THAT MAGAZINE FROM CiTR fM 102 Mfti-8* JULY 1990 NEW MUSIC FROM MCA JILL SOBULE THINGS HERE ARE DIFFERENT MARIANNE FAITHFUL BLAZING AWAY NINE INCH NAILS PRETTY HATE MACHINE CASSETTE COMPACT DISC 6.9411.94 PPJl WORLD PARTY WORLD PARTY GOODBYE JUMBO BELL BIV DEVOE POISON JILL SOBULE APPEARING JULY 4 LIVE AT THE TOWN PUMP ART BERGMANN SEXUAL ROULETTE ETTA JAMES ST1CKIN' TO MY GUNS BLUE AEROPLANES APPEARING JULY 5 LIVE AT THE COMMODORE THE BLUE AEROPLANES BLUE AEROPLANES SWAGGER YOUR TOTAL ENTERTAINMENT CENTRE m sound DOWNTOWN VANCOUVER SOUTH VANCOUVER 556 SEYMOUR ST. 732 S.W. MARINE OR. 687-5837 321-5112 EAST VANCOUVER 2696 E. HASTINGS ST. 254-1601 METROTOWN BURNABY NORTH SURREY 4568 KINGSWAY 10280-135TH ST. 439-0223 589-7500 £_gg°as_g3 CONTENTS JULY *1990 Issue #90 THE LLOYD ULIANA REPORT: Consolidated vs Simon Frith 6 a;Grumh...: f_t H'3jRy teddV Bed®s t&ke note 9 Nitzer Ebb - Walking in the shadow of the 'Mode Men 12 BETWEEN THE LINES: A DAY IN MANAGUA Coca Cola, asphalt and burned out Ladas - by Lisa Marr 22 ■r____-____________-_-_____________EI_^^ AIRHEAD They hate us, they hate us, they hate us - So can you! 5 REAL LIVE ACTION Tom Verlaine, Consolidated, Group 49, House of Love 14 UNDER REVIEW We listen to 'em, we write about 'em, you read 'em. Simple 14 COMIX ARE ALL I READ Colin Upton's Big Thing and Sexy Stories from the World Religions 16 HELL'S KITCHEN Viola reunites with her mutant friends and eats allllll she can 17 ON THE DIAL It's like TV Guide, but it's for radio 18 SPINLIST New names but it's the same. Sort of 18 LOCAL MOTION Let's get Janis - she listens to everything!! 19 DISCORDER DATEBOOK What's on, what's hot, what's hip and what isn't 21 ■■_H____HIK______HHHHHBi DANCING ON THE CLOUDS Marc Yuill and Julian Lawrence 10 SOCIALIST TURTLE Colin Upton 11 BORDUM Bryce Rasmussen 20 FOR OFFICE USE ONLY EDITOR Kevin Smith ART DIRECTOR Geoff Coates PRODUCTION MANAGER Bill Baker EDITORIAL ASSISTANTS Chris Buchanan, Viola Funk, Brian Hohm, Lydia Schymansky PRODUCTION ASSISTANTS Lydia Schymansky WRITERS Viola Funk, Janis McKenzie, Usa Marr, Lloyd Uliana, Leigh Wolf PHOTOGRAPHERS Tonl-Lynn, Leonard Whistler GRAPHICS Scott Feamley WORD PROCESSING Randy Iwata COVER 12 Midnite SPINLIST Randy iwata, Lloyd Uliana ADVERTISING Uoyd Uliana ADVERTISING PRODUCTION Bill Baker LOCAL DISTRIBUTION Matt Steffich SUBSCRIPTIONS/MAIL DISTRIBUTION Lydia Schymansky PROGRAM GUIDE/DATEBOOK/DELIVERY FRIEND Randy Iwata ACCOUNTS Unda Scholten TECHNICAL SUPPORT Ted Aussem PUBLISHER Barbara Bgood DISCORDER Copyright C 1990 by The Student Radio Society of Ihc University of British Columbia. All Right! Reserved. Discorder is That Magazine from CiTR fM 102, and is published twelve tines a year by The Student Radio Society of the University of Britiah Columbia. Discorder is printed in Canada cm paper manufactured in Canada. Discorder prints what it wants to, including the CiTR On the Dial program guide and the CiTR J15 (US) to the US. and $24 elsewhere. Please make cheques or money orders payable to Diaca-ifcr Magazine. "You have a gn_J mag.... piscorder] is the best of its kind in this country - B. Bombay. Deadline for ads and submissions is the 15th of the month. Talk to us - we want your stuff. CITK 101.9 fM is 1800 watts of stereoprKnic bliss on cable fM from UBC to Langley, Squamish to Point Roberts, but not en Shaw Cable in White Rock (if you want it, you 11 find a way). CiTR is now available oo moat dock radios and in cars too. Office hours for Discorder, CiTR. and CiTR Mobile Sound Rental are Mon-Fri, 1 Oam - 4pm (please avoid Friday aftanoooa). Call the ClTR/Discorder Office at 228-3017 for editorial, advertising, and circulation enquiriea; CiTR News*Sports at 222-2487. or the CiTR DJ line at 228-CiTR. Write to us at 6138 SUB Blvd Vancouver BC V6T 2A_. PROFESSIONAL QUALITY DEMOS FULLY EQUIPPED 8 TRACK $12/hr INCLUDES ENGINEER DEADBEAT STUDIOS (604) 687-5803 SEYMOUR ^ Depecheoi WORLD VIOLATION WITH SPECIAL GUESTS NITZER EBB MONDAY, JULY 16 7:30 PM PACIFIC COLISEUM TICKETS AVAILABLE AT ALL TICKET- MASTER OUTLETS AND CHARGE BY PHONE AT 280-4444 ON SALE NOW PRODUCED BY PERRYSCOPE ® ® ¥ V n m n> © $ i VANCOUVERS ALTERNATIVE RECORD STORE DOWNTOWN VANCOUVER 534 Seymour St. 669-6644 rai [Frazil as m@w RECORDS • CDS • CASSETTES RAP » REGGAE » POP » HOUSE «■ JAZZ • SOUL • ROCK • BLUES CASSETTES SUCK BUT... Dear Airhead, This letter, my first to Discorder, is in response to Susan Ferran's comments about bands putting out cassettes. I tend to agree with her that cassettes do, in fact, SUCK. However, I hope she is only attacking the format, and not the content or effort that independent bands put into these things. As many would agreee, the cassette format is good only as a medium to temporarily hold musical information. No matter how well you take care of them and your equipment, the cassette loses much of its brilliance and clarity after repeated playings. The CD and vinyl formats are the only real ways to collect and preserve the recordings which we fanatics hold so dear. (NB for record companies: You folks are phasing out the wrong format! Idiots.) I really feel sorry for the young mall rats... when they hit thirty and want to listen to stuff that they grooved to when they were teens (Bobby Brown, Paula Abdul et al), all they'll have is a box of muddy sounding 'cassingles.' Oh well, disposable music in a disposable format. Getting back to the main reason for writing this letter, the cassette is the best medium for indie bands to get their stuff out early. Cassettes are inexpensive, you can record them on simple equipment, you can do your own cover/ liner notes on any photocopier, you can pack them along at gigs, etc, the list goes on. Some of the best music I 've ever heard was on cassette-only releases. Does the fact that Bruno Gerussi's Medallion have their extremely boring music on vinyl and CD make them a better band? I think not. As a host of a cassette-only radio show at our local campus 'alternative' (uh-oh, there's that nasty word) station, I should point out to Ms. Ferran that the next up and coming 54-40 and NoMeansNo's ofthe West Coast scene are now putting out excellent music in the cassette format. In fact, two out of every three cassettes that our station gets from Canadian indie bands are from Western Canada, and many of them make the charts, right up there with Camper van Beethoven and the Stone Roses. I suggest to Ms. Ferran and all other Discorder readers to scrounge around for cassettes by Jr. Gone Wild (Folk You...), A Merry Cow, Roots Roundup, 64 Funnycars, and absolutely any of the half-dozen put out by the heaviest unsigned band around, MARY! Happy