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 -^—^^^^^^—^^^^^^^^^~^^^—
CiTR  101 .9 fm radio
TR 101 .9 tm radio —
march  1999
free
watch
me grbvr.1
TT^ __*-+■
ir-^
fourth annual women's issue •jade bladotckivor honey
add n to (x)# sarah dougher* patti schmidUst pedro by thea  y§y| See them on fhe SlIO J HITS
March
llth
15fh
16th
17th
20th
21st
22nd
23rd
24th
26th
Vancouver, BC
Calgary, AB
Edmonton; AB
Regina, SAS
Timmins, ONT
Collingwood ONT
Toronto, ONT
Ottawa, ONT
Montreal, QUE
Quebec City, QUE
Croatian Cultural Center
Macewan Ballroom
Scona Bus Barns
University Centre
Northern College
Blue Mountain Ski Resort
Opera House
Parish Hail
Le Medley/Metropolis
IKEA
NEW RECORD AVAILABLE NOW:
BACK ON THE STREETS
MELODIC HARDCORE 4T IT'S FINEST
FROM CHICAGO, THIRD FULL LENGTH.
PO BOX 7495 VAN NUYS CA 91409 WWW.H0PELESSREC0RDS.COM PRICES: CD-S10 LP CS-S7  .
ali mm mmi pud in m us, m m m rwhgn orders ^
ciie^K out THeSe supeR New ReLeaSeS
on EpftaPH a^D HeLLc^T.
euaRaNTeep to put So Me "Spring " in your STep.
.Km
i   fijpt
■A      folm
I Catch Bouncing Souls LIVE
(onSnojamand lookout for IBS
their brand new album
"Hopeless Romantic"
out May 4th!
PULLEY
SA
March 23rd
DROPKICKMURPHYS
The Gang's AU Here
March 16th
iAfl'der
TEN FOOT POLE
insider
out now ■UE 193 • March 99  • That Magazine
Features
St Pedro • local fiction about a not so local place
Sarah Dougher • northwest woman does it all
Clover Honey • 1998 shindig winners!
Add N To (X) • British "avant-hardists"
Jade Blade • punk rock star turned academic
Patti Schmidt • big celebrity, big feature
Dorothy Parker,
writer, poet, journalist
editrix: miko hoffman
art director: ken paul
ad rep: maren hancock
production manager:
tristan winch
graphic design/layout:
kenny, jeremy gruman, robert
horsman
production: julie colero,
ann goncalves, katrina
mcgee, christa min, randal
minaell, kirsten weisenburger
photography &
illustrations: kc armstrong,
jason da silva, ted dave,
patrick hemingway, anthony
k, robin m, thea metcalfe,
barb yamazaki
contributors: barbara a,
cody b, Joshua b, brady c,
julie c, justin c, mike c, paul
c, val c, bryce d, jason d, jay
d, greg e, anna f, christine g,
brian j, anthony k, blaine k,
paul k, jm, thea m, lindsay p,
anthony s, shahera s, suki s,
c.v., Jerome y
programme guide:
anna friz
charts: julie colero
datebook: miko/kirsten
distribution: matt steffich
us distribution: tristan
discorder on-line: janet
publisher: linda scholten
Columns
Grumpy Old Dog 4
Vancouver Special 5
Seven Inch 16
Demo Derby 16
Printed Matters 17
Real Live Action 1 8
Under Review 20
Charts 23
On The Dial 24
March Datebook 26
Comics
Botched Ampallang 4
Good Tasty Comic 23
Our apologies: to the Vancouver New Music Ensemble FOR NOT CREDITING THEM IN OUR REVIEW OF THEIR
FINE PERFORMANCE OF SOLO 2 TRIO IN LAST MONTH'S
ISSUE.
c
OVER
Emily Carr design student Robin M
brings us this more-than-meets-the-eye
cover of our fourth annual women's issue. watch us grow!
(Snazzy girl illustrations throughout the mag
by fellow emily carr student, thea metcalfe.)
© "DiSCORDER" 1999 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation 17, 500.
Subscriptions, payable in advance, to Canadian residents are
$15 for one year, to residents of the USA are
CDN elsewhere. Single copies are $2 (to .
$15 US; $24
postage, of
e). Please make cheques or money orders payable
DiSCORDER Magazine.
DEADLINES: Copy deadline for the April issue is March 17th.
Ad space is available until March 24th and can be booked by
calling Maren at (604) 822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited
artwork (including but not limited to drawings, photographs and
transparencies), or any other unsolicited material. Material can
be submitted on disc (Mac, preferably) or in type. As always,
English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office at 822-3017 ext. 0, or our news and
sports lines at 822-3017 ext. 2. Fax us at 822-9364, email us at:
citrradio@mail.ams.ubc.ca, visit our web site at http://
www.ams.ubc.ca/media/citr or just pick up a goddamn pen and
write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Printed In Canada
TICKETS AT ALL.
CHARGE-BY-PHONE 280-4 B3 1 ^ :!lM_A5MJJMI   byTedvave
Grumpy
Old Dog
Women play a very
different role in today's music industry than they did 50 years ago.
Back then there were few solo
women artists ("girls" were part
of duos or groups). Back then
all the decisions. All that has
changed, now. Women are taking control: making decisions,
forming labels, maintaining
artistic integrity.
The change was initiated,
at least in part, by Madonna.
She may have started out as a
label's     sex     kitten,     but
cross-marketed  herself.  Now
i complete control of her
life. No c
takes decisi
behalf. If Madonna
wants to be thought of as a sex
symbol, it will be on her own
Courtney Love — Ms. Determined — makes her own decisions. If she says she's going
to do something, it gets done.
(Courtney's to do list: marry rising rock star; start own band;
become friends with Michael
Stipe; get famous; terrorize re
porters.) And whether or not
she had anything to do with
Kurt's death, she certainly understood how she could benefit from it. Courtney has
walked the same road as Madonna. No longer do we see
Courtney the foul-mouthed
druggy. We see Courtney the
custom built movie
Ani Difranco and Jane
Siberry run their own record
labels, Righteous Babe Records
and Sheeba Records, respectively. Ani has been successful
enough distributing her own
music that she actually has an
office and staff. And Jane, who
formed Sheeba to get out from
under the oppressive roof of Reprise/Warner, may not have
the benefit of Ani's experience,
but she is holding her own.
Sarah McLachlan has her
Lilith Fair, which will tour all of
Europe next year. The Indigo
Girls have their Rolling Thunder Pussy Review, an extended,
traveling jam session with talented women musicians.
Locally, we have active musicians like Jean Smith, Kinnie
BY BLAINE K
Starr, and Veda Hille. But how
many of the high-profile women
in the industry today are really
in control of their own destiny?
Can we put Celine and Jewel
and Alanis in the same category as Ani, Jean, Jane, and
Kinnie? Sure, the Spice Girls
had something to say, they
made lots of money, and they
may even have inspired a few
young women. But whose
brain-child do you really think
the Spice Girls was? I'll bet that
the idea came from some executive (read: man) who was
dreaming up the marketing
scoop of the decade. Better
than Diana.
My point is that perhaps
the best indication that women
have found a definite, incontrovertible place in the music
industry is that there are good
women artists and bad ones,
those who are in control and
.trolled,
tho:
who   (
t for the
music and those who are out
for a buck. Women can now
be found in every corner of the
industry.
They're here to stay.*
FEIIDART1999
write  far a  free catalog of records shirts and shit to:
V __ V     W IS 8 IB IK     IB SI (B lB tB §\
IBM nm\ Vancouver
Special
PPPTf
BY JANIS McKENZIE
Welcome to the March issue of Vancouver Special, but be warned: in spite of
Discorder's theme this month, the only
women you'll read aboul here this time around are
the near-naked models posing on the back cover of
the Deadcats' CD, and the front and back cover of
Swag's. Not that I didn't try to put together a woman-
themed column, but according to my own rather unscientific calculations (based on the last 25 CDs I've
received), only about 10% of the bands I get to review have any female members, and less than 4% of
the total number of musicians on these CDs are
women. Put simply, I didn't have any women to review this month, and believe me, no one's more disappointed than I am. That said, here's what I do have:
RUN CHICO RUN tars, and even a couple of space
d/industrial moments. Much
I enjoyed their first song, "Un-
■nmon Cold," with its catchy
hooks and searching vocals, I
thought the CD would have been
better at around half the length,
and with something of a more
focused sound. Maybe next time?
one features a quavery male vocal style some of us remember
from the '80s, and sure enough,
the main singer/songwriter used
to be in a band, The
Actionauts, that was a fave at
the UBC beer gardens around
then (or at least so I've heard).
There are violins too, some
Celtic bits, and even C&W-fla-
voured moments, as well as a
cover of Hole's "Violet."
Once again, I wonder if
Swag may be trying to do a little too much here, or in the case
of supplying a costume to the
(who    appear
Leonardo da Vin
I  fam
(independent)
This is one ambitious debut, from
a Victoria three-piece that's just
finished playing a couple of
shows here in Vancouver. Melee
is 18 songs long and includes
swirly calliope-like keyboard pop
creations, a few groovy (and
goofy) special effects, quite a few
bits that sound inspired by the
very late Beatles, '70s-ish falsetto singing, '80s-ish jangly gui-
SWAG
Swag
(10 Foot Tall)
Another eclectic recording, this
:ircle pose on the front
and back cover, wearing nothing but a couple of post-production pasties and a strategically-
placed W), perhaps not quite
enough.
DEADCATS
Millions of Dead Cats
(Flying Saucer)
Whoa, there! Here's a front
cover where the band members
pose with cutouts of various
deceased stars; a back cover
where a fetching, tattooed gal
3 little
e than
hol
ster is lapping at a six-shooter;
rip-roaring versions of Stones,
Cramps, and Sonics songs
(among others); around a ton of
classic surf licks; and even some
hockey references, and the
band's own description is "extreme swing"? Well, you have
to call the Deadcats something, I guess. Whot they sound
like is the weird descendent,
somehow, of '50s badboy musicians who drove all night from
gig to gig with their feet up on
the dashboards of their chrome-
laden convertibles, a washboard-toting refugee from Deliverance, and a brain-damaged Dick Dale mixed up with
the sensibilities of Billy Zoom,
Lux Interior, and Don
Cherry, as well os several
grams of cocaine. You may not
want to date them, but that
doesn't have to stop you from
the pleasures of scaring the
neighbours with this twisted
rawkabilly offering.
SADDLESORES
Love Cursed EP
(independent)
The Saddlesores may be
over the top, they may wear
more makeup than I do, and
they may be goofy, but this six-
song EP is one of my guilty
pleasures. They rock so hard in
their big, western-inflected way!
They dress up! They're catchy
and fun I Yeah! Play them for
your old CFOX-listening high-
school friends and see what
happens!
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is July 15, 1999.
YOU ARE A (Check one):
_ BAND/MUSICIAN _PR0M0TER
_REC0RD LABEL/DISTRIBUTOR LIVE MUSIC VENUE
_MANAGER/AGENT_STUDIO ZINE OTHER
(elaborate below)
NAME:	
DESCRIPTION (15 words or less):
CONTACT(S):
ADDRESS
PHONE:
EMAIL: _
URL:
FAX:
FILL THIS OUT AND MAIL/FAX IT TO US
BEFORE July 15, 1999
233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax:(604)822-9364
Rita Ackerman, NYC
ARTIST
intcrncLtioncL I
women
tllwstrcLttons by
thea rrtctcaifc^ '■
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'cause ain't
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Monday to Thursday 10 am -11 pm | Friday 10 am - Midnight | Saturday 9 am - Midnight | Sunday 10 am -10 pm
March Featured Artist
The Devlins
Featured Merchandise
1999 calendars
Sarah McLachlan
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Plastic Volume 2
Sarah McLachlan DVD video compilation
Saturdays   10 am - 5pm
1650 W 2nd Ave   654-2929
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AUSTIN, TX, 1998
ST PEDRO
St Pedro said, "I never even really liked her."
And I musta said, "Oh, come on"
"No, no really," St Pedro said, "not like that,
anyway."
"Oh, shit," I said, "that's just crazy talk."
"Crazy talk?" he'd say. And that's when he'd
laugh, St Pedro, shaking his head saying:
"What is that, 'crazy talk'?"
I'd be laughing all self-conscious And there we
were, you know, two youngsters sitting out there on
the cement porch in the midsummer burn, shady
and giddy. It woulda been at that point that I
probably muttered out something along the lines
of,
». You knc
it's just ...crazy talk."
That's what St Pedro liked about me. Right there.
That's all it takes. One little thing like that before
the real crazy talk starts. Crazy talk like: I'm taking
you to New Orleans, or let's live in a cave for a
week. Like I said, crazy talk. And that's the kind of
crazy talk I was talkin' that sparked off his
subsequent crazy talk. But he said the cave stuff,
by the way. And the New Orleans garbage, too.
("Not New Orleens. N'Orluns, that's how you say
it," he'd say. "N'Orluns," I'd say.)
Crazy Talk is not jive talk or shit
talk or any of that. It's better. It's
more hopeful or more honestly
deluded or just sweeter than the
shit or the jive. I mean that. Crazy
talk is, a lot of the time, impossible
talk. Sweet, sweet impossible talk.
Anyway, I was in Texas and I
didn't do any crazy talk or much
talking at all until I met St Pedro,
which is a fake name, like you
hadn't guessed already. I got a job
at some shit-hole liquor store, but it
was kinda exciting 'cause I was
making American dough; the
bucks, right under the table, so
that was alright. And that's how I
met St Pedro; I was sitting behind
the counter, me an' all the pints of
booze behind me and this good
ol' boy, Todd, from West Texas,
training me at the till when St
Pedro came into the store. He
smoked American Spirit yellows
and came in to buy some more.
He got discounts, y'see, because
he worked at the shit-hole liquor
store, too. The first thing I thought
when he walked in, slow-
slouching, wearing some crappy gino shades, was
something along the lines of: that guy's up his own
ass, he thinks he's all that with the ladies. But he is
kinda something, maybe, and he looks my age
(that was  a  big  deal  that  summer,   because
everyone seemed ten years older than me and in a
different tax bracket). Anyway, the shades weren't
that gino, I guess, and I started to liking him once
he took 'em off.
We started working together and it wasn't long
before I'd be scooping ice in bags in the stock
room trying to hide my grin when he'd amble by to
smoke in the back lot. St Pedro made wearing army
boots and jeans in 106 degree heat actually look
OK out there in the back lot. Soon, St Pedro and I
were going to the bars after work. And then it was
kissing in the stock room on shift and then, not long
after that, the manager fired my ass for kissing St
Pedro on shift.
St Pedro liked my crazy talk and he'd start to
liked to shit talk. We fought
nk 'til we were drunk on his
ng me projected stills of his
was all lit up like that, with
I lay there looking
;autiful shit
to be rays of light. She stood on a tiny blue
podium. I bought the Virgin Mary for St Pedro and
wrapped her up in a brown paper bag.
I gave Mary to him on my last day. He drove
over to my house and he brought me a parting
gift, too. It was a big bottle of beer, also in o
brown bag. We exchanged gifts and then sat out
on the front stoop so that St Pedro could smoke.
We passed the bottle back and forth. The ol'
Mexican guys, sitting topless and drinking in
foldout chairs, were blasting their mariachi party
music across the street, just like they did night and
day, every day.
"You're not comin' back," St Pedro said.
story & illustrations by
T.M.
But I was sure that I would. I couldn't figure out
how to convince St Pedro that it was true.
"Nah," St Pedro said after I tried
But he was right. For once the shit talker was
speaking the truth. I stood in the doorway, holding
the beer bottle, propping the screen door open with
my bare foot. I figured I musta looked pretty down
home with the screen door and the beer and the
cutoffs and all. I figured I musta looked pretty Texan
or something. St Pedro strolled over to his car,
parked in front of the ol' Mexican party boys and I
watched him drive away. St Pedro was going to
work a shift in the shit-hole liquor store. He didn't...
doing it too, but he als
one night when w
floor and he was:
ex-girlfriend. The i
the colours of hei
upside-down, trying to figure why this
talker was showing me up like this.
St Pedro said he was going to be a writer and
I tried once to convey that I liked to write too. But he
didn't care a whit, he just kept spouting about his
scripts and stories and ideas and JD Salinger and
Lacan and all that shit talk.
He asked me to read aloud
some of his poems from his
youth real late one night,
and I mean youth like his
16-year-old musings on
prom night! But given the
subject, I suppose they
weren't that bad. For their
The first time I ever went
over to his house, St Pedro
showed me everything in his
goddamned apartment,
right down to the shirts in his
closet and a super 8 of his
friends dancing in a living
room, shot at awkward
angles. He collected kitschy
religious paraphernalia. I
didn't have anything to show
him. At that time, all my
belongings could fit into a
Anyway, right before I left
Texas, I went down to San
Antonio and in the Mexican
market I found the perfect
J little relic for the shit talker. It
was a three inch Virgin Mary. She had a green
headdress and a red gown with glue-on red
sparkles, can you believe it. It was like some Davie
Street virgin with these very sharp, gold spikes
emanating from her head, which were supposed
JVta§Xc
onthe Wool-Wide-Web
Bidini, Bockris, Fetherling,
Marcus, Lennon, Rollins
Fully searchable catalogue
and on-line ordering
www.blacksheepbooks.com
Student discount 15% with I.D.
