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DiSfcOBDER That Magazine from CITR fml02 cablelOO October 1986 • Vol. 4/No. 9 EDITOR Bill Mullan WRITERS Don Chow, Julia Steele, Larry Thiessen, Mark Mushet, Iain Bowman, Travis B„ Robert Shea, Kevin Smith, Jerome Broadway, Bill Mullan ART DIRECTOR Eric Damianos CARTOONS William Thompson, Pat Mullan, Rod Filbrandt,Susan Catherine COVER Illustration — William Thompson Colour — David Wilson, William Thompson PRODUCTION MANAGER Karen Shea DESIGN Harreson Atley LAYOUT Pat Carroll, Robin Razzell Lynn Snedden Mike Mines, Shedo Ollek, Eric Damianos, Johanna Block, Randy Iwata, Karen Shea TYPESETTING Sheila Haldane, Lisa Cameron BUSINESS MANAGER Randy Iwata ADVERTISING MANAGER Robin Razzell DISTRIBUTION MANAGER Bill Mullan SUBSCRIPTIONS MANAGER Randy Iwata PUBLISHER Harry Hertscheg DISCORDER, c/o CITR Radio 6138 SUB Blvd., Vancouver, B.C., V6T 2A5. Phone (604) 228-3017. DISCORDER Magazine is published monthly by the Student Radio Society of the University of British Columbia (CITR-UBC Radio). CITR fml01.9 cablelOO.l broadcasts a 49-watt signal in stereo throughout Vancouver from Gage Towers on the UBC campus. CITR is also available via FM cable in Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Port Moody, Maple Ridge and Mission. DISCORDER circulates 15,500 free copies. For advertising and circulation inquiries call 228-3017 and ask for station manager Harry Hertscheg. Twelve-month subscriptions available: $10 in Canada, $10 U.S. in the U.S.A., $15 overseas. Send cheque or money order payable to CITR Publications. Unsolicited manuscripts, photographs, cartoons and graphics are welcome but they can be returned only if accompanied by a self-addressed, stamped envelope. DISCORDER does not assume responsibility for unsolicited material. IN THIS ISSUE HORROR Remember how much fun it was the last time you were really scared. Bill Mullan does. 7 TAKIN' THE RAP What do Fats Comet, Tackhead, Marc Stewart & the Mafia, and ABC have in common? More than you'd think. A chilling psychodrama, directed by Don Chow. 12 SHINDIG Some good things can't help but get better. 16 IN EVERY ISSUE AIRHEAD Correspondence from our readers, the geniuses who actually run western civilization. 4 BEHIND THE DIAL The true meaning of life, recruitment for the Foreign Legion and yet another sparkling new face. ON THE DIAL A guide to radio for normal people. VINYL VERDICT A buyer's guide to the sordid world of Nekrophile Records, plus new vinyl from African Head Charge, The Lounge Lizards, The Honeymoon Killers and more. 23 DEMO DERBY Kevin Smith sticks his neck out, and tries to make sense of some of the newer local tape releases. THE ROVING EAR Jerome Broadway discovers the ugly truth about Santa Barbara California one terrifying Labor Day Weekend, and lives to tell about it. 30 OCTOBER 1986 3 18 19 28 RHfcAfc This Is The Modern World Dear Airhead, I'm writing to complain about Granville Street punks, so listen up! When punk first started out, it didn't matter if you had a leather jacket or if you wore ripped nylons, you were different and other punks accepted you for that. Why is it that now certain individuals (no names mentioned) get to decide who's "in" the crowd. If you have a leather jacket, then you're okay, but if you wear ripped nylons, it's a sin. Last summer, as a punk, I was accepted for what I was, but this summer I have found the punks so ignorant and boring that I'm sick of them—especially the ones who sit around acting like Kings & Queens of Hardcore. There's more to life than sitting on Granville and deciding who's "in". Signed, my real name, Claudia Taylor "If one says to these people that their judgement is not their own, that it has been suggested to them, they will be offended. It is like this in most cases, for most people. Almost all of them receive their ideas already made, and follow popular opinion all their lives. They speak in the style of the times and dress according to fashion, not from any principle, but in order to act like the others. Servile immitators, who say yes or no according to suggestion, they believe themselves to be self-determining. Is this not folly?" (Chuang Tzu, 4th Century b.c.) borrowed by us from a Pete Shelley album cover. Great Expectations Dear Airhead, Fuck SEXPO! I wuz really surprised when the FIRA concerts were announced, that SEXPO would even give good music a try. I thought, Hey Great, maybe SEXPO isn't as bad as I thought it wuz. But no! I wuz right the first time. When they cancelled the festival on account of Slow's performance, they proved them- VMcoosefc, &.c. selves major idiots. When we went to see Slow, we were expecting the unexpected, as should be expected. People who weren't expecting the unexpected weren't expected to show up! And those who didn't know what to expect aren't expected to complain because they were confused to begin with. Another thing is that they didn't give FIRA another chance. Fuck 'em! We don't need SEXPO anyway. We didn't ask for it and didn't expect it, and as far as we're concerned, it can go to SEXPO hell! Were you expecting a letter like this? Of course you were. Yours greatly disturbed, The Expected Letter What Me Worry? Dear Airhead, I would like to start off by saying that I think CITR is a great radio station and I read Discorder religiously (IV2 years now). I'm writing because I've noticed a drastic change in your airplay and especially in your Spin List. I notice you no longer have a numbered list (no real problem), but all the bands on it border on being commercial and are on major labels. What happened to independent (especially local) bands? The August issue had only three local bands. What about NoMeansNo, Animal Slaves, Emily, House of Commons, Bill of Rights, Poisoned, Death Sentence, Vertical Laughter et cetera? Could you please explain to me why you don't play more local bands? I would hate to lose faith in my favorite station and publication. Worried, Barbi Roper (15) Actually, losing faith in us would probably save you from eternal damnation. Still, if you must eat fire... CITR's commitment to local music is the same as always; perhaps you should ask the bands you mentioned when they plan to put something new out? When they do, we'll play DISCORDER It. As for major label acts, they have always dominated the chart- top because of the way the playlist is made. The records listed in Discorder are the ones that the 30 or so people that are DJs here have played the most number of times during the month. Major label artists are generally more well-known to most people (DJs too) and so they have a better chance, it seems, of getting on the turntable. It's a question of accessibility as much as one of value, which is why we shun numbers on the SpinList. If you only consult the chart in Discorder, then you're not getting the full story. We'll be talking more on this in future issues, but if you want to hear more things that are less common, call the request line and ask the DJ to play them. It's in his hands. —Don Chow, music director Let's Play Post Office Again Dear Airhead, What the hell is going on with the letter from the idiot in Nepean, Ontario (August issue). I'm surprised the yellow bellied amphibian had the guts to sign his name! I'm moving to Kanata, Ontario (also a district of Ottawa) and frankly David, dear, you should be castrated. But hey, we'll let you live; but only because you didn't slander the underground scene in Ottawa. So let me take care of that one. Speaking as a resident of both Vancouver and Ottawa, I can honestly say the Vancouver scene is much more exciting. The Ottawa underground is too tame, and all the groups (dare I call them that?) seem to think they're on to something new; something which local Vancouver bands have been doing for quite a while. And CKCU (Carleton University Campus Radio) has no taste (or very little) and doesn't compare to CITR in terms of class. CITR lacks it desperately and that's what makes it so appealing to people like me. And David; here's something for your surely one-celled amoeba brain to contemplate: if Ottawa was as dead as you claim, would I be moving there, and would you still live there? No siree Bob! The Rich Bitch ir Vancouver/Kanata Do we need any more of this? I don't think so. Is Ottawa even part of Canada? Yes, We Are The Scum Of The Earth Dear Airhead, Not only has the gauntlet been dropped, it has been smashed. No effort has been made to halt the increasing crassness of your non-covers, I see! I would rather see a picture of Karen Shea's mountain bike on the cover, instead of another cheesy, crayon- scrawled cartoon. Have you no integrity, you "alternative types"??? Please someone, besides me, send in something, even performance art would be an improvement!! I've seen more creativity in Fred Basset cartoons!!! R. Bucky Fuller again... PerrySCOpe Concert Line Up A Cult Victim Confesses Dear Airhead, I'm so fuckin' pissed off! You know a couple months ago someone got pissed off cuz a bunch of trendies started liking and listening to Depeche Mode etc. Well, now The Cure has gone Top 40. Well, Fuck that! When I heard they were on Video Hits (CBC), I shit my pants (literally), along with probably quite a few people. Something should be done about this. It isn't fair! All of us who have supported and devoted our lives to these groups in their struggling years (namely The Cure) are now, or soon will be, known as sissies or trendies. Top 40 freaks who've never even heard of any underground or alternative groups will start liking our music only because it's become "trendy" in classification. What an insult!! Yours in hell, Pissed Off Genesis, The Who, The Police, Madonna, Eurythmics, Wham, Supertramp, Rolling Stones, The Doors, Led Zeppelin, Queen, Kiss, Peter Frampton, Elton John, Bruce Springsteen, and Tina Turner. What do the previous recording artists have in common? There was once a time when all were hungry, struggling and (except for a rabid underground following) virtually unknown. Give it a rest, Pissed Off. Stop being an elitist goof. CITR presents Jezebel with guests Der Mlttle Gang October 4 • 9 pm • Town Pump % ? CFMI presents With guests Guadalcanal Diary October S • 8 pm • UBC Gym CKNW presents THE MASTER OF ILLUSION DOUG HENNING THURS. OCT. 23 O.e. Theatre two shows 6 • 9 pm OCTOBER 1986 DISCORDER & CITR PRESENTS A SPECIAL FILM PREVIEW Thursday, October 22nd, at 8:00 pm at the Cineplex Odeon Royal Centre The first 50 people to bring this ad to the CITR studios between 9 and 5 weekdays will receive one pair of tickets to the special preview of Down By law. Listen to CITR for more ticket giveaways. „ roPxeS vn Do8* ,*i\e*- XM®0 III] *&>< 9/*~alto c'rt> ,^i,Ar^P „*T«A>* '**" N-r* RcBfctt