listening, Carl Jorgenson Sudbury.Ontario P.S. When's the next Reid Fleming comic coming out? Our inside sources inform us that Reid Fleming #5 is only half drawn. So it will probably be awhile yet. THE MAN FOX Dear Airhead, Re: "Man Scan" by Lomm Sorbay, June 1990 edition. Reply: "Verdict - #1 Moming Show in Vancou- Thanks for the support! Not guilty!" Regards, Jim Johnston Judge & Director of Programming 99.3 The Fox DISCORDER HATE CLUB O Hated Discorder Staff, Please oh please sign me up for the Discorder Hate Club. I've been reading that loathsome rag for more than a year now and I hate it! I hate your record reviews, which never review albums by good bands like Tiffany or the New Kids on the Block. I hate your new format, which only increases the amount of paper I have to cram into the bird cage. I hate your use of foul language, which is a goddam ned affront to christian decency. I hate your "Roland" cartoon, which ridicules such honourable persons as movie stars, advertising tycoons, and television game show hosts. And I especially hate the mindless people who write letters to such a revolting magazine. Contemptuously yours. Dan Reed Prince George, B.C. P.S. the $15 is enclosed. Yes, you too can join Dan and the rest ofthe elite group of Discorder Hate Club members. Just send us$15 (Canadian residents), US$15 (Yankees), or $24 (Other) of your hard-earned cash and tell us what you hate about Discorder. Youwill receive a one year subscription to this magazine as well as an authentic hate club membership card. ERRATA The incomparable Leigh R. Wolf should have been credited for the Psychic TV piece in the June Discorder. Presents I From Toronto Capitol Recording Artiste i special guests .^^' FRIDAY JULY 20 86 STREET MUSIC HALL §[_(_®__[o) ff_f__ mm mnm§n BOOKINGS &INFO c/o NINTH CONFIGURATION 2523A 17ave S.w. CALGARY. AB. CANACA T3E0A2 (403) 246 1706 EVE 244 2056 FAX 246 8916 SEND $10.00 PLUS $1.00 POSTAGE 8 HANDLING TO ABOVE ADDRESS -- KJ£Y-CRfXJ5 OMY PLEASE ■i- The purpose of our meeting today is precisely to fit art and literature properly into the whole revolutionary machine as one of its component parts, to make them a powerful weapon for uniting and educating the people and for attacking and annihilating the enemy with one heart and one mind. - Mao Tse-Tung, Talks atthe Yenan Forum on Art and Literature (May 23,1942) (Peking: Foreign Language Press, 1956) Consolidated are a group of individuals Irom San Francisco (lyricist, MC and vocalist Adam Sherburne; drummer, electronic percussionist and video creator Philip Stair; and keyboard operator and audio technician Mark Pistel) who create electronic dance music with an industrial bent which is almost exclusively created from samples of rap acts such as Public Enemy and NWA. But they aren't merely doing this. On top of their technology-driven beat, political messages are set in motion. In the white trunks is Lloyd Uliana's conversation with Adam Sherburne. In the grey trunks is how Mr. Sherburne stacked up against Simon Frith's "Sound Effects: Youth, Leisure, and the Politics of Rock '■' Roll," a second year arts textbook. Let's begin. Discorder: Are you in the middle of a tour right now? Sherburne: No, the show in Vancouver will be the first date of it. 0:You haven't done anything yet? S:Well, we've played a few gigs around the Bay Area but no extensive travelling yet. D: Where does the Myth of Rock Tour intend on taking you? 5; Probably to hell and back given that it's in the U.S. and that we don't have the kind of draw that will fit us into rooms that we need to be in from city to city. We're just gonna have to take our chances with immense drives and cut off as much territory as possible but I'm sure we'll get to the east coast around the time of the New Music Seminar. Fucked-up American kids from huge out of the way sheep fucking Klan towns in the deep south or in the remote corners of the country will hopefully come out and see us. D: How well is the LP doing for you or is the matter really insignificant? S: I talk to people who tell me that it's going up and that it's going down. It's really the most secondary concern for us. Our record company seems to be happy with the mileage it's getting and we're pleasantly surprised with the shows that we've played where it has been receiving a little airplay. The shows have been well attended. So that's about the only gauge I have for it. Charts (laughs) are a joke. D: Much of the questioning of popular music comes from the outside... academia... Where do you see yourselves fitting into the whole picture of questioning again what you call the "myth of rock"? S: I don't know if the picture has been fully drawn out or realized yet. I would say we fit in the picture in that no matter who we think we are, for every grain of success that we may have with people individually, in the community or just in our audience we have an entire sea of analytical failure in terms of getting our point across or our undeveloped points across along with other bands, music, entertainment or cultural figures trying to question the myth of their discipline or discourse or whatever. It just simply is insubstantial to be a successful culture industry producer. If we happen to have a career as musicians that's unacceptable. If we happen to fail heavily at music and have to strike out for like full time 9-to-5 jobs, that's unacceptable. We have to keep striving to find some kind of balance in the midst of all the chaos and so just to be recognised as musicians or as people in this tiny little subgenre of critique-oriented music. I don't think there's a whole lot standing out anyway. It's no different than what any other politically-based protest singer of the 60's or 70's is doing. The suggestion that musicians can be placed in two groups-"those who want to make it more than anything else, and those who care more about their music than they do for money or adulation"- and that by the mid 1970s the former had taken rock over from the latter. (Chapter 5: "Making Records," page 91) I S: There's little bits and pieces that are quite self-explanatory about the general contradictory nature of white guys in a rock band who have a serious problem with the legacy of white people in rock music. So these are easy points for listeners to catch on to but I'd say the times when people best understand us is in our live performance when at the end of the show we put ourselves on the spot to answer to the audience and we let them make any comments, critiques or suggestions or ask any question they want. It's at that point where they become part of our project. And that's