Discounts for frequent buyers
Regular Hours
Sun - Tues • 11 am - 7:30 pm
Wed-Sat* 11 am-9 pm
2742 West 4th Avenue
(next to the Naam)
— 732-5087	 SARAH DOUGHER
Writer of songs, stories, okcLwuuiads
DiSCORDER was fortunate enough that Sarah Dougher (musical contributor to The Lookers, Cadallaca, The Crabs, ond her own solo work;
and literary contributor to The Willamette Week and her own book, Sent out on the Tracks they Built, was wi//ing to spare some time from
her many musical projects and her job at the Oregon Council for the Humanities to sit down and answer some of our quesHons via e-mail.
By the way, the soundtrack for this interview, according to the 31 -year-old Ms. Dougher, is The Who: meaty, bealy, big and bouncy.
DiSCORDER: Was there any specific incident/person
that/who inspired you to start writing songs?
Sarah Dougher I've been writing songs for a very long time
I wrote a musical when I was young, about 1 1, about the
exodus It was very didactic and had lyrics like 'thus said the
god of Israel, let my people gol' etc. It was more like an anti-
theist tract In terms of playing guitar, though, I have always
been inspried by Elvis Costello songwriter-wise, also Joni
Mitchell Plus, the people in my community hove been very
important to me.
Most of us first knew you as front-woman of The
Lookers. And nov* we hear, much to our dismay, that
The Lookers have broken up? What happened?
The Lookers broke up, in part, because Allison moved to San
Francisco Shanna [of The Lookers] and I slill play together all
the time. But The Lookers as we were was over when Allison
moved It's OK, it's not so sad. You have to always be doing
new things, I think.
Did you ever find it difficult (or alienating) being in
an 'out'-pop band in an otherwise punk scene?
What is your opinion on the impact of 'out' music in
the scene and on the public?
Well, I have to say that fhe most annoying thing about being an
'out' band was that we always got schlumped together with
other lezzie projects which were totally, totally different from
what we were doing muscially. I think one thing we were trying
to do, and we did it a little, was to make the idea of 'punk
lesbian' more complex than some might prefer. But this was
good because it allowed us to reach audiences who
appreciated that and kind of needed it. Like what if you hate
Tribe 8, but that appears to be your only lesbian rock option
besides Melissa Ethridge? (Not that both don't deserve massive
props for their excellent music.) You're kind of screwed. Not that
we were any kind of big answer, but I hope we were a small
one sometimes. I'm glad I'm still meeting girls who are moving
to Portland from all over the country because they perceive that
there is a supportive atmosphere for creative young lesbians
here, which I think there is.
Is your new solo LP on K as a result of The Lookers
break-up or was it already in the making? Will you
be touring in support of it, or is it more a recording
project? Who plays on it with you (or is it really,
truly, a 'solo' project)?
It has always been in the making — I put out a tape a long time
ago which was all sob. It is a challenge to be able to put on a
good solo show, I think, one that is interesting for people for the
whole set, especially if they don't know your songs. So I've been
thinking about that a lot recently I wilt be touring to support my
record, which is coming out in July. It is called Day One. As far
as recording, we start in two weeks, with Larry Crane at Jackpot
Studio here in Portland. I've been practicing wifh Shanna and
also this guy Jon Reuter, who I played music with in Texas. Also,
I've been working on arranging songs with strings and
accordian, and organ and other keyboard stuff, t'tl hove a bt of
helpers on this record,which is really exciting.
Was it a conscious decision to make Cadallaca sound
a certain way? People have described you as '60s*
inspired, with your Farfisa, but I'd say for sure, there
are also elements of '70s rock anthems on your
record.
I must say I'm somewhat flattered and yet also embarassed that
you might compare Cadallaca to '70s rock onthems! We are
working with very specific instruments which have a certain kind
of sound. We are mostly influenced by a certain highly stylized
aesthetic that in part manipulates '60s girl-group sounds, but
that also fakes a lot of direction from Dusty Springfield's renditbn
of 'Windmills of your Mind.'
Speaking of the Farfisa, you also play with The
Crabs. Do you have any creative input into their
songs?
Our record, called Sand and Sea, comes out on K in April and
we are very happy with the way it turned out. Jonn mostly writes
the basics of the songs, but both me ond Lisa then tell him how
we think it should go, and we kind of shape songs together. It is
very fun to collaborate with them both. I'm honored.
Are you a Portland native? I remember you were in
a Texas-based band called
Veronica.
I am from Eugene, Oregon, and
I moved to Portland in 1985 to
go to school. I lived in Texas for
three years when I was going to
grad school, and this is when I
was playing in Veronica. We put
out one single on Candyass.
The northwest is quite
famous for its girl-positive
and queer-positive scenes,
with K, Kill R^ck Stars,
[jody Team Dresch's]
Candyass, and [Kaia Team
Dresch's] Ladyman Records
doing their best to be
supportive and innovative.
Comments?
It's true. Buf Candyass is kind of
gone now, and Ladyman is in
North Carolina. That's not fo say there aren't gals fucking shit
up Buf as I said before, the impact of Team Dresch in drawing
fhe ladies fo Portland is still being felt, I think. I'm not sure the
reputation is as deserved as it once was, in terms of queer-based
infrastructure like labels. But KRS and K are stalwart in fheir
support of excellent independent music, which often includes
freaky queers.
You also do a lot of writing. Do you still write for the
Willamette Week? For us ignorant Vancouverites, what
is the WW? What kind of articles do you write for
them?
I just started my journalism career this January. 1 like it! I'm
writing for the Wsekly (it has rock listings, culture, bcal politics,
etc.). I'm mostly doing book reviews, but I do other stuff too. I'm
going fo write about SXSW (I'm playing there too) in March. I try
to stay away from writing about music because I'm not very
good at it. I'm Very interested in books about music. I like to
write about music and culture, not just straight reviews.
Tell us about the book you collaborated on with Ms.
Nikki McLure [Sent out on the Tracks they Built]. How
is it selling/receiving feedback?
It's selling well. I think we are almost out. We have gotten really
positive feedback all around and have been honored by reviews
in Giant Robot, Willamette Week, Plazm, The Daily Olympian,
and Tile Washington State Newsletter for State Employees.
Nikki hos been asked; to re-hang fhe show this spring at the
Tumwater History Center. It has really put me in touch with a lot
of Asian-American historical information about, for example,
shop organizing in New York, that kind of thing.
Which
Hfe?
This questi
hard to an
mostly. Als
leaders, Har
have had the most impact on your
is foo broad! I know it is well-meaning, but it is too
er. My mom and sister and friends. I think that's if
really get teary when I read about women labour
i\ Tubman, Helen Keller, Mary Mcloud Bethune —
educ
who devoted their lives to working for social justice
3n for women and people of colour. •
Look for The Crabs' new full-length. Sand and Sea, out in April,
and Sarah's upcoming album, Day One, out in July. Also, be
sure to check out the Catch of the Day mailorder website at
www.olyway.net/catch/zines.html [or write them at Catch of
the Day at PO Box 1784, Olympia, WA, 98507-1784) for info
on Sarah's book, Sent Out on the Tracks they Built, and other
tasty, creative offerings by Olympia area artists!
by Mya Lowe & Julie Colero
photos by Barb Yamazaki o
ur female interviewees answer
this question:
If you could put together your own female-focused
touring music festival, which artists would you pick
to play in it? What would you call it?
Patti Schmidt: [laughs] There would have to be some scary performance artists
on it. I've been very big on Miranda July for the last couple of years. I interviewed
her and I was surprised at how shy she seemed, but by all reports she's just a
complete performer, and I think that she would be interesting to put in front of an
audience. Bonfire Madigan, the woman who plays the distorted cello; The Need,
they're also good. Annie Anxiety is an old favourite of mine, she would be great.
Patti Smith ...
Amy Clover Honey: Spinanes, PJ Harvey, Liz Phair, Cecil Seaskull, Sonic Youth,
Rebecca West, the Go-go's and the Bangles. I'd call it 'The Big Fun Day with All
Chick or Chick-fronted Bands.'
Anita Clover Honey: Helium, Spinanes, Luscious Jackson, the Vees, Plumtree,
Loretta Lynn.  I'd call it 'The Betty's Boutique Tour.'
Lauree Clover Honey: Stereolab, the Softies, Peppersands, Spinanes, Clover
Honey (of course!), Lush, Plumtree. I'd call it 'Rock for yo' Mama.'
Sarah Dougher: My version of Lilith Fair would be a series of 25 grants of
$2000 each [that] I would give out to girls around the country to put on their own
weekend of concerts and workshops, like girl-conventions, so they could pay bands,
get speakers to come, give travel scholarships to girls who live in rural areas, and
really spend some time talking about things that were important to them (like issues
about sexism, race and class, violence, education, etc.). And learning from each
other how to gain control of the creation of culture, not to sit back and just consume, consume, consume. If I could do that it would really be my dream come true.
Do you know anyone who would sponsor such a thing? It would be OK to have
corporate sponsors. I would take money from Biore facial strips to sponsor this. It
would only cost $50,000, which is probably the ticket revenue for one big Lilith
Fair concert. I would even take money from Lilith Fair to do this.*
lastcdll!
ClWMGiW
FINAL Winter Clearance Sale
Canada's Largest Vintage Clothing Store true value vintage
Girl-Friendly
Shows on
CiTR  101. 9fM
Queer FM Sundays, 6-8pm
The Ether Table alt. Mondays, l l-l pm
Music For Robots alt. Mondays, 6-7pm
Saregama Tuesdays, 8-9pm
And Sometimes Why alt. Wednesdays, 7:30-9pm
Mary Tyler Moore Show alt. Wednesdays,
7:30-9pm
Folk Oasis Wednesdays, 9-10:30pm
Stand and Be Cunted alt. Thursdays, 10-11:30am
Filibuster alt. Thursdays, 10-1 1:30am
Bombshell alt. Thursdays, 3-5pm
Rhymes and Reasons alt. Thursdays, 3-5pm
Little Twin Stars  Fridays, 2-3:30pm
Dead Air Saturdays, midnight-3am
9   £|R§SEDEg__ Clover
Honey
DiSCORDER took advantage of
the speediness ofthe Internet to
interview these local winners.
by Gabrielle Uyehara
photo by K.C. Armstrong
DiSCORDER: First of all, a big congratulations u, the 1W8 Shindig,
lnsi placers! How was your Shindig experience overall? (Bo honest!)
Anita: It was great  I |ust wish there were more [X'ople there in support
of the local scene
Amy: Exhilarating, nerve-racking
Lauree: It was totally fun, hut strange lo In* judged on music I here
weu* so many dillcrenl genres playing against each other, I don't know-
how the judges Jul it1
What will you he doing/have you done with your winnings?
We have ahead) used our 24 hours ol recording lime at Mushroom
,md aie |ust w.mmg lo do some more mixing and record a few more
songs with our friend Shane, and then hope to release a short CD. We
do plan to go to loronto in June for NXNF (if we can save up the cash
to fly there1) Any ideas for lunchaising tactics, please let us know! l'he
website, fantastically designed by Fyeteaser, is almost done, and you
can see it at wvvwexiie.isei coniAloverhoney As for |lhe] Bullfrog free
duplications, ihey eem to have gone oul ol business, so we guess it
just wasn't meant to be!
Do you think you would ever play another 'battle of the bands'
competition again?
Anila: 1 don't know of any other cool battle ol bands competitions
Roi k n' roll isn't .1 spoil
Lauree <Sr Amy We suppose so, it the prizes were woith striving for,
and the recognition is always nice
What do you think of the Vancouver scene?' (Once again, be honest!)
Amy t .ood A lol ol good bands and a lot ol people with positive attitudes, but there could be better venues
Anita It's pretty apathetic, but you keep plugging along You get out of
it as much as you put in
Lauree We do need more venues I here are a lol ol shows available to
play m 1 guess il |Ust takes energy and dedication. Scott Walker (of the
Salteens, lasl war's Shindig winners'* has been getting a cool scene
going, organizing It's all about Pop' nights at the Anza Club with cool
bands like Peppersands, Feisty, leant .strike Force, and of course, the
Salteens We also played a Richmond all-ages show, which was very
fun We want to do more of those.
10        SYH+AxJk
Is there a 'girl scene' in Vancouver? It's true that there are annual events like Girlfcasl and Rock for Choice, but most of the
artists are either folky singer-songwriters or punky chicks.
What about pop bands like yourself? Do you feel like you fit in
with anyone?
1 here isn't really a girl scene,' so to speak. We've played a few shows
with girl bands and it's true, they are mostly either folky or riot grrrls.
It seems that we do almost fill a girl-pop niche — |there aren't really
What would you say most of your songs arc about?
Love, hate, insecurities, death. You know, the usual universal truths
How has the band's sound changed since your line-up change?
On a personal level, does it feel different to have all women in
the band?
egon
a lot gigglie
natch so far!
odier with Omar (our old guitar play-
1 the band — very sisterly We under-
n totally be ourselves We've only had
Did you actively search for a
Lauree: 1 didn't care .1 it was
when your male guitarist left?
or a girl Just wanted someone
whose musical style was similar and who we got along well with. 1
must say, though. I'm glad we got a girl. It works.
Anita: I've always been intrigued by all-girl bands 1 was kind of hoping for a girl, but we had no agenda.
Do you ever feel like you're treated differently by other bands,
sound people, audiences, only because you're women in a band?
Amy: We perk the curiosity of the audience because we're girls. The
guys look interested. But when we're done playing, we're no different
from any other band that rocks
Lauree: I think people expect something different and are impressed
in the end. At one show at the Brickyard, 1 was borrowing some guy's
drum kit and he didn't mind because 'girls don't usually hit very
hard ' That was really annoying to hear, but he ate his words after he
saw us play!
Anita: There have been a couple of bands we've shared bills with
who've looked us up and down a few times with doubt in their eyes.
Their attitude changed after we played, though
Who are your female influences? Heroines? Tell all!
Lauree: 1 don't really have any specific ones, although 1 like a lot of
bands with girls in them. 1 do love Georgia, the drummer from Yo
La Tengo.
Anita: Madonna. She's ambitious, works hard, and is very intelligent.
Also, my Mom, because she's put up with me for so long.
Amy I'l Harvey, Kim Gordon, Stevie Nicks, Liz Phair, Chnssy Hynde,
Julie Doiron (Eric's Trip), early Madonna — because she was the first
female 1 was interested in.
If you could tour with four other bands across the country, who
would it be with? And where would you play?
Anit_: Weird Al Yankovic, the Evaporators, Ween, and the Artist (formerly known as 'Prince')!
Lauree: Beck, Pavement, the Swirlies, Yo La Tengo. We would play in
every major city, and make sure lo tour around the Mammies.
Amy: Sonic Youth, Elevator Through, Sebadoh, Smog We'd play anywhere that would let us!
Would you ever consider quitting your day jobs and becoming full-
time rock stars?
A resounding 'yes' for that one!
If that meant signing to a major label, would you do that?
Maybe, if that was the only way to do it.
What would be your dream record label to be signed to?
We all pretty much agree on Sonic Unyon, Matador, and Sub Pop.
If you had your own record label, what local bands would you
release?
Lauree: Don't really want to answer that question. Too political. 1 think
we have too many friends in bands to answer that question But 1 must
say that 1 think there is some amazing talent in this cily, and 1 would
just like to mention Peppersands and the Salteens as two of my faves,
among many others ...
What's next for Clover Honey?
Toronto in June, some sort of CD in the next few months, T-shirts for
sale (is that a lame thing to mention?), and many more brilliant tunes. • W
hat do you get when you Add N
fo X? You get three people named
Ann Shenton, Barry Smith and Steve
Claydon   based   out   of   London,
England  creating   the   "Sound  of Accelerating
Concrete," that being the title of just one of the many
extraordinary songs on Add N to (X)'s debut album,
On the Wires of Our Nerves on Mute Records. It's
discordant disco, classical cacophony, and a rhythmic racket. Add N to (X) writes lullabies for robots.
Their live show is an extravaganza of lost and found
vintage electric instruments and equipment (mel-
lotrons, fheremins, moog synthesizers and more),
plus live percussion. Buf you won't find any melodic
"stereos" in their "lab" — the kind of music that Ann,
Barry and Steve aspire fo conceive is called avant-
hard, a term they coined themselves. Speaking of
conception, you may have seen their controversial
album cover wifh Ann giving birth fo a moog synthesizer cesarian style with the help of "Dr." Barry
and "Dr." Steve performing the bloody operation.
