Girls.
I decided to track them down.
First I found the man who trained them and
I met with him in his home where he did not offer
me coffee or tea and it didn't matter because I was
too busy Estening.
John PaLmer is a dark-eyed, dark-haired
man. He is almost certainly the world's leading
Rap Music educaUonaEst, although he would
hardly describe himseLf this way.
This is what I found out about John Palmer:
He came to teaching via the foEowing circuitous route: after graduating from highschool
in Ottawa he enroEed in The Ontario CoEege of
Art, where, being in their experimental phase,
they let him play Jazz guitar aE year instead of
painting. Amongst the faculty there were several
fans of Jazz, particularly Swing. He was evaluated bi-annuaEy. He played them Swing. They
passed him. But he had a wife and they grew
weary of urban Efe. They moved to Scotland
where they Eved for three years, shearing sheep,
thatching roofs and studying Celtic Culture.
After a sunt picking grapes in France he and
his wife came back to Canada with two children.
They settled in Terrace B.C. John worked as a
bricklayer, a carpenter and a logger. One day he
was worldng on a piece of machinery when his
partner started it up. John's left hand became
entangled in the machinery. He lost aE the fingers
on that hand. This didn't help his logging career
or his dream of being a professional guitar player.
After going through rehabilitation because
of his amputated fingers John began to train at
U.B.C. to become a medical rehabiEtationist.
John did not fit the western medical model. This
is euphemism for saying: John was a hippie. His
classmates were mostly women. Fresh faced
women. They treated him with suspicion, covered their notes, guarding them like secrets. John
said, "For God's sake, let's learn something here."
They kept guarding their notes. At exam time his
third chEd contracted spinal meningitis and nearly
died. John bombed. John gave up training to be
a medical rehabiEtauonist.
On the advice of his sister (also a musician)
he became a teacher. Now, at the age of thirty five
he has 850 elementary school students in four
different schools.
"I wanted the chUdren to see that music is a
means of communication and that it should be
used as a means of communicating a personal
opinion. I use the Rap format because they - weE
the boys in particular - they're very uncomfortable with singing or displaying movement of any
kind. Rapping does not require actual singing. It
is chanting, or talking, so it is psychologicaEy
safe."
Using modem examples Eke The Beastie
Boys and The Fat Boys he exposes them to the
techniques of writing Rap lyrics: rhyming, aEit-
eration, repetition of consonants, syllables and
phrases. Then he teaches them how to brainstorm
a topic. Forming their own groups, choosing their
own topics, they write Rap music.
John Palmer beEeves that the key to their
smooth, urgent sound is their high level of comfort. By aEowing the girls to make their own
decisions, experimenting with die choreography
and with different combinations of voices, they
have found, by trial and error, what works for
them. One day John was sick and his classes were
taught by a substitute teacher (a rather derroga-
tory term when you think about it). That day the
kids learnt You Can't Rollerskate In a Buffalo
Herd. Upon his return a six year old girl ran up
to him and cried, "Thank God you're back. That
other teacher treated us Eke kids."
I came face to face with six of the seven Rap
Girls sitting on the floor of the music room at
Norgate Elementary School. They were an infectiously giggly group of girls. When they stopped
giggling they aE spoke. When they stopped
speaking, they aE giggled. Until I got the hang of
actually leading the interview it was Eke grap-
pEng with a multi-headed eLf ripped on champagne. Partly to calm them down, and partly to
calm myself down, I explained to them mat I was
a freelance journalist. Nine year old Jessie Daniels
shook her blonde ringlets at me, "I know what that
is," she said. "My father is a freelance joumaEst.
A moment later she turned to me conspiratorially
and said, "Adorable kids. Front page news."
One by one they told me about the thriE of
performing in front of twenty thousand people at
Sunset Park - how they were rigid with fear as they
walked onto the stage and how their fear dissipated with the first cycle of the "caE and response" routine when the audience shouted back,
"Alright!", dead on cue. The only other time they
had performed the song it had been for their
classmates and tile boys had shouted back "No
way!" - "because they were jealous, or they Liked
it too much and they didn't want to show iL"
The boys don't make fun of them anymore.
For a few weeks at least, they are the most important girls in the school.
A few days before I got to them the girls
were down on a beach with a television crew. It
was a bitterly cold day and the majority of them
were undepressed. The interviewer became
distracted by theE chattering teeth and asked them
lo "act warm" for a second take. They did the
interview "acting warm."
These girls do not know what punk music is.
They Esten to records of The Beatles and The
Rolling Stones because that is what their parents
own. They have little affection for hard rock
groups Eke Motley Crue and AC/DC. Says Angela
Toteda, a firey-eyed thirteen year old Italian,
"Either the songs have no meaning or they have a
dirty meaning." And Jessie Daniels says of Boy
George: "I think his mother is probably suffering."
They talked with great respect and affection
about their music teacher, John Palmer. They
were impressed on the first day of class when he
shared some of his personal history with them,
including the story of how he lost his fingers and
how that event altered the direction of his life. I
asked them what is dtfferent about John, and there
is no hesitation: "He listens to you."
"He is a special teacher. When you are
reaEy good at something he Ekes it. He lets other
people know you are good at it, he lets you do it
in front of them so you don't feel you're locked
up."
They recited for me some of the slogans of
the mainstream Peace Movement and, although
they obviously had a good understanding of the
stakes, their words, Eke most poEtical rhetoric,
rang rather hollowly. Ln a way this is a good sign.
Nothing short of aggressive brainwashing, or a
fuE scale nuclear war, is going to make people as
truly angry about the nuclear buEd-up as they
have the right to be.
The most absurdly original reflection came
from nine year old Shauna Yates who said, "Ii
everyone pitches in maybe we can soften up the
government's heart."
One of the most pernicious aspects of nuclear weapons is their non-visibility in day to day
Efe. If only they would come crashing out of the
woods every few weeks and trample a few babies
or run off with some women-folk, we would
probably succeed in neutralising the problem in a
few weeks. Merely to hear that the beast exists,
that it is remote controlled, that it could wipe us aE
out in the time it takes to eat a bucket of popcorn,
is not, somehow, very inspiring, or frightening.