when everybody understands what's up. Otherwise we're trying to make the points clear in some ways and point out the contradictions when there can't be a black and white point. I think it remains to be seen whether we have any success or whether people in the press or people who listen to our records understand what we are saying. Radical music critics usually analyze rock not in terms of form and content but in terms of production and consumption: the argument is either that the ideological meaning of music lies in the way it is commercially produced, in its commodity form, or that consumers create their own meanings out ofthe commodities offered. (Chapter 3: "Rock and Mass Culture," page 56) I D: At what point in your lives or working careers did you decide to pick up this form of protest? S: At different points in our lives. We've all been involved in different areas of our community in terms of working at whatever small or insignificant level to somehow try to impact social conditions. The other question of have we always made this form of protest in the music: obviously not. We're all coming from musical experiences that are wholly exploitive and negative and really unacceptable and that was our fault and we're trying to learn from them now. One of the points of our experiment is to see if we can possibly make music that we feel is somewhat fulfilling or challenging or at least willing to challenge the hegemony or hegemonic status of the industry whereas in the past we had been really resigned; either resigned in a chemically dependent way or resigned in a profiteering way enough to buy into the system and be on huge corporate nazi labels, and try to make music and realise that there's not a whole lot of difference from any major or any indie or any type of guitar you play. The point being that we were very resigned in terms of what we could accomplish. Now I think in terms of the nature of the protest that we have allows for the listener, the audience, to participate. Historians of A popular music argue that musical innovation has always come from outside the major record companies. "Independent" companies have been the outlet for the expression of new ideas and interests, and only when such ideas have been shown to be popular have the major companies used their financial advantages to take them over, to turn them into new, "safe" products. (Chapter 5: "Making Records,"page 89) I 6 DISCORDER D: The art process requires that audiences be active, informed, critical. Does that make the music of Consolidated "art" per se or still a commodity? S: No, I'd say that we would definitely perceive ourselves as absolutely more commodification than art. Obviously one has been totally qualified, and defined by the other for well over 300 years now. So it's important for us to always point out the fact that there's no such thing as art that other people receive without it being a commodity. These are old points that everybody, as you said, in aca- demia or in different realms understand. In the music biz especially in the business of recreating old crap and calling it alternative or new, or industrial or electronic it is totally dependent on the fact that people keep somehow masking the idea that this is simply a commodity and trying to create new definitions of its authenticity. So we're always pointing out at first that we are a commodity-based and within commodity-based economy and a commodity society we just have to keep putting out images and musical images that make people aware of that and aware of maybe the possibility they do have once they realize that this art stuff that they've bought into is not going to give them any of the liberation or freedom from their enslavement that art is supposed to promise. The belief in a i ing struggle between music and commerce is the core of rock ideology. At certain moments artists and audiences break through the system, but most ofthe time business interests are in control. (Chapter 3: "Rock and Mass Culture," page 40-41) u D: Do you think roadside buskers point more towards a genuine art form than most popular music? S: They just rid themselves of the trappings and artifices of the industry which is great if they can do that. I know a lot of people who busk because they're simply sick ofthe constraints of having to make music underthe competitive conditions that the culture industry puts on them. Z7: Is that what "Josephine the Singer" is all about: the notion of the singer buckling under external pressures? (lyric: "Josephine the singer illustrates the final stage of the capitalist amusement industry's expropriation and manipulation of the role of the musician in society.") S: No. It's a very short song and sort of an introduction to all the ideas that we're hopefully going to put forth over the course of the next records about what the contradiction of being a musician in a competitive society is. There's a lot of other points. There's potential value in playing music if you do things in a way that is positive and growth oriented and helps you out or helps someone else out through your music. There's a million other aspects of the nature of "Josephine the Singer" about the horribly negative and exploitive aspect of attempting to play music in competitive society. But I'd say the term "Josephine the Singer," taken from a Kafka story, is supposed to indicate that in spite of huge corporate evolution and control of culture, a lot of things remain fundamentally the same. Simply, that is when you make music as a commodity you're still going to be subject to the same constraints and the same parameters within which anybody is trying to produce culture either on a corporate scale or down on the sidewalks below your flat. The technology of rock has contradictory implications: amplification and recording, the basic means of rock expression, enable the businessman to take control. As local live performers, musicians remain a part of their community, subject to its values and needs, but as recording artists they experience the pressures ofthe market; they automatically become "rock '«' roll imperialists," pursuing national and international sales. (Chapter 3: "Rock and Mass Culture," page 51) D: Did you get MTV's blessing for use of the "on MTV" clip on the "Product" track? S: Good question. The people at the record company went to all the different publishing companies to have the rights to whatever drops we used from different songs on the "Myth of Rock" LP. We got attacked by some and got clearance from others but we haven't heard anything from them on that particular bit. I think the lawyer and the people