2_ST§ PRESENTS ZIGOY MARLEY ■____■ AND THE MELODY MAKERS — wilh special guests Tke ^milySWWi THURSDAY AUGUST 30 doors 8pm • showtime 10pm 86 ST. MUSIC HALL tickets: all T?cKMr£**=7mV9± outlets as well as Zulu, Track, Highlife. Black Swan Records and Barret Electronics or charge by phone «... »■ 260-4444 (0-faf ON SALE NOW ^tt Produced by Perryscope __^°__£__3 CONTENTS AUGUST • 1990 Issue #91 HARDCORE SCHMOOZING Len Morgan shakes hands atthe NMS 7 INSPIRAL CARPETS Greg Garlick hoovers the Manchester landscape 9 FRANK CHICKENS James Boldt and Peter Sickert bathe in the glory of excess raughter 10 SWAGGER The Blue Aeroplanes caught on the edge of mega-stardom by Pete Lutwyche 13 SHUFFLE DEMONS Demon Tommy Paley chats with the fellas over greasy burgers 14 MY FAMOUS MISTAKES The story of a legendary band - by J.B. Hohm 18 BETTY'N'ME Nardwuar gets tied up at Canada Customs 20 AIRHEAD Remember: high power-popularity-mainstream-bad 5 REAL LIVE ACTION Dead Milkmen, Caterwaul, Robyn Hitchcock and more 16 UNDER REVIEW We listen to 'em, we write about 'em, you read 'em. Simple 17 LOCAL MOTION Let's get Janis - she listens to everything!! 19 COMIX ARE ALL I READ The last installment from Leigh R. Wolf 20 ON THE DIAL It's like TV Guide, but it's for radio 22 SPINUST New names but it's the same. Sort of 22 DISCORDER DATEBOOK What's on, what's hot, what's hip and what isnt 24 HELLS KITCHEN Viola samples the victuals of college educated motherfuckers 26 DANCING ON THE CLOUDS Marc Yuill and Julian Lawrence 21 BORDUM Bryce Rasmussen 25 FOR OFF CE USE ONLY EDITOR K. Michael Smith ART DIRECTOR Geoff Coates DISCORDERLY ORDERLY Bill Baker EDITORIAL ASSISTANTS Chrie Buchanan, Viola Funk, Um Marr, Lydia Schymaneky PRODUCTION ASSISTANTS Usa Lutman, Lydia Schymaflaky WRITERS James Boldt, Viola Funk, Q reg Garlick, Brian Hohm, Pete Lutwyche, Janis McKenzie, Un Morgan, John Ruskin, Peter Sickert, Leigh Wolf PHOTOGRAPHERS Robynn Iwata, Leonard Whistler GRAPHICS Geoff Coates, Audra Heal WORD PROCESSING Randy Iwata COVER PHOTO Robynn Iwata SPINLIST Randy Iwata, Uoyd Uliana ADVERTISING Uoyd Uliana ADVERTISING PRODUCTION BID Baker LOCAL DISTRIBUTION Matt Stefflch SUBSCRIPTIONS/MAIL DISTRIBUTION Lydia Schymansky PROGRAM GUIDE/DATEBOOK/DELIVERY FRIEND Randy Iwata ACCOUNTS Unda Scholten TECHNICAL SUPPORT Sue Ahn, Ted Auasem PUBLISHER Barbara Hgood DISCORDER Copyright© 1990 by The Student Radio Society of the Uniwrsity of British Columbia. All Rights Reserved Discorder is Th»t Magazine from CiTR fM 102, and is published twelve times a year by The Student Radio Society of the University of British Columbia. Discorder is primed in Canada on paper manufactured in Canada. Discorder prints whal it wants to, mduding the CiTR On the Dial program guide and the CiTR SpinList playlist chart. Circulation is 17500 copies distributed free of charge to over 200 locations. Twelve-month subscriptions are $15 in Canada, $13 (US) lo the US, and 124 elsewhere. Please make cheques or money orders payable to Discorder Magazine. ■Nomenclature of in assassination cabal" -W.Torbill. Deadline for ads and submissions is the 15th ofthe month. Talk lo us - we want your stuff: if wc like it, well use it If not, we'll CITR 101.9 fM is 1800 watts of stcrcophcnic bliss on cable fM from UBC to Langley, Squamish to Point Roberts, but not on Shaw Cable in White Rock (ifyou want it, youll find a way). CiTR is now available on moat clock radios and in cars too. Office hours for Discorder, CiTR, and CiTR 1 arc MoD-Fri, 10am -4fan (please avoid Friday i9_do_i).C_ the CrTR/Diacordcr Office al 228-3017 for editorial, advertising, enquiries; CiTR Newn-Sport. at 222-2487, or the GTR DJ line at 228-CiTR. Wri«eIoi__6138SUB BlvdVu*»uverBC WT2A5. MONDAY highball night TUESDAY classix night WEDNESDAY with dj slick no cover THURSDAY with dj david hawkes no cover FRIDAY industrial hell with dj david hawkes SATURDAY dub hell with dj george SUNDAY 8-12 big drink specials :RIDAYfAUCUST17 7 PM EXHIBITION BOWL • ADELAIDE (AUSTRALIA) • HONG KONG • SWANSEA (WALES) • EDINBURGH (SCOTLAND) • TORONTO • WINNIPEG • SASKATOON • EDMONTON • VANCOUVER • VICTORIA The firsl Fringe Festival in 1947 was the spontaneous - and successful - reaction of 8 theatre groups after being turned away from the Edinburgh Festival due to lack of space. Undaunted, they decided to stay and stage their productions around the periphery or "fringe" of the Edinburgh Festival. These productions on the "fringe" drew strong audiences and proved that there was a demand for innovative, young theatre, for choice and risk- taking. Now in its 5th decade, a growing network of Fringe Festivals unite artists and audiences across the globe. The historic Mount Pleasant area will once again host this 11 day festival of fun and excitement. Now in its planning stages, this year's festival looks like a winner! We are extremely excited about the programming which includes performing groups from all around the world and great mixture of classic and contemporary productions.... there is truly something for everyone at the Fringe! FESTIVAL '90 MAGIC IN THE MAKING THE FRINGE FESTIVAL PROGRAM GUIDE The program guide is the official program for the Fringe Festival. It contains all pertinent information on the festival, the venues and the performances. The guide contains an up to date schedule of the shows listing times, dates, and the location of each show. There is also a brief description of each show including the author, director, actors, length of show and rating. The guide also gives information on locations of venues, ticket information, info, centres, merchandise, the outdoor site, the cafes and the Fringe Club. Throughout the guide are advertisements from the theatre companies advertising their shows. There is also a great opportunity for retail advertisers to reach the Fringe audience through display ads in the program guide. Rates are reasonable, and with a distribution of 100,000 copies, your message is sure to reach a wide cross-section of people September 6 to 16 Look for the Fringe Festival Program Guide in your August 19 Vancouver Courier, or at any 7-11 store in Greater Vancouver, after August 19. ^^^LJ^^^LJ^^^k ® © Y Y liPQE!? VANCOUVERS ALTERNATIVE RECORD STORE DOWNTOWN VANCOUVER 534 Seymour St. 669-6644 TO G-WUDKIi OS G_@W RECORDS • CDS • CASSETTES RAP • REGGAE » POP » HOUSE » JAZZ » SOUL « ROCK » BLUES BRAVE MISSION Dear Airhead, We are highly insulted. We, the children of the first wave of post punk, commonly known as Goths, now hold you, your reporters and your publication in contempt. How dare you insult The Mission (June issue) and what they stand for and believe in and in turn us for we are one in the same with them, sharing their beliefs, etc. The music they create reflects our emotions and anguish. We're sorry, we forget that today all you posers no longer find the human experience such as joy, outrage, hope, love, jealousy, fear, dreams, loneliness, and doubt fashionable. The majesty, elegance and subtle grace of the art has been spoiled by specifics. But we do take heart in knowing that you and your audience are all pretenders to the throne, simple want to bes. You'll change with the direction of the wind, Flavour of the Month Club. Because you lack substance in your life that's why you listen to trash and insult honest and integrity filled music. We shudder to think that the monumental works of Joy Division, The Cure, Bauhaus and such uninfluential bands as Skinny Puppy, Alien Sex Fiend, Psyche, Killing Joke, Teardrops Explode and even The Damned have come to naught. We find this music (even if it is six to ten years old) as haunting and moving as when we first heard it on Brave New PRESENTS DGC/WEA Recording Artist (formerly of X) KirVIFVI ROGERS THURSDAY AUGUST 9 Doors 8 pm • Showtime 10:30 pm TOWN PUMP 66 Water Street 683-6695/681-2222 Tickets Available At The Door Only Produced by Perryscope , OtTtol /gjfftkllr. Waves. Mainly because we true children of post punk don't abandon what we love for the sake of looking cool for an endearing second of time. Always, Zoe Annastasia 'Scuse us. We thought the whole idea of Goth was to abandon what you love for the sake of looking cool for an endearing second of time. Sorry, our mistake. TOO MANY? Dear Airhead, Re: "The Man Fox" letter from Jim Johnston, July 1990 edition: Reply:"Toomany morons listen to the radio in Vancouver! My support goes to CiTR...if you'd increase your power a little more.I wouldn't have to resort to listening to(and thereby "supporting") CFOX, etc. Steve .Seeder JJ.'s Favourite Critic CiTR doesn't want to increase its power 'cause it would no longer be alternative. If lots of people could hear us then CiTR couldbecome popular i.e. mainstream instead of alternative. And alternative is what CiTR should be, right? CiTR wants to remain pure, unsoiled by the crass commercialism of high power radio. Furthermore, if people could hear us they would try and put a stop to the puerile activities we enjoy so immensely. CiTR must remain the domain ofthe elite few. If the general populace were to become aware of CiTR it would lose its value of exclusivity - CiTR must not be tainted by the baseness of general popularity. It must remain the bastion of the alternative. So remember: High Power=Popularity = Mainstream= Bad Low Power = Exclusivity = Alternative =Good ONCE AGAIN, FOR THOSE OF YOU WHO WEREN'T LISTENING: CiTR is now accepting tapes from bands interested in competing in Shindig '90. Send your demo or whatever including name, phone #, and some info about you'r band) to: Shindig '90, c/o CiTR, #233-6138 SUB Blvd., Vancouver, BC V6T 2A5. OK? WANTED: DISCORDER EDITOR "I 've had it, you know/' exclaimed K. Michael Smith, as he threw in the towel on his prestigious, fun, and educational job as editor of Vancouver's hippest music magazine slash radio program guide (DiSCORDER), a job that pays $250 per month plus all the adoration and admiration one can stand, a job that almost anyone could get provided they send a resume, covering letter, and a few samples of their written work to DiSCORDER c/o CiTR, #233 - 6138 SUB Boulevard, Vancouver, BC, V6T 2A5 before August 10," ...I just can't stand all the autograph hounds. ..the thrill seekers...every day another young gun who wants to prove he's the 'fastest in the west'...all that needless killing-oh the senseless violence" I he 11th annual New r I ^ Music Seminar was M took place from July |l3 to 18 in New York City. More than 8000 of the world's music business folk gathered at a Times Square hotel to talk, listen, do business and witness 350 performances by almost as many bands at 30 Manhattan nightclubs. Many delegates thought the proceedings should have been called the New Money Seminar. Others questioned if there was anything "New" about it at all. When Modern English is showcasing themselves on the comeback trail, and is given a headlining spot at the opening gala, can you really say the focus of the seminar is upon new music? There was a lot of talk at the seminars. College stations bitched at the record companies about not getting their product, record companies bitched at college stations for not returning their calls; promoters bitched at the lack of clubs, clubs bitched about the lack of money; bands bemoaned the death of the "you can sleep on my floor if I can sleep on yours" camaraderie. The whole industry agreed to rally behind 2 Live Crew in their battle to allow freedom of speech in Florida, saddened that it had to be such a talentless group of true perverts they were supporting. I travelled with my friend Scott to see what it was all about, to get a sense of the big industry vacuum, to see my Toronto friends I knew would congregate there, and to do the New York tourist thing. I missed at least as many great bands as I saw and I can safely say that I only met one percent of the folks I would have liked to. I did meet David Lynch (he's a Music Director at WHUS in Connecticut) and learned that there will be a comeback David Cassidy album on Enigma, that Henry Rollins' next album will be out on Chrysalis, and that there's to be another Chic LP and an Axl Rose/Ice-T version of "Welcome to the Jungle." Travelogue from New York City Friday July 13 This was obviously the best day to fly cross-country on an airplane. Mid-air collisions aside, I was at least expecting to lose my luggage or get lost in Brooklyn on my way in from JFK International. However, touching down and getting my gear together and actually finding myself on a subway headed straight for Midtown Manhattan, I could rest easy and open my eyes. Where's the subway graffiti? Who are the scary people? I'm not seeing any colossal buildings. Once at Times Square I didn't find rows and rows of cabs pulling off without disgruntled passengers. Immediately we try to find accommodation. After an hour spent yo-yoing in Manhattan we're back smack dab in the middle of Times Square, half, no... a quarter of a block from the Seminar hotel. But they only had one bed left and it was reserved for 8:00. It was now 9:30 and the guy hadn't shown up. They could give us his bed and one of us could sleep on the floor. "Yah, yah!!" Our money was coming out of our pockets as the 8:00 kid walked in. We resorted to pleading and the other kid got sent away. We decided to hit the town. The Friday night atmosphere in Greenwich Village prompted us to wander, and discover some cool record shops that are open until midnight. Checked out Das Da- men's last five songs at the Marquee Club in way West Chelsea. A former bus garage, the Marquee is a cement Luv-A-Fair. This being my first New York nightclub and excited to finally be here, I did what I was warned time and time against: bought my first (and last) beer in a New York club. Outside and down the block it is perfectly legal to pick up a can and drink it on the street. The cost of this hovers in the $1 to $1.25 range. In the club it'll invariably be $4 or more. Hit Jerry Rubin's Limelight Disco not far away, not knowing that George Clinton's new band, Hot Sauce, was playing in the same neighbourhood.Cabbed home (also for the first and last time) to find someone had stolen my bed sheets. Saturday, July 14 Breakfast at the hostel ($3), picked up my New Music Seminar pass and bag full of promo goodies, then off to Central Park to see what was to be the best show of the week, Jazz Passengers' Mark Ribot's new band. The already muggy air was filling SCHMOOZEFEST BY LEN MORGAN up with these annoying green sand fleas that I figured were only attracted to me. Cotrp^ with the prevalence of marijuana smoke, it almost turned into an unpleasant situation. And when the James Brown All-Stars took the stage, it did. That night we saw Soul Asylum's Dave Pirner jamming with Die Kreuzen at CBGB's. What we missed: Christmas, Gary Lucas Gods & Monsters, Pussywillows and Alice Sunday, July 15 Wfoke up early and went to a panel discussion about indie dance records. They appear to b4 making lotsa dollars. When jmember of the audience ked if payola was always a cessary evil, the whole nel went silent, the modera- ■ cleared her throat, and - I was the president of Boy Records - dis- ; issue by saying it ; worthy of a whole di_ didn't haverthe time hefe. Ml wandered the conven tiorkfloors Irving to look into pebfle's fa|es. Everyone else was looking at the mandatory badges we had to wear on chains around our necks. "Oh, hi... Len. You're from," squinting to read, Discorder. What's that?" At that point, I resolved to address strangers a topic \* with: "What kind you LOVE? Whilt's in your veins? rrfUr*!" «*fe Sunday night found me back at CBGB's for a Matador Records showcase of New York bands. Railroad Jerk were original and abrasive and had good spngs. They gave me a shirt ind I liked them lots. Saw Dust Devils, Urge Overkill and, down the street at the Knitting Factory, Bongwater. For a laugh I trudged up to the Palladium - what a huge (and rich) place that is - to see Modern English. Who I missed: Teenage Fan Club, Urb; <n Dance Squad, France'sMano Negra, Digital Underground, God's Little Monkeys and Shimmy Disc artists Tuli Kupferberg and When People Were Shorter and Lived Near The Water. Monday, July 16 Today I saw the Statue of Liberty, Wall Stre*t etc. instead of sitting through the keynote address by Laurie Anderson and industry heavy Irving Azoff. When I got to the seminar it was buzzing with 8000 plus people roaming the exhibition floor for freebies (myself included). Of note is a pencil that I picked up from some publishing company that was bent into a treble clef. Thankfully, the Canadian Suite was open on one ofthe hotel's top floors. It provided an air conditioned retreat from the street outside and the fervor of the seminar schmooze. Wax Trax Records had a party in their suite, as did the New Orleans Music Convention. Elevators were jammed with delegates, and a half- hour wait in either direction was not unusual. At night I caught Lava Hay looking exhausted. Rights of the Accused forsaking their punk roots, Scrawl being inept and Galaxie 500 sounding just like their records. I missed Queen Latifah, A Tribe Called Quest, Thee Hypnotics, Cop Shoot Cop, Nuclear Assault and Lunachicks. Tuesday, July 17 Another day of hardcore schmoozing. Another tactic was tried to keep the party overflow to a minimum: don't tell anyone where the hospitality rooms are. From five o'clock on swarms of vultures stalked the hotel's upper floors for signs of free beer and grub. Today's panel discussions were at least lively. Paul Simon and Public En 7 emy producers the Shocklee brothers argued the sampling copyright issue back and forth. Nile Rodgers admitted that he sampled a section of PE's new record for the forthcoming Chic comeback album, and Rick Rubin, for the most part, stayed out of the debate. Later on Ice-T had it out with Vernon Reid over the "Nigger"-word, with Out- week Magazine editor Victoria Starr over the "Bitch"- word and with Nona Hendryx over the "Motherfucker"- word. The MD from some down south radio station turned to me and asked, "What's misogyny?" To the Ritz it was, for the Wax Trax/Nettwerk showcase. Consolidated captured everyone's attention but you couldn't hear the words; Meat Beat Manifesto has a trio of exuberant dancers but you could hear the words. The hip hop beat started to grind on me and I high-tailed it to the Toronto showcase just in time to hear the whole ofthe Rheostatics set. The original four are back at it and reminded me of all I liked and didn't like about them. Capitol Canada's new signing Leslie Spit Tree- o were next and I took the time to feed on Ray's Original Pizza (which is different that Original Ray's Pizza, and different still from Famous Ray's Pizza). I didn't make it back for Jellyfish Babies, who I know to be great, nor to the East Village to see Head of David, but I did run into three Finns from a band called 22 Pistepirko. We ducked into a biker bar and talked Finnish punk rock for two hours. Four in the morning on the subway, I figured, was the best time to get into an argument about El Salvador with two Marines. They brought up burning the flag and I wisely kept shut. Also wanted to see Hothouse Flowers that night but I settled for an autograph. Wednesday, July 18 The last day of the seminar and I decided that five days of getting to bed at 4:00 AM was wearing me down. I only attended one seminar, and poked my head into another one just in time to hear someone say, "If I meet one more college station MD who plays Soundgarden, I'm gonna punch him out." I cheered. Took the afternoon off and went shopping for records, then to the East Village where there are 21 (ya, we counted 'em) Indian restaurants all on one side of the same block. The 21st one was recommended - isn't that always the way? - but I'm never taking advice from anyone in Dumptruck again. I had some hard entertainment choices that night, but I decided to head straight to the Palladium to see the Dead Milkmen, Dirty Dozen Brass Band, 2 Live Crew (I conscientiously objected and sat in the lobby for most of their set) and Fishbone. I thought there was a lot of sweat for the headliners, but it was nothing compared to when I got to the Marquee for Soul Asylum. Bands I missed: Gin Blossoms, Agitpop, 808 State, Happy Mondays, Dumptruck and a showcase of USSR bands. Thursday, July 19 Gee, the heat doesn't get to you unless you're in a bad mood to start with. We had to get up early to check out. Then we had time to kill before the flight, which we knew was a stop-over, which we figured we wouldn't get fed on, which didn't have an inflight movie, and the list goes on... Most importantly, we were having a great time but we had to leave New York.