Discorder CITR-FM (Radio station : Vancouver, B.C.) 1996-03-01

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 _-_-_•*_*■       .ess*.
^      DOB
j      ^   1310 IDS
1 ■> j i -*  __. •
1 Promise, on MY HONOUR
to do my BEST
___#r«*^^P_H_____fi__H____% >|^                     ^S>
to do my DUTY
aBfct'-T.        __J_______P"' x
to help other 9
whenever 1 can, &
^pl                  I
to keep myself
m&i&                   ^Sk'--
physically STRONG,
J$.'                                                          Je\\W'': &
mentally AWAKE
8t morally QUEER.    :,:A
US   _H[
_P                  ^8  _^ THE NEW SCHOOL
Wish I'd Taken Pictures
Selling The Sizzle
House Of GVSB
The Speed Of Cattle
Also on Sale:
FACEPULLER - Unauthorized
Volume Dealers
GOB - Too Late No Friends
VARIOUS - Acid Jazz Test Part 4
VARIOUS - Metallurgy
NOFX-Heavy Petting Zoo
Available at all locations
The Inhuman Ordeal Of
Special Agent Gas Huffer
Survival Of The Fattest
Young & Modern
On sale for a limited time only.
Waste And Tragedy vw*Hy of irlHih Columbia. All
right* r»«»rv»d.  Circulation
donti ofliia USA or. $15 USD;
$24 CDN oliowhoro. Slnglo
by calling Kevin ot (604) >*-*_-
3017 oxt. i. Our ratoi ■
lou, damago, or any othor
Injury to uniollcltod manu-
icripH, unioBcitod artwork (In-
duding bul not Rmitod to draw-
From UiC to Longloy and
SauamUh to ■oMngham, CiTR
can bo hoard at 101.9 fM as
best dressed cocks on the block
100% haggis fueled twee pop
one Interviewer, two cafes, three cool artiste
more trouble than It wae worth
wethlnke thou doot protest too much
where the broads are
free to fight, fighting to be free
confessions of a sappy
Vancouver special
between the lines
dear .00355%
under review
on the dial
velvets christian comic
In celebration or International Women'* Day, (March 6th)
DISCORDER has put together the closest thing to a them*
l»»_e this chaotically mismanaged magazine has **en In
many a moon. Eschewing the too-common "Women In Rock*
ghettolzatlon trap, we decided to let our contributor* decide
what they wanted to see In thle Issue. The result: Interview*
with a small but diver** *«l«ctlon of women, muring* on the
•tralght worid'* ob*e**lon with <ju*er **xuallty and the
representation of women In Hollywood, review* of the latest 4
greatest */t mm In -written zines, a guide to girl-friendly record
labels, and. Ia*t but far from lea*t. thl* month'* *trlklng
covw Image by local artl*t June Ring (oh, a* for the Rattled
Roosters and the fastel*, the first appear* a* a testament
to the power* of female per*u**lon (can Leza be stopped?)
while the second appear* a* a testament to bad luck - two
women In the band and only the boy bothers to show up).
Happy International Women's Day (dont forget to tune Into
CITR 101.9fM for a full day of women's programming!)
movie nights.
dona-<?at,im&A mwi&f, eat/w/ia?r/i
one on one peer suport.
ifM0uit/J£uxrnfJcm£0/ie fa Aai/e a cotVee and"fa/%udtA
freedinner!  #        *>
aoed'fvod',aocd'taw, aood'drinA,ar>r>damej
™ 3 day retreat
fee o/i/wrtartda fy ae? out t>fet/ie a'fy and'ffeaf/ieJomefeejAat
sounds interesting?     #
our   private  &  annonymous   pager   because we're all in this together.
hell, we might even go bowling! vancouverp^^^special
Economic oclivity it usually a sign of life, ond lhat
being the case, the local music scene is showing
lots of vibrancy Ihes* days. The last Iwo months
have hod quite a few significant business happenings. First, it was announced that ihe Commodore
was for sale, and then Mushroom Studios did ihe
same. Now, ihe Gastown Musk Hall has been
sold. The most substantial change is lhat Noiseprom
Productions have token over its bookings and promotions. According to iheir press release, entertainment at ihe Hall will range "from ihe cutting edge
of alternative to ihe velveteen sounds of lounge.'
Local bands are encouraged to send them videos
lo play on a big screen in between sets...Scratch
Record* is relocating iheir "world headquarters"
lo 109 West Cordova Street. ..Zumpano have just
been to Chicago recording iheir second full length
for Sub Pop with Keith Cleversfy (Flaming Lips, Hum,
Mercury Rev). It should be out in the second half of
1996. Zumpano will also have a 7-inch released
on Murderecords, probably in April...Mint Records
will be releasing a Meow fulMenglher in late spring.
Meow, you may remember, was ihe surprise winner of CiTR's Shindig in 1994. That olher Mint Irio,
cub, is presently recording iheir new CD wilh Mass
Giorgini (he produced the Smugglers' latest Mint/
Lookoutl co-release,Selling the Sizzle)...Local electronic duo Off and Gone (oka Phil Western and
Dan Handrabur) have signed to Harthouse
Records...Coal mode some recordings as a duo of
late, bul hey are in foci slill a fourpiece group...Tho
El-sctrosonks will soon have a 10- inch record as
a co-release on two labels, Quiddity Records from
Grand Rapids, Michigan, and Driven Records from
NEW RELEASES: First, lots of Blaise Pascal
- ihey have a few 7"s ready to be released, ihe first
lo be out soon on Montreal's Derivative label. •
The Muscle Bitches are about lo go on a third
lour to California and will shortly be releasing Demon Boy Takes o Bride. • Fir St. Studios has re
leased iheir third compilation CD, ihis one including Technicians of the Sacred, Aimless
James ond 1995 Shindig finalists, Pipedream.
• Strain has a new 7" record, Remorse on Germany's Heart First label. • Heavy Mellows new
CD is colled The Bottle Within. • Mark Brodie
and the Beaver Patrol's new CD, The Shores of
Hell has been released by Shredder.
• Those olher local
Shredders, the
have yet another
release, ihe In On
the Yolk CD. •
Looney Swim is a
new compilation of
Kelowna bands.
cowshead   chronicles
weak (wek) ad j1 lacking physical strength; fee We 2 lacking moral strength or willpower 3 lacking mental
power 4 lacking power, authority, force, etc. 5 easily torn, broken etc. 6 lacking Intensity, etc. / a weak
voice / 7 diluted I weak tea I & unconvincing / a weak argument
weak, i am. have been, will be again, i have weakness that i know and for some reason or
another, hell maybe just because i can't give a shit, can't control and while the definition
of weak has eight parts examples one, three, five, six, seven and eight neally don't apply
to my every day life, two and four however, cause me great concern, but as a point of
concern and clarification the moral strength part of two does not apply it's the willpower part that's got a kung fu grip on me. and four well, let's just say i'm a guy who
finds it hard to say no... to anything, but more than my lack of willpower is the next
definition the dictionary holds; weaken vtto make or become weak, shit, the more i'm
hounded the weaker i become, just ask me enough times and hell, i'm yours, maybe it's
guilt hedging itself in. guilt (gilt) n1 the state of having done something wrong or committed an offense 2 a feeling of self-neproach from believing that one has done a wrong
yup, that's me. i'm not even catholic. I've had pre-marital sex. and have even used several
different types of birth contro\....and self love?...don't get me started, the second down
from weak is the one that really nails the tail on the donkey weak-kneed (-ned) adj
lacking in courage, determination, resistance etc. i can be taken in so easily by the
powers of a beautiful woman that it's almost embarrassing, and as much as i hat-
admitting it damn it officer i'd kill for that dame, tall, short, fat, skinny, i love 'em all. i've
said it before but ill say it again - \m weakened by them, i seemingly maintain all composure in front of them but as at least one or more of my co-workers will attest to i have
been brought to my proverbial knees by many a woman, but i will say here and now that
i am trying to change my ways. I want a woman who i can treat as never before, one that
i don't mind missing a ned wings game for. a woman i can put on a pedestal and bake
cakes for. a woman to take my mind off of all other women, a woman who makes me feel
like a million bucks, the last woman ill ever kiss in a sexual way. the last. ever, i mean it.
really, marry her? maybe, could i guess...if she wanted to. sure, i'd get married, there i
said it. my weakness will be strengthened by another, alright so that's it. ill letya know
how it's going, until next month, may the good love be yours but don't forget your party
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l^s}\\ Write us @ Mint for your free Mint Mall Mailorder Catalogue
■WJSqMINT RECORDS, INC. #699-810 W. Broadway Vance
[\<gc^" phone (604) 669-MINT • fax (604) 669-6478 • em   "
, BC V5Z
and@aol featuring me like- of Th* C
Alpha BMX, ond the Gravy* It was financed
wilh money raised at local oil-ages shows. • Peod
Voices on Air have a new CD called Shop. •
The Deadcats have their first CD out. Bucket of
Love. • Th* Insipids will have a release out in
March or April called Stopper, Not a Hanger. *
Destroy er will be releasing a CD, We'll Build Them
a Golden Bridge - me release performance will be
of the Sugar Refinery (1115 Granville, west alley
entrance, 683-2004) on Saturday March 23 - the
opening act will be Old Man Wood.
oeMO Rewews
Boy, did I blow it ihis time. Actually, it was in last
month's column. Seems I reported that local country lounge act Coal ore now a duo. What ihe hell
was I thinking? The/re a quartet. A foursome. A
tetrad. Now I gotta wash ihe egg off my face. I
may never get over ihis. My first gaffe!
6969 are a duo, although with a name like
lhat ihey could possibly be a foursome. Industrial
rock with a metallic edge, overlaid with softly fuzzed
vocals. Fans of Malhavoc and Econoiine Crush will
dig this. Sobbathy guitars crunch and collide while
sultry groans entice and seduce the listener into a
state of robotic, destructive rage. Nice touch with
ihe nearly-naked derriere, except for bondage accoutrements, on the front cover, staring ot you over
top a printed circuit background. Now lhat I'm in
love, what the hell am I gonna do?
No fetishes to be found on the new cassette by
Idiot Savant?, the band lhat won't die. By that I
mean they've been around a number of years. Their
earlier material, from the mid- to late-'80s, always
seemed lister-able but without the spark lhat ostensibly would ignite and put on a great fireworks show
for everybody. The years of experience have definitely benefitted the band, since their new three-
song demo contains some powerful work. No quirks,
no gimmicks, no free goodies (wait a sec), just plain
old well-written and played pop-rock with a semi-
serious tone. "Window" has some great geetar
riffin', and, like ihe other two tracks, lets you know
when it's chorus time by a shift into high gear. The
mediocrity is gone, replaced by the sort of intensity
lhat gives unspoken justification to a long career.
Just goes to show lhat years of hard work can bring
out the latent talent (interesting pair of words, eh?)
in a band.
Smooth, luxurious sounds emanate from your
speakers when International Scout take over
your system. Vocalist Heather Griffin has quite the
voice, opulent with its rich lone and gushing emo
tiveness. The four songs on their self-tilled demo, all
written by guitarist Robin Brooks, echo the smoky
sweetness of Everything But The Girl, Cowboy Junkies, and 10,000 Maniocs. Even ihough ihe first two
cuts, "Wonderlown" and "Special Kind", already
have you convinced this band has latched on to
something special, the last Iwo, "Apostles of the
Chosen Few" and "Stars in their Eyes", are such a
one-two punch of melody ond neo-folk charm lhat a
message comes through loud and clear: use oxygen-enriched fuels for better engine performance.
You have to know how to read between the lines,
Other adherents of smoothness in their noise
ore Juniper Daily, a quartet with their debut
three-song demo out on the flogging rack. Theirs
is a different kind of smoothness, however: softly
distorted guitars splashing between your speakers, suggesting these guys lean more towards
the My Bloody Valentine school of pop. The op
erafive word here is epic, each song sounding
really big and almost holy in execution. Slow
tempos induce a kind of sway as opposed to
actual dancing, while the vocals in iheir range
remain mired in the heavy, heavy mix, never
soaring above but rather dragging the listener
through the melodic maelstrom. Lyrics are not
chipper; lines like "Though you cry enough /You
don't shed a tear", from "Never Cry Wolf", make
one cast the occasional glance over the shoulder (left or right, I don't know) for the glooming
spectre of Morrissey, although at this juncture
the reader is reminded lhatMozzer is not dead.
even ihough he often sounds like he eilher is or
wishes it so. Anyway, let's not digress, since Juniper Daily are onfy mildly Smilhsy. I guess I really
don't know what the hell to say about them, except
lhat I like it, and lhat you should, loo. If you're into
lhat sort of thing. I'm not explaining myself very
clearly, am I?
But who's having fun these days? Sure, I like
pretty tunes, thoughtful lyrics, and locy underwear
as much as the next guy, but let's just kick out the
fucking jams, sonny. Look no further for your fun
and games than Lozenge a double-bass'n'fuzz
combo comprised of a few ex-Soreheads ond a
former Belgianique. When ihey cover Devo's "Uncontrollable Urge* you know you're not getting an
auditory application for Noam Chomsky's backing
band. How about "She Laves to Jump" for sock-hop
sentimentality, back when XTC was a band and
moshing was something you did to your potatoes?
"Sore throats for all on stage ond cool, fast relief
for the audience* sez the bio. Watch for upcoming
side project, Nasal Spre.
Now lhat I've gotten the hang of these funny
letters, I might as well talk about the five-songer by
TraOf, they of ihe umlaut scene so big these days.
I like Traiif! On first listen, you kinda go, ew, more
grunge. But really, these guys are exactly between
punk and rock, without really being hardcore per
se. It could be called runk. Or pock. Labels aside,
what they do is serve up snappy, catchy tunes with
a power chord bockwall and angsty, fuck-fucking-
society type lyrics. All with a shiny little bow. Tunes
like "Short Attention Span" could do well on both
modern-rock triple-A formats and cock-rock
suburboutlets, without offending indie-rock elitists like
myself too much. The point is each of the five tunes
doesn't suck, and when a tape comes in wilh a
New Westminster address that's half the battle right
Okay. I made it. A whole column with, hopefully, no factual errors. It doesn't matter because I
ain't publishing no more errata, even when I'm so
dead wrong the pope writes in to complain. It's just
loo damn hard on my ego. In fact, from now on, I
insist lhat if any deviations from the currently accepted reality are found, the bands must change
themselves in order to conform to the information
presented in the column. Saves on ink. Recently, I had the pleasure of Intervievrfng s bend
quite often dubbed •» 'the beet dressed band* in
Vancouver. The Rattled Roosters. With the release
of their second album. Young and Modern, and relocation to Hollywood. CA, things are looking up for
these charming, cleverly deceiving, but still sincere
The Rattled boosters lineup:
Rev. Rick 'Royale' - vocals, guitar
Joel 'Billy Blastoff Darien - guitar, vocals
Ed 'Cool As Hell' Maxwell - bass, vocals
'Crash' Gordon - drums
DiSCORDER: Because this Is the beginning of an
Interview, I need to know who you are.
Cra6h: What, you don't know who we are?!
Well, of course I do, but DiSCORDER readere need
to know who you ars, as musicians, your astrological signs, maybe your favourite colour...
Rick: I'm Rick Royale, I am a Leo-Virgo cusp, and my
favourite colour -1 don't know, purple maybe. 1 don't
think we should talk about colour, that's very racl6t.
Ed: What the hell was that?
Rick: I don't realty think that there is one colour that
is better than another colour, it's politically incorrect
in this world, so I take that back. All colours are equal.
Ed: Rick's lost his mind. I'm Ed 'Cool As Hell' Maxwell,
Pm a Cancer, I like quiet nights and walks along the
beach (laughs). I also like hiking, and snow-sledding,
and sex on the first date.
Joel: That was Ed, and this 16 me: I'm Joel Darien,
Tm a Taurus, I have Wond hair and blue eyes, and, by
the Chinese horoscope, I'm the only Roo6ter In thi6
band - oh wait, I take that back because it dates
me. My favourite colour is kind of that thing
between pink and orange, or Hack, or red, or black. I
like rock and roll, I despise all outdoor activities, and
I like quiet romantic evenings for three.
Crash: My name is Crash, and I'm an Aries/Rat -
wait a minute, you don't need to know that either. 1
like Rice Crispie squares and Coca Cola, radio Interviewers and radio interviews, and 1 love CiTR...
Why the Mg move to L.A?
Crash: Isn't that an old story?
Joel: That's just a rumour.
Ed: We moved there to become rich rock 'ri roll stars
and to get a star on Hollywood Boulevard.
And how ie It going?
Crash: Very, very well. We've already got our name on
Hollywood Boulevard - right over Fleetwood Mac
(laughs). They don't need It any more.
Joel: But I think it has rained since then, so it is
probably gone.
I heard that you had a treacherous time getting
up here.
Joel: It was nothing for a bunch of rugged mountaineers like us.
Ed: The only thing that scared me was the fish
swimming In front of the van.
Joel: Ed Is afraid of fish.
Crash: It was the Rattled Roosters and the Temple
of Doom.
What happened?
Rick: Well, the 1-5 was closed in three
places (because of recent flooding).
Joel: We had to go down other closed
highways instead, ones that weren't so
well patrolled by police.
Ed: Imagine all the Duke6 of Hazzard car
chases around bends, through closed roads, all In
a four hour Journey, complete with mud slides, fit
Crash: ..and lakes..
Joel:..M\d poisoned darts - the Washington natives
were chasing us with spears.
Crash: He didn't say 'spears', he
said 'spheres'.
Joel: Well, kind of hemispheres:
tho6e orb-shaped Starbucks
commuter mugs. We had to run
straight up Into the stratosphere.
Crash: Ed has Go Go Gadget legs,
a lot easier.
What are your plans after your CD release In
Rick: We are going to be In Victoria, then back
down to California, then to Toronto and eastern
Canada, back to California, and then across
Canada, hopefully, in April.
Crash: That is actually central Canada.
Rick: Ya, I guess 60, we're not going to the
Joel: Not that we don't like the Maritimes. but Ed Is
scared of fish.
Ed: 1 love the Maritimes, but they talk funny.
If you were stranded, alone, on a desert Island,
the only thing on It being a stereo, and you could
bring two records, what would they be?
Joel: Two CDs? That's really tough. I'd have to bring
some Elvis; I'd have to tos6 a coin between Presley
and Coetello...
Crash: My choice would be The Star War6 Canteena
double album.
Rick: tropical Island? Something like -
Ed: Mine would be Leonard Nemoy Slng6; I wouldn't
need another album. Leonard Nemoy is king: people
say Elvis is king, well, they lie.
Rick: I'm trying to get Into this tropical thing, fd have
to have some Beach Boys, and I'd want something a
littie more - drinks with umbrellas in them kind of
music, maybe Frank Sinatra. Can 1 get a box 6«t?
Both box sets of Frank Sinatra and the Beach Boys.
Joel: Are there girls on the Island? I would probably
bring some compilation of Bing Crosby, some "306
records, just In case some girl gets shipwrecked -
you have to have something to woo the babe6 with.
That would take up one thing, so I would have to flip
a coin between Elvis Presley, EM6 Costello, or the
Dickies. Or, I don't know. Dean Martin.
Crash? How about you? What other album?
Crash: I already said The Star Wars Canteena, and
the other album would be something with lots of
Bela Lugosi...
Joel: He was never in a band.
Crash: Okay, maybe Sing, Sing, Sing, that would be
a good one. It wouldn't really matter what 1 would
bring because I would be disappointed that I didn't
bring something else.
Do you consider these albums to be major Influences on the Rattled Roosters music?
Crash: We take influences from everything around
us, good and sometimes bad.
Joel:  We're  influenced  by   ^
music that sucks, because
then we don't play that,
Kick We absorb
a «=> you re reading «-i_ 9'sturee thai-1
over here in *u 9 this: you talc,, :„ ™at' **» rnak-
P°»d your ZltZ* " r°"' *> to *P**klm    *" ^ *"«*•
er a*'      Z^Mlef for a moment- ~ ,       ,ma^ne that s.«
•* <*■»   all creatine, that „ /^m*^ P°P sensibiliti- TL.
Crash: But *_•_.      *     COme ^PPeninT,
orP^ple^T^that^^theTeT ^'^^^
HoW, ^ St" *** there in ZntJ^ - **
Cr«h.-Butnoon.- F^erick. of
CJ*S* ^e key to fam  . ^ »*»
'o sum up the i»*    , to**,ofth_,»._
6    MARCH 1996 Get your Free
Alternababy Sampler
when you purchase any
one of these 12 titles.
(While Quantities Last)
SJ          pulp         L_-_
Different Class
■     Things To Do In Denver     ■
|        When You're Dead         |
1160 Robson Street • Park Royal Shopping Centre (North Mall)
Guildford Town Centre • Willowbrook Shopping Centre
Eaton Centre-Metrotown • Sevenoaks Shopping Centre Abbotsford
Richmond Centre • Coquitlam Centre The Pastels are a Scottish Indie band
who've been playing together for longer
than you've been watching MTV. They
play beautiful, intricate-but-simple,
melody-laden lullabies that make you
want to stay awake all night trying to
figure out how they sing so wonderfully
slow and fiat, but in tune at the same
time. You want the Pastels to be your
friends. And they make it seem almost a
possibility. On a Friday afternoon in
Vancouver, DISCORDER talked to
Stephen Pastel, who called from a
friend's house on a rainy Glasgow
evening. Once it was established that
Stephen was "perfectly fine", and that
the interview was just going to be with
"the one Pastel", we began. We spent
the next half-hour chatting about eating haggis, being "grown up" (or not!),
and the concept of how and what it is to
be popular.
DiSCORDER: Have you ever been to
Stephen: Yes, twice. In 1991. we played the
International Pop Underground Convention
in Olympia, in the state of Washington, and
then wc travelled up and played shows in
Vancouver and in Calgary. Then last year we
played a show in Toronto and in Ottawa -
that was supporting Yo La Tengo.
What was it like touring with To La Tengo?
s great. They're really considerate people
and I think their music is completely fantastic. Every show they put on is really unlike
the previous one. They have a lot of beautiful
songs and they're really dignified people.
How are you involved with the music
scene in your hometown? I heard you
work in a record store.