in legal positions at the record company are probably more fearful of MTV than they are of any other cumulative sort of (laughs) attacks from all these other publishing companies. So, I don't know what's happening. Simon Frith, "Sound Effects: Youth Leisure, and the Politics of Rock 'n' Roll" (New York: Pantheon, 1981). VERY BIG VERY BLACK VERY COTTON VERY COOL AND IN VERY LIMITED QUANTITIES ONLY 15 DOLLARS (BY MAIL PLEASE ADD $2 POSTAGE AND INCLUDE YOUR COMPLETE ADDRESS) Who's got the right to spoil one's life? Love is no Danger Zone Who's got the right to spoil one's health? Protect yourself Use your eyes Use your mouth Use your hands Use them all Create a new kind of sexpres- Lovt 9 Danger Zone! ■ "Danger Zone" from A Hard Day's Knight We never wanted to promote homosexuality because there's one gay in the band which actually is me. The other members of the band are straight or bisexual men. We never wanted to promote homosexuality, just as we never wanted to promote heterosexuality. We think everyone has their own choice. You can choose what you want but you have to be informed of all the possible choices. Sexuality is like religion: if you want to choose a religion you should be able to choose it when you are 18 or able to make responsible decisions for yourself and then to choose between Buddhism or anything you want. But you have to be informed. You have to know the choices. The same for sexuality. Maybe in a way everybody should try everything before choosing. It's the only way we try to push our listeners. We emphasise that everyone is free of their choice. - S03 From Charleroi, Belgium emerged what Dave Henderson of Sounds Magazine called "the world's most militantly hardcore gay dance group" a;GRUMH.... In existence for nearly a decade, ihe trio of J07 Cram-Naej (vocals), Jerry WX (video and percussion) and originator S03 (synth and guitar) haven't enjoyed the level of recognition from North American audiences that has befallen contemporaries Young Gods, Cassandra Complex, and compatriots Front 242, but still managed to trudge onto these shores just this past spring in support of their "Hard Day's Knight" LP. Discorder: It has been said that the addition of disease and death to the homosexual identity defined by right wing society as being "deviant," combined with a decade of conservatism have made the prospect of "coming out" even more difficult/ intimidating. S03: We saw the difference first in the gay ghettos; in the saunas and the bars, you could meet less and less people. It was more and more difficult to meet new people because they were afraid to come into gay ghettos. They were afraid of disease. I will say that the problem of the disease in the gay community is solved. Almost solved. Very quickly, the gay community and the drug addicts' community understood that they had to use preservatifs and that they had to use clean needles and things like that to avoid disease. So all these people on the front line learned very quickly how to protect themselves against this disease. Now, it's a problem of straight people. Maybe in Europe they have become convinced that they have to use preservatifs, especially the young people, but older people still don't consider AIDS as something they should be concerned with. They still think it's more a problem of gay people, That's a big mistake. It's of course even more diffj cult for homosexuals to come accept themselves and to tell parents and their friends that gay because you are imm^BRely considered a possible flicted person. But I more about this beca| don't have examples. tionship sexually and affectionately. Apart from that we like to go to the cinema and to restaurants. Sometimes we also like to go and fuck some men. All this is done in a very safe way because we don't want disease to spoil our relationship. We try to be very careful. In my opinion I'm not really interested that gay people should be totally free because then we would be mixed everyjjhere, straight and gay people inifi^Land discos. It would be as _H^<^V cruise a man for a gay dK as _^k difficult to cruise a gi^Rr a boy^kause when a boy cjgHfs a girl, fifHfeprccnt of the tiij^Ku have to go M-trestau- 5 have to talk ana) S then maybe go to bMg_ven Ing the whole time you n fand talked and s< fca you have on your mind and \ (Bnly idea she has on her mind 1 f "let's go to bed!" We prefer firstly^ to go to bed with somebody that attracts us physically then maybe start a friendship or a spiritual relationship with him if he's this i my • among my friendsjj D: It has also_f been said that.: feminists^ and black. activists fough foifiM d oM but for according to one gay student union spoke; person. "Idon't think we're necessarily breaking free," he says. Rather *t "we're breaking down people's preconceived ideas." What would you add to this? S03: It's maybe more important that people should change their ideas of gay people than that gays should reach a sort of liberty or freedom. In fact I'm quite glad of the non-freedom of homosexuality because I like to cruise a lot. If there weren't ghettos, if there weren't bars and saunas especially for gays, it would be more difficult to find men to get laid with. I have very different ideas and very separate ideas of sex and love. I love somebody, I live with him, but we are both free to go and get some sex anywhere else if we want. We have a very good balance in our rela- ^jSJJfty about it all the time. Just as Mick Jagger doesn't speak about his straightness or whatever all the time. Straight singers do not sing about straightness and heterosexuality, so I don't see why gay people should speak and sing about their homosexuality. In this case I should say no, but of course if somebody sees me I'm not really looking like a queen with cosmetics about my face. If people are still foolish enough to have this view of homosexuality maybe I'm helping to destroy this stereotype. D: Frontline Assembly and Ministry to a degree call for violence as a means against systems of oppression. Ministry, I believe, calls for civil disobedience and the destruction of the corporate infrastructure. a;GRUMH has been referred to as 'radical," "militant," "reaction- Are you nihilistic to any c? What are your feelings on : of violence as a means to an opinion personally is that is totally unuseful. Vio- shouldn't be used in situation. Of course, i for ex- nple, violence a be used to ite freedom don'l know if interesting: the body first, the spirit afterwards. That's perhaps something that would be shocking to straight, conservative people but it's our way of thinking and my way to think. D: Do you feel a;GRUMH