The photo is reminiscent somehow, due to its grain
and colour, of something you might see in an outdated textbook, giving it an extra gruesome yet cold
and sterile feel to it.
Imagine, if you will, musicians like Kraftwerk,
Emerson Lake and Palmer, Wendy Carlos, Edgar
Varese, and Grandmaster Flash — this eclectic mix
of artists all provide inspiration for Add N to X's
unique sound. The group was formed in 1994 by
Ann and Barry, with Steve joining just last year.
Their usage of old school electronic gadgetry is not,
they claim, out of fetishist reasons or jumping on
fhe retro bandwagon. It is out of pure poverty. They
would find old synthesizers and odd instruments at
car boot sales and discovered that their obsolete
nature made them more valuable and more original
to experiment with. A conversation with the trio
gave some more insight on their approach to bringing their musical ideas to fruition.
ay CHRisiriNe
DiSCORDER: How did you come up with
the term avant-hard?
Ann: We wanted to create our own name. We got
sick of being called big bleep [a term the British
press use which was derived from the style of music
called big beat, i.e. Chemical Brothers]. We've also
been called kraut rock as well. So we said, if you're
going to call us anything, we'll give you our own
name. That's our catch phrase, avant-hard, and
we're very proud of it. Avant4iard means you're fusing avant-garde sensibilities and harder edged anything — that could be pop, rock, whatever — and
it's that tension that happens between those two. For
example, it's like mixing fhe blues with Stockhausen,
Did any of you study music in school?
Borry: I was trained. I invented a new form of scoring music wifh my friend Richard when we were
13. We did it by accident and fhe Stradivarius
Academy from Copenhagen, Denmark came over
to England and made a documentary on us. They
sat us down in a room and gave us loads of tests
and explained how we got fo the result, which has
basically never been done before. We were supposed  fo go on  a  television  program
Nationwide to proclaim our invention, and perform
as a bond, buf Richard got in a row with the vibes
player and put his head through a window so the
school banned us from going on television. They
did release a record of our music and as far as I
know   it's   still   in   the  Academy   of Music   in
Copenhagen. But after that I didn't continue studying music anymore. I took art instead from then on
because I wasn't allowed fo do both at my school.
Are you all self-taught on your various
instruments?
and we don't see why we can't do that. We don't
want some journalist to come along and come up
with some corny way to categorize us.
I wonder if there're any other bands that
will start calling themselves avant-hard as
well, now that you invented the term?
Ann: We wish they would. They can jump info the
avant-hard Jacuzzi with us, except it's filled with
bleach instead of water! [laughter]
Who designed the cover of your album?
Barry: We all did. Originally it was Ann's idea
and we hove a friend who works in the film industry with access to props like fake blood and guts
and Steve's mate is a photographer. So we all got
together one afternoon and played with some
ideas. We loosely based it on fhe film Demon Seed
with Julie Christie. She gets kidnapped and impregnated by an intelligent computerized house security system. It's a really sick film. When she has fhe
baby if comes out all covered in silver foil and when
the foil flakes off there's a human baby underneath.
Ann: Our album cover sort of depicts me having
had 'intimate relations' with a moog synthesizer
and two friends aiding in the birth of the offspring
from that relation. There was a bif of a feminist
debate on the Internet in England over the cover
when it first came ouf. The photo can be viewed
from two different perspectives and people wondered if the two men were putting the object in me
or taking if ouf. Whether they were helping me or
killing me. We think it soys more about fhe people
who look at it, depending on the perspective you
choose. It is actually supposed to be a cesarian sec-
Ann: Yes, we are all completely self-taught. That's
where the punk thing comes into it. Find an old keyboard in a [garbage] bin, plug it in, get an electric
shock [laughs], and play in some cheesy London
clubs and try ond build it up from there.
What is the connection between you and
the Manic Street Preachers that was mentioned in some material about Add N to
(X) taken off the Internet?
Barry: It's a load of rubbish. There was a guy
named Andrew that we worked wilh originally,
before Steve joined fhe band, who was a complete
twit. He thought we sounded like the Monies, which
te didn't at all, and that's one of the reasons we
3cked him from the band. He sold our equipment
i pay his phone bill ond if nearly ruined fhe group,
5 we said, 'Right, he's out of here!' We've known
Steve for ages and he took Andrew's place and it's
been smooth riding ever since.
There seems to be a movement of electronically-based bands. Do you feel a part
of it at all?
Steve: Not really, no. However, there are a lot of
electronic bands around and there's about two or
three that we sort of have something in common
with, although not a great deal But there are loads
of kids that we meet at gigs who are starting to
make some really mad stuff, really interesting stuff,
so watch out — there's going to be a lot of mad
music out there soon* In the perhaps more innocent age of the '70s, a young Jade Blade and her equally young girl friends Dale Powers and Scout formed the
Dishrags The Dishrags were mosl definitely a punk rock band and they had plenty of attitude Now compiled on one CD tilled Love/Hate,
on Other Peoples Music Records, iheir recordings slill sound strong and contemporary amidst modern bands like Sleater-Kinney, Bikini Kill,
Hole, the Donnas or the Murder City Devils Sure, things have changed and punk rock might mean nothing nowadays, but some spirit or energy,
some incoherent something seems to transcend the difference in time It's there, behind style, fashion and gender Jade is still punk, as well as smart,
cool and very friendly. Jade is also now an educator, teaching art history, classes on gender issues, and an upcoming class on popular culture at
the University College ofthe Fraser Valley. Wilh a Masters degree lhat examined peripheral figural imagery in Romanesque churches in Northern
Italy, her ongoing doctorate work studying Monastic wall painting, plus a collaborative scholarly book underway on Italian churches with John
Osbourne, it's amazing thai Jade slill finds lime to play music.
Nevertheless, Jade continues to rock as a member of the notorious Volumizer. Volumizer also includes Jade's husband Bill Napier-Hemy, a music
teacher and former member of the Pointed Sticks; the artist Rodney Graham, a former member of UJ3RK5; and Rodney's wife, the artist and
impresario Shannon Oskanen Because of Jade's experiences, our discussion here touches not only on the history of her former band, but also on
the changing shape of punk rock, with its curious dual movement towards becoming bolh increasingly public and private. In other words, although
punk style is up for grabs, its sphere of relevance has been greatly transformed and multiplied. Yet following Jade's example, a commitment to the
same basic spirit referenced above may continue to revitalize punk in our so<alled post-modern time, and still let us have fun By the way, Jade's
guitar of choice is the Gibson SG  Read on, punk
DiSCORDER: How did the Dishrags come about?
Jade We formed in Central Saanich, at Mount Newton High School, in
grade nine, sometime around 1975-76 We were friends from elementary
school and we all quit high school to be in the Dishrags. It was a pact
We started out playing covers and our first gig was a New Year's Eve
party at my parents place [laughs] We played 'Heartbreak Hotel' and
'Winchester Cathedral' [laughs].
Was this the first Dee Dee and the Dishrags show?
No, we were called Kix.
With an   x?'
Yes [laughs]
When did you change your name?
We took a long time to come up with a name We ended up playing at
the first ever punk show in Vancouver [on] July 30, 1 977. We came over
to visit my cousin, Chris Arneft, who was in the Furies, and we watched
them practice for the show. They were managed by this woman, Kat
Hammond, who came in and said, 'Hey you three are in a band, you're
on the bill now too ' We were all 15 at that point. They needed to make
the show's poster, so she gave us our name She said, 'Your name is Dee
Dee and the Dishrags ' She was actually very cool and eventually became
our real manager And because she was a chick, we could stay overnight
at her place in Vancouver and have girl talk [laughs].
Did you already think of yourselves as punk at that time?
Oh yeah.
Who were your predecessors?
The Ramones. I think what inspired us more than anything was buying
their first album. That was in August of 1976, as I recall. We started to do
Ramones covers and eventually decided that we could write songs like
them too [laughs].
But before the Ramones, did you think of yourselves as
punk, or were you just thinking about being rock and roll?
We were a rock and roll band. We were really into David Bowie, Roxy
Music and Brian Eno, all that English glam rock stuff. It was our first love.
Art rock?
Yeah [laughs]. The Ramones kind of changed all that. It seemed like so
much fun and we could play the songs. We couldn't play Roxy Music
songs. It was the spirit, I guess. At 15, it was more fun than art rock
How long did the Dishrags last?
Three years. We broke up in 1980. But it seemed like forever. I think our
last gig was at the Smiling Buddha in 1980. I think we were headlining
By then we were allowed to headline [laughs]. I can't remember who
else played. We all hated each other by that point, so it wasn't a special
occasion [laughs]. We played that show and then recorded the 'Death in
the Family' single. The band broke up during recording.
You are still all friends, though?
Oh, yeah
Didn't the Dishrags play with a number of famous punk
bands?
We played with the Clash twice as the Dishrags, in Vancouver i
in Seattle, and once as members of Corsage, here at thi
Coliseum. We also played with the Ramones a few
even once opened and closed for them in Seattle —
they couldn't 'play ' We actually played in Seattle
lot. They always liked us better down there
teaching. It's really quite amazing that these women artists actually
managed to make some sort of reputation for themselves. There are a lot
of parallels with music. When women artists were considered really
good they would always be talked about as having a virile brush stroke,
or something, of being like a man. Our best compliments were always,
'Wow you sound like guys.' [laughs] I didn't really realize what gender
was until the Dishrags. We were treated so differently from guy bands,
which sometimes worked in our favour. For example, because we were
seen as a novelty we would be hired to do things like open for the Clash.
On the other hand, it meant that it was really hard to be taken seriously,
and you would get comments like, 'You play like a guy,' or 'You can't play
at all.'
In a way, being in the Dishrags was a political gesture?
Yeah. That was one of the things that was so much fun, that attracted us
to punk, particularly as girls. We dressed in black leather and had safety
pins, and did really gross things like spit on the street. You would do that
and really be noticed. People would talk and look. It was fun. You really
felt as if you were doing something that was disruptive.
Do you think it would mean the same thing now?
I really doubt it, no. We were really lucky actually, being here at a time
when Vancouver was a total backwater. We could do things that were
genuinely shocking to people. But it's hard to say I don't find anything
So rebellion has changed, it was easier to be a rebel when
you were in the Dishrags?
Oh, yeah.
Now what does it take to be a rebel? Do you actually have
to kill someone or do serious property damage?
Then it's not really the same thing. It's not fun if you have to really be
destructive rather than just disruptive. I though we were doing something
that was actually quite positive, not negative.
Pop   culture   has   an   effect   here.   What   used   to   be
transgressive is now regularly on TV. And if you consider
this in terms of role models, it can get very confusing.
It's all been co-opted by the system [laughs].
Is it the system? It's now both easier and more difficult to
be transgressive, for example, with clothing or hair. Do you
see this kind of change as good or bad?
I suppose good. In terms of the way the world is going, I am more of an
optimist than a pessimist. It's better now than when we were kids, but I'm
so glad that we had the opportunity to act outside society.
So you were acting outside of society for the progressive
benefit of society, if maybe by default, and pop culture was
the medium you chose to do that — it was the medium that
was most handy and made the most sense?
Not that it was a conscious choice. It was just natural. We didn't think
about it. We just did it. We didn't intellectualize it at all [laughs]. It
took us a while to realize what we were doing.
Do you think that a similar group of women now
would be able to do the same thing?
think it's so different today, but I think it still can be done.
There hasn't been a legitimate mainstream example of
yet  There hasn't been a really successful all-
women band. Although she was fronting an all
than in Vancouver. We were way more populc
in Seattle. I don't know why. Sometimes there is
acceptance outside your own 'scene.' We were always kind
of the 'juniors' around here, and always the back up band
There were very few rock and roll women role models
back then?
Yeah   The Runaways and Suzie Quatro, that was about it for
bands. We bought all the Runaways' albums, but we hated them. Patti
Smith was around, but I always though of her as more of an 'art rocker,'
or something. I really like Patti Smith and I think she's really cool, but her
music had no influence on us at all. Her image did. I also love Blondie,
but at the time they seemed way too pop, although we did cover 'Rip Her
to Shreds' from their first album. We did a Dishrags version.
There wasn't much of a history for you to follow?
No. That's why I think we were kind of lost at first. Role models are really
important. I try to stress that in my gender, art, and society course I'm
male band, Patti Smith is probably the best
lample of someone who is taken seriously as a rock
and roll performer, and a poet. I think there needs to be
rock music as opposed to just light folk or
pop stuff.
Which can be seen as very stereotypical.
What about people like Courtney Love? Do you think she
is doing good things — with all the plastic surgery?
I do, because she does it all with attitude. You get the sense that she's
doing it because she wants to do it. She's got spirit. She's strong. She
doesn't take crap from anybody, even if she does stupid or embarrassing
things and shoots her mouth off [laughs].
Do you think she receives the same kind of 'privileged
constraint' that you said the Dishrags experienced?
I think it's very hard to avoid that.*1 "BOUT
BICWIC
^^0i>'
— /O" c'  I
I
O
e
s
c
to
How Far Shallow Takes You
QOb tLOl__r^N*'    " "^ Available on CD
Thrs. March 11- Vancouver, BC -Croation Cultural Center
Eti, March 12- Whistler. BC
Sat March 13- Kelowna, BC - Shoe*. Waves
Sun. March 14- Canmour, AB -Canmour Convention Center
w/ Less Than Jake   ( not a sno jam tour date )
Mon. March 15- Calgary. AB - Mcewan Ballroom
Tue. March 16- Edmonton, AB - Scona Bus Bams
Wed. March 17- Regina. SK - University Ctr.
Thrs. March 18- Winnipeg, MB
FrL March 19- Thunderbay, ON
Sat. March 20- Timmins, ON - Northern College
Sun. March 21- Toronto, ON - Opera House
Mon March &- London, ON
Tues March 23- Montreal, PQ - Le Medley
Wed. March 24- Rimouski, PQ
Fti. March 26- Quebec. PQ - Ikea
Stay Asleep ^Jf*"**
ailable in April        yf_k*- ***
-
I
gob/bigwig tour ^
Eri. Feb 26- Glace Bay, NS - St. Annes Center
Sat. Feb 27- Halifax, NS - The Pavillion
Sun Feb 2%- Summerside. PEI - Generation XX
(day show)
Sun. Feb 28- Moncton, NB - The Esquire
(eve show)
Mon March 1- Bathurst, NB
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568
SEYMOUR ST. \by
Shahera
ISouledan
DiSCORDER: When you were in university
you were involved in college radio (CKUT ot
McGill) and had your own show where you
played a lot of punk rock and 'really weird
pop,' so you seem to have some punkish
musical roots. What did you think about the
whole Riot Grrrl movement and the music
that accompanied it?
Patti: I had gone bock because of all this talk of riot
grrrl and had bought all the Bratmobile stuff and was
chasing down o lot of fhe K punk stuff and even Tiger
Trap for me kinda counted, and I was thrilled that
" these women doing this without having
felt that it was important to learn any Van Halen riffs.
And I would even go so far as to say that that's part
of the reason that I bought a bass and tried to learn
how fo play, because it seemed that
I stores, fhe boys do. They're fhe
who go to the shows,
I they're the ones who are almost
I always in the bands, I'm
I sensitive about being picked on
I about that kind of stuff.
I Sometimes perhaps it's just me
I being a bit paranoid, that I'm
afraid about not being taken
usly  by the  boys  in the
there's no way of measuring it.
I Maybe I should seek therapy for
[laughs].
I Do you see it changing?
n paying attention to this
. At the CBC you have to do
s music clearance stuff where at
the end of every trock you have to
do person forms. And in one where it's changing is
that there are women in more than 50% of fhe bands
I play. They might not be the vocalist, but they are in
the bands, either the bass players or the songwriters.
That percentage seems to be shifting They don't have
to be the front people. I still think it counts when
women are in bands even when they are side players
or whatever. Maybe it's just me. I haven't done a
scientific study [laughs], but it looks to me as if there's
more women in bands. Not just mutually exclusive
all-female bands. I figure also to my paranoid sense
of credibility that it's just something you have to do
when you're a woman in any kind of job, quietly try
to prove your intelligence o
y to articulate
ironment and if they c
ild too!
seems     that     in
mainstream    music
the   female   artists
that make it big are
either these wishy-
ihy ethereal
sorts or come across
trashy or
domineering. Do
you think that there
some sort of
element in the non-
mainstream   music
ewhei
uld do it, damn well,
r your ability tc
tething. You have to wait for people to c
you. You can't go to them.
What's your opinion on the whole idea of
the female-focused touring musical festival?
I try to remain indifferent, otherwise I think I would
get angry, [laughs] I don't know why women have to
Hi
Iow I felt growing up when I was
16, 17, 18, being a complete geek
about music and bands, is that
girls aren't allowed to talk about it. If
you go to a show, you should be on the
arm of your boyfriend, you can't be an
expert.
:ulture, people only seem
len in particular in terms
(. To be in-between, that's
confined   to
these stereotypes?