Centre and D*** <sS5^ n (fK>m h(Mrere, tp briltleJ e, ie afraid) -aTpainfAemot»nwf felt dreavand bhorence? a shuddering Jitflr terwr and > rrfad fdering \iittf terw loathing; A feeling caused by fbmething frightful and shocking. * OCTOBER 1986 7 "In a few steps, they were in utter and impenetrable dark. The air was still, stagnant, heavy, and sound fell dead. They walked as it were in a black vapour wrought of veritable darkness itself that, as it was breathed, brought blindness not only to the eyes but to the mind, so that even the memory of colours and of forms and of any light faded out of thought. Night always had been and always would be, and night was all. " (JRR Tolkien). Boo! Go ahead. Be afraid. Sweat. Shiver. Shit your pants even. It's that time of year, isn't it? Ghosts and goblins, jackals and wolves, huge slimey presences that breathe fire, eat virgins, vote conservative and believe in "the good ole days" (?). Hallowe'en is just days away, the grim edge of winter, the brink of the abyss. You'll want to keep your doors and windows closed, stock up on firewood and generally spend most of your time indoors. It'll be getting dark earlier and staying so longer. A lot of things will die. You'll watch more television than you have in months, check out some of the new fall shows, and eventually rent a bunch of videotapes; tapes with an accent on horror because, contrary to what your soft pastel suburban surroundings might suggest, you know that's what's cool these days. You've looked around, read the newspaper, listened to the radio. Horror is in. Next door, downtown, south of the border, all over the world. Consider A Few Facts 1. We have the nuclear means to kill everybody on this planet forty times (or is it one-hundred forty?). 2. The ozone is rapidly disappearing over Antarctica and our experts have no clear idea what this means. 3. There are at least five times as many people (hetero and homosexual) fatally infected With AIDS but not yet showing symptoms, than there are already dying of it (these things take time). 4. They're still hiring at that post office in Alabama. Yes, with the possible exception of mainstream popular music and late night television, everything is worse than it was ten years ago. Being cool, of course, this isn't news to you. It follows then (still being cool) that you want to know more about it, to share vicariously in some of this experience, ". . .the painful emotion of fear, dread and abhorrence; the shuddering with fear and loathing." It's only human to be curious, to harbor a healthy fascination for the pain, disease and insanity of your fellow humans. They are not islands. They share your planet. Their despair will inevitably affect you (or someone you know). And what safer, more entertaining way to satisfy this curiosity than to watch a few movies. The following then is a brie»rimeM concerning some of the quality horror^rrent- i ly available on videotape; an incomplete list of suggested study material for the long cold months ahead. Zombie Gorror Epics What if mankind as a whole got so evil that just about everyone who died went to hell, until one day hell overflowed, the gates broke down and all those evil dead types returned to earth as ravenously hungry human eating zombies? Such is the premise of director George Romero's "Living Dead" trilogy (Night of the Living Dead, Dawn of the Dead and Day of the Dead). Here's bone crushing, flesh mulching eyeball sucking biologically correct gore of the most extreme order. Here's more corpses than you could fill an LRT train with. Here's horror at its most disgustingly blatant. Also well worthy of mention are Return of The toll free calling area of Greater Vancouver is the game board and you are one of the playing pieces. Track down your target, squirt 'em, say GOTCHA, and you could be on your way to winning a $5,000.00 PRIZE Remember, you MUST get your photo I.D. by midnight, Sunday Oct. 5/86 at SECRET AGENT HEADQUARTERS 6244 E. Blvd. (between 46th & 47th Ave.) TICKETS $20 at VTC/CBO Info. Centres in all Lower Mainland Malls, Eaton's, Woodwards, AMS Tkts./UBC. Charge by phone 280-4444 or at Secret Agent Headquarters. For Full Rules call the Secret Agent HOTLINE 261-GAME or 683-5062 GAME STARTS IN EACH ENTRY'S OWN MUNICIPALITY For more info, see this week's Georgia Straight 1 Records QFEO SEET HEADQUARTERS AFRICAN • CARRIBEAN LATIN • BLUES • JAZZ FUNK • ETC. 251-6964 1317 Commercial Dr. blocks noi of 1 st Ave 8 DISCORDER ne Living Dead, an absofi; unofficial-rip-off-parody I favorite of Romero's trj sonal I gorror epic simp cause it is so funny); and ReAnimator, a grin i the Frankenstein legend which de i only for one scene(un- :ial merit if c 5 here)whic repulsivene cia 'le heBpfhich manages to take the concept of repulsiveness beyond all reason- abld^Bnds (speaking of which, BEWARE the versions of ReAnimator and Day of the Dead. They are in greatest local' abundance and are so badly butchered as to be ridiculous. As far as I know, only Videomatica carries the uncensored versions). Monster Savage Jaw Epics "Daese ai^a lot like the Zombie Gorror Epics except the bad guys don't look quite so familiar (they're generally very ugly, very unhu- manlike, very large creatures of the purely malevolent persuasion). Like the zombies, they have an insatiable preference for human flesh (or brains), and waste no time on pre- meal discussion or negotiations. The list of possible suggestions here is enormous- there have been many decent monster savage jaw epics—&o III just mention my two personal favorites. in 4 r • • THEATRE • • 16th & Arbutus 738-6311 OCT. 3 - OCT. 9 7:30 & 9:30 FROM JEAN-CHARLES TACHELLA, DIRECTOR OF COUSIN-COUSIN E STAIRCASE C Based on the prize-winning novel by Elvine Murail An hilarious and touching story of the broke, the busted, but most of all the thoroughly disgusted IN FRENCH WITH ENGLISH SUBTITLES RATING T.B.A. 7:30 OCT. 10-OCT. 16 9:30 RATING T.B.A "Explosive... extraordinary realit admirable suspense. (New York Post) In Spanish, English Subtitles IN DUTCH, ENGLISH SUBTITLES 7:30 OCT. 17-OCT. 23 9:30 DRUM/SING * Featuring New Zeabnds FROM SCRATCH IN SELECTED THEATRES AND Colin McPhee-. THE LURE OF ASIAN MUSIC RATING T.B.A. | DOLBY stereoT A COMPOSER'S NOTES: PHILIP GLASS: THE MAKING OF AN OPERA RATING T.B.A. NEXT DOUBLE BILL Koyaanisqatsi/28 Up October 24-30 : OCTOBER 1986 I Jaws is Steven Spielberg's best film* «>nely, hungry \ Hast of New Engl^ ^imer mealstop i: an extended e just savagely terr HIHatically ^es that's defic T really do carl bnagers and chi^ nd that personal Jabberwocky ojj nuch a film that h<j norror. Director 1 fashioned a twiste I about a huge humj aging monster, Tj| simple-stupid-yet-^ Cooper, who even| slays it. As much depraved and desp^ creation of capitalist it is a monster movil theless quite grotes (put also very fi ) (it's one of those Gtter than the book). ut the various adults, who get munched, |our horror. i other hand isn't so les, as one that's about i Gilliam (Brazil) has unny Medieval fable ling, countryside-rav- [Jabberwock, and the Itious farmboy, Dennis ^[y (quite by mistake) jprical treatise on the Intentions behind the i the modern city as Iberwocky is never- : and it does shock, and it will make you think about horror and how the powers-that-be in society have always used it (real, psychological or otherwise) as a very efficient tool of oppression. Which Brings Us To Real Life Horror Sometimes you don't need mythical monsters, aliens or underwater living stomachs to turn you a shade pale. Sometimes (you know this, you're cool) real life turns the screw and cracks the laughter just fine all by itself. Now, Kil Glory, thing abl movies, (j Why do v ^ar for instance. Take Apocalypse lg Fields, Salvador, Paths of >s of Iron et al. The only good ,war is it m^^ iy does manki till butcher our it's good for the economy, > stupid. Even Boy Ge H knows that. It's a point which Peter Watkins' The War Game (not to be confused with Hollywood's bland War Games) drives home with terrifying power. Shot in black and white and incor- P°raH cinema vente documentary filmmak- ^would have British city ar war in [). It concerns ie lines of liv- reakdown of criminal stupidity of C (who paid to have [us concerned bureau- 10 horrific, The War years later, virtually television's insulting (therein lies the real is the one war movie nly a psychotic could able to condone the f nuclear attack, first rtunately, as far as I le on video though re open for it). Jsn't The Only " pect Of Reality TV game shows? Fast food kinny Puppy? What about fa- cism (specifically Mr. Hitler's attempt to institutionalize worldwide racism, genocide and barbarism), and the various reverberating effects his twisted vision still has on us today? Two tragedy. The War Gc everybody should se walk away and still possibility of any kir strike or retaliatory (i! know, it's not yet av£ it shoulcj^e. Keep ar1 ALTERNATIVE TOP TEN VIDEOS: 1. SUBWAY 2. DON'T LOOK BACK-DYLAN 3. TROUBLE IN MIND 4. THE M0NKEES 5. THE PASSENGER 6. GREAT ROCK N' ROLL SWINDLE 7. RETURN OF THE LIVING DEAD 8. MIXED BLOOD 9. PHILIP GLASS 10. HAMLET SALES RENTALS WEST 4th AVE. AT BURRARD 734-0411 documentaries come instantly to mind. Leni Riefenstahl'sTriumph of the Will is particularly chilling because it was commissioned by The Third Reich itself and so comes directly from the belly of the beast. It's all there: the power, the pageantry, the cast of hundreds of thousands. The lights and the powerful sound. No, it's not a Queen concert or the Liberty Day Celebration. It's the Nuremburg Rally. Forty years later, half the world away, a different filmmaker captured something equally disturbing. California Reich (circa 1975) documents a resurgence of the old madness. The eyes are still blue, the skin is still white, and the folks are still so damned committed, concerned and normal. Too bad about the armbands. Too bad about the five year old kid who tells us Jews and Niggers should be killed and the parents who chuckle proudly at the precocity of this comment. But, of course, you've seen all this before. These are your Uncle Bob's home movies. What Happens To Reality When The Going Gets Just Too Black? It gets strange, of course, slightly fantastic, bizarrely humorous and vaguely psychedelic. Souls break. The old ways bare their teeth and turn backward on themselves. Confusion rears its ugly head and meanings obscure. Clockwork Orange, Brazil and O Lucky Man are three of my all-time favorite films. Not so much horrors as satirical responses to the hor ror that is contemporary normality, they pick hard at the various flaws in the facade, flirt to varying degrees with the surreal, and push relentlessly toward a definitive impression