& AUGUST 1990 7 AUGUST CONCERTS From Toronto THE BOURBON TABERNACLE CHOIR with guests EMILY STOP WEDNESDAY THURSDAY 2| FRIDAY 3 SATURDAY 4 40 presents from San Francisco ROCK 1040 presents SAVOY BROWN with guests THE PERSUADERS THE NERVOUS FELLAS with guests THE LAST WILD SONS LORRAINE SEGATO formerly of The Parachute Club WEDNESDAY 81 THURSDAY 9B Toronto DORIAN GRAY with guests TURF )pe presents WEA recording i SATURDAY 11 SUNDAY 12| WEDNESDAY 15 THURSDAY 16 FRI-SAT 17-18 SUNDAY 19 MONDAY 20| TUESDAY 21 FRIDAY 24| SATURDAY 25 THURSDAY 30| FRIDAY Rock 1040 presents Enigma recording artists SKYDIGGERS with guests THE CATHERINE WHEEL HARD ROCK MINERS GREEN HOUSE with guests THE UNKNOWN .abwe THE FOUR BROTHERS From Los Angeles TUPELO CHAIN SEX with guests WIDESPREAD PANIC BOB'S YOUR UNCLE ART BERGMANN sland recording artists BUCKWHEAT ZYDECO TOWN PUMP SUB UBC STUDENT UNION BUILDING LOWER CONCOURSE ALL AGES WELCOME mm WITH SPECIAL | GUESTS __. THURSDAY AUGUST 16 fj. ^^ TjrXT locations as well as Barrett Electror 1\SVVJN Zulu, Black Swan, and Highlife P U M P CHARGE BYPHONE "Js,t, 280-4444 PO \ 56 Water Street Gostowi Manchester is the current British musical hot spot. The list of talked about bands is headed by The Stone Roses, Happy Mondays and the relatively new kid on the block, Inspiral Carpets. The Carpets' vinyl output began with a flexi disc of the song "Garage Full of Flowers," included with the Manchester fanzine, "Debris," in January 1987. Following releases included numerous successful singles, a Peel session, and the number two British LP, "Life." Now there is the first North American release via Rough Trade, the "Cool As Fuck!" EP, which features the Carpets' UK hits and B-sides: "Joe," "Find Out Why," "So Far," "Out of Time" and "Plane Crash." The Inspiral Carpets - singer, Tom Hingley; organist, Clint Boon; guitarist, Graham Lambert; bassist, Martyn Walsh and drummer, Craig Gill - play a kind of small "p" psychedelic pop with heavy doses of Farfisa organ and somewhat Julian Cope sounding vocals. Discorder recently talked to the group's nineteen year old drummer about the press, rap music, flares and other stuff. / think the reason you guys signed with Mute was that they had the best stuff to give you for free, wasn't it? Craig: Yeah (laughs), sort of. It's not got products. The bands that are on there are on there because the people like them. It's not because they've got products there to make'em money. That appealed to / guess they (Mute) don't have too much interference. C: No, not at all. Do you think the Subpop stuff is a bit overhyped in Britain? C: Not overhyped, no. 'Cause it's hardly heard of. There's some Sub- pop records we'd like to get a hold of in England that we can't. A lot ofthe stuff we get through Blast First because it's is part of Mute. There's not that many people that are aware of it in England. What did you think ofthe Buzzcocks reforming? C: I don't really believe in it. I didn't really mind them reforming so much. It was just when they had Flag of Convenience which was going under the name of Buzzcocks. That's a joke. It's a ripoff. They should have been sued for it really. Steve Diggle carried on without the others' consent and a friend of mine was drumming for him. There's no point in calling it the Buzzcocks if it's not the original lineup. What do you think of rap? PIR M\ m^ ||a., i% I;*-;' ARP&_a'3 W^m ■__? ETSali C: I really like it. It's been a big influence on our music for quite a long time. At one time in Manchester people were very narrow minded. You had house music fans, dance music fans and then you had indie kids; and they didn't crossover whatsoever. There was a time when we had 808 State supporting us and people used to boo them off stage 'cause no one liked house. The indie kids who were into us didn't like dance music. Now there's a big crossover and people like both. It's trendy now to like 808 State as well as us. But at that time people didn't understand dance music at all. It was the same on both sides - dance music hated guitar bands, guitar bands hated dance music. But it was never so with us; we was always into dance music. That's why we had 808 State open for us. So hopefully we helped the crossover. It's only now that people are noticing that in our music. But hip hop and stuff inspired my drumming just as much as '60s stuff inspired Clint on the organ. I've been a big fan of Public Enemy for quite a few years; seen them play a few times. / read that the infamous Manchester nightspot The Hacienda Club ran into some trouble and might be closed down. C: Yeah, the authorities want to closeitdown.They'researchin' everybody on the way in now to check there are no drugs going in the place. A girl died in the Hacienda. They said it was ecstasy and stuff but you can get it anywhere; you don't have to just be in there. They're just clampin' down 'cause that girl died and her mum and dad are pressin' charges and stuff. It gets such bad press. The press says you can't go in there and leave your drink without getting something put in it. But nobody's ever put anything in my drink. I wish they would sometimes. Who goes around putting £30 tablets of ecstasy in your drink? Nobody does that. Nobody's that daft. The girl's mom said she must have had it put in fiferthifffW the story is she had two. So if she's foolish enough to have two, it's her own fault. If we go on about it it's endorsing drugs. In England people look at us as having a "no drugs" stance. We don't tell anyone what to do. It's just we don't like endorsing things. If kids want to experiment with drugs then that's fine by me. And that should be a conscious decision. It shouldn't be because some pop band does it. Whichever way you look at it, you're influential and people are gonna start doing whatever you do so if you mention ecstasy and stuff like that then kids are going to start trying it because of that. And you don't want to be responsible for anybody's death. There is a lot to be said for drugs, there's a lot to be talked about, but in the press isn't really the place to say it. / used to go in Eastern Bloc record store when I was in Manchester. C: It's owned by a member of 808 State actually. Three of them started it up and one of them's doing 808 State now. And they've got their own record label now too? C: Yeah, they started us out; they financed us when we did "Joe." When we started out on our own label, they financed that through Creed - Cow through Creed. They 've always had their own records. When 808 State first started putting out records they did it through Creed. They lent us the money and took a cut or whatever. When we was a small band they were selling most of our records 'cause we was on a label Sailed Playtime. It was no good and we said we want^J^p leave and they -"•n*astern Bloc) seen the potential in it 'cause they seen how many records we were selling. The first single we had out sold out in a week; a thousand copies sold in a week, most of them in that shop. And Red Rhino want bust. They were the distributors. After that we just sat back a bit because we wanted to get a distribution deal. You did a ? and the Mysterians song. But you don't do very many covers do you? C: No, not really. We did a Stones one as well, "Gimme Shelter." I suppose if we ever did a cover again it would be a recent one. If you've done a couple of covers from the '60s you can get attached to the '60s too much. When wf did "Gimme Shelter" it was just omebody asked us to do a Stones song for this compilation Stones album. We hadn't all heard the original when we did it so we did it like writing up one of our own songs. There was only two people in the band who'd heard the original so we had no preconceptions of how it should have sounded. What do you think of The Stone Roses? C: I think they're a good band. I've got sympathy for them because they can't really win because if they do a massive gig for loads of people they'll get quite a few complaints about the sound and stuff like that. But they can't win because if they play in a two thousand seat venue then what are they supposed to do, play there every night for a year? Or pack people in on one night and kill people? You gotta play to the amount of people that actually want to go and see you whirch was like eighteen thousand people (at the Spike Island gig). So they did it in a field. With the Stone Roses at that gig it didn't matter how the band played; they could have just come on stage and farted and people wouldn't have been bothered 'cause it was just like a day out. It was like a festival atmosphere. And that's all it is - a good day out. It doesn't matter whether you can hear the band at the end of the day. That's the way I look at it. It's a bonus if the band has good sound. Is it difficult for a band starting C: No, it's dead easy at the moment. A band starts out and then that's it. They've already got a record deal and they've already got loads of money flying about. So it's not as hard as it used to be. So are you guys wearing flares? Are they coming back? C: No. The Stone Roses started wearing them and then people started wearing them. It's only the Stone Roses that really wear them. I don't really like them. I'm not against anyone wearing them, I just don't like them. I think it will pass on; it's just a passing thing. Next week it'll be something else. I'll stick to wearing baggy jeans 'cause they're comfortable and they look all right. There was a revival in about '82 with semi-flares. It was football fashion by the football fans from Manchester. The football fans from London always had snazzier sports gear so the Manchester fans did it as a rebellion. It was like, 'This is our fashion." That's all it was. You guys seem to be pretty friendly with the people at the New Music Express. They seem to do a lot of articles on the stuff out ofManches- C: You've got to keep a bit of a distance. You can't become too friendly really. Sometimes they're going to start slagging you off and we know that. They've got a job to do to be critics. They're giving Manchester good press now but in two months time they might not. They might be knockin' it. So we don't want to get too closely involved. That's why we keep our distance with the press people. Good press is alright but you've got to be a good band which is what it boils down to. It's not just about being from Manchester and being young and being nicely dressed.®1 AUGUST 1990 9 *y>W# ^PSi*rcer# 10 DISCORDER t AUGUST 1990 11 VANCOUVER'S HOTTEST BLUES NIGHTCLUB Jul. 31 - Aug. 4 Aug. 6 Aug. 7-11 Aug. 13-16 Aug. 17 & 18 Aug. 20 - 22 Aug. 23 - 25 Aug. 26 Aug. 27 Aug. 28 Aug. 29 - 31 Sep. 1 Big Joe Duskin with the Demons The Demons Incognito Johnny V Jim Byrnes Mike Jacobs James Harman Special Blues Vocal Jam Oliver & The Elements The Demons John Hammond with guests The Demons The Demons DON'T MISS JACK LA VIN'S JAMS: SAT. 3-8 PM / SUNDAY BLUES MARATHON JAM SUN. 3 PM-NUDNIT^ mim OPEN EACH NIGHT FROM 9:30 pm-1:30 am OPEN WEEKDAYS FROM 11:30 am ft^jfrK METAL SHOP PRESENTS jftJ_C41>AL PLUS GUESTS ALL AGES WELCOME TUESDAY, AUGUST M THE COMMODORE BALLROOM DOORS: 7PM SHOW: 8PM Tickets at track, zulu, all -—£«—* locations, OR CHARGE BY PHONE 280-4444 ANOTHER A1X-AGES SUPER METAL BLOWOUT BROUCHT TO TOU BT TOUR F MlttlltiHilklK the cruel elephant SAVEYOURFUCWNGSOULANDREAD The holy words of the cruel elephant; Let's hear a loud 'AMEN' from all those sick and tired of all the tried and true (amen) from all those sick and tired of the unbelievers forcing all those (poorsouls) that have lost their will to fight, to be led Into the mire and banality of mainstream music (amen). Brothers and sisters, are you sick and tired of overpriced food and drink when you go out to relax and dance with friends or lovers? (let me hear an amen) and oh, the music where you have forever no choice - NO SAY (damned are the average) we have been suppressed too long (amen) HAIL the new reality! HAIL our saviour - the cruel elephant. Come see the future with the world's coolest CD Jukebox and live music live music live music SPUNK with THE BOMBSHELLS Friday, August 3 & Saturday, August 4., THE NERVOUS FELLAS with THE LAST WILD SONS Friday, August 10 & Saturday August 11. 1176 Granville, Vancouver (Granville & Davie In the Hotel California) For Info call 688-8748 OPENS WED. AUG. 1 |COME EARLY AS WE DONT STAY OPEN PAST 12... FOR NOW <& smooth noodle maps ON SALE NOW 44 dEYo o&6r 7 129? G&tse a first heard ofthe Blue Aeroplanes from a friend who went to the university in their home town of Bristol, England. He mentioned large numbers of guitars and a manic dancer, armed with a ra- zorblade, who frantically slashed a sheet of plastic that separated the band from the audience.This caught my attention. So I listened to all the Blue Aeroplanes on import that I could find. "Swagger," the band's first North American release (apartfrom the compilation "Friendlover- plane"), came out in April. It showed the Aeroplanes with a radically different line-up, but still with three guitarists and the dancer. The press kit was none too subtle, basically doing their friendship with REM to death and giving the band the North American "Hard Sell." The album itself has a very interesting mix of jangle pop and almost folky songs, with some of the guitar work reminiscent of the classic Fairport Convention lineup that included Richard Thompson. Gerard Langley's vocals are mostly just spoken, fragmented but cohesive, sentences - Well, you try and describe them! - taking on not just the usual topic of love, but also less explored emotions and situations. I got the opportunity to interview the Blue Aeroplanes when they were in Vancouver supporting (some would say "blowing off stage") The Church. I headed down to the Chateau Granville at the appointed time on the afternoon of the show only to find that the band were still en route from Seattle. So I spent an hour drinking coffee with the band's English manager and the local record company rep, which reinforced my impression that the group was getting the big corporate push to fame and fortune. The manager asked me if we played "rotation" at CiTR ("No, we play what we want"). He then reeled off abbreviated names of "hot,""alternative" bands who were "shifting big units" at the moment such as "The Roses," "The Mondays," "Sinead" (shifting mega units!), and "The Lemon Drops." He bemoaned the fact that Vancouver didn't have a "Real High Power Alternative Station" and heaped praise on "Much" for being more receptive to alternative music than MTV(!). The only time I got my own back was when he asked me what was "hot" at CiTR on the moment. I answered that Llwybr Llaethog's brand of Welsh language industrial dub and assorted Finnish hardcore bands were really causing dj pulses to race. Luckily, at this point The Blue Aeroplanes showed up (minus Gerard who had disappeared between the tour bus and the hotel). I was introduced to Rodney Allen, the young rhythm guitarist and co- writer of a lot ofthe group's songs. I decided to find out what he thought of all this showbiz stuff. Discorder: You obviously think that supporting bands is a good way to play in North America. Rodney: Well, if we were to come over and headline, we're getting good college play and a lot of press, but that means we might do well in big places like New York and stuff like that and play to 50 people somewhere like Baltimore. It* much better to play with a band that has a bit of following. The point is that if we can support a band that has got 1000 people to watch them, then every single time we can get at least 600 of them really going. D: It doesn't limit you in your set? R: The Church are being really good; we have the same sound as they do. Some bands get a bit precious about it and you're only allowed to use two channels on a 24 channel desk. You don't get to play as long, but I think that when an audience isn't completely aware of you, you don't want to play two hours to them anyway. D: On record, your three guitar lineup is noticeable, but then most bands overdub guitars now anyway.lt must be live that the full multi-guitar sound is best appreciated. R:ll means that you don't have to get your friend on to reproduce the studio sound. Quite often to me it doesn't look right, it never fits in. We went to see The Mission at Wembley, and they all came on, loads of dry ice, all wearing black, all with these top hats on and everything. They look like a band. Then half way through, their roadie comes on to play some extra guitar - he's got a white T-shirt on. It's just not rock 'n' roll at all. D: Guitarists have legendary egos. How do three guitarists get on? Who gets to play the meaty parts? J.: It doesn't really affect me 'cause I can't play any of the thin strings. I'm strictly rhythm, so I'm alright 'cause none of the other two want to play rhythm so I know my part straight away. The others don't argue at all. We all have incredible egos in this band, but when it comes to guitar solos and writing songs, we almost shy back and say, "No, no, let's do yours. No, you do the solo on this song." There's a lot of rivalry but it kind of works in reverse for us. D: From the press kit it seems that you're getting the big push, something I didn't expect considering the laid back nature ofthe band up to now. Where do you want to take it all? R: When you first pick up a guitar, you want to play to all your friends at school. Then you want to play at the best venue in your town and so it all , progresses. You can't say to yourself, "Well, I want to be as big as U2, or by the same token, as big as The House Of Love." Everything's relative. D: Can you foresee a time when you're just so fed up with the hassles of touring? R: Not really. I really enjoy touring. You just have to know when it's time to walk off and have a wander around on your own. As long as things are progressing then it's okay. Since I joined the band nothing's really gone drastically wrong. We keep progressing all the time. I'd play to 100 people anywhere but I'd hate to play to 800 people and then the next time I played there play to 500 people. That's where it can get depressing. The whole Spinal Tap thing. D: How do bands like The Church and REM make the leap from college radio to superstardom? the Blue Aeroplanes alter their style to follow them? R: Some bands get played on college radio and then all of a sudden they release a record with quite obvious poppy songs on it. We would never do that; REM would never do that. You can make music in a way that's accessible to both (college and commercial listeners) and that's what REM have been ,_V>ing from day one. It just takes some time to get through. I don't think there's any difference between "Swagger" and "Spitting Out Miracles" (the previous album). We always write good songs. It's also that when we started out we were seen as a weird band 'cause it was the fashion to have a four piece with a cute girl singer. Now the fashion's changed. At this point Gerard Langley, vocalist, lyric writer and founding member ofthe Blue A eroplanes, appears and joins us. D.Gerard, are you happy with