I don't typically promote shows, that's really
rare. But if it's something that needs to be
done and if no one else is interested in it,
then I will do it. I'm a librarian, but I've gotten work in a bookstore and it does have a
record department.
and how pleasant it was to go there. So I was
thinking it would be great if there really was
a "Coolport," a kind of Utopia. But it was also
railing against corporate music, because I
find that very, I'm not sure what the word
would be - the opposite of utopia...
I think it's interesting, because UK bands
that are huge in the UK, such as Blur,
when they come to Canada, they play
small venues; I don't think we get the
feeling of what your "mainstream" bands
are, 'cause here they're often thought of
as an "alternative" band.
Yeah, I find that a lot of North American
"alternative" bands are equally kind of vacuous. I just feel that there are so many bands
that are all style and no content - they really have no message. We're really opposed to
those bands.
Do you want to name any names?
(laughs) Well... no. I won't. We feel an affinity
with the bands we like. We feel a solidarity
with bands like Stereolab and Pavement and
Beat Happening. A lot of the bands that get
played on MTV where the records
on major labels, but they kind of try to pretend that they're 'indie' records when they're
not. That's the sort of band that we're against
people know about them. They have a record
out called In the Space of a Few Minutes.
They're David Keenan, who used to be in 18
Wheeler, and Brendan who was a Teenage
Fanclub drummer, and a couple of other
people, but it's nothing like those bands: I
think it's a very unique and special record.
I'm making a strictly name connection,
but have you ever played with other
bands like Crayon, or the Red Krayola?
Crayon played at the International Pop
Underground, and they gave us a lift up to
their town, Bellingham. And Red Krayola is a
band that I really love. I especially love their
album Parable of Arable Land. Mayo
Thompson of the band once produced my
friend's band, the Shop Assistants. So we
have tenuous links with both bands.
That's interesting. How do you feel the
Pastels have changed since your beginning, back in 1982?
McRobbie. I think when we started I thought
it would be more anonymous, but it didn't
really work out like that. I might just start
being Stephen McRobbie again - it seems
more grown up.
Do you feel grown up?
Yes. I feel I'm getting there. Well, in some
respects, I feel kind of balanced, in that
precipice between adulthood and childhood.
In some ways I feel quite adult in things that
I do and in other ways I can tell I'm not really a typical adult, so that makes me think
I'm more childlike.
Will you ever be completely grown up,
I'd like to think not, really. I think it's important to function in the adult world, and if
you just retreat then that's not too healthy.
I'd rather challenge the adult world and uy
to change things, but to do that you have to
take things on in adult terms. In terms of the
What do the other Pastel members do?
Aggi is an illustrator and Katrina will be
going to university in a few months.
And Aggi did the painting for the Mobile
Safari cover?
Yeah, she does a lot of our artwork. We usually have a vision between us, and we work
towards that. Aggi and Katrina and myself
are very tuned in with each other. I know it's
quite uncanny, but we usually move in the
same way at the same time.
I think that your song title "Exploration
Team" actually describes you, the Pastels,
in that you push the boundaries of pop
music - how do you feel about that?
We do like to feel that we have a unique
approach to what we do. We certainly have
a certain sense of striving in what we do
and we liken it to people going up into the
Arctic Circle.
"Coolport" -1 couldn't tell if ifs a song of
whimsical optimism or if it's a bitter take
on the corporate music scene.
It's probably a bit of both. It's quite melancholic. There's a place in Scotland called
Culport and I used to go there with my father
when I was younger and swim. In that song
I was just really remembering the innocence
Are you familiar with that song by
Tullycraft, called "Pop Songs Tour New
Boyfriend's Too Stupid To Know About"?
It's sort of a who's who of indie pop. The
Pastels are mentioned in the lines "But if
you want the Pastels, baby/ Here's what
you should do:/ Get on your bike and take
a hike/ and meet me at our spot/ Just
you and me and the Halo Benders/ hey
that's pretty hot."
That's great, that's really nice. Seems like
good company.
Tou were talking about a message before -
would you be able to sum up the Pastels'
message in a line?
We think that we're kind of purist rock and
roll. That's our selling point.
Is there such a thing as vegetarian haggis?
Oh. there certainty is. It's a tradition with the
Pastels that we have vegetarian haggis on
Burns' night, with potatoes and turnip, and
What is the best Scottish band that folks
in Canada probably don't know about?
Oh. that's tricky. Urn, I think the Telstar
Ponies are really good. I don't know if a lot of
When we started the band it was veiy
dental, and obviously we were pretty young,
unformed, and the band was a
hobby at that point. Then I think
Katrina joined the band in 1991, we've
become a lot more intense and serious and
we're much more tuned in with each other. I
much prefer the music that we make now.
What is your favourite pastel colour?
Oh, I don't know, I probably like primary
colours better. I don't really have a favourite
colour; for me, it's the combinations of
colours that really work.
So how did the name come about?
I'm not exactly sure. I think I wrote down a
list of names, and we just kind of went for
that. It had an innocence; it sounded like
1950's swing music, when people were less
jaded. It had a quality that we were looking
for. It was very optimistic sounding.
Listening to Mobile Scifari, the mood
overall seems very melancholy. Would
you consider yourselves optimistic or
I think we're fairly honest in our outlook,
and it rains a lot in Glasgow. I think we're
fairly optimistic, but we're confrontational
also. We try to be uplifting, but for me a lot of
uplifting music is pretty depressing, to think
of Joy Division and Galaxie 500 and stuff I
really like. We're not happy happy, but we're
moderately happy.
Why do you go by Stephen Pastel?
I'm not really sure why. My family name is
way we conduct our business. In another
aspect of our lives, we try to do things in a way
that can maybe improve the quality of life. Not
to sound too much like a politician, but...
What do you see in the future of the
We're gonna make a record this year. I feel
that every record we make is an improvement. I feel really optimistic about this
record and I'm excited about the ideas we've
come up with. I am pleased with Mobile
Safari but I'd like to make a more extrovert
record so that we could become more popular. That would be a good idea for us.
What does "popular" mean?
Instead of selling 20,000 records, with this
next one, we'd like to sell 40,000. So that
probably means improving our production
values. I'm not really sure. I don't know why
it happens, but we're gonna try.
Will that change your approach to songwriting?
No, I don't think so. I think in the studio
maybe in a couple songs we'll tiy for a slightly sharper approach, but there's lots of songs
that sound really radical. A good example is
the Beck song, "Loser", that was a really big
hit a couple of years ago. I think that was
really radical sounding, but also really sharp.
At this point, I realized that more than
25 minutes had passed, and I apologized to Stephen for having taken up
so much of his long-distance time. We
thanked each other and said goodbye,
and I spent the rest of the day telling
anyone I ran into how funny It was
that the Pastels prefer primary
colours...Look for the Pastels' many
yummy releases, the most recent
being Mobile Safari, on Up Records in
the US and Domino in the UK.
Other stuff:
Pastels LP
Sitting Pretty LP (Homestead)
"Different Drum" b/w "Empty House" (K)
Pastels with Jad Fair ep (Paperhouse)
Thank You ep (Paperhouse)
Up For a Bit with the Pastels LP (Paperhouse)
Truckload of Trouble compilation of '86-'93
WorLs of Possibility ep (Domino)
Yoga ep (Matador)
TO BE mint DOG !..
Z*L .rjiJb-z— ai* »um" tm fhigehs of fuiik
§^l|f3jL ii| Jiff) ll'Qf (ijni.fff
Sun. March 10 • The Town Pump
with guests FOR SQUIRRELS
with guests
J   ff2*fi?J( POWERDR1VE J±
Tix $8 at Track & Zulu
SAT. APlUi 20 • The Town PUPtp
TICKETS AT TICKETMASTER, TRACK & 2ULU OR CHARGE AT 280-4444  InspiredBy tht array of creative works Sting-presentedby January's "Women in View festivalofPerforming Sfats, J decided to escape from school
\for a week\anddevote some energy to tht works of some fine artists. The annual"Wi"P'festivalshowcases women who create and perform in a\
myriad of ways. The festivalran from January 17-25, andfeaturedeverything from spoken word to cabaret raunch, to visual arts, to theatre, to\
music and, yes, even workshop activism! Sbidnone of it was run ofthe mill; for example: cellist (Peggy Lee and pianist Lay Tuan Tan were not\
afraid to get right into their instruments (Uterauy) and drew achingCy Beautiful music from their instruments using Brushes, sticks^ and wires -
definitely not for the timid and traditional. This experimentalquality is characteristic of tht "Women in iHtw festival, whichprovidts artists witfu
a space and an audience with which to explore ondeTtplode myths, while showing their works in a funky and freeing environment. Throughout]
the year the festival committee continues to support and help product the new visions of female artists in Canada.
"Before tht festival Began rolBng, I got a chance to speakjo two playwrights and a comedian to share coffee, artistic inspiration andurbanfrustrations.
<By 9{atastw Lena
(rnnnrh.   m	
DISCORDER: I'm « a dlfTcrent caft new - Cafe
BiRs ?xr,h9w *•"h™ * *
Frannie: Well, it's not so much a show, as I am doin_ fif
Heu, did you get f„t» stand-up comedy?
of ^T L" fe" sch00'in To™*° -' 2h and out
of theatre school since I was IS - my colleagues thouaht
was ft,My. and [that] motivated me to go tc?"_k YukfSo
Q that wof great, but it was actually
▼ 3ar "£>.    au,t* o painful journey after
J ^ Z/l/*     that-' '•ad this coach who
was writing comedy
with  me  until      Kf^j
two  o'clock in  his
kitchen in Toronto, and he
immediately put me into  a <C7*w
showcase for Breslin. u/ho owns Yuk 4?>^'
Yuk s. I came out on stage and I said some- /Zj^
thing spontaneous because there u/ere a couple      ^~£
of drunks m the audience, and I got a huge laugh
Then | froze, completely froze, and delivered the rest of mu
act in a complete monotone, because I had alltheleraahZ
CoZL w " brVlght Uf> t0 te" wrybody I was
Catholic We went to Catholic church, and uou know I
u±d obout asC<»Mc as a bagel - V W' '
Will you te// the /eke that you do about your dadt
About my dad? Us quite vista!, so ftWnTTf hart?
?! "!"_".' pr#'*' and **'"*» Wkf thatf
I do, I do. I haue all kinds of props and I do - lue be«.
tiNatasna laughs] I do a fabulous hamster which is
SET a.bVU?,asUr- You can °l*oy r*llTon ,h«
Yeah, I put that in the centre ofmu act I hmie rfck ,i,„...
\amLThe,Wal<rfteinS' ""*" ^oV^luIZ
family and my hfe. my search for identity and for loue
fust 17 r™/ !_*M!"« ^"^ uJ-rSurt Te
for Z1    t0 Brauo/ TV - ond it u/as a real/y good uenue
I ealurZtZ ° ? °f my JB,ff' ^ ■ Wiitort X!
ike th_'t 4„HyrJ°y haV,'ng '1* md,ence '"* ""• I really
hke that. And the sexual stuff, making fun of how we're
£__,"* '»"$ fc"* iM" «"•»«**™* J SKIS
am The »ast remaining expert. And I have a better time -
dZw t°hT_ar:__r hknhl ruiro1?ment ■cfln «sstt
th^ i ter J,de of "-W humwr. and that is in a
heatre arena Comedy i, comedy, and its about S£g vat
idation from the audience. As trite as it is lrefl//_T_?. _i
_ *.^1°_- "*,.«■_,^ -wrt *■" ^ te figure ou"
Absolute/y. and it took me a long time to /earn that Sometimes
I m reafly, rea/ly. really stupid. And someomesTm bSl
%e SSrT.*"1^hitlu«aP^fti'ProcesstoK
7>"_    '* *« «MMw* WwfaWiitf ftr peop/e
^V       "'^ ,m_",t *• « Yak Yak'rf
C   *,        I think it all depends on
more than that. °C/1    ^r perspective, tot.
people come to a com- C_?> -.
edy  c/ub  because  they ^T -/
luant to Zaugh. And I appreciate Z/t-.
that, because there arc times when I        '^J
KJ;0 J** ""t "»»•«: and I think   ^°^0
its really healthy to u/ant to be trite and super- ^
KrfSSS 3S_"__? ' hfld - *«**
/2   MARCH 199t6
coZe^f0'• a,nd "Tt0 J0rt of *erm" S3n-« I
come from a fami/y u/ith a -1 fee/ a huge resoonsib l r« f«
TZJt'r?€?f,tmt,tv- whatever '* S that you are And
jo  what the heck was I talking about?
mS^mSUT thf'Mpti '•"fffl- tfc« ■
frrent since I worked through this W '$ ° '°t d,f'
!.r,S_ ^"ri*i recent'y'asked t0 d0 a ^id-raiser for Kinesis
whtch ,s a femm,st newspaper. I imagined thaV they S
seen my work before, so I did some of my stuff that _,__
ten over from The Butthole Dramrdy. which h muSlSX
about making fun of hoiu we're ,Jp£,rt . Tehwe as
women. Its fairly radical, and I don't know if theuiust
thmkmg of going to Mexico, so I referred to the fact tZ
« UTS1" ?'tik 0fwinUr'' u'«n't WrS to be
seen on the beach. This is a uisua/ gag. and I sau 'Would
you ust look at my bikini liner. Thin Nift up my^Wrt
and lue got this g,gantic wig in between my lejs Vhat go«
moment. ^in?J-,The.°UdJen" Wai *'<"*• ^d It's
TJZ£? £ S0,1 u,'wpe Uujt kind °™°ught. Vou know
maybe I should just go back to dentistry school because
*'*'* ™ worth the... It was ridiculous
i__J ml 2-W* tfcaf W' "ft fl ■»•*"•. V»« cant
»?t thef, anV. ' nWt ""*'• *'" actua"» "«"««•
&f™v afcf■*?"!.2fyour pa,n-0nce a»ajn. yw know
_S_S« a'!L9 'ke' *.Here'JJ0methin9*e*atJoa'wnot
aomg to find the least bit humorous, one way or the other''
w«i. V*« cou/d a/ways say. you know   'Hew
5Sfj h7fS-n f"t# mak< a *t5wM ^33!
^'H^ -ffl M fhw them different things you
ff tw 'JL'_" t<a/e,,f' ^'^"yif -jt"« V»e wrsaj/e
EiSilif •■ ".f _nw,','«d "Tth Women In Wewf
DM ter' fiC°medy- ' ^ rea"y de,i»hted a"d «cklrt
pink, but it s fimny - a coup/e of years ago I tried to submit
ZaaZnThe Buhtthock Dramed* iA "SS. lSS5
kiXrnlrmfl the Fr_noe Fest,l,a'* ,r "«■* «-n extremely
wt mZgre«5'Ue/ad,Ca'feminist 5hou'-tne ""»'«thin,
was making ftin of euerything I was scared or ashamed
Woml!^ leXUa,it»And ' «« P"oned by the SS??r
kSSL wV'e^ flfcnd,' U'aJ t0'd that -' be/ieuVit was
Kathh*n Weiss fwho] said that she thought my work was
y auspicious and braue and important, and halt of the
^y^ women who were adjudicating on who to get
*-X>._- in the Pfttiunl hnA J__:_-_ .l_- ¥
f  .    •-»»■»'«« uu/uuicaiing on who to get
V/        ,n the Festival had decided that it was
*-£?»,   j*. reo"i'- rea"y flreat. and ha/f of them
Xb     ^ actua//y hated it. So it was that
extreme a reaction, and she was
going to determine whether or not my
frnm,._,     *    lhow was '"• But ' nad no feedback
I tZl •£,'that u"MfJ0™'- «»' ^as kind of put off.
hJ_ £ • <!Xe_- aronlen J f"tiua'"'d0"'* know, maybe
rwLg„  f" un,df, of fundina from IBM or some   '
ffSW,] Not thot' have any'h*na against IBM
So.iiHn? 'kMW Wtlat the dea'was' and »pSm off
fhVri" f.e.r try to.'!_ue rAf ^^^e/wproduced by
ri_I_f Ki,h? ye0r ' Wnd °f9We Up on tlKm- So f u/«
Kathleen call me and haue me, you know, come and do the
fifteen minutes. So, thanks. Kathleen. DISCORDER: Can you tell us a bit about the piece you're working on for the Women in
View festival?
Kathleen Oliver: It's a play in verse and it's a sort of comedy of manners; it borrows a little bit from
restoration comedy form, and it's very plot-driven. It's about a brother and sister: Catherine, the sister, is secretly stealing the poems that her brother writes and doctoring them up to publish them under
a different name. Her brother, Thomas, is very frustrated by this and wonders who the thief is, because
he doesn't know that she's doing this as revenge for his childhood theft of a poem from her that be
won a prize for. Their parents were really proud of him, and then their mother died the same night so
Catherine never got to set the record straight. So she's sort of taking it out on him 'cause he's in
denial about the childhood crime. Meanwhile, her lesbian lover is trying to persuade her to run off to
a lesbian commune. That eventually happens, and then Thomas disguises himself as a woman i
order to pursue her there - and then it gets really complicated.
It sounds like there's lots of twists and turns...
Definitely, yes.
Why did you choose to use verse instead of prose?
It wasn't so much a conscious choice; i
of started as verse. I had seen a reading c
this play in verse one night and the i
morning I woke up with lines in my head and
realized, 'Hey, I think there's a story here.' When I realized it was something that might grow into
something bigger it was a lot easier for me to write in verse; all I had to worry about was making the
next line rhyme instead of having to wony about what I was trying to say. The motivating factor [was]
'just keep writing', so instead of envisioning a blank page, or reams of blank paper, it was just the
next line. Then the verse became sort of a valuable element because the play has a lot to do with convention - the comedy of manners is certainly a very formal form. And thinking about gender as a set
of conventions seemed a really interesting way to explore that, by looking at the verse conventions.
Everything in this play is very contrived; but then, what's more contrived than gender?
So when you have dialogue you write it as "OK, Joe says", and then he says his lines in verse?
And then Sue says her lines in verse?
Yeah, the entire play is written in verse. Half of it takes place at the estate of the brother and sister's
godparents and half of it takes place in the lesbian commune; I use heroic couplets at the godparents
estate, and then a different verse form [at the lesbian commune]. So the lesbians, when they are not
ii "Kathleen Oliver ■
having to pass as straight in the straight world, speak in this other verse form, and then when they are
speaking to straight people in the straight world they speak in heroic couplets. I thought initially I
would have the [godparents] stuff in verse and the lesbian commune in naturalistic dialogue, but
then I thought, that's not really accurate because it's not like lesbians aren't circumscribed by their
own set of conventions.
Exactly. Well, that's really interesting. So, what about the idea of a play reading? What does
that mean as opposed to a regular piece of stage theatre?
This is sort of a step on the way to a full production, an interim step that will allow me to hear it being
read and to get a sense of how it's working.
Will someone else be directing this?
Yes. Kathleen Weiss, who's the artistic director of Women in View, has been working with me for the
past several months as my dramaturge, which is someone who -1 didn't know the word dramaturge
until a few years ago.
always thought it meant dramatic urge .
[laughter] Yeah. So, [Kathleen's] been helping
me develop the play. She's the one who has
more experience in the theatre, and I find it's
really helpful to be working with someone who, when I bring her something I've written, can say, "Well, why is this character doing this? That seems inconsistent with this aspect of their
character. What if they were doing this instead?" So that's a really valuable person to have, and she's
going to direct the actors in the reading.
What about the enigmatic name Swollen Tongues'! Where did you come up with that?
Swollen Tongues actually came from a poem I had written a long long time ago when I was a student
at Western, for a restoration literature class. The poem was actually in heroic couplets, and the idea
of 'Swollen Tongues' - the line was about this character in The lUiad who, for being overly vain, is
struck dumb by the muses because he boasts that his singing could surpass theirs. The line was
'Cursing in jealous rage at muses honey throats/his dumb tongue swollen with unuttered notes.' The
idea is that the tongue swells with the things it can't say, or the things it's biting back. There are a lot
of elements of lying and secrets and silence in this play, so there are lots of swollen tongues, because
everybody has a secret that they're keeping from someone, or everybody tells lies to somebody else,
or everybody is being silenced in one area or another. The action of the play is about all of those
things coming to light in this sort of freeing of the voices.
Alright Thank-you.
SivolUn 'Tongues
DBCORDER: Tm Natasha from CITR and tm here at Off* with Unci. Wong.
Linda: Hi, I'm Linda Wong, I'm the playwright for Images in the Cloud. Ifs
a play about daydream i ng. The main character. Fay, is trying to separate her
life from daydreaming and reality, and she's having a bit of a problem
because she* externalised her imaginary friends and they've sort of taken
ewer her life.
Have you had experiences with imaginary friends yourself? Do you
have any?
I have plenty of imaginary friends. My imaginary friends grow with me as I
grow up. I dont think they ever leave me They're fun to talk to, they sort
of help me with problems if I'm not too sure.
How docs the Imaginary friend become a vchide
In your play for Fay, who's the main character?
Her imaginary friends help her cope with her life,
because she's extremely dissatisfied with what she has,
and she doesnt know hew to change it. It's her way of
escaping her responsibility and changing it.
In the play it sounds Ike you're Introducing all
these elements that have all been associated    '•••».. "*
with children, like daydreaming and Imaginary
friends, Into the world of adults. What mr* your
thoughts on that?
Well, as adults, we actually do daydream, but we're
not allowed to use the word 'daydream'. The world
of daydream is for children. It sounds so innocent and
And sweet
Yeah, sweet But, for adults, we fantasize* we dream about erotic stuff, violence, espionage, illicit little things that run through
our heads, like killing our bosses. I fed that adults should be
allowed to daydream, because if we dont daydream, then   A
how can we think beyond our boundaries, to go beyond them?
I'm not talking about sexual boundaries, or taboo boundaries,
like taking illicit drugs or whatever; I'm talking about opanding ourselves personally, to see ourselves somewhere else, other than
where we are now. Our fears, our anxieties, insecurities - ifs hard for us
to overcome them, and I think that if our imagination sees us overcoming
those particular problems within ourselves, then maybe we can translate that
into our real life, to push ourselves, to go beyond [those problems].
What events In your development as an artist led up to you writing
this play?
I started out as a film-maker, but I discovered that I didnt learn enough
about the more creative aspects of film-making. I learned about cinematography, lighting, and sound, and thafs all really important, but the
other important part is the script. I'd never been taught how to write a
full-length dialogue in a script, and I thought, "Well, where, a good place
to start?. I figured, in order to learn how to write a really good dialogue,
you might as well learn how to let your characters talk. [And] the theatre is
a perfect venue [for that]. People are allowed to let their characters talk in
that particular venue, so why not learn how to let your characters talk in
order to not let them talk in a film? 'Cause film is just short, snappy dialogues, whereas the theatre is long dialogues where you can go on forever.