of the universal disease which is madness: So ciety as an every imploding blackhole insatiably hungry (like the Zombies and the Savage Jaw Monsters) for the light that is the human spirit. And when the light's gone, what's left? Nothing of course, except nothing—for eternity. And what's eternity? Think quickly about some time when you were truly terrified. Maybe your first time on a roller coaster. Maybe your last time at the dentist. Remember how it felt like it would never end—there was just that vertigo sucking on your soul forever—except suddenly it did end. Well, eternity's just like that, except it never does end, and madness is just like eternity. That's the real horror. "Here is the final truth about horror movies: they do not love death as some have suggested; they love life. They do not celebrate deformity, but by dwelling on deformity, they sing of health and energy. By showing us the miseries of the damned, they help us to rediscover the smaller (but never petty) joys of our own loves. They are the barber's leeches of the psyche drawing not bad blood but anxiety... for a little while, anyway." (Steven King.) —Bill Mullan (With apologies for all the great films I ignored or overlooked.) ("The HoftRo*, T«6^0^6£, -KlJ)* l>jriZljAn£ Semi-permanent hair color NOW AVAILABLE in Vancouver in 24 outrageous colours. To Order please contact Hairdressing 305 West Cordova Phone 669-6354 Incredible Hallowe'en Costumes! FUNK TO FASHION Vintage Clothes Costume & Party Rentals 3518 MAIN ST. 876-7965 OCTOBER 1986 « 11 TAKIN' THE RAP, HITS COMET-THREE OR FOUR ACTS IN ONE "W w W e're seriously into production, but we're in a serious educating mode too. We're trying to let everybody know exactly how important it is to know the different styles of music that can be available, and what we're able to do. Pretty soon, some of the Fats Comet stuff might be early National Geographic presents Fats Comet. It'd be a very educational experience, in a day and age where a lot of people are more or less into, 'well how can you follow somebody else's groove?' We really wanna do as much £ educating as we can, just as far as new sounds, and what a human being is capable of ^doing in the different roles and ideas he can project." —Badass Mutherf**ker WIMBISH: LEBLANC: WIMBISH: LEBLANC: "Y I o our basic abuse of technology." —Funky Whiteboy THE PLAYERS In 1979, bad-ass-motherfucker-in-your-face bass player Doug wimbish and funky-white-boy drummer Keith LeBlanc were the heart of the house band for Sugarhill Records. They did the music for some 27 different rap acts, making it possible to take rap off the street and onto vinyl for the first time. Although they missed out on the fame and fortune enjoyed by the more vocal rappers, LeBlanc, Wimbish, and guitarist Skip McDonald have been quietly crunching on people's ears while moving ever forward. Much more than just studio musicians, they're responsible for Tackhead, Mark Stewart & The Maffia, Grandmaster Flash's The Message, Malcolm X's No Sell Out, and the list goes on and on. Along with British producer and mix- whizzard Adrian Sherwood, they are also known as Fats Comet. THE SETTING A rooftop in New York City. It is an evening in mid-summer, and the sound of the streets can be heard clearly in the background. LeBlanc and Wimbish enter carrying 200 pounds of TNT attached to a kick drum, forty gallons of gasoline, a twelve foot rail attached to some sheet metal by four bass guitar strings, and a special blend of 17 different herbs and spices. A neighbour screams at them, wonders what the hell they're doing. We're in the process of doing some more Fats Comet stuff, keeping Fats real chubby. He has a very big appetite, so we must feed him new music and new ideas or he might burp on us. We're going to experiment deeply, and get into more of our real roots. Keith and I played a lot of jazz and funk coming up, so we're gonna do some of that, but not just traditional—oh-they're-trying-to-sound-like—type of shit. We're gonna take it a bit further on the technical side. (Starts running wires from a wall outlet into the TNT.) It'll be tech, but it'll be the raw playing there too. It's gonna be serious slammin'. (Lights a match). Plus, we're very friendly now, so we're working with a lot of other musicians. Keith has an album out called Major Malfunction. (Wimbish sets fire to the herbs and spices. A healthy cloud of multi-colored smoke envelops both he and LeBlanc.) We might do a tour here in the States, with Adrian Sherwood live, dubbing the gigs. He's actually part of the band; we don't do gigs without him. As a matter of fact, when we do gigs, people go just to watch him mix. If we did it in New York, people would either love it or they'd hate it, that type of situation. Usually, when people are turned off to something right away, it's because they don't understand it. 12 DISCORDER Fats Comet, I to r, Adrian Sherwood, Keith Leblanc, Skip McDonald, Doug Wimbish. OCTOBER 1986 13 WIMBISH: LEBLANC: WIMBISH: LEBLANC: WIMBISH: LEBLANC: WIMBISH: LEBLANC: LEBLANC: WIMBISH: LEBLANC: WIMBISH: 14 DISCORDER Or, it's something new—that's been proven for years—and with Adrian mashing a mix while we're playing... People are used to hearing everything you do on stage. Being studio musicians, there might be people coming to the gigs wanting to hear a lot of the things we play. But Adrian might take the bass out for a good minute, and pan bass drum across the audience. (The smoke cloud has grown enormously. It covers the whole rooftop now. The aforementioned neighbour has collapsed and fallen on the building, but LeBlanc and Wimbish ramble on unaffected.) Everybody has their own way of interpreting things. The bottom line is just doing what you feel you have to. The person has to be able to express themselves, or hope that whatever they're translating, someone else can appreciate. But a lot of times, people just go with the flow of whatever somebody else thinks is hip, is thinking about. We don't really worry about that, because there are so many different categories that we can put people's heads into—or their ears, at least—musically. It all adds- up to 13 to me, just keep pumping the stuff out. I know what we're gonna do, the shit's gonna thrash. It's just a matter of time. Me and Skip and Keith and Adrian, we know what time it is. And obviously, other time-keepers have been knowing what time it is. You've got to be in the ball park to get hit, you can't be at the side talking about swing. We ain't about that, we're just, "OK, that's fine, that didn't happen. Next..." It's a matter of odds. Some people's outlooks—not mine personally—are in selling records and making big mega-stars. Everybody would, of course, love to do that. The more things you put out, the more chance you have of getting what you call a hit. Some people need a hit just to be able to do what they got to do. There's a lot of different avenues... Everything's a hit till it hits the street, haha. Then you find out what's a hit and what isn't. (Emergency sirens have begun to wail in the distance. Wimbish and Leblanc ignore them.) We're looking at around the end of the year before we really start seeing some response to what's happening. There's a lot of things we've put out in different territories, enough to shake up some people's reactions. We wanna see exactly where we stand, and we're experimenting with different things so that if we strike up on something, we can follow it through and project the right proper image. We have three or four different things out, under different names. It's good to be able to go into different territories and they know us under a certain vibe. Like we go to Amsterdam and they're aware of us as Fats Comet and as Mark Stewart and Maffia. We go to other places and it's a different setting... They come to see Tackhead Tackhead is getting a little name. In England, of the records got a lot of response, just among the traditional Tackheads—and that's all we really want. Once you get to the root of who really understands what you're doing, they can tell the story. And that usually creates a group keeping an underground vibe happening, a true audience that you can depend on, year after year. Those are the ones you wanna make sure you take care of first, because they're the ones who'll stick behind you, night and day. We have a lot of faithful fans throughout the world, and they've seen us under different eyes. I was just on the road with Jeff Beck, and so they saw a member of .the Fats Comet crew under a whole 'nother light. And Keith did all of the ABC drum program album, which is about as commercial as you can get. You gotta protect yourself. You can't let people put you in a category... Stay trendy till they're ready for you, because once they start figuring you out... ...you're done, you're over, you're history. We did a couple of Mark Stewart gigs in London, and the crowd loved it. We loved it. The critics hated it. Mark Stewart is kind of punk hero in the UK, and when they saw basically a studio band come in and do a gig with him, all these hardcore punk enthusiasts loved it, but the writers hated it. If you play in the UK and the reviewers hate you—the real trendy ones—then you know you're doing something new and different. Sigue Sigue Sputnik was at our gigs in the front row, every night. (The sirens are louder now. Leblanc ventures out of the herb smoke for a moment, peers over the edge of the building, then shrugs unconcernedly.) We try not to do too many things for money. There are those times when you have to do a project you don't really care for. We haven't had to do that for a while, which is good. The basic thing is to work on. stuff we genuinely like. We go in the studio and have a good crack, as they say. There was this one studio we were in for months at a time; we had this joke about being locked in there and having a plate of food put under the door everyday. No radio, no communication with the outside—we were saying, what kind of music would you come up with after a month of that? Just the air conditioner for company. We were up in North London in the midst of the worst winter in fifty fucking years. But it was good, you're able to work. New York's the home of fast everything. So we go to London to cut this experimental stuff because there's no limit on time. We can really take our time and craft the stuff just the way we want it. Here, it's kinda fast food, fast everything. People need it quick, you know what I mean? With cheese? Without cheese? Yes, we want a DJ, we want the motherfucker done in two minutes... it keeps you up on what's happening. You stay sharp or else you become dull, like a butter knife. Anybody can spread butter. We're making music here. (A