where you are now? Things seem to be hotting up around you; getting more like a circus. Gerard: I don't mind that. It's all got a social application as far as I'm concerned. I tend to enjoy most of it. As long as I can get a certain amount of privacy within the whole thing then I actually like being busy. Most of the band do. We like playing. I can imagine that if we do five tours of the States on pretty much the same level it might start to get a bit... We've never really done that; everyth- ingthat we've done has been one stage up. It keeps the interest - each time you tour you get a better bus. D: Will you be doing a headlining tour of North America next time? G: We almost certainly will, yeah. We'll do kind of one stage down from The Church, although some of the venues we've played with The Church want us back anyway. D: I could say to you, "Have you got any secret ambition to be playing 50,000 seat arenas?" G: It's not an ambition. My ambition is to make good records. But what happens to you happens because of those records. If one were to sell two million then you'd just try and deal with that in as dignified a way as possible. I'm quite prepared to just see what happens and then adjust accordingly. I don't think I've any ambitions except to make an album I'm absolutely happy with. D: Isn't that one of those impossible things that would mean the end of your creativity? G: No, not at all. Then your ambition becomes to make five albums you're happy with. I'm happy with most of our records, within the limitations in which they were conceived. The object is to remove as many of those limitations as possible. D: Here's a stock question. What are your lyrical influences? G: Influences come from everywhere . television, Hollywood, as much as writers. Poetry, W.H. Auden. I read mostly contemporary American writers. I don't like British writing at all. D: What do you think of the music business that surrounds you? Do you see it as a necessary evil? G: It's necessary; I don't know if it's evil. Say you work in an office, it's like thinking they should pay you just the same but you don't have to go in and work. I wouldn't be so arrogant as to think I'll write something I like, stick it out, and expect it to sell millions just 'cause I'm so brilliant. A lot of it is work but I never expected in life that I wouldn't have to work. Being on stage is the fun, the rest of it's the work. D: Well, you could easily say, "If I work in this way, and follow this style of songwriting, then I've got a better chance of making BIG BUCKS." G: Some people do that, but the reason that we do what we do, dealing with people, with reps, even doing this interview, is the work. It's not unpleasant. I enjoy it but the reason that you do it is so that you don't have to write a song that'll go down well, say, in the Northwestern market. We write songs that we like, there's no other criteria. After that, if it helps it to get into the shops to go and meet a lot of people from a record discount chain, then we'll do it. It gives us independence. And with that, trying to play the system without losing integrity, they were off to a MuchMusic video interview. Ah, the hectic world of the up and coming rock star. ®* AUGUST 1990 13 Many people have told me that the reason they don't like jazz is that it is not fun. Jazz does have an air of impersonality to it. However, there seems to be an answer. After three albums and many extensive tours (two in Europe), The Shuffle Demons have become one of the best jazz bands in Canada. They seem to have a really young following mainly due to their fun style that mixes jazz with rap, reggae and blues. Present is the standard jazz style developed by such giants as Sonny Rollins and Charlie Mingus, but it's been modernized into a type of music unique to The Shuffle Demons. The group was in Vancouver promoting their new release "What Do You Want?" on June 15 and 16. I talked to alto sax player Demon Richard Underhill at a food fair on Granville Mall. We were later joined by percussionist Demon Stich Winston and bassist Demon George. This is what they had to say. On being a bridge to get younger people to like jazz. Demon Richard: It's certainly hard to be on a pedestal and say we are converting people to jazz but hopefully we can sort of walk that line. It's a difficult line to walk. 14 DISCORDER People tend to be involved in sects: "I'm a dixieland lover and that's it," or "I love bebop and everything else is terrible." Some people tend to say that in jazz. What we're doing is risky in that some of the regular jazz fans can be alienated by the fact that we do vocal tunes and that sort of stuff. But I think it's important to try and walk that line. It helps us in getting a bigger audience for what we do and it helps the audience grow and appreciate jazz a little bit Demon George: We do a lot of different hybrid types of jazz-related music but we do a lot of improvisation which is probably unusual for a dance club or a dance scene. It's done in the spirit of fun and high energy and it comes off and the electricity is transferable, so to speak. That's satisfying for us as musicians and it's satisfying for them as dancers, or whatever. If they're enjoying the music. the improvisations are what surprisingly they are [enjoying]. You look and they're clapping after solos. It's really rewarding to see that as well as seeing them having fun dancing. On audience participation. Demon Stich: That's something that we have always tried to do. Like you were talking about before that younger people feel separated from jazz because it's too serious; we're trying to break that wall. I think that's something that sort of got lost in the music was the joy element, the fun element, which you really saw in the older jazz like Fats Waller and people like that. It was really fun to go and hear the music. I think that sort of got lost somewhere along the line. It's good to see that it's coming back. We try to get the audience involved to break down those barriers. Demon Stich: That's why we like to do that walking through the audience thing because it brings you so close to the audience. Also, it lets them participate when we do that walk around. It is as important a part of it as we are. It's another thing that we try to do to bridge the gap. On what Shuffle Demons are listening to now. Demon Richard: In the van there's all sorts of different tapes, from Duke Ellington to world music tapes. Demon George: I like singers. Sometimes I listen more to singers than bass players because I like the freedom of not having to put your fingers to find the note. It's a real liberating thing to hear these guys whipping through scales. I like Indian singers, I like African singers, I like Middle Eastern Music and Native Indian stuff. In the car it's great. Parry will bring all his Sonny Rollins tapes and different people will bring different tapes. We listen to each other's stuff. Demon Stich: My main love is jazz but I like all kinds of music. I like a lot of the stuff that George mentioned. For me the black music tradition is really what I'm into: funk, r&b, reggae, blues, soul mu sic, James Brown, all that stuff. Because that's where they come from. I think everyone in the band definitely identifies with that tradition, probably more so than the white European tradition although I like some of that music too. I don't know about these guys, but I like 20th century classical music, Stravinsky,Perez, Schomberg. Demon Richard: I think we all have an appreciation for the black tradition-it's such a rich tradition, there's so much going on- but we do keep our ears open to a lot of other different things. There's so much music going on that it's hard to find what feels right for you. What I'm looking for is the feeling that is communicated. It's not necessarily the technique of what they're playing or the revolutionary harmonies or anything like that. If the feeling comes across then that's what I'm looking for when I listen to music and it can happen in any sort of music. On playing music by dead people. Demon George: You're focussing on just a part of the kind of music we do, some of the jazz standards that we have revamped. But if you look at the individual people in the band, they're all fairly original sounding musicians in themselves; they have their own thing. So although we have all these influences and a lot of the jazz tradition that we is dated back to the '60s, I think we all have individual sounds that are our own. Stich has his own sound, I have my own bass style, Richard has his own sax style, Dave Parker has his own writing style and playing style, and Perry White is an amazing saxophone player. We all have our own strengths and hopefully people see us as originals as people, as musicians, and isn't that what we're trying to come off as as well. Demon Stich: I don't think that we're a "jazz band." I think we're jazz influenced in a lot of the music that we do but a lot of the jazz purists wouldn't call us a jazz band. But quite frankly I don't care, it's all music. When you really look at it, jazz is a very small part of it. It's great, I love it, but I don't want to confine myself to one thing. I'm a musician, not just a jazz musician. Demon Richard: Then again, I've talked to jazz purists who say what we are doing is really what they believe to be jazz 'cause we're taking different styles of music and improvising with them and that is part of the tradition of jazz as well. So I agree with what Stich is saying, but there are different ways of looking at it. It is all about categoriz- ing things, which can often be more divisive than helpful. Demon George: Sorry, if I could add one more thing, we have this personal vibration thing; hopefully people can listen to the Demons on the radio and whether it is a rap oriented tune or a jazz oriented tune they could say that must be The Shuffle Demons because that is Stich Winston on the drums or Richard Underhill \P on the sax. The idea is to be recognized for how you play. Demon Richard: Yeah, and I think when you were saying that a certain period of jazz ended in 1969, I still think a number of people continued to progress and grow since then. But there was a certain amount of the playing community that decided that what John Coltrane was doing was the peak, the pinnacle of what you could do on the saxophone so they had to sort of sound like that. I think the only way to do something new is to come up with your own sound, processed in your way. I mean you have to sound like the people before you because you have to learn from them, but you also have to meld it and shape it in your own way. I think that is what we are trying to do, and lots of others as well, but I think there is a certain element of the jazz community that wants to sound like a very, very good copy of what went on before and that is kind of... Demon Stich: ...easy to do and it is a hard thing to get out of, but if you look at those guys, the ones these people are copying, they didn't do that, they learned from the people before them and then took it into a new area and tried to developed their own thing. I think a lot of people miss the point that you have to take your past influences and study and respect them, but then try to come up with something of your own because that is what I think music is all about. Demon George: Yeah, basically I think any musician should be able to be heard on the radio and recognized immediately without their name being said. Everybody should aim for that rather then being "preservation hall" musicians although there is a place for that also. I mean we have to keep that going. We have to keep the history of the music alive, but if I was to speak to young musicians 1 would tell them to find their own sound and it is going to be a harder road to find your own sound and be recognized because there is the challenge of working through the jazz community that sometimes puts pressure on young musicians to sound a certain way or else they won't get the gigs. One thing I was always wondering about jazz bands is: let's say someone starts improvising, doing something really weird that the others didn't really want to do, can the others take you back, or do they have to follow you where ever you go? Demon George: That is interesting. I guess you have to stay open because sometimes two members of the band will make two totally opposite decisions in a given moment and sometimes that works! You have to have the total perception of the band, and where the music is going. The hardest thing about playing every night is to not use the same tricks that worked the night before and to be right in the moment. When we are all in tune with the moment it works whether it is dissonant Demon Stich: There has to be some openness and some give and take. It is almost like a relationship because you can't be too set in your ways. The best thing to do is to always come to practise sessions and gigs with an open mind and no preconceived notions on how the music should sound. You should approach the music that way. Demon Richard: Because the moment is the most important part because it is what is happening now and it is what people are experiencing. I definitely have to agree with the other guys, because I know that certain times it is that holding on to what has happened in the past that has destroyed the moment and if you do that too much you can become very stale. Because pretty soon the music won't be fun anymore at all. It becomes a job. I mean although it is a job, you can have fun with it. Demon Stich: That is the danger of success in music, even commercial success, is resting on your laurels because it can tend to make an artist stagnant. You have to be careful. Demon George: It is because they are afraid to fall, because when you take chances you will fall once in awhile. Most of the time you don't and something really wonderful will happen musically. When we are on stage we have to be aware of the whole scene because sometimes the dance floor will be full of people and it crosses your mind that you want to keep the beat going and keep them dancing and at the same time the music wants to go into this chaotic place. Sometimes I'm confused about what to do, but usually it works out if you balance the beat with the unexpected stuff. Like we were doing a tune in 5/4 last night which, technically, shouldn't be danceable, but they were all dancing quite well to it. It is a tune that is in composition that we are working on, so every night it is quite different. That is one of the nicest things that happens because we have a few tunes that are in there raw state and we know that they will put us in our state of alertness that requires us to be right there. Demon Stich: Getting back to that point about being flexible, sometimes we will find ourselves playing for people who are really into dancing and so we can accommodate that. Other times we can be in the circumstance where people are really in the mood for listening and then we aren't as concerned with keeping a groove and we can go into other areas. That is part of the flexibility of the band and I don't really look on it as compromising because we like to do it all. I like to play danceable music and I really like to play creative, freer stuff. So, I think that is one of the strong parts of the band and one of the reasons we can stay alive and stay pretty successful. On choosing cover tunes. Demon Richard: We all know the song. We just kind of happen on to these things. I guess we don't do it enough where we sit down and really plan it out. What I like about things recently is that we have gotten away from covers a bit more than usual. We are developing more of our own stuff; and that's good because I've always respected a band that just plays their own music. And yet, I've always really enjoyed interpreting standards or interpreting songs that people know. That's a good way to get people interested in the band because they know the groundwork of the song and then you add your own icing to it and change it. But recently we have been doing mainly Shuffle Demon things. It feeds on itself and it becomes more of an organic unit and more of your own. If our versions sound original then that is good because that is what we are going for. We aren't doing anything really conscious to make it sound like us. I've always wondered, if someone does a cover exactly the same way the original was done then what is the point. Why not just lis- ten to the ^f original? With our version of Monk's "I Mean You," I think Monk would want you to take his tune and change it a little bit and make it your own and put it out. To me, it's redundant if you are just doing exactly the same thing. Demon Stich: You are never going to sound as good as The- lonius Monk anyway, so why try and play exactly like him. You may as well play like yourself. None of us play the piano professionally, anyway. But these guys don't try to sound like Charlie Rouse or Johnny Griffen, who both played in Monk's band for a number of years. On classification and genre. Demon George: I think to make a mark in the music world, you have to have the magicof being unclassifiable. Look at some of the people who have come out and made names for themselves. They have created a lot of question to whether they are jazz, rock or country. I guess if you can make people talk, and be in the cracks, so to speak, like k.d. lang. Her personality is such that it is unclassifiable with respect to what has gone on before. She has the strength of personality to carve her own way and look how far she's gone. We all have so many different influences in the band, but the combination ofthe five of us, well, you can't really put your finger on it. That is the way it should be, kind of like a breath of fresh air hopefully. On the evolution ofthe band. Demon Stich: We started out just as a bunch of friends playing on the street. We had no idea that it would turn into what it is now. It's changed quite a bit. It just kept growing, we started getting media attention, we started getting club gigs, we went to Europe for three months in the summer of '85 and we did a busking tour. We came back with our first album, we made a video, we got some grants, we started touring Canada, we did a six week stint at Expo which was a really big thing for us. We got some jazz festival gigs and now it's really been growing musically. We've been exploring new territories. We'd been in Europe in the spring for six weeks and we had some real gigs, playing on the street. We're going to be spending a lot of time there this year. We're starting to explore different markets. We're just taking it day by day and it sure is a lot different than it used to be. Demon Richard: The nice thing about it was there were no preconceptions. Five of us . didn't get together and go, "Okay, we want to create this nice jazz pop band, make videos and all that." We didn't have this goal in mind. It was just like, "Just have fun, make some extra cash, blah blah blah." It grew on its own. It was like a plant or something that we just kept feeding and watering and watched it grow. It's hard to be disappointed. There are disappointments along the way but over all, it was a fluke. So any positive thing you get out of it is wonderful. On "East Berlin Angst." Demon Richard: It's a true story. We went over to Germany when the fclimate wasn't so nice and friendly as it is now. The East Berlin- 9 ers are great £ people and we really like them. They ;are very laid back and do |not worry at jail. They are hardly goal or success orienited at all. Yet, the border guards were still quite stringent. On our recent tour we, unfortunately, didn't get back to Berlin. We ended up in some small Bavarian towns instead of heading up north to Berlin for the wall smashing. Demon Stich: We saw a lot of little East German cars on the Autobahn. That