Yeah, totally. In mainstream ci
to be able to deal w''
of the virgin-whore complex
unmarketable, it's confusing to everyone. And it'
the aesthetics of indie rock, where boys are
i, you're allowed to be yourself, you're
to screw up, you're allowed to just express
yourself, however banal that might be or however
angry that might be, there's a place where the
accepts that. For sure, that doesn't happen
In the marketing of top 40, and that's why I think
8 only in two camps in top 40.
Do   you   feel   that   you're   in   a   male-
dominated industry?
Totally. Except for the publicists — you know, women
do run this industry on some level. We're the movers
and shakers on the telephones working for the record
companies, independent and major, the ones who
get stuff done. How I felt growing up when I
being a complete geek about mi
bands, is that girls aren't allowed to talk afc
you go to a show you should be on the arm of your
boyfriend, you can't be an expert. It's like a woman
■ho's really good at sports statistics or something. It
sually takes people aback and I think that I've gotten
>me nasty mail based on the fact that I'm a woman
ho's dealing in what is mostly a mole dominated
kind of music. They're the ones who buy the records,
the boys do. They're the ones who run the record
be folkies ... I think that women need to be scared
more and Lilith Fair doesn't scare them enough. I
mean, not terrify them, but show them that there are
many different faces of personality and expression
and that you don't need to be a hemp wearing, sing-
like-an-angel type
Who are some of your favourite female
artists?
Oh ... I'm bad at definitives. I will admit that I
discovered Patti Smith really late in my life and I think
that she's amazing. I think that I avoided listening to
her because I had quite a little attitude when I was in
my teens about my music, my time. I was very anti-
Rolling Stones, very anti-nostalgia, ond I inadvertently
lumped her in with the old '70s hippies prog rock, I
never knew any better. I was like, 'too old, too old!'
The date on the record's not right. I think that she's
just a really interesting performer too, and I'm kind of
fascinated by her.
Did you see her on the Conan O'Brien
show?
I did and it was stunning, wasn't it? She's just so not
TV. I got a sense of how rehearsed every other guest
who you see paraded on talk shows is. Noam
Chomsky talks about this sort of thing, where there's
a certain type of personality that gets on TV and if
you can't play that game, then there's just so many
personalities and people that are eliminated from that
medium. She was stunning because she was just so
unsawy about television, but I loved it. I never knew
going to do. I don't think Conan
'hat she was going t<
[loughs].
So how did vou get your job at Brave New
Waves?   What  was   the   application
selection process?
[laughs] It was a whole series of really lucky little
happen-stances I was working ot CKUT at the ti
and fhe station manager, Nadine Gelin'
already doing fill-in work for Brent [Branbury] o
show when he wos away. But I think it was during [a]
funding drive one year when Nadine
available, so the producer was starting tc
about finding a fill-in or guest hosts for the next little
while, since Nadine was busy with the funding drive
The producer of BNWat the time phoned up Nadin<
and said, 'Quick, give me five names of people who
we can audition ' So I got a call out of the blue
I almost said no. This woman Heather Wallace a
iber sifting in my apartment, and
she said, 'Hi, I'm from Brave New Waves and v
were wondering if you would like to come and do an
audition.' And I paused for a horrible second and
then went 'OK.'
Why would you say no?!
Because I was terrified I would be horrible o
thought, 'I can't do this!' I don't know what to say. It's
a 'big personality.' Then I went and did my audition,
and I've never been so nervous in my life I turned
colours I didn't know I had in me ... horrifying dry
mouth. Just an adrenaline rush for two hours, which
is so exhausting. The only thing I did that got rr
started there writing a few months later was, 'I know
this music, I can't say these blurbs.'
written for Brent and it was all very big and CBC-
sounding. So I rewrote it ond made it sound little and
more like how I would say it [laughs]. I did a fill-
week, which is so horrible because I sounded like I
was 12  1 think they saved the tapes somewhere
I have to go find them and destroy them. Then a
u few months later, a producer left and they
needed a writer, and I was hired for a week.
Then I was hired for another week. Then I v*
hired for 13 weeks Then I was hired for two
months. And this went on for almost a year
until t got a year-long contract just to be a
writer/researcher, which I was for about four
years. And then I still continued to fill in for
Brent when he was away just because I was
in town. Then, Brent left and the only other
person left standing was me [laughs].
What do you think of this sexuality
■       attached to your voice? A lot of people
think your voice is really 'hot.'
I am totally amazed by that. I don't get it because I
remember one of the 'radioheads' when I first took
over for Brent, one of her criticisms was that I
sounded 'too young.' So, unless I sound like a phor
sex twelve-year-old or something, I can't figure it out.
And I think I just sound as dorky as I always sound
can't even go home and listen to the show. Ugh ..
listened to the 15th anniversary show and I was just
dying, it was so hard. It's tike seeing bad
photographs of yourself.
How much time goes into preparing one
episode of BNWi
All day long [laughs]. There's three of us who wo
here. Gen [Genevieve 'aswad' Heistek], who
another   producer,   and   Gordon,   who   is   o
researcher/kicking bag. We sort of split up the tasks
because the show is four hour;
first hour, Gen looks after the profile and the second
hour, and Gordon looks after the third and fourth.
Interviews, Gen books them for me and I do my
homework, she comes downstairs and sits v>"'
when I do them. She does the packaging, editing,
studio direction. In between all tnat we buy records,
argue about things ...Yeah, it takes a while [laughs].
You hit the ground running everyday.
If you get around 600 CDs a month, how
do you pick which ones you'll play on the
show?
Sometimes it's easy. Sometimes its cover art is a
giveaway, press releases also. You know, 'Gordon is a folkie from Cape Breton and has played with
such luminaries as fhe Rankin Family'., that one goes
out, we don't bother listening to it. And then there is
; stuff that we're not sure of and will be auditioned
the near future.
What do you do with the photos that come
with the press kits?
Some of them I save actually and put them on the
wall, ones like [in scary voice] 'Asylum Choir!' The
illy bad sounding bands have the best press shots.
I've never heard any Pest 5000 on your
show ...
You never will! [laughs] That's the answer fo people
when they ask about that. For a while I was really
into keeping it a secret. I thought, 'How embarrassing
for me!'
Do you feel that because of your job people
will have really high expectations of you?
Yeah. It's just so easy to dis it. I would dis it if I was in
the audience. I would be like, 'Oh god, who does
she think she is?!' And it isn't like
big art and it's isn't necessarily
very competent and I know it so ^^^^^^^^*"
1't want it to be in the light
for criticism. I don't want it to be
criticized, which is why I didn't
anyone know about it. I'm
always asked if I will ever ploy
"t on the air and I always say,
If you were me, would you?'
And you probably wouldn't.
Does the use of the violin
in Pest 5000 show off
your 'raincoat sized soft
spot' for The Raincoats,
since I know you really
like them.
It was really more evident in the
early days. Gen, who works here, plays the violin.
We would usually go over to my house and drink too
much wine and pretend to four-track. Yeah, a lot of
the early stuff was really Raincoats-y for sure.
Your band has a double 7" out called Patti
Christ Superstar. How was the name
chosen?
I didn't choose it. It was sort of an in-house joke
around tour. Our very first tour we did in '94, to the
east coast of Canada down through the states to
North Carolina and then back up, for two weeks. I
used to do this thing whenever I was tired, and I think
this came up when we were recording if. I was
waiting for Gen to do her violin parts which took
forever, and I was lying on the couch and put my
arms out in a crucifix pose going [in slow pained
voice], 'Ow, owww.' That's not a really great story.
And then John started drawing pictures of me with
droopy boobs on a cross. That didn't end up on fhe
cover, but I have a chalk drawing of me with droopy
boobs on a cross. But I didn't want to call it that. It
was a way to tease and torture me, They were right.
Will there be another Pest 5000 tour coming
up?
Probably not a tour, but we're going to try and make
another record maybe later in the spring. There's a
'hole bunch of new songs. I've noticed that we've
gotten way less cute. I wonder if that's because we're
becoming old and cranky. We're playing a wedding
tomorrow in Ottawa, one of Gen's friends is getting
narried. So there are a couple of covers that we're
loing. We were looking through our set list frying fo
find appropriate songs because I got married a Tew
years ago and wrote a nasty song about if [laughs],
"'s like, 'Oh we can't play that ... all your songs
jbout dying!' I guess we can't do 'Malice,' that
dn't be very nice at the wedding.
Are you planning on signing any other
bands to your label, Derivative [which has
released Pest 5000 as well as Jale,
Shadowy Men on a Shadowy Planet, Eric's
Trip, Jad Fair and Phonocomb, Number One
Cup, and Sportsguitar}?
' '. never signings. We don'f sign anybody and we
ily deal wifh people that understand that we cobble
together the operation and do our best and have a
few strategies to sell records and make sure they're
distributed and that they get pressed, but it's always
going to be on a smallish scale. And anybody [who]
does a record with us understands that. We ask for
three years to sell the record — please don't give it to
anyone else — and then we give it all back to them
after.
I read that you were taking voice lessons ...
Yeah, I've started singing lessons.
What's your favourite song to sing for
karaoke?
I've never done karaoke and I realized during singing
lessons that I really don't have a good repertoire of
the hit songs. What am I learning ... this is so tragic:
'Spoonful of Sugar,' hard song to sing, 'Cabaret'...
What about 'The Rose' by Bette Midler?
Yup, it's in my songbook, I haven't got to it yet. Things
like that. It's all very similar.
What, in your opinion, is the worst trend in
music these days?
I think that women need to be scared
more and Lilith Fair doesn't scare them
enough. I mean, not terrify them, but
show them that there are many different
faces of personality and expression and
that you don't need to be a hemp-
wearing, sing-like-an-angel type ...
and I think they ripped off lots of peopli
there's something quite zen about their
that's interesting.
Do you have a favourite book or biography
about a music artist or band?
[pauses] No [laughs].
Where did you learn so much about music?
Even the other day Alan Vega said you
know everything.
I was actually surprised. I think when people say that
to an interviewer, that's because they've talked to
people who are complete idiots most of the time, who
don't know who they are, where they come from,
what their catalogue and stuff is. I certainly wouldn't
say that I'm an expert, by any mean
There's two things, actually ... people who think they
have to forsake the rock to make electronica, [who]
think these things are mutually exclusive. So we've
got all these indie rock bands that are just sort of
house bands or whatever. And fhe other one is, I think
it's still going on, this kind of emerging trend not
towards what I saw as the great opening up of music,
which I thought was a lot of the K Records revolution
stuff. You know, amateurism being celebrated or
subjectivity being celebrated. Now it looks like there
are all these bands that are like, 'I have to learn jazz
licks,' or 'you're not a real musician unless you're a
virtuoso,' or indie rock bands turning into jazz
ensembles. That kind of thing, that's a horrible trend.
I think it's starting to make underground music or
indie music look like once again, it's the exclusive
territory of an elite.
Then what do you think are the coolest or
most exciting trends in music these days?
I love how, at least in Canada, I've been getting so
much high quality music from people who have
decided not to try to go for the brass ring, like get
signed to a major label. You know, get computer gear
or whatever, record their own bands, put out really
high quality CD-Rs with really great songs and trying
to impress or please nobody but themselves.
I imagine that you must have quite a music
collection at home. I was wondering if
there's a CD or album that you prize above
the rest?
I try not to have a definitive record ... I actually had
all my records stolen last May. Someone broke into
my house and all my CDs were gone, my stereo, I
haven't been able to replace them yet. So that's just a
sad thought.
Whafs your favourite movie starring a
musical group?
[laughs] Does it have to be a group?
OK, no it doesn't.
I have two and they are really embarrassing, they're
guilty pleasures.  First is Funny Girl with Barbra
Streisand. Tifte Sound of Music ... let's just leave it af
that.
Are you a closet Sgt. Pepper's tan?
No. I have an appreciation and healthy cynicism for
fhe Beatles. 1 don't think that they are fhe be-all-end-all
so in that
number of years I suppose you would pick up a few
So was it after you became obsessive with
music that you gave up figure skating?
It was very concurrent. I quit when I was
17 and my record buying habit began
■"•^■i when I was 16, so yeah, I suppose there
is a link!
Were you really serious about
skating?
Yeah, I was pretty serious. I also played
hockey for a few years. So for three
years I was a little jock. The skating I
would do all year and stuff. Summer
school and stuff, competitions, going to
Toronto.
So how popular were you in high
school?
Oh, I mean everyone says this: not very
[laughs],   I was  in trouble a decent
amount, but not for anything super bad. I
>ner smoker or anything. I just
my  major  crime  against  my
blurted,   that
education.
When   you   go   out,   do  you   go   to  the
Foufounes Electriques [a famous club in
Montreal with a kick-ass name]?
Yeah, I haven't been there in a while but I used to go
there all the time when I was at university. I lived just
around the corner from it. I don't know why I don't go
there [more] often.
Do you  remember the first record you
bought when you first started getting into
music?
The first record that sort of set me on my way ... it
could've been Men Without Hats, or something really
corny like that.
Was there anything definitive that made
you get into underground music?
It might've been Nick Cave's Birthday Party, as
misogynist as some of that stuff can be. Or maybe
when I was 15, it was a really weird David Bowie
record, one that wasn't a hit.
What record labels are you into these days?
I know your dog [a shih-tzu named Booger]
likes Up Records ...
Yeah, and I still like all that stuff. I think that's such a
really well curated record, like that Quasi record
[Featuring Birds], which is in quite heavy rotation at
my house and that's really Beatles-y. There are some
German labels that are interesting, like all the new
post-rocky labels such as Collapse, Payola ... Kill
Rock Stars is still consistently good. They're still a
favourite*
Listen to Brave New Waves 00:0504:00, Monday-
Friday. And visit them online at
www.radio.cbc.ca/programs/bnw/. And help
Brave New Waves celebrate their 15th anniversary
by going to their Vancouver concert on March 27th,
with Jungle, The Beans, Destoyer, and I Am
Spoonbender, at the Starfish Room.
is ^^^smm 7
nch
BYTHE INVISIBL
This month's half-page is full to the brim with
fightin' ladies helping themselves to an extra slice of the rock and roll torte. Play these
records as loudly as your speakers can
handle.
T
irst 7" I ever bought
by THE FRUMPIES
As of this date, the last 7''
I ever bought was by Thi
called Eunuch Nights and
it has four really cool
songs on it. The coolest
one is called "You'll
See" ond it's just pure
sex. Incidentally, Kill
Rock Stars recently
put out a giant CD
compilation of all
their   7"   releases,
which is handy, but it's
just way hipper to have
all the vinyl  bits or
pieces. (Kill Rock Stars,
1 20 NE State #41 8, Olympia, WA, 98501)
SEAGULL SCREAMING
KISS HER KISS HER has done
an excellent, ripping job of It's
Brand New. The title song is gorgeous punk garage shake. "Red
Talk" is marred by some unfortunate lyrics, whispered sexily
by Aiha, which, I suppose, are
meant to be seductive. Are fhey?
"Have sex with me ..." Okay,
direct enough, but "Every move
you make, it really hurts" —
The song, which starts out
very quietly, eventually collapses in on itself in a
nner which we
ight as well call or-
jasmic. Why the
hell not. (Detector,
6524 Harco St.,
Long Beach,
CA, 90808-
2242)
Recorder is
lever  a   bad
Never
'Oh what
busy day," by
THE   PARCELS,
has lots of recorder
1 if, so I will ignore fhe
ightly lame, severely
out of-key vocals.  This
peppy co-ed pop outfit knows
the value of all the dumb indie
tricks — recorder, organ, immature aesthetic, etc. "I Dream
of Jean Genet" provides a series of exceedingly interesting
juxtapositions: puddle jumping,
hopscotch, Jean Genet?! One
of these things is not like the
other, kids. Thi
a widdle too
at times, but not
girl-boy vocal interplay and
cool, messed-up guitar
noodling. But it sucks. Just kidding! (Packing Heat! PO Box
1 3833, Berkeley, CA, 94712)
semi-und
standable/c
rate reviews.  For
instance, tacked
to five lines of
adjectives referring to More
Songs About Cars + Body Parts
by BITESIZE is a terse "but it
sucks." I honestly cannot remember whether or not I was
being facetious, serious, half-
serious, or something else. I'm
thinking it was facetious, because the rest of the notes seem
overwhelmingly positive. This
well-put-together, punky pop
disc features tons of stumbling
Maybe you
STA-PREST from their
Outpunk single of yore, Vespa
Sex. Maybe you don't. They're
a bevy of wiggy queers from
San Francisco and their contribution to the Kill Rock Stars sin-
gle-of-the-month-club is a little
difficult to get a handle on at
first. "Form Fitting" is about
fashion; "Diffy Peeps" seems to
be obout fickle poseurs in fhe
gay scene. Both songs follow
their own logic as far as verse
structure is concerned. "Diffy
Peeps" is particularly fun — lots
of kitschy/sleazy electronic
beats and synth lines. (Kill Rock
Stars, see above)
SALLY SKULL, from Ed
inburgh, sound a lot more
an   than   most
bands on Newcastle's
wicked Slampt label.