commotion arises just off-stage: shouts, spotlights. Suddenly a half-dozen firemen charge out onto the LEBLANC: WIMBISH: LEBLANC: WIMBISH: rooftop, axes and hoses poised for action. But the smoke confuses them. They stumble stupidly about. Leblanc and Wimbish ignore them.) There's a lot of new talent coming, and there's a big movement coming in the music industry. The whole English thing of, 'let's go in the studio and cut a record and put our own record—that's happening across this country now, with little independents in Chicago, a whole punk vibe there, and San Francisco... So you have all this new talent coming up, and there's gotta be someplace for it to go. It's not just going to stagnate. It's gonna have to come out, because along with this new talent, you have a whole generation of record buyers. But the band situation in America is rough, because of the way the music industry sits at the moment. A lot of good bands break up because they're stuck into being that band, by the record company. And people want to identify them on that vibe alone. They expect you not to go outside of those boundaries. So naturally, someone says, I wanna do this, and someone says, I wanna do that. They can still do that, and they can still be a band, if they just started out that way in the beginning. I think doing sessions helped us to look at things that way because there were times when only one or two of us would play on a track, while another person was doing something else, maybe engineering the track. (The firemen are all unconscious now, just limp heaps at Wimbish's and Leblanc's feet. The smoke is thicker than ever.) We're like business partners and consultants amongst ourselves. There's a definite foundation here as Fats Comet, a group of four people who have an outlook and goal of what we wanna do. We all have different involvements to keep us busy, but we still pull all of us in and bust out the project, or whatever. Everybody's an individual, and when you have that type of freedom when you collectively get together, there's a much better understanding. It was real satisfying when the Fats Comet situation really got —together, it was like a scapegoat for all the stuff that everybody, collectively and individually, wanted to do. It's the avenue to whatever, it's like, there are no restrictions in this vibe. We just keep putting the stuff out. (Wimbish starts pouring gasoline over the TNT. He strikes a match. Leblanc pounds frenetic sixteenth notes on the kick drum. They're committed, cool and in control, but how long can they keep this stuff up? Watch out for the new Tackhead and Fats Comet LPs; the groove'll be enough to beat you to the ground.) Curtain Directed by Don Chow *«9p itfO*^ outaog; ,os 2no Get\e W ^oXe 6Xft 8tft SSS- 5s\afcs TOWN PUMP 66 Water Street Gastown 683-6695 OCTOBER 1986 15 ©Hi/Wfc IT WAS EVENING, SEPT. 15, 1986, twilight, just before the death of the day. I was walking down Powell Street on my way to that corner store that sells boiled eggs, when I noticed a BCTV van just outside the Savoy. I thought maybe something exciting was happening, so I went inside. I walked around, surrepitiously looking for signs of uproar, and I was just about to leave when I noticed this big sign with the word SHINDIG boldly printed across it. I'd heard about this CITR-Shindig thing, so I decided to check it out. I guess I lucked out because I found out that the Savoy had incentive plans for people who arrive before nine. I *couldn't resist; I had a couple of drinks over a Disc- order. By the time the first band started their set, the place was full and, word had it, there was a huge line-up outside. Johnny Chrome were tight (so were the lead singer's pants). They (the band, now her trousers) received enthusiastic audience response but in this fallen world of mutability and mortality, appearances can be deceiving. Johnny Chrome came in third. Between bands, this guy hopped up on stage and offered people free beer for funny jokes. I was beginning to slur so I didn't put my considerable talents to the test. Nevertheless, several others did try, and some of them won. And eventually Second Skin, the second band, started to roar. They sounded pretty good (kind of like REM, kind of original). Maybe they'll start getting airplay on CITR. I hope so. They came in second. Which means, of course, that the third band, Stubborn Blood, won. They blazed onto the stage with an energetic set of rock 'n roll that the audience really dug. People got up and danced and had a super gnarly good time. Stubborn Blood go on to compete for big prizes and rock star notoriety at the Shindig semi-finals, October 6th. I go on to wonder how any normal person could not have the best Monday night of their life just be dropping by the Savoy. Even BCTV were there. —Julia ♦*^^*^^^k^^% 1st Prize 24 hrs. Recording Time 24-track at Mushroom Studios B & W Music Video from Zeitgeist Video Productions. 2nd Prize 24 hrs. Recording Time 16-track at Bullfrog Studios 3rd Prize 24 hrs. Recording Time 8-track at Scape Studios. — and — a D330 BT Microphone from Commercial Electronics i OCT. |31 No contest night Physical Spaghetti Soreheads TBA OCT-2Q! Bruised and Stupid FYF Equinox Semi finals Stubborn Blood Winners of Sept. 22 Winners of Sept. 29 K oct.2-7! Oversoul Seven Zelnizk Experience The Bottom Line 16 DISCORDER October 3/4 DEATH SENTENCE with San Fran's SEA HAGS 10/11 NO FUN with THt REPTILES (yay!) 17/18 From Toronto COWBOY JUNKIES w/guests 24/25 Jason Grant's Birthday Party with very special guests and friends. 31/1 Bat Cave Night with DER MITTELGANG I LIVE MUSIC IN THE LOUNGE 1 I FRIDAYS FROM 10:30-SATURDAYS FROM 11:30 P.M. \ ARTS CLUB THEATRE 1181 SEYMOUR 683-0151 FMSsWALLYSI! HAU0wCE>4 Z*kLN VQU ^ «■* fj .«»' FftOrW« ^r*-*z. A* Musical Terrorism ^ond^ e^^gs a-9j The Perry Como Cowichan Sweater Experience (MONDAY EVENINGS 9-11) S.I; US ION (WEDNESDAY 12-3 PM) BEHIND THE BEYOND (Wednesday evenings 7-9) BlaCk Plague RadiO (Wednesday 9-u pm) Dark QhadOWS (Thursday 9-u pm) "LIKE MAD RONNIE IT'S A LOVE OR HATE KINDA THING" S.F.U. RADIO CJIV FM-CABLE <?4.5 "Vancouver's other alternative" 24\-31Z7 OCTOBER 1986 17 BEHIND THE DIAL Hello Stranger! CITR HAS HIRED a Program Co-ordinator, though we don't actually know what this means. Will there actually be a decrease in on-air stupidity? Will all our DJs have to learn to speak English? Will we drastically alter our music programming and go stereo Country & Western? Maybe Phil Menger knows (he probably doesn't). One thing is certain. He will be influencing the nature of CITR's overall programming in a substantial way. His background in radio (particularly in news and public affairs) is extensive, and currently includes freelance work with the CBC (they're the ones who Brian Mulroney thinks are communists). So if things get better, you'll know who might tnMor+on'i Continuing Attempt* to Woo Lorettct, He Bufi APtirofJohn Fluevog VANCOUVER 852 Granville Street, 688-2828 John Fluevog Shoes Ltd: SEATTLE 1611 First Avenue, 441-1065 k M the Selection and Twice as Hip; 738-3232 be responsible. If they don't, the old cow was probably too sick to save anyway (who said that?). Good luck, Phil. Think of it as Purgatory which at least means it's not Hell. Not yet anyway. Could There Be More To Life? IT'S OCTOBER, harvest time. The solstice is past. The pagans are on the loose. Decay is in. Wild mood swings should be encouraged (they certainly can't be avoided); so you took a chance you know deep down inside you never should have taken. You grabbed a copy of this suspect little magazine, and the scarey part is, you're still holding it (you must be if you're reading this), and you've begun to seriously wonder: could there be more? There is, of course. As with all ever-un- folding-flowers and bottomless pits (we think we're somewhere in between), there's a whole lot more to CITR than meets the eye or ear. Indeed, for a mere $20 for UBC students or $30 for community members (that's you, Vancouver!), you can join CITR, become a member of the UBC Radio Club, support radio for normal people, become a living, breathing, vitally concerned and aware human being. Seriously. Your membership gives you access to training in radio skils, top-notch equipment, and possibly (no promises) the opportunity to inflict yourself (aurally) on an unsuspecting yet needy public. And if you join now, you have the option of receiving the CITR 50th Anniversary membership package. Included are a snappy bumpersticker, some swell buttons, a CITR operating manual, and a special 50th Anniversary T-shirt (all for only $30; that's including the membership). You are not a fool. How could you say no? Attention World Travellers! PLANNING A TRIP to Tibet? How about Baltimore? Princeton? The West Edmonton Mall? It doesn't matter where. The important thing is, Discorder needs you. As with all print conspiracies whose end goal is to completely subvert world order and bring in a new era of unchecked barbarism (you didn't read this), Discorder has to first get out to the world. Unfortunately, our budget does not allow for' clandestine air drops (we can't afford the fuel); and that's where you come in. Seeing as how you're going there anyway (Seattle for instance) why not drag a bundle of Discorders along? Know what it's like to export subversion, to risk your life and reputation for a truly noble cause, to get fresh painter's ink all over your hands. Please do give us a call if you can possibly help (228-3017; ask for Station Manager Harry Hertscheg). Otherwise, there will be nuclear war, and you'll have only yourself to blame, so there. CITR Presents: Oct. 3:Grapes of Wrath/Bolero Lava/The Waterwalk SUB BALLROOM, UBC Oct. 4:Gene Loves Jezebel (with Der Mlttlegang) Town Pump, Gastown And of course Shindig, every Monday night at the Savoy. 18 DISCORDER ON DIAL CITRfml02cablel00 WEEKDAY REGULARS 7:30 am Sign-On 8:00 am WAKE-UP REPORT News, sports and weather. Wm am BREAKFAST REPORT News, sports and weather followed by GENERIC REVIEW and INSIGHT 12:00 pm HIGH PROFILE. 1:00 pm LUNCH REPORT News, sports and weather. 3:00 pm AFTERNOON SPORTSBREAK 5:00 pm DINNER MAGAZINE News, sports and weather followed by GENERIC REVIEWS, iNSIGHT and a DAILY FEATURE. am Sign-Off WEEKDAY HIGHLIGHTS MONDAYS THE JAZZ SHOW 9:00 pm-12:30 am Vancouver's longest-running prime time Jazz program, featuring all the classic players, the occasional interview, and local music news. Hosted by the ever-suave Gavin Walker. Album Features: 11:00 pm. 06 Oct Thelonious Monk at Town (1959)—this concert was a significant one in Monk's career as it represented the first formal presentation of his unique music. Monk and his Orchestra and some great soloists... Charlie Rouse, Pepper Adams, Phil Woods, Donald Byrd one fine evening of jazz. 73 Oct. "Complete Communion" is the title of a fine and unfortunately forgotten album by Don Cherry and Gato Bar- bileri. This record, done in 1965 will sound ad fresh as tomorrow and properly place this album near the top rank of trumpeter, composer Don Cherry's output. 