Vou mentioned something carter about a clowning workshop. How
dM that help you write this play?
People were reading the stuff I'd written, and they were laughing, and I
just thought, "Wait a minute, whafs so funny about this? I didn't mean it to
be funny!' But it came across as being really hysterical, and I thought this
must have had to come out of the fact that I took this clcwning workshop.
I've never been able to make people laugh, and at the clowning workshop I learned a lot about comedy and about timing, how to make people laugh, what doesnt work - things like that. I think I'm at the point where
I can deliberately do that new, find the       /»   (*a'Ul
right rhythm, you know? I'm e* fU^,"    9
not completely there yet
Women in View festival,
for me, is a big
test to see whether
can reach out to a much
larger audience than just a group of
people I knew.
;%_. When you were talking about dialogue and how
A real dialogue is, and chokes about that - what
f about the Chinese that you use without
I really dont care. I feel that by putting out a play thafs not issue-oriented,
and to have Chinese characters - or Asian characters, for that matter - in a
play, is in itself a political statement. If I dont have to bring an issue about,
why should I? I dont see white people talking about why the/re white.
Not everybody's life is consumed with issues, and I feel that there are
enough plays out there that do issues really »
well. If my play is meant to entertain, •    ^ f
make people laugh, to
enjoy, to forget about
life for a little while, so what?
Why should that thought of 'entertaining'
belong in the realm of television or movies alone?
Do you think Ifs impossible to combine humour and
IVe done that on purpose because we don't
translate what we say. I mean, who's ever done that
in their life? We talked in jargon, so we translate it? We
dont. Not everybody knows the word 'esoteric', but
I don't translate that for people,-1 assume they know
I    it. We dont talk like that - it breaks up the flew of
/t£*        natural conversation.
*Z{> Have you found that foreign languages,
C_V~       especially Chinese, and Chinese peo-
^jg jf*: ^®Zs*v~   pl*' h*v< been misrepresented
W /4r that way? Or made to seem
" - %£/f^      unnatural because of
££*        that translating?
Vfeah, I think so. I mean, you go to an opera "sY~
and ifs all in a foreign language. We get subtitles.        ^Q f>
And I thought, 'How come we watch operas in Ian- +£*
guages we dont understand?' I dont understand German, ^Zf>
Italian, or French, but it seems natural to us to hear opera in a foreign **_x
language. So, if someone's doing a person of another culture, we have to
decide, as writers, whether to deliberately do it all in English, or insert little
cultural dialects in there to make it seem more real. Maybe ifs a lean towards
realism. IVe seen that in film, in particular - they're allowed to do that.
We also discussed earlier the issues of not having 'issues' In your
play • how do you feel about that? Do you think people will critidsc
you, or do you care?
entertainment with education and awareness-raising about
issues? Could you write a play about racism that could be reaty ftjnny?
I think thafs very difficult. You have to be a really sensitive person, and a
person with a lot of knowledge, in order to write that and to understand
what you're writing about. I dont feel I have the skills to do that. Ifs not
^^vci easy to watch a very difficult subject and be entertained by it. Ifs
not an easy separation. You can be, if you want, entertained by a serious
subject, but it has to be in that particular tone. You watch certain plays
where the theme is this subject we dont laugh [at_ but we're entertained
by the fact that we're provoked to think. I think that in itself is different. If
you mean by entertainment making people laugh about issues that are
really difficult, the writer has to be really sure of what he or she is writing
because the chances of you offending people are pretty high.
On both sides.
On both sides. You cant please everyone, let's face it. You can't compromise yourself so much so that you please everyone [If] it's a melted-dcwn
version of what you intended, that can be a really serious compromise of
your integrity as a writer.
What arc your plans for after this play • arc you working on anything new?
I'm working on a screenplay at the moment, but I also would like to
expand the play some more and work on it, 'cause there are some problems with it [that] I'm aware of. There are dialogue problems, and, maybe,
characterization [problems]. Thafs a really difficult job, I think, for a writer,
to make sure all your characters -
Are ft*
Are full, or believable. That they're actually full-fleshed, 3D, and the audience will take them as individuals.
How did you get involved with the Women in View festival?
Kate Weiss had approached me about submitting a play. My former mentor in the workshop that I originally did had mentioned that I had a play
that Kate might be interested in. And so, when Kate called me I just sort of
rushed off a copy and gave it to her and just hoped that she would like it.
And she did. I'm really ecstatic that she decided to take it on.
And so arc wc. Thanks a lot
Thank you.
Photo: Shawna Dernpsey in Arborfte Housewife. Pic by Sheila Spence
a? Eigg°mim Nardwuar:  Who arc you?
Lydia: I'm Lydia Lunch.
And who are you?
Exene: I'm Exene Cervenka.
Hello, Exene, it's a pleasure to sec you here. I
didn't think you'd be here
Exene: Why?
I don't know, I just didn't think you'd be here.
It's a pleasure to sec you, Lydia Lunch.
Lydia: Hmm. Thank you.
Now,  Exene,  does  anybody ever get  Lydia
confnscd with Lena Lovich?
E: No, I think they get Courtney Love confused
with Lena Lovich, don't they?
Like, Lydia Line* - Len Lovich. Any comparison?
E: Next question.
L: I see no comparison.
Right now you're very hungry, right?
L: Well, that doesn't matter. I'm hungry for an
intelligent conversation, which I've yet to find.
Lydia Lunch, do you stfll want to commit suicide?
L:  I never wanted to commit suicide,  but
ready for murder.
Were yon at all interested in any of those
New York bands?
Like the Dictators or the Kiss, or those type of
E: What?
Do you still
E: Oh, I
mt to commit suicide?
did. When?
Who are the Paley brothers?
L:   What   does   it   matter?   Two   hot   young
fucks from Boston.
Now Lydia, did Jonathon Paley once pay to
have sex with you, or did you once pay to
have sex with him?
L: No, neteher, neither, nor.
Wei, according to this Ben is Dead magazine, this
little article then, K says the Paley brothers •
L: Look, anyone that can remember back 17
years has a better memory than I, right? So if
you want to interview lonathon Paley, maybe
you should do that.
Wei, just looking at this article and it said, "Ljdh J'
L: It's so irrelevant.
Well, this is a new magazine you were interviewed for yourself.
L: Yeah, it was, so what - I guess you believe
everything  you  read.
In the interview it said, "Lydia would say,
'Jonathon, please come home and fuck me'."
And he also whipped you. And I'm trying to
give you a chance to get back at those
homeboys. What is going on there?
L: There's no reason to get back at him, it's 17
fucking years ago, and it doesn't mean
diddleyshit to me, friend.
So you have no recollection of it, or no mterest hi it,
and you never ever want it brought up again.
L: I don't give a shit. It's your fetish, not mine.
OK, I will adhere to your rules. Now, are you
aware of some of Lydia's recordings with Blixa
Bargeld at all, Exene?
L: Some? There was one.
E: Oh, a little.
The Thirsty Animal release. There's a bit of
screaming there at the end. Now, the rumour
was that Blixa was tied up and whipped with
chains • what's going on there?
L: He probably was, but I think it was Mufti
that was whipping him with chains, since I
couldn't really come five feet within his aural zone, because the man stunk of rotted
fruit and vegetables so much, maybe it
from   never   changing   his   rubber   pants,
You don't like the past, do you, Lydia?
L: I live in the future, and the present.
Exene, you like the past.
E: I like parts of it.
You went out with Stiv Baton, right Lydia?.
L: I went in and out with Stiv Baton many times,
I never went out with him.
Does it annoy you that a lot of people who
worship the Dead Boys, does that bug you, that
a lot of people worship them? I mean, the
Dead Boys, man, the Dead Boys' Stiv.
L: Hey, the Dead Boys still fucking rule, and that
one of them's dead is even better.
Yeah, Kiss, they're straight out of New York.
L: Jersey, I think.
You never had any run-ins with them in the
early days?
L: Sure, 1 had run-ins with all of 'em. I ran into
almost every hot man in New York in the late
'70s - would you like a fucking encyclopaedia
listing of everyone who I've fucked? You can't
have all night.
Why did Belinda Carlisle end up marrying a
E: Because she's a Republican, I guess.
L: I guess - I don't know. You know, we're very
entertained, but you have to get to something
that  we  care  about.
OK • the Cramps - please, Lydia, the Cramps.
Brian Gregory - the Cramps.
L: What about Brian Gregory?
Do you ever correspond with him anymore?
L: I haven't seen him in 15 years.
You don't know what he's doing?
L: Nah, I think he's rotting and probably trying     to     overcome     his     flesh-orientated
amoebic    infestations.
'Cause Eight-Eyed Spy kind of had some neat
tunes, didn't they - you know, "diddy-wa-
diddy" • that's kind of Crampsian.
L: It's not at all Crampsian.
Stiv Baton called me up and sa
nwra's Ms oin from Cleveland who really likes you. She's
hart tight now Ware all going am to Lytftas house to lava
a party. Wiy dont you coma overT I m Ilka. *Ofcay. great* S<
I go over thefe. and we all got naked, and Stiv started whip
ping he. wttti his belt He was whipping her. and Lydia was
giving har head, saying, "Isn't this the moat beautiful pussy
you've ever aaanr and wt took aims doing that, doing alt
Mods ol nasty sax Wngs...
Ben is Dead interview by: Daxby
Ben Is Dead address:
P.O. Box 3166
Hollywood, CA, USA 90028
Well, it's kinda garage-y, at least.
L: Yeah, OK.
So you never raly bid any rftWty with those guys?
L: I found some affinity with the Cramps, sure.
What about this goth thing - would you not say,
Exene, that Lydia • when I think your name,
"Lydia Lunch'V'Lena Lovich", I kind of think
a bit of goth. The Cramps got goth, too. I
think a lot of New York bands got a goth
following. What is goth, and have any
goths been coming out to this Rude Hieroglyphics tour?
E: I don't know, I don't care.
L: Look, Nardo, goth has nothing to do with
me. It's like saying, you know, everyone with
black hair looks like Siouxsie and the Banshees.
I mean, you gotta get with it, dude, you know,
you're categorising is just making no sense to me.
You know, like, there's people coming out to
gigs, and you go, "Oh, there's the goths" -
L: Who gives a shit what they look hke? It's what
they think about that's important. Look at you
- I mean, if you came out to my gig, I'd say,
"What is this, like, hockey fan doing at my
fucking show, this guy Nardo, what is this all
about? I mean, this guy is, like -"
Nardwuar the Human Serviette, Lydia Lunch.
L: [to Exene] He is kind of as irritating as you
said he would be. [to Nardwuar] But, I mean,
what does it matter what people look like, it's
what they fucking think or do.
All I'm referring to is • you know Down by
Law, don't you?
E: You mean a movie called Down by Law!
No, that Dave Smalley guy, you know, straightedge - "I don't drink, I don't smoke, I don't -"
L: I don't give a shit.
Well, he says • I heard through an insider, an
industry insider, that Dave Smalley, he really
does still drink, even though he's supposed to
be straight-edge, but he still, you know, tries
to maintain the image to do it for the kids. I
mean - are you doing it for the goths
E: You're so funny. You're so silly. You know what -
No, we're not finished, we're not finished, a few
more questions.
E: We don't know who that is. We don't know
who that is, and we don't care. Because we
don't know who it is.
After working with, hke, Richard Kem in his wild
movies - what's the deal on that good-looking guy, that, like David Wojnarowicz guy?
L: I don't know who you're speaking about.
He's in the movie Stray Dogs. I really love the
way he looks. Where is that guy right now?
L: He's probably dead, since I have no idea
who you're fucking talking about.
In those Richard Kern movies, one of the
Richard Kern movies.
L: There's a hundred people in the Richard
Kern movies. Get your facts straight.
OK, how 'bout the - do you like the knife - what
is that knife that Richard Kern uses - I love it -
you just squeeze it and the blood comes out.
L: [Rather acerbtcly] That's right, it's a blood knife.
I love the way it's the same knife every time.
L: Well, that's right.
And how 'bout that pistol, you know - you
came in close physical contact with a pistol.
Was  it  cleaned  when  you  came  into  close
touching contact with the pistol?
L: Before or after?
Well, before, before you came in contact with it.
L: I don't think that was necessary. It was well
greased   and   oiled   and   cleaned   the   way   a
good   machine   should   be.
Right after these Richard Kern movies, you
ended up collaborating with Billy ver
L: No, I think it was before that. You gotta get
your history straight, buddy. Billy ver Plank, like,
Now, this guy's interesting. He's into Flintstone
cartoon movies. You go from blood to
Flintstones? What's his background, Lydia Lunch and Exene?
L: Well, he wrote all the music for The Flintstones
and lots of cartoon music during the '50s, '60s, '70s.
It's kind ot a contrast, isn't it, to go from Richard
Kern to, you know, cartoons?
L: You got it backwards, buddy. I went from
Teenage Jesus to The Flintstones   soundtracks
to Eight Eyed Spy to Richard Kern, and many
things in between, which obviously you don't
have  notes  about,  but that's  OK,  because  I
don't have time to sit here and document my
entire life's history.
Who is God?
L: I have no fucking idea.
You know, your routines - who is God?
E: That's not our routine.
I thought God is cock, Lydia Lunch.
L: God does not exist.
Is there anything good about religion? Is there
one good thing? Like, I once knew these old
Russian ladies, and they were dying, but they
really, really liked religion, and they had something to look forward to. I mean, could it now
be good for them, they're about to die and,
like, they die in church, isn't there anything
good about it?
L: That's what the problem is with religion, that
it's an organised, corporate conspiracy to
steal people's money by brainwashing them.
What is good about religion is that it gives people something to concentrate, to focus on, to
hope for, because their lives are so petty and
insignificant that they just can't face the fact
that when they die, it's over, and worms eat
your fucking guts.
Do you think that A.I.D.S. is a form of biological warfare advanced by the C.I.A.?
L: That's one possibility.
E: Well, it's probable, isn't it? But maybe not
the C.I.A. There's other organisations that deal
with that more than the C.I.A. would.
Like who? Like, A.I.D.S. started in Japan at the
end of the war?
E: No, it started in the United States, the World
Organisation of Health [sic] -
E: World Health Organisation, Centre for Disease Control or accidental laboratory experiment on animals, or ineptitude, or, you know -
L: Look, I don't know why people are so upset
about A.I.D.S. because, if we go back in history -
You think A.I.D.S. is hilarious, dont you?
L: No, I think it doesn't kill as many people as many
other plagues that we've had historically. If we
want to go back to the Middle Ages, or even not
as far back as the Middle Ages - I mean, the louse,
my favourite animal, has personally been respon-
O o
f4   MARCH 1996 siMe for wiping out more men, and I do mean
'men', than bullets, bayonets or bombs. Because
the louse spreads plagues, and there's been many
plagues which have been far more devastating, more quickly disseminating, than A.I.D.S.
People are all in an uproar about A.I.D.S., and
it's only because, in our immediate lifetime,
we can't remember the bubonic plague, we
can't remember the sweating plague, we
can't remember the laughing or St Vidas
Day dance; we can't remember these plagues
which infiltrated Europe, wiping out people in
2 or 3 days.
You wrote a comic book about Dymphna -
who's Dymphna?
L: Dymphna was a saint, considered saint of
the sexually insane, because her father was a
pagan  king  who,  once  the  mother  died,  insisted  the   daughter  become   queen,   she   refused, ran off with a priest in Antwerp, near
Belgium-Holland    border,    and    her    father
tracked   her   down   and   beheaded   her,    because  she  would  not,  indeed,   copulate.
That was a comic book that you put the words
to, and somebody else illustrated, right?
L: Yes, he's also dead, Mike Matthews. I have
another comic book coming out in the fall with
Ted McKevers.
Is that on Fantagraphics?
L: It will be on D.C./Vertigo.
Hello, how are you doing?
L: I'm perfect.
Exene, how're you doing?
E: Oh, I'm perfect as well.
Why did you guys want Courtney Love's recipe
for Prozac brownies?
L: Do you want me to kill him now or later?
E: We don't, we don't, we were just making a
joke. On the record. A joke.
'Cause you told Lisa Suckdog that you once
faxed Courtney, or Courtney said that you
once faxed her while she was on KROQ, and
you were saying -
L: Look, this is how pathological Courtney is. I
was living in New Orleans while she did that
radio interview. I don't see how I could hear
KROQ in New Orleans and fax her at the time.
So you didn't fax Courtney Love saying "Stop
trying to cop me"?
L: No, I haven't. Other people can do that for me.
I have no desire to have any contact with her.
And she offered you money and you took it.
E: No, no - that's the problem with the technological  age,  this  is  the  problem  with  the
anonymous age of disinformation, is everyone -
This is the problem with RolterDerby, this is Lisa
Suckdog's information. If you can't trust Lisa
Suckdog, who can you trust?
E: You're not gonna let me say one fucking
thing in this whole interview - is that all these
anonymous  people  pretend  to  be  other  people, and it's like, it's the medium of the coward and the liar, is this stupid computer thing.
L: And that's why it's perfect for Courtney.
But this isn't the computer. I got that out of
E:  No, but that's how that stuff gets passed
'round. You said it was faxed. And you said,
you know, that people  called.
L:  You're  quoting   these  shitty  magazines
which don't have one iota of interest in the
real truth, and it's all perverted through historical   backlog,   and   people   are   so   consumed   with   other  priorities   that   what   do
these   petty   details   mean   anyway?
Who put David Byrne and R.EM, on the cover
of Time magazine?
E: What year?
No, who put them - who made those people,   Lydia?  Who   are  those   people  that
you'd like to identify?
L: I don't give a shit.
You don't care about those people who put
David Byrne and R.E.M. on the cover of rune-
magazine, you don't care about those people? Isn't that what you're out to do, you're
out to destroy those people.
L: I don't care about Time magazine.
But you don't like those people that are out
there, that magazine - those people are the
root of all evil.
L: Don't you have time for yourself. You're so
preoccupied with everybody else's past,
where's your own past or history or future? I
only have concerns about the world-situation,
and my part in it, that's all I'm concerned with,
and at that point, I want to close this interview.
Lydia, just a few more little quick questions here.
Do you always win? You're beating me here - do you
always win?
L: Of course.
You were poshed through a plate-glass window at
L: Wrong.
L: You really need to do your homework
You said that in your speech!
[Laughter from E & L]
L: And everything I say is completely factual.
OK, what about Nicole Simpson's breast implants •
were they popped?
L: Ah, that's Exene's line.
Were they, Exene?
E: Mmm-hmm.
What's your take, Lydia Lunch, on Howard Stem's
L: Come back with a token of reality under your belt
and I'll speak to you then.
Exene, have you ever partied with Annie Sprinkle at
E: No I haven't
Anything else you'd like to add to the listeners out
there in the land?
L: Ur - do it yourself.
Why should people care about this Rude Hieroglyphics tour with Lydia Lunch?
L You shouldn't [laughter] I don't give a shit what they da
They should do like I do and do it them fucking selves and not
believesecond-handinfcrmatkinforce-fedtothembypeople    j
who don't know whet they're fucking talking about
So do you have many Canadian friends?
L: My father was Canadian, and I don't consider him a
friend, but he's dead, so I guess it doesn't matter.
Were you bora in Canada?
L: No, I wasn't
Your Dad was Canadian • this is amazing, Lydia   ,
L: Well, this is the first you've ever heard of it, and it's   ,
Where was he from, though, in Canada?
L: Kitchener, Ontario - now, goodbye.
Any relatives we can hunt down? . I
L: No, they're all dead, I'm an orphan.
That's interestm****, because Miriam Lima, you know,   .
Miriam Lama, original drummer for the Cramps?
L: You better stop, because you're forcing me to violence now [laughs].
Miriam Linna is Canadian, do you know her?
L: Yes, I do.
She's cool, eh? Wasn't that mean of them to kick
her out?
L: Please, Nardo. You're out of line.
We_, keep on rocking in the free world. Doot Doola
Doot Doo...
E: No, I don't do that. I won't.
RT    MARCH ft
„„.,„-«■, »,»,iu-iu- aaa-w^i     iTlHnull 10
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Rollerderby interview by: Lisa Carver
Rollerderby address:
P.O. Box 18054
Denver, CO, USA 80218
with guests
Friday, March 22
Starfish Room
Doors 9pm • Show 10pm
Tickets also available al Track
**■■.   ■•■■■        ' :    ..
O^Wi tUAAM     +\ A tiresome debate is still raging these days
as to whether or not it's okay to be gay.
"Live and let live" is the civil solution;
no need for bashing and gay persecution.
But queers are ignored, and often despised
by those who can't leave us to live our own
Fear and ignorance would seem the rule
when many with power are homophobes ar
Poor Jimmy Swaggart, the Christian defender
was caught with a prostitute of the female ger
Would Jimmy suffer the same fall from grace
if he were caught sitting on Falwell's face?
<d fools.
"No marriage, no benefits, adoption is outl
You're all spreading AIDS and sexual doubtl
It was all so much easier in less liberal days
boys seduced girls and the world cried 'hurrayl'
Now promiscuous women who dress as they like
are parading the streets and are proud to be dykes.
This queer pride and out-ness must cease and desistl
We'd be oh so happy if you didn't exist."
Of course sex isn't everything, but it's become the c
to deny it is like saying we've no issues of rat
It should be no-one's business what we do in
but it matters when bigots pick fights and roll head;
No-one is preaching they must become gay,
but they are demanding we do it their way.
They are insistent, we must all live the same;
they decree that our sex lives be hopelessly tame.
These conservatives tend toward anal repression -
but the probing of queerness is still their obsession.
"It's sick" says the Right, but who wants to know?
Why do they care who we fuck, suck or blow?
, fct
_> :3re
It's been called a crime, it's been called abuse
by people who waste all their effort and juice
on misguided crusades to dictate others' actions.
If they hate gays so much, then what's the attraction? C
"Get back in the closet and give us some room
to guess what you're doing in there with the brooml"
Perhaps it is time they all took a vacation
and withdrew their gaze from the butts of the nation.
>    1
and i:
ivhat they claim to hate:
while silencing queers with their vicious debate.