The idea, obviously, is frightening - but the spe-
cEic threat of nuclear war is not nearly so frightening as, say, a man charging you with a broken
beer bottle, or watching your wife of thirty years
about to be run over by a train.
The Peace March, then, I take to be a testimony to a coEective inteEectual acknowledgement of the threat. But for non-Hiroshimans that
threat wEl continue to have slighlty mythological
connotations until we experience real pain because of it. That's what it comes down to. People
don't change unless they are in pain.
Jessie told me that her brother has a cardboard box fuE of G.I. Joes. Neither she nor her
Mother Eke those G.I. Joes. They are going to put
some time aside this weekend to smash them aE
with a hammer before depositing them in the
garbage. Jessie is smiling radiantly as she tells me
this. It's a good thing to gang up with Mother and
destroy some of your brohter's war toys.
A few days ago 1 was back at Sunset Park
where I first saw the Rap Girls. A hundred yards
from the beach there was a haE-scale replica of
the Vietnam Memorial WaE. The names were
placed chronologically, so that one man's name
appeared beside the name of another man who
died on the same day. 30,000 Canadians fought in
Vietnam as part ofthe American Army. Sixty six
of them died. There was a smaE Canadian flag
stuck in the ground directly beneath the name of
each dead Canadian. The flags were huddled
together along the base of the waE in groups of
about a dozen.
Soften up the government's heart?
Sure.
And we'E ride our unicorns before tea.
Francisco Dlnoro
* * I 0 & 1.Q
op *>0£8N £ N
24 COMPOSERS
AT THE FIREHALL
JUNE 9^0,U.*2
tfllsxc
Ttckets:$8/$5
Reservat ions:689-0926
Info: 222-1 *>09
MUSIC
concept A deslgn:Art McP
100 s OF
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1176 ave St
June 1988 17 ^•^
T*?*"**^
We are now living in the year 1988
a year in which people are making their own scene. It's a now,
happening environment that u
being led by the communal brotherhood and
energy of two Vancouver cultural historians. They
are not the kind of scholars who sit around tables,
mop up sweat from their browned armpits, and
dream about the past, but instead are the kind qj
individuals who live as if 'now' is all they've got.
Nevertheless, in their minds they don't deny the
past, as it still remains useful. However, it's the
rock'n'roll scene they are creating today that is qj
the utmost importance.
Meet Danny Mack, a worldly musical innovator, and his friend David, a true cultural historian of Vancouver street life. When questioned,
these two can provide an interesting insight into
what the Vancouver scene has been like for the
last thirty years.
Danny, what were the 1950's like In
Vancouver?
People romanticize the 50's in film and
television and stuff, but it wasn't reaEy an easy
time to grow up in. I went through puberty in the
50's and there sure were dtfferent ways to look at
things back then. Like, say your grandparents say
sex is a sin, your parents say sex is dirty, and
somebody else says "tf you have sex, you'E turn
out Eke me." WeE, what shows up for someone
Estening to this is that sex is not a good tiung. This
kind of attitude ran through Efe in the 50's; it was
reaEy hard to get laid. Things were not a lot of fun
and there was a lot of violence involved in
streetgangs and stuff because the image to Eve up
to was always of the older guys in your neighbourhood. In Vancouver, I grew upon 23rd and
Main, so I was part of what was caEed the 25th and
Main gang. We had a big reputation to keep up
from the older guys, so you went around and
drank wine or took bennies or downers and fought.
After high school I split the city because I didn't
want to do this. I didn't like fighting. I didn't like
violence. It wasn't my trip, so I just moved away
to Banff to work for the CPR.
David, did everyone turn on to flower power
in Vancouver?
Well, some people use the word psychiatric
instead of the word psychedelic, so it's a toss up
whether people were actuaEy doing the same
thing and using a different word, so I can't reaEy
leE yet. The trouble I have with these types of
questions is the fact that the people didn't come
down and hang out on the street, so we didn't
actually know what the other people were doing.
There was a meaning to hanging out on the street.
It was a communication network. It was a friendship thing. It was the music.
Danny, while in Banff, what drew you back to
Vancouver?
I met this jazz bass player, who happened to
be playing in a lounge in Banff, and he said, "Hey
man, by any chance do you know of any girls that
are overweight?" I just said, "What are you talking about?" Then he says again, "Do you know
girls that are overweight and have diet pEls?" I
said "Yeah" and he quickly exclaimed, "Great,
then let's go over and get a dozen, it's speed. It'E
make us feel better!" So we ate diet piEs, whEe
walking around die outside road of the Banff
Springs goE course, and chatted away Eke crazy.
During this time he told me about the Vancouver
psychedeEc movement and how exciting it was
with its great music scene and people. After
hearing this, I was history. My bag was packed
and once again I was back in Vancouver.
David, Is there anything left from the sixties
In Vancouver?
Yes. Lh front of the smaE laundromat at 4th
and Arbutus there's a smaE orange and yeEow
housepaint flower that still is visible. Also I'd say,
from my knowledge, a thkd of the people, from
the days that I know well, died. It wasn't aE drug
related. People died of many dtfferent causes such
as car accidents, drinking, and even the odd person died of old age.
Danny, what's the scoop on the guy called
Abe Stenanko?
The narcs, headed by Stenanko of the Vancouver PD, seemed to have this thing that they
were gomg to save the world or save the youth
from the evE of these drugs or something. But over the years, their attitude started to change a
Ettle bit. Because here they were kicking m doors
we used to sometimes get our doors kicked in
three or four times a day, and they'd come into
your house and look for marijuana or LSD. Lh the
early days, tf you got caught with a jomt or even
a seed, you sunk for it. You went away to jaE for
a long time. Many of my peers spent time in prison
over a marijuana joint. At that time you got 6
months to 2 years for a joint or a 28 gram bag of
marijuana. You didn't do a third of your time and
get off on good behaviour. You did your entire 6
months or your entEe 2 years. People reaEy paid.