20 Oct "The Far East Suite" by Duke Ellington has long been recognized as one of Duke's masterpieces. It was created and recorded late in his life (1967) before death and retirement took some of the best voices from the band. Duke with Johnny Hodges, Paul Gonsalves, Jimmy Hamilton etc. This is a Jazz Feature' repeat. 27 Oct. "Outward Bound" was the title of Eric Dolphy's first album under his own name. The record catapulated one of Jazz music's most important and controversial reedman to fame. Eric was the master of the alto saxophone, bass clarinet and flute and in his short life opened many ears to new sounds. We will also hear some unissued takes from this most important recording debut. TUESDAYS THE EDGE ON FOLK 8:00-9:30 pm Vancouver's only Prime Time radio show featuring traditional music from around the world. Tune in and hear anything from the "Rogue" Folk of The Pogues, to Celtic music e.g. Boys of the Lough, to singer/songwriters of the highest calibre. Join host Steve Edge on his weekly sojourn along The Edge of the folk scene! Features during the month are:— 07 Oct Ferron. A wonderful singer/ songwriter from B.C. She has taken a year off, but returne to action last month. Here's a sample of what we've been missing 14 Oct Dave Swarbrick. Stalwart fiddler with seminal UK folk-rockers Fair- port Convention for many years, he now heads another fine band, Whippersnapper. 21 Oct Figgy Duff & Red Island. Two of Newfoundland's best bands. Recorded 'live' by CHMR Radio in St. John's. 28 Oct A look back at a Summer of Folk Festivals and an appraisal of Folklife at Expo 86 — oasis or barren wasteland? BUNKUM OBSCURA 9:30-11:00 pm An eclectic mishmash of audio distrubances, playlist and requests presented by a former circus entertainer who was fired from the cannon one too many times. LOVE PEACE AND VIOLENCE 11:00 pm-1.00 am Imagine phone books that drip blood when you try to tear them in two, empty plastic garbage pails that smell of blind rabbit flesh, empty skulls all piled up and arranged in rows like hedges near the Parliament buildings. Imagine radio that is past not caring. Imagine words so complex it takes three grown men to pronounce them. It's later.than you think. PLAYLOUD Late night 1:00-4:00 am The anquish of an uprooted plant is not diminished by its impalpable lightness. The world is a metaphor for its own suffering. Aural surgery performed by Larry Thiessen. WEDNESDAYS JUST LIKE WOMEN 5:15-6 pm Tune in for 45 minutes of invigorating and stimulating interviews, news and music. For anyone interested in women's issues or learning more about them. ROCK: THE UNDERWORLD 6:00-8:00 pm Digest your din-din in rockin' style. Mike Dennis and the Godfather (Jimmy Pattison Jr) spin the latest and hippest in the rock 'n roll underground. A typical desert may feature Husker Du pudding or Sonic Youth cheesecake, and don't forget from 7:30-8:00, we feature the "hellfire club" when we play all the cool classics, from acid rock to rockabily to punk. THE AFRICAN SHOW 8:00-9:30 pm Catch the latest in African news and Music with Umerah Patrick Onukwulu and Todd Langmuir. News at 8:30. Special feature weekly at 9:00. Onward-Harambe. ARE YOU TALKING TO ME? 9:30midnight Music and paranoid delusions. Twenty minute workouts for marginal psychotics. Travis B delivers music for people with an attitude problem. THE KNIGHT AFTER Midnight to 4:00 am Music to clobber Yuppies by (and anyone wearing floral baggy shorts). Featuring radio shows traded with alternative stations in Europe and the U.S., and every 5 weeks a new episode of MUSIC FROM THE TAR PITS, an ode to early seventies recreational- substance rock. Regular guests include MOAMMAR K., the Prince of Wales and Lyndon Lerouche. ~^i OCTOBER 1986 19 THURSDAYS PARTY WITH ME, PUNKER! 3:00-5:00 pm Join Rock Action and Crusty Love for cool tunes and special guests and features. TOP OF THE BOPS 8:00-9:00 pm Screaming guitars, throbbing basses, pounding drums, pumping pianos and howling saxes: Top of the Bops has them all, and you can have them too! TEENAGE TORPOR 9:00-11:00 pm Feeling like a lost pair of Boxer shorts in the laundromat of oblivion? You're not alone. MEL BREWER PRESENTS 11:00 pm-Midnight At long last, something to fill in the gap between Hill Street Blues and David Letterman. Join Pat, Jay and Jerry in the weekly menage of local music, interviews, mike squeals and general ineptness. FRIDAYS FRIDAY MORNING MAGAZINE 10:30-11:30 am Join host Kirby Hill for interviews, features, and a taste of the exotic. The White Wolf lives! POWER CHORD 3:30-5:00 pm Vancouver's only true metal show, featuring the underground alternative to mainstream metal: local demo tapes, imports and other rarities, plus album give-aways. THE COCKTAIL PARTY 5:30-8:00 pm The summer replacement for the Saturday night P.J. Party. Mike Mines & Robin Razzell invite you to a world of bibulous pleasure via the newest psychedelic sounds from both sides of the pond. Just add ice and shake. THE BIG SHOW 9:30 pm-midnight Elevate your BPMs with Robert Shea and AI Big. And shine your shoes, for God's sake. THE VISITING PENGUIN SHOW Late night 1:00-4:00 am Now, finally, a reason to stay up past the BIG SHOW on Friday nights. Yes, Andreas Kitz- mann and Steve Gibson dish out requests, new music, interviews and selfless egotism. WEEKEND HIGHLIGHTS WEEKEND REGULARS 8:00 am Sign-On Noon BRUNCH REPORT News, sports and weather. empm SAT./SUN. MAGAZINE News, sports and weather, plus GENERIC REVIEW, analysis of current affairs and special features. 4:00 am Sign-Off SATURDAYS EARLY MUSIC SHOW 7:30-10:00 am Have breakfast to music from the Medieval, Renaissance and Baroque periods, played on strange and exotic instruments. With host Paul Smith. NEOFILE Noon-4:00 pm A rundown of the newest, most exciting and insipid releases raked in during the week at CITR. Join music directors and charismalep- tic hosts Don Chow and Kevin Smith for an eclectic musical pig-out, with occasional interviews, live mixes, and peripheral relevance. PROPAGANDA! 6:30-9:00 pm An eclectic mix of interviews, reviews, music, humour, High Profiles, and other features with Mike Johal. CITR SPORTS PRESENTS Pregame Show 7:20 pm Kickoff 7:30 pm Live Thunderbird hockey play by play from Thunderbird Arena. 04 Oct. vs. University of Manitoba TUNES 'R' US Late night 1:00-4:00 am Music, Music, Music, Handyman Bob, Music, . . ... ._« mmsa 4£>(o Simper 5-erxti *iS>1 thl BtATCt.S ^^£.urr\l 625-8347 Introducing COLLECTOR'S R.P.M. Costume Rentals Perfect lor Halloween! Sgt. Pepper jackets/Mod/Psychedelic/Hippie/ Flower Child/Dandy/Military RENTALS FROM JUST $10.00 20 DISCORDER Music, My Favorite Album, Music, Music, Experimental To Classical, Teddy Kelowna presents, and yes more music. SUNDAYS MUSIC OF OUR TIME 8:00 am-Noon Talk about opening a can of worms. The month-long concentraton on Canadian classical music has expanded to fill all available time. Special features will include the Centennial opera Louis Riel, by Harry Somers and hopefully a listen to the music and words of some up-and-coming Vancouver composers. With your hosts Tyler Cutforth and Paul Smith. ROCKERS SHOW Noon-3:00 pm The best in Roots, Rock, Reggae, DJ and Dub music with your hosts George (Family Man) Barrett and Collin Hepbourn. MICHAEL WILLMORE'S ROCK TALK 3:00-6:00 pm Authentic Rock 'N' Roll from the 1950s and 1960s featuring many collectors' items and rock rarities you'd never hear anywhere else. FAST FORWARD 9:00 pm-1:00 am Mark Mushet searches the world over for experimental, minimalist, avant-garde, electronic, and other non-mainstream sounds. LIFE AFTER BED 1 am-4 am The return of the nightmare from the people you're parents warned you about. Ugly radio has returned. Warn your avocados. Floyd's Corner—Country and Western with Jeff G. Starts at 2:00 a.m. ft OCTOBER 1986 21 ovefMenAitot at flmonca's Lunch Counters g^f •I thina people tnat use toilet seat covers are saying to the whole world that they're afraid to get really involved with life.- 62BfljJ6flflflA», 8t Amenta's Lunch Counters w "Went to the zoo yesterday, but they only had four animals - I was so shocked! You'd think they'd have aore than just the four!* BjeflBefifiBAs rt Amenta's Lunch Counters g^f 'I have one of those digital clocks on ay desk but I have to check the wall clock to feel really good about the tine." 22 DISCORDER CITRfml02cablel00 TOP AIRPLAY ALBUMS SCREAMING BLUE MESSIAHS THE DEAD MILKMEN VELVET UNDERGROUND THE JAZZ BUTCHER R.E.M. THE WOODENTOPS SHUFFLE DEMONS GUADALCANAL DIARY KEITH LEBLANC 54-40 GAME THEORY EUGENE CHADBOURNE VARIOUS ARTISTS SWEET HONEY IN THE ROCK THE BODEANS THE SMITHS HONEYMOON KILLERS JOHN LURIE VARIOUS ARTISTS VARIOUS ARTISTS VARIOUS ARTISTS Gun-Shy Eat Your Paisley Another View Bloody Nonsense Life's Rich Pageant Giant Streetniks Jamboree Major Malfunction 54-40 The Big Shot Chronicles Corpses of Foreign War Good To Go soundtrack The Other Side Love & Hope & Sex & Dreams The Queen is Dead Love American Style Stranger Than Paradise Fresh Beats Imminent 3 Outnumbered By Sheep TOP SINGLES DEMO TAPES THE THE THE FALL RICHARD H. KIRK MPENDO MOJA RAY CONDO & HARD- ROCK GONERS LOVE & ROCKETS FATS COMET DAVID SYLVIAN GARY CLAIL & TACKHEAD RUN DMC SKINNY PUPPY BILLY BRAGG ZODIAC MINDWARP JOOLZ BOLERO LAVA GARY GLITTER & GIRLSCHOOL NICK CAVE HE SAID BLACK FLAG FATS COMET Sweet Bird of Truth Living Too Late Hipnotic Get Up and Fight Skala Bop Baby/How Come It Kunkalini Express Stormy Weather Taking The Veil Hard Left Walk This Way/My Adidas Dig It Ljevi Stubbs' Tears Wild Child Mad Bad & Dangerous Move a Groove I'm the Leader of the Gang The Singer Pump Annihilate Bop Bop/Zoop loop WEA FEVER POLYGRAM GLASS/Polygram I.R.S./MCA RGH.TRD./CBS STUBBY ELEKTRA/WEA WORLD REPRISE/WEA RATIONAL FUNDAMENTAL RATIONAL FLYING FISH SLASH/WEA RGH. TRD./WEA FUR CRAMMED CHRYSALIS UK FOOD FLYING NUN SOME BIZARRE BGRS. BNQUT. ROUGH TRADE **DEMO** **DEMO** BGRS. BNQUT. LOGARHYTHM VIRGIN UK WORLD Profile/Polygram Nettwerk/Capitol GO FOOD **DEMO** LAVAROCK I AM MUTE MUTE SST WORLD ©unhid VERDICT Nekrophile presents Muzak for the Happy Dead MAIL ORDER CASSETTES RE- main the single best source of alternative music for anyone who is interested in getting off the beaten track completely (or as in my case, the deep end). Prices tend to be cheaper and there's such an endless variety and volume that record stores simply can't be expected to keep up. You do run the risk