have any responsibilities or commitments to breaking down stereotypes and preconceived heterosexual views of homosexuality? S03: I should say yes and no because we don't want, as I said before, to promote homosexuality or to talk people to vio- our songs. I think discussion is always positive because it's an exchange of opinions which leads to solutions. We don't call for revolution or anarchy in any way. I deeply think that we live quite well in our respective countries. If you ; just think that people die from hunger in other parts of the world, if you just think that people are not able to write or express themselves in several other parts of the world, we should be happy to be in a land where people can work and if they don't work they get money for doing nothing. Some people try to find work and other people don't try at all, they just live on the expenses of the government. So, we should be happy to live in this kind of situation even if there are people dying from hunger in the street; but in many instances people want to get out from the society and deny themselves the possibility of help and assistance. Maybe I'm wrong on some points, but we do live in quite good conditions. D: Right wing homophobia and the AIDS hysteria have pushed the topic of legalised homosexual marriage to the forefront in North America as it is probably viewed as a public health measure. Overall, the gay movement has avoided the issue primarily out of fear of division. Much of the gay leadership supports the notion of gay life being essentially outsider... anti- bourgeois... radical. Marriage in reality is seen as a co-optation into straight society. What are your views on homosexual marriage? S03: I don't generally promote any kind of radical way of living. People have to feel right to do what they want. I don't care personally about weddings and marriage. I don't see why I should ask permission, authorisation or any kind of regulation about my decision to live with somebody or not to live with somebody. It just concerns him and me and that's all. Of course, homosexual people living together should have the same rights as heterosexual people living together but this has nothing lo do with marriage in itself. Rights of people living together should be something totally separate from the wedding organisation. D: a;GRUMH may be opposed to complete assimilation into (hetero) society, yet with corporate gay acts like Erasure, Dead or Alive, Communards, Bronski Beat, etc, whose homosexuality is not overt in the music itself. Their convictions are so diluted that they are mainstream culture. Would you care to discuss your views on this? S03: Well, I just think that Bronski Beat at the beginning was a very strong homo-militant band but I don't really think homosexuality needs militantness anymore because the majority of the public is aware of what is homosexual: what it looks like, what it is supposed to do or not to do, and I hope that it is just a question of time beforfrpeople accept homosexuality just as they accept uality. D: Any last words? S03: The last thing I want to say is that I'm very interested in meeting any kind of hairy teddy bears from the USA that can write me at the address of the band: BP 1649, B- 6030 Charleroi, Belgium. You can write if you are very hairy and very fat (laughs). (Catalogue and mail-order enquiries also welcomed through this address.) & JULY 1990 9 That local band competition is back. 10 DISCORDER ^SnCJAIlSTTURTrF* FREE TRAPE?^A/0// DON*T i A£SI <You RBALCZE? muiAjLXKP l>u »l. i» ,U»V l\)m\J) I tfd /jdf^oD/±fs THEV ^ .^OTHER GUYS FAULT,HB,DOESNT HUH9)2~JJNVeRSTAND YOU/ HES A $ BIGOT// NARROW-MINDED^ INTRANSIGENT AND STUBBORN1.1. HOW ' COULD VOU BVERs HOPE TO LT\JE WITH HIMIHE'S IMPOSSIBLE!!, \JWw VIA1" VW ^ l^l^^M^^lM^^iV^^ ^ * THOSE DIRTY FROGS ARE CRAMMING i 5ILINGCALISM DOW/V YOUR THROAT WHILE" FORCING EVERYONE IN QUEBEC TO BE FRENCH ONLY! YOUVE HAD IT WITH THIS COUNTRY BEING RUM BY A CLTQCC OF QUEBECERS IN OTTAWA, A&OUT TIME THEY LISTENED TO YOU INSTEAD! DAMN PROGS WONT BE HAPPY TTLL WE ALL •9PEAK FRENCH.'/ TO/ST THOSE ANGLO-REDNECKS ? TO GO BACK ON THIER WORD Atp DENY QUEBEC THE PROTECTION *X) NEED FOR SOUR CULTURE!! WHY CAN*! THEY ACCEPT YOU?THEY'RE STILL TRYING TO KEEP YOU AS 2WP CLASS CITIZENS AND YOU WONT STAND FOR THf/R BULLYIH& SEPARATION 15 THE ONLY may/! O/V NOUTHB AMERICANS ARE GOING >TO DEVOUR USllTHE eCDUOHYS COLLAPSTNt,1 DOOh\\DooMlZT$ ALL THE HOLD'OUT RO\JINCES' FAULT!! DOOOOOMl< " CANADA WILL BF DESTROYED*; TJLF MEECH ISNT RATIFIED*] THE FOUNTAINS WILL. «_ CRUMBLE TO THE SBA'.! ,< STAND_ BY^rAEBCH!^ ,»J""J^)UWlUmLH|WU IIU.UI) UULHIUU^/UU^VUUt, .WAIT/ WAIT; THE QblESSElV FIRST MINISTERS MEET AT THE LASTi MINUTE(CAN THEY DO TT? OH < I CAN'T, STAND "IHE SUSPENSE/, A/OW ITS ALL NEWFOUNDLANDS'; FAULT!! r£AR! DOOM.'NqwAl^ LOOK- SOMEOMES COMING OVT- Its AN AGREEMENT! GLORY v •TcRISIS OVER.' HARMONY IS * RESTORED! We^E ALL FRIENDS AGAIN, RIGHT GUYS ! COME ON SHAKE HANDS NOW! BE ' PALS.'? GUYS.,. GUYS? / have a theory (it will probably be proclaimed fanciful) that the Essex countryman's character owes at least something of its quality to the nature of his landscape. Clay and sky are all-the heavy clay that tears the soles off a man's boots and the wide open sky where he hears the larks singing. And my theory is that just this combination helps to give the Essex countryman his odd mixture of harsh realism and tender poetry. Essex, 1950 ,S* "I don't think our music particularly reflect;, our environment. It was rural. It was very conservative. It was very safe. We were alw«v« very bored and reacti* 12 DISCORDER energetic and is more a reflection of cur 1 against whal was going on ;. We were like the an tip a .indings. We're a i. omplute reac I ion against it. The aggressiveness, the energy level, it's almost a total mirror of where wc came f**_________________. itmm Those words came from the mouth of Bon Harris, one half of Ch elmsford, Essex's Nitzer Ebb, the region's second most celebrated contribution to post-chlorofluoro- carbon-comuming society, ranking closely behind the annual Epping Forest Stag Hunt. Harris and cohort Doug McCarthy plus various percussionists have redefined electronic-based underground dance music with their distinctive hardcore punk hyper-aggression fused with the precision, discipline and the inhuman-border ing-on-sado-maso- chistic unrelenting rhythms of machines. Discorder introduces you to... Nitzer fob. Discorder: So you're on tour with Depeche Mode. They've finally been accepted whole-heartedly by the MTV generation. Are you at all turning off their fans? Bon Harris: No, precisely the