Their four songs are
full  of static  and
fuzz, near-rockabilly
howling, and trad
ruggedness. They
even cover "Mean
Woman," an old (I
assume) blues tune.
(Slampt, PO Box 54,
Heaton, Newcastle,
NE6 5YW, UK)
SLEATER-KINNEY al
*m coming out very, very
soon! So soon, in fact, that it
has already been reviewed by
fhe time this goes to press. If not,
then buy the first single to keep
yourself happy until then. "Get
Up" is so professional, so tasty.
The piercing anger of their earlier work has disappeared, sublimated into ecstatic visions. "By
the Time You're Twenty-Five" is
infused with a little of the old
ire, but it's safe to say that
Sleater-Kinney have mellowed
out a bit. (Kill Rock Stars)*
Demo
A recent lawsuit against the
Canadian government
has reopened a controversial can of worms. On December 4th, 1998, Sun Belt Water Inc. of Santa Barbara became the third US company in a
year to launch a lawsuit against
Canada under the North
American Free Trade
Agreement (NAFTA). Sun Belt
is suing because of an earlier decision by the British Columbian
government preventing the company from exporting billions of
litres of fresh water from BC to
California. Sun Belt is seeking
over $200 million (US) from
Canada because of BC legislation that bans bulk water exports
The company is claiming that the
BC law violates several NAFTA-
based investor rights including its
right to export BC water by tanker
to California. This is another example of US corporations taking
advantage of the enforcement
provisions of NAFTA's investment
chapter to challenge Canadian
environmental laws.
Water has always been a
very valuable resource. It is of immeasurable importance to our
environment, economy, and public health. Although Canada
holds 20% of the world's fresh
water, many communities lack
proper filtration, proper sewage
treatment, or long term sustainable water initiatives. With the increasing destruction of aquatic
ecosystems and the doubling of
water consumption every 20
years, fhe world seems poised for
an international water crisis. Concern lies in the areas of access.
Exported water would definitely
not go to countries that are
drought-stricken or those that are
poor It would not help the people who ideally need it, to those
who do not have access to sustainable supplies of clean water.
They cannot afford it. And for
those who could, it would be a
temporary band-aid, not a long
term solution to chronic water
problems
Exporting water in the time of
crisis is always a possibility.
Canada certainly has the resources to provide aid to other
countries in a time of need. But it
is clear that those who now lack
access to clean water would not
be able to afford it if it was sold
on a for-profit basis Those elites
who can afford exported wafer
would diffuse attention from the
growing need to finding real,
sustainable and equitable solutions to water problems globally.
Adequate supplies of clean water for people can only be insured
by the efficient, utilization of lo-
Investors see water as the oil
of the next century. This new lawsuit under NAFTA highlights efforts by business to privatize and
export Canadian freshwater
abroad. To dote, fresh water in
Canada is a publicly owned and
controlled commodity; however,
the number of private companies
managing water treatment, delivery and sewage services has increased, as is the pressure to privatize fresh water. In England
and Wales, water services were
privatized in the late 1980s. As
a result there have been water
shortages, rates have gone up,
and people who couldn't afford
to pay have had their water shut
off. Naturally, there have been
massive layoffs, pay cuts and union busting, with no money going back into improved services.
The only thing to increase has
been corporate profits.
Large scale water exportation
can have devastating effects on
our aquatic ecosystems. Projects
like the proposed GRAND (Great
Recycling And Northern Development) Canal project would involve massive diversion of fresh
water in Canada to the United
States A project like this would
inevitably destroy animal and
plant habitat. On top of pollution,
lakes, rivers, and streams will be
threatened by the development of
water export projects — projects
that could threaten the delicate
ecosystems and water qualify for
surrounding communities. Even
Christine Stewart, the federal
Minister of Environment, has concerns about the export of water:
"Major water extraction may
change the environment, altering
the habitats of native species and
possibly introducing new exotic
species not normally found in the
ecosystems. These changes to
the ecosystems could also impact
on how people live and work."
In Vancouver, there has been increased concern about the inad
equate quality of drinking water
due to logging. Many residents
have experienced brown water
and turbidity which has been traditionally treated by chlorina-
tion, a controversial form of
water treatment which has been
linked to bowel and rectal cancer It seems impractical to be
considering large-scale water exports when our record for proper
water management is so inad-
It seems clear that privatization, commodification, and corn-
make transnational water companies very wealthy. It will also
take the power away from people to ensure the safety and
standards of their lakes, rivers
and groundwater. Something so
basic to our survival should not
be subject to hasty decision
making and incomplete public
CHECK YOUR HEAD
A YOUTH FORUM ON GLOBALIZATION
"Dissecting the Corporate Agenda and Building a Vision for Global Justice." The conference has been billed as three days of action, education, ond fun organized by and designed for youth.
Workshops include globalization ond the environment, becoming
active in your community, who's who in fhe Corporate Zoo, etc.
For more information, cal! 604.5 15.6200 or contact Kevin Milfsip
af 688.8846.
The 1999 BCEN Annual General Meeting and 20th Anniversary Celebration
BROADENING THE AGENDA
Friday, April 9-Sunday, April 11. Por more information, please
contact the BCEN office at 604.879.2279 or e-mail
<info<§bcen.bc.co>.
comin  up,
next isue:
interviews
with
SEBADOH
THE
CRUST
BROTHERS
EL VEZ
DOUGAL
& SAWAN
& more ...
plus the
usual high-
quality reviews and
columns Printed
Matters
HARUKI MURAKAMI
Hard-Boiled Wonderland
and the End of the World
(Vintage)
JEAN SMITH
The Ghost of Understanding
(Arsenal Pulp)
HARMONY KORINE
A Crackup at the Race Riots
(Main Street/Doubleday)
Modern culture has dedicated itself to the surreal in compensation for the decline of organized
religion. Thus we have spiritualism, psychics, dream interpreters,
etc , profiting off our collective
guilt and insecurity instead of traditional faiths. Belief in the nation
(nationalism), an abscess stemming from the revolutionary period of the late 1 8th century, has
similarly succumbed to the grinding cogs of a disillusioned social
mechanism. Thus, we — as a
veritable Nation of Agnostics (for
even hardened Marxist-Leninists
have their faith in rigid doctrine
and religious extremists deny
fheir faith for personal materialist salvation) — mythologize the
almighty self. In these works, this
late 20th-century diseased
dogma is presented for public
display.
Jean Smith's second novel,
The Ghost of Understanding,
BY GREG ELLIOTT
apparently autobiographical segments with
lutobiographi-
cal and metaphysical material. Smith's
alter-ego Claudine
follows the path of
Camus' Meursault,
permitting the
world's ills to befall
her, but she accepts
responsibility for her
actions from the beginning rather than
coolly proclaiming
Thus, while events
presented in a
i, Claudine is of-
active participant. Within the
novel, Smith discusses the purpose
behind her novel as
an exploration of the darker, less
rational segments of one's cognisance. More so than anything
else, the novel stresses the ability
to adapt to the shifting circum
stances of life, of a personal evolution. Smith mixes direct statements with stream of consciousness phrases which can be jarring, but on the whole it is sufficiently direct.
A Crackup at the Race Riots,
Harmony Korine's first book,
follows the collage theme. A collection of odd stories, of suicide
notes, of lists, and of off-hand remarks and half-jokes, Korine tries
to play on every unsettling part
of life from bigotry, sexism, and
blunt depravity and evil. This dependence on shock is unfortunate
because it betrays a true talent
in the presentation of visual imagery. Should Korine mature sufficiently to escape his current reliance upon wanton excess, he
would prove himself to be a natural great. The cover is somewhat
humourous. For all you name-
droppers, Korine wrote the
screenplay for Kids.
Haruki Murakami's Hard-
Boiled Wonderland and the End
of the World , like Smith's The
Ghost of Understanding, questions the nature of consciousness
in a two-level tale of a man's
search for the meaning of his existence. As with The Wind-Up
Bird Chronicle, Hard-Boiled
Wonderland is an extremely well-
written book that smoothly shifts
between the two worlds of slightly
futuristic reality and arcadian fantasy. The main character, a human encryption mechanism, finds
employment from the scientist
who made his job possible, thus
seemingly starting all his problems. If only that were so for the
poor protagonist, but, thankfully
for the readers, his troubles have
just begun From that life in Tokyo, one shifts to a village similar
to that in the old British TV show,
The Prisoner. Like No.6, our friend
cannot leave the Town (the End
of the World), is entirely uncertain of his new environment, and
must seek to save his self against
the wishes of the
prevailing society.
Both worlds intermix reality and the
fantastic into a
dream-like amalgam from which all
the answers come.
Of all the three
books, Murakami's
is the best read,
though a little ex-
esting theme; and
Korine's the best
cover design, but
then I'm a fool for
prose as my poetic
by a small bus, sev-
book explores the
self, but Korine's
rambling exploration covers little
ground, constantly
walking in tight little circles. Smith's
perambulations consider the shifting permutations within an individual. Murakami's novel seeks
to define the borders between
perception and reality.
Murakami and Smith's investigations cover the most interesting territory and offer the fascinating
insights. All, however, amply
delve into the realm of self-indulgence, whether it's the authors'
or the characters' is for the reader
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Che Chapter 127 @ Starfish
! photo by Patrick Hemingway
Seaweed % Starfish photo by Patrick Hemingway
SEAWEED
CHE CHAPTER 127
Thursday, January 28
Starfish Room
Dearest Seaweed,
I must admit, I used to be jealous. After our relationship ended,
you started running with a new
crowd,  "indie rockers" and
"drunken rock guys." I didn't even
want to see you; it hurt too much.
In time, I forgot about what we
shared; in fact, I had heard that
you were dead.
When I heard you were back
HARD RUBBER ORCHESTRA
Tuesday, February 16
Starfish Room
Confused I am. Entering the dark
interior, there formed an army on
stage. "Hello, we are the Hard
Rubber Orchestra," greets
conductor and composer John
Korsrud. OK ... this is familiar
I've been here before. The Hard
Rubber Orchestra, Vancouver's
foremost contemporary jazz
band, is always a treat to see In
my mind, I settle back for an experience worthy of the palate of
the finest sound connoisseurs. I
order a scotch on the rocks from
the bar and sit down.
Smuh? Confused me are
again. Salsa rhythms invade my
grey, midweek February ears.
Together, the 1 2-piece brass section blasts a recognizable Tito
Puente melody. Couples promenade onto the dance floor and
in town, I pretended that I didn't
care. But I did care, and when
you said you wanted to catch up,
I knew I had to see you. I had
heard through some people that
you had moved on to other things
... mostly slower, jangly, moody
things. But seeing you again
made me happy inside. I couldn't
stop my old feelings from coming back to me as we reminisced
over "Squint" and "Baggage."
When we laughed about old
times over some Spanaway and
Four, I knew that I couldn't stay
Even though you spent a lot
of time talking about what you
were up to these days, I politely
nodded my head to show you I
was still interested. I know it can
never be the same. You have a
new life now and I wish you well.
We've both put on some weight,
and I think you smoke too much
dope. But you seemed as lively
as ever and I'd like to see you
again sometime, if that's all right.
Your friend,
KELLY JOE PHELPS
Friday, February 5
WISE Hall
Walking into the WISE Hall
was like stepping into a time
warp. The old English hall, with
its aged wooden construction
and moody darkness, was a
world away from the lights of
the city- The warmth of the room
was incredible.
Anyone who thinks that music is dead would have a new
outlook after watching Kelly
Joe Phelps play. Alone on the
stage, playing acoustic slide
with the guitar on his lap, the
singing with his own unique
soulful style, he's like nothing
I've ever seen. His country-
blues/Gospel style is probably
impossible to convey here.
Eddie Van Halen has nothing on this guy, but what is
most impressive is his ability to
combine mind-blowing chops
with soul that rivals Neil
Young's. The crowd was mesmerized by his music and regaled by his quirky sense of
humour. I spent most of the
night with my jaw on the
ground. With his unique approach and astonishing talent,
Kelly Joe transcends the realm
of the musician to become the
Justin Colli son
engage in fierce, passionate
Salsa dance. Three singers belt
out Spanish lyrics while shaking
maracas, scratching guiros, and
synchronizing spins
Que? ... Ah, I remember now.
This is Une Noche Caliente, a
Latin dance party put on by the
talented musicians of Hard Rubber Orchestra. A perfect juxtaposition to this cold, rainy Vancouver night. I look to the stage
and count the total to 19 on
stage. I go to the bar and order
My eyes roll back and I am
transported to a humid Havana
nightclub. I finish my drink and
head onto the dance floor.
The next morning, I awake in
the hallway of my apartment
building, a red rose and my keys
on the floor beside me, and spinning Salsa melodies in my head,
remembering HRO's brilliant performance the night before.
Jason Da Silva
hard rubber orchestra @ Starfish
photo by jason da silva
)8      ytv*jiAj(Jh. LUCINDA WILLIAMS
PATTI GRIFFIN
Friday, February 12
Vogue Theatre
All eyes were on the woman with
one of the most critically acclaimed albums of 1998, if not
the decade. This was one of the
most hotly anticipated shows of
the year. I'd formed certain preconceptions based on talking to
friends who have seen her perform and recent brief TV appearances, and she managed to explode 'em all. Not only did this
reported introvert/perfectionist
share an engaging connection
wilh the Vogue audience, but she
was charming, self-deprecating,
and baby, can she rock
The show started off with a
bang with Patti Griffin, a Texan
singer-songwriter who well-
earned the gushing praise she
received from Lucinda. Her latest
album is Flamin' Red, and that
encapsulates her sound and person from the guitar effects she occasionally used during her set to
her red boots and shirt. Lots of
blues, but most of her material
covered Maria McKee-esque
territory of longing and heart-
Lucinda caught the audience's attention early with overdrive versions of songs from Car
Wheels on a Gravel Road like
"Lake Charles," "Right in Time,"
and the title track, a personal
fave. She didn't shy away from
her folkier material from past albums, and their treatment with her
backing band was superb. I expected mostly flat-ouf rockers from
this configuration of two guitarists, bass, accordion/keyboards
and drummer, but they cooled
down when needed on the most
subtle ballads and cranked it up
on the Tex-Mex and Cajun-fla-
voured numbers. Her references
to The Allman Brothers and
red-hot solos from lead guitarist
Kenny Vaughn showed her heart
belongs to southern rock.
Once the set came to a blistering end, they came out for two
long encores which showcased
her gentler, subtler material, like
"Sweet Old World" and other
stuff Emmylou Harris has covered. The second encore consisted mostly of some sultry and
very tasty blues, including a
scorching Howlin' Wolf tune.
My sense was that Lucinda was
having a better time than usual:
she loved the hall, had some
great back-and-forth with the audience (which really surprised
me), and made the requisite
"furriner" comments about how
different it feels up here in Vancouver. Heck, Lucind', it's like a
whole 'nuther country! Y'all come
I don't anticipate seeing a better live show in 1999, and we're
not even through the winter sea-
Val Cormier
764 hero at starfish
photo by Patrick Hemingway
JOE KEITHLEY
BOB CUTLER
Friday, January 29
South Hill Candy Shop
Joey "Shithead" Keithley,
D.O.A.'s lead singer and longtime
shit disturber, has decided to go the
Henry Rollins Jello Biafra
route and try his at hand at the spoken word thing. He may not be
quite as polished as the other guys,
but he certainly has a gift for telling
stories After being in a punk band
for over 20 years, you can imagine the sort of insanity he's seen on
the road, and that made up most
of his material. Over a period of
about an hour and a half, Keithley
kept the crowd laughing with tales
of early band practices, clashes
with parents, fights from the stage,
burning down buildings, the
McDonald's Hotel, and getting
dropped off at Bible camp. He's
also into the whole APEC thing and
told stories about his own bad experiences with the Vancouver Police Department. His best stories
revolve around his old buddy
Dimwit, a former bandmate
whose adventures sound like
something straight out of Hard
Core Logo. Keithley also brought
along his electric guitar and
played songs from his upcoming
solo disc, JOE. Beat Trash. I'm
not a huge D.O.A. fan or anything, but the songs he played
that night were some of the smartest I've heard in a long time. As
good as his stories were, I ended
up liking his music even more.
Do yourself a favour and go see
hisn
show
Opener for the night was
Bob Curler, tour manager for
D.O.A. and self-proclaimed recovering homosexual. His stories
weren't quite as tight as Joe's
and most of them dragged on a
bit too long. His problems with
the corrupt cops of Amsterdam
were pretty funny, but listening
to him talk about circle-jerking
in the tour van was a little much.
Ed Festus
murder city devils @ Starfish
photo by Anthony Kinik
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Review
ALBUMS • ZINES • RECORDED MEDIA
APOCALYPTICA
Inquisition Symphony
[Mercury)
Apocalyptica is four classically
trained cello players from Finland
who play heavy metal with their
fine instruments I'm not going to
judge whether or not that is a
good thing or a bad thing I like
it, but then again, I'm from
Langley.