of getting burned; but generally you reap what you sow. This is certainly true of Nekrophile Rekords in Vienna. Their catalogue is a fascinating (often disturbing) conversation piece on its own. As well, a wealth of literature concerning the beliefs of Nekrophile and the organization known as The Church of 2CR11 is provided. These are outlined in a Document containing 23 statements. They range from the use of Sexual Energy as the only true energy source at human disposal to Death as a function of Life and the basic doctrine of Thelema: "Do what thou willt". The catalogue listed below is current to March, 1986. ' NCR 01—Korps Katatonik: Subklinikal Leukoktoipy Aphrenia Spasmophilik Lysso- phobo Asphyxia Sinister Lethal Anorex I haven't heard this one. They appear elsewhere and what I've heard is uneventful, faintly mystical and pleasantly industrial. NCR 02—Genesis P. Orridge/Stan Bingo: . What's History This is the soundtrack to the film "In the Shadow of the Sun" by Derek Jarman. It has appeared in another form and is sometimes attributed to Throbbing Gristle. It also features Genesis' dog, Tanith. NCR 03—The Beast 666: An International Compilation All compilations have a tendency to be endemically spotty. This one is no exception. As the title would imply, all the pieces are associated directly or indirectly with Aleister Crowley. Some tracks are quite frightening— notably the two by Stigma Diaboli and Toy Muzik. Two tracks by Hunting Lodge lead toward a less abstract form, and rhythm is explored a little more obviously. Other groups include Mr. Vile Thumb, Zero Kama, Coil, Korpse Katatonik & Kathan Spiss. NCR 05—Zos Kia/Coil: Transparent I haven't heard this one either. Zos Kia consists of John Balance, John Gosling and someone named Min. Most of the cuts were recorded live at either the Berlin Atonal Festival or the Magenta Club in London, and as such the production quality is probably suspect. NCR 06—The Archangels of Sex Rule the Destruction of the Regime: Compilation Don't you love the title? The only editorial information (aside from credits) on this cassette is the following: "I am the Lord of the Double Wand of Power: the wand of the Force of Coph Nia—but my left hand is empty, for I have crushed a Universe & nought remains. All 111.72". The standout tracks for me were by Sleepchamber, Met- gumbnerbone & Zero Kama. The other tracks are by Ain Soph, Ewald Spiss & Coming to Now. NCR 07—Zero Kama: The Secret Eye of L.A.Y.L.A.H. I bought this cassette on the strength of a review in Options Magazine. It said in part that this was a group which had the involvement of David Tibet 93. As it turns out, both Tibet and Zero Kama deny this vehemently. All music is done with instruments made from human bones (drums rfrom skulls, flutes, pipes, skullcaps and other types of percussion, xylophones and trumpets from thigh bones). Zero Kama are very much involved in cabaJism, and with all the extreme paraphernalia of mysticism and magick, it could be relatively easy to dismiss the music without first listening to it. More would be the loss because it ranges from hypnotic to ecstatic- all hauntingly beautiful and very relaxing. The catalogue also lists a videocassette to accompany The Secret Eye of L.A.Y.L.A.H. Evidently it will be 56 minutes long and so far only one minute has been recorded. Also in preparation is a cassette by Coming to Now, tentatively entitled Closer to Silence. The emphasis is all the literature and catalogue is definitely on the Crowleyan imagery rather than the music, which unfortunately might preclude any attempt by a doubtful listener/buyer to keep an open mind. This would be a shame because most of the music is really very good. My only complaint might be that the recording level is quite low. Go ahead and write to them. Best bet: The Secret Eye of L.A.Y.L.A.H. It has the dual advantages of being perfectly listenable and providing endless gossip for your mother, neighbours and friends. Nekrophile Rekords P.O. Box 79 1080 Vienna, Austria —Larry Thiessen OCTOBER 1986 23 Honeymoon Killers TLove American Style HOSE THAT SHOULD NOT BUY THIS record • Firemen with no necks and struggling facial hair. • Department store sales-girls who read Cosmopolitan and Vogue during coffee breaks. •Older people with high blood pressure. •Sports oriented, steroid addicts. •Young Socreds. Those that SHOULD buy this record •Goths that pass the height of hair test at "Channel One" •People who know all the episodes of STAR TREK by heart • Necrophiliacs, disenchanted angst-ridden nihilists, anarchists, criminals, lumpenprole- tariats, taxi drivers, persons with no blood pressure •Arts-oriented, never on time, eclectic connoisseurs of alcohol •Yuppies on heroin Slab of sound, demented guitars and pleading vocals are trademarks of the New York sound. Jerry, Sally and Lisa scream a pure black wall of noise that reminds you of your worst bad-acid trip while watching Lou Reed/ Velvet Underground videos at half speed. (You've had that same bad trip? Amazing, like... cosmic awareness, Jung, Dr. Ruth). I've listened to Love American Style in the car, at home, at work, at play, and the brutal realization is that this record rates right up there with the best of SONIC YOUTH, LIVE SKULL and GLEN BRANCA. Self-produced hysteria, the Honeymoon Killers are definitely prime candidates for early terminal burn-out. The "Batman" song which kicks off side 2 is extremely lame. It pales beside the rest of the record which rocks, dirges and otherwise screams to some of the best feedback since JESUS AND MARY CHAIN. This in not an easy listening, melodic record. When played at maximum volume (as it should be), all your house plants will die and your cat will leave home forever; roommates will move out and you will be forgotten, depressed, lonely and poor for the rest of your life. So... while you are sitting around your very small, dark room listening to Love American Style, all by yourself, drunk... high on every chemical known to man... remember, things can always get worse. Back to who should or shouldn't buy this record. I keep thinking of someone who is organizing a funeral for a friend, a friend who while under the influence of ether tried to skateboard under a moving bus. I keep thinking of Elvis dying because he couldn't take a shit, and Muamar Quadaffi wishing he could be a girl. —Travis B. African Head Charge Off The Beaten Track On-U Sound Some months ago I had heard that Britain's On-U Sound label had ceased to exist, that receivership or bankruptcy was imminent, if not already in the works. The sources, several of them, were reliable. Another potentially brilliant label had apparently gone under. Seeing as this sort of thing is "par for the course" in the world of independent labels, I thought it best to just lay the wreath and move on... But no sooner do I accept the passing of On-U than appears a NEW African Head Charge L.P. by the name of "Off the Beaten Track", produced by Adrian Sherwdod and released on the On-U Sound label. The pressing is German and there is a new contact address for the label, but it appears as if it's I >tt CE-X-C-E • L- L-E-N -T) xr 1H E EAT E RY 20% OFF YOUR FOOD TAB When you present this ad and your student card. * ToAfES, % Types."- sZQN DANCE CLUB FRIDRV SRTURDRV 7PM / REST 15-18 13165 K IMC GEORGE HUV SURREV 584 1044 DISCORDER business as usual at On-U. It's at this point that I realize that my only reason for mourning the departure of On-U was the anticipated drought concerning the availability of records by African Head Charge and its offshoots such as The Missing Brazilians, or continued collaborations with the likes of Annie Anxiety. My first introduction to African Head Charge was to their third L.P. "Drastic Season". It was the most accomplished and sonically engaging dub-related music I'd ever heard. And while everyone is creaming themselves over the now formulatic production style of ADRIAN SHERWOOD, African Head Charge remained in control of an individual sound that seemed impossible to bastardize, even at the heavy hands of Sherwood. The music was thick, steamy, and exotic and for me it leant a degree of credibility to the "dub" genre. Let it be said at this point that I normally consider reggae (and its offspring) to be the most stagnant and regressive form of so-called revolutionary music in the known universe. The music of African Head Charge has changed that view somewhat, if only because they are aware of enough studio technique to avoid dousing every little squeek with more cheesey echo effects than you'd find in an empty well, the most common and irritating tendency of most dub "artists". Off the beaten track it is. The music of this astonishing and somewhat enigmatic group of individuals is dense, atmospheric, and is capable of moving one to pulsate quietly in the corner. Dance music, yes. Mindless dub vocals, no. All "vocals" on this L.P. consist of tastefully injected "found" tapes. A barking dog is transformed into an incredibly well manipulated "vocalist" on a piece called "Some Bizarre". Add to this climate a middle eastern melodic sense, a didjerido, a touch' from the Big Continent and you have a complete, rich, and rewarding L.P. "Off the Beaten Track" should not remain so for long. —Mark Mushet The Hafler Trio Seven Hours Sleep Lay 17 * * THIS PROJECT RE-AFFIRMS THE need for a complete change in our thinking about sound and its relation to the rest of our perception." Yes, this statement, etched in the vinyl surrounding the label of "Seven Hours Sleep", is perfectly true. There is precious little thought given to the nature of perception, to our sonic conditioning, to the sounds in our environment, to the subject of psycho-acoustics (how sound interacts with the brain). Finally, there is someone in the so-called alternative music scene who is prepared to ask a few questions. Enter: The Hafler Trio. Andrew McKenzie, Christopher Watson, and Dr. Edward Moolen- beek (probably of Dutch origin, if in fact he really exists). "Seven Hours Sleep" is a double L.P. on Belgium's wonderfully prolific and consistently brilliant LAYLAH label. It is their third release and should probably be considered their "magnum opus" as it combines the best elements and sonic samplings from their previous releases on Doublevision and LAYLAH. They have managed to put out a very coherent, well recorded, and well orchestrated journey into the world of sleepless dreams and the surreal. In this world, an entrancing chord will suddenly be chopped into a cacophonous crowd scene, that will fade into a dripping sewer which will, in turn, collide with an equally disparate aural scenario. Surprisingly, it all meshes perfectly and succeeds, if you are prepared, in provoking some