was about the closest we got to East Germany. Demon George: What about the fashion show? We played a fashion show in Hoff, Germany. We played this event were it was The Shuffle Demons from Canada and some East German models demonstrating their new modern clothes. So, we did a few tunes and they did a few clothes demonstrations. It was actually quite successful and interesting. The West Germans had a new experience also, seeing the East German models, as much as it Demon Richard: It was interesting. There have been lots of changes there, but I think that it is unfortunate that they will be swallowed up by the fast food chains or whoever will get in there first and exploit it. They were really unhappy with not having democracy as part of their political system, but they were really fortunate by having free university, a chance to get a job and stuff like medical care and they liked that. They wanted to strike a happy medium between their eastern socialist world and the new western one. I don't think they CON'D ON PAGE 21 AUGUST 1990 15 The Dead Milkmen stars perennially waiting their jaunt to the U.K., all ones. r-% il _ Town Pump backstage. a RrA 1 1 ll/P sporting newly shorn locks His personal style was as Wednesday, June 27 The music of Robyn 1 nf-M L L I \/ l except Matt. Steve Turner great as his musical talent. In Talk to me about a Hitchcock was just as won V L m» V looked rather collegiate al between songs he joked about "Methodist Coloring Book": derful and wacky. I'm not a \ - # APtI/xM though you wouldn't think so Canada and being "the white the best song all night, sung big fan of "folk" music, but Al.TlfllN after witnessing his guitar sheep of the family", smiling by Joe. There was no artificial Hitchcock and his guitar were HU 1 ■If11 acrobatics, including a head- all the while. After playing c icrgy directed at some repressed group that they feel entrancing. Songs such as "Madonna of the Wasps" and ^8»»__ stand. Dan Peters was equally frantic, flailing away with un his set, he took open requests from the audience including K_f^^l sorry for; these are Philadel "My Wife and My Dead a equalled tenacity on his drum Waltzing Matilda, Misty, phia^, Americans!, but, un Wife," really attracted atten 1 kit. The audience showed ap Stella by Starlight and an ex like Graham Greene's, not tion to the man's unusual ^BV/>-\ i proval by stage diving like cellent, super fast version of quiet ones. The whole floor of guitar stylings and, more w ._"V mad. Mark Arm reminded the Cheek to Cheek, much to eve The Pump was overcome by importantly, his bizarre lyr *\ 'MfcK> __WM^ <_ __ti__l_ faithful that it was Ladies' ryone's delight. the contagious dynamic of the ics. Sometimes he would cock tt- <_■* "E_>-A _w X wv <w _■ Night and it was the ladies' It was all a lot of fun, and band which led to the tradi his head, seeming to think up P;_ • •'' \i turn to stage dive but only a I still can't believe I enjoyed a tional celebratory stage dives the next tall tale on the spot. t) _*• ■'2 r^\ JEe.'/ few brave female souls took jazz concert without a saxo etc., etc. For two hours I was J!?\ \ up the offer. phone in it. Oliver Jones' Not too novel overall transported through the bi >m*'y^ The few things that trio's current release is 'Just except it has been a while zarre (and mercifully air-con ^\SJ?k^ i ' vX__i^»l5 marTed the gig were the sound Friends', featuring trumpet since I've seen the audience ditioned!) worldof Hitchcock /" ^v^TT***^ -■ ** w U___ and a few other technical player Clark Terry. humiliated by a performer and woe to you who missed it. " %&' 7^*. ______■ glitches, caused by the con Tommy Paley they paid to see. I last saw it at June Scudeler ■'■•' '•-.'* \ ~ 1____P stant stage diving. One song The Waterboys' gig on Hal mT was stopped midway because Mike Stern/Bob Berg Band lowe'en when Mike Scott essentially told an overzcal- ous fan to shut up and then Caterwaul Town Pump Sunday, July 1 *&m^^- Steve's guitar gave out. Jazz Fest A friend of mine once was swathed in black polypro ing ex-Milkshake Billy Child energy they give off and I was said that good music can never mimicked the person's west- Led by a powerhouse pylene garbage bags, which ish, who also contributed to kind of disappointed Billy be played loud enough, but em howl (the one accompa singer named Betsy Martin, obviously made things a lot Mudhoney's latest single. Childish came back on stage bad music sounds worse the nied by the flailing arm). At Caterwaul was as hard and warmer. Sweat began to drip Thee Headcoats were ulti to do his collaboration song louder it is. This philosophy this gig, Rodney, the lead melodic as on their latest re down my back. mately primitive; it sounded with the band. applies to the music of the singer, directed the audience lease, "Portent Hue." This atmosphere seemed like they weren't miced All in all, it was a perfect Mike Stem/Bob Berg Band as in various dance manoeuvcrs Martin is the focus of this to get the crowd going, kids through the P.A. They setting: an abandoned garage their music is very loud and, and a chant. The Honkey: hard rockin' band. Although tossing each other about, and sounded cavernous. Childish for three garage bands. at the same time, really good. "Dear, I think the new neigh she's not very large physi the first band hadn't even and co. wore matching Sher Couldn't ask for anything bet For myself, it is interesting bors are ethnic." The Vancou cally, she has a strong wailing gone on yet. Beat Happening lock Holmes' hats and they ter. that I like their electric jazz ver audience served as pup voice that sounded as impres were up first; I don't know were polite, bowing after ev Greg Garlick fusion because my belief was pets, served as fools. Later, I asked Rodney, sive live as it does on tape. The rest of the band tended to much about this three piece ery song. Oliver Jones that electric instruments have no place in jazz and that the but they seemed ^^^^^^am "Do you believe in God?" At stay in the background, pro subdued ^^^A\\ ^^^^^ short res- Jazz Fest electric guitar and the saxo first he said no. When he saw viding a throbbing backdrop ^^r^ _________ pite< Oliver Jones opened the phone cannot both be used as that I was serious he said he for her. Br .... ^ ~ Vancouver Jazz Festival at lead instruments effectively did but not the same kind of Unfortunately, as won . the Vancouver East Cultural in the same song. This concert God that other people believe derful as Caterwaul was, the . ^k Centre in splendid style. The changed my mind. in. Being an enquiring and crowd seemed to suffer _4 ^^L Montreal piano player put How the band combined easily swayed mind, I wanted from the "Sunday Night in _^H ^^on a fine solo display Stern's incredible power on to know more. So I, from a Vancouver" syndrome_^M ^^k for a packed enthusi- the guitar with Berg's light pseudo-devout Roman Catho People had a tendency_^H f s_ ^^^[^^astic audience. ning attack on the tenor sax I lic background, dared to ask. to gawk at the band a_^H -Ifc-.^ L ^^k I was wor- don't know, but it worked. Rodney talked spasmodically if they had never seen^^B jMk ^ H^^ried that I would be The two worked so well to about The Church of Sub one before. Too bad^H r^l ; s^^bored by a solo pi- gether, sharing the lead in Genius: an elitist group for for the band, ex- ^H _l *-**■■-* . ^■ano concert but every song and compliment the non-elite. It has something pending a lot of en- ^H Jk ^H from the first ing each other instead of tak to do with an alien attack by ergy for very little ^H 1 PGM W ^H song I, like eve- ing anything away from the Bob who will take away the response, but ^M 1 4-_-_-_-_P ^H ryone else, was music. One final good note "chosen people" on July 5, hopefully next ^H H__F """^-BlL ^B totally capti- was the incredible drumming 1998, but I didn't find out at time people will be^H i_« ^BP ^■vated by Jones' of Dennis Chambers. He did what time. more awake and^H f l| •% flP ^Hl mastery of his the most amazing ten minute ' Toni-lynn appreciative. ^H June Scudeler^H * % W ^Rfinsturment and ^^m his excellent solo, bringing down the house and convincing me that he's • Robyn Hitchcock A ^V handling of his au- going to one of the big names Tom Lee Music Hall Mudhoney ^__T l i ^^r dience. Sensing in drumming in the years Wednesday, July 11 The International Mo^»||P ^^Fhow the crowd was ahead. He strode on stage with torsports Garage, Se-^Spi !__ _____ ^^m feeling at all times, he Another great festival his guitar and started one of attle, WA ^9jg jk ^^F adjusted his song selec- crowd thoroughly enjoyed the his many hilarious and im Saturday, July 14 ^H m ^^^tion accordingly. show, but I got very tired promptu stories. This one was I arrived in Seattle mi-^ ~ ■* m ^p Most performers have a about 3/4 of the way through about how he fulfilled his daftemoon and scrambled to definite style, but Jones'com because the energy in the contractual obligation by some of the local record bined blues, jazz, boogy- music never let up and it was merely walking from his stores, just managing to pro rather^*^HBj||yjk *J§H? ^^j^^^: h e woogy, gospel, classical and an exhausting experience. dressing room to the stage and cure two Mudhoney tickets ^^^^^ ^Htag^^^^r^^re aso n many other influences made This music really lends itself remaining behind the stage for the big gig that evening. They wove a web ^^^^>^r__l Hr^^^^^^why everyone him impossible to categorize. well towards live perform curtains. He mused that this Although I had second of rather interesting sounds was there: Mudhoney! As This amazing flexibility was ance and thus comes across frustrated the audience since thoughts once we arrived at but very few of the audience soon as they launched into the major reason he drew such quite flat on tape. Although I we could see the curtains rip the International Motorsports members got caught up by it. their first song, the crowd a diverse crowd yet satisfied do recommend both Stem's pling. He also claimed that Garage, after about an hour of I guess the crowd was expect went into spasms. Mudhoney everyone. Jones played fast and Berg's new releases, I between the folds of the cur waiting we were finally let ing a more powerful blast. washed over the mass and Ray Charles-like songs and strongly suggest you catch tains was a time vortex con- inside. The first thing I no Thee Headcoats took the kicked out the jams. They mixed them with some beauti them live next time around. ta ning hippies and aging rock ticed was that the auto garage stage right afterwards, featur- looked great just coming off ful, lyrical Keith Jarret-like Tommy Paley 1( DISCORDER The Stranglers 10 (CBS) These four guys are like gods to me, and each time they release something new I can't help thinking, "What happens if this is shit?" Deep sigh of relief. All of you clustering about the New Releases stand at A&B can relax and fork over the dough. Not only is this album great, it carries quite a whal- lop. Judging from their last full album of new material, "Dreamtime," I was expecting something quiet: not this. Personally, I'm waiting for my eviction notice. The old broad who lives upstairs probably knows the words to all the songs by now. The band, working this time with producer Roy Thomas Baker, have trapped a whole truck load of power onto this one. There is no trace of their softer side which surfaced on the last three or four albums. No one who is a fan of their older, punkish work can now complain that The Stranglers have lost their guts. Okay, so they do a cover: "96 Tears." But they're able to take a dog-eared, overplayed C-ISL favourite and inject it with the same life that they've given to the rest of the album. At only 35 minutes in length its ten bouncy little tunes have a certain freshness which hasn't really proliferated since the days of The Zombies or Tommy James. And can Hugh Cornwell sing or what? At the start of "Man of the Earth," I have to sit down and think Holy Shit! Of course, 10 is worth buying just to have a picture of J.J. Burnel dressed up as Maggie Thatcher. Brent Copeland Guru Josh Infinity 12" (BMG) It seems that the UK has cornered the market on house and other styles of dance music in that vein. Here's another artist from the UK whom I had never heard of before and will probably never hear of again. There are a lot of artists into this type of music who release one or two cuts and then you never hear from them again. Guru Josh has put out the single "Infin- ity-1990's-Time for the Guru." "Infinity" is a light track that gives one the feeling of walking in outer space or dancing with angels. The cut is centred around the trance inducing sounds of a saxophone and flows into breaks along the lines of Gino Latino and S-Express. A nice light snack just before bed. Also check out the "Spacey Saxophone" mix on the B-side. Noah Grant Nick Cave The Good Son (Mute) Yes, ol' Nick is back, off heroin and with a new found spirituality. Many musicians find that the most creative periods in their lives coincide with periods o f intense chemi- cal abuse and have the dilemma of continuing with the hedonism, making great music, and dying a wonderful rock 'n roll death, or cleaning up and hoping that their creativity stays with them. Nick Cave has taken the tough road and used it to his advantage. This album sounds for the most part like a collection of twisted Deep South gospel songs. It's a direction that Nick and his band The Bad Seeds have been headed since the early days. I think they've captured the essence of the Negro spiritual so perfectly "Father why are all the children weepin' ? Oh they are merely cryin' son. Oh are they merely crying Father? Yes, the weepin' is yet to come." Typically with Nick Kool Rock Jay and the DJ Slice Tales from the Dope Side (BMG/Jlve) These guys fall right into the rapidly expanding field of smooth (or over-produced) rap. They do have positive messages in most of their faster tempo and faster rap. This song uses the sample "cause I'm notorious" from LL Cool J in addition to KR J's ample rapping of the same phrase. It's good to hear a lot of scratching on this album as it seems to be appearing less and less on records these days, but unfortunately they are all the same style. This album sounds pretty good and is better than some of them out there, but you won't find any revelations here. Adam Sloan CMX Kolmikarkl (Bad Vugum) Maarti feels discontented as this is his last summer of freedom before having to serve in the army and then look for a job. He disembarks from the tramway in a small, grey suburb of Helsinki near the dark, moody woods which border the endless "realm of a thousand lakes," lakes which are always a silvery steel colour under the weak nordic sun. "Paska! I'm bored!" he that it's hard to believe that the music is being produced by an anemic Australian with a German band, some of whom spend their time terrorizing with Einsturzende Neubaten. The album is full of the usual Cave-isms-Pain, Loss, the Outlaw, and above all, throughout the entire album, Sadness. Check out this verse from "The Weeping Song": Cave, the sadness is often accompanied by black humour and even wallowing delight. I never was a fan of those rock 'n' roll deaths, believing that music is not one of the few things worth dying for. It's good to see such a strong album from the de- toxed Nick Cave. Now what's Shane McGowan up to these days? Peter Lutwyche songs but they've already been put on wax by the likes of Public Enemy and BDP. Their sound is very relaxed which can be good, but they rely too much on already proven beats (you can hear the funky drummer in three tracks!) to which they add bass lines, scratching and rapping. "Notorious," the first song on "The Slice Side," is an obvious single with its mutters to himself. He's tired of menacing the suburbs with his gang of fellow moped buddies, and he doesn't have enough money to pay for the beer which makes hanging out in the square all day more tolerable. And he's tired of his parents always complaining about his hair, his clothes and his musical tastes. And to make matters worse, Jutta, his girlfriend, has just gone off to Germany to study in a univer- | sity. He walks up the six flights of stairs to the fifty-six square metre social housing apartment which is the pride of his parents. As usual he is alone. He lies restlessly on his bed, staring at the posters on the wall of his musical heroes- The Sex Pistols, Husker Du, and Terveet Kadet. But his favourite band of late is a new group called CMX. He likes CMX's new album, "Kolmikarki" because it is so much different than all the relentless Finnish hardcore which he blares in his ears all evening long. CMX is as good as all those bands from Germany, England, and America who somehow always seem to pass Helsinki by... Meanwhile, on a sunny, relaxing day in the plush, delicately scented "listening lounge" of CITR Radio, a content, perhaps even happy, dj, all spiffy in his latest ethno t-shirt and neon jammers and a little giddy from his second cafe latte of the day, touches the needle down on the opening track of CMX's "Kolmikarki" in his dedicated weekly study of new releases received at the station. Instantly he is struck by the power and intensity of the album, but also its skill, variety, and the growling voice of the lead vocalist who sounds like a cross between Bob Mould and The Muppet Show's Swedish Chef. CMX is not like all those other Finnish hardcore bands, which are so sparse and monotonous. At least these guys seem a little more happy, the dj thinks. And each track seems to sound so different- sometimes folksy and methodical, and other times hard rockin 'and solid thrashin', tight enough to make all the NoMeansNo-niks take note. But why are the nordic types always so depressed? the dj muses. They consistently have the world's highest standard of living, they are the oldest living people next to the Japanese, and they have all those fjords and things. Maybe it's having to drive all those boxy Volvos? Or is that only in Sweden? And, come to think of it, where the heck is Finland anyhow? All this thinking has made the dj quite fatigued. Carefully recording CMX's "Kolmikarki" album in his notes, he decides to take the rest of the afternoon off and go down to the beach and get a Pepsi. J. Boldt & P. Sickert AUGUST 1990 17 Calgary. During the Stampede. Hot July days when oil com- 'pany employees dress up as if they are cowboys. Any excuse to party... The backyard was crawling with Land Office personnel, and spouses of Land Office personnel, the males wearing cowboy hats and string lies. The living room and kitchen were occupied by engineering types from Reservoir and Exploration - boots, dungarees, plaid shirts, neckerchiefs - one guy had a holster with what I hoped were toy guns. Another one, quite drunk, stopped me. He put a hand under my chin and lifted my head till our eyes met. He breathed in my face, "Who are you, boy?" Then he laughed. A woman who gets off the elevator one floor below mine pulled him away from me and apologized. "I think you want downstairs," she said. Downstairs, the rumpus room was a heterogeneous mix of smaller departments including, somewhat to my relief, a knot of faces from the Computing Center. I exchanged "Wha'tcha drink in pardner" with a few of ihem and then our sentences became punctuated with difficult pauses and long glances down at the cans of beer Thankfully, one of the other programmers started to complain about the latest specs for her production graph package. In quick order several pieces of conversation started in our circle: the threat of another operating system upgrade, IBM suffocation of the industry, and the merits of C relative to FORTRAN. I didn't say much, which is the way I am when these same people talk around the office 18 DISCORDER coffee maker. I noticed, on my way downstairs, a guitar leaning