Paul Kundarewich
BETHANY CURVE
Gold
(Unit Circle Rekkids)
The ultra-minimalist case and inlay should not dissuade people
from at least listening to this album. I put it on while studying
and not once was I roused from
my comatose state induced by the
onslaught of mid-terms I was, in
fact, lulled deeper into the coma
by the album. It's like Red
House Painters (with half the
talent) meets a chanting, gothic
'80s, high-art band. With all the
modern technology they use, they
still sound like it came out off the
4AD label in the mid-'80s (even
though they do play around with
lots of ambient, computer-gener-
That said, I liked it Mind numbing, unobtrusive albums are great
for mid-term studying
Anthony Schrag
BUCKMINSTER FUZEBOARD
How to Make C60 BR24 in
Under an Hour
(Slabco)
(In cose you can't tell, the following is a positive review )
If you've ever wanted to hear
what a "concept" CD would
sound like with all the core "concept" material removed, this may
be your lucky day The 19 tracks
on this disc seem to be conspicuously lacking in conceptual continuity, but are unified by having
a certain similarity of sound. The
beats, samples and effects may
refer to a specific genre, but I'm
not sure what that genre is Whatever it is, it is really echo-y, has a
relaxed-but-steady beat, uses
more continuous than segmented
forms, and doesn't seem to be
So I guess it comes down to
a few basic questions ...
Q: Is it "danceable?"
A: Yes. But it won't compel
you to shake your groove thing.
ated sounds in the latter half.) Q: Can I sing along with it?
A: Sure ... you, your toddler,
and Stephen Hawking.
Q: Does it qualify as "inspirational?"
A: Absolutely You'll likely
want to make your own CD, now
that you see how unimportant it
is to have some kind of "point"
that can be "made" in this way
This CD is more than just cryptic.
This CD is more than Dada. This
CD is cryplo-Dada.
If you'll buy that, you'll buy
this CD.
Joshua C. Broyles
CHOKE
Needless to Say
(Smallman)
This CD shows the early stages
of a poppy punk band. I love
Shawn Montcreiff's vocals, the
perfect blend of whine and
scream The band has great guitar riffs and amazing drums.
There seems to be a bit of a cohesion problem, however Despite having all the key elements
of a great band, they haven't
quite got it all together. I'm not
sure exactly what is missing, but
I hope that they find it because I
have a feeling these guys are
capable of music that will make
them a force to be reckoned with
in the punk world.
THE  CLIFFORD GILBERTO
RHYTHM COMBINATION
/ Was Young and I Needed
the Money
(Ninja Tune)
<Press play> I Was Young and I
Needed the Money for Skippy's
Firs and Samba Lesson. It was the
Earth vs. Me. My mission was to
Deliver the Weird to A Different
Forest in a Kula World.
I was beginning to feel Restless so I took several Giant Jumps
and landed in a Soul Bath where
there were Concrete Cats all
around. "Ridiculo," I thought. Actually, what I was secretly thinking was that I Wish I Was A
Motown Star so that I could really feel Ms. Looney's Las and Em-
All the while, The Clifford
Gilberto Rhythm Combination was kickin' Brasilia Freestyle
on my ghetto blaster; 14 Junk
Classics on constant rotation...
ANI DIFRANCO
Up Up Up Up Up Up
(Righteous Babe)
I really wish I liked this album
more. Don't get me wrong - this
disc isn't that bad, it's just that I
don't find it all that interesting.
So far I've listened to it three or
four times, and there really aren't
many songs that keep me coming back for more. Whereas most
of her other albums are full of
super-tight guitar work and interesting melodies, this disc is chock
full of really boring, dragging
tunes that just linger on. Even
Ani's usually strong lyrics seem
a little less clever this time around.
For every really exciting track on
Up Up Up ...., there's another two
that leave you wondering what
the hell is going on. On the positive side, the few songs that do
work are absolutely beautiful. The
use of banjo and organ on a
number of tracks is pretty cool,
too. Who knows, maybe this is
one of those discs that takes a
while to grow on you, but for now
I'm feeling kinda disappointed.
Joe Dick
GROOVERIDER
Mysteries of Funk
(Higher Ground/Sony UK)
You know those albums that you
pick up, listen to once and then
never leave your CD rack again?
Well thatwas pretty much my first
impression of Mysteries of Funk.
Since I did have to review it, however, I decided to give it another
chance. I figured if it could pass
the THC test then it might have
some merit after all. Good thing
I did. In a more relaxed state of
mind, I found Mysteries to have
much more appeal.
While the title is misleading
(there's really not much funk in
here), the album fuses several
diverse musical styles quite effectively. Grooverider's drum V
bass styles are often closer to the
experimental rhythms of
Braxton or late Coltrane recordings than, say, Parliament
or any of the funk gods; however,
there is a definite groove coasting through the entire album,
making it danceable as well as
interesting chill-out listening. For
me, the highlights are the epic
"Time and Space" (vocals by
Sophie Barker), and "Imagination (1, 2, & 3)", which features
haunting vocals by Roya Arab
over a downtempo beat reminiscent of Tracey Thorn's work
with Massive Attack on "Protection." This album certainly has
its darker moments, too. "560
Degrees" has a sinister apocalyptic undertone to its driving beat
that will appeal to the nihilist in
each of us. Finally, Trek fans will
love the interspersed samples of
all your favourite Next Generation heroes (and heroines), particularly on "Cybernetic Jazz"
and "Starbase 23," a roller
coaster ride which can't make up
its mind whether to be ambient
or in your face (kinda like the rest
of the album).
Mysteries of Funk is kinda like
cheese mold: what you see at first
is only a small fraction of what's
hidden underneath, but you may
not like what you find — and then
again, blue cheese is pretty popular.
J.M.
LOCAL H
Pack up the Cats
(Island)
What strikes my interest in Local H is the fact that there are
only TWO guys in the group. Joe
Daniels (drums) and Scott Lucas
(other stuff) team up to bring forth
heavy distortion rock in tracks like
"All-Right" and "'Cha!' Said the
Kitty." The first time I listened to
these tracks, I couldn't help but
notice how lame most of the lyrics were, but then again, they are
moshing songs. A cool one is "Hit
the Skids or: How I Learned to
Stop Worrying And Love The
Rock" — this is catchy enough to
be a potential single, with lyrics
like "I'm in love with rock and
roll." Scott's vocals in "What Can
I Tell You?" (among other songs)
reminded me of Kurt Cobain —
perhaps it's Scott's hoarseness
combined with simple vocal lines
that triggered these grunge
memories.
Local H proves they're capable of writing more melodic music in songs like "Fine and Good"
and "She Hates My Job." A short
yet seemingly well thought-out instrumental piece is "Stoney,"
which directly leads into "Laminate Man" — a mildly heavy rock
song that actually features a bit
of keyboard.
While maintaining the rock
feel of the first release, Pack Up
the Cats explores new sounds
with songs like "Lucky" and its
counterpart at the end, "Lucky
Times." It's definitely worth checking out if you've never been fortunate enough to experience Local H.
Jerome Yang
MOJAVE 3
Out of Tune
(4AD)
Mojave 3, a new project by
Slowdive's principle members.
From the inlay, the band has obviously spent some time down in
Texas and this seems to have influenced much of the play on this
record. The album lies somewhere between British pop and
American folk From start to finish, the album is a gentle ride
through ten simple but beautifully
crafted pop songs Acoustic guitar flavours all songs with guest
appearances by BJ. Cole's pedal
Steele on two tracks. One of many
promising groups on the 4AD
label, Mojave 3's appeal has the
potential to be much wider than
fheir present audience and is
perfect for anyone looking for a
mellow album to be able to play
all the way through.
Cody Beales
CAROLYN NEAPOLE
The Letting Go
(Independent)
Carolyn Neapole is a pre
miere vocalist who is bound fo
make waves, both on this side of
the Georgia Strait, as well as on
her stomping grounds of Vancouver Island. Neapole, who calls
Victoria home, has been creating
a lot of buzz over there ever since
she won a spot on the local mainstream station-sponsored new-talent compilation, Rocktoria, a couple of years ago.
She was known previously as
a strong solo performer, but when
Neapole won Rocktoria, she
gathered some fine local players
to create a strong musical backup
to that powerful voice of hers.
That voice tends to overshadow
the band on many tracks ofThe
Letting Go, but that is not such a
bad thing when you are dealing
with a talented vocalist such as
her.
Neapole wears her influence,
ranging from folk to rock, on her
sleeve. Her vocals sound like a
dead ringer for ex-10 000
Maniacs' vocalist Natalie
Merchant, on tracks like
"Amertume," "Anything," and
"Empty." But you can't fault a
musician for making the odd tip
of a hat, especially if it is done in
all sincerity.
The strength of this album
makes now as good a time as
any for Carolyn Neapole to make
it in this berg. I, for one, look forward to hearing her music in a
coffee house near us.
Mike Chilton
PORTISHEAD
roseland nyc live
(Go Beat/London)
Nothing really new here. I'm sure
you are familiar with this group,
as they are quite accessible. This
album, a live concert recording,
contains songs from their two previous albums. The recording quality is remarkably good for a live
show, so good in fact, that it
sounds like a studio album. I imagine a large amount of
overdubbing was done. The major difference with this album is
that it was done with an orchestra backing the band.
The result is a much more organic sounding Portishead. This does sound better, in my
opinion, but if you already have
the two previous albums there are
some questions to ask yourself before you purchase. Are you a
dedicated fan? Do you have $20
to squander? If you are new to
the game, however, this is a good
starting point, and a worthwhile
investment.
jayd
REO SPEEDEALER
REO Speedealer
(Royalty)
This CD starts promisingly but falls
apart The first track has a rough
punk feel to it and is quite
listenable. However, the album
soon falls into a huge maelstrom
of overly loud guitar and raw,
screaming vocals, reminiscent of
more than one '80s speedmetal
band. I didn't find this CD particularly enjoyable, but I do think
that if these guys cleaned up their
sound a little bit, as they do on
tracks like "Nothing to Me," they
could relay their obvious talent
better.
SLEATER-KINNEY
The Hot Rock
(Kill Rock Stars)
Sleater-Kinney have said in
various interviews that it was important to them that this album,
their third full-length, be an example of their evolution as a
band. And I would say that it is,
most definitely— I'm just not sure
if I like where they're heading.
I've been a longtime fan of
this Northwest trio. I've followed
them and loved them, from their
raw, punk beginnings (and
Corin's and Carrie's former
projects Heavens to Betsy and
Excuse Seventeen, respectively) through their gradual path
to this, a successfully polished,
more pop album (and I can only
guess, a more accessible release
to some ears). Despite criticisms
that S-K are "selling out," becoming less political, I'd say that The
Hot Rock shows them to be more
adventurous than ever. With their
increasing musical proficiency
comes a more diverse package
of songs. The sounds here aren't
immediately catchy, but it isn't
such a bad thing to actually have
to carefully listen to accept and
enjoy the dissonance that shows
up on the poppiest of songs
("Don't Talk Like").
Ms. Carrie Kinney takes a
larger role in songwriting on this
one, and uses her voice as a
softer, more melodic tool. She's
written the pop ballads, contrasting with Corin's ever-strong anthems. Unfortunately, Carrie's
songs are hit and miss. The title
track, which is surprisingly mellow and pretty, and "The Size of
Our Love" are fantastic, while
"Burn, Don't Freeze" is not.
Corin, however, continues to
write powerful anthems, always
personally and politically rel-
This is an inconsistent release
from some of the best musicians
around. I guess even the indie
universe's best rock guitar goddess, most compelling and pas
sionate voice, and energetic and
smart drummer can write some
mediocre songs.
Mya Lowe
SLY & ROBBIE
Strip to the Bone by Howie B
(Palm Pictures)
Howie B's recent collaborations
with U2 on Pop and with the
Jazz Passengers raised his
profile somewhat to those unfamiliar with his work. Nevertheless, he is a busy a man and his
latest project, a remixing of Sly
& Robbie, is an interesting convergence of reggae, electronic
and the various wonders of 21 st
century studio technology. The 12
instrumental tracks on this recording all have a mix of live instrumentation as well. The album's
title is, in fact, somewhat misleading, as the album has an abundance of instrumentation and
Zora Neale Hurston, Harlem
Renaissance writer
Wo/7 7/7 / light up
my coal-pot
and I'll tell you about
this Zigaboo called
Jelly. Well, all right now.
He was a sealskin brown
and papa-tree-top tall.
Skinny in the hips and
solid built for speed. He
was born with this rought-
dried hair, but when he
laid on the grease and
pressed it down overnight
with his stocking-cap, it
looked just like that righteous moss, and had so
many
in celebration of
international "
women's
dcuj .
doesn't cleanly fit into the category of drum 'n' bass. Highlight
tracks include "Superthruster,"
"Ballistic Squeeze," and "Zen
Concrete."
Cody Beales
THRUSH HERMIT
Clayton Park
(Sonic Unyon)
Back from the major labels with
a vengeance, Thrush Hermit
returns to their roots with 1 1
tracks of DIY goodness. Listening
to Clayton Park sort of reminds
me of some of Sloan's older stuff
— catchy, quirky lyrics mixed in
with sloppy yet impassioned guitar work, all presented to the listener with a wink and a nod. You
can sense the fun the band had
recording these songs and it's
infectious. This is indie rock done
right.
Billy Talent
VON ZIPPERS
Bad Generation
(Estrus)
Hold on to your helmets, kids, cuz
these cantankerous Calgarians
have just unleashed a firestorm
of punk V roll fury that's sure to
have ya hunker 'til the smoke
clears an' you're ready to hoist
your head high in the rock 'n' roll
victory. Armed with heaps of
Mummies records, the pack's
punk attitude and generous
amounts of fun, the Von Zippers will shell-shock you. Their
shotgun drums and power-
packed organ can be heard on
"Spit and Polish" and "Skip to my
Mary J" and combine with the
ground level guitar and bass assaults of "Kill that guy" and "Twist
off." Don't forget when the
fightin's finished to grab the
grolsch and do the squarehead
stomp to "It Blows" and
"Flintstone Shrink."
got
seasick from looking. Solid man, solid!
His Mama named him Marvel, but after a month on Lenox
Avenue, he changed all that to Jelly. How come? Well, he put it in
the street that when it came to filling that long-felt need, sugar<uring
the ladies' feelings, he was in a class by himself and nobody knew
his name, so he had to tell 'em.
"It must be jelly, 'cause jam don't shake."
(excerpt from "Story in Harlem Slang," 1925)
More fun that you can shake
a beerstein at. Wait are ya
waitin' for? To the rekkid shop —
schnell!
Bryce Dunn
VARIOUS ARTISTS
Bay Area: Checking in with
the World
(Cold Front)
Not a bad collection of bands
and songs. Like any compilation,
it has its painful moments, but let's
not dwell on those, I know I'd
rather not relive them. The star of
this album is definitely Betty's
Love Child. Punk rock love
songs are always special and this
one is no exception. Runner up
is Curbside, with a bizarre tale
of suffering at the hands of the
Repoman. Other standouts include The Force, Good Fella,
Krupted Peasant Farmerz,
and Limp, who, by the way, are
amazing live.
AK
SOUNDTRACK
Hard Core Logo
(Velvel/Reel)
It looks like fan pressure, combined with the "industry's" need
to make an extra buck, which finally forces the release of Hard
Core Logo's original soundtrack
almost three years after the film
first flickered upon the big screen.
If you've seen the film, you've
already heard most of this album
in its entirety. If you're a "hard
core" fan, this is a must-have.
Sure, the mock-up "tribute" album
which accompanied the film was
a good effort as well, but this is
the real thing, baby!
This is Hard Core Logo —
under their real-life studio-band
name, Hugh Dillon and Swamp
Baby — committed to disc for the
first, and presumably only time.
Listening to this album brought
back fond and vivid memories of
the film. Tunes like "Who the Hell
Do You Think You Are?," which
the band plays at the Commodore, and afterward, Joe Dick
calls the opening band who idolizes them "fags," or their cover
of The Dead Boy's "Sonic Reducer," whose intro pounds
along as we, the viewers, track
the band's progress on a map
of Canada during their reunion
Rounding the album out with
classic tracks byThe Ramones
and Teenage Head is a wonderful tip of the hat to some of
the film's many inspirations.
Chris Spedding's live version
of "Wild Wild Women" also
seems to have found a perfect
home here, too. This is an amazingly solid album for "just a
soundtrack."