thought towards changing one's views on what constitutes a piece of music. No great revelation but, for many, a necessary step towards the appreciation of new music (a dodgey term at best). The Trio have maintained a low profile since their inception two years ago. Each release is accompanied by liner notes so awash in psuedo academic dissertation on the "nature of perception" and mythical sound recording devices and laboratories that it can't be taken as anything but an elaborate (though effective) joke, unpretentious despite itself. If some reference points are necessary, the most important one would be Christopher Watson's past involvement with Cabaret Voltaire. Watson was the group's tape specialist and, as far as I'm concerned, their greatest asset. If The Party Room RENT OUR NIGHTCLUB Package Deal Includes: • Kitchen facilities • Disc jockey • Extensive sound and lighting system • Staging and Band facilities SPECIALIZING IN LARGE GROUPS Private Parties • Conventions Reunions • Bar Mitzvahs Stags • Wedding Receptions Fund Raisers y| 683-0318 E We'll be closed for renovations this month. but we'll be back soon. Watch for news of our re-opening party! Si nmzm Open Sundays 7 to 9 PRE MOVIE SPECIALS • NO COVER 7 to 9 932 GRANVILLE ST • OPEN 7 pm TIL 2 am « JNLES 684 V S POSTED ENU OCTOBER 1986 25 one analyzes Voltaire's more obscure side (circa Red Mecca), it becomes obvious that the tape medium was crucial to its success. Watson left the "Cabs" just before their gross deterioration. He went to work in television, apparently. Hmmm. "Seven Hours Sleep", with the accompanying book of fragmented and obscure dream sequences, is fascinating. The only improvement I could forsee would be to have the record consist of a shallow triple groove that intersects at different points so that it would never be the same combination of sounds with each listen. It may take a while to fully appreciate the disjointed approach that the Hafler Trio take to achieve whatever ends they hope for, but THIS attempt is easily worth the price of admission. —Mark Mushet U.T.F.O. Skeezer Pleezer FOR MANY PEOPLE, RAP/GO-GO/FUNK/ hip-hop New York and D.C. based music represents the height of repetition, for others it represents the ultimate in "hittin' and holdin' good to go raw sound." Either way you hear it, funk and its latest incarnations have branched out and maintained their street level sensibilities without going downtown, so to speak. This music reflects modern life in the inner cities of American, the moods and desires of the young (especially black) people. Often this raw sound lapses into the purely and completely trivial: how to get down, what girl is hot, what it means to work that body, etc, etc. But after all, we all need to get down once in a while. U.T.F.O U.T.F.O. is a new young band. They are produced by a collective known as Full Force, and as such they are individually involved in a few other related funk projects, such as Real Roxanne with Howie Tee, and Whistle. Recording and production at Full Force is a hands-on experience, a very cooperative and non-dictorial method of making music; thus the personal and very informal way that its records come across. U.T.F.O. are not original in fashion, outstan ding in personality or even tremendously issue-conscious (they certainly are poise conscious, see back cover), but they have really expanded the beat box rappin' scratchin' sound. The format is predictable—drum machine, bass, vocals—yet it's combined with lots more character and soul than most. (That's James Brown style soul, not Aretha Franklin). Beat of course is the prevailing criteria for funkiness, and variety is the attention-getter. Skeezer Pleezer possesses beat extraordinaire, from groove one to the closing throbs. Variety is maintained (a contradiction in terms?—not in this case) through creative alterations on timing and interesting combinations of rhythm and rapping. The instrumentation (one frequently lacking aspect of funk- rap) is fluent, place throughout the raps and rhythms with thoughtful pizazz. Positive as my comments may be, I don't recommend an overdose of Skeezer Pleezer to those not already devoted to funk. (Do you want your life to turn into a Wagnerian version of The Big Show? I thought not). But if you have changed your name to Chill Mix, Joel Beat, or some other relevantly modern moniker, and you carry a huge ghetto blaster and worship the Grandmaster, then by all means throw down heavily with U.T.F.O., a lot. Even if you are not such a person (few of us are), somewhere inside you cognitive centre for assimilationof rhythmically induced beat instances, there is a toe tap with U.T.F.O. written on it! —Robert Shea «" ■■ * ;^ ^H^v;.v:' = \ * *! N ■ * L* ii *" ii" " * * \,»*x H / The Lounge Lizards Big Heart (Live in Tokyo) Island THE DOOR TO MY OFFICE SWUNG open and Effie Perrine poked her head in. "There are some gentlemen here to see you, Mr. Marlowe." "Who are they, angel?" "They call themselves the Lounge Lizards. They're musicians, Mr. Marlowe." Poor old Effie, I could see why Spade had fired her. OK, send 'em in." I leaned back in my chair and wondered what these joes would want. They'd probably had their equipment ripped off and would want me to recover it. As if I didn't have enough to do, what with dames drowning in lakes, people falling out of high windows, and my partner getting shot yesterday. LA can be a tough town, if you live right. I sat up then, because seven guys had just squeezed themselves into the rabbit hutch I call an office. I looked at them. They looked right back at me. As loung lizards, they had a long career in front of them: here New York, Tokyo, even. One of them stepped forward. "Hi. My name's Lurie, John Lurie. This is my bro, Evan. I play alto sax; Evan plays piano. I'd also like to introduce Erik Sanko on bass, Doug Bowne on. . ." "Skip it. What'd you birds want?" "Glad you asked. I have here a copy of our latest record and I, and the other band members, would like your opinion. "Lurie threw me the disc. I read it. Big Heart by the Lounge Lizards. So what, I thought, but I put it on the turntable anyway. The first cut, "Big Heart," was an upbeat, raucous instrumental heavy on the sax. I like it, and turned up the volume, in case the room had been bugged while I'd been in Frisco. "Nice," I acknowledged, "but why my opinion? Huh? You guys are pretty hip, what do you want with opinions?" Evan Lurie spoke, "We want to be stars." I ignored him and listened to the next piece, called "Hair Street." It was more bluesy, with a nice meditative middle break, and I found myself snapping my fingers to the beat. "Well?" The brothers Lurie spoke as one. I motioned them to be quiet while I listened to the rest of side one. "Fat House" was more off-kilter jazz and then the side finished with "It Could Have Been Very Beautiful," which I liked. I liked it a lot, with its slow, seductive pace, and menancing underlying piano beat. "It's good," I said, "Maybe even real good. But even if I do like it, that don't mean nothing outside this door." "Listen to the other side," Lurie number one said. OK. "I listened to the other side. "They Were Insane," eight minutes of alternating surrealism and pure dementia, followed by "The Punch And Judy Tango." This was not quite connected to reality either. I could feel the tango deep in the arrangement, but I couldn't pick it out with my ears. Very nice. The side wrapped up with a twenty second snippet, and then I stretched. "You joes are good, I'll give you that," I said, "probably too good for your own good. To be stars, you got to give the public what they want. And what they want is not imagination, daring and innovation. They want repetition, routine, security." The Luries looked at each other, aghast. "But, we put everything into that record. We even went to Tokyo to record it. It's got to sell." "Hey, sorry, but if you wanted success you should have released TV themes of the 70s as sung by Andre the Giant and Hulk Hogan. Don't worry, it's a good record, some people will buy it. Now, if you'll excuse me, I got a murder to solve." —Iain Bowman (With apologies to Raymond Chandler) Discover something new,,* Playing or Listening - Buying or Selling - you should be using Music Trader. Here's why... • FREE, music and home entertainment listings. • EDITORIALS and articles designed to equip consumers with product knowledge and assist them in their selection. • DISTRIBUTION covering the entire southern mainland featuring high profile, high volume stores and newstands. • STRATEGIC retail price of 95* ensures advertisers that only serious music/home entertainment consumers currently in the market to purchase a service or item read Music Trader. • MUSIC TRADER deals with a specific market and is designed to assist you, the music/home entertainment consumer in buying or selling exactly what you want at a price that suits you. 2040 West 12th Avenue Free ad line. 731-3111 OCTOBER 1986 27 foreign nostalgia fine cinema 3420 west broadway 734-2233 VANCOUVER'S HOTTEST FUNK Safe To Assume "Ice Under Wraps" What can be done with bands/artists like this? Synth based electrobeat stuff that can be quite interesting, but almost invariably skewers itself upon the same basic flaw, the vocals. For some reason, Safe To Assume and too many others, insist upon extremely serious, and affected vocals. Ail that can be said is, lose the pretence and put some (pardon the expression) real emotion into it. Otherwise, lively interplay of guitar and synth, a few nifty little effects, and still faily raw and noisy (which I like). Flammable Animal "Brand New Day" Identity from intriguing female vocals; sometimes sounds like. . .oh, can't place it but sure sounds fine. A key to success in the 119 Shalamar ♦ ?* *h 41856 SEYMOUR 683-9602 flesh (write this one down): elicit familiarity without inviting bored accusations of plagiarism. Pretty darn good sound, and the tune moves along well. Mpendo Moja "Get Up and Fight"/ "Trying To Fool I" Just what is needed to help round out the Vancouver music 'scene'; here we have some LP quality reggae/dub on this local group's demo. Especially enjoy the dub. Ted Clark Five "Nothing Left To Lose" Cutesy name which they should frisbee as soon as possible. Energetic guitar rock marred by muddy sound. Not very memorable but not without merit. The Bottom Line "Demolition 23/Lights Go Out" Two songs connected together by martial drumming, and are actually quite different. 'Demolition 23' is surprisingly likable for sor tething from a band I hate. A rockin' little thing, but unfortunately just an anomaly. 