against an unfinished laundry room wall. An engineer -1 think he was in Research - saw it too, and now he was strumming the first few changes of 'Stairway to Heaven.' His fingers stumbled over the F major seventh and he restarted the song, but lost it in the same spot. He began a third time, playing faster, as if momentum would carry him through, but he missed the F- seven again. Following his fifth try I took the battered Gibson from him and tuned it. Only as an afterthought did I trip through a few half-remembered bass I did a run of twelve bar blues, and looked up to see personnel gathered around me. They weren't all Computer personnel either. People from other departments - some of whom I recognized: Brad, or maybe Brian, Offshore; the man with clenching teeth. Accounting; the lady with silver roots, Mail Room - were listening as well. I was out of practice and playing an acoustic guitar instead of my electric bass, slill, they thought I was pretty good. They bunched around me, careful not to touch the guitar neck, while I ran through everything I knew. It was my supervisor's wife who asked me if I played in a band. "Well, I used to," I said, "but we, I mean me- I, only played in public once." "Oh yeah, what were you called?" It was the "Stairway to Heaven" engineer who asked this. I tried to say "The Mistakes," but my tongue faintly slipped on the "s"s and my band's name came out "The Misses Stake." Upstairs a stereo played Deep Purple, but I hadn't noticed it until then. Now I could name the particular song and the album it was from. "The Mistakes" I repealed, partly to correct my pronunciation and partly to break the stillness which suddenly gripped the basement. The "underground music scene" was generally ignored by the entertainment sections of the local daily papers, and The Mistakes were no exception. We did, however, get a momentary splash of publicity from the city news desks. Our lead singer, Chris Miss, died following a gig, the one where I made my debut and final appearance. There's something about the photo caption "A Fatal Mistake" that obviously sticks in people's minds. I say "obviously" because there was a white-haired geologist at my elbow who remembered some of the story. He finally said, after everyone in the room had been silent for at least fifteen seconds, "The Fatal Mistakes? I thought everybody in that, er, rock group killed themselves?" "No," someone else said, "just their drummer. Choked on vomit." A few personnel laughed. "Stairway lo Heaven" spoke up again, "No. It was their lead singer. O.D.ed didn't he?" He looked at me for confirmation. "You mean you played in that Fatal Mistake?" I bought my bass and amp from a friend's older brother. He had been laid off from Dome Petroleum and needed to pay off a credit card. I always wanted to play an instrument-actually, piano would have been my first choice, but when I heard he was selling his bass, not even my parents could dissuade me. By my second year of university, bass had become the way I unwound after classes. It was relaxing, my release, to sit on my bed and run through scales. Even when art assignment kept me at the terminals past midnight I would still practice for a few minutes before I turned in. If there was time I would invent riffs, five or six notes long. I'd play them over and over, my fingers locked in a pattern of movement and sound. It would posses me: I would find myself posing in pajamas before my dresser mirror, the neck of my black Fender pumping like an oil well. Eventually it would wind down; the riff would lose its power. I would set down my bass, unplug my amp, — the volume control set below "2" so as not to disturb my folks — shut off the light, and be asleep in There's a bulletin board in this music store just south of downtown. On it, between notices of guitars for sale and upcoming concerts, one can find slips of paper which say things like "Ear bleeding guitarist wishes to join or start band. Cramps, V.U., Psychic T.V., Early Floyd. See Max at the National" or "Wanted: drummer for all-girl slug-a-billy outfit. Must have own kit. Verm, 283- 2097." Close to the end of my third year, I put up my own notice. At home I had printed on a sheet of loose leaf "Matthew Hat, Bass, 260-1996." On the way to the store, however, I reworked it several times and decided on "Bitchin bassist looking for band-Mat Hat 260-1996." I stopped waiting for the phone to ring about the same time my summer job started. It was my first computer job, and although I was just a tape librarian, it was a big step up from stapling boxes together or sorting geological samples. I took the train downtown, standing, my elbows level with those of secretaries, clerks, and men in two piece suits. Instead of runners and T-shirts, I began wearing black leather shoes, dress shirts and sweaters. I even bought three ties - a red one with tiny white dots, a baby blue one with little shields, and a yellow one with stripes. Coming home one Monday, I found a phone message taken by my mother. Matthew, Stiff (crossed out) Steve Prickly called you about rock business, 220-3992 One phone call later and I was in a band. A week later, one rehearsal, one gig, and that band was history. We practiced on a Wednesday night in a warehouse near the old airport terminal. Not including me, there were two members of the band present: the lead guitarist, Stiv Prickly, and a girl who didn't speak, or play, or do much of anything that night. Stiv introduced us. "That's our drummer, MT, like in empty space." I tried to shake her hand but she pulled away. "Our ex-bassist covered out on us," Stiv told me. "Covered out?" I said. "Yeah, right now that heavy metalloid, sellout, bozo is playing covers in a union bar band. Been practicing with them without tellin' us for over a month. Found out last week and gave him the punt. Damn cover band. We," Stiv said this with some pride, "We don't do covers. All original material." "Oh," I said. "Anyway, we're supposed to warm up for the Fury Heads this Friday. That's where you "Fury Heads?" "Yeah, it'll be packed with underaged skateboard punks - but what can you do, eh? A gig's » gig" "Wait, I don't know any songs yet." "Don't sweat bullets, you'll do okay. We'll just put you down a little in the mix." He started showing me songs. "This is called "Eyes on Fire.' Goes C-F-C G-F-C." He played it and expected me to join in. When I caught up he said "Okay, we do this six times and then there's a break in G V F, like this." I stopped and asked him what kind of bass line he wanted. He looked at me as if I was strange, "Hey, when we're in G, just play something G, and dammit, don't get fancy." He went on with the lesson. "This is called "The Ninth Hour' and it goes C D and then down to your E." The songs kept coming; the titles and tunes piled up in my mind: "Scourged Flesh" in F B flat and C, "The Return" in F and E, "Forbid My Children" in G, "Mustard Seed" in G flat minor, "Betrayal," "Unverified Stigmata," "Forgiven." They began to run together, all sound the same. "His Head on His Coin," "something Harvest," "Spewed Out of Mouth," "Pierced in the Side." Finally he stopped. "Crazy titles," I said. "Are there words?" "Yeah, Chris writes them." "Chris?" "Oh yeah, Chris Miss, our lead screamer. We don't practice with him. Too wired." "Wired?" "Hyper, you know. Worked up. Out of control." It may seem strange, but the strongest memory I have of Continued on page 26 There have been summers here at Local Motion when we've received one or two demo tapes in a week (maybe all the musicians were on tour, or off tree- planting)- but this month has brought ten local tapes and twenty-four from out of town. Obviously, there isn't room to review them all, so, for anyone who's interested, here's how some kinds of demos are given priority. First of all, bands (whether from Vancouver or somewhere else) that play the Vancouver clubs quite often will almost always get reviewed. But the band (or artist) has to fit into that giant category of "alternative" to get playlisted at CiTR in the first place, so, for example, Top 40-type heavy metal isn't likely to get written about here, unless maybe there's a specific point to be made. But if there are too many tapes from locally known artists to fit into this space, or not enough, this humble reviewer practices a more personal method of selection. Sometimes that means not writing about styles of music I don't feel Obviously all this means that Local Motion has its limitations, but just remember that Discorder is always looking for more writers, so anyone who's interested in helping out with reviews should call the station (228-3017) and offer their services. This month's demos include new selections from the extremely good (and deservedly popular) Paula Rempel and Bruce A and the Secular Atavists cassettes, that I'd just like to mention again even though they've already been reviewed here: "I Ride My Horse" and "Everyday"* respectively. And now for the newer additions: @#*&!(pronounced "Cartoon Swear")-"Long Face." This always quirky sounding band seems to move toward something closer to rock and roll here, while still retaining their distinctive style. At least there's a tune discernible even to fans of easier-to- listen-to types of music, a repetitive and catchy groove, and a beat, adding yjj^ to what's probably their most accessible offering yet. the Rainwalkers, Memory Day has some of the same shortcomings as that other North Shore band. While both songs are very pretty, with lots of acoustic guitar and, in the case of "Death of a Friend," violins too, they aren't breaking any new ground. Everything sounds sensitive and subdued; the qualified to review, and sometimes it just means choosing my personal favourites of a given month. Memory Day-"AddictIon and Devotion," "Death of a Friend." Managed by Brian Watson, former drummer for lyrics and vocals give the impression of well-bred, stoic suffering that's so attractive to teen-aged girls just start ing to stay out late Saturday nights. These are good songs, but whatever energy is here tends to get weighed down by the production (especially in the case of "Death of a Friend," with its not-quite-real-sounding violins). A video or two with the singer shyly looking (with big, sensitive eyes) into the camera and then down at his guitar ought to ensure Memory Day a place in the hearts of Grapes of Wrath fans. The Picasso Set-"Bitter Lemon," "Toytown." Another subdued release- this is the slowest and quietest so far from The Picasso Set. Both songs are quite nicely recorded (in an all-night session at Profile), with Ian Noble on drums. "Bitter Lemon" has a sound quite reminiscent of circa '67 Beatles, especially in the intro, making the more '90s, synthetic keyboards that are throughout most of the song appear a little incongruous. In that sense, "Toytown" is more successful, but I have to admit that I don't get the joke, written on my cassette label, that this song is about the West Van Planning Department. So far. The Picasso Set's sound has been most successful when the instruments and production are an authentic '60s kind of fast- moving pop, complemented by Dave Lea-Smith's heartfelt (and Tom Verlainesque) vocals- here everything seems to be slowed down just a little, and more than a little sad. Vancouver isn't kind to pop bands, and I wonder if it's this realization that's given this group's most recent tape its introspective and somewhat melancholy flavour. If so, I hope someone can cheer the band up just a little bit. Video Barbeque-"Subway 5 p.m.," "The Stegasaurus Stomp." Video Barbeque is a lot tighter, more focussed, and yes, accessible, here than I remember them- this 6-song cassette even includes a cover of the "Mission Impossible" theme. "Subway," which is full of loud horns and interspersed with lots of voices saying things like "I can't believe I missed the bus," is indeed noisy and fast-moving.In"Stegasaurus Stomp," the singer is self- possessed enough to ask the dancing dinosaurs, "What about extinction?" Loud, big jazz with growly vocals, real wit, and plenty of finger snapping. All in all, lots of energy here, and a very slick product. Planet of Splders-"Place I Found," "Carnival." This five song tape (recorded at Fluid Studios) is much better produced than their previous demo, and the songs are quite a bit different sounding, too: "Carnival" could almost have been inspired by the Replacements; "Place I Found" even features some acoustic guitar. While the vocals are a little sloppy, Planet of Spiders is apparently quite successfully settling into a sound, perhaps better heard on a song from the tape that wasn't playlisted- "I Was," a really good example of the hard pop tradition, with growly singing and a style something like the Grue- Uneven Steps-"Censor the Bible." Someone should warn Evan Symons about the danger of sending out cassette inserts that say things like: "Here's some tunes to wretch [sic] over" (a lot of reviewers would be tempted to agree). But you have to admit, the leader of Uneven Steps (now without Dirt drummer Jennifer Orme) is nothing if not hard-working, and, demonstrating Symons' ongoing search for a sound, "Censor the Bible" is quite different from the band's last demo. This is a pretty standard hard-rock guitar song, with dreadful singing and, for a twist, a tempo that gradually slows down and speeds up. Emily Faryna-"Ding-A- Llng," "Lonely Sunday." This 6-song cassette, The Return of the Repressed, recorded at Bullfrog and in West Berlin, is available in stores or by mail-order through Spiral Records. And this is the same Emily, I believe, who gave us "I've Got a S teel B ar in my Head," back in the early-mid '80s. Emily still has her sense of humour- "Ding-A-Long'"s musical accompaniment could just as easily be heard in a cheesy monster movie, and in the case of "Lonely Sunday" it's almost a synth disco parody. As for the lyrics, the extreme delay on the vocals (especially with the second song) means it's just about impossible to make them out, which is a shame. Does this mean we'll just have to go see one of her performances? It's probably not a bad idea. LikeRain- "Fremont, Nearly Midnight." The band's from Seattle; the cassette, called Razorblade Shoes, is in the stores; and these ten songs were recorded at Conrad Uno's 8- track Egg Studios (home of the Young Fresh Fellows and Fastbacks, among others). This is a duo that would be perfect at the Railway, but I don't think they've been able to come up to Vancouver yet. The production on the tape is nice, the sound is simple (violin, vocals, and guitar), and all the songs are good. This song, in particular, has a funny, almost medieval quality musically, while the wavering vocals tell the sad story of waiting for a drug dealer of the opposite sex. Like Rain's fresh sound is not quite folk-pop, and somewhat like Lou Reed. A high- quality cassette. Watch Children-"Klnda Retarded." Also American, but this time from New Jersey. The note on the tape cover, "Ex-Laughing Soupdish," doesn't help me a lot, but I have a personal weakness for any band with song titles like "Go-Go Action Girl," "Coconut Life- saver," and "Watermelon Soup," and these titles do say it all. Love them or hate them, the Watch Children play quick simple garage- pop songs with (no kidding) silly lyrics. Often funny, always sincere-sounding. AUGUST 1990 19 \~W t all started innocently JH enough as a lame, square trip down to Seattle, in a desperate attempt to catch wah-wah fuzzbox lords Mudhoney at perhaps their last gig for a "little" while. Yeah, those munsters of Northwest rawk didn't disappoint either: it was such an intense happening that even Tad, Seattle's big huge piece of shit equivalent to Ran- dyBachman, stagedove into the huge all-ages crowd. So after three and a half hours of pure Seattle puget power I left the International Motor Sports Garage with the feeling I'd seen the wildest, most un-Tom Cochrane like concert a loser could imagine. But to top it all off, upon leaving the Emerald City, in my possession was one treasured Betty Page "Captured Jungle- Girl 3D" Magazine purchased earlier in the day from Fallout Records and Skateboards. Sure I bought a few other 'zines; however, none could compare to seeing Betty Page in 3D. Indeed, Ms. Page is a fitting reminder of all that was pure in the 1950's-black hair, conservative bathing suits, and weaved ropes. Weaved ropes? No joke, Betty Page eitviETTPi actually allowed herself to be tied up for smelly 1950's rags in various states of undress. Rarely showing flesh, and often mock catfighting other beauties in battles climaxed by tame spanking, Ms. Page has quietly become one of the most popular relics of post war America. Her exploits have been documented in a wide range of publications: Rolling Stone, Film Threat, Spin and, as an added bonus to all ya Betty lovers, there's THE BETTY PAGES, a bite- sized juicy journal devoted exclusively to "the woman." Nevertheless, despite her legitimacy, the following conversation took place between me, a boyish victim of the popular culture, and Canada Customs. n H C.C. How long ya been away? N.T.H.S. About 15 hours. Where were ya? At a rock concert in Seattle. What band? Mudhoney. What are ya bringing back? Seveojjpllars worth of magazines. What type? Rock magazines. Let's see one. I show her the other 'zine in my possession, Psychotronic Video. After pondering for a bit she says. You're going to have to go inside. Inside Canada Customs: This is okay [pointing to Psychotronic Video], but you're not going to be able to take this [Betty Page 3-D Comix Book] over the border. Why? It's Bondage. C'mon, it's from 1950. // you murdered someone is 1950, it would still be murder today. No, you'd be on parole! We can't let you take this over the border. Was I stupid in buying this then? This magazine depicts Bondage, and although you could probably buy one like it downtown, you can't take it across the border. Do you want to place a claim? Aww, Aww...Forget it! Betty Page's popular enough in Canada. And with that statement, I abandoned to the crown one Betty Page "Captured Jungle Girl 3-D" Magazine. Ahh shit. & I digress. It is interesting to note that comix have, in the last five years, begun to be appreciated as more than just a staple of children's free time. Up until the mid-late eighties comix were still primarily seen as a source of entertainment for illiterate adults, nerdish adolescents, or precocious children. Then, somewhere in time, attitudes shifted. In the shadow of Andy Warhol and Roy Lichtenstein the avante garde of east coast culture stamped their seal of approval on vehicles such as RAW and artists such as Jooste Swart. The spectre of illegitimacy that had plagued comix since the mid-late fifties began vanishing into the night. Not that the plodders who hack away on creating the seven millionth Batman story have begun receiving invitations to swanky dinner parties and chi-chi gallery openings, but, in fact, there has been a subtle shift in the direction of people's attentions. This subtle shift is occuring in direct correlation with another emerging media that has also changed the way people think about what it is and what it does. In 1985, the first computer sporting the GUI or graphical user interface was made commercially available. This interface was 180° turnaround from anything that had come before. Not only did it make the relationship between the computer and the person using it easier and more intuitive, it also made it easier to understand what was being done. It has been speculated that 20 DISCORDER the human sense of sight is as important to us as is the sense of smell to a dog- that our visual organs are the brains first sensory probe into any evolutionary experience. Be that as it may, we like to watch. We like to watch, but by the time we're five we've seen it all. What is left but the practical