Mike Chilton
MARCH
USTINGS
MONDAY, MARCH 1
FUN LOVIN' CRIMINALS
WITH GUESTS
WEDNESDAY, MARCH 3
SFU FILM PARTY
THURSDAY, MARCH 4
HELMS DEEP
60 CYCLE BUZZ
EXIT THIS SIDE
FRIDAY, MARCH 5
THE REAL MACKENZIES
DRUGSTORE
SATURDAY, MARCH 6
UNDERWATER SUNSHINE
MOSSY LEDGE
SPUTTING ADAM
WEDNESDAY, MARCH 10
GRAVEL
SIR HEDGEHOG
DIXIE CRASH FEST
THRUSDAY, MARCH 11
FUEL
MAYFIELD FOUR
FRIDAY, MARCH 12
GLIMMER
FELL
NEW BIG SHOES
SATURDAY, MARCH 13
BATMAN PRESENTS
WEDNESDAY, MARCH 17
BRAID
BY A THREAD
ALL STATE CHAMPION
THURSDAY, MARCH 18
SPACE KID
WITH GUESTS
FRIDAY, MARCH 19
ARTURO
PAN
DJ PHILTH
SATURDAY, MARCH 20
VEAL
SATSUMA
JESSE'S GIRL
SUNDAY, MARCH 21
BUCK-O-NINE
HOMEGROWN
RIVER FENIX
WEDNESDAY, MARCH 24
THE LIARS
WITH GUESTS
THURSDAY, MARCH 25
TORTURE KING
FRIDAY, MARCH 26
JUNGLE
DESTROYER
THE BEANS
I AM SPOONBENDER
SATURDAY, MARCH 27
ASIAN DUB FOUNDATION
WITH GUESTS
zj i^gsansffi THE    !pEN  DUB
___m
URANT &  LICENSE
STOP Biff
*. LUNCH, DINNER,
DESSERT, OR SOMETHING
COLD TO DRINK.
_   ._. .'     .1**' .- Jfx      **'
GREAi
CoCuhtbU
A WIDE VA.
Coming S^Ooi
VEGETARIAN ENTREES
OPEN 7 am TO 7 pm
MONDAY TO FRIDAY
OPEN 9 am TO 5 pm
SATURDAY / SUNDAY
UBC - THE STUDENT UNION BUILDING - 6138 SUB BLVD.
O  X   E   L
March 2 - Fast Freddie* Polo Convoy • Lost in a Box
March 3 - Abduction • Nervous Steven • Bottom Feeder
March 5 -Jungle • Vim Fuego • Noxema Girls
March 6 - Pete Bastard • ManEaters • AIDS
March 10 - Liars • Bossanova • Space Kid
March 11 - Creators
March 12 - Drexel's Eye • Golers • Side 67 • Bionic 6
March 13 - Cosmic Heros • Shine • Custard's Last
Bandstand • Wideye
March 16 - Shund evl* Plus Special Guests
March 18 - Gladys Patches • Electrolyte
March 19 - Breed • Cereal Porn • 60 Cycle Buzz
March 20 - Feltchers • Kentucky Fried Children
• Hell Caminos
March 24 - Reggie • OffDay • Smoked Oysters
March 26 - Lid • Sweat Hogs • Mudslinger
303 COLUMBIA STREET • VANCOUVER
FOR BOOKNG INFO CALL CANDY (ALL TYPES OF MUSIC)
C  HEY THERE!   >
WANNA WORK FOR CITR?
CITR is looking for an interim Station Manager. This is a
temporary, full-time position which runs from April 12
until November 26 1999. Knowledge of and experience
with campus radio administration and issues is mandatory.
Duties include management of day-to-day operations and
volunteer recruitment. Contact Linda at 822-1242 for more
information. Deadline for applications is March 15th.
COME JOIN OUR HAPPY FAMILY!
\\     !k__
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
•       708-2606 CiTR
charts
WHAT'S BEING PLAYED ON 101.9 FM
The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"),
7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was played by
our djs during the previous month (ie, "March" charts reflect airplay over February).
Weekly charts can be received via e-mail. Send mail to "majordomo@unixg.ubc.ca"
with the command: "subscribe citr-charts"#
mar 99  long  vinyl
destroyer
the molestics
gob
built to spill
the deadcats
plastikman
gaze
the bonaduces
godspeed you block.
10
11 bitter harvest
12 royal grand prix
13 skinny puppy
14 kruder & dorfmeist*=
15 freep
16
tippy a
city of daughters triple crowr
manufacturing hokum king hokunr
how far shallow takes you        fearless
keep it like a secret warner
millions of deadcats flying saucer
artifakts (be) minus
shake the pounce k
the democracy of sleep endearing
slow riot ep kranky
all things censored vol  1 alternative tent
ritual music for broken magick ind.
high performance
remix dystemper
the k&d sessions
take a deep breath
holy crow
wrong
nettwerk
laconic
17 sam prekop
18 god is my co-pilot
19 the pastels
20 fryertuck
21 cat power
22 strawberry
23 run chico run
24 stereolab
25 impala
26 coldcut
27 the hellacopters
28 the von zippers
29 refused
30 the slackers
31 jim carroll
32 the volcanos
33 the rondelles
34 a tribe called quest
35 smog
get busy
illuminati
soft favourites of.
moon pix
brokeheart audio
thrill jockey
topper/atavistic
independent
independent
drag city
estrus
aluminum tunes
r&b favorites
let us replay
supershitty to the max man's ruin
wow 'em down at franzl's au go go
the shape of punk to come     burning heart
the question hellcat
pools of mercury mercury
finish line fever estrus
fiction romance fast... smells like
the love movement zomba
knock knock drag city
mar 99 short vinyl
1 the windowpoynes
2 the kassos
3 junior varsity
4 longstocking
5 make-up/lung leg
6 bangs
7 rondelles
8 disgusteens
9 the parcels
10 the hentchmen
11 various artists
12 marine research
13 wolfie
14 n. case/whiskeyterwn
15 frigg a-go-go
16 silver scooter
17 magnetic fields
19 archer prewitt
20 seagull screaming...
lost friend
it would be my pleasure
juvenile
will you stay?
split
maggie the cat
dub narcotic disc
nothing personal
s/t
my catalina
self-portrait
s/t
you're lucky i'm skinny
split
frigg-a-licious!
tribute to the phone cal
i don't believe you
bittersweet
s/t
it's brand new
get hip
vendor
remedial
k
southern
ten-in-one
o plate k
longshot
brentwood estates
front porch
permafrost
k
parasol
bloodshot
360 twist!
peek-a-boo
sonic unyon
motorcoat
detector
mar 99 indie
home jobs
1        radio berlin
receiver's end
2       full sketch
sketchersize
3       team strike force
lager + lime
4       clover honey
three four
5       mono pilot
come see come saw
6      transvestimentals                 ir
cidental transvestimental song
7       fridge art tiara
untitled
8       dixie's death pool                 she rides a bike with an engine
9      thrillseekers
ghost
10     kinnie starr
bk lounge
11     dreamy angel
laundromatte queen
12    the colorifics
747 (now i see heaven)
13    bishop of battle
coldward & stormward
14    hell caminos
ex-girlfriends
15    sophistos
military surf magic
16    tampax twin
swamp foam
17    the leeches
donkey kong
18    all purpose
not fuckin' fair
19    capt. cook
i'm glad for you
20    kirby grips
mod boy
Merril Nisker,
Toronto personality
& musician
what we listened to ...
coldcut
habib bite & bamai
murder city wrecks
illuminati
new dawning time
pop romantique
forgotten foundation
hex static
murder city wrecks
yo yo a gogo
ire pm ram r-wn?
dason "DaSilva, On The Dial
SUNDAYS
ARE YOU SERIOUS? MUSK 8:30AM-
12.-00PM All of time is measured by
its orl. This show presents the most
recent new music from around the
world. Ears open.
THE ROCKERS SHOW 12.O0-3.O0PM
Reggoe inna all styles and fashion.
BLOOD ON THE SADDLE alt. 3:00-
5:00PM Reakowshit-caught-in-yer-
boots country
WIRELESS alt. 3:00-5:00PM
QUEER FM 6-OO-8.-00PM Dedicated
lo the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened to by
everyone, lots of human interest
features, background on current
issues and greot music from musicians
of all sexual preferences and gender
identities.
HELLO INDIA 8*00-9K)0PM
GEETANJAU      9:00-10:00PM
Geetonjali lectures a wide range of
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies
from the 1930's to the 1990's, semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, folk
songs, etc
THE SHOW KfcOOPM-lKJOAM Strictly
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts
Checkmate, Flip Out & J Swing on
the 1 & 2's.
THE CHILL-OUT ROOM 1:00-
4:00AM DJ Clutch spins hip-hop.. DJ
Decter spins techno. So chill out with
us. Have a nice day.
MONDAYS
BLUEGRASS FOR BREAKFAST 6:00-
8:00AM
BREAKFAST WITH THE BROWNS
8:15-11:00AM Your favourite brown-
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy eoch weekly brown plate special
Instrumental, trance, lounge and
ambience.
BLUE MONDAY alt. 11:00AM-
1:00PM Vancouver's only industrial
electronic-retro-goth program Music
to schlomp to, hosted by Coreen.
THE ETHER TABLE alt. 11:00AM-
1:00PM
SOUPE DU JOUR 1:00-3:00PM
Feeling a little French-impaired?
Francophone music from around the
globe, sans Celine Dion.
THE MEAT-EATING VEGAN 3:00-
4:00PM I endeavour to feature deod
air, verbal flatulence (only when I
speak), a work of music by a twentieth-
century composer — can you say
minimalist? — ond whatever else
appeals to me. Fag and dyke positive.
EVIL VS. GOOD 4.-00-5KWPM Who
will triumph? Hardcore/punk from
beyond the grave
BIRDWATCHERS 5*O0-6:OOPM Jon
the Sports department for their eye
on the T-birds.
POLYFILLER alt. 6:00-7:00PM
MUSIC FOR ROBOTS alt 6:00-
7:00PM Viva la Robotica
Revolution. Estrogen-charged robots
on Planet Noiz.
HP HOP HAVOC 7*OO-9rf)0PM
THE JAZZ SHOW 940PM-1240AM
Vancouver's longest running prime time
jazz program. Hosted by the ever-
suave Gavin Walker. Features at II.
March 1: The Pepper-Knepper Quintet,
baritone saxophone great Pepper
Adams and trombone giant Jimmy
Knepper.
March 8: Canadian tenor/soprano
saxophonist/composer Brian Barley
on hisonly recording under this name.
March 15: Jamaican-born alto
saxophonist/composer Joe Harriott.
March 22: Wotkins al large: an all-
star date led by the late greot bassist
Doug Watkins.
March 29: Pianist/theorist/composer
George Russell with his sextet Al ihe
Five Spot.
VENGEANCE IS MINE 12:00-
4:00AM Hosled by Trevor. It's punk
rock, baby! Gone from the charts but not
from our hearts — lhank fucking Christ.
TUESDAYS
THE MORNING AFTER SHOW 6:00-
8:00AM
THE CLASSICAL SHOW 8:00-
9:30AM listen carefully as Johnny
B. brings you the classical music
show featuring Canadian composers,
amateur hour ond more. Radio con
fuoco for the masses.
THIRD TIME'S THE CHARM 9:30-
11:30AM Torrid Irasfuock, sleazy
surf and pulsotin' punk provide ihe perfect
scissor kick to your head every Tuesday
morn. There's no second chance when
Kungf u is used for evil wilh drunken fist
Bryce. Kilfyaalll!
TRAGIC ANIMAL STORIES alt.
11:30AM-1:00PM Tales of puppy
love gone awry, and of baby ducks
crossing ihe street, all backed up by a
sad soundtrack of various indierock
bands for your own enjoyment and
education. Cry in your beer, please.
ECHOES FROM THE SUGAR CUBE
FACTORY 1-00-2.-00PM
JD AVALON PRESENTS 2:00-
3:30PM Swing, baby.
THE SLIPPERY SLOT alt 3:30-
5:00PM
SOUND THAT PITCH alt. 3:30-5:00
BBC WORLDNEWS SERVICE 5:00-
5:30PM
RADIO ACTIVE 5:30-6:00PM
Activism, issues and fucking up the
corporate powers that be.
FLEX YOUR HEAD 6:00-8:00PM
Hardcore and punk rock since 1989.
http://flexyourhead.
vancouverhardcore.com/
SAREGAMA 8:00-9:00PM
Featuring traditional (classical, light
and folk) and contemporary South-
Indian music.
LA BOMBA 9:00- 10:00PM la
Bomba (the bomb) explodes with the
best salso and merengue, wilh your popi DJ Papilicious.
WITCHDOCTOR HIGHBALL alt.
10:00PM-12:00AM Noise,
ambient, electronic, hip hop, free
jazz, Christian better living LPs, the
occasional amateur radio play,
whatever.
VENUS FLYTRAP'S LOVE DEN alt.
10:00PM-12:00AM Join Greg in
the love den for a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here ... and
bring some ice.
AURAL TENTACLES 12KJ0AM-VERY
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be hazardous to your health. Listener
discretion isadvised. Ambient, ethnic,
funk, pop, dance, punk, electronic,
synlh, blues, and unusual rock.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-9:OOAM
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
SPIKE'S MUSICAL PINS AND
NEEDLES 9:00AM-10:00AM
Spike spins Canadian tunes
accompanied by spotlights on local
artists. Weekly "Vintage Vancouver"
segment takes a look back at this
city's musical past.
BOTH SIDES 10:00AM- 12:00PM
Jose Luis discusses free trade and
other issues in the Americas.
LOVE SUCKS 12-O0-2-0OPM Music
at work. (Cut up mixed genres —
eclectic, electric included but not
mandatory).
AUDIO SPROCKET 2:00-3:OOPM
MOTORDADOY 3-O0-5-00PM "eat,
sleep, ride, listen to Motordaddy,
repeat.'
BBC WORLDSERVICE 5*00-5:1 OPM
RACHEL'S SONG 5:10-6KX)PM Info
on health ond the environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainability in the urban context.
SOLID STATE 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
AND SOMETIMES WHY alt. 7:30-
9:00PM sleater-kinney, low, sushi
... these are a few of our fave-oh-writ
things, la la lal
MARY TYLER MOORE SHOW alt.
7:30-9:00PM Girl music of all
shapes and sizes.
FOLK OASIS 9:00-10:30PM Featuring
the latest local and international
releases in folk/roots/world music,
phone interviews, in-studio guests and
more. Requests always welcomed!
STRAIGHT OUTTA JALLUNDHAR
10:30PM-12KX)AMletDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay."
listen to all our favourite Punjabi tunes
— remixes and originals.
HANS KLOSS' MISERY HOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
THURSDAYS
RADIO EUJNIKATHIKO 6:30-8:30
AM Wake up to the sounds of Greece
with Elena and Niko.
REEL    MUSIC    8:30-10:00AM
Soundtracks and classical.
FILIBUSTER alt.lO*00-l 1:30AM
Part accordion-tinged musical
meanderings, part experiemental
weirdness, with a little bad hill blood
thrown in for good measure.
STAND ANDBECUNTED alt. 10:00-
11:30AM DJ Hancunt urges women
lo get down with their cunts while
listening to women in jazz, funk, rap,
soul, worldbeat, disco and beyond.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander, Baffin
Island to Portage La Prairie. The all
Canadian soundtrack for your midday
snack!
SIEVE & MKE 1.OO2.-00PM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby.
(hardcore).
ONOMATOPOEIA 2:00-3:OOPM
Comix
x comix comix oh
yah and some music.With Robin and
Jules.
BOMBSHELL alt. 3:00-5:00PM
RHYMES AND REASONS alt. 3:00-
5:00PM
CULTURE CRAP 5:00-5:30PM
SHAPE UP alt 5:30-6:00PM
REELS TO REEL alt. 5:30-6:00PM
Movie reviews and criticism.
OUT FOR KICKS 6.O0-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HELL 9*00-11:00PM Local muzak
from 9. livebandzfrom 1 ail.
COCKED AND READY alt. 11:00PM-
1:00AM
NOCTURNAL EMISSIONS alt.
11:00PM- 1:00AM Music-lovin'
and noise-makin'; a sonic cocktail for
your conscious mind. DJ Salyricon,
the Poster Child of God, is your guide.
Night light optional.
PLUTONIAN NIGHTS 1:00-
4:00AM Late nightvinyl. Occasional
skips. Cheers.
FRIDAYS
CAUGHT IN THE RED 6:30-8:30AM
Trawling the trash heap of over 50
years worth of real rock V roll debris.
Stick out yo1 can.
ONE LOVE 8:30-10:OOAM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
heard.
SKA-PS SCENE-IK DRIVE] KhOOAM-
12:00PM Ska, baby.
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
LITTLE TWIN STARS 2*00-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
NOIZ 4*0O-5:O0PM self-titled.
BBC WORLDSERVICE 5:O0-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
9:00PM
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa _ African music
from around the world.
HOMEBASS    9:00PM- 12:00AM
Hosted by DJ Noah: techno, but also
some trance, acid, tribal, elc. Guest
DJ's, interviews, retrospectives,
giveaways, and more.
UMP SINK   alt. 12:00-6:00AM
Rant, phone-in and kiss your mother
with the guests.