David, where was the scene in 1966?
At that time, I was going to school with
Wanda Walker, and she told me that the scene was
in the Ettle Heidleberg cafe on Robson Street.
Danny, how did your band, the Hydroelectric
Streetcar, come about?
You've got to reaEze that in the area of 4th
and Arbutus, with such places as the Black Swan
coffee house (now Clay Signs) and The VElage
Bistro (now the Rag Shop) there was at any time
of the day or night, usually a hundred or two
hundred people just hanging out digging the music.
The Hydroelectric Streetcar evolved out of this
community.
David, how would you describe Danny's
music?
A lot of Danny's music is Eke you're Esten-
ing and expecting someone to be singing songs,
and aE of a sudden it's real. It's peace, love and the
environment. It's like really west coast, it's reaEy
British Columbia, and it's really now, and it's
reaEy happening.
Danny, the Streetcar has reformed, so what
should people expect from you guys?
We want to invite people to come to a
psychedeEc rock gig that Eterally is now. It's not
a nostalgia dung; it's a 1988 event. The people
coming out and supporting the gig is what makes
a gig what it is. It's their gig; it's not us tryuig to
be rock'n'roE stars. It's us trying to present a creative space where everyone can come m and have
a good time. It's about peace, it's about freedom,
it's about love, and it's about the issues of today,
such as child prostitution and MacMElan Bloe-
dell desuoying our forests.
Danny Mack has not just played in the
Hydroelectric Streetcar, but has also performed
in an assortment of other rock'n'roll ensembles.
They are:
The Van Dells - Dan's high school teen
band. Van Dell stands for Vancouver-Delta.
Danny Soul and the Playboys - a fun R&B
outfit from Banff that Dan fronted in the early
60's.
The Fantastic Sensations - an exciting combo
that arose out of the Blake snake Blues Band.
Tillicum - In 1970, Dan formed this duo
electro-folk act out of the Streetcar's ashes. His
bass-pal Lee Stephens joined in on this stimulation.
Fireweed - country music soon spurted from
Dan's guitar as he formed this band of partying
westerners. They even did an album with Chief
Dan George called "Chief Dan George and Fire-
weed in Circle" for the CanBaselColumbia label.
Cement City Cowboys - a popular country
band that Dan led fearlessly into the eighties.
Danny Mack - under this name, his real
name is Dan Mclnnes, Dan put out a few records.
One of them, interestingly enough, is called
"Danny Mack' andappears on the Alberta Crude
record label.
More bands - and more bands. Dan has even
played with Doug Sahm of the Sir Douglas Quintet.
Danny's Hydroelectric Streetcar have one
sole release - on the Cool-Aid Benefit Album,
where they belch out two butt-rockin tracks.
David, Danny's friend, has no releases, but he
does have a nice smile. Thank you and have a nice
day.
John Ruskin
GBrofDflMCECR
Presents
Grand Prize
TRIP FOR TWO
TO SAN FRANCISCC
AIRFARE AND
} NIGHTS HOTEL
OR $500 CASH
TUESDAY NIGHTS 11PM.
BE YOUR FAVORITE STAR
SINGLES - DUOS - GROUPS - CHOIRS
MC  |OE FORD NUMBER ONE AGENCY
Performances MailMc on Video
June 1988 WHAT'S MY SCENE?
THE NEWCOMERS GUIDE TO VANCOUVER'S RICH AND VIBRANT
ALTERNATE SCENE
The following article had its birth in the latter part of 1987, yet only now has it made
its merry way onto the pages of Discorder. The article has not dated very much, and
we think it's certainly worth printing. You may or may not agree.
The ALtemate Community is a
subculture and Like every subculture, it has its own creed,
ideals, values, heroes, fictions,
and code of semiotics. It also
has its own inquisitorial tendencies that strive to keep the group pure by rooting
out heretics, poseurs and the otherwise unclean.
By careful assimilation of the foEowuig guide,
the dEigent aspirant should be able to succeed in
ingratiating hEn/herseLf Eito this community.
CATECHISM
The primary assumption that binds the Alternate Community together by providing its
essential justification is found in its attitude to
mainstream culture. Mainstream culture is bad.
The Alternate Community provides an alternative for those who feel very strongly the need to
escape from its crusrting weight. Yet the Alternate
Community, in the origin of most of its members
and in its preoccupations is so very obviously
derived from that mahi stream (particularly its
dominant middle to upper middle class sector),
the Alternate Community finds itseLf in a continuing dilemma as it is eternaEy preoccupied with
that which it insists has no value and therefore
rejects. The expEcit grounds on which the mainstream is condemned are:
1. Mainstream culture is too commercial and
superficial. Alternate culture is commercial and
superficial too, but it offers more opportunity for
the little local young person to get in on the
commercial and superficial goings on.
2. Mainstream culture is complied in oppression.
Alternate culture supports the legitimate aspirations towards freedom of oppressed groups everywhere.
3. Mainstream culture opposes individual expression and dictates a spirit-smothering conformity.
Alternate culture encourages creative expression
and allows for individuality. (This fiction is an
important part of the cant so be prepared to recite
it frequently.)
In sum. Alternate culture is adversarial. It
defines itseLf and values its accompEshments ui
relation to its oppositional stance. In this inherent
critical aspect Lies its close affinity to left politics
and to contemporary visual arts. It is unnecessary
to proceed any further with this sociological
analysis and to do so would take us too far into an
intellectuaEsm which is suspect. The important
thing to remember is that being'Alternate' is a
matter of style; style in attitude as much as in
appearance. And this superficiaEty, in its impEcit
rejection of the complex and die profound, is yet
another aspect in which rejection of conventional
culture is expressed. So don't worry about the
contradictions which are legion. Just master the
style and you wET be fine. It's easy, it's fun, and
it's monumentally self-satisfy hi g.