manifestation of alternate realities? The ability to render and perceive renderings has been a powerful ally of con- ze the first cave drawings in Lascaux. As we have become more sophisticated in our design of civilizations, so have we become more precise in our renderings of and our beliefs about the world in which we live. Imagine that the first person to draw on a cave wall left the cave totally imbued with the power such an act of majesty allowed them. Now imagine that the population of Flin Flon, Manitoba suddenly, overnight, stopped watching television and started to create in their spare time. Would anyone starve on their streets? Would everyone sleep better at night? V The graphic interface has been with us a long time but up until the last little while has been the private domain of the elites of our culture. For example, the King who endlessly gazed at the portrait by Da Vinci or the Empress who held the marble icons of another culture in the palm of her hand. What comix did at the turn of the century was to program visualization into the minds ofthe everyperson. This of course coincides with the birth of the Amercan dream in which a poor person from Hells Kitchen could brave all odds and rise to the top. Before 1900 poor people simply did not rise to the top of anything other than the manure pile and rarely there if at all. But comix brought along fantasy which spoke of possibilities and the belief that things could be better than they were. People began to make room for change like they never had before. Radio, the primal tool of visualization, made room for motion pictures which in tun- made room for television which allowed for personal computers which are clearing a path for in- teractives which will create the maps for virtuality. As well, each age of technology brings with it a social conscience that improves upon the one before. Now imagine, if you will, a technology that impels us to be creative, introspective, and involved. It would serve as a psychic mirror ready to align our perceptions when we lose our way. It would be an active part of our lives in that it would combine the communication aspect of the telephone and the visual impact of television with the interactive process involved in reading a book. Yet it would demand that we create in order to use it. We could not, as with tv, film, and radio, sit back and have the experience wash over us like water on sand. It would be useless without direct involvement of the creative principle. And it would stagger us with the intensity of the experience we would get from it's use. What if it was five years away from being -as common as the Walkman? Our culture seems on the verge of changing as has never been seen before. The first tentative steps towards global disarmament have just been taken. The planet has just exhaled the bad air of fifty years and is ready to take another breath. Whether the air we breath is clean or dirty is up to us. How we use technology is more important than what technology we use. This is not to say that if we burned our slag in a cleaner, more efficient way that the forests would be less damaged. It is only to suggest that any awareness of the effects of technology on our thoughts and actions may lead us to a place where we can comprehend the whole of our thoughts and actions. Thus, the tool is compelling the tool- maker to leam about itself. So the tribe is relearning how to learn and the the image of how to do so is firmly planted in our heads. That the imagination has played and will play a large part of this change is understood. But is it accepted that only in a state of flexible creativity can we learn fast enough what it is we need to know? Comix like Harvey Pekar's American Splendor, Chester Brown's Yummy Fur and Colin Upton's Big Thing are clearing the way for non-artisans to put their lives in a healthy perspective with the creative use of interactive technologies. The autobiographical/introspective nature of their work is a valid reflection of the stories we will soon be telling with found sounds, images, and words. The ability to communicate one's story is found in parallel with the ability to communicate one's needs. The smart money sez that our needs in the upcoming decade of change will reflect the improved social conscience of a culture in the midst of a new technology. (There is little con- This will be the last installment of "Comix" by Leigh R. Wolf, have the chance anymore because they have been thrown in the fast lane with the rest of the Mercedeses. But what can you do? Demon Stich: It was also interesting talking to some of the underground West Germans. They really weren't happy with the prospect of an east/west merger. They were very afraid that there were a lot of Nazis in East Germany and West Germany who would get together if the two merged, and it would be a scary thing. They were really concerned about that. Did you guys get that? Demon Richard: A little bit. Demon George: It's weird, because I think a lot of the West Germans think that they L. are superior to the East Ger- mai_i because of their industrial developments. But I've talked to a lot of East Germans and they have something very special in terms of a personal pride that may be a vacuum in the West; and maybe, hopefully, they will learn something from the East . h and vice versa. On East German jazz. Demon Richard: Well, we don't really know. I don't know. George took a trip out east to Hungary and saw lots of interesting things. There is a great Soviet band called the Gamelen Trio. Did you ever see those guys in Holland? I saw a concert of their's where the sax player was putting his leg over his head, but they were improvising by going along a parallel level to another parallel. It was really 'j^Ss good. Demon Stich: They've reached international status, I s*, think. They've done a world tour. I think they went to Canada as well. Demon George: I heard some great stuff when I was in Hungary. I know that there are some great Polish bands and other East block nations have some amazing musi cians. Visual art is very strong, but they were at a disadvantage for a long time because even if they were hot, it would be hard for them to get an international audience by vinyl or touring because it would be hard to get out. There was a black cloud hanging over them for the longest time. Like "Why am I doing this, nobody is ever going to hear me." Amazing, creative, free musicians -1 really hope they get out. Demon Richard: I think that it is easier to develop a free music because there is not that driving for success. There is not that "We've got to reach the public schools" or "We've got to make money." There isn't that feeling because the artists are already subsidized, and there are less opportunities. So, people just do their own thing. That's a good thing. On Ornette Coleman. Demon Stitch: He still makes very little money. I read in an article a few years ago where he says that he it is still a Demon Stich: Yeah, a lot of our important influences are outside of music. The other arts, politics. These guys are really into politics. You have to be. As an artist you have to struggle paying the rent. It's true. Most of the great innovators weren't accepted when they first came on the scene. Eventually the cream comes to the top; they can't be de- On George's influences. Demon George: If people ask me what kind of bass players I listen too, I guess I've listened to a little bit of everyone. I've tried not to listen to too much of anyone. Not because I don't want to learn from them, but it's more like that I didn't want to graft too much of their stuff that they have discovered onto my stuff. Maybe that is unusual, but I've always thought that if I'm ever going to sound like myself maybe I should not listen too much to anyone else. What I get into more now is what kind of state of mind do I have to be in to find ideas. My influences are really mental things and not just musical. be aware of everything. Demon Richard: I think George and Stich make good points. I think we are at a point in our careers where we are happy with the basics of how we sound as musicians and we are comfortable enough that we have something original to say. We are still trying to develop, but the basic sound of how we are is formulated and now it is time to grow on it. I agree with George that I always try to listen to a variety of players because I've always had a fear that if I listen to anyone too much, well, I don't want to sound too much like anyone. But I want to get as many influences as I can, that I can combine to arrive at something of my own. As mentioned in the interview, many people complain that most great jazz artists are dead and that jazz is an old person's music. Well, these guys are changing that perception. They are making jazz fun again, like it supposedly was in the '50s. Not only are they fun to listen to, but they also have developed into one of the best live bands in Canada. For those of you who missed them, they will be back again. In the meantime, all three of the Demons' releases, "Streetniks," "Bop or Rap" and "What Do You Want," are available in Vancouver. So, for those who say you don't like jazz because it is not alive, danceable or fun, you'll have to think of some new excuses.®1 AUGUST 1990 21 H0:[t«M-(.I*I.I.IiI-I*r,4c_l REVOLTING COCKS BAD BRAINS THE STRANGLERS RAMONES Al HDV BOB'S YOUR UNCLE CARL STONE BEAT FARMERS UZUME TAIKO STRAWBERRY ZOTS THE FLU'D BOOTSAUCE LLWYBR LLAETHOG JOHN OSWALD AZTEC CAMERA SHINEHEAD MARK STEWART IN THE NURSERY JOHN DOE PSYCHIC TV ERIC B AND RAKIM Frlnfle/Altematlve Tentadee Pod PolyGr«m/4AD Beer*, Sow* ♦ Outer* Cargo/Wax Trax 77m Youth An Getting Reelleee Caroline 10 CBS/Epic I the Stuff (end Mon) Volume On* WEA/Sire Sex, Drug* * Violence Tele of 2 Lege gr. I Four Piecee Electro-Acouetic Loud, Plowed, and... Llvel Gavln/Curto Chlraehl Aural Tradition Cere, Flower*. Telephone* BMG RCA Glue Sub Pop 77m Brown Album PolyGram Be? Concrete/Pinpoint Plunderphonic Fun Mutic Strey WEA/Sire/Repri.e 77m Reel Rock WEA/Elektra LE.prit MCA Sub Pop A&M Virgin WEA/Metal Blade Bridge PolyG ram/Mercury THAT PETROL EMOTION Chemtcrezy GWAR Scumdoge ofthe Unlveree SHARTSE COLLEGE OF... Tibetan Buddhlem THIRD WORLD Serioua Buelneaa SLEEPCHAMBER Sleep or Forever Hold Your Piece DIVINE STYLER... Word Power CBS/Epic/Rhyme Syndicate COFFIN BREAK Ruptun VARIOUS ARTISTS Variety Recording* 3 CBC/Varlety Recording* CMX Kolmikarki Bed Vugum DEAD MILKMEN Uetaphyaical C VARIOUS ARTISTS Beat Run Feat Volume 1 llexldiec MCR Company THE JESUS LIZARD Head Touch and Go LAVA HAY Lava Hay Nettwerk C. FADELA & O SAHRAOUI Hana Han* MCALI.ndM.ng, RUBIES See the Money In My Smile MCA/TVT LENE LOVICH PROPAGANDA VARIOUS ARTISTS BABES IN TOYLAND MARK LANEGAN BEATS INTERNATIONAL VARIOUS ARTISTS TheBI March 1234 le Alright Spanking Machine The Winding Sheet Let Th*m E*t Bingo 7» All In th* Same Gang UNITED YOUTH OF THE U.S. Uae Your Unedited Sense EXXOR Aephtlt Paradla* SEX PISTOLS Llv* at Chelmeford Top Security Priaon Juetin Time/Pathfinder A&M/Vlrgir M.l.co 'E THE Li VARIOUS THE WILD SWANS VIC CHESNUTT TORONAGA INSPIRAL CARPETS FRIGHTWIG MAHLATHNI _ THE... HAYWIRE THE NURSERY ETTA JAMES NEUROSIS HIGH CIRCLE NOISE UNIT YARD TRAUMA SKIN YARD What Kind of Heaven Do You Want? SubPop PolyGr am/London WEA UYUS Deeert Engine Enigma/Reatlee* WEA/Metal Blade Rebel CBS/Epic/RutNeM God'* Gift Cool a* Fuck EP Phone S*xy 77m t* Shadow* on th* Wall WEA/Sire MCA/ChryaaH* Mule/Cow PolyGrem/Urben Africa We Bite Cargo/Wax Trax MCA/I.l.nd Grinding Into Emptineae Flat Sized Chunk* THE TEN COMMANDMENTS Home Firee Burning SWAMP ZOMBIES Scratch and Sniff Car Cr—h DEE-UTE Sampla-Delic THEE HEADCOATS The Eerl* olSutvedom MONO MEN Slop Drtggln' Me Down T21 Pity th* Picture* LOUDON WAINWRIGHT III Thertpy KULT Conm—lona of* Knlf*... • ;GRUMH... A Hard D*y* Knight STEEL POLE BATH TUB Lurch RAUNCH HANDS Haw Swig THE DEATH FOLK Dtthtolk JAWBREAKER Unfun WEA/Elektra Crypt Cargo/PIAS BMG/Silverlone Cargo/Wax Trax Cargo/Wax Trax Crypt "Dysfunctional" 12" Mix CONSOLIDATED CLOCKDVA "Sound Mirror" 12" Cargo/Wi MUDHONEY "You're Gone"/"You Make Me Die" 7" Sub Pop ORDER "World in Motion" 12" PolyGram/Factory/MCA ICE CUBE "Amerikkka's Moat Wanted" 12" Priority REVENGE "Pineapple Face" 12" Capitol/Factory AJAX "Mind the Gap" 12" Cargo/Wax Trax GURU JOSH "Infinity" ir BMG/RCA TACKHEAD "Demolition Houee (Remix)" 12" MCA/TVT PARIS "Break the Grip of Shame" 12" PolyGram/Tommy Boy LUNACHICKS "Cookie Mon.ter'/-'Complication" 7" Blast First DICKLESS "rm a Man'TSaddle Tramp" 7" Sub Pop JON HASSELL "Voiosprint" 12" WEA/Opal MORRISSEY MITCHIE MEE "Jamaican Funk" 1 PHASE 'N' RHYTHM "Swollen Pocket." 12" THE NEON JUDGEMENT "WIS" 12" BEATS INTERNATIONAL "Wont Talk About It" 12" AFROS "Fas! It" 12" TAGC "Broadcast Test" 12" DESKEE "Let There Be House" 12" HILT "Gat Stuck" ir SNAP! "The Power" 12" 1-12" WEA/Sire WEA/Fir»t Priority Tommy Boy Cargo/Wax Trax PolyGram/London CBS/RAL/JML Cargo/Wax Trax BMG/RCA "Anytime Anyplace" 12" Cargo/Wax Trax Tommy Boy CBS/Epic STETSA SONIC SUICIDAL TENDENCIES THE BROOD DAVID J "II Bs Your Chauffeur" 12" BMG'RC A/Beggars Banquet "Put Your Body In It" 12" Infinite Beat THE NEON JUDGEMENT "Game, ol Love" 12" Cargo/Wax Trax BLACK BOX "Everybody Everybody" ir BMG/De Construction PASKA Super Double Mega Mail Hits 7" EP Bad Vugum CULL ROBG "The Power" ir Electric/Somersault PROFESSOR GRIFF Pawns In the Game" 12" Eiectric/Luke PUPPY -Worlock" 12" Nettwer. The Ring' ir GDMrTssmania THE WEDDING PRESENT 22 DISCORDER 12" BMG/RCA ARE YOU SERIOUS? MUSIC 8:00AM- 12:00PM Ths newest new music: Llgetl. Dho- mont. Schlttke. Lutakowski. Bvtwistle. Information on concerts, recordings. compose n. THE IRUNCH REPORT 12 00-12 1SPM News, sports, weather and more wtth the CITR News. Sports and Weather Departments. THE ROCKERS SHOW 12 16-3 00PM Reggae. Rock Steady and Ska with George Barrett. (LUES AND SOUL SHOW * 00-5 OOPM Blues, rhythm and blues, (unk. gospel and soul provided by tochlan Murray away to Chlcaaogo. home of the THE SUNDAY NEWS MAG 5 00-5 CiTRs In-depth cur magazine show. Coveroge and analysis of UBC News plus news and sports, daily editorial commentary, entertainment reviews and reports on events here at UBC. all In a comprehensive and comprehensible magazine package. And we promise, no HEARSAY 5.30-6 OOPM CiTRs literary arts program needs YOU to submit your works (or on-air performance or reading (by you or us. your choice) EtECTRONIC SMOKE SIGNALS/DECOMPOSITIONS 4:00-8:00PM Information, news. Interviews, political analysis from the global cultures of resistance hosted by Horaclo de la Cueva. alternating Sundays with eclectic music and caustic alphabets/spoken word hosted by Kim Trainor. RADIO FREE AMERICA 10:00PM- 12:00 AM Join host Dave Emory and colleague Nip Tuck for some extraodinary political research guaranteed to make you think twice. Bring your tape deck ond two C-90$. Originally broadcast on KFJC (Los Altos. California). THE MORNING SHOW 7 30-8 ISAM From the famous siren to the noWf- famous BBC Radio News Reel, wake up wtth the CiTR Moming Show. Infor- and 'scenic view' reports, features, entertainment reviews and Alberta hog prices. BREAKFAST WITH THE IROWNS 8:16- 11' Are you blue? Get Brown! jrfa- »eter offer a savoury blend of the familiar ond exotic In an excitingly luscious blend of aural delghts! Tune in and enjoy eoch weekly brown plate spe- AVANTPIC 7:OO-9.-O0PM Avant-garde thuggery with Pets Lutwyche. First Tuesday eoch month: World Music Exploration. ■ft'.' J 4 »]. I**.-, 11: V_c__H THE MORNINC SHOW 730-815AM See Monday for details. WHITE NOISE 8:1S-10:OOAM The bastard bve chid of 70s progressive and 80s electronic. Improvised fusions of traditional rhythms from around the globe. Burroughs. Pyn- masters of the tenor saxophone Recentty unearth ed. tonight's session took place in Ne w York in 1965. and Not for anger and despair, but for peace and a kind of home. Suicide note of Lewis Hill, founder of KPFA Berkeley - 1957 THE CiTR DINNER REPORT 5 00-530PM See Sunday for details. SPORTS DIGEST 5 30-600PM Join the CITR Sports Department for al the latest in Thunderbird varsity sports action and sports everywhere else for that matter! FACING THE MUSIC 6 00-800PM A music/informational hour with an emphasis on topics related to aware- THE JAZZ SHOW 9:00PM-12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 11. 6th Sack to Back-the most elegant and blue voice of the Ellngton band: alto saxophonist Johnny Hodges wtth a small group Including The Duke himself on piano In a program of blues. 13th Pianist Bud Powell, the most neglected and misunderstood crea- sesslons tonight: one wtth a trio (wtth drummer Max Roach) and one solo. 20th The late Dexter Gordon, star of the film Round Midnight, one of the Charlie Parkers 70th birthday, an extra-long feature beginning at 10 o'clock. b______- _ 11 *_»T V_o___B___ THE MORNING SHOW 7:30-8:ISAM See Monday for details. THE AFTERNOON REPORT 1:00-1:1SPM See Monday for details. BLOOD ON THE SADDLE 1:15-300PM Country music to scrape the cowshit off your boots to. With yer host-poke Jeff Gray. THE UNHEARD MUSIC 3:00-5 OOPM Demo Director Dale Sawyer provides some Insight Into the best and the worst of the newest Conadian music. And he's not telling you which b THE CITR DINNER REPORT S:00-6:30PM See Monday for details. B.C. FOLK 530-700PM The thoughts and music of B.C. folk' artists, hosted by Barb Waldern and Wayne Davis. MIDDAY PHALLACY 11:00AM-1:00PM Daisy checked out and her evl twin Tania now inflicts the airwaves with eclecticism. If it's phallic, it plays. THE AFTERNOON REPORT 1:00-1:1SPM See Monday (or details. PAULA SMUG 3:00-S:OOPM The only alternative to KLYN. THE CiTR DINNER REPORT 5:00-5:30PM See Monday for details. LIVE FROM THE KNITTING FACTORY -:00-7:OOPM Concerts recorded in the fall of 1989 in the heart of the NYC arts district JIGGLE 7 00-9 OOPM Mikey s here. Gavin's here. Six years of combined DJ experience, 40 years of lovin' experience. Games, hiking, drugs, orgies, impetuous banter an adolescent paradise. PERMANENT CULTURE SHOCK 9:00- 12:00AM Permanent (per-md-ndnt): lasting. intented to last, indefinitely Culture (kdl-chdr): (1) the civilisation of a given race or nation at a given time or over all time: (2) the raising of microorganisms in specially prepared media (or scientific study. B_____ i: 111: W i7: V_:.