opposite. I'd say that a lot of people who perhaps hadn't heard of us before or weren't familiar wilh our music are going the other way, relating to it and getting into it. D: What has been the biggest complaint that Nitzer Ebb have received? For instance, an article on a;GRUMH states that the band has been accused, as have Depeche Mode, of "being less spontaneous or instinctual" because of your employment of technology and machines. Is that something that Nitzer Ebb has run up against? B: The way we look at it as a band is that electronic music is still relatively infant. It's the newest style of music that there is and consequently people are constantly finding new ways to do things. There's a lot of new parameters involved when you're making electronic music. Quite a lot of the bands in the past have perhaps settled for the constrictions and limitations. We feel that perhaps we are part of a new breed of electronic band that are skirting around the limitation of using machines. We free ourselves as much as we can. We do the most physical things that wc can on stage. We put the sponyiQgilj^BfUMgpergy in Obviously the tact that some of it has to be programmed does take away a certain improvisational as- :. but then «gain we're not .ny into that anyway. There are ways of doing that, which we haven't explored yet, but I don't think it's really a fair accusiitron. It's just a different way to make music. There are different parameters involved. There's also a lot of constrictions with a standard rock- type format bul nobody likes to talk about them; everybody knows it and they're familiar with it. So, people don't consider the limitations there either. :-*^^B D: "Showtime" has on it some jazz and swing elements, specifically on "Nobody Knows." "One Man's Bur den," and the percussion, wind instruments and brass on "Lightning Man." B: Yeah, it's just showing more of our influences and more of the different emotional feels that we want to get across in our music; trying to reemphasize the fact that we are a band, an individual band whereas a lot of people like to throw you in some kind of category which we're very wary of. There's more than one side to our music. Plus we wanted to attack more traditional songwriting structures. It's just moving on to different challenges within what you do. We're known for doing the sort of quite stark hard dance music. But there are other things that influence us. We've always been intrigued by whether wc could combine all these different things that we see and hear around us and still have a Nitzer Ebb identity, which 1 think we did on "Showtime." It's quite pleasing for us to be able to draw on those influences as diverse as swing and blues music but slill sound like ourselves. D: It demands more of an active role from the listener vis-a-vis "That Total Age" and "Belief." B: It's more challenging, I think. There's a lot of raised eyebrows when people hear it for the first time if they're familiar with our music. But I haven't particularly met anyone who thinks it's bad. They take a while to adjust but once they're adjusted, they can see the logic. They can see exactly what we're doing and most people sort of admit that it is more lis tenable than the other ones. The first two were more sort of "doing music"; they made you get up and dance. There are tracks on here that are more listenable, that you think about a little bit more. That to us is like a positive thing because if we had just put out something that people would listen to and go "Oh yeah, Nitzer Ebb, good, file under Nitzer Ebb," then we're not Ballenging them as lis- re not moving on |tists, so for us it's a : people don't par- Ire fact that they have I re-evaluate because ^comfortable with identify- s and how they know us as BPfezcr Ebb. We have to be interested in making music and wc have to makeilhonestly and impulsively and so that means that wc have to think aboutit. If we're constantly thinking about andre evaluating it, then there are going to be changes. There are going to be different sides of us that we want to show D: How and why did you hook up with Ralph Dorper of Die Krupps and re-do "Fair Day's Work"? B: Well, when we were working on the "BelieF' album, Ralph phoned us up and said he was thinking about doing this track, would we be interested in (a) remixing it for them, or (b) actually perform on it. Die Krupps had been one of the bands that wc used to listen to when we were quite into German electronic music in the early 80's and picked up a few Die Krupps tracks. We were quite into them, so for us it was a real nostalgic thing and sort of flattering to be asked to do it although we were under no illusions why they wanted us to do it but from our point of view; it was a nostalgic thing and we agreed. We were on tour in Europe with the Belief album and we stopped by and did a few vocals and bits of percussion on it and then we mixed a couple of versions for them and there it was. D: Nitzer Ebb has also received some heat from the media for being tied to fascist/National Front elements. How would you set your fans in Canada straight on this issue? B: Well, originally a lot of the imagery that we were interested in was very stark and very aggressive. We've got a philosophy that if you want to do something and you can see a reason for doing it and you're not stepping on anyone's toes, then you should do it. We had an image that I guess some people could have found offensive but we had our reasons for doing it. We wanted to do it so we saw no reason why we couldn' t use and abuse images from the past that didn' t particularly have any rele vance to us and re-evaluate them and re-use them for our own means and for our own aims so we just went on ahead with the strength of our convictions. We know our political stance, we considered it to be moral and right. A lot of the accusations that were being thrown at us-being fascists, etc.