HOW TO LOOK
In the Alternate Community you are free to
cultivate creative exhibitionism. However, if in
this respect you venture beyond the Community's
norm, you must be tough enough to endure the
scorn of hardliners of a more puritan persuasion.
If you are gtfted with a superb sense of personal
flamboyance that simply refuses to be denied you
may choose to search out a group of the simEarly
exotic, and then you can aE turn your heads
together Eke buffalo in a snowstorm and show the
critics your other ends.
However, should you wish to stop short of
excess, for boys especiaEy, the aEenated hero
look is weE worth considerinng. For this look, so
quintessential to the culture of the outsider in the
20lh century, the local model is Art Bergman.
Everyone loves Art Bergman. He has never 'sold
out*. His multiple near misses, his aLmost talent,
his almost intelEgence, his perseverance.and his
heait-warmuigly para-suicidal Efe style make Art
a perennial favorite. He remains forever ours and
the soft spot we have for hhn proves that there is
a whole lot of love in this community.(But wEl we
still love him now that he's a bigtime recording
artist?-Ed) A young man can't go far wrong hi
patterning himself after Art Bergman. Of course
he might not survive it, but that's another issue.
It is appropriate to cultivate an obvious
adornment that immediately identifies you as
havuig chosen to position yoursetf with 'us' and
having disassociated yoursetf from 'them*. Pos-
sibEities uiclude:
a) A very obvious and unusual dangling earring
or collection thereof, (for boys only; it is impossible for girls to make earrings say anything).
b) A particularly ratty heavy-weight leather jacket
that has been through at least one war and several
fatal motorcycle accidents.
c) Very obviously dyed black hair. (Only if your
skin is light; if your skin is dark this will only make
you look like a Turk which has no cachet whatsoever.) Light roots showing is not chic so this can
be expensive especially for boys who can't seem
to dye their hair themselves. So boys considering
black hair will require a girlfriend to tend their
head. Girlfriends like to do this, rather like dogs
like to pee on posts, and for the same reasons.
d) Very obviously dyed blonde hair. Roots are not
only allowed here, but advised. It's the roots that
give the look its "I don't give a fuck" tone.
e) For those who want lo go all out, combine c)
and d). But keep it rough. Don't go much prettier
than Death Sentence or you'll be taken for a poof.
f) Cut the whole mess to nothing. The Auschwitz
cutis simple and easy to care for. It tells the world
you are too busy being dangerous to waste time
fluffing your locks. With this look your very presence can conjure up images of nihilism and gre-
vious rents in the social fabric. 1250 RICHARDS ST. ALLEY ENTRANCE 688-2648 Most of the above purtains to boys. No
matter what girls do with their hair, it says nothing
because there isn't any dung you can do that some
Ettle secretary isn't doing in the BentaE BuEding.
However, there are several overaE looks from
which girls can choose:
a) The 50s Female - cuddler to siren; any variation.
b) The Waif- the 'waif is favoured by girl artists
who are anything but.
c) The "I'm Playing the Boy But Cuter" look -
which some boys apparently find attractive, perhaps because it pushes the button on their latent
homo-erotic tendencies, or maybe because it
reminds them of their little brothers. This look is
popular for girls in perfume commercials.
d) The "I'm Playing the Boy and Don't Fuck With
Me" look - Heavy Duty! A seriously masculine
personna favoured by the seriously feminist.
e) The Skinny Puppy(Girl Version) - this is fun ij
you don't mind being taken for a moron by people
with no sense of humour. However, it is time
consuming and can be expensive and so is favoured mainly by hairdressers and teenagers still
living at home (as are all post punk rococo modes,
at least on a daily basis).
THINGS TO DO, PLACES TO GO AND
WHAT TO LIKE
Forget about your own taste; concentrate on
knowmg what's happening. Check this magazuie
for relevant places to go and things to do. This
could take a faE amount of energy, but tf you
succeed m Eisinuating yoursetf into CITR, you
wEl pick up hot tips and maybe even some guest
Est privEedges which not only carry considerable
eclat but wEl also save you money.
Music is the centre around which the Community is focused. FamiEarity with alternate
bands, both local and international, is de rigueur.
(You needn't bother about the rest of Canada.)
You must distinguish between correct bands and
those with whom you won't concern yourself. For
guidance Esten to CITR. After you have f amiEar-
ized yourself with the scene, you can select the
group to whom you wEl give your support. This is
rather like supporting a sports team. You wEl note
when they are playing and caE a group of your
friends to see them. Your friends wEl then call you
when their fave group gets a gig. You can phone
CITR and request they play your group's tunes.
Soon you wEl probably meet them and then
perhaps you can express your supportive attitude
m other ways. The group you choose wEl probably be the one that most closely mirrors yourself
in some aspect, either real or imagined; or else
there is someone in the group that you would Eke
to jump.
Unacceptable bands are those which are too
commercial, too well-funded, or have no critical
edge. Amusing, and with the right attitude, are
those heavy metal dinosaurs that emerge briefly
from time to time from the depths of Burnaby and
North Vancouver. In fact, these are the most
authenticaEy working class Ei source which logi-
caEy should entitle them to some respect poEti-
caEy. But it doesn't. The genre as a whole is
firmly outre, perhaps because they are so paleo-
Ethically stupid and nobody has ever seen them
anyway. Nonetheless, I am sure it would be permissible and even innovatively intriguing to seek
them out, as long as you do so in a spirit of
anthropological camp. Completely unacceptable
- anything done by left-over or commercial rockers or folksies trying to batten on to a new scene.
22 DISCORDER
VISUAL ARTS
Do cover the visual arts scene. As with all
else, this need only be done superficially. Go at
least as far as knowing what Jim Cummins' work
looks like and attend a minimum of one of his
openings. A sexual interest in someone at Emily
Carr, whether reciprocated or not, is mentionablc
hi any of the appropriate clubs.