They protest our existence and the fact that we're born -
i while furtively leafing through lesbian porn.
I Could they be worried of missing the fun?
Could they be jealous of the sex that they shun?
Could their outward revulsion belie a desire
ix partners they wish to acquire?
Preston Manning, as always, is eager and keen
to be outraged (maybe tempted?) by queers that he's s
And that is the nature of true western Reform:
to do what you will while enforcing the norm.
Our enemies are riddled with hypocrisy,
words mismatch behaviour among the bourgeoisie.
All these conservatives we're righteously blaming -
these religious right-wingers could be secretly flaming.
Political candidates worry what's next,
they've confessed to dope smoking, and soon to sex -
they weakly protest experiments with fellatio:
■ "I tried in the '70s, but I didn't swallowl"
When Clinton was jogging in Vancouver last,
he brought FBI agents to watch his ass.
'Hand-picked bodyguards' for his protection
with the ability to jog despite an erection.
Of course Mr. Harcourt (though you could never tell)
performs questionable acts with Macrnillan Bloedel.
But he shouldn't deny it, he should be proud
to be building a province where queers are allowed.
Evangelical crusaders have always been suspect,
their heterosexuality an unlikely prospect.
Jim Bakker may not be out as a fag
but with the wigs and the makeup Tammy must be in drag.
I If L Perhaps Jerry Falwell
iuld then a
» might even come out on the side of the queer
id find love in his god instead of just fear.
Newt Gingrich is causing a ruckus I hear;
'family values' his weapon against peace-loving queers.
The nudear family is his ideal, of course;
he proclaims its propriety as he signs his divorce.
Newt and Rush Limbaugh, thank god for your luck.
You've found in each other a bigot to fuck.
No one could love them, not even a mother -
they should see the light and marry each other.
.' These two homophobes are a match made in heaven;
I I their wedding would headline the News at Eleven.
Now who is the Bottom and who is the Top?
They're both power mongers, so they'd probably swap.
sill   re
::: -n   ■ • •
Homophobes enjoy their cozy befriendments
penning (cheek to cheek) anti-gay amendments.
The motto of the Right is insidious swill:
"I can have what I want, though no-one else willl"
A Catholic example is telling and true:
remember the priests who found little boys to screw
while preaching against homo- and hetero-sex;
it's an abusive dogma, we see by the effects.
So often they practice what they preach against
and in some perverse way, it makes perfect sense:
in the oppression of queers they are rigorously active
for what is forbidden is made more attractive.
T    i ■ »-» ■ ■ ■   * Some boys in the Legislature aren't after lasses
they stare and drool when Svend Robinson passes.
)|        nOl      But he is a rebel, he defies protocol
MPs are concerned Svend will snitch and tell all.
| p^ [broad can't buy a role model these days.
I Jr\ [Polarized, fractionalized and marginalized
politics have left those of us who consider ourselves
first as humans and second as females not only cynical,
but down-hearted. The modern woman's dilemma
faces me daily: should I shoot an abortion doctor or
become a lesbian for political reasons? I'm not exactly hankering for the good ol' days of fanny-patting
and bra-burning, but the current situation sure makes
a convincing argument for ambivalence.
That's why, as far as the false microcosm of
Hollywood is concerned, I usually just shut my mouth.
"Nothing has changed, nothing will change" is not just
the motto of my generation, it's the one lesson history
has taught me. In that star-making suburb of LA the
rules have always stated clearly that box-office
receipts and the dicks of the studio heads dictate policy. Hollywood marketing types tell us again and again:
women go to see men's movies but men would rather
bake cookies, knit a sweater, or eat their dog than go
see a 'woman's film*. Most directors (the Director's
Guild is more than 75% male) use this 'fact' to relieve
themselves of any compulsion to create believable
female characters in their films.
"It's what you call a male pornographic fantasy. Onthe
one hand, you 've got your seductive sex-goddess type.
On the other, you 've got a healthy girl-next-door with a
nice butt. So men get it all. Madonna and the whore."
-from Dazed and Confused
Bound to include the 'babe-quotient' in each film,
'big-money' directors and producers use women as
objects of the lead actors' devotion (the madonnas) or
lust (the whores). This isn't to say that the madonnas
are always virgins and the whores are always bookers:
Julia Roberts in Pretty Woman was a madonna, Glenn
Gose in Fatal Attraction was a whore. Maybe they've
been hanging out in the "blow me and I'll make you a
star" capita] too long, but most movie roles for women
are formula types created by people who seem to never
have met a real, living and breathing, woman.
The problem is especially prevalent in the realm of
'reality' cinema. Most Hollywood biographies and historical epics deign to give their male leads few minor
flaws but make sure the female characters are firmly in
their places, either legs in the air or faces in their hankies. Recent examples have included Sissy Spacek in
JFK (weepingly possessive wife holding husband back
from greatness), Kathleen Quinlan in Apollo 13 (weepingly faithful wife holding head up in face of husband's potential demise), and la French chick [Sophie
Marceau - ed.] in Braveheart (poutingly easy princess
giving noble hero bad king's secrets). The people who
created characters like these deserve to play "The
Narcissistic lerk" in a biographical TV-movie that will
be written and directed by their wives, girlfriends,
mothers and associated starlets.
Intentionally less realistic cinematic ventures are
often laughably worse (check out the "Standard Chick
Role" in Nine Months, Under Siege, or the first
Batman movie) but sometimes are marginally better.
Though her mammarial appendages up-stage
her for most of the
film, Patricia Arquette's Alabama does get to tango
mano-a-mano with a hired goon in True Romance and
in the Aliens series Sigourney Weaver's Ripley usually manages to leave her uterus out of it
The last movie diat shook film-goers out of their
Joel Silver-induced stupor was Thelma & Louise. An
ambiguous diatribe masquerading as a feminist statement, the reason the movie was so fun to watch, and
subsequently did good box-office, was because it was
different It pretended to say something 'meaningful'
(about abusive husbands? about rapists? about cowboy
bars?) but its real message was mat women just want to
have the same rip-snorting, jean-peeling, oil-rig exploding good time ot screen that men get to have all the time.
Women change, grow, feel, lust, fuck, and lie there like
doormats while some guy pumps them full of semen but
they don't exist merely to help the men in their lives
become fathers, heroes or existential misanthropes.
Moving back through the annals of time, where the
Zero Hour is 189S and we only exist as we appear on
celluloid, there have been some prime examples of the
land of film female the screen needs more of. Whether
they're bad girls, rich chicks having fun, stately
matrons, career gals, or tortured st _ls, the directors,
characters and actresses agreed for once that they
would not play it like it had been played so many ti
before. As a result, they've achieved the immortality
that every ego who has ever worked in Hollywood has
dreamed of for themselves since the day they were bora.
Of all the great women on screen, I like the bad
girls best Often Hollywood uses the bad girl to reaffirm the hero's essentia] goodness, to himself and the
audience. Once in a while one comes along that's so
bad that she's an entity, and a movie, unto herself. To
qualify as a true Evil Bitch, one must be stylish, smart,
and firmly, though not obviously, in charge.
Cartoonishly exaggerated women need not apply, but a
heady dose of fantasy is acceptable. Above all, ruth-
lessness rules. They may not be role models, but at
least they have some fun. They play the 'hero' like a
Stradi van us and in the finale, show him that he's really a dime store banjo.
When Sam Spade (Humphrey Bogart) first meets
Brigid O'Shaughnessey (Mary Astor) in the 1941 classic, The Maltese Falcon, he's charmed by her demure
helplessness. Though she initially seems as innocent
as a spring lamb, Detective Spade eventually learns
that he's the one scheduled fcr the slaughterhouse. In a
stunning performance, Mary Aster slowly opens up her
character like the last present under the tree on Christmas
morning, revealing only what she must until the film's
last minutes when Spade finally learns that the Grinch,
not Santa, delivered this ticking, stinking bomb.
t€   MARCH 1996 O how they hush up in fear of being found [£♦*.•
or losing the power to grind others down. J*t*****t,t***t*****'»
They uphold a tenet the nations hold dear: &+•+»*•+!*&*•*•*•
the inalienable right to be secretly queer. ££♦!
But what of the right to be out and proud? ££♦*
To be true to yourself and to say it aloud? >*J*J**v >£"'.*!%
Why should the judgments of others decide £££__£___$*_
who we love, who we fuck, how we feel inside?
If they loosened up and lost the fascination, let
queer life be without fear and titillation;
maybe they'd even get in on the scene.
(Maybe those closeted could finally
'Normal' is non-existent, difference is all; |>
we shouldn't be made to feel fucked-up and ;"
Desire is not evil, it's not weird to be queer. J,
We've nothing to lose except sexual fear. j!
Anna Friz •',
at fl^ljfr'   ?     I
■,w_ rw<*r    f
id se: u     W
J~-l.       Sv>
In the '40s noir masterpiece Double Indemnity,
Phyllis (Barbara Stanwyck) makes no such pretensions to innocence. In fact, that's what insurance
salesman Walter Neff (Fred MacMurray) likes about
her. She's a bored, rich housewife, ripe for the plucking, and he's not adverse to a juicy piece of fruit now
and again. It's not until her newly-insured husband is
dead and the nose of Neff's fraud-sniffing boss starts
twitching that our Mutual of Omaha Romeo realizes
that his Juliet may have an alternative ending for
their little play. Like the audience, Neff only slowly
finds out that the iciness he thought was Phyllis'
ennui was really a remorseless devotion to herself.
In her slightly ironic smile and her leaning posture
Stanwyck's Phyllis gives the audience a glimpse of
her character's truly devilish nature through a gauzy
veil that never shows us so much that we'd hate her
but tantalizes us with the raw power she can wield
when she wants.
The Last Seduction's Brigit (Linda Fiorentino)
shields no one from the dark forces bubbling inside
her. From her opening scene as a telemarketing floor
manager to the murderous culmination of her hard
work and planning, the audience and most of the
film's characters think they know exactly how bad
this girl is. That's her charm. TTiey just tend to underestimate her smarts. Small town beef-cake Mike
(Peter Berg) is initially intrigued by her caustic put-
downs and big-city sexual appetites. Her immorality
gives him a few troubled moments, but any qualms
about their relationship are quelled by her smooth
manipulation of his more tender nature. Soon, he's
committing felonies and sitting as pretty as a picture
in the elaborate frame she's built around him.
Fiorentino was rightfully lauded and wrongfully
barred from Oscar contention for her dead-on portrayal of Brigit, a woman who rarely counts on her
fingers and never moves her lips when she reads.
With time and space I could conquer the universe
and expostulate on other masterful female performances and characters, iron the frothy frivolity of
Myrna Loy's Nora Charles in The Thin Man to the
sad grand dame-ness of Katherine Hepburn's Eleanor
of Aquitaine in 77ie Lion in Winter, from the bullet-
speed banter of Rosalind Russell's Hildy Johnson in
His Girl Friday to the molasses-slow drawl of
Lauren Bacall's Slim in To Have and Have Not,
Hollywood has proved that it can create women worthy ofthe time it takes to watch them -
?.:;.> only hope that the ballsy broads
—       of movies past aren't
'entirely forsaken
manager to the murderous culmination of her hard Jl                 only hope that the ballsy broads
work and planning, the audience and most ofthe V                            jan      of movies past aren't
film's characters think they know exactly how bad W^ifm.              ^^^jp* entirely forsaken
this girl is. That's her charm. They just tend to under- JgfMJjP1 **Ji__^_i__Lw #'n *** movies of
estimate her smarts. Small town beef-cake Mike gjiM   *?    - ' IP-^'HJj^W^J-jJ the future.
^^*)^^^*    By Tania. .Aleksoi-v
0n3rldau,  Warck 8tk, //'.
international  lAJomen 6 cJJau,
COR 101.9 fWii ceUratinf witk
a full dau of explorina women _»
idtuedf mudicy dpohen word, and fun!
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10am * Opera
11am* Ska
12*30 * Suffragette movement
1 pm * South American women
2pm * womennoise
3pm * Women of Colour panel
4pm * Blues
5.30 * Self-defense
6pm * Retrospective of Feminist
9pm * Asian women
10pm * Live from Thundergirl Radio
Hell - live, loud, and proud, w/
Vancouver bands
Paizuli & Puncture
11 pm * Late-nite sleaze-fest
12am * Women in techno/electronic
for more information, call C,iZsr\  (CO,  822.  1242
i A'--, • , .   x I 'tied modified
separatist Jodi
fe, singer and
itarist forTeam
Dresch, drummer for
Hazel, and co-organizer
of the Free to Fight
d/zine compilation,
ild consider work as
unatrix wtre it not
for the absence of
butch role models in
the business* It would
\inry pay a lot more
\unk rock and be a
f opportunity to
some boy ass. In
meantime, like a lot
she needs other-
constructive - outlets for her anger
against men.
cifically, outlets that
>n'f land her in jail,
en my recent homici-
\l terrorist fantasies I
most excited about
the opportunity to vent
a woman who knew
z score but wasn't
frightened into
compliance and was
getting stuff done.
(Crista: What really pisses you off these days?
Jodi: Domestic violence. That's the number one thing.
Violence against women. That's what pisses me off.
Every single day I try to convince other women that
we need to dedicate our lives to eradicating all violence against women. Every day.
So this Is where the Free to Fight compilation is
coming from.
Yeah. It came about because I was sick of just putting
out regular rock records. My housemate is a self-
defence instructor and we have a lot of the same
ideas; we're just doing them in different ways and I
just wanted to bring them together because its clear
that we're talking about the same issues, but just in different mediums. And I just think that rock is one of the
only public spaces that is secular and I think it is important to use it for other things than making noise. I also
wanted to meet women who were doing similar
things. I thought this would be a good way because I
knew everyone would really want to get involved.
Did you tour with the Free to FlghtCD?
Team Dresch went on tour and we did self-defence
demos before all of our shows. But that was before Free
to Fight came out. There was a Free to Fight tour down
the West Coast where we did a workshop before every
show - a one-hour workshop - and no guys were
allowed at the shew. And then we'd have the
shew and there would be demos during the
shew also. Wre going to do that again in June,
to the East Coast and back.
Dld you start doing your own self-
defence training around the time that you
were doing Free to Fight?
I took self-defence for the first time probably
about 3 or 4 years before Free to Fight. IVe
taken multiple classes. I never did it consistently, but a lot of my friends were training to
be instructors and stuff, so I was always
around it and talking about it. I take classes
occasionally - I'm taking a class right now. I
wanted to take one before I went on tour. It's
something that I like to do whenever I get a
chance. I don't train in martial arts regularly -
I'd like to - but I'm never home consistently enough.
Have you used your self-defence skills?
I haven't gotten into a physical fight ever. One time I
got bashed, but the guy blindsided me, and Donna
[Dresch of Team Dresch] jumped on him. So I didn't
have to fight. But I Ve definitely used a lot of the verbal
stuff and the self respect stuff. And the physical stuff
to the extent of setting your boundaries, like putting
your arm up and telling someone to stop and not
come any closer.
Has this made you feel safer?
Definitely. Even when we were walking over here, two
guys were behind us and they walked past us and I
was thinking, "if that guy grabbed me around the waist
I would elbcw him". I knew what I would do. I think
about that all the time. It's fun. That was the whole
thing with Free to Fight. It's something you have to
deal with all the time when you're walking down the
street byyourself, whetheryou're thinking, "I'm afraid,
I'm afraid, I'm afraid", or whetheryou're just aware that
you're alone. So you might as well be thinking, "there's
an open door, there's something I can grab, here's a
move I can do". It can be fun. People think it's really
fucked up - some people even go so far as to call self-
defence violence - but it's okay to like learning how to
fight, it's okay to like fighting, it's okay to think about it
and have fun practicing.
I wonder If this makes you over-confident.
I get over-confident in that, when I'm taking self-
defence I get really, like -1 just want to fucking kill people. I definitely am more on edge. I get hyper-sensitrve
to all issues of violence and I want to kill people all the
time. I feel almost like I want someone to grab me so
that I can fight them. But I know that I would not provoke a fight because I was feeling over-confident.
And I know that if someone attacked me and I was
feeling over-confident it wouldn't lessen my chances
of getting away. If someone actually attacked me and
I was feeling over-confident, I think it would actually
help because I'd have adrenaline already. But as for
getting into fights because of feeling over confident -
I just don't think that it happens.
If somebody grabbed you when you were walking home at night and you were ready for the
attack and you started fighting back, do you thhk
that you would fight Just enough to run or would
you keep hitting him?
I think that if someone came up behind me and I did
elbows back, so that I wasn't even seeing him, and I
felt him release his hold on me, then I would run. I
wouldn't turn and face him and see what was going on
because maybe I hit him in the throat and he is going
to fall back for five seconds, and that will give me
enough time to run. But if I turned around that might
give him enough time to strike again. If someone was
fighting me from the front, I would fight until I could
run. Basically, I would always just fight until I could run,
unless I totally did something, which would probably
be by accident, that actually hurt someone badly
enough that I could tell that he was 'out'. If someone
was out, on the ground, and I knew that he wasn't
going be able to jump right back up again, then I think
that I would kick his ass a little bit more. But I wouldn't
risk my ass just to kick a few more asses.
One thing that I wonder about when I'm walking
home is, what if I kill someone?
Then you'll go to jail because you're a lesbian. I
don't know what it is in Canada, but it's that way in
the U.S. I mean, in the U.S., being a lesbian is an
aggravating circumstance. Legally. It's the same thing
as carrying a weapon or being drunk. That just
blows my fucking mind.
In Canada I'm not sure If it works that way. But Just
the fact that it's judges-50 year okJ straight white
men - who make the decisions, means that anti-lesbian thinking is often the underlying attitude, and
that makes them dislike the accused person more.
And they believe that you're more violent, Lesbians
are violent, crazy man-haters. That's why, when the
guy who beat me up said that I called him a heterosexual and threw the first punch, the jury believed
him. He didn't get convicted. So you saw the person who attacked you
and took Him to court
Yeah. It weri to a grand jury. And the DA [district
attorney] w$s like, "Ho-vdid he kncwyouwerea
lesbian? w|at signs did you give off?" I said, "It
doesn't matjierwhether I'm a lesbian. It matters that
he called mie a lesbian and hit me. That makes it a
hate crime Its not relevant whether I'm a lesbian or
not." And h| said, "Answer the question." So I said,
"I don't kncjkv. The way I walk. The way I dress.
What are you asking me?" It was insane. The DA
was so homophobic. And I ended up yelling at
him for halfjian-hour afterwards when he told me
the verdict,iiand he ended up agreeing with me
that he wasjhomophobic and that it
was wrong jwhat hie did. Aid I was
like, "Lot of tucking good that does
me new." ^ prosecuted for assault
and hate crifjne. The grand jury voted
-1 dont renjember hew many jurors
there were. j5even maybe. It was like
6-1 thoughf it wasn't a hate crime
and 4-3 thojbght it wasn't an assault.
and theyfought. And then other people came
out because they'd seen me go into the club all
bloody. And then he got scared and got in his
car and drove away, but we got the license plate
number and it was a rental car, so the cops
found him.
Was the general idea In court that you provoked the fight by being a lesbian?
yeah. These are the questions the grand jury
asked me: "When he said "Whose ice cream
bar?" and you thought he might be drunk, why
didn't you just go back inside?" "What were
you doing in that bar anyway?" "Couldn't you
have gone in another door?" "Was your place
too. I heard through lesbians in the community
that some lesbian who had worked for him had
been found hanged. I think he's had people
killed. He's a really serious motherfucker coke
dealer. Really bad news.
Does that make you scared? Knowing that
you took him to court?
It did for a long time.
Do you ever run into him, hear from him?
No. But it was written about in the papers a lot
because of me being a 'rock star'. I don't think it
would have been reported otherwise. It was
people who knew me and only knew about it
because it was at a rock show,- they wouldn't
photos by Denise Sheppard
I So he didn't even get convicted of assault?
I No. Nothing. Because they believed that I took
the first punch. And I had pictures. I had stitches. I had migraine headaches. I had pictures of
my entire face. And he had nothing - except that
he said he hurt his shoulder.
Were there witnesses?
Yeah. But his wife lied and corroborated his
story and she wasn't even there.
What about Donna? She was there. But then
again, she's another lesbian.
And he beat her up too. She jumped on him.
Nobody saw him hit me except Donna. I was
loading up my equipment after the shew and he
was in the parking lot and I asked him to move
his car. He said, "Whose ice cream bar?" And I
was like, "Can you move your car?" And he says,
"What are you talking about?" And I said, "I need
you to move your car so I can get my van." And
he's like, "you're a fucking little lesbian bitch."
And I said, "That's right, I'm a fucking lesbian
bitch, and you're a cock-happy motherfucker, so
move your fucking car." And then he got in his
car, and I got in my car, and I thought he was
going to move, and I was starting to back up,
but he wasn't moving. He was just sitting there.
So I got out to walk back into the club and wait,
and as I was walking around the back of his car
he just jumped out of his car and slugged me
straight in the eye. He must have had a ring on,
because he cut me bad above the eye. And
then Donna jumped on him because she saw it,
of employment primarily heterosexual or les-
bionic?" Those were the only questions they
asked me. And the DA. asked me how he
knew I was a lesbian and to describe what
happened. That was it.
So much for the D.A. being on your side.
So much for the DA. having any logic capabilities. So much for the DA understanding what a
hate crime is or what would be a relevant line
of questioning.
I'm surprised that in the States queer-bashing counts as a hate crime.
It does in Oregon.
In Canada queer-bashing can be a hate
crime, but most of the time stuff is not
reported as a hate crime or prosecuted as a
hate crime.
Plus, I almost think that if it had just been an assault,
they might ha^e gone for it. It makes them really
mad that you're calling it a hate crime because
they think you're getting special privileges.
The fact that it was prosecuted as a hate
crime and an assault, was that a decision you
were involved in? Did people try to convince
you to prosecute Just as an assault?
Did they tel you that It would be easier to get
a conviction if you Just went for the assault?
No. I didn't have a lawyer. They didn't explain
shit to me. After the grand jury decision I went to
a lawyer about a civil suit and she said I didn't
have a case. This guy is totally organized crime
have known about it otherwise.
And they were totally on my side,
totally made him look like an asshole in all the papers. And I wanted
it to be there because I didn't want
to be afraid. But I was definitely
afraid. I had some dyke friends who
wanted to go fuck him up, but I
wouldn't let them. I was like, this
guy would have to be killed. He has
people around him who do things
for him. He was sort of untouchable. I think they could have hurt
him, but then someone would hurt
me also.