- were completely ab- I WON'T YOU COME AND JOIN BON IN HIS VIOLENT PLAYGROUND? BY LLOYD ULIANA were doing and just went right on ahead. I think a lot of the thing was in our early days we went to great pains to try and explain and show people exactly what we were doing but basically if you want to see the bad side in something then you can. We were being ambiguous in some places and leaving it up to people to question for themselves what we were doing. Some people choose to take the easy option out and just want sensational ism and just want to see the bad side of things so you can't really stop them from doing it. If they've made up their mind that they want to see the bad thing, it's pretty hard to dissuade people. D: On "That Total Age" you thank Richard 23 of Front 242. They are obviously a major influence on Nitzer Ebb and vice-versa. What exactly is your relationship to them? B: Well, the reason that Richard and Front 242 were mentioned on that record is when we were starting, it was quite a struggle in England because the music industry was dominated by guitar music. Synthesizers were a bit of a dirty word and especially the way wc Were using them; we had this rather aggressive sort of sound and aggressive approach and I think one of the band members picked up a Front 242 release and it was a similar approach and attitude to what we're doing. So we were quite thankful that we weren't alone in battling away. Eventually, our paths crossed. I think we were doing a concert in Belgium and Richard presented himself to us and we had a long chat and shared many similar points of view and got on really well and met the rest of the band. It was just a way of acknowledging them. D: Sort of like Nitzer Ebb and Front 242 vs. the world! B: (laughs) No, it wasn't really like that but it was just nice to know that there are other people who appreciate what you're doing and other people that understood what you're doing and vice-versa. D: You played a show with A.R. Kane and the Swans once. What are your impressions of the Swans? Remember, it's easy to be negative. B: Yeah, I know. I was aware that they're very talented, it's just that you can listen to one or two tracks and be quite over-awed by the power and the intensity of the whole thing but I happen to be one of those people that can't take it for a long time. I respect them immensely, I think they're very talented, but I can't listen to their music for a prolonged period because it gives me a headache. D: What do you listen to? And don't say Prince. B: It's totally diverse. I have listened to Prince, I'll have you know (laughs). Before I came away I was listening to things like Red Hot Chili Peppers, John Lee Hooker, Billie Holliday, some classical stuff, The Cult, loads of things, Depeche Mode, Erasure, and Renegade Soundwave. D: Keep plugging the Mute bands there, Bon. Help sell some records. B: Well, it's not a case of helping them sell records. They happen to be my personal taste in music. D: They've got a good thing going. Mute. B: Yeah, I mean most of the artists on Mute... I make a point of collecting their records as they appear and most of them I think is really good D: Do you buy import records? B: Yeah. The last import I bought was the Chili Peppers. D: You didn't get Mute director and Depeche Mode inventor Daniel Miller to call someone in New York to get you a copy of the CD. B: Didn't want to. I mean, I wanted to buy it. I work hard (laughs) and I don't want to get it free. Iwannabuy it. They've got to buy their meals and pay the rent as well, you know. D: C'mon, Martin Gore's paying all their bills. B: (in disgust) Aaaah. D: Doug has been quoted a.s saying, "We went through the last five years desperately trying to be something and then we realised that all we had to be was ourselves." B: We perhaps had given ourselves a few too many preconceptions and a little bit of tunnel vision about what we should be in regard to the band and how wc should be when we were working on the band. There were too many rigid sort of guidelines that we'd set for ourselves and then there was like a general creeping frustration coming in and no one could really put their finger on it. It was just basically being able to loosen up and being able to trust ourselves, to express ourselves in different ways and to just loosen up in general and be more relaxed and be ourselves more because obviously that shade of Nitzer Ebb was only one very small part of our emotional spectrum. It took quite a lot of time to reconcile ourselves to the fact that there were other emotions that we could express and other ways to express them and that we could feel comfortable with doing that. It sounds quite simple but when you're going through that things always do look simple in retrospect. It's just like part of growing up as people and growing up as a band: letting go, loosening up, trying to express ourselves in different ways. D: The "Belief.LP was inspired by some of these experiences and can be said to cover more ground socially ("Shame," 'TWA," "Blood Money," "Drive") than does "That Total Age." How do you compare "Belief to "Showtime"? B: I think "Showtime" is a little bit more of a kind of personal insight. It's a little bit more of our personal feelings being opened up. Not so much to do with general social comment or general political comment, il's a lot more of an intimate-type of view. Just more a personal thing. D: Do you put much pressure on yourselves? B: I think we used lo. These days it's probably exactly the opposite. We're so incredibly lazy and our attention span is so short that it's like a built-in safety measure that wc don't have too much pressure put on us. We're always in pressure situations. Douglas and myself jusl happen to be completely non-serious. In fact it's quite hard to deal with us sometimes because wc just joke in really serious situations. Generally we tend to let off a lot of pressure that would build up by just D: And jovial... B: Indeed. 1): Whatmood or feelings are Nitzer Ebb attempting to create for their audience? B: In the live performance, the main thing that's important to us is a release of positive energy. Most of the bands that we used to go and see and really enjoy live were just so "up" and so "there" and so "for the moment" that it was a real experience. That's been an influence on us-re- creating that sense of immediacy and positiveness. So really, that's the main thing that we try and get across live is the energy. D: The energy is all very clear in a concert setting, but even that can be confused with other emotions. B: It happens. It's obvious feelings are running high and do reach quite a high level at our shows and sometimes that will spill over into violence. Sometimes it does in your personal life. It's a by-product. Sometimes people don't control themselves the way they should. Some people are just out there for trouble anyway. There's a lot of reasons why it can stop but it comes down to the individuals to channel their energy in a sensible and positive way. If they want to go around and start beating up on people, it's sad, but it's not really our responsibility. Maybe we would have done that but we didn't. We did something else, we formed a band and got our aggressions out in that way. We can't be responsible if people just see the only way out is to hit the