-___■ THE MORNING SHOW 7:30-8:15AM See Monday (or detoils. NOW YOU HAS JAZZ 8:IS- 10:00AM Jazz with Tommy Paley. HANFORD NUCLEAR PIZZA PIE 10.00- 11:00AM Rowena went to get a Pibb. got lost, ended up In NYC. tapped her ruby slippers 3x & cried 'there's no place like homer Poof! She's back with her OR-to-AK show. Helo? THE AFTERNOON REPORT 1:00-1:15PM See Monday for details. FLEX YOUR HEAD 3 00-500PM -HARD — —ERIC- -CORE THE CiTR DINNER REPORT 5:00-5:30PM See Monday for details. ARTS CAFE S:30-«:00PM Be updated, be with It, be informed about Art. theatre, film and any other cultural event happening in Vancou- SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY _____ ■ irmfs _<re_w_ AVaB:1£M 7_.ll_MM.S_1! _■-__-_._-_-■_■ ARE YOU SERIOUS? MUSIC ROCKERS SHOW BREAKFAST WITH THE BROWNS YOU COULD BE HERE WHITE NOISE NOW YOU HAS JAZZ SCRAMBLED EGGS THE SATURDAY EDGE ON FOLK POWER CHORD YOU COULD BE HERE HANFORD NUCLEAR PIZZA PIE VIOVING IMAGES YOU COULD BE HERE YOU COULD BE HERE MID-DAY PHALLACY NOW YOU HAS JAZZ FEATURE THEVENUS FLYTRAP SHOW YOU COULD YOU COULD BE HERE BLOOD ON THE SADDLE MEDIA CONTROL ECLECTIC KOOL-AIDE ITS NOT EASY BEING GREEN BLUES AND SOUL SHOW YOU COULD BE HERE THE UNHEARD MUSIC PAULA'S MUG FLEX YOUR HEAD IN EFFECT NARDWUAR ..VALUE OF NOISE suWi^g SPORTS DIGEST B.C. FOLK THE YAP GAP ARTS CAI RANDOM SAM... ELECTRONIC SMOKE SIGNALS/ DECOMPOSITION! FACING THE KNITTING FACTORY TOPOFDABOPS AND NOW THIS YOU COULD BE HERE THE BOXER SHORT BOYZ AVANT-PIG JIGGLE OUT FOR KICKS HOME VIDEO I.N.T.E.R.N.A. T.l.O.NAL PLAYLOUD (THIS IS NOT A TEST) THE NEW AFRICAN SHOW THE JAZZ SHOW WTTH GAVIN WALKER BEAT HEADS VERSUS WOLF ATTHE DOOR PERMANENT CULTURE SHOCK THUNDERBIRD RADIO HELL HOME BASS ONE STEP BEYOND/RADIO FREE AMERICA RADIO FREE PARKING SOUND OF REALITY IN THE GRIP OF INCOHERENCY OPEN COUNTRY JOY AURAL TENTACLES OPEN SEASON YOU COULD BE HERE MEGA BLASTI YOU COULD BE HERE TOP OF THE BOPS 4:00-7:OOPM Trhl Lopez. Ronnie Self, and The Phantom all love you. Marc Coulevln brings R n' R to It roots. OUT FOR KICKS7:0O-9:0OPM Wld beat protest youth wtth Pat and LIVE FROM THUNDERBIRD RADIO HEH 2nd Fat Americans 9th Mary 16th Toxic Jimmy and Jody Elvis Cranston celebrate the death of Elvis 30th Deadhead Cool SOUND OF REALITY 11:00PM -1:00AM Experimental Radio, with Vision! Featuring environmental sounds, found noises. Information/propaganda and the world's ethnic and experimental musics from the auditory fringe. Live! Contributions welcome. Practitioner Anthony Roberts. MECABLAST1 1:00-4:00AM Compact discs and concepts on autorepeat. band specials, turntable feedbackgammon courtesy uncle mifty. stagnating creativity: welcome to late night radio where the Ghetto Boys are considered artistic. ■b_____ _;J I >7_\ *_■___■ THE MORNINC SHOW 7:30-8:15AM See Monday (or details. MOVING IMASES 10:30-11:00AM Join host Ken Maclntyre as he takes through the sliver :klotot ■e with film rx THE VENUS FLYTRAP SHOW 11:00AM- 1:00PM Greg Elsie Is your guide through these two hours of music and fun. Tons o' new tunes. And disco tool THE AFTERNOON REPORT 1:00-1:15PM See Monday for details. ITS NOT EASY BEING CREEN 1:15- 2:30PM The greenest of the CITR DJ crop try to germinate and take root on the air. If you are Interested in CITR programming opportunities, call the Program Director at 228-3017. ABSOLUTE VALUE OF NOISE PART ONE 2:30-3:30 AND PARTTWO4:00-6:00PM Found sounds, tape loops, compositions of organised ond unorganised aurality. power electricians and sound collage: 100 % Canadian industrialism. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM A dumb stupid half hour of THE CiTR DINNER REPORT 5:00-5:31 See Monday for details. AND NOW Ti dthis. / id this... FOR THE RECORD «:30-4:45PM Excerpts from Dave Emory's Radio Free America Series. HOME VIDEO INTERNATIONAL 4:46- 9:00PM Radio adaptations of movies. Taping this program is strictly prohibited. HOMEBASS 9:00PM- 1230AM Turn your home into your very own club. Get out your flared pants, put on your dancing shoes and prepare yourself for 3 1/2 hours of house, new beat and a little disco and rap thrown in to liven things up. Dope jams and a groovy evening with DJN. CT_MiJ.i»jr_Y£l THE SATURDAY EDGE 8:00AM-12:00PM Steve Edge hosts Vancouver's biggest and best acoustic/roots/rogue folk music radio show. Now in its sixth year on CiTR! Roots music from around the world, new releases, studio guests, and the World Cup Foot- POWERCHORD 12:16-3:00PM Vancouver's only true metal show with the underground speed to mainstream metal; local demo tapes, imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. IN EFFECT 3:00-5:00PM The Hip Hop Beat brought to you by DJ's Somethin' Smooth. BZ Jam and THE SATURDAY MAG 6:0O-S:30PM Join host Richard Vilus... See Monday (or detail THE YAP GAP 6:SO-4:0OPM Hear (igures In the Arts world talk about their works, other people's works and anything else that occurs to them. Hosted by Antje Rauwerda. THE NEW AFRICAN SHOW 8.00- 10:00PM World of Africa Dance Party We welcome each other home We the children of Africa We welcome you All you of the other heritages Of our beautKul world In peace, harmony and oneness To our house party -B______r-rw-*.-f.-______H CITR provides free aktime for Community Access by groups and Individuals. If you or your group would Ike to say something to someone Director. _-___iyi7ar<;_i.-_-_-_i CiTR wants you to become Involved wtth your friendly UBC Radio Station which broadcasts at 1800 watts to the campus and beyond. Opportunities abound! Wheeeel Programming, producing, editing, writing, engineering, operatatlng. announcing, hosting, etc etc. Come by the studios during normal business hours. B_________T.7.V< ;/,________■ ARTS ANTJE RAUWERDA DEMOS/CASSETTES DALE SAWYER MOBILE SOUND LINDA SCHOLTEN MUSIC LLOYD ULIANA. RANDY IWATA NEWS KIM TRAINOR PRESIDENT ROBYNN IWATA PRODUCTION MIKE LYSENG PROGRAMMING RANDY IWATA STATION MANAGER LINDA SCHOLTEN TRAFFIC TOMMY PALEY VICE PRESIDENT .. BARBARA ELGOOD VOLUNTEER COORDINATOR BILL BAKER B_-___-__r.w ;m i __________ BUSINESS LINE 604/228-3017 DJ UNE 604/228-2487 (228-CITR7 NEWS LINE ... 604/222-2487 (222-CdR) FAX LINE 604/228-6093 STAND IN LINE... ROOM 233. SECOND FLOOR OF THE STUDENT UNION BUILDING. 6138 SUB BOULEVARD. UNIVERSITY OF BRITISH COLUMBIA. VANCOUVER. BC. CANADA V6T 2A5 BW'7*.-f'.f/t'/'__'/A:T;__. CITR presents the first annual rap contest to be held on August 31 and September 1 in the SUB Ballroom here on the UBC Campusl You can win prizes! Categories: MC... DJ... MC & DJ... MC ADJ*. Dancers... All ages! Wtth special guests EQ. To register or for more Information, cal CITR at 228- 3017. mmWkWi:ilU>][eW:Il*%m That local band competition Is back, n the process of organising " i band competition 3t the Railway Club (579 Dunsmuir). Bands Interested In entering Shindig 90 should submit a cassette to the Shindig Coordinator complete with bio and phone numbers. For more Information, call 228- WHit:mviii:m:iim ploce on the campus of the University of British Columbia In the third week of November. It is a week-long extravaganza of fun and frivolity (or your ears, your eyes and your nose. Bands and artists Interested Inpartlcl- pating during this week are encouraged to tak to Nardwuar at 228-3017. Also CITR invttes artists to participate during Clubs Days September 19-21. CiTR fM 101.9 PRESENTS Shindig 9t ■.UlTtll-fl'l lJt\. 1 **. 1*9 _t_l tl 17 el W •. i: 1 =£-_■ THE PICASSO SET "Toytown" 2-song demo cassette MC TERROR T "Livin"' THE MINT 100 "Mister Inbetween" HOLLOWHEADS 3-song demo cassette PAULA REMPEL "1 Ride My Horse" 2-song demo cassette DARKLING THRUSHES "Hall of Soula" FURNACEFACE "Disco" CHRIS HOUSTON 'Just Once for Kicks" War of da Dude. MARY "Loving Ivy" 3-song demo cassette PRISONSHAKE "Act Uke Nothing's Wrong" I'm Really Fucked Now SMUGGLERS "Up and Down" 3-song demo cassette BRUCE A ft THE SECULAR... "All Torn Up" EARTHUNG "Garden of Earthly Delight' HEADSTARTI "Calling You" 1-song demo cassette DEATH SENTENCE "Eye on You" Vancouver Rocks Compilation JACK FEELS RNE "Black Sky" 5-song demo cassette LA CIAPA RUSA Csriin Di Maggio'TPoIca Antics' Faruaji UKE RAIN "Fremont, Nearly Midnight" Razorblade Shoes TOXIC JIMMY "Shark Attack" SHUFFLE DEMONS "Chssss on Brssd" What Do You Want THE WORST "Ths Creepy Thing" TANKHOG "Reptilion" NO FUN RATTLED ROOSTERS "Cut Across Shorty" Rock-a-Doodle-Bluee ANTONIO MARANGOLO "Hafa" Sovrano DEAN COTTRILL "Nobody's Businsss" Handful of Grooves SECT "Hand of Glory" 2-song demo cassette BACTERIA "Industry" demo caasette THE LAST WILD SONS "Around Town" LWS BIG AS UFE "Mesning of Life" JEAN BRISSON "Lovers (Take a Chance)" 6-song demo csssette SAD HAPPY "Social Retard" CHIEFS OF BELIEF "Ralae a Hand" DIRT "Headlights" 385 EUGENE RIPPER _ THE NORTH "Again _ Again" MC TERROR T "Rappin' Rappin' Rhymin " 1-song demo csssette LOVE CAMP 7 HOWE SOUND "Somebody Girl" THE IMAGINEERS "This la Nevada Calling" The Imagineers NINTH CONFIGURATION "Grade 11" Vegas GROUP 48 3-song demo csssette JIMMY ROYS 5 STAR.. "Everybody's Talking" 6-song demo cassette THE MINT 100 "Summer of Discontent" 5-song demo csssette JOJOKA "Aviary (i) "Crow"' Jojoks LAST RAY PRODUCTIONS "Imaginary Love" 3-song demo csssette LIST OF MRS. ARSON "The Load Holgen" /90B THE LOGIC CONSPIRACY "1 Hate" 4-song demo csssette MARILIA "The Boat and the Volcano" Riverbost Goddess PORK QUEEN "Beaconsend" From the Cain Toad Sessions NOVALTONE "A Question of Love" 3-song demo csssette MEMORY DAY "Addiction and Devotion" NATURAL ELEMENTS Winter Moon ODE TO CLAUDE Ode to Claude PLANET OF SPIDERS "A Place 1 Found" 5-song demo csssette PURDINS "Tony'a New One" VIDEO BAR-B-QUE The Stegasaurus Stomp" 6-song demo caasette RHYTHM ACTIVISM "Polaki Fiat" Perogys, Pssta, and Liberty SUCTION TREMBUNG MIMSIES "Ride the Wild Surf, You...' George Jetson's Karma WATCH CHILDREN "Kinda Retarded" GERRY HANNAH Whereabouts Unknown WOODY AND THE TEMPERS "A Long Way Down" Eponymous Y.O.Y. "It's Too Lste" UNEVEN STEPS "Censor the Bible" demo caasette PLANET OF SPIDERS 5-song demo cassette TOUCH AND GO'S "Beaver Inn, Bellingham" 3-song demo csssette w CiTR's RAP COMPETITION AUGUST 31, SEPTEMBER 01 SUB BALLROOM UBC PRIZES TO BE WON REGISTER NOW (OR GET MORE INFORMATION) CALL CiTR RADIO (10 AM-4 PM WEEKDAYS) 228-3017 wiTHraa tHM FIRST PRIZE STUDIO TIME COURTESY OF fJk$^ PROFESSIONAL QUALITY DEMOS FULLY EQUIPPED 8 TRACK $12/hr INCLUDES ENGINEER DEADBEAT STUDIOS (604) 687-5803 DISCO DER DATEBOOK •14 Nil it ths Railway Club... I If Jos Dsskla it the Yah... Lelder and Keyboard Music of Mozart's Tims featuring lorttpiano at the UBC School of Music (8PM)... Vaasemr Clunker Matlc Fssthral corrtlnjss at ths SL George's School Cam- ot Wednesdays at I' *~ Coda. The Tsrsscs Dsvisa Trilogy. A Cerpe Perd., Peeing Op.r. Mass, Ls Cesar Decou vsrt. Salat Victor!, Faa Dews Tkars, 0«t si Oar Tliae. and Jama Baldwin: tha Price sf a Ticket.. Tke XXI Istsraatlesal Tesrass si Animation opens at Ihc Ridge... Nsac •■ tha Rae (7:30PM 6 8:45PM) tt the SUB Theatre. UBC... Drawing the Llaa (an exhibition by fenlmmon tl.ch.rldg.. Llnrd Jeasc end UBC... S Bl it Theatre... Wane Wlad la Chlaa continues at the Van East Cultural Centre (5PM t 6:30PM)... Ths Peach Cluh opens at the Station Street Arts Center featuring tha Ronnie Burke Theetre of Marlonettec (8:30PM) Arla_crate continues at Studio 58, VCC Langera Campua (8PM).. I (7:15PM) and L'Ecllccs (9:30PM) et elite Cinematheque... 1tM (7:30PM) tl the SUB Theatre. UBC... Exhibition ol new worthy Jim Cummlaa continues et Smaah Gallery... Home/Video continues et the Clochard Gallery... Peter Hu|er photography exhibition opens it the UBC Fine Arte Gallery Mark Gridy't Ths Snail Mua.um: Part I and Kathryn Walter: Aa Inttalletion continue at the Contemporary Ar1 Gallery Depict Ion end It the Tl- Jim C.nnlat exhibition continues at Smash Gallery... Home/Video continues at the Clochard Gallery... Mark Grady'e Tba Snail Maacen: Part I and Katkrya Waller: Aa In THURSDAY 2 CITR prsssnta The Stanley Jordan Trio at tha Commodore Herald Nil at tha Railway Club ..Spunkwith theBomhahalle atThe Cruel Elephant... Brava Wavsa, Lovsra and Madmsn, Melancholy Dream, and Ths Prulrocktat 86 Street... UBC Mutic for Summer Evenings with Pianist Nicole Les at the Recital Hall. Music Building. UBC (8PM). Big Joe Duakln it the Yale CITR Cool Thurcdays at the Pit Pub, UBC... Radclytle... Ths Wall of...and A Lonely Ro- (8:30PM)... 5 Blood Alley continues at the Tamahnous Theatre Studio... Warn Wind in China continues at the Van East Cultural Centre (8:30PM). Ths Punch Clah continues at the Station Street Arts Center (8:30PM)... Aristocreti continues at Studio 58. VCC Lin- gin Campus (8PM). La Notte (7:15PM) and L'Ecllite (9:30PM) at the Pacific Cinematheque... Nunc on ths Run (7:30PM & 9:45PM) atthe SUB Theatre. UBC... Depletion and Resletancs: A Group Multl Madia Viaual Art, Video, Film end Psrfornanca Exhibition opens at the Pitt Gallery (8PM)... Zapped: works by ZiZt opena it Imagination Market (7PM)... Jim Cummins exhibition continue! at Smash Gallery... Home/Video continues at the Clochard Gallery.. Mark Grady's Tha Snail Museum: Part I (artiste talk at 8PM) and Kathryn Walter: An Installation continue at the Contemporary Art Gallery... FRIDAY 3 Blue Laaaoo at the Railway Club... Nervous Fellas with the Laat Wild (one it Club 88... Bob'a Your Uncle with guests Rawling Cross at the Commodore... Spunk with the Bombshells at The Cruel Elephant... Big Jos Duakln at the Yale... Stain Valley Festival starts Vancouver Chamber Music Festival continues at the St. George's School Campus... Radclytle... Tha Well of... and A Lonely Romance continues at the Firehall Arts Centre (8:30PM)... S Blood Alley continues at the Tamahnous Theatre Studio... Warn Wlad In China continues at the Van East Cultural Centre (8.30PM)... Ths Punch Cluh continues at the Station Street Arts Center (8:30PM)... Aristocrats continues at Sludio 58, VCC Langara Campus (8PM). Out on Screen: The 2nd Annual Gay and Leabian Flin Festival opens at the Pacific Cinematheque featuring Olivia, Days ol Greek Notts SATURDAY 4 Nam... Fellas with the tast Wild tons at the Town Pump Blue Laaaoo at the Railway Club Big Jos Daakla at tha Yale... Stsln Valley F.itlv.l continues Radclyffs... Th. Wsll ol.. and A Lon.ty Romance continues at the Firehall Arte Centre (5PM & 8 30PM) . 5 Blood Alley closes at the Tamahnous Theatre Studio... Warn Wind In Chita continues at the Van Eatt Cultural Centre (5PM & 8:30PM)... The Punch Clah continues at the Station Street Arts Center (8 30PM) Aristocrats continues at Studio 58. VCC Langara Campus (8PM). Ths 2nd Annual Gay snd Laabian Film Festival continues at the Pacific Cinematheque.. 2nd Annual Lanterna lor Peace send-off at Sunset Beach (6PM). Roger a Ms (7:30PM & 9:45PM) at the SUB Theatre. UBC... exhibition of works by Christopher John Osborne opens at the Hub ot Scandal.. Jin Cummins exhibition continues at Smash Gallery... Home/Video continues at the Clochard Gallery.. Mark Grady's The Small Museum: Part I and Kathryn Waller: An Installation continue at the Contemporary Art Gallery... SUNDAY 5 terrain, tsgsto at the Town Pump... Contort Music of Sixteenth Century Italy featuring recorder players Lii Baker, Karen Epp, Peter Hannan, Alison Msl- ville and David Ohanneslsn and harpsichordist Valerie Weeka at the UBC School of Mutic (8PM)... Stain Valley festival continues Aristocrats continues at Studio 58. VCC Langara Campus (3PM & 8PM)... Ths 2nd Annual Gay and Leabian Filn Fsativsl continues at the Pacific Cinematheque... Roger * Ms (7:30PM & 9:45PM) at the SUB Theatre, UBC... Chrletophsr John Oaborne exhibition continues at the Hub ol Scandal... Jim Cummina exhibition continues at Smash Gallery . Home/Video continues at the Clochard Gallery... Mark Grady's Ths Small Museum: Part I and Kathryn Walter: An Installation continue at the Contemporary Art Gallery... WordswithoutBorders: Literary Festival and Book Fair as part ol Celebration 90 Gay Games and Cutural Festival begins it the SFU downtown campus... MONDAYS Oh Yeah! at the Railway Club... The Demona at the Yale City Swing ind Tap Troupe it the Commodore... Stein Valley Feetlval closes Vancouver Chamber Mutic Festival continues at the St. Georges School Campus... Radclyffe... The Well of... and A Lonely Romancacontinues at the Firehall Arts Centre (8:30PM)... Wtrm Wind In Chlnt continues it the Vin Eitt Cultural Centre (8:30PM)... Thi Punch Club continue! it the Station Street Arts Center (8:30PM)...Ths 2ndAnnualGayandLeabian Film Fsatival continues it the Pacific Cinematheque Christopher John Osborne exhibition continues at the Hub of Scandal Jim Cummins exhibition continues it Smith Gallery . Home/Video continues it the Clochard Gallery The small Unseen: Part I and Kttkrya Welter: Aa lastalla-.a continue it the Contemporary Art Gallery TUESDAY 7 Belled ia Lead at the Railway Club UBC lor Summer Evenings with the Purcsll String Quartet at the Recital Hall. Music Building, UBC (8PM) Incognito at the Yale.. CiTR World Beat Music st the Pit Pub. UBC... Reoclytl. The Wall ol. and A lonely Romance continues et the Firehall Arte Centre (8.30PM) .. Warn Wlad la Ckiaa continues at the Van Eaat Cullural Centre (8 30PM) Tba Panch Oak continues at Ihe Station Street Arts Center (8:30PM)... Aristocrat, continues tt Studio 58. VCC Langara Campus (8PM) Tke 2nd Annual Cay and Leabian Filn Festhrel continues et the Pacilic Cinematheque... Sedan North: Baah Back (an evening ot video by Gay and Leabian artiste and activists. 8PM) it Video Inn... Christopher John Osborne exhrtion continues at the Hub of Scandal... Jin Cummins exhibition continues at Smaah Gallery... Hone/Video closes at the Clochard Gallery... Tke Small Museum Part I and Kathryn Walter: Aa Installation (artist's talk it 8PM) continue it the Contemponry Art Gallery... WEDNESDAYS Boii.dmlead.t the Railway Club . Incognito it the Yale... Vancouver Chamber Muaic Festival continues at the St. George's School Campus... CiTR Hot Wednesday! at Ihe Pit Pub. UBC... Radclytle...Th.W.llol.andALonuh/Romanc. conlinuea at the Firehall Arts Centre (5PM & 8:30PM)... Warm Wind in China continues at the Van Eatt Cultural Centre (5FM & 8:30PM)... The Punch Club continues at the Station Street Arts Center (5PM & 8:30PM)... Aristocrat! continues at Studio 58. VCC Langara Campus (8PM)... The 2nd Annual Gay and Lttbian Film Fsitjvil continues at the Pacific Cinematheque... Sodom North: Baah Back (an evening of video by Gay and Lesbian artists and activists. 