WHERE TO LIVE
Those moving into the city core for the first
time should give careful consideration to where to
Eve. Gastown and ChEiatown are not only very
correct but also aEow convenient access to the
clubs. However, it is unEkely you will score a
place in these neighbourhoods as they are very
much the exclusive bailiwick of the truly in-the-
know. If correct politics is of importance to you,
die East End is the place to go. tf you are of a more
frivolous and decorative frame of mind then you
might choose the West End. An address west of
the Granvule Street Bridge is suspect, though you
may see it as justtfied by virtue of its proximity to
UBC. A good guideline is that the shortest distance between your place and Joe's Pool IlaE
should not involve crossing any water. Note that
it is unacceptable to Eve near the beach, or to ever
be seen on the beach, except between the hours of
midnight and 7 a.m. or unless you are dead.
WHERE TO EAT
A quick tour of aE the trendy Ettle art cafes
wEl aEow you to determine which ones are hot at
the moment. The herd moves quickly on though,
so tf you sit down you wiE be in danger of being
left behind. There are a couple of spots that show
signs of enduring long enough for you to at least
have dinner. They are: Joe's Pool HaE which is so
charmingly 'authentic*, and Leo's Fish Bar in
Gastown which has an illustrious coterie of regulars.
WHERE NOT TO EAT
ActuaEy, you can eat in incorrect places as
long as a)you do so infrequently, b)you are very
obviously out of place, c)someone else is paying.
The exception - you are dead in the water tf you
are seen under any circumstances in Joe Fortes.
ADDITIONAL TIPS ON STYLE
Anything bearing the hammer and sickle
logo, cryiEic letting, constructivist graphics and/
or typography, or words in German, is very much
of the moment and wiE be until this merchandise
makes its way into die shops of Lougheed MaE. A
summer vacation in BerEn this year is worthy of
mention. However, those thinking about next
year should plan for Moscow. The Alternate
scene is just now emerging there but no one
knows very much about it yet, so you could be die
first on your block. (Requires an aptitude for
getting completely smack-faced on vodka on a
datfy basis).
Internationally speaking  the situation at the
moment is:
Coming - USSR
In - Germany, Poland,
the right places in
Yugoslavia
Losing Ground - London
Passe - Japan, Italy
Out • The United States, India,
Scandinavia
CORRECT POLITICS
The Alternate World is not replete with the
subtle appreciation of nuance, so the poEtics are
simple and easy to master.
First Article: Condemn the mainstream.
Second Article: Root within your heart a strong
and uncritical sympathy with all oppressed groups
and express same in terms of virulent contempt
for the mainstream. Opressed groups include
Blacks, Indians (both East and North American),
rubbles and indigents, prison inmates, and the
working class. Don't bother trying to define this
last group. It's too tricky. Feel safe in including
any group doing battle with the provincial government, (except for prison guards and police
about whose struggles it is best to have nothing to
say.)
Third Article: Be voraciously hostile to the provincial government because they are fascists.
This opposition must most strongly find expression when the government happens to involve
itself in something that might conceivably be seen
as having some merit. At such moments it is
incumbent upon you to launch into a wrathful
diatribe so as to rip asunder the sheep's clothing
in which the wolf is shamelessly trying to conceal
itself. For you have a duty to play the vigilant
shepherd to your less perceptive acquaintances.
If you are so unfortunate as to have parents associated with the Socreds you must disown them
absolutely at this very moment.
THE POLITICS OF EDUCATION
Education is a loaded issue. Being in school
impEes you place some value on formal education
which is suspect for several reasons that involve
not only laziness, but also the legacy of Rousseau
and his very popular cult of anti-inteEectuaEsm.
The Alternate Community shares its affection for
this heartening tendency with the Socreds; an
awkward coincidence that makes the former a tad
schizoid on the issue. But education has against it
the fact that the pursuit of learning is not characteristic of the vEtuous, i.e. hard-core bands and
oppressed groups, but is more commonly associated with the unvirtuous, i.e. middle-class whites.
You can argue your way around your association
with the university by a) pointing out that the
Socreds are against it, and b) going to work for
CITR. Lhvolvement with this voice of the underground is the closest you wEl come to justifying
your presence in that bastion of privEege and
generaEy uncool place to be.
At CUR you wiE find comrades who share
your interests not only sociaEy and styEsticaEy,
but also economicaEy. You are not the only one
who is bright enough to see that there is Efe after
style and to want to stack up a few vocational
options for when the time comes to jump subcultures. At CITR you wiE find that sector of the
community that is most capable and desirous of
indulging in what passes for thought, discourse,
and debate. Here you can articulate any ideas you
may have on a level which in some other corners
might only induce someone to throw a beer bottle
at you. This is not to say that there is greater
tolerance at CITR. Rather, here you can participate in criticisEig aE the people who are out there
creatively expressing themselves, producing
works of possibly debatable merit, and otherwise
indulging in ego-mania. Note, however, that CITR
is fuE of serious people who do not tend to favour
fashion far-outism. FEMINISM
tf the Alternate Community is inconsistent
in its attitude to education, it is even more diffuse
on the subject of women. The auto-leftist cant that
is operative regarding Blacks and Indians does
not extend in all quarters to the distaff side. The
neophyte male is on tricky ground here, and it
behooves him to sit back and take his cue from
what the other boys are doEig. A lot of back-
slapping chick and broad taEc indicates it is appropriate to honk, grunt, and otherwise display that
you are one of the guys. There are, however,
pockets of men who are minimally sensitized to
feminism. The Gangland/Mo-Da-Mu set, for
example, tend in this direction as do most other
left aspiring circles.