'Lights Go Out" brings back the old Bottom Line who sound like the only vinyl they've ever neard is Clash circa "Sandinista" and "Black Market Clash'. Too bad. Drunk On Sin "Little Girl Died" Zowie, promising feedback geetar. Could be good, could be abusive, could change my life. Disappointing. Poor mix saps the life outta this one; guitar swallered by the voice and drums. However, vocals are "off" just enough to embody this tune with a character all its own. Nico & '49 Dance "Don't Call The Doctor" The best for last? To hope, to dream. Ah, well, not exactly. Presenting that ever-so- common-in-Canada commodity of synth-funk/ pop with a message. Don't care for this socially conscious ditty at all; hey, who am I trying to kid, I loathe 'Don't Call The Doctor'. Pathetic music with pathetic singing. Basically meaningless pretention; actually used the line "rich still gettin' richer." Lightweight, and IvUM do it much better. This kind of lame pop/funk should be banned, now. It rots the brain. —Kevin Smith 28 DISCORDER from p. 30 "CIA" Nancy whispered. "I hate 'em. You know, they bugged our bedroom. They listen to Ronnie and I do it at night!" She then tried to explain to me what exactly she and Ronnie did, but fortunately Jerry Lewis and Liberace arrrived and pulled her away. I heard Lee mince, "Tell us what kind of pj's the Big Guy wears!" I continued my search for Reagan. In a guest bedroom a group of TV evangelists were playing poker. Pat Robertson appeared to be down by a lot and was chain smoking. I left to look for a washroom but found it was occupied. Hearing giggling voices inside, I peered through a crack in the door and saw Attorney General Edwin Meese and PMRC head Tipper Gore sitting together on the side of the bathtub. They were busily tracing their fingers over a Dead Kennedy's Frankenchrist poster. As I turned away Frank Sinatra exited from an adjoining room with Lee lacocca and several reputed mob figures. Old Blue Eyes turned and yelled in his best Jersese: "Dutch! Yule git Carlo his gamblin' loicence by Toos- day, roight?" Then I heard the voice that millions of American's worship reply, "Sure, Frank. No trouble. I'll get the FBI off his back, too." I proceeded in the direction of that voice and discovered an amazing scene. There on the floor, wearing only a house coat and slippers, sat the President of the United States. He was surrounded by minions who were cheering him on as he played with a giant slot car set. Reagan hooted and whistled and grabbed jelly beans from a large jar by his side. Closer inspection of the jar revealed that its contents were not jelly beans but amphet- imines. One of the cars rolled off the track and Reagan screamed. Vice-President George Bush rushed over and put it back on the track, but Reagan had now lost interest. He looked up and started yelling: "Where's Weinberger?" As if on command Defense Secretary Caspar Weinberger entered the room with Mr. T They were both wearing Gaddafi Busters t-shirts, and Mr. T was carrying a brief case cuffed to his wrist. Weinberger opened the case and produced 10 ounces of cocaine. He smiled at Reagan and in a Maxwell Smart voice said, "Fresh from Boliva, Chief." While the gathered politicos waited for Weinberger to cut the lines, I siddled up beside Reagan and casually mentioned that I'd seen him in The Knute Rockne Story. Reagan smiled and asked me if I liked football. I nodded yes. He then yelled in a loud hyper voice, "The trouble with football today, is that they don't know how to tackle. Not like when I played!" Reagan left the room and the coke cutting stopped. Everyone was staring at me, and George Bush appeared particularly angry. Reagan returned a moment later wearing an old Pop Warner leather helmet. In his hand he carried a football which he tossed to George Bush. "Somebody snap for Bush. I'll show you how to tackle." A Secret Service agent bent dutifully over the ball. Reagan got into a lineman's stance. The ball was snapped and Bush just stood still. Reagan pushed past the Secret Service agent and nailed Bush in the midsection. The Vice-President went down hard and rolled on the floor in pain. Reagan stood up over top of him and turned to the assembled crowd. "This is no good. We need more blockers. Where the hell's that coke? Cap you take Bush's place." Tired of this madness I slipped outside and headed for my car just as Ron Jr. pranced across the lawn dressed in gold spandex. The Beach Boys were now playing The Halls of Montezuma. I later heard that the barbecue broke up around two in the morning with Rea-' gan receiving snaps from an eager George Will while demonstrating the Statue of Liberty play to Sammy Davis Jr. Nancy was last seen reprising her role in Hellcats of the Navy by nursing Mr. T who had passed out and was choking on his gold chains. Although the events that transpired on Labor Day may seem shocking, I found them refreshing. Having seen Mikhail Gorbachev drop acid during last year's May Day parade, and now having seen this year's Labor Day barbecue, my suspicions are now confirmed. All people in positions of power and authority are insane, as if you didn't already know. -Jerome Broadway CITR MOBILE SOUND What Kw Want, When You Want It! , From Neanderthal cave stomps Wi toi cha-cha, CITR can deliver It right to your next party with its Mobile Sound System. CITR MOBILE SOUND 228-3017 BLOW-UP YOUR FAVORITE PHOTO m POSTER SIZE BLACK & WHITE PHOTOGRAPHS on/*//23.00 AFTERIMAGE Photo Service 72 West Cordova Street 687-6811 The Roving Ear Labour Day in Santa Barbara HOW DO YOU EXPLAIN THE UNEX- plainable? One minute I'm talking tc an old high school friend, now working in Washington, and the next I'm in Santa Barbara, California making the 40 minute drive up to Ronald Reagan's 688 acre Ran- cho del Cielo in the Santa Ynez Mountains. The President throws a very private barbecue at his ranch, every Labor Day and somehow I was an invited guest. I arrived at the isolated ranch around one- thirty to find the place crowded with familiar faces. Nancy Reagan was wearing an Annie Oakley cowgirl outfit and trying to do a Navaho rain dance. She fell down several times, tried to swig from an empty bottle of Wild Turkey, and threw the bottle in the direction of Entertainment Tonight hostess Mary Hart who was wearing an identical Annie Oakley. Hart, hang ing on the arm of Chilean strong man Augusto Pinochet, ignored the missile and continued to laugh while the General, in a medal bedecked leisure suite, charmed her with tales of torturing students. I heard him say: "Maybe you like I should show you how we use the jumper cables?" Hart laughed and the two walked off not to be seen again for the rest of the day. Nancy turned and staggered back to the ranch house, muttering something about "that bitch that's wearing my outfit." The next time I saw her she had changed into an Annie Lennox-like black leather jump suit. Off in the distance the Beach Boys were playing a surf version of God Bless America. I was about to go watch the band when a red nosed Secret Service agent, twirling a .38 on his finger Paladin-style blocked my path. I braced myself for the obligatory frisking but instead he whispered, "Weinberger ain't here yet, so ya may as well hit the bar. It's in the house. So's the old man." I moved on, wading through a sea of yuppies, until I was inside. tras, one of whom I later saw trying to get out the door with Reagan's VCR. There were preppy White House aides everywhere, and \ several stood around actor Charlton Heston while two Supreme Court Justices quizzed him on who was gay in Hollywood. Casey looked up from his joint and yelled across the room, Ed Asner!" The conservatives all laughed. I moved on. Secretary of State George Schultz was lying comatose in a recliner chair in the TV room. His sleeves were rolled up to reveal fresh track marks, and the former Ambassador to the U.N., Jean Kirkpatrick, stood over him holding a syringe. As I left the room someone asked me if Jean was doing her Cathy Smith impression again. I nodded. More laughter. I was about to hit the buffet table when suddenly I felt a hand clutch my arm. I looked down to see leather clad Nancy putting the grip on me. She smiled dopily and asked if Mr. T had arrived yet. Then she pointed in the direction of the buffet and said, "See that? Spooks! I hate them!" I looked in the direction she'd indicated and to my surprise saw a black kitchen helper putting food on the table. A thought rushed through my mind. Bigots in the White House! No wonder they haven't imposed sanctions against South Africa. But then I looked again and saw that the First Lady was actually pointing at two very Christian-looking young men. cont. p. 29 tOlKSfi/" I found Reagan's ranch house to be similar to any expensive summer cottage, except that midget wrestling photos adorned the walls. As I looked for the bar, I heard a man behind me say, "Sure I can get you on Magnum P.I., Tom and I are like this!" I turned to see it was a certain network News anchorman with a certain teenage porn queen sitting on his lap. His hand, shaking uncontrollably, was working it's way up her thigh. Disgusted I went to the bar and found Reverend Jerry Falwell sucking back scotch like it was water. He was wearing a black Judas Priest t-shirt and was telling anyone within earshot that he could take both Bishop Tutu and the Pope in a fight with one hand tied behind his back. Ignoring Falwell I grabbed a beer and moved on to another room where I found CIA chief William Casey sharing a sizable joint with a group of Con- 30 DISCORDER ^SUNDAY ^t^^ open 7-12 p.m 5 From Toronto Sheep Look Up 12 Poisoned 19 Cowboy Junkies 26 T.B.A. special events CHMl»U1st Party prizes for best costumes * JAZZERMANIAN DEVILS POISONED CRIMPOLINES Phone for Information regarding cover charge and Band times. •>H*^ ,"N* HAPPY HOUR 7:30-900 THE SAVOY NIGHTCLUB 6 Powell St., Gastown, Vancouver, 687-0418 OCTOBER 1986 31 #ml f wfi u SIMPLY FANTASTIC NEW LOW PRICE! AUTO-REVERSE CASSETTE PLAYER WITH BUILT-IN EQUALIZER! n HS-G35 FEATURES: • AUTO-REVERSE • 3 BAND EQUALIZER • ANTI-ROLL MECHANISM • DELUXE HEADPHONES • LONG-LIFE BATTERY CIRCUIT • BELT-CUP • METAL/CHROME TAPE SELECT III 88 COMPLETE DOWNTOWN VANCOUVER: 810 Granville (at Robson) 682-5221 (Open Sundays Noon - 5 P.M.) RICHMOND: Lansdowne Park Shopping Centre 278-3041 (Open Sundays 11 A.M. - 5 PM.) VANCOUVER: Oakridge Shopping Centre 261-0258 __ 4^ (Open Sundays 11 A M. - 5 RM.) ^& ^&
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1986-10-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1986-10-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1986_10 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 76d0a324-bdc8-4ef0-be1a-353cceab3f07 |
DOI | 10.14288/1.0050048 |
AggregatedSourceRepository | CONTENTdm |
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