person standing next to him. {?? r Hose ot Low Ite Piano Set Town Pimp Saturday, Jine 9th Opening up for English hi could buy the tape with their next song an it yes, in AM ndio Iune! House of Love actually suned performing tt I decent hour ind pliyed fa 70 80 minutes. Their strongest tunes were the House of Love wis the local hand The Picasso Sel. This band possesses the currently popular "organ-sound" of bands like Eric Burden and the Animals and the Doors. They combined this whine with New Order-ish monotony (and you thought it couldn't be done). The band's lead singer made a cheezy plug for their tape, telling the audience we moody "Blind" and my favourite, "Hope." For the latter, the icy stare ofthe lead singer comriensated for the band's minimal stage presence. The other band members didn't possess the same strange charisma and their grey tones just blended in with the smokey atmosphere of the Pump. They devoted most of their attention to the work at hand, i.e. playing and not pretending. House of Love integrated a melancholy sound reminiscent of the Smiths with harder riffs and polyrhythmic drumming. Parts of the audience even got into a snazzy dynamic which really pissed some people off- nothing a few dirty looks couldn't cure- when the big radio tune wis performed. The pseudo psychedelic light show thing on the back wall during "Beatles and The Stones" nude for wild photographs. When all was done, the tudience give t wetk cry to bring the House of Love back for in encore which, surprisingly, succeeded. The bind put ill their energy into the resounding finale, "Love in a Car." Toni-Lym Group 49 Pitt International Gallery Saturday, June 16th Saturday night concert-goers layered deep inside the Pitt on this particular evening were greeted with the experience of becoming one with a giant hallucination machine enhanced by startling 20th Century video images, real "Grateful Dead" incense, and a Terminal City Ricochet/Pilot 1 rcl ic of a stage. The men behind all this were in fact children. Children of the fathers of psychedelia, who over twenty years ago opened whorehouses of acid to the mind, body and While Group 49 is no Music Machine or Strawberry Alarm Clock, it has much in common with these bands of yesteryear. Loud, thrashing, rhythmic noise mixed up with Neil Youngish drug medleys, all complemented by far out un-Dick Tracy-like use of the primary colours. Group 49 is five wild, beat protest youths manipulating to the utmost a real eirly 1970s Soft Machinesque synthesizer, scraps of sheet metal and digital sampling, combined with a throbbing bassline and wa vering guitar. Anthony R , a guy in a Bon Jovi cutoff shirt, and Bill M , who could be described as i Cossman Graduate adorned in i furry tie, belled out an aural onslaught of intense tnthems for the 90s. In other words, it wis twice the excitement ind double the flavour of a regular gig. The Ridge Theatre Monday, June 18th Review #1: Some guy named Ver- liine, who used to be in t bind called Television ind thea released a string of great solo albums in the early 80's, came through town in support of his, relatively speaking, tepid new release. The show was a technical and financial disaster. A paid audience of lets than a hundredlounged through i short set of amateurish, acoustic guitar music, the likes of which can be beard it the comer of Granville ind Robson every night for i pocket full of change, or less. With buskers you're not obliged to shell out for i ticket or stick iround for i full hour. Verliine, who performed solo and who paiued to tune his guitar after every song, played as if be were fulfilling a contractual obligation to promote his new record. He put in his one hour and then fled back his hotel, but not before playing a one song encore in which he flayed Johnny Cash.Only i few diehard fins (ind t sorry lot they were too) anyone who can remember records like "Words from the Front" and "Dreimtime" has to be it leist 30) illowed themselves to be conned into believing that such dreck ictutlly constituted "entertainment" or "artfulness." The Ridge management should have pulled Verliine, and the misapplied stacks of amps, off the stage and resumed screening the movie "Choeolat." Better still, they could have gotten a print of "Spinal Tap." An endless loop of the bath tub interview with the spontaneously combusting drummer would have been appro- Review #2: This will sound like age elitism, but I'm very glad there was nobody at the Tom Verlaine concert under 25. For once there wis no fashion show, no battle of the big hair, nobody talking during the songs. Between the notes from Tom's guitar the loudest noise came from Ridge's air conditioner. When was the last time you 've been at a show and the room was absolutely quiet? The audience hung on Tom's every sound. It was as intimate an evening with a guitar superhero as one can ever hope to ex- The show was the very essence of minimalism. Playing solo acoustic, Tom shunned all the trappings of rock Y roll schtick. The atmosphere was so close and intense that the camera flash from a fan taking photos was not only distracting, but obscene and vulgar. Early on Tom instructed the sound man to stop fiddling with the lights. His approach was antitheatrical to the point where the obligatory, yet inane, switching on and off of coloured lights Dissidenten Out of this World (Sirc/WEA) (The following is to be read aloud with a fake Balkan iccenl.) When 3 Mustt- of ours? They ilso speik of their most popular offspring, the bind called Dissidenten, the German... how you say in English... techno-pop meets Moroccan roll boogie kings of Europe and ihe North African areas. phas 3 recently came to the wildly appreciative town of Vancouver, they spoke of many things such as the young man who goes to the top of the mountain and howls like the wolf because his heart has been ripped from him by a woman, or of the things that roll over the carpets like the tennis ball, or why is there only one taxi in this wonderful world 14 DISCORDER As Mustapha say, "When Dissidenten and Mustapha go shopping in the market, Mustapha go down the different side streets, but Dissidenten go straight to the sausage shop." (Okay, you can stop reading in the Balkan accent. It was a dumb idea anyway.) The point is that on their latest release, "Out of this World," Dissidenten have not only gone to the sausage shop, but have gone straight to the No Name Brand weinie counter. Like 3 Mustaphas 3, Dissidenten puts on a fine show. Also like the Mustaphas, Dissidenten has in the past put out a couple of highly enjoyable albums featuring unique, hybrid musical styles with