HERESY AND THE INQUISITION
There is m the Alternative Community, as m
any ideologically oriented sub-group, a tendency
to exclusivity that expresses itself in some pretty
harsh judgements about people, theE behaviour,
and theE creative output. This tendency is strongly
of the opinion that one is only a legitimate member of the Alternate Community tf one buys m
permanently. Of course that is ridiculous, as the
Alternate Community is and must be a temporal
phenomenon, based as it is on a particular
generation's need to express itseLf. Any reEc of
today who is stiE runnEig around at the turn of the
mElenium m post-punk gear and sensibEities wEl
look at least as stupid as do the long-haEs m
Indian cotton who crawl out of the woodwork
every year for the folk festival. The only way to
commit permanently to the Alternate Scene is to
die before it does and so hang yoursetf for eternity
in the fashion of the moment If you don't find that
option captiviating then the best approach is to
avoid provoking the harpies altogether. But that is
not easy, especiaEy tf you are either particularly
flamboyant or pursuing a law degree. However,
try to understand that it is these people's self-
appointed duty to preserve the integrity of the
Alternate Community from dissipation by dEetan-
tes and poseurs. They do this by pointing out who
is legitimately within the community and who is
merely affecting to be, and also by offering guidance and correction to the artists, especially with
the respect to any temptations or aspirations they
might have to stray form the fold and seek success
in the great big world outside.
CONCLUSION
Using this handy guide you should be able
to execute a smooth entree into the vibrant world
of Vancouver's creative Alternate Scene. Do
remember this important final caveat: Desuoy
this message and do not mention it to your new
friends except perhaps in derisive terms. Because
not withstanding support in principle of people's
democratic struggles everywhere, the Alternate
Scene very much does not want any mass m its
midst After aE, the thing that makes it so ntfty is
its deEberate 'otherness'; the special sensibEities
shared by a smaE group that (tf it were not
politicaEy incorrect to refer to the attributes of
any primarily white group thus) one might even
venture to describe as superior. We have our own
tiling and that suits us just fine. Our own bands,
our own stores, our own periodicals, and of course
our own radio station. And we want to keep it that
way. That's why we don't want a lot of outsiders
trying to push their way into our communtiy. You
can understand that, can't you?
Marsha Harris
Help spread it around.
Do a friend or on enemy a
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OPEN EVERY DAY 11 — 6 EXCEPT SUNDAY; FRIDAY 11 - 8
The University of British
Columbia
Stage
Campus '88
\T\ "Criminals in Love"
by George F. Walker
June 1 -11
\2\ "Lulu Street"
by Ann Henry
June 29 - July 9
5] "Pericles"
by William Shakespear
July 27 — August 6
Frederic Wood Theatre
Box Office 228-2678 CiTRFM 101.9 presents
ROOTS  DANCE
EXPLOSION
Lets Play it For The Children
featuring:
From Zimbabwe- DUMI and LORAH
10 pc. Marimba Band
From Vancouver- The Stephen Fearing Band
Rhythm Mission
Small Axe
Friday June 10th.:Door 7:30PM
COMMODORE BALLROOM: 870 Granville St.
TIX AVAIL:
VTC/CBO,
Black Swan,
Zulu Records,
Highlife Records,
Track Records
Info:681-7625 The sun's out and hey, queen of the
beach bunnies that I am, I'm finding it
hard to be critical of (okay, okay, to
even listen too carefully to) any tapes
I hear whilst lying on that hot sand catching rays
(even if the Walkman headphones do rather clash
with my Keith Relf sunglasses). So why be
critical? Maybe I'll just say what's new in CITR's
world of demo tapes and let people decide for
themselves.... There's more off last month's 64
Funny Cars and Surf Hippies demos (due to their
awesome success on our charts), new Crawlin'
King Snakes, Rockin' Stinkbugs, Wailin' Demons and Fab Mavericks, Before the Storm, more
Crash Dummies, Spikey Norman, Neo Morte
(who do songs with impressive-sounding titles
like "Princess Di(e)", "Shirley McLame", and
"Molly Wringwald's Cunt"— I'd love to hear
them pick on some creepy men too!), Triangle
Web (at last), and something from Peter Curtis's
new four-song cassette (available in stores, too).
But my personal fave's got to be "He'll Look Better When He's Dead" by (who else?) the Hip
Type, who recorded it with 6 other songs (including their scary cover of "Hush") live in a basement
almost a year ago and are just now allowing us to
play something else too (to tide us fans over until
they put out some kind of a record, their second,
which ought to be soon). Watch for them at the
Railway appearing with a bellydancer too!
Which brings me to a message I wanted to
pass onto you musician (and, god forbid, manager) types out there who want to submit your
recorded gems to CITR for airplay and Local
Motion for possible review,... Dale and Ed are the
groovy guys actually going through all the tapes
and putting them on-air these days, and if you
bring or mail in your tape clearly marked as a
demo and/or addressed to them things ought to
roll along pretty smoothly. (But remember, we
can't return them, so don't send us masters or
anything like that!) It also really helps if you make
sure your band's name and the song titles are on
the tape somewhere, and that there aren't more
than 4-6 songs so we can give them all a fairlisten.
And you never know— we might need to get hold
of you for some reason, so a phone number's a
good idea. As for me, I'm always interested in
background information like what bands the
musicians have been in before, their favourite B-
movie actresses, etc etc, and I'm thrilled to death
to see cool cassette cover illustrations, fake band
interviews, colouring-book type self-portraits, and
so on and so onto make things for fun more me
(and, you know, more interesting to your potential
fans) whenever the tapes come around for me to
review. And let me know when and where you're
playing, and what you and your band are up to too.
And hey, have an excellent summer.
Janis McKenzie
NO FUN AT THE CBC
On March 8, 1988, CBC Vancouver's TV
News broadcast a feature news item by Ace reporter, Mark Schneider, about the UBC radio
station, CITR.
The report began with No Fun's 1985 recording of their song, "Be Like Us", which was
visually augmented by the lyrics of the song
printed on the screen with a bouncing ball sing-a-
long style.
No Fun's permission was NEVER asked for
or given. No Fun was NOT credited in any way.
This is part of the CBC's ongoing policy of exploitation of Surrey culture.
David M.