Do you think, for you, going to
court was a good thing?
yeah. I mean, I knew where I stand
new. I don't have a gun because I
knew that if I use a gun in sdf-defence
I'm going to be in jail for murder. I
knew it. So I'll never get a gun.
What about a knife?
I would, maybe. But ii\the same thing. And if I
carried a weapon, I'd really, really, really want to
know how to use it well. \
I've always wanted a switch-blade.
A lot of girls in Olympia l|ave switch-blades.
They're really into them.    I
I used to Just carry around my Swiss Army
knife open to the cork screw part
yeah, that's good. j
I thought that would do better damage than
the knife. /
Its true.
Eyeball. /
yeah. In the eyes, <£nd if someone grabbed it
from you that kneyi/ how to fight, they wouldn't
be able to fu.<_k with you as bad with a
No one is trained to use a corkscrew. I have
mace too/
Me too. ifha^e some somewi^eu^*-**^''^'
But it/hard to u^The flic thing. "Excuse
me, could you hold that evil thought while I \
adjust my mace. Just stand there a minute." I
So what do you think about lesbian sepa- ;
I love it, but I can't be a part of it. I totally under- I
stand women wanting to be separatists. I don't j
know people in Portland who are actually sepa- j
ratists -1 think it's hard living in the city. You pret- ;
ty much have to go to Women's Land or
something. But I'm totally into it and I can totally
understand needing to do that for a while or for
your whole life or whatever. I think it's a really
important choice to be able to make. But if
everyone were a separatist, I think it would be
problematic. But that's not an issue. There are
lots of Women's Lands in Oregon.
Are Women's Lands towns where only
women live?
They are like farms where you can go and work
in order to live for days or months or whatever.
Have you ever stayed at one?
No. But I really want to. I haven't had time to do
a lot of things that I want to do. Too busy.
Although, I dont know if I could handle living in a women's collective. There would be
a lot of processing.
I totally agree. But the thing with me lately is that
I just want to turn my politics out more. I want to
connect with different groups of people who
are doing different things. But at the same time I
do know women who are pretty separate - as
separate as they can get - and it's totally important for me to be able to connect with them and
work with them. I would be really sad if there
was no lesbian separatism. I'd be really sad if
there was no Michigan Women's Music Festival
or other places where you can go where there
are no men.
How did you find playing at the festival?
The year before you went to Michigan, Tribe
8 was there. I remember hearing that all
these women protested their show, that
they canted signs that said, "Tribe 8 is violence against women." I wondered If when
you were there the next year there was an
anti-punk thing happening.
It was totally mellow. People said it was the first
year of the festival that there was no Big Issue. There
wes no big political issue. None. A tot of people
left during our shew, but a lot of people learve during every shew. A lot of older women were totally into it, were stage-diving, were moshing.
So what did you do when you were at
Michigan and weren't playing?
I walked around. I just looked at all the lesbians
and thought how radical they were. I was really
sick so I would just sit and watch and be in the
woods and get in touch with my women's spirit, eat bagels,* I listened to a lot of really good
music. I did some boob tricks on the day stage.
What is that?
Women putting things under their boobs and
crushing beer cans with their boobs and stuff. I
can't crush beer cans but I was holding stuff.
What did you hold?
I can't hold very much stuff because I don't have
big enough boobs, unfortunately. It was Big
Boob Appreciation Day. So this one women was
holding a giant baked chicken and a cantaloupe
and stuff and I was holding a fork and a knife to
eat the food she was holding. But I can hold bigger things than just that - but not that much bigger. Flashlights. Fruit. It's so easy if you're sweaty.
That's the thing. If you're sweaty anything will stick
to your body.
Jodi Conversation wftl
by megan mallettt
What with playing bass for one of
Canada's best bands (Eric's Trip, who
have just released their third full length,
Purple Blue, on Sub Pop), being married, having a thirteen-month-old baby,
having her own side project (Broken
Girl), running a record label (Sappy
Records), and taking a photography
class, one would think that Julie had no
spare time. Not true. She took time out
between engagements to call me so she
could fill me in on her busy life.
So what is the weather like out there?
Well, it was snowing a little while ago,
but I think it's stopped. We've been
having really weird weather where one
weekend it will all melt and it'll be
completely dry and then two weeks
later we'll get another dump. It was
really warm here for a week; it was
above zero and everything had melted
and it was warm. I went for walks with
the baby. It was really nice.
How is Ben doing? How old is he now?
He turned thirteen months on the 24th
[of January]. He's doing really well.
He's not a real confident walker yet; he
stands up in the middle of the room
and kinda takes like four or five steps.
He's really starting to go at it. For
about two or three months now he's
been walking under the table, holding
onto the chairs, but he hasn't really
ventured off with out holding onto anything until about the last month. He'll
walk back and forth to us, but he won't
do it on demand. It has to be when he
wants to. If you try and stand him up,
he'll just sit back down.
So, what b going on widi Eric's lip? Xve
hecrd rumours that you guys am ftnlang
af going your separate ways.
We didn't know what was going on
with Eric's Trip until last week. We just
put out this album and we're going
on tour in the spring, so we'll see
what happens after that.
Where will you be touring to?
We'd like to go along the east coast of
the United States, but I'm not sure yet.
Last Hme I spoke with you, you
mentioned something about an
Eric's Trip-Lou Barlow project...
Lou's really, really busy right now. vd
He tours so much, and the Folk
Implosion have that big hit right I
now. When Chris talked to him last
time, he said he still remembers,
but he has so many projects going
on... So I don't know if that will
ever happen. It was a nice idea,
The last time I saw you play
was at that Another ,
Roadside Attraction, _ .
where you guys 'i-0/K"\
toured in that big tour,*'/ * * 'V
bus. Would you ever.l rj p
lour that way again?; ^
I don't think there's^,
going to be an oppor- *
tunity to do that again, which is
why we did it in the first place. It
was fun. It was different from the
tour we did in the fall, which was
just us and our sound man. We'd
just hop in the van and drive to a
different place, and we were in
charge of getting paid and everything. It's like two different extremes.
[On the last tour] we were also in
charge of selling our own merchandise, and at one of the shows in
Toronto, an all-ages show, I sold merchandise until about five or ten minutes
before we went on stage. It was nonstop, and I had to sign practically
everything I sold, so I was pretty tired
and dizzy when I got on stage.
Did you ever imagine that one day
you'd be signing things that people
No, no, no. I never imagined anything like
that. And it still freaks me out. I think
'Why? Why do you want me to sign this?*
So your side project, Broken Girl, seems
to be doing really wel.
Yeah, I guess. We get letters and people buy the 7-inches, and now I have a
full length coming out in February [to
be co-released by Sub Pop].
Worn it Sappy [Records] doing?
Is it you and Jon (Julie's husband] running it?
Yeah, Jon and I run it, and
we    hired    Ron    from
Orange Glass. He comes
and works on  Saturdays
from noon to four. He helps
us answer mail and package records and stuff. We
still get mail and orders,
and I guess now that we're
going to be putting out a
whole bunch of new stuff,
hopefully all the people
who have everything else
will   order   this   stuff.
We're still not making a
whole  lot of money,
and we still have to use
a lot of our own money
for releases, but ifs doing
okay, I guess. Stuff gets
around; the computers are
really helping us. People
heard about us a lot from
the Internet. We haven't
actually posted anything anywhere, so ifs
strange how we keep
.      getting mail and we don't
■'•¥   advertise anywhere.
What is coming up on Sappy-
release schedule?
There's a new Orange Glass 7-
inch coming out and that should
be out next week for sure.
Who exactly is in Orange
Glass? I keep hearing different
Originally, Orange Glass was
just Ron Bates, but now he has a
band. Ifs Tara, Rick's wife, on
bass, and Chris Flannigan on
drums. Ifs just him on that
first 7-inch and on the new one
if II be the whole band.
What else do you have planned
for Sappy?
For the near future: an Inbreds 7-inch,
as long as they can find the time to
record it - last time I talked to them
was, like, three weeks ago, and they
were still planning on recording it, but
when I called today they were on tour;
probably a new Elevator to Hell 7-inch
- I was just talking to Rick today and
he mentioned that he still wants to, so
he's going to start recording it - oh,
and the wooden stars and The
Mommyheads, the/re going to be
doing a split with us. I really want to
start putting out music thafs not so
Eric's Trip-related. We put out a 7-inch
by Mike (snailhouse) in October and
thafs one of our favourite 7-inches up
until now. We storied Sappy to put out
music by people like him - [music] we
didn't think anybody would ever get
the chance to hear. But we decided to
first put out a few things that people
maybe would have heard of, and that
we wanted to put out anyway, like
Stereo Mountain. We're also supposed
to have a 7-inch coming out from a
band from Sweden called Lousy, but
we don't know whafs going on with
that now. They sent us a tape and we
really liked it, so we wrote them right
back and asked them if we could put a
tape out on Sappy. They got excited and
they sent us a DAT, but when I listened to
it at Rick's house it was full of glitches.
We e-mailed them from a computer at
Jon's dad's work the next day, but we
didn't hear back from them. And we just
wrote them a real letter last week, so
now we'll just waif, I guess.
Where did you record Purple Blue?
The first four songs were all done at our
homes, except mine was done at Rick's.
The rest of the album was recorded at a
studio in Moncton. I think it had 24
tracks, but I don't think we used more
than eight. I'm not sure though.
Are you happy with the album?
Yeah, I am. Sometimes I have mixed
feelings about it; like, sometimes I think
ifs a little too rock and other times I
really like it. It all depends on what
kind of mood I'm in.
20  MARCH 1996 cnnvERSE
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and I have been wailing to receive a complaint about ihe higher percentage of wimrn-
in-wrilten zines we review in comparsion to those
written by men. Finally last month we got one. Almost needless to say it was from a male sender,
who not only condemned our column but olso wrote
lhat feminism deprives men of their opinions and
beliefs: "it's no surprise a word like feminazi comes
into ploy." Why is a womyn who works to overcome oppression interpreted as being on angry
"feminazi* or a "manhotor"?
Perhaps ani difranco's song "Not a Pretty Girl"
says it best: "Everytime I say something they find
hard to hear/they chalk it up to my onger/never to
iheir own fear." Change is frightening; it provokes
uncertainty, anger and, unfortunately, sometimes
hale. Both men and wimmin have been conditioned
to view a womyn's role as to love and be provided
for by their fathers, boyfriends, and husbands. Liberation from ihis role con be difficult, but it is definitely necessary. And it doesn't have to involve holing - isn't lhat one of ihe things we are trying to
bell hooks once said in an interview in Ms.
magazine that she prefers the term feminist movement rather than wimmin's movement because true
departure from sexism involves men too. And I read
in Our Bodies Our Solves: "...some women came
to equate fominism wilh hating men...Frustration and
anger don't mean we want to end relationships (with
men) instead they make us determined to change
them." There is a revolution taking ploce and lhat
revolution is not about hate or intimidation or doing to the oppressor whafs been done to the oppressed. It is about departure from the roles of superiority and inferiority and it requires us all to think
about how we can abolish those roles.
So, in response to the letter sent to Andrea and
I: It mode me remember the time I was approached
by a strange man saying, "Hey baby, show me that
pretty smile." I didn't want to smile, especially for
someone calling me baby. So he retorted, "Well,
fuck you then." I think every aid has had a similar
experience. The writer, like that strange man, hos
left me and all wimmin he has declared feminazis
in a lose/lose situation. We can eilher be silent to
oppression or be called a man-hater. Smile pretty
or be cursed at. To the writer: Why don't you take
ownership of your discomfort with feminism and
work it out will in yourself instead of blaming wimmin lor
your insecurities. Happy Intomational Vvfomen's Day.
(8.5X7; 65 pgs)
Just when I thought I hod discovered all the wonderful wimmin zine writers in this city Andrea pulls
Etterks out of her zine box. As I flipped through the
many fabulously layed out pages I asked myself,
"Why have we not reviewed this zine before?' It
became clear ta me after I began reading lhat Esler'io
was saving itself for March, the month of International Women's Day.
This zine puts together beautifully informative
articles, short stories, comics and poetry, all done
by wimmin. The author has reprinted articles on
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
[i£\3r I
performance artist Karen Finloy, on excerpt from
SaHy Clines'Women, Celibacy and Passion, and
writing by local wimmin and zine writers. Eshria
also features humourous Ad Buster*-sty!e attacks on
sexist media and such helpful information as suggested remedies for menstrual discomfort and phone
numbers of local support groups. Esterks has done
what I believe all zine authors want ta accomplish:
giving its readers tie opportunity ta become involved
with what they write about. Take action - send a
dollar fifty ta Esterkt, 451 Hillcrest St, Vancouver,
BC, V7B 217.
Honda OHM2
(5.5X4; 24 pgs)
On the very last page of Hands Off Heather Lynn
writes: This took you ten minutes ta read, but it
took me 16 years ta write." It's apparent she has
used this zine ta release a lol of built up injury and
frustration. Heather Lynn's writing style is poetic ond
she uses a lot of clever metaphors and imagery.
She is so successful in sharing and
connecting with her readers that I
found myself able to picture her
experiences dearly, as well as relating to her stories. She bravely
puts herself at risk, retelling a story
of how she harassed a minority
classmate to receive approval from
her peers. What really affected me
was her memories or staying in a
psychiatric hospital as a child and
the mistreatment she faced while
Ihere. If Heather Lynn thinks her
readers will skim through her zine
in ton minutes she's terribly wrong.
HO #2 left me with something ta
think about long after I put it down.
Write Heather Lynn: PO Box 724
Loke Zurich, IL, 6000047-0724,
MpliuHrwHth MA/Alien #8
(half size; 82 pgs)
If you are looking for a good read then Jenni and
Wilknee's 82 page zine is for you. Jenni and
Wilknee cover a lot of ground, dealing with topics
as diverse as the emotional scarring that goes along
wilh breast reduction surgery to mental illness.
Wilknee's writings ore centered around mental
illness/health and, more specifically, around being
manic depressive and all lhat goes along with it,
from the panic attacks to the feelings of hopelessness. She challenges her experiences with the medical profession and how their hasty and uninformo-
tive treatment led to her misdiagnosis. I personally
find the necessity to treat depression-related illnesses
with drugs and medication extremely diskjrbing. Apparently so do Wilknee and Jenni as hey treat themselves through alternative medicines such as herbs
and through a healthy vegan diet.
"It is not the duty of the oppressed to educate
the oppressor" Jenni responds to ihe males who are
doubtful of her rape because it didn't fit into their
own definition of rape. Ifs interesting lhat it was
males who criticized her actions and basically
blamed her for being violated. Like ifs her responsibility to explain her actions to ihem. Jennie talks
about how silence tends ta win when people choose
to not believe you and dismiss your pain.
This zine is an amazing read and I totally urge
you to support these girls and order this zine. Send
$2 US ta Jenni, 612 PrenNs #B5, Detroit, Ml, 48201,
Wm'n Not Being Emo, It Really Hurts
(5.5 X 4; 44 pgs)
"Ifs 4am at Kinkos and I'm trying hard ta make this
mean something." I, too, have attempted to complete an entire zine in one night, so believe me
when I say it's no easy tosk...
Nomy, Vol, Chris and Keyan began at 4am and
by 10 mat morning a zine wilh definite meaning
and insight was created. This Iwo-girl, two-boy foursome focusses a lot on forming community and allies. Chris recalls his childhood health problems wilh
asthma and how his Christian Science believing parents left him solely in the hands of God to heal,
leaving him feeling very deceived and abandoned
by his family. He praises his new family (of friends)
and the support and encouragement to heal he has
found through them.
Class and dassism are ihe issues brought up by
Vol. She is discontented with her 'dut/ as someone
who is working dass to teach others about dassism.
Vol asks her readers to start thinking for themselves
about overcoming dass oppression.
Keyan's writing adopts Vol's ideas of analyzing
our own oppressiveness without having to be tola,
except Keyan is talking about sexism. I realty want
to mention how truly impressed I am wilh Keyon's
port in ihis zine. It is obvious he's being sincere
and honest and not regurgitating a bunch of feminist slogans he overheard his girlfriends saying. He
uncovers ihe foct lhat sexism hurts men too, especially iheir relationships with wimmin. Although
Keyan mentions his uncertainty as ta what action
men need ta take to advocate feminism he isn't
afraid ta try. He invites other men ta discuss togetier
the issues surrounding sexism.
Lost but not least, Nomi examines the importance of community and having a strong network of
allies; however, she realizes how difficult achieving hh may be. Nomi makes a good
point in saying lhat ta be an ally ta
someone is to be willing to fight for
change whether or not you are directly involved in ihe battle. For example, being a male supporter of the
feminist movement or white people
opposing racism. For the short
omount of time It Really Hurts was
finished it has given me a lot of inspiration and hope towards ending
segregation and building a real community. >Afrito Keyan: 110 legion WY
Olympia, WA, USA 988501. Send US
stamps and $ and viva la revolution!
Rock Candy MA/Spirals
ward *3
(quarter size; 64 pgs]
Marie is bock wilh Rock Condy #4, talking about
the effects of growing up as an only child and how
this has offocted her everyday interactions,- more
specifically, how she reacts ta people in the punk
rock scene. She also talks about how silence is a
constant component in her life, from ihe silence she
learned from her parents to the silence lhat prevented
her from talking about her first experience of being
sexually violated. Silence is a constant and Marie
is realizing how it limits and damages. Marie is on
inspiration to me because she is someone who is in
a constant state of questioning ond self-improvement.
The main focus of Spirals Upward is the questioning of gender roles, more specifically male gender roles. This is a first for me; I rarely see boys
auesrioning their own internalized sexism ond how
damoging gender roles are, not only for womyn
but for men, becouse they limit and do not allow
much room for healing and emotion.
Marie and Basil then go on ta have a discussion about relationships and talk about the different
levels of a relationship and why they don't believe
in monogamy. A lot of valid points are made ond I
wish that they could have printed the entire conversation. Marie and Basil are kids who truly believe
in change ond revolution. Send $1 to Marie 717
Davis, Kalamazoo, Ml, 49007, USA.
Reclaiming My Nam* 05
The author puts herself in a vulnerable state as she
responds ta her own previous zine about her sexual
abuse and rape. She hod told her story, removing
ihe emotional ties, and she comes back in ROM MS
to deal wilh how everything affected her.
"Have I reclaimed my name? Definitely not. The
title is an oxymoron since I have less of an identity
now. I should hove titled the series Releasing My
Name." The author definitely has released her name
and oil the baggage and hurt lhat has gone along
with it. She talks about how important it is for her to
find other girls who have been sexually abused.
Communication is the most potent healer and the
lack of it is what damaged her for so long. I find it
vital for people to talk about iheir abuse, not only
because it helps them heal, but because it helps
olher people wilh iheir own healing. It helps finding out lhat you are not alone in your silence. This
zine and its predecessors are a must for people
who are in need of finding others who have been
sexually abused. Send $1 to See the Worid,
Chicken, #406-1701 Powell St, Vancouver, BC. SUUGtChn ^     STANDARD RADIO INC.       |°£^ Seeing as how the eighth of this month is the
most-fabulous Day of International Women,
we'd like to take this opportunity ta do two
things: first, to complain about the lock of 7"t we
see with female content - sure, there are lots out
there, but out of every month's "shipment* of records
we go through, probably an average of 20%
ore women-filled releases. Not a great figure. Bitching finished, the main point of
this month's column is to celebrate whal
labels and bands are doing wonderful things with records these
days. We've put together a
table of labels (admittedly inconclusive, mosHy due to
space restraints) that are
women-run and/or women-
positive, and have tried to give as much info on
them as possible.  Please support them I
First, however, we'd like to tell you about a few
new-ish 7" releases by cool women. Perh<
the most anticipated record lhat we now fin<
possess is the Spinanes' latest offering. If their
new single "Madding" b/w "10 Metre Platform" is on accurate somple of what their new
olbum is like, then expect great things! The
record comes encompassed in a very 4ADIike
record cover, full of soft colours and blurry images, and the music is much more laid-back
than anything from Monos, one of the best albums released in '94. The o-side contains the
"single version" of "Modding," an absolutely
mesmerizing song with slow, hypnotic drumming
and the usual Rebecca Gates multi-layered vocals. "10 Metre Platform" contains just guitar
and vocals and is along the same lines as the
track lhat Gates contributed ta the Free to Fight
compilation; ifs mellow, pared down, and i
tremefy strong. Simply beautiful. (SubPop)
On Ihe heels of their latest full-length f
Old Paint, Chicago's Thrill Jockey
niC^fni A nerfunc toru
Records sends us Freakwater'--  'South of
Cincinnati" b/w "Count Me Out" 7". The a-side is
torchin'nod to the mid-west, with t
just a few lyric changes. "Count
Me Out," a Freakwater origi-
Gay - a weird, kinda warped folk-twang ditty. Kinda
cheesy for Freakwater, but fun nonetheless. Buy this
for the a-side. (Thrill Jockey Records, PO Box
476794, Chicago, IL, 60647)
Finally, we'd like to tell you about Sta-Proer (as in
stay pressed, we assume) and their new Vespa Sex
7* hat comes complete with a 'zine type booklet,
full of drawings, lyrics and a band biography of
sorts. We first heard ihis band on the Outpunk Dance
Porty compilation, where their surfy little number
stock in our ears for, well, for awhile. And now, we
hove five mere* tunes to dance tol Starrest is a
collective of six
folks, half
of which are
■nd range in character
from -fbllyjhc- fetishist to as'iapeon heritage. They're not
sfcj, lie/re not mod; he/ie kinda noisy, punky, funny,
skenge... check'em out. (Output-it-. Records, contact ihe
band c/o PrfcsrSwshdod .com or PO Box 421912, San
),CA, 94142-1912)
Now, we'd just like to give a nod to some record
labels lhat ore doing more than fantastic things in
regards to promoting women in music, especially
on vinyl. The new Boston label Villa ViHakula
has just released a 12 "vinyl-only compilation called
Move Into he Villa Villa Kula, which boasts a number
of Iracks by Kaia (formedy of Adickdid, currently of
Team Dresch) doing a beautiful solo-guitar thing,
Seattle's spine-shiverers Tattle Tale (who have apparently broken up, so buy up all their stuffl), Sleater
Kinney (featuring members of Heavens to Betsy and
Excuse 17), noise-pop weird-gal Azalia Snail, New
York's rock quartet Ruby Falls, and spoken word by
Eileen Myles. This compilation is just a starting point
for this label, who give thanks to Tinuviel from Kill
Rock Stars. Cynthia Nelson of Ruby Falls writes in
the jacket sleeve notes lhat she counters arrogance
with her "bratgiri rebellion." Villa ViHakula have
also released a 7" each by Ruby Falls and Stealer
Kinney, and probably have much more in the works.