8PM)... Christopher ol Scandal... Jim Cummina exhibition continues at Smash Gallery... Tba Snail Museum: Part I and Kathryn Walter: An Installation continue at the Contemporary Art Gallery... THURSDAYS John Do. with guest Klmm Rogers at the Town Pump... Amanda Hughea at the Railway Club... No Retreat, Toxic Jimmy, The Water, and The Way at 86 Street... Incognito et the Yale... CITR Cool Thursdays at the Pit Pub, UBC... Radclytle... The Well of.. .and A Lonely Romance continue! it the Firehall Arts Centre (8:30PM)... Eitt Cultural Centre (8:30PM)... The Punch Club continues it the Station Street Arts Center (8:30PM)... Aristocrats continues at Studio 58. VCC Langara Campus (8PM)... Dancelehration! at the Commodore... The 2nd Annual Gay and Lsebian Filn F.stival continues at the Pacific Cinematheque... Christopher John Oiborne exhibition continue! at the Hub of Scandal... Jim Cummina exhibition continue! at Smash Gallery... The Small Museum: Part I and kathryn Walter. An InttaNation continue at the Contemporary Art Gallery... FRIDAY 10 El Grupo Fiesta Ay Mara at La Quena... Mika and Ingrid ol the Hard Rock Miners and the Wingnuts at the Garden Room, UBC Graduate Student Centre (8PM)... Ihe Orpheum featuring Kato alitor., Heidi Archibald, Ferret. Betty.and Katari Take Radclytle... The Wall ol and A Lonely Ro- naaca continues it the Firehall Arts Centre (8:30PM)... Warn Wlad la Ckiaa contlnuet at the Van Eatt Cultural Centre (8:30PM).. The Patch Cl.b continues it the Station Arte Center (8PM 6 10PM)... Aristocrats continues at Studio 56. VCC Langara Camput (8PM). Daatelebrstleal It the Commodore... TW tad Annul Gey and Leek lat Filn Fssthral contlnuet it the Pacific Cinematheque... Cbriatspber Jobi Osborne exhibition continues it the Hub of Scandal... Jin Cannlat txhlbitton continues it Smith Gallery... The f nail Museum Parti cloaei it the Contemponry Art Gallery... SATURDAY 11 Flota.m and J.1- aan with Prong ind Taakkog it the New York Theatre Loadsa Qslrskoys with guests National Velvet tt 86 Street... Hard Rock Miaart it the Town Pump... Anaada Hughes it the Rilhviy Club... Incognito at the Yale... Aristocrats closes it Sludio 58. VCC Langara Camput (8PM) Radclyffe... Tke Wall el... ind A Lonely Romance closes it the Firehall Art! Centre (5PM &8-30PM) .Warm Wind in China continue! at the Van East Cultural Centre (5PM & 8:30PM)... The Punch Club continues at the Station Art! Center (8:30PM)... Ths 2nd Annual Gay and Leabian Film Festival continue! at the Pacific Cinematheque... Christopher John Osborne exhibition continue! at the Hub of Scandal... Jin Cummina exhibition closes at Smash Gallery... SUNDAY 12 2nd Annual Island Splash '90 featuring Rai Cloud and the Soni ol Selaaale 1 Band. Rae Kldut and Roots Connection, The Cultivator, and others at the Caledonia Park in Nanaimo. BC (11AM - 6PM)... The Method at the Town Pump... Little Caaaar with guests Burning Tree it 86 Street... The 2nd Annual Gay and Ltthltn Film Festival close! it the Pacific Cinematheque... Christopher John Osborne exhibition continue! at the Hub of Scandal... MONDAY 13 LetAmaione.de Guinea at the Saturno... Thirteen at the Railway Club... Johnny V at the Yale... Warn Wind in China continues at the Van Eatt Cultural Centre (8.30PM).. The Panch Club continue! it the Station Street Arte Center (8.30PM)... Chri.tophtr John Oiborne exhi- tion continue! it the Hub ol Scandal. . TUESDAY 14 CITR presents Sulci- Town Pump... Brass Jay Pa iagtoi lours, at the Garden Room. UBC Graduate Student Centre (8PM) Johnny V it the Yale CiTR Cool Thursdays at the Pit Pub. UBC... Wim Wind In Ckiaa contlnuet it ths Vin Eatt Cultural Centre (8:30PM)... Tke Punch Cluh continual at the Station Street Arts Center (8:30PM). . Hlrathimt. Mea Anear (7:30PM) and tkoet tke Piano Player (9:15pm) it F " the Hub of Scandal... FRIDAY 17 Tupelo Chain Sex with at the Pit Pub. UBC... Warn Wind In China continue! at the Van Eait Cultural Centre (8:30PM)... The Punch Club continue! at the Station Street Art! Center (8:30PM)... Chrit- theH •t the! Archimedes Tixl Driven Dub... Amanda Hughsa at the Railway Club... Incognito at the WEDNESDAY 15 Green House with The Unknown at Ihe Town Pump... Johnny V at the Yale... CITR Hot Wednesdays at the Pit Pub, UBC... Warn Wind In China continue! at the Van Eitt Cultural Centre (5PM & 8:30PM)... Thi Punch Club continues at the Stition Street Arte Center (8:30PM)... Love and Other 4-L.tter Words: Films by Mike Hoolboom (7:30PM) it Pacific Cinematheque... Chrittophsr John Osborn. exhibition contlnuet it the Hub ol Scandal... THURSDAY 16 Fou Pump... Escape Irom New York Tour with D.hor.h H.rry. Ranaast, Jam; Htrriaoa and Ton Tan Clah at the PNE Exhibition Bowl... Jin Byrnes it the Yale... Warn Wlad In Ckiaa continues at thi Vin Eitt Cultural Centre (8 30PM) . The Peach Clah contlnuet it the Station Street Arte Center (8:30PM). Drive. He bid (7:30PM) ind 200 Mot.li (9:15PM) it Pacific Cinematheque... Christopher John Oeborae exhibition continues it the Hub ol Scandal... SATURDAY 18 crm ******* Thi rd World witk guests tkt Almighty Dread Bind atthe Commodore Ballroom... Tupelo Chain Set with Wldetpread Panic it the Town Pump Trinl Lopez at the PNE Exhibition Bowl (8:30PM). ..Jim Byrntt at the Yale... Warm Wind In Chlnn continue! at the Van Eait Cultural Centre (5PM & 8:30PM)... The Punch Club continue! at the Station Street Arte Center (8 30PM)... Drive, He Said (7:30PM) and 200 Motels (9:15PM) at Pacilic Cinematheque... Christopher John Oiborne exhibition continue! at the Hub ol Scandal... SUNDAY 19 She at the Town Pump... Kid Sensation and Sir Mlt-a-lst at the PNE Exhibition Bowl (8:30PM)... The Decameron (7:30PM) and The Canterbury Tales (9:35PM) it the Pacific Cinematheque... Christopher John Osborne exhibition contlnuet it the Hub of Scandal The Vtncouvtr International Card Show at the Heritage Hall (10AM - 5PM)... MONDAY 20 Fait Folk Under- ground at the Railway Club featuring Deadhead Cool. Atpirin Moon Twins, and Bruce Jay Patkow of the Washington Squares... Mika Jacobs at the Yale.. Bob Dylan at the PNE Exhibition Bowl... Warm Wind in China continues at the Van Eait Cultural Centre (8:30PM)... Tha Punch Club continue! at the Station Street Arte Center (8:30PM)... The Decameron (7:30PM) and The Canterbury Talei(9:35PM) atthe Pacific Cinematheque... Chrlatopher John Oaborne exhibition continue! at the Hub of Scandal... TUESDAY 21 Mystery Train at the Railway Club... Mika Jacoba at the Yale... CiTR World Beat Music at the Pit Pub. UBC... Warm Wind In China continues at the Van Eatt Cultural Centre (8:30PM)... The Punch Cluh continue! at the Station Street Art! Center (8:30PM)... Christopher John Oiborne exhibition continues at the Hub of Scandal... WEDNESDAY 22 Screaming for Rita at the Railway Club... Mike Jacob! at the Yale... CiTR Hot Wednesday! at the Pit Pub, UBC... Warm Wind In China continue! at the Van Eait Cultural Centre (5PM & 8:30PM)... The Punch Club continue! at the Station Street Arte Center (8:30PM)... X (7:30PM) and The Wild One (9:20PM) at the Pacific THURSDAY 23 j.m..H.m...i the Ytle., Screaming tar Rita at the Railway Club... CiTR Cool Thurtdtyt it the PH Pub. UBC... Wirm Wlad la China contlnuet it the Vin Eatt Cultural Centre (8 30PM). The Panch Clah continues tt the Station Street Arts Center (8 30PM) X (7:30PM) ind Tae Wild One (9.20PM) it the Pacific Cinematheque... Christopher John Ot horns exhibition continues at thi Hub of Scandal R.sl.tenc. continues It the Pitt Gallery FRIDAY 24 Soe'tYo.rUncliatthe Town Pump... Shadowy Man on a Shadowy Planet at the Railway Club... Wayne Newton atthe PNE Exhibition Bowl (8:30PM)... Janet Harmaa at the Yale... Warn Wind In Ckiaa continues at the Van East Cultural Centre (8:30PM)... Tke Punch dak continues at ths Station Street Arte Center (8PM & 10PM)... Er.tarh.ad (7:30PM) and Dun. (9:15PM) at the Pacific Cinematheque... Christopher John Osborn. exhibition continues at the Hub of Scandal... SATURDAY 25 Art Bergmann at the Town Pump... Shadowy M Shadowy Planet at the Railway Club... Jamea Herman at the Yale... Warn Wind In China closet it the Vin Eitt Cultural Centre (5PM & 8:30PM)... The Punch Club close! it the Stition Street Arte Center (8:30PM)... Enter bead (7:30PM) and Dune (9:15PM) at the Pacific Cinematheque... Christopher John Oiborne exhibition continue! at the Hub ol Scandal.. SUNDAY 26 Special Bluea Vocal Jan at the Yale... Tha Arabian Night! (7:15PM) and Salo, or th.120D.ytof Sodom (9:40PM) at the Pacific Cinematheque... MONDAY 27 Th. Sw.gm.n at the Railway Club... Oliver and the El.mints at the Yale... The Arabian Nights (7:15PM) and Salo, er the 120 Days ol Sodom (9:40PM) at the Pacific Cinematheque... TUESDAY 28 Rory Block at the Van Eatt Cultural Centre... The Swegmen at the Railway Club... Mae Moore and Spirit of the Wait it the PNE Exhibition Bowl (8:30PM)... The Demone it the Yale... CiTR World Beat Mutic it the Pit Pub. UBC... WEDNESDAY 28 Hard Rock Mintrt it the Railway Club... John Hammond it the Yale... CITR Hot Wednesdays at the Pit Pub. UBC... The Witch Hunt (7:30PM) and Ths les Palace (9:20PM) at the Pacific Cinematheque... Chrletophsr John Oaborne exhibition continues at the Hub ot Scandal... THURSDAY 30 CiTR presents Ziggy Marley snd the Melody Makers with guests The Family Stand at 86 Street... Hard Rock Minora at the Railway Club... John Hammond at the Yale... CiTR Cool Thursdays at the Rt Pub, UBC... Tke Witch Hunt (7:30PM) and The Ice Palace (9:20PM) at the Pacific Cinematheque... Christopher John Osborne exhibition closes at the Hub of Scan- FRIDAY 31 Tom Russel at the Town Pump... Etoulfee Band at the W.I.S.E. Club... Hard Rock Miners atthe Railway Club... John it the Y. .. CiTR pi >n continue! at the Hub of Scandal... Sound War Chapter One (all ages rap and dance music competition) at the SUB Ballroom, UBC... Breathing Together: Revolution of the Electric Family (7:30PM) and Head (9:15PM) atthe Pacific C Depiction and Resistance cc Pitt Gallery... ^PIP? W^WP^TD&bMltn-l t*WCETHl/0& «»0 LA**r TIM'S* ■3'tAAA<P_.es»-r6k<rr' P.O.'oI'^aT^ Deot>E> to HHAO ouTo*/ 5«*»AltS 5op.T74 P.amp/)*e ... tf?ne/-M u/45 RemcT/wr: Atjp t<krr A/feW PGA/& ... 1HI-5. TIME- ' OrHBHA TBLC> H£.k Or?) oPPf A'OT THAT AHHOJU& HBALL'i CAff.E<,, niEltES <,TtLL AjO StBA/sei-ES* **M. 8UrTHtR-E 1-5 *t_A*e*-E55 U/oi-eA/CJ-,1 /wt> t zu-9r ia/rote. tmi5 -n> ^/C-. srAce,< -mar wettv imucm *tfA,:> ur THt5 CoMic.'h€H\ lhat week was not Friday night, but Friday moming. I had been up late, till 11:30, practicing whal 1 could remember from the rehearsal, and at work on Friday morning I dozed off in front of my terminal. Vividly, I remember waking up, my supervisor lapping my shoulder and my video screen full of requests for tapes to be mounted. I rushed to the tape library, trying to remember half a dozen tape IDs, but all I could think about was losing my job. How will I tell my parents? How will it look on a resume? But my boss didn't say anything: no reprimands, no questions, not even a joke at my expense. Itwas as if the incident never happened. That night I arrived at the Englewood Beehive at 6:30, sporting a Central American looking beret. I bought it specifically for the gig. The place seemed deserted, but as I walked into the main hall, a voice called out from behind me, "Who the hell are you?" It was the doorman. "You tiyin' to crash," he growled. "No, I'm in the band." "Bullshit. You're no Fury Head." "No," I said quickly, "I mean the umm, warm up band. The Misses Takes, err, Mistakes. We play first. I'm the bassist. Mat Hat." I offered him my hand. "Bullshit. You don'l play I waited outside for two hours until Stiv and MT arrived. By 10:30 Chris still hadn't shown, though this didn't seem to bother Stiv very much. I heard him mumble once, as he and MT went for more beer, "Damn lead screamer. Never around for set up. Never around for sound check." I was pacing by the stage when a tall sickly-looking guy brushed by me. He mounted the risers. The stage lights on his unkempt hair made a glowing ring around his head. I stood and watched him, fearful for our equipment. Should I rush forward and force him off the front ofthe stage? Do I, in low but firm tones, talk to him, convince him to leave? The guy went to a microphone. "One day Christ and his disciples were out walking when a man possessed by demons fell upon them." Somebody grabbed my arm. It was Stiv. "Let's go," he said. So we, Stiv, MT and I, got on stage with this guy still ranting at the audience. "Christ asked the man his name and the demons answered * Legion, for we are many.'" He looked around himself , at the band and audience in a 360 degree shuffle. "Those who have ears to hear, let them hear." MT started to hammer her kit with more energy than I thought possible from anyone. Her arms flailed between two toms and a cymbal, then her beat settled down as she worked in the kick drum at her feet. Stiv began power chording a song which I vaguely remembered from the practice. He had called it 'No Death,' but the guy at the mike screamed the words and 1 could not understand any of it; I was too , busy trying to decide if the song 26 DISCORDER was in C or A, whether the chorus was in G or E flat. I don't think it made much difference; I could not hear myself. Following 'No Death' the crazy man, microphone in hand, came to my comer of the stage. "What's your name?" he asked. "Matthew Hat, er. Mat." I was a little nervous and I offered him my hand. "Enter my kingdom, Hatter Mat" he said. He tossed my beret into the crowd and placed his hands on my head. The show went on. Between songs the skateboard punks threw paper cups, mostly empty. Chris' singing was unintelligible, but he made up for it t y speaking between the songs. He would talk about anything thi*. came into his head: sparrows, the law, fishing. As for my playing, I had to guess my way through most of it. I was turned down low enough nol to do any damage; Stiv and MT - she was going berserk behind her kit - drowned out any mistakes I made. Technically, we were not booed off. Stiv had broken three strings and was tuning a new guitar. Chris was using the break to tell a story about growing wheat. The crowd had been largely indifferent early in the set, but now they were chanting "Fury Heads, Fury Heads, Fury Heads." Chris was trying to explain aboul young plants withering in drought. He stopped. Turning a full circle he looked around himself. He said something about "Giving us Barabus," then walked off the front of the stage, through the crowd, and out the double doors at the back. While we were hauling our amps I heard Stiv mumble, "Damn lead screamers. Never around for set up. Never around for sound check. Never around for break When I got home Mom and Dad had already gone to bed. I tried to sleep but wound up watching an Elvis movie over a couple glasses of milk. Next moming on the radio, the overnight fatality report ran longer than usual. One young man drowned in the Glenmore Reservoir when his motorcycle went over a guard rail. Another man lost control of his car on 17th Avenue and drove through the false brick front of a funeral chapel. A third died near the stockyards on Blackfoot. The truck he was driving, full of live hogs, flipped near the Ogden tumoff. Another man was found unconscious in the middle of a crosswalk. After backing up the midnight traffic for several blocks, he was rushed to hospital and pronounced dead on arrival. It turned out that this man had been lead singer in a local punk band. Both of the city newspapers ran photos of him poised over a microphone - the captions punned on the band's name. One ofthe papers devoted an editorial to the evils and excesses of punk rock, and in the following weeks there were letters to the editor from concerned parents. I didn't tell mine where I was that Friday; Mom and Dad remained oblivious to the event. Monday night I finally got through to Stiv. I was greeted by a female voice shouting "He livesl I saw him on the Malll He lives! He" This was followed by scuffling noises. Stiv came on the line. "Who is this?" he said. "Mat." After a long pause I added "Your bassist." "Oh yeah, guess you heard the news. The cops were here and everything." "What happened?" "I dunno. Maybe there was a bubble in his insulin." "Insulin?" "Didn't you know?" The female voice could be heard in the background and Stiv paused to yell "Shut up." "The paper says drugs." "Aww, all anybody is selling these days is caffeine pills. Listen, I guess the band is kind of on hold till we get a new screamer. What's your number I gave Stiv my number, but he never phoned me back. Stampede ends in mid-July. The oil company employees pack up their western duds. Things return to normal... A week after the stampede party our floor's summer student receptionist misrouted a call to my office phone. "Who is this?" demanded the voice at the other "Matthew Hat, Software Development," I said. "Ohh, you're the punk rocker, right?" I could not place the voice, and it sent my mind spinning. There must have been gossip at the party, word spread upstairs to the Reservoir and Exploration engineers masquerading as cowboys. By Monday the whole company, perhaps the entire oil patch, had heard. The name Matthew Hat was now linked with punk rock - dark rendezvous at the old National Hotel with dirty, greasy people who stuck spikes into their veins. "I recognize your voice from Sharon's. You're the one who grabbed the guitar from me, right?" No, I was not stained. Word of my gig with Chris Miss and The Mistakes never left lhat basement rumpus room; only this one guy, the "Stairway to Heaven" engineer, remembered. After I got him off the line, the receptionist misrouted another call my way. The phone rang and I picked it up and answered "Matthew Hat, Software Development." It rang again and again, at least twenty times that day. Each time I picked it up and answered the same way, "Matthew Hat, Software Develop- I think it was former CiTR president Lane who once, returning to the Discorder offices bearing a platter of Subway fries awash in a sea of ketchup, jokingly suggested, "Hey Viola, you should do a review of UBC food..." Lane, your worst nightmare (and probably that of a whole slew of other readers) is about to come true. Herewith, a compendium of noteworthy - for whatever reason - victual purveyors on-campus. Subway - Hey, I spend 40- odd hours a week at Ubyss in the throes of 9-to-5 slavery; it was inevitable that sooner or later I'd expose myself to the aforementioned fries. Aces! - a heaping plateful for a measly $.85, no ketchup thangyuvurrymuch, and, well, yeah, after the umpteenth mouthful, these recently-gelid little critters do get to be a bit much. But hey. Look at it as a character- building exercise in gluttony. Subway is, of course, a full-service cafeteria (if that ain't a contradiction in terms) and, as such, offers a plethora of food choices. Lots of stuff in the way of cholesterol- consciousness-raising from the grill; an intermittent ethnic corner with Italian and Chinese "cuisine" during the lunch and dinner hours; custom sandwiches from the deli; and ample salad, dessert and beverage sections. Have I missed anything? Probably, but they're not giving me any meal tickets for this, so fuck 'em. As this issue goes to press. Subway has just begun to stock the sought-after, but- previously-unavailable-in- the-vicinity, O'Ryan's pota- toe chips in two sizes. BUT they scrupulously avoid carrying my favourite Koala Springs flave, Apple & Blackcurrant. Greens 'n' Gourmet "...Ain't that listed under 'Hamburgers' on the White Spot menu?" you ask. Tell a lie. Few know of this culinary hideaway (probably, one reasons, because of the extreme hokiness of the name), but it's there all right, servin' up a truly magnificent buffet while UBC is in session. Mosey on down to the subterranean confines (the basement, idiot) of the Graduate Student Centre and load up your plate for something like a dollar per lOOg's. When's the last time you got stoned for that cheap? - and with the kind of food that happens here, it's almost HeirsfKitchen BEANZ 'TODAY possible to do just that. 99.9% vegetarian (well, nothing in here has ever been positively identified as meat), sprout-y, pasta-y, oozing-with-nutri- tional-merit grub. And for dessert, Ponderosa cake. Life is good. (11 AM - 1:45 PM, weekdays September through April) Mmmm, now, while we're on the topic of the few and far between Great Eats at the university, Tortellini's barbecue will not get away without mention. This is another seasonal event, taking place weather permitting on the SUB plaza 11 AM-2 PM during late spring 'n' summer. For 2 1/2 bucks you get a hamboiger bun with lettuce and tomato, served up alongside a pile o' fairly decent coleslaw and, after the obligatory wait in the grill line-up, a barbecued hunk a cow flesh, topped with process cheese food. Whatever vegetarian inclinations I may harbour go out the window faced with this meaty treat. There's a hot dog option too, but I haven't explored it yet. Vi says "deal." Lickety-"Spit" back inside ye olde SUB, just by the entrance to Subwaydom, is like a massively scaled-down, minimalist rendition of said cafeteria (- Hey look, are we discussing architecture or reviewing restaurants here? - Well, neither, but... ). Perfect for those on the fly- or so it claims to be, I've never tried it myself; and they now "proudly serve Starbuck's Coffee." Ya. Good name anyhow. Over yonder round the corner from Lickety-Spit lurks Sub-Cetera, a kiosk that I only ever utilise in spring, to buy Easter Creme Eggs when the craving strikes. 'Round the next corner is, yes, the dreaded Blue Chip Cookies, evil supplan- ters of the righteous Duke's, Tres politically incorrect, true; but their Colombian rules. Not only that, but the other day I was pleasantly surprised to hear, no, not the latest U2 single, but the opening track from "Glass Houses" issuing brazenly from the BCC sound system. Blast from Grade Eight, or what?! What I wanna know though is, why don't they actually have a cookie with blue chips in it? Tortellini's; the Pit Pub; The Delly; the rumoured-to- be-lethal hospital cafeteria... all these are university eating experiences that still lie ahead of me. However, I'm sure Lane would be happy to bring me reports from the field Right, Lane?... Lane? DOUBLE TROUBLE MEET THEM IN PERSON at 0&6 SOUND, 556 SEYMOUR ST. SATURDAY AUG. 11 @ 3:00 P.M. SEE THEM LIVE at Qjfo SATURDAY AUG. 11 Presented by 6138 SUB BLVD VANCOUVER
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1990-08-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1990-08-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1990_08 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | bf2b1540-f5be-46ec-8a83-84e0f57f9ab8 |
DOI | 10.14288/1.0050068 |
AggregatedSourceRepository | CONTENTdm |
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