On Friday, the 13th of May, No Fun led a
protest rally outside the CBC main building at
Georgia and Hamilton to demonstrate their frustration at not being taken seriously because they
came from Surrey. After an hour someone from
inside was finally coaxed into going out and
facing the angry mob. Mr. M. voiced his concerns. The bureaucrat nodded his head and said,
"I'll look into it." At press time, legal vollies were
still being passed between the interested parties
and, so far, no blows have been struck. As they say
on TV, "the case continues".
David M. objects to the overemphasis on
certain negative aspects of Surrey and the ignoring of certain positive aspects by the Vancouver
media and especially the CBC.
For example, they overemphasize: murder-
suicides, molestations, burglaries, horrible traffic accidents, hooliganism, really great parties
and yuppies hounded out of Surrey by mobs oj
peasants with torches.
Some of the positive things they totally ignore. We have an unrepentant NDP mayor, we
have NO skid row, we have extremely cheap
gasoline right next door in Blaine, we have
fat'n sassy welfare moms that are more than a
match for any bureaucracy. The simple fact of the
matter is - Asian youth gangs can't lick our youth
gangs. And, most importantly, we never use CBC
programming for any reason without their express written permission.
Dave Campbell
June 1988 27 MONDAYS
SOUP STOCK FROM THE BONES OF THE
ELEPHANT MAN
7:30am - ll:OOam
We don't need no major labels stompin' on our
buzz. Three and a half hours of strictly independent music; everything from spoken word to
hardcore. Each week a half hour feature on new
releases from a specific independent label. Hosted
by Robert Lorenz and Lloyd Uliana.
June 6: Touch and Go Records
June 13: Wax Trax Records
June 20: SST Records
June 27: Subway Organization Records
THE JAZZ SHOW
9:00pm - 12:30am
Vancouver's longest running prime time Jazz
program, featuring all the classic players, the
occasional interview and local music news. Hosted
7:30
8:00
FM102-
CARLE 102
TUESDAY  WEDNESDAY THURSDAY
9:00
10:00
11 :(X)
12:00
1:00
2:00
3:00
4:00
5:00
6:00
7:00
8:00
9:00
10:00
11:00
12:00
1:00
2:00
3:00
4:00
Soup
Stock
From
The
niifci Chan
Show
The
Spice
ol Lite
I SATURDAY|    SUNDAY
Soup dc Jour
CITR NKWS, SI'»rM S AM) UK .VIM! U
Pcsl
Control
Bclier
Hohm's
&
Garlick's
CITR NEWS, SPORTS AND WEATHER
Tribes And
Shadows
The Joanna
Graystonc
Show
NoApparcnt
Reason
Radio
Vomit
Blood On
The Saddle
The
Show
Quality Time
For latchkey
Kids
The
PTL
Show
(Com)
Daybue
n'Err
Raz/le
Dazzle
Absolute
Value of
Noise
NEWS, SPORTS, >
THER, GENERIC REVIEW, INSIGHT AND DAILY FEATURE
Hot
Pink
More
Dinosaurs
The
Jazz
Show
Environmental)
Scatology
Neon Meat
Dream
Swirlin'
Vinyl
Spin
Aural
Tentacles
After
The
Goddess
The
African
Show
Permanent
Culture
Shock
The
Knight
After
The
Vinyl
Frontier
Top Of
The Bops
The
Can-Con
Job
Stomp On
That Big
Boppa-Tron
Don't
Know
Power
Chord
Nccro-
Ncofile
Botanists'
House
Party
Tunes
'R'
The
Rockers
Show
Soul
City
Sun. Magazine
Just Like
Women/
Electronic
Smoke
Signals
Playloud
This Is
Not
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In The
Gr.p
or
Ineohcien
WEEKDAY REPORTS
: c
SATURDAY REPORTS
1  L
SUNDAY REPORTS
ANCOUVI K NLW M
by the ever-suave Gavin Walker.
June 6: Ahmad Jamal is a pianist who has been
at the forefront of Jazz for so many years that his
legions of fans span all age groups. Hear Jamal
tonight, a genius of touch and dynamics from his
latest double album..."Digital Jamal".
June 13: Tony Williams has made the long hard
climb back from fusion experiments in the seventies (thereby losing his Jazz credibilty) to tough
hard-core Jazz in the eighties. Here is the great
drummer from his latest album "Civilization".
June 20: One of Art Pepper's best latter-day
albums was called "Among Friends" and done in
September 1978. (Pepper died in 1982), Here the
alto saxophonist is re-united with some great
players who recorded with him in the fifties and
sixties. ..pianistRuss Freeman anddrummer Frank
Butler along with bassist Bob Magnasson help
Art produce one of his warmest albums.
June 27: Pianist Andrew Hill has always been an
underrated and elusive figure in Jazz...albeit a
highly respected creator. Here is one of the
albums that established Andrew (who will be
appearing at our Jazz Festival) as one of Jazz
music's vital and original voices. "Black Fire" is
the classic album.
TUESDAYS
AURAL TENTACLES
Midnite - 4:00am
Some people's cars will rust, be stolen, do weird
things, not start, break down, run out of gas, idle,
race, get into an accident, blow up, catch fire,
hiccup, stall, purr and hug tight curves. Wear your
helmet and hear the Wide World of at
around 2am.
WEDNESDAYS
THE AFRICAN SHOW
8:00pm - 9:30pm
The latest in modem African dance music plus/
minus a few oldies but greats and extras. Info and
news as they come at 8:30pm. Possible features
at 9:00pm. Your host Umerah P. Onukwulu.
Welcome.
THURSDAYS
RAZZLE DAZZLE
3:30pm - 5:00pm
A thick, cottage-cheese-like discharge from your
speakers. Caution: wear cotton underpants and
urinate often while listening. Starring Mike and
Gavin.
DISCORDER THE TOWN PUMP
sb miniii SIBUI B &S1 BHH B 8 3 B B 9 5
CiTRFM 101.9 presents
from ENGLAND
Relativity/Creation Records recording artists
The Jazz Butcher
■•mam
Tues. June 21 Wed. June 22
Tirs|/' CXQ     VTC/CBO & all usual outlets as well as Zulu, Black Swan,
I llsl\C I O     Highlife and Track Records. CHARGE BY PHONE 280-4444
A TIMBRE PRODUCTION We   Can  Be  Bought.