Write to them for their catalogue and for their listing of women-run labels.
Another extremely proactive 7" label is Portland's
HorseKitty, whose releases we've reviewed fairly
recently, but we feel lhat there's no harm in reminding you just how cool they are. According to the
label's Shannon, she hod never done any recording "without some butt-rock guy producing [her]
records or harassing [her] because he thought his
opinion wos the god opinion." Hence, she and her
friend Toni decided to build a "recording studio/
record label run by all women where bands could
decide how their music should sound, be distributed, and be a part of it the whole way through so
they can actually learn things they're interested in
instead of everything being some big dumb secret."
Right on! So for, the only two HorseKitty 7"s we're
aware of are by La Grenuda and by the CeBe
Barnes Band, two great releases of feminist punk.
One last suggestion: if you're looking for lhat special something for lhat special girl, think about writing to Munster Records (PO Box 18107, Madrid
28080, Spain) for copies of Volumes 1 & 2 of All
Kindsa Girls, two double 7" compilations wilh
groovy packaging and music by great gals. Tracks
by cub, Lemonbabies, Pink Kross, the Gloo Girls,
and morel ... And, lhat's about it, folks! We didn't
have room to list every indie label that has released
7"s with women on them; we decided we'd rather
concentrate on labels lhat have consistently released
a majority or adequate percentage of women.
.'i/idAct mn
die fa be IA
POBox 7154
Olympia, WA,
[scarlet drops
6 cents ond
natalie, high
n»k group,
lotus eaters,
twig, pest,
just celebrated 5
POBox 649
series, simple
series, secret
stars, scrawl
published a
"how to" of
indie rock
Arlington, VA
pest 5000,
i Apple, (o>
[release w*
poostd spirt
in los
(461778, IA
CA, 90046
positive & ?
hard to say
go sailor,
lilies, velocity
swirlies, small
the "British
pop" label ol
Berkeley, CA,
positive &?
no one yet
azalia snail,
|   red choir
red dye #5,
138 Sift*
5lh Boor
Candy Ass
team dresch
positive & ?
hazel, excuse!   adickdid,
*wald fiv*o,
surf maggots
best known
for producing
the Free lo
CdAP & tour
Portland, OR
-  POBox
none yet
cebe barnes
band, la
towards the
music biz:
14284 SE,
(Portland, OR
230 A
Tremont St.
#3, Boston,
MA, 02116
42031   *
24 MARCH 1996 indie label garage sale
Saturday • map 23»noon-5Pi«
nettwerk zulu curgu mint/lookout scrulch
Ii end gu WluuUer Mic uuyun
nettwerk records parking lot
1250 w. 6th ave., Vancouver, be, Canada
Bang On
Touch and Go
Sonic Unyon
scratch records:
bugskull • propeller
pork queen • sidereal rest
beauty pear • hump
daytona • knock-down-ginger
perfume tree»sookyin lee
pointed sticks-modernettes
young canadians*coal
bob's your uncle
rose chronicles • skinny puppy
ginger* suzanne little
wild strawberries
mc 900ft jesus-myslery machine
single gun theory
Phone:004-054 2929 • Fax: 004-654-1993 • e.mail: info@nettwerk.com • FirstClassBBS: 604-731-7007 • WEB:http://www.nettwerk.com/
«M56I rv)<i*->M   ■**> dear »H
erotic; historically, this was further complicated by
various types of legal discrimination Faced by Asian
immigrants to North America. Thus Asian migrants
have played ihe role of brown Protestants: hardworking heterosexuals who only have sex to make
babies. TViis grim reality contrasts markedly with
ihe Euro-North American perception ol oriental sensuality: Asian women are especially desirable because they're so physically exotic and
emotionally compliant;
had a cunning plan to con a particular cultural agency - since dismantled - into funding a collection of east coast erotica; ihe contributors would include herself and all of her writer
friends. At ihe time I nodded my head mildly. (You're
right, the idea lhat eastern Canadians are particularly well versed in things erotic, or are especially
adept at erotic literature is absurd. It's like saying
Albertons are ihe most ignorant hicks in Canada.
Bul such is the nature of funding proposals.) My
friend writes pretty good erotica and I saw no reason why she wouldn't be able to find a dozen or so
people to submit work for such a project. Then, as I
nodded hypolhetically, she asked me to contribute
something. "Why not," she effused, "you write really physical stuff." "Well," I grimaced, "I do lonely
and bitter better thon horny." I took up the challenge, ihough, and proceeded to waste a couple of
months of my life trying to render sex on paper. My
problem was a common one. I spent far loo much
time dwelling on the sexual act itself - displacement
of limbs, microscopic play-byplay on the action
around various orifices, that sort of thing. Advice
from veterans of earlier campaigns, lhat the best
erotica has no sex in it ot all, was to no avail. My
efforts were a miserable failure. Worse, they were
Any scab will heal if you lick it enough, ihough.
Besides, proven incompetence at something qualifies you to critique It. In this case 'it' is a collection
of erotica called On a Bed of Rice (Anchor,
1995). As its subtitle tells you, ihis is not o n I y
erotica, it is an "Asian-American erotic
feast." My First response to the tide was,
frankly, rather cynical. Why is Asian-
American erotica particularly worthy of
being corralled into a single collection?
Doesn't such a tide suggest a crass
marketing ploy, appealing to ihe voyeuristic rice queen mentality so common in North America? Isn't ihis just
another manifestation of the sort of
inwardtooking cultural nationalism
that flourishes in today's right-wing
environment? In his foreword to the
collection, Russell Leong addresses
some of these questions, while
side-stepping others.
The justification for this type
of collection, Leong writes, lies
in the tension between the realities and perceptions of Asian-
American sensuality. Traditional
ideals of sexuality, as represented in texts like the Kama
Sutro, are generally not reference points in the immigrant
experience. Working class
where they're from, are too busy trying to make a living to be concerned wilh things
ooop doop (MGETBjOUGH 0' TrW 9/VEET SWEET-
8PECIAL RELEA8E PARTY available now
FOR THEIR NEW CD.        at H.M.V.
|FRIDy march m
66 Water St., Gastown 683-6695
oiler dicks than
white guys. The poems, stories, essays,
irpts of plays
and novels in On a
Bed of Rice are written against such per-
If this sounds a
trifle academic, ihen
you're getting a
good impression of
the sort of material
ou'll find in *his collection. This is not
the stuff of Pent-
forum: it's
highbrow erotica,
i intent upon edu-
ltion as arousal. A quick tally of the seventy contributors reveals more university degrees than you'll
find in the queue at a Ul office, and the writing
reflects this fact. The authors often linger upon ihe
stereotypes iheir characters labour under as much
as Ihe labour (the sex) itself. This is not a problem,
really, since the contemplation of sex doesn't necessarily make for very good writing.
His cock is a jutting tower of need, a ripened
fruit sweet and nearly bursting in my hands... I
lower my head to sip the sweet nectar that overflows from him, and he groans.
So did I.
The sex in this collection runs the gamut of conventionality - masturbation, incest, straight, queer,
inter-racial, inter-generational, even a trace of scat.
Highbrow erotica tends to be a bit on the earnest
side for my tastes, but much of this material - like
"Roses", another tale of woe from Evelyn Lau - is
quite good. Still, it's a relief to see sex and race
treated humourously on occasion, as in Wagner
Wai Jim Au's "Afterimages of Leung Kar Fai", a
story that turns the power dynamic of Euro-Asian
sex on its head.
'Oh fuck..." Loren is gasping, but with that accent it sounds like on RAF officer about to expire.
Then he begins to babble, a throaty, singsong
guttural. At the top of his voice, as his hips pound
into a desperate Hurry between her legs....
Anne suddenly realises
what he's saying. Just as
her own orgasm goes
whiHing away from her
outraged dit, just as she
feels it pinwheeling
through her body, ond
her screams begin to
drown out his entirely.
Loren is coming...
in Cantonese.
Though ihis book is not
a manual for breeders, most of ihe sex in
it is straight, and
most oF the writing
safe,  stylistically
speaking. The work
is appealing because of its content
and the testimonial quality oF
many oF the narratives. When ihe
■tylislically odventurous,
collage "The Hemi-
results ore interesting,
that For a collection oF
iltie here lhat's actually
arousing. We could
debate this point.
Erotica doesn't really
require sex, but it
ought to be more han
musings upon sex.
The editor oF ihe anthology, Geraldine
Kudaka, seems to
prefer a brooder definition - in an excerpt
from Joy Kogawa's
Obason, a Japanese
school teacher reminisces dryly about an
asexual dinner date
with the thick-
thumbed Father oF
one of her students.
Her definition is so
broad, in fact, that
Kudaka seems more
concerned wilh displaying Asian American talent than with
erotica per se.
By the time I got to the end of the collection I'd
read enough entertaining (if not especially arousing or interesting) work ta stop doubting its right ta
exist. But my basic problems wilh ihe idea ol the
work remain. On a Bed of Rice certainly is a response ta inward-looking cultural nationalism - if
not on ihe part oF the Asian-American communities,
ihen oF mainstream America. Will orientalist men
read this anthology? Probably. But anyone thinking
lhat there is something distinct about Asian eroticism, something essentially sexier about Asian
women (or asexual about Asian men), will be a bit
miffed by this book. If anything, the collection reveals lhat Asian sexuality is precisely ihe same as
everybody else's. Asian men have the some misogyny, or hyper-sensitivity, as white guys; Asian
dykes have the same types oF coming-out experiences as non-Asians; Asian stock brokers are as
likely to be pompous foot-Fetishists as Gordon
Compbell is. In ihis sense On a Bed of Rice stands
as a testimony to the sameness, ihe assimil-ability if
you like, of Asians m North American culture, this
is hardly shocking news. But For Reform Parly types,
you've got to draw pictures.  ALL ABOUT CHAD
Down in Front
(Big Pop)
If this isn't an aptly-named band, I don't
know what is. Down in front contains
fourteen songs, most of which focus
on the band's bassist, Chad Pilieri.
With song titles such as "Chad's Driving Me Home" and "Chad. Got an
Earring", you might expect the album
to wear thin very quickly. Yet this
band's infatuation with Chad is balanced by their varied, infectious music. In fact, the only other drawback
to All About Chad is that their lead
singer has an impossibly high voice.
But these New York boys are more
than willing to poke fun at themselves,
and in the witty ditty "My Sister Hates
the Band", the singer wails, "If there's
one thing that annoys, it's the sound
of my voice". Musically, these guys are
great. Now, if they could only get a
new singer and expand their attentions past their bassist...
Peter Stevens
The Cult of Ray
The Cult of Ray is a much more coherent collection of tunes than Frank
Black's last outing, Teenager oftheYear,
which was a jumbo mixed bag of gar
bage can filler sonp and brilliant lil'
This time around it looks as if Black
is ready to make every last track
count. Cu/t clocks in at a digestible 13
tracks. This is vintage Frank Black,
meaning there aren't any real surprises, except for the fact that he
managed to refine the haphazard
sounds of Teenager. This is not to say
Black isn't in top form. He hasn't
sounded better, in fact His tired old
filler songs are refreshingly absent and
even the more mundane tracks aren't
too unbearable. The majority of the
tracks are fast-paced and lively pop
treats. The surf music influence
doesn't seem to be around but then
again, I never thought there was a
large surf element in Black's music.The
disappearance of the keyboards was
a little disappointing.
With The Cuk of Ray. Black looks
to be back on the scene.The limited
edition package contains a bonus CD
with 4 extra tracks, two of which are
good, the other two are kind of blah.
Be sure to preview this one before
slapping down the extra cash. All said
and done, Cult is a solid release and
definitely the most radio-friendly to
date. Go get it
Maniacal Laughter
This band rocks over all other medium-core '90s ponque outfits because the singer can holler, the musicians can play, the music is energetic
and exciting, and the attitude is completely srvot-free.True, Maniacal Laughter is not as memorable as their previous CD, The Good, the Bad and the
Argyle, but I still find it worthy. My
favorite lyric is from the song "No
Rules", in which the Bouncing Souls
denounce (albeit gently) both extremes of the straight-edge argument:
"We're not nailed to the X/or swilling in the gutter/we just follow our
*> the
other". These guys are so together*
You don't have to be a dickhead to be
punk rock!
Viva! La Woman
With a tide like Vivo.' La Woman, one
feels compelled to like the album, and
Cibo Matto makes it easy.The band is
composed ofYuka and Miho, two Japanese girls residing in New York who
discovered that they went to the same
high school in Japan only after meet
ing in the Big Apple. Vivo' Lo Woman is
a fun, funky and diverse album. Track
#2,"Beef Jerky", is the best one, with
wacky lyrics brought out by cute Japanese accents: "my weight is 300
pounds/my favourite is beef jerky/I'm
a vagabond/try mom says, 'you are
kinky!"' The first hah* of the album is
more fun than the second, but the
whole thing is pretty good. Even K you
don't usually listen to sample music,
Cibo Matto are worth checking out
Nomiko Kiinimoto
Long Gone to the Yukon
It seems that Stompin' Tom Connors
has always been with us. Not simply
an entertainer, but port of the Canadian landscape itself. From sea to sea
and every mining town and beer parlour in between, Stompin' Tom has
documented this land like no other.
Connors savours hb native soil
with every heartbeat With less sentiment but sincerity equal to
Springsteen, Connors rumbles
through the Canadian panorama once
again showing the spunk of a man half
Brimming with classic Connors,
Long Gone to the Yukon waltzes and
polkas and fiddles its way through another set of down home music that
records the history and nuances
which make our country unique.
Whether he maligns our favourite
whipping-boy, Brian Mulroney ("How
Do You Like It Now?"), or tells the
tale of a truck stop in "All Night Cafe
Blues", Stompin' Tom leads us down
his highway, which in essence is a road-
map ofthe Canadian vista. And we are
all the better for it
Pieter Hofmann
(Red Eye/Shake)
Australian pop wizards Drop City
have thankfully found North American distribution, at least for this ER
so now you, too, can partake of this
delectable offering. For this, punters,
is what it is - seven songs worth of
rapture incorporating many influences, including country ("Only Time
Will Tell") and rock ('losing Touch
With My Mind") (but not country
rock!), and some interesting instrumentation (xylophone usage warning
on "Hard to Smile"). There is a reworked version of "Piydirt", which
also appeared on rooArt's YoungWood
4 compilation, and a rather long, but
never tedious, opening track,
"Slowtrigger". Admittedly, it was not
until the third or fourth listen that this
EP really started to inspire some warm
and fuzzy feelings within this listener,
but now those feelings have matured
to something approaching a very
strong affection, possibly even love. It
comprises rather laid-back pop and
some hard-rockin" tunes, but it's al
well done and the lyrics are good, too.
Sophie Hamley
Right Is Hen (Xmas Records)
Scared, Desperate, But Socio/ (Kill
Rock Start)
This trio of Californian teenage gals
who are Emily's Sassy Lime not only
have a knack for palindromes, but they
can write some pretty nifty little pop
songs as well. Both label releases
seem to have come out at around the
same time, and due to very minimal
liner notes, it's hard to tell if there's a
significant length of time between the
actual recordings. Both are full-
lengths (the KRS one is available on
vinyl too! bonus..) and both contain
songs so short the/re over before you
know it Which one should you buy?
And should you bother at all? Yes! The
ESL song writing style is similar to that
of Beat Happening in their simple but
appealing approach: melodic,
strummy, often distorted guitar and
laid-back, pretty vocals which sound
somewhere in between JuBe of Eric's
Trip and Allison of Bratmobile. Right
Is Here as a whole sounds a bt poppier
than the KRS one; to put unwanted
labels on the band, the Xmas record
sounds kinda like a Riot Grrrl Beat
Happening, whereas the KRS one
sounds more like an album by the
younger sisters of Bratmobile. These
gals are sassy, witty, and here! And
their litde songs have the potential to
be very big.
The Herbalizer, or Jake Wherry and
Ollie Trattles to the tax registers, are
a spiff blend of trip-hop and acid jazz
that anyone who gets off on UFO or
the world of instrumental dub-heavy
lounge-musik will like.You'd honestly
think Mo'Wdc is getting a run for their
money now. While some trax are as
tepid as the tea they drink, others,
like "Real Killer Part 2", just fry. Admittedly, I'm not big on some grooves
here but I admire any sort of
postmodern neotheistic iconoclasm
that mainstream imperial Americana
doesn't tolerate. (So, do I get an 'A' in
Art of Living
I am a sucker for bands which have a
very acoustic sound. As such, I took 	
an immedtate iking to this disc. Tha
Vancouver quartet have some great
tunes and truly beautiful melodies.
What really won me over, however,
were the topics discussed in their
songs. "The Turban Song" gives a Sikh
man's view of the headwear controversy which has plagued Canadian legions during the last few years. Other
sonp are equally thought-provoking.
However, the highlight of the album
(for me, at least) is "Yuri", the tale of
an astronaut who elects to loll himself in space, rather than returning to
the horrors of the earth.That sounds
rather bleak, but it actually serves as
a wake-up call to those of us who are
still kicking around this here planet
After all of these social messages, it is
somewhat ironic that the album closes
with a cut entitled"! Don't Care".Yet,
at the same time, this is a fitting album closer, for it sums up the central
theme of Art of Living, apathy.
Peter Stevens
It's hard not to sound like Eric's Trip
when you are in Eric's Trip, but
Moonsocket is trying. This full length
CD is the solo work of Chris
Thompson, the guitarist of E.T.. On
the similar side are the breathy vocals, the good lyrics, and the song
melodies. In contrast to E.T.,
Moonsocket revolves around an
acoustic guitar, bringing out a quieter
side. Also, Moonsocket uses such effects as untuned radios, background
tv.'s, distorted echoes, and tape manipulation (to quote his bio).
This CD is comprised of 20 songs
that include a Lou Barlow cover,
"Bolder", and an Alan Parsons Project
cover," Eye In the Sky".While most
songs are Chris and his guitar, there
are occasional drums and back-up
vocals, that gives each song its own
identity. My favourite song is "Fuzzy
Inside", a short song with an excel-
Green Machine
The music here was originally created
for a N.Y.C multimedia installation/
performance that I'm sure was horribly pretentious. Fortunately, the music is not What we have here is ambient/trance with a tinge of jazz created
by the master of the mutantrumpet,
an electronically enhanced instrument
with multiple bells, valves and MIDI
Generally speaking, some of the
music veers dangerously close to generic, but what really pulls it off is
Neill's musicianship Deftly combining
classic, minimalism, avant garde and
Miles Davis-like jazz with the standards of ambient, Neill has created a
musical work that can stand proudly
with the best of the atmospheric
Keith Courage
Bird Medkine
(Ricochet Records)
Moody, warm and slow. Soft, whis-
pery, at times haunting vocals: what
singer PatriceTuBai is saying is not too
clear but it sounds nice all the same.
Musk to listen to by yourself in a dark
smoky subterranean bar when you're
feeling a little bit sad. At its best when
the loungy sound is complemented by
punkish feedback - a nice contradiction and an uncommon mix At their
live show Patrice will treat you to a
couple of sudden fits of screaming. I
missed the absence of this on the
Kristo James
Sandy Dirt EP
All you really need to know is that
Sandy Dirt combines the talents of the
three current Pastel cuties Stephen,
Aggi, and Katrina, with noise-punker
Al Larsen from Olympia's Some Velvet Sidewalk. This five-song extended
player, recorded in the Pastels' hometown of Glasgow, is a perfect mix of
the lush-sounding side of them Pastels and the stranger, noisier Al from
SVS. The lead-off track, "Klein International," is the upbeat, folk-pop Nt
of this CD, followed by a neat cover
of Van Morrison's "Slim Slow Rider,"
sung byAL The song-writing credits
are generally split throughout this release; they all sing a bit, play a bit, and
it sounds like they're having fun, in
their own melancholic, mellow way.
If I told you that the band born of Napalm Death released an album via Earache Records, you would know exactly what to expect, right? Wrong.
This ain't no metal. Mick Harris' Scorn
is some of the best electronic music
to come out in years in my humble
opinion, scout's honour
Scorn is the only ambient music
I've heard that scares me. Haunting,
screeching sounds emit from behind
slowed-up hip hop beats, and don't
expect any vocals. Stick this in with
the lights out and you'll feel plenty
alone. I guess I'd call it nihilistic ambient music for the '90s; sort of mellow Will mixed with Psychic Warriors of Gaia and Perfume Tree. Most
folks won't like it, of course, being so
barren and even grating, but in case
you can't tell, I'm all for it
Mortal Kombat Original Soundtrack
(TVT Records)
This album is a mixture of hard
techno, ambient and thrash. What
most ofthe tracks have in common is
that they have a very fast tempo. The
one exception is a quite good track
by the ambient/trance group Orbital.
The tracks by Psykosonik and Traci
Lords are decent techno songs but
other techno songs such as the ones
by Utah Saints and The Immortals
aren't the greatest They are a little
too like dance songs to be good
techno but too hard to be good dance
songs. They linger somewhere in be-
As for the more alternative tracks,
some resemble Nine Inch Nails in
character but are a little weak. Others are merely a screaming voice
dubbed in over a beat - not too appealing. In general, most of the thrash
songs are average; nothing to get excited over.
Mtsta'r Savage
Our Salvation Is In Hand
(Theme Park Records)
All the way from the UKJheme Park
sends us this "acoustic based compilation" album of 26 guys-with-guitars.
Folks you may recognize, such as
Franklin Bruno from Nothing Painted
Blue, Matthew Hattie Hein from the
New Bad Things,John Davis from that
Folk Implosion, Paste from Paste, and
National Heroes all contribute great
songs. It seems like half of the contributors are from the American labels Shrimper and Union Pole, so if
you like that sparse, bedroom-guitar
sound, it's safe to say you'll probably
like much of this album. The strongest cuts come courtesy of California's
Mountain Goats (with 2 tracks!) playing their usual brand of ultra-melodic
and humorous warped folk, and Vancouver's Mark (from Good Horsey)
with his sad, bitter, beautiful and too
short "Stephen." My only complaint
about Our Salvation... is that there are
absolutely no female artists to be
found on here. Half of the population is ignored, and ... well, I'll leave
my rants for another time and place.