DEAD AIR alt. 12:0OAM-VERY LATE
Exceptionally interesting girl talk.
SATURDAYS
GET TO THE CHORUS alt. 6:00-
8:00AM
THE SATURDAY EDGE 8:00AM-
12:00PM Studio guests, new
releases, British comedy sketches, folk
music calendar, and ticket giveaways.
' 8-9AM: African/Worid roots. 9AM-
12PM: Celtic music and performances
ALAM MAZEKA 12:00-1:00PM
Arabic music.
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
LUCKY SCRATCH 3:00-5:00PM
From backwoods delta low-down
slide to urban harp honks, crooners
and tunesters in the blue degree.
Blues and blues roots with your hosts
Anna and AJ.
RADIO FREE AMERICA 6:00-
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal.).
LIVEI AT THE HI-HATH alt.
10:00PM-1:00AM "Sho nuff
bumpin' I '-Popular Music. Phone,
write or call for reservations. Dance.
Admission $6.00.
PIPEDREAMs alt. 10:00- 1:00AM
SOUL TREE alt. 1:00-4:30AM From
doo-wap to hip hop, from the electric
to the eclectic, host Michael Ingram
goes beyond the call of gospel and
takes soul music to the nth degree.
EARWAX alt. 1:00- 4:30AM Noiz
terrorism cut thru raw rhythms/as
punk rock dissects Detroit
minimalism/Da truth will be found
bound in sounds/locked in my ears
like Earwax. Word. -Guy Smiley
REGGAE LINKUP 4:30-8:30AM
with Sister B.
(IrtetEtrter(Ta5te.
!As if'Monday mornings weren't
depressing enough...
aCt Mondays 11 am-1 pm
zs E^glSPSB Datebook
WHAT'S HAPPENING IN MARCH
FRI 26 CiTR PRESENTS ROCK FOR CHOICE: HOLLY
McNARLAND, PURE, 30 HELENS, TODD KERNS, KATARI
TAIKO, SINGLESEVEN@Vancouver Eost Cultural Centre; Satsuma,
John Ford, Thurston 5, Cathode Ray@Brickyard; BrundleHy, Honeysuckle Serontina@Railway; Tom Cochrane@Vogue, Fred
Eaglesmith@Starfisri; Sleater-Kinney@RKCNDY (Seattle, ALL-AGES')
SAT 27 Elliott Smith, No. 2@Starfish, The Smugglers, Maow,
Disgusteens@Brickyard, Saddlesores, The Golden Rockets feat Linda
McRae, Solarbaby@WISE Hall; Fiesta de Cuba feat Marlin
Ramozzini@Hot Jazz Club; Tom CochraneOVogue, Arlo
Gulhrie@Mount Baker (Bellingham, WA)
SUN   28      Ensemble   Symposium's   1296th   Anniversary
show@Performance Works; Fugazi, The Ex@DV8 (Seattle)
MON MARCH 1    Cadillac Bill & The Creeping Bent, The Lounge
Cats@Railway Club
TUES 2 Neil Young (solo ond acoustic)@Queen Elizabeth Theatre;
Marilyn Manson, Hole, Monster Magnet@PNE
WED 3 SFU film party@Starfish, Ed Rush, Andy B, Remedy, Micronaut,
Hightower@Richard's on Richards; Joel, Eliso Rose, Chad
MacQuarrie@Sugar Refinery; Neil Young (solo and acoustic) ©Queen
Elizabeth Theatre; Local 808, Pan@Brickyard, Cadillac Bill & The
Creeping Bent@Pic Pub, Sit & Spin with DJ HancuntOLotus
THUR 4 Kremlin Bronx, Mi Novia, Full Sketch@Brickyard, Helms
Deep, 60 Cycle Buzz, Exit This Side@Starfish; DJ Dimitri@Richard's
on Richards; Way Out West, Launch@Sonar
FRI 5 Jungle, Vim Fuego, Noxzema Girls@Columbia, Real McKenzies,
Drugstore@Starfish, Painting Daisies@Railway Club; Collective
Soul@Vogue (ALL-AGES!); ZastrozziOHavana Gallery; The Cartels,
Cadillac Bill, Subway Thugs@Brickyard
SAT 6 Closed Caption Rodio, All State Champion, Radio
Berlin@Brickyard; Underwater Sunshine, Mossy Ledge, Splitting
Adam@Storfish, Zastrozzi@Havana, Painting Daisies@Railway Club;
Solarbaby@South Hill Candy Shop, Q@Chomeleon, String Cheese
lncidenl@Vogue, Hieroglyphics, DJ B7V\ello, Silent Lambs Project, Tilson,
Maroon Colony@RKCNDY (Seattle)
SUN 7 Hieroglyphics@Richard's on Richards
TUES 9  Animated Worlds@Blinding Light
WED 10 Jully Black & Baby Blue Sound Crew, Grande@Sonar,
Gravel, Sir Hedgehog, Dixie Crash FestOStarfish; Brundlefly,
Solarbaby, Thirsry@Brickyard, Sit & Spin with DJ Hancunl-@Lotus
SUBMISSIONS TO DATEBOOK ARE FREE!
TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO
822 9364, ATTENTION "DATEBOOK." DEADLINE
FOR THE APRIL ISSUE IS MARCH 17TH!
THUR 11 Sno Jam: Gob, 88 Fingers Louie, Chixdiggit, Satanic
Surfers, Planet Smashers, By A Thread@Croatian Cultural Centre (ALL-
AGES!); Fuel, Second Coming, The Mayfield Four*@Starfish, M-Strain,
60 Cycle Hun, Cornerstone@Brickyard; Zastrozzi@Havana
FRI 12 Less Than Jake, All, Good Riddance, Limp@Croatian Cultural
Centre (ALL-AGES!); The Dirtmitts, Jerk with a Bomb, Daddy's
Hands@Brickyard; Glimmer, Fell, New Big Shoes@Starfish;
Zastrozzi@Havana, Brain Chain Freedom@Richard'son Richards; Built
to SpillORKCNDY (Seattle); Neko Case & Her Boyfriends@3B Tavern
(Bellingham)
SAT   13      Lily   Frost  CD   release   party@Gate,   Crash   CD
Release@Chameleon; Batman Presents@Starfish, Volatile@Brickyard;
ZastrozziOHavana; Grit Laskin@Friends Meeting Hall (1090 W. 70
Ave); Benoit Bourque, Gaston Bernard & Simon Lepage@Rogue Folk
Club, Semisonic@Richard's on Richards
SUN 14   Sugar Ray, Everlasr@Rage
TUES 16   Peripheral Produce@Blinding Light
WED 17    Braid, By A Thread, All State Champion@Starfish; St
Patrick's Day party@Brickyard; Sit & Spin with DJ HancunlOLotus
THUR 18   Hip Hop for Hunger: Shines & F-Roc, Aileen de la Cruz,
Checkmate, etc ©Club 212 (212 Carrall St.); Space Kid@Starfish,
Art Rock Show: Satina Saturnina, Onysces, Poultry Manifestation
Orchestra@Brickyard; Prairie Oyster@Richard's on Richards
FRI   19     Arturo,   Pan,  DJ  Philth@Starfish;  Mystery Machine,
Klauskinskis@Brickyard
SAT 20 Out on Screen, Vancouver Queer Film & Video Launch
Party@Brickyard, Veal, Satsuma, Jesse's Girl@Starfish; Funk
da'licious@Chameleon; Caribbean Show and Dance@New Executive Inn (Coquitlam, 405 North Road), Adam Marshall@Sonar
SUN 21 Buck-ONine, Homegrown, RiverfenixOStarfish
TUES 23 Joshua Redman Band@Richard's on Richards (7:30pm &
10pm)
WED 24 LTJ Bukem, Blame, MC Conrad, Intense, MC DRS, Slipmaster
JOPalladium;     The     LiarsOStarfish;     Vibrator,     Removal,
Stagmummer@Brickyard, Sit & Spin with DJ Hancunt@Lotus
THUR   25       Torture   King@Starfish;   Helms   Deep,   Sonic
Revival@Brickyard
FRI 26 Jungle, Destroyer, The Beans, I Am Spoonbender [Brave
New Waves' 15th Anniversary Party)@Starfish; Rova Saxophone
Quartet@Western Front; Another Joe@Brickyard
SAT 27    Eric Friedlander Topaz@Western Front,  Asian Dub
Foundation@Starfish;     Soul     Crib@Chameleon;     Celestial
Magenta@Brickyard
SUN 28   Motley Crue@GM Place Concert Bowl
TUES 30  98°, Maestro, Joee@Vogue (ALL-AGES!)
WED 31 Hounds of Buskerville, Speedbore, Babblefish@Brickyard,
Sit & Spin with DJ Hancunr@Lotus
THUR APRIL 1   The Cartoon PartyOBlinding Light
FRI 2  Cubanismo!@Vogue
VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORES
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light     36 Powell St. 878 3366
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities   1022 Davie  (at Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel  303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova (Gaslown) 683 5637
Denman Place Cinema   1030 Denman  (Wfest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
The Good Jacket 225 E. Broadway (at Main) 872 5665
The Grind Gallery 4124 Main  (Ml. Pleasant) 322 6057
ZX>     /nuuA
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
It's A Secret 1221 Granville St. (downtown)
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards  1216 (near Demon St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (Gastown)
Lucky's 3972 Main
Luv-A-Fair  1275 Seymour (downtown)
Mars   1320 Richards (downtown)
Maximum Blues Pub  1176 Granville (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (gastown)
Noam Restaurant 2724 W 4th Ave (kitsilano)
Old American Pub 928 Main  (downtown)
Orpheum Theatre Smithe & Seymour  (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium (formerly Graceland) 1250 Richards (downtown)
Paradise 27 Church  (New West)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Picadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery 317 W. Hastings (downtown)
Plaza Theatre  881 Granville  (Granville Mall)
Purple Onion   15 Water St. (gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels lounge   1221 Granville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
738 3211
873 4131
688 7755
224 8007
251 6626
685 7777
875 9858
685 3288
230 MARS
688 8701
608 0913
738 7151
682 3291
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
738 6311
Russian Hall 600 Campbell (Chinatown) 874 6200
Scratch Records  109 W.Cordova  (Gastown) 687 6355
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Singles Going Steady 3296 Main (at 17th) 876 9233
Sonar 66 Water (Gastown) 683 6695
Southhill Candy Shop 4198 Main (at 26th) 876 7463
Squish'd Knish 4470 Main (at 29th) 879 9017
The Space 316 Hastings (downtown)
Starfish Room   1055 Homer (downtown) 682 4171
Starlight Cinema 935 Denman  (Vvest End) 689 0096
Station Street Arts Centre 930 Station  (off Main) 688 3312
St. Regis Hotel 602 Dunsmiur (downtown)
Stone Temple Cabaret  1082 Granville St. (downtown) 488 1333
Sugar Refinery  1115 Granville (downtown) 683 2004
Theatre E  254 E. Hastings (Chinatown) 6818915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Vancouver E. Cultural Centre   1895 Venables (at Victoria)   254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville (S. Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Washout  1020 Granville (dowtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Virgin Mega Store 788 Burrard (at Robson) 669 2289
Vogue Theatre 918 Granville (Granville Mall) 3317909
Waterfront Theatre  1405 Anderson  (Granville Is.) 685 6217
Western Front (303 E. 8th Ave) 876 9343
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall  1882 Adanac (the Drive) 254 5858
Women In Print 3566 W. 4th  (Kitsilano) 732 4128
Yale Blues Pub   1300 Granville (downtown) 6819253
Zulu Records 1869 W. 4th (Kitsilano) 738 3232 .
CHERRY BOMBS
f''f B
rm
nt GRANDE:
BABY BLUE SOUND CREW	
W//CARDINAL OFFSHALl & JULLY BLACK [T.O.J
t_Z_____L
rm
FEVER: Special Edition
ADAM MARSHALL [Speed, Toronto)
12: Dana 0 & Or. J. SB do
& Klublife present
"NECESSARY PIECES' co rfifav putty
DAVE SEAMAN [Cream, UK)
residents Pascal & Boatman
12: Andy B. Info 734-8797
JOHN PIGWEED [UK]
12: Andy B. Info 734-8797
Visual styling by: URBAN 	
BE A HAPPY GARDENER WITH ZULU
A GOOD SPRING PLANTING WILL LEAD TO CONTINUED SUMMER PLEASURE!
1)Buy CD
(at Zulu,of course!)
ago
2) Plug CD into
ghetto blaster
STAFF
PICKS
Brady
FENNESZ  Plays
POLE  1 and 2
SAMPREKOP-s*
CASSKJS  1999
HOSPfTAL -s/l
Oristne
ARUNG AND CAMFHON  All In
BETA BAND The Three EPs
VALERIE LEMERQER  Chante
3) Plant ghetto
blaster, leaving
handle exposed
4) Water
occasionally
5) Come July, dig
into those
new sounds!
6) PARTY
ROMANTIQUE
Grant H
BAILTER SPACE - Photon EP
DON CABALLERO - Singles
Breaking Up
ROOTS-Things Fall Apart
SAM PREKOP - s/t
MOLESTICS-Ii
Grant M
OKRA ALL STARS -St
SMOG  Knock Knock
KID SILVER - Dead City
Sunbeams CD
VARIOUS ARTISTS-SONGS
FOR THE JET SET VOL 2
BETA BAND-The Three EPs
Julie
SMOG - Knock Knock
RADIO BERLIN  si (cassette)
BUILT TO SPILL/MARINE
RESEARCH - split 7"
CASSIUS-1999
BUDGET GIRLS  On alight
Budget
Kevin
TURBONEGRO Apocalypse
Dudes
VON ZIPPERS - Bad Generation
THE MINDERS  Hooray tor
Tuesday
STEREOPHONIC SPACE SOUND
UNUNIFIED - The Fluid Sound
Various Artists
ASPHODEUC
>m representing the scrulty
SLEATER-KINNEY
The Hot Rock
VJthat Hasn't changed them true to their
roots, they have stayed with indie label Kill Rock
Stars, and in lull control Well. I
to expect, and rer
Miko
VERSUS-A
SLEATER-KINNEY - The He
Rock
SEAWEED - Actions and
Indications
SMOG-KnockKnock
Various Artists - POP
ROMANTIQUE
Nk Shahera
AERIAL M- Post THE BUDGET GIRLS-
Global Music On a Tight Budget
SMOG-KnockKnock PEECHEES  Lite
RADIO BERLIN - s* F'RUMPIES - Ftumpie
(cassette) One Piece
BELLE AND STEREOPHONIC SPACE
SEBASTIAN - This is SOUND UNLIMITED -
Just a Modem Rock The Fluid Sound box
Song EP I AM SPOONBENDER
Soundtrack - THE Sender/Receiver
ACID HOUSE
SICKOFITALL
Call To Aims
hard stud MXPX R
etc Me. it's all good The keg was lapped pre
earty. and my plastic cup never seemed empt
all Cool weekend. I heard Call to Anm the r
record by SK* Of IT AU It sounds good, dc
SQUAREPUSHER
Budakhan
New on Warp/Nothing Records ci
Jenkinson AKA Squarepushers
Irack. 30 minute sonic edifice F
through the chrome like sheen ol
Ironica. Budakhan Mindphone is very organic -
if:  .11.(1 DC,
; Overall, an int
VERSUS
Afterglow ep
fhy VERSUS isnl lamous is a real
ig suitable, viable and true, VERSUS
Thea
REACH THE ROCK - split 7"
AERIAL M - Post Global Music
Various Artists-YOYO A-
MORE NEW
APRIL MARCH
Various Artists
POP
ROMANTIQUE
SEBADOH
The Sebadoh
/\ up shuttle. SEBADOH have returned I
f lonce agam work out all manner of ui
pnvate problems and convoluted relations!
issues in the public but anonymous torum
pop culture Yes. just when you though tha
responsibility, guilt, doubt and mirospectio
evaporated in the throbbing bass heavy ba<
STEVEEARLE&
THEDEL
McCOURYBAND
The Mountain
Taking a bluegrai
Copperhead Ro
create an intira
WANG INC. - s,112-inch.
$12.96
PROPEUfRHEADS -Extended Play    TOBIN SPROUT-Let's
CD-EP/12-tnch, $12.98 y^ico™ j). Circus People
KULA SHAKER - Mystical Machine     CD, $22.98
Gun Cfrff, PL 1+2, $12.98 ROBERT POLLARD - Kid
DJ KRUSH-Kakusei CD, $32.98       Marine CD, $22.98
KRUDERAND Various - READY MADE
D0RFME1STTR - Conversion RECORDS CD, $20.98
CD, $24.98 CREATURES - Animo Animus
DJO-BEHT-Wave Twisters CD, $24.98
CD, $24.98 ROOTS Of ORCHIS-When
AVENGERS-Died For Your The Mosquito Stung The
Sins CD, $2098 Crocodile CD, $18.98
1869 W 4th Ave.
Vancouver BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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