Order Discordfer and don't miss a boot.
Twelve-month subscriptions are $ 12 ($ 12US to the States, $20 everywhere else). Send
British Columbia, Vancouver, B.C. V6T 2A5. Don't forget to state the month with which
you would like the subscription to begin. Back issues still available for $1 each.
FRIDAYS
IN CONTEXT
8:30am - 10:00am
June 3: Dance in context: Cornelius Fischer -
Credo Dance Corps, Anna Wyman. Profiles on
Contemporary Theatre and music events.
June 10: Concerning Artist's Studio Space: A.C.E
and interested Architects. Exploring Gastown's
inner sanctum. Interview: Lynda Raino on Danse.
June 17: Headlines Theatre returns;'a look at the
Gitk'san Land Claims Court Case. More Dance.
June 24: Jazz Special. Guests will discuss Jazz in
Vancouver, and we'll profile the 1988 Jazz Festival.
SATURDAYS
June 4:   Jim Keelaghan is back in town.   The
Calgary native is one of Canada's best young
singer/songwriters, and hell be in the studio to
spin some discs, and perhaps even sing a few
songs.
June 11: The new LP from Spirit of the West was
scheduled for release yesterday. Perhaps I'll play
some tracks...Also, lots of Irish music to herald
the third session from the Sunday Umbrella Band
at Isadora's tomorrow night.
June 18: A look back at two fine Celtic bands no
longer with us-
— Touchstone and the JSD Band.
June 25:    Bluegrass from California's "High
Country", and a sample of the work of one of
Scotland's best singers - Dick Gaughan.
SUNDAY
THE SATURDAY EDGE
8:00am - noon
JUST LIKE WOMEN/ELECTRONIC
SMOKE SIGNALS
Sundays 6:30 — 9 pm.
June 5: ELECTRONIC SMOKE SIGNALS:
tune in for special mfor "Canada Environment
Week", including speeches by David Suzuki and
Joe Mathias, and interviews with Thorn llcnlcy
and Jim Fulton.
June 12: JUST LIKE WOMEN: THE FEMINIST SHOPPING SPREE. Brass in pocket,
can't stand Jackie Collins? What's a girl to do?
Consumerism for the liberated. Music: From
Penetang, if you can believe it. Chris Wind's
ART OF JUXTAPOSITION.
June 19: ELECTRONIC SMOKE SIGNALS:
Join us as we celebrate the dissolution of patriarchy in a special commemmoration of Father's
Day.
June 26: JUST LIKE WOMEN: MEN AND
FEMINISM. Enough whining about reverse
sexism already! This show is for all those lads
who have called us up to say, "We're not all like
that, you know."
Music: MUSIC BY BOYS.
THE ROCKERS SHOW
noon - 3:00pm
SOUL CITY
5:00pm - 6:00pm
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6 daytime stages
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children's programming
For more information, mail or phone orders
please contact the Vancouver Folk Music Festival
3271 Main Street, Vancouver, B.C. Canada, (604) 879-2931
B.C. Native Musician Campaign
Showcase • British Columbia
Esther Bejerano • Germany
Leon and Eric Bibb • British Columbia
Tom Dahill • Illinois
Darcie Deaville and
Matthew Cartsonis • Arizona
D.O.A. • British Columbia
Alix Dobkin • New York
Dry Branch Fire Squad • Ohio
Stephen Fearing • British Columbia
Steve Gillette • California
Clive Gregson and
Christine Collister • England
Halau O Kekuhi • Hawaii
Heartbeats • Pennsylvania
High Performance • Washington
Hot Foot Quartet • Ohio
Teddy Boy Houle and
The Red River Jiggers • Manitoba
Jali Musa Jawara • Ivory Coast
Josephine • Quebec
Katari Taiko • British Columbia
Stephan Krawczyk • Germany
Alain Lamontagne • Quebec
Patty Larkin • New York
Christine Lavin • New York
Felix Leblanc • Quebec
Anne Lederman • Ontario
Lo Jat • France
Larry Long • Illinois
Magpie • Maryland
Malcolm's Interview • England
Eileen McGann • Ontario
Rory McLeod • England
D.L. Menard and
The Louisiana Aces • Louisiana
Hamish Moore • Scotland
Geof Morgan • Washington
The Musicians of the Nile • Egypt
Muzsikas with Mart a Sebestyen • Hungary
Faith Nolan • Ontario
Amparo Ochoa • Mexico
David Olney • Tennessee
Olomana • Hawaii
Ossian • Scotland
Phranc • California
Frankie and Doug Quimby • Georgia
Moses Rascoe • Ohio
The Real Sounds of Zimbabwe • Zimbabwe
J.J. Renaux • Louisiana
Sabia • California
Rick Scott • British Columbia
Clyde Sproat • Hawaii
Kathryn Tickell • England
Hugo Torres • Manitoba
Jackie Torrence • North Carolina
AH Farka Toure • Mali
Les Tymeux de la Baie • Nova Scotia
Vusisizwe Players • South Africa
Nancy White • Ontario
Ken VVhiteley • Ontario
David Williams • Iowa
Jesse Winchester • Quebec
Jim Woodland and Peadar Long • England
Tickets available in Vancouver at Black Swan Records, 2936 W. 4th Ave (734-2828): Highlife Records, 1317 Commercial
Dr. (251-6964): Zulu Records, 1869 W. 4th Ave. (738-3232) and all V.T.C./C.B.O. Outlets (280-4444). In Victoria at
Mezzrow's 3625 Douglas (381-2633) and all V.T.C./C.B.O. Outlets through the province.  Further information including
mail orders from the Vancouver Folk Music Festival, 3271 Main St.. Vancouver V5V 3M6 (604) 879-2931
Save Money!   Early Bird Special till June 18
And More!
Credit card orders at
VFMF office and VTC only

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