"Seven" Original Motion Picture
(TVT Records)
From one of the most well-made, if
not disturbing, movies of last year
comes an eclectic collection of tunes
covering genres from jazz to industrial to classical to New Romanticism
(Haircut 100! Nick Heyward!).
"Seven" was probably not the best
candidate for a soundtrack album, as
the music was rather unobtrusive (un-
noticeable?) during the film itself, but
one can be mighty glad that they
plowed ahead with the record anyway, as it really is a fine selection, incorporating, amongst others, J.S. Back
Marvin Gaye, Billie Holiday, Charlie
Parker, Thelonious Monk and Gravity
Kills.The two tracks of'original score
music' by Howard Shore are menacingly violin-laden and creepy, just like
the film.The songs dabble all over the
palette of moods and tempos, providing a dynamic hour or so of listen-
The appeal of this album is in the
diversity of music it offers, thus refusing to be held to the apparently
common belief that a movie which
contains characters of various ages
and varying personalities can best be
served by a soundtrack with music
picked from just one genre.
Sophie Hamley
Two by Two (Piano-bass Duets)
(JustinTime Records)
Veteran jazz bassist Dave Young is one
of those players who is more respected among musicians than the
record-buying public. Two byTwo probably won't change that Jazz doesn't
get its due respect in Canada. Check
out sales figures.
Since the '60s, Ontario native
Young has been plying his trade by accompanying some of the finest musicians in jazz as well as leading his own
groups. Calling in a few favours for
this session, Young adds another gem
to his discography. Young duets with
Cedar Walton, Tommy Flanagan, John
Hicks, Mulgrew Miller and Oscar
Peterson.The solid combinations are
marked with equally solid material on
Two byTwo.
Opening with "OP & D",Young and
Peterson bum a controlled fire over
Oscar's originaLAs with all the tracks,
Young's fretwork is fluid, while the piano, cleanly produced by Jim West, displays the technical excellence of
Whether the bluesy stylings of Cedar Walton or the swing of Mulgrew
Miller,Young plays the equal partner
as he adds his wonderful thick strokes
of acoustic bass on the pieces. Well-
crafted jazz for those late wi
Pieter Hofmann
* Girls Against Boys, originally formed in   _
Washington DC are Eli Janney- keys & bass, Scott
McCloud-guitar & vocals, Johnny Temple-Bass and Alexis
Fleisig- drums.
* House of GVSB now located in New York , is their
third album with Touch & Go.
*"Once you've heard the Jesus Lizard, you know
exactly how far they can go, but Girls Vs Boys give no
indication that this stripped-lean, compulsive linearity is
half as hard as what drives them." Melody Maker.
march'96 INDIE
j   1    eric's trip
purple blue                                   sub   pop
|    1   bikini kill
i like fucking                   kill rock stars
1   vico
1   2    esquival
cabaret aanana                                  r     a
|    2    tba von xippars
■iflhty red barn               roto-fl   x
I     2   touch and gos
1   3    the deadcats
bucket o'love      flying             saucer
1    3   forbidden dimension
no sleep 'til altaaont     roto-fl    x|
1     3   more socks
1   4    the lumpers
love   forever   or   die   trying   epitaph 1
1    4    the new grand
a dangerous affair                 bubbleg   a
1    4   meow
nancy         song
1   5    butterglory
are   you   building   a   tanpla...   aarge |
1     5    lunkheads
gore, gore a go go                                 i + _ 1
1     rj   celestial magenta
the       firBt       one
1   6   the boaboras
savage islands                           dionysus 1
1    6   tan days lata
out of tune                                       klark |
1    6   nine days wonder
1   7   loop guru
duniya                                      wavefora 1
|    7    tba neanderthals
twinkle toes                                     norton 1
|     1   3P5
1   8   moonsocket
aoonsocket                             derivative |
1    8    xeke
chiva knieval               scooch     poo   b 1
1     8   the -sweaterb                                          y0
ur     way     (or     norway)
1   9   tha acrackins
in on tha yolk                        shredder 1
1     9    state champs
nevada downs                                 daydre   m 1
|     9   bona fly
llO   slapehot
unconsciousness             we bite aaarica 1
| 1 0   wandering lucy
r«ally truly                                     k
| l n  1000 Etampe
poster          child
111   tha aotards
...rock kids                                     aapty 1
111    orange glass
wait a day                                           sappy 1
1  1 1   the muscle bitches
|l 2   front Line aaaamhly
hard wired                            aatropolis 1
1 12    mocket
pearl drop                                                  up |
1 l 2  spacekid
111   the paachaaa
do the aatb                   kill  rock   stars 1
1 13    Bupenmaa
uncle wiggly                           get          hip 1
1 13  readymade                                            fi
rot    base    1b    sleeping
11 4   air aiaiil
aa ae ae                                                 tad 1
114   the go nuts
tba donut prince...           planet   piap 1
114   pipedream
lis   rlchard h kirk
tha nuaber of aagic            wax    trax 1
1 15   ailkduds
shake                                     squre    target 1
1 1 *>  true love forever
11 6   taxes is tba reason
taxas is the reason          revelation 1
| 16   the cabe barnas band
she's a winner                       horsekitty 1
I 16  gleam
11''   tha pietastars
oolooloo                               a o o n s     a |
| 1 7    mcrackins/cheeks
-^Plit                           screaaing     appla 1
1 17   hunting humans
118   various artists
sonic unyon rock hits     sonic   unyon 1
1 18    smugglers'hi fives
•plit                                aint/lookout 1
1 1 8  ak naoai
119   radioblaster
sugar shock                             squirtgun 1
| 1 9   ailkaoney
Pink                                          headhunter 1
1 l 9 trapaxoid
y "   lunch and carvenka
rude hieroglyphics                         ryko 1
1 2 0   aaabo taxi/breed
•Plit                                          ec host.tic 1
1 2 0 the aysterons
bbq         with         elvis
j 2 1   tha anps
the aaps                                                  sad 1
1 2 l   the kwyat kings
somebody likes you                                i   % 1
1 2 1  sturvis
12 2   sunny day real estate
sunny day real astata             sub    pop 1
1 2 2    the mysteries of life
going through tha motions            r   c  a |
1 2 2  trish kelly
12 3   various artists
indie top 20                        aalody aakar 1
| 2 3   various artists
tha greatest love of all dead          b  a |
1 2 3  jabber
2 4   ricko
chef boy r u dua                           empty 1
1 2 4   the bomb bassets
please don't die                          lookout 1
1  :* 4   squeeky
12 5   download
furnace                                 Cleopatra 1
1 2 5   the dinks
go hoae                                        aeathead 1
| 2r.  gaze
2 6   sf seals
truth walks in sleepy shadows aatador 1
1 2 6   Bhinola
vodka                     backporch   revolution |
1          naardvark the sanitary elephant
i wanna get punched
2 7   supernova
ages 3 and up         anphetaaine reptile 1
1 2 7   skinner pilot
new sun                                            goodsin 1
1  .: ;'   universal lounge act
superc   r
2 8   bad religion
all ages                                            epitaph 1
1 2 8   90 Bailor
long distance                       slumberland 1
1  i ','■  johnny raillenium
2 9   the hentchaen
campus party                                  norton 1
2 9   melt banana
its in the pillcase           skin       graft 1
1  2 "  irving klaw trio
170         ways
3 0   tarnation
gentle creatures                                   4a d |
3 0   the third sax
feed ae                      kill     rock     stars 1
1   10  destroyer                                                 ka
3 1   pork queen
Strang                                            scratch 1
3 1   strain
remorse                        bacteria        sour 1
1     1   <J«                                                              „n
3 2   puncture
snipe or starve? snap      your      neck 1
3 2   run on
miscalculation                              aatador 1
■i   black eye buddha                                 -jag
3 3   the halo benders
don't tell ae now              k
3 3   pansy division
valentine's day                              lookout 1
1      i   helen gone
3 4   black grape
it's great when you're... radioactive 1
3 4   thinking fellers union
everyday                                        aaarillo 1
not                   afraid
3 5   tverdocleb
chalk fairy                         trackshunl
3 5    karate/the lune
split.                          lonesoa    pinecone 1
bonnie          maiden |
1  .    moonsocket
dead          voices
on          air
eric I       trip
purple       blue
sub      pop
i     radioblaster
sugar    shock
r,     tickertape parade
audience with the pope
,      the readymade
first base    is sleeping
dressed   for    success
mag    wheel
aster-Sinew grand&thee suddens    squirtgun
,     Mie     smugglers
selling     the     sizzle
[■       chickpea
rightwide     |
1   1   la banda gorda
candela pura
: salif    keita
folon...the    past
patato, changuitr
y oreBteB ritmo      y     candela
redwood  1
4 los    hermano   ros
la   duena   del   Bwing
karen 1
', king sunny ade
e dide get up
mesa 1
6 mickey taveras
ap 1
7 yellowman
around   the   world
ras 1
;; mickey    spice
Btrictly    the     best
16                p  1
'i gipBy kings
Bony 1
A gemini
caiman |
fern's top ten
letters of the rlphrbet
With a jewellry purchase
you receive a free piercing by
Canada's most experienced piercers
1043 GRANVILLE STREET 688-6225
"Fu Manchu's got riffs like Manhattans got red lights" New York Press
3C3-.KS ^©fflR ASS QWBRY?
S&fffflRB&Y? G_Q©CQff MQtfra ©R3W9
I2.-00PM All of lime ii measured by ils
art. Most broadcasting shuns art For
incestuous maHcet-music. This show presents ihe most recent new musk from
around the wodd. Ears open.
Reggae mna all styles and Fashion.
LUCKY SCRATCH Afemating 3:0O-5:00PM
Blues ain't nolhin' but a good woman
feelin' bad. Gil down and git back up
again - host Anna.
lum & helen in their quest for krupnik.
HEATHER'SSHOW6:00-8:00PM Dedicated
lo the gay, lesbian, bisexual, and
transsexual communities of Vancouver
and listened lo by everyone. Lots of
human interest features, background on
current issues and great music from
musicians of all sexual preferences and
gender identities.
GffTANJA_9*O0-10O0PM Geelanjali Features a wide range of music from India,
including classical music, both Hindustani
and Camalic, popular music from Indian movies from the 1930's lo the
1990's, Semi-classical music such as
Ghazals and Bhajans, and also
Quawwalis, Folk Songs, etc. Hosled by
J. Dhar, A. Pate) and V. Ronjan.
Join host Dave Emory ond colleague Nip
Tuck for some extraordinary political
research guaranteed to make you think
twice. Bring your tape deck and two C-
90s. Originally broadcast on KFJC (Los
Altos, California).
4AM Drop yer gear and stay up late.
Naked radio for naked people. Get
bent Love Dave.
11:00AM Your favourite brown-slers,
James and Peter, offer a savouty blend
of the familiar and exotic in a blend of
aural delights! Tune in and enjoy each
weekly brown plate special.
PM Wilh your hosts the Gourd of
Ignorance and Don (he Wanderer. What
will we play today? Rog will put il away.
CiTR's industrial/noise/ambienl show,
alt-ernating with SKINTIGHT
BUFFOONERY - wimpy British pop,
Beastie Boys, indie guitar swing, and
techno thrown in for good measure. Hit
your olfactory nerve centre with
June scudeleiOmindlink.bc.ca.
endeavour to feature dead air, verbal
flatulence (only when I speak), a work of
mu sic by a twentieth- century composer-
can you say minimalist?—and whatever
else appeals lo me. Fog and dyke
positive. Mail in your requests, because
I am not a human-answering machine.
Gol a quarter then call someone who
women who sometimes don'l feel fresh,
but always get fresh. Spoken word and
music: light lo heavy flow. Maximum
protection recommended for male
listeners. Holy Hannah! It's a Femininst
BIRDWATCHERS 5:304:00PM Join Colin
Pereira for all the weekend sports shlock
From the high altitudes and thin air oF
Point Grey.
POLYPHONIC akernating 7:0O-9:OOPM
Listen for all Canadian, mostly
independent tunes, and band interviews
at 7:301
Vancouver's longest running prime lime
jazz program. Hosled by the eversuave
Gavin Walker. Features at 11.
March 4: The new herald of the
trumpet tonight - Roy Hargrove wilh his
band and playing with, on tenor
saxophone: Johnny Griffin, Stanley
Turrentine, Joe Henderson, Joshua
Redman and Branford Marsalis.
March 11: Tonight, Duke Ellington
and his band al their best!
March 18: Alto saxophonist Gary
Bartz (who'll be in Van.) wilh Woody
Shaw on trumpet and Coltrane's last
great drummer Rashied Ali perform a
"live" set recorded in 1969.
March 25: The art of the Jam
Session tonight with Jazz masters
Dizzy Gillespie (trumpet), tenor
saxophone masters Stan Getz, Paul
Gonsalves and Coleman Hawkins, and
piano great Wynton Kelly and others
in "Silting In.1
1 grAW/// pHii-l
' 1 PP*0 foil
Hear! Music that makes you feel burned
dive on an dtar of flame! Shake wilh
laughs! Shiver wilh suspense! Tremble
with thrills! Not for sissies or children! It's
scary! It's screamy! It's screwy!
Women in music and grrds in music; two
hours of info and rawk. Ya don't need a
penis to be a musical Genius!
K3RA 5:30400PM News, issues, and
concerns facing Muslims throughout ihe
the unherd where the unheard and the
hordes of hardly herd are heard, courtesy of host and demo director Dde
Sawyer. Herd up!
RITMO LATINO 9:00-10:OOPM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as ihey shake it and
wiggle it lo the latest in Salsa, Merengue,
Cumbia and olher fiery fiesta favourites.
Latin music so hoi ifll give you a tan!
Alternating Tuesdays. Live readings ond
the latest in techno bizzarre wilh hosl
Lupus Yonderboy.
Warning: This show is moody and unpredictable. Il encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
LOVE SUCKS 11:30AM-1:00PM Tune in
for the musicd catharsis that is Love
Sucks. If you can't make sense of il, at
least you can dance to it!
MOTORDADDY 3:00-5:00PM "At dub
functions there is to be no shooting of
firearms or setting off fireworks."
ESOTERIK 6:00-7:30PM Ambient/
experimental music for those of us who
know aboul the illilhids.
AND SOMETIMES WHY 7:30-9:00PM well,
here t'is, folks; not sure what it is, but it's
here... spinanes, freakwater, rocketship,
ce be barnes... these are a few of our
fave-oh-writ things.
Soukous, Samba, Salsa. Yes! Even Soca.
Enjoy thisTropicd Daiquiri with El Doctor
del Rihno.
12*00 AM Let DJ's Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkh de phulay*. Listen lo all our
Toques, plaids, backbacon, beer, igloos
and beavers.
SIEVE & MIKE 1 -00-2-OOPM Crashing the
boys' club in the pil.   Hard and fast,
heavy and slow, listen to il, baby.
JUSTIN'S TIME 2:00-3:OOPM March means
Spring. Spring means love, love means
Jazz. Love is in the air, so fall in love this
month with Justin's Time.
OUT FOR KICKS 6:00-7:30PM No
Birkensfocks, nothing politically correct.
We don't get paid so you're damn right
we have fun with il. Hosled by Chris B.
Roots of rock & roll.
9:00-11:00PM   Local muzak from 9.
live bandz from 10. March 7: Veronica
Marat 14: Roadside Monument
(from Sedrle!)
10:00AM Greg here. Join me in the love
den for a cocktail. We'll hear retro stuff,
groovy jazz, and thicker stuff too. See
you here ... and bring some ice. XOXX
TELESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live wilh physical
& mental challenges.
J     ATtyOk
Wr* tke
third time's
the charm
Item Fvmuft
Ion Dim
Radio fret
Sk»-t'» Scenic
love sucks
justin's time
Oet  Tho
SHOW      |
FMtfRlM Hy-jin*
Aw«r* House
tort For K4*f
kip kep k«fcf
and sometimes
on air with
<;reas_» hair
j     CttUHIeli
tropical (Utykr'r
1     ONE STEP
uiolf ar the door/
sfrS ofctt«
slot from
1200PM SkaPunkSkoSwingSka Polka
SkaCoreSkataracSkaJazz etc.ek.etc.
IME TWIN STARS 2.40-3:30 PM Kiki
liki Kiki liki
PRESENTS... 3:30-4.-OOPM Have a
good brunch!
Underground sound system-
style mastermix rodio.
FOR THE RECORD 6:304:45PM Excerpts from Dave Emory's Radio Free
America Series.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program
in Vancouver. Hosted by DJ Noah,
the main focus of the show is techno,
but also includes some trance, acid,
tribal, elc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavor of homebass.
LIMP SINK 12:00AM-2:42AM On
altemating weeks join Dr. Killdare on
"The Doctor Killdare Show.' Contact:
12:00PM Now in its 10th year on the
air, The Edge on Folk features music
you won't hear anywhere else, studio
guesls, new releases, Brirish comedy
sketches, folk music calendar, ticket
giveaways, etc., plus World. Cup
Report al 11:30 AM. 8-9 AM:
African/World roots. 9-12 noon:
Celtic musicand feature performances.
Vancouver's only true metal show; local
demo tapes, imports and other rarities.
Gerald Rattler***-**d and Metal Ron do ihe
THE SHOW 6:00-8:00PM Strictly Hip
Hop—StrictlyUndergound— Strictly
Vinyl With your hosts Mr. Checka,
Flip Out & J Swing on the 1 & 2's.
SOMETHING l*O0-4:00AM "You can
tell by the way I use my walk. I'm a
woman's man ...no lime to talk."
WHOM      &      HOW
Arts Ian McKinnon
Board Chair Harry Hertscheg
Business Mgr. Otis Ashby
Currant Affairs Andrea Spence
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Chris Allison
librarian Clarence Chu
Mobile Sound Andy Bonfield
Musk Megan Male-It
President Brian Wieser
Praduction Aaron Robertson
Programming Miko Hoffman
Promotions Selena Harrington
Secretary Chandra Lesmeister
Sports Dave  Ryan
Station Manager Undo Scholten
Student Engineer Fern Webb
Traffic GnAafneQuan
Vic* President Ryan Ogg
Volunteer Coordinator John Ruskin
BUS. LINE 604.822.3017
DJLINE 604.822.2487
MUSIC DEP'T. 604.822.8733
NEWS LINE 604.822.5334
FAX   LINE   604.822.9364
tune in on March Stti
for a full day of
women's programming!
djs Spun-K ond Czech (jazz, funk, reggae, hip hop) at the Starfish Room...Blue Room w/dj Isis (ambient} at Automotive...80's
Donee Night w/dj Brian St. Clair at Graceland...Readings, Mu-"
sic & more at fhe Grind Gollery (every other Monday at 8pm)...
Mountain w/dj James Brown at Graceland...The Magic of Disco
ot Richard's On Richards ...Aqua w/djs Isis and Markem (ambient) at Benny's Bagels Yaletown...Boogie Ave w/dj Maggee (70's
old school) atthe Heritage House Hotel (453 Abbott)...Disco Night
af fhe Commodore...The Greasy Spoon w/Slick at the Hungry
E*ye...Klassix Night w/dj David Hawkes at Luv Yr Hair...N«w
Wove/Retro 80's Night w/dj Atomic at the Twilight Zone...Aural
Fixation ot DV8 (poetry - sigt>up7:3Q, showot 8:00)...The Tongue
of the Slip at the Glass Slipper (scheduled readers and open limited open mike - 9pm on the third Tuesday of the month)...Live
jazz w/ dj Brian James at the Purple Onion...
WED: Velvet w/djs T-Bone, Dickey Doo and special guests {deep
house) at The Underground...Reggae Night at Graceland w/ajj
Silk...Ginger Snaps w/dj Mike & Somo and live electronic guests,
at Mars...Mo' Funk w/ djs Soul Kid & Seren trip hop, acid jazz &;
funk) at Richard's On Richards...Gin & Sin Lounge at*
Niagara...Punk Rock Wednesday w/dj Twigboy at the Twilight
Zone...Nitro (industrial progressive indie) w/dj Czech at
Luvafair...Max Murphy Collective at Raffels...Open Mouth (open
mic) w/host Carolyn Mark at the Malcolm Lowry Room (9pm •*;;
call ahead to readj...El Famoso (raregroove, funk, hip-hop, jazz|;
reggae) at the Red lounge...
THUR: Sol w/dj Morkem and guests (progressive, trance, tribol|
hard house) af Graceland... The Bottle w/djs Clarence and Davidj
Love Jones (soul, \ozz & rare groove) at the Piccadilly.. Soul V
Funk in the Basement w/dj Marc and guests at the St. Regis
(bsmt)...Nocturnal Injection Revelation w/dj Wonderbread at the
Twilight Zone...Cat House w/dj Mick Shea (house) at
Celebrities...BtowBstS (soul, iazz, r&b, latin, worldbeat) w/djs Al
Testa and Thomas ot the Red Lounge...Step Hard w/Andy B Luke
at 898 Richards (2-4)...Strictly Business with djs Luke, Andy B.
and Wundertwins at the Hungry Eye...
ftQt Sugar w/woekfy rotationg djs at Graceland...Lowdown w/
djs lovely Lisa and Dick at the St. Regis (bsmt)...Explorations in
Outer Boss (ambient) at Melriches Coffee House (1244
Davie)...Planetov Sound w/James Brown andguests at the World
(1-5)...Homo Homer w/di Jules fhouse & disco) at the
Odyssey.. Malebox w/dj Mick Shea (house) at
Celebrities...Blitzkrieg (tribal, industrial, goth) at the Twilight
Zone.-low Down (funk, jazz, hiphop) at the St. Regis Basement
Lounge...Lounging w/ dj T-bone (house, jazz and beyond) at the
Red lounge...Groove w/djs Marc and Todd Keller, 154 W Hast-
SAT: Noah's Arc w/dj Noah at the World (]-5)...Yo Mama w/
djs KiloCe**** and J Swing (hip hop) atthe Twilight Zone... Bad Boys
Night Out w/dj Jules (house) at the Odyssey... djs Storm & Dickey
Doo (house) at Celebrities...lounging w/dj Soul Kid (jazzy, groovy)
atthe Red lounge...
SUN: Uronus Invades Mars w/djs Dickey Doo and Quest af
Mars...AlternativeJazzatCafe Deux Soleils (every other Sun)...dj
Jules (house & disco) ot the Odyssey...Ska Night w/dj Pig at the
Twilight Zone...Movie Night ot fhe Railway Club...Pressing Poetry of fhe Press Club (7:30),,.lipstik Doom w/ Doctor Killdare at
1250 Richards 9pm-12am...
jl guests of fhe Town Pump...Pluto w/ Sister lovers and Jackie Chan
3t the Starfish Room...Minority w/ guesls ot the Niagara...Crave w/ the
:s at the Gai*town Music Hail...Showbusiness Giants at the Maicofm
Lowry Room...Saint Someone, Galileo and Deadline at the Hungry
Eye.,.Surfdusters w/ the Hellhound! af the Piccadilly Pub...lea Roekof w/ th*
Deodcils at the Commodore...latcho Drom and Baraka at th* Ridge...Eldorado
ond lisle Noire at the Pocific Cinematheque...
SAT 2 Zolty Crocker w/ Spiritual Heroine and Wretched Ethyi ot the Hungry
Eye...Econoiine Crush at the Town Pump...Eps8on Knot, Boxcutter ond Keychain
Token at the Starfish Room...Smak w/ the Moiesftcs at Ihe N*ogara...The Daisy
Chain w/ guests ai the Piccadilly Pub.. .Swank and Violet at Ihe Malcolm lowry
Room. ..Octmbako w/ Pea! at the Gastown Music Hall.. lofcho Drom ond Baraka
ot the Ridge...le Jardin Gubli6 and le Confessional ot the Pacific
SUN 3 Zine Crusade 11 -6 at he Gallery, 110 W. Hastings; for info call $m al
685-0509...Lalcho Drom and Baraka at fhe Ridge...la folie des Crinotln-et,
L'Oreilie d'un Sourd and Kamouraska at the Pacific Cinematheque...
MON 4 Goldeneye and Goldfinger at Ihe Ridge...I'Enfant d'Eau and Champagne Safari at the Pacific Cinematheque...
TUES 5 Jesus Pieces and Cola w/ 9 Days Wonder at the Hungry
Eye...Showbusiness Giants at the Railway Club...Goldeneye and Goldfinger
at Ihe Ridge...la Fabrication d'un Meurtrier and Zigrail al Ihe Pacific
WED 6 Tile Dole with low Downs and Supersize al the Hungry
Eye...Showbuiiness Giants al the Mighty Niagara...Sugarcrash w/ Superstar
al Ihe daslown Music Hall...Sieve Mitchell al the South Hill Candy Shop...The
Usual Suspects and Gel Shorty al Ihe Ridge...Stolen Children at the Pacific
THURS 7 Another While Male ond lucky Me ot the Pil Pub...Velour, the Meon
Reds ond Ihe limlnals al Ihe Starfish Room Drew Barnes w/Cow Jazz at the
Gaslown Music Hall. Craig Jacks al Ihe South Hill Candy Shop. The Usual
Suspects and Get Shorty al fhe Ridge...Sarah Turner programme al the Pacific
FRI 8 Alpha Yaya Diallo al the Starfish Room...Minority w/ Drexel's Eye and
Peace Love Dog at the Hungry Eye ..Haymakers w/ guests at the Vancouver
Press Club..The Sugar Beats and guests at the Molcolm lowry Room. Gin
Blossoms w/ Dead Hoi Workshop and Refreshments ot the Commodore ...A
Few Roosters and Two lane Black fop w/ Bloomsday at ihe Piccadilly Pub ..The
While Balloon ond Kicking A Screaming at Ihe Ridge..Werne Herzog programme at the Pacific Cinemaiheque...
SAT9 Ignite (circus-slyle evening) at ihe Starfish Room...Texture w/ Bloomsdoy
andjuniper Dally al the Hungry Eye...The Smalls, Dayglo Abortions and Shallow al the Commodore.. .Pipedream w/ guest at the Gastown Music Hall...Tippy
a GoGo and lazy Bones at Ihe Malcolm Lowry Room...Hais»i Motes al Ihe
Indigo Cofe...Wreckin Ball Trio at the South Hill Candy Shop...The While Balloon and Kicking & Screaming ot the Ridge...Bells from the Deep at Ihe Pacific
SUN 10 Cypress Hill w/ he five Fingers of Funk at Ihe Commodore...Maria
McKee w/ James Hall at the Town Pump...The White Balloon and Kicking _
Screaming at the Ridge.. Signs of Life and Fata Morgana al the Pacific
MON 11 De la Soul at Richard's...The White Balloon and Kicking A Screaming al Ihe Ridge...Signs of Life and Fata Morgana ol he fbclfic Cinematheque...
TUES 12 The White Balloon and Kicking _ Screaming ctl the Ridge...
WED 13 Feedbag w/ 9 Volt at the Hungry Eye.,.The White Balloon and
Kicking & Screaming at Ihe Ridge...Dear Diary at the Pacific Cinematheque...
THURS 14 Noah's Greal Rainbow and Six Million Dollar Band at the Pit
Pub.-Cralg Jacks al the South Hill Candy Shop...The White Balloon and Kicking & Screaming at the Ridge...Quebecois Program I af Ihe Pacific
AT THE COMMODORE...Mad Pudding at the Starfish Room...Steel Thirsty ai
the Vancouver Press Club...No Mona w/ Cathode Ray al Ihe Gaslown Music
Hall...The Vinoigreltes and Kinnie Starr af the Mcrfcolm lowry Room...Kristia
Jeanne Sheffield al Ihe South Hill Candy Shop...Restoration and Persuasion at
the Ridge...The Enigma of Kaspar Hauser and land of Silence and Darkness at
ihe Pacific Cinemaiheque...
SAT 16 Smokin' Frogs. Hip Hop Mecanix and Shrug at he Starfish Room...The
Tonics and Meow at Ihe Malcolm lowry Room...Noah's Great Rainbow at the
Voncouver Press Club...The Paperboys at the Commodore...Flash Bastard al
the Hungry Eye...Hazel Motes at the Talking Stick.. Sytvi at the South
Hill...Restoration and Persuasllon al the Ridge...The Enigma of Kaspar Hauser
and Land of Silence and Darkness al Ihe Pacific Cinemaiheque...
SUN 17 Restoration and Persuasion al ihe Ridge...Slroszak and Even Dwarfs
Started Small al ihe Pacific Cinemaiheque...
MON 18 The Postman and A Pure Formality at ihe Ridge...Stroszek and Even,
Dwarfs Started Small al the Pacific Cinemaiheque...
TUES 19 THe Will Goede Quartetat fhe South Hill Candy Shop...The Postman
and A Pure Formality at ihe Ridge...
WED 20 The Presidents of the United Slates of America ot the
Commodore...Slompal the Vogue Theotre (until April 7)...Steve Mitchell al Ihe
South Hill Candy Shop...
Manufacturing Consent al Ihe Ridge..iCiao, Professorel al the Pacific
THURS 21 Tom Cochrane w/ Amanda Marshall at the Commodore...Copyright
and Veal at Ihe Pit Pub...Craig Jacks at the South Hill Candy
Shop...Manufacturing Consent al the Ridge...The Quality of Mercy at Ihe Pacific Cinematheque...
FRI 22 Heather Nova w/ guests at the Starfish Room...The Deadcats al the
Malcolm lowry Room,..The Hounds of Buskervilfe ot Ihe Vancouver Press
Club,..lucas Hille at ihe South Hill...Tom Cochrane w/ Amanda Marshall at
the Commodore...lamerico al he Ridge...Lo Jelee and Slaughterhouse-Five at *
the Pacific Cinematheque...
SAT 23 gaze, Squeeky and Avron Hoffmon at the Malcolm lowry
Room.-.Radiobead at he Rage...Daytona at ihe Hungry Eye...Time Wails al
the South Hlii...lamerico at the Ridge...ta Jel*6e ond Slaughterhouse-five at Ihe
Pacific Cinematheque,.
SUN 24 Iron Maiden w/ Fear Factory ol ho Commodore...Cherry Poppin*
Daddies ot the Town Pump...lamerica at fhe Ridge...Heart of Gloss and lessons of Darkness at the Pocific Cinemaiheque...
MON 25 lamerica at the Ridge...Heart of Glass and lessons of Darkness at
Ihe Pacific Cinematheque...
BUTTERGIORY AT THE TOWN PUMP...Jazz Cow at the South Hill Candy
Shop...Lamerica at ihe Rkige...
WED 27 Tippy Agogo at the Glass Slipper...lamerica ot he Ridge...The Postman at he Pacific Cinematheque...
THURS 28 Sparkmarker and Pebble at Ihe Pit Pub...Craig Jacks al the
South Hill Candy Shop...Lamerica al Ihe Ridge..Canadian and European
Animators programs al the Pacific Cinemaiheque...
FRI 29 Texture w/guests al Ihe Vancouver fre» Clufa.,.The Mu^rks and
Pfumvine pt Ihe Malcolm Lowry Room...Fear of Drinking of lh» South Hill
Condy Shop. ,le Confessional and Margaret's Museuitfi al the
; Ridge...Burden of Dreams and Fitzcarraldo ol the Pacific Cinematheque...
SAT 30 Coal w/ the Mach Ill's at lhe Gaslown Music Hall...The Deadcats
w/ guests al the Vancouver Press Club...Copyrighl at the Malcolm Lowry
Room.,.Everclear w/ Hagfish at the Commodore...le Confessional and
Margaret's Museum at fhe Ridge...Burden of Dreams and Fitzcarraldo at
the Pacific Cinematheque...
SUN 31 Sno Jam '96 w/ d.b.s. & others af the Commodore..le Confessional and Margaret's Museum at the Ridge.. Nosferatu the Empire and
Woyzeck al the Pocific Cinematheque...
The Abyss 315 E. Broodwoy (side entrance)
 ill* island)
Block Sheep Books 2742 W.4* {of MocOorwto)
Cofe Deux Solefls 2096 Commercial (the Drive)
Cafe Vieux Montreal 317 E. Broadway (Mount Pleosar
Coprice Theatre 965 Gronville (Gronville Moll)
Celebrities   1022 Dovie [at Burrard)
CN Imax Theatre 999 Canada Place
Commodore Ballroom  870 Granville  (Granville Mall)
Commodore lanes 83$ GrotwH* {Granville Moll)
Cordova Cafe 307 Cotdovo (Gostown)
Crosstown Traffic  316 W Hastings (downtown)
i Ploce Cinema   1030 Denman (West Enrrrd)
Firehall Arts Centre SO £. Cordova (olMaln)
Food Not Bombs Voncouver
Frederic Wood Theotre fUBQ
Goroge Cub 2889 East Hastings St (downtown)
Gaslown Theatre 36 Powell (Gastown)
Gloss Slipper    2714 Prince Edward (Mount Pleasant]
Groceland  1250 Richards (downtown)
Greg's Place 45844 Yale Rd. jChilliwack)
The Grind Gollery 4124 Mow Sf. Wf. Pleasant)
Hasflngs Community Centre  2096 E. Hastings (near I
Hemp B.C. 324 W. Hastings  (downtown
Hollywood Theotre 3123 W. Broadway (Kitsilano)
Hot jozz Society 2120 Main (Ml. Pleasant)
Hungry Eye   23 W. Cordova   (Gaslown)
: Jericho Arts Centre  1600 Discovery (Pi. Grey)
la Quena   1111 Commercial  (the Drive)
The lotus Club 455 Abbott (Gastown)
Lucky1* 3934 Main
UwA-fatr  1275 Seymour {downtown)
Mokob lowry Room 4125 E. Hastings (N. Burnaby
Mors  1320 Richards (downtown)
Maximum Blues Pub 1176 Granville  (downtown)
New York Theatre 639 Commercial (the Drive)
Niagara Hotel Pub 435 W. Pender (downtown)
Odyssey Imports 534 Seymour Idowntown)
Old American Pub 928 Main (downtown)
Orpheum Theatre Smith* & Seymour (downtown)
»«»*.ri,.m/,iL,«I,.  l lit u~_.  'J- >
488 6219
222 2244
876 7128
684 2787
689 7734
687 1354
254 1195
873 1331
683 6099
689 3180
682 4629
681 7838
681 1531
683 5637
669 7573
, 6832201
682 4388
689 0926
872 6719
822 2678
822 9364
684 MASK
877 0066
688 2648
795 3334
322 6057
255 2606
681 4620
738 3211
873 4131
688 5351
251 6626
685 7777
875 9858
685 3288
685 0143
230 MARS
688 8701
254 3545
688 7574
669 6644
682 3291
665 3050
731 3456
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
473 1593
685 5585
681 1625
687 6794
738 6311
254 3545
874 6200
687 6355
876 7463
682 4171
689 0096
688 3312
Pacific Cinematheque   1131 Howe (downtown)
Paradise 17 Church (New West)
Paradise Cinema 9i9 Granville (Granville Mall)
Parle Theotre 3440 Cambie (South Vancouver)
Picadilly Pub 630 W. Pender (ot Seymour)
Pit Pub basement, Student Union Building  (UBC)
Pill Gollery 317 W. Hastings (downtown)
Plaza Theatre 881 Gronville (Granville Mall)
Raffels lounge 1221 Granville (downtown)
The Roge 730 Pocific Blvd. South (Plaza of Nations)
Railway Club 579 Dunsmuir (ol Seymour)
Richard's On Richards  1036 Rtchords (downtown) :
Ridge Cinema  3131 Arbutus  jot 16th Ave.)
Romper Roam 639 Commercial Sie Drive)
Russian Halt 600 Campbell (Chinatown)
Scratch Records 317A Ccmbie {Gaslown)
Southhill Condy Shop 4198 Main (ot 26th)
Starfish Room   1055 Homer (downtown)
Storlight Cinema 935 Denman (West End)
Station Street Arts Centre 930 Station  (off Moin)
St. Regis Hotel 602 Dunsmiur (downlown)
Theatre E 254 E. Hastings (Chinatown) 681 8915
Town Pump 66 Water Street (Gastown) 683 6695
Track Records 552 Seymour (downtown) 682 7976
Tree House toutge 602 Dunsmuir St. (downtown) 871 3090
Twilight Zone /^Alexander (Gastown 682 8550
UBC CINEMA (located in the SUB) 822 3697
UBC Grad Centre Gote 4 (UBC) 822 0999
The Underground  1082 Gronvtfle (downtown)
Vancouver East Cultural Centre   1895 Venables (ot Victoria) 254 9578
Vancouver little Theatre 3102 Main (Mi. Pleasont) 876-4165
Vancouver Press Club 2215 Granville (S, Granville) 738 7015
Yarsity Theotre 4375 W. 10* (Point 6rey) 222 2235
Vert 2412 Main (Mt Pleasont) 872-2999
Video In Studios 1965 Main (Mt. Pleasant) 872 8337
Vogue Theatre 918 Granville (Gronville Mall) 257 6205
Waterfront Theatre  1405 Anderson  (Granville Is.) 685 6217
W.I.S.E. Hall   1882Adonac (the Drive) 254 5858
Women In Print 3566 W. 4th (Kitsilano] 732 4128
Yale Blues Pub 1300GranviHe (downtown) 6819253
Zulu Records 1869 W. 4th (Kitsilano) 738 3232
© |<j <?_   BLAME. LYLE ThuIVEK
see You r*6xr month
34 MARCH 1996 While RUST is one of the best bands to arise out of the San Diego "scene", they don't fit neatly into any
stylistic or musical niche: how many bands could share a stage with Stone Temple Pilots, The Meat Puppets,
Tool, All, Failure, and Cop Shoot Cop?!!
Bar Chord Ritual bristles with punk-ish energy and just a trace of classic rock, but the emphasis is always
on melody. Dave Jerden's (Jane's Addiction, Alice In Chains) ace production has given RUST a cleaner,
more streamlined sound that highlights the hooks without sacrificing any of their energy and aggression.
Listen for yourself - play it loud but don't forget your earplugs!!!!
RUST/Bar Chord Ritual
FILTER / March 15 / Coliseum
Strive for the beauty of the short
bus and reject the cattle morality
and thought of the masses.
FILTER / Short Bus
1160 Robson Street
Park Royal Shopping Centre (North Mall)
Guildford Town Centre
Willowbrook Shopping Centre
Richmond Centre
Coquitlam Centre
Eaton Centre - Metrotown
Mayfair Shopping Centre / Victoria
Hillside Shopping Centre / Victoria
Sevenoaks Shopping Centre / Abbotsford
Specially priced at HMV while q
ities last. HMV reserves the right to limit quantities. Archers of loaf
"Speed Of Cattle" cD/_onie-iF
| Yup, a herd of hits. The
hers' have rounded
I up all their slack ass sin-
I gles into a superific
I release, tightly packed
with pop-fuzz through
I and through. Yahoo!
14" CD      12'e double-LP
"L'ttat It Moi" cd/ip
Artistic production is
attached to social/political context (and history)
like roots in a fertile
ground, adding character, inflection and a sense
of reason and direction.
As such, German band Blumfeld approach
songwriting with a thoughtful and serious inten-
tionality involving a Sonic Youth-like concern
for sound and structure with a
that is as politicized as it is ironic (less a
wilfi their North American contemporaries).
I'Bof Et Moi is an accomplished pop/rock
record and a strong debut (in any language).
16* CD     12* U»
"Are You Building A Temple In
Heaven?" cd/lp/cks
Butterglory have progressed from quiet "lo-
fi 'ers" to a rounded,
competent pop rock
band, following a creative trajectory (The
■ Velvet Underground Jonathan Richman, Dream
Syndicate, The Feelies) that modernizes
itself with continual vitality (The K Records
empire). With rock history reverberating behind
them, Butterglory rightfully occupy a point in
this continuum, building — through the quality
of their songwriting — a temple (humbly) in
their own honour — one that is ours to enjoy.
14* CD     12* IP     10* Cassette
Pansy Division
"Wish I'd Taken Pictures" co/lp
1 In a world where Silence
I = Death, Pansy
J Division ring the bells...
I pure punk-pop style, that
1 is! And Mint / Lookout!
I Records bring it to you
■ — fourteen songs for a
positive identity. Come'n get it!
. 12* CD    9* LP
1869 W 4th Ave.
Vancouver. BC
V6J 1M4
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
Various Artists
"Survival If Tie Fattest" n/ip/cm
Fifteen artists, seventeen songs. In the spirit of te*
Them f at Jellybeans, punk rock is making
waves, and here's who's doing it. Features NOFX,
Lagwagon, Snuff and more! Ifs a bargoon!
5* CD   5* LP   5* Cassette
Tke Grifters
"Ain't My Lookout" ce/ip
A band from Memphis, an
album with soul. The
Grifters cook up a blurry,
strange, enticingly evocative sound that respects
their southern roots yef
thrusts boldly into the realm
of sonic exploration. Their debut long-player for
SUB POP, Ain't My Lookout is definitely worth
a-checking out.
16* CD    10* LP
Nick Cove with PJ Harvey
"Henry lee" co-ep
A broodingly poignant pairing that had to happen. One of the best tracks on Nick Cave's new
Murder Ballads album, the glum Mr. Cave
and the brash Ms. Harvey team up for a moving, subtle duet that brings out the best in each.
9" CD-EP
"Music For Egon Scheie'
Intended to accompany a perfor-
ork about the poignant
and largely unknown life and
work of artist Egon Scheie, the
stylistically flexible Rachel's (a
trio of piano, viola and cello for
' this recording) have produced on
expressive, "biographic" musical background to the
■avents and characters of Egon s short life, using music to
articulate fhe aesthetic contours of experience when
words of description become limiting.
14* CD   12* U»
Gas Huffer
"The inhuman Ordeal Of Special Agent
Gas Huffer" ci/tp
Go go gadget Gas Huffer! Specializing in hard boiled
garage rock, Seattle's Gas Huffer crack another big
case with their latest Ul-tengfh LP. Nice work, men!
14* CD    10* LP
The Flaming lips
"This Here Giraffe" ci-ep
Like a trip to the zoo, this here disc is full of strange
and beautiful sounds. It's fun, kinda makes you feel like
a kid again. More stereo magic from The lips
off their latest long-player Clouds Taste Metallic.
9* CD-EP
The Coctails
"The details" h
I A pleasant accompaniment
for when it's Hme to throw in
the towel. Lefs follow the
lead of these multi-instrumentalists with their last self-
titled release. Closure never
sounded so good.
16* CD
Combustible Edison
1996: The Year That Cocktail Broke. What a long,
strange trip it's been. Anyways, today's true lounge
lizards, Combustible Edison practise mighty
fine cocktail etiquette, and with their second full-
length Schizophonk approach ambrosia delight.
16* CD
The Smugglers
"Selling The Sizzle!" ci/ip
'Tis the season of the backyard barbecue... well,
almost, but here's a real
teaser. The Smugglers
have released their new lip-
smocldn' foil-length feature
— Setting The Shade!
Fifteen palty-stackin' hits worthy of any skookum
12*CD   9*LP
Sale prices in effect until March 31/96.
Other New Favourites!
1 The Bluetones
I Oasis.
—Expecting To Fly CD/LP
-^''^BacUr, Anger CD-EP/7-inch
B|ork Hyoerbollad Pans 1 + 2CD-EPs
?*ead TheDarkAges CD-EP/10-inch
^n,m Denim On he CD/IP
ar,oosA** Not So Preny (Tribute To
The Pretty Things) CD/LP
Wayne Kramer Dangerous Madness
. CD/LP/Cassette
KeVm Kane Neighbourhood Watch CD
(available mid-March)
I ^^-^^^ht Reeling CD/Cassette
I Afghan Whigs....Ho^eyHoc/derCD-EP/10-inch
Banco DeGaia Kinkajou CD-EP/12-inch I
Bran'ac Hissin9 Prigs In Static Couture CD/LP
°°n F'emin9 Because Tomorrow CD
*,n'OUsArtists Mondo Exotic CD
^—Artists Space Capades CD
^Artists Mapsoc/taCD
*"«»**■ Bachelors Den CD
K,e •'•;•,; Black Nile Crash CD-EP/12-inch
Neutral Milk Hotel On Avery Island CD/LP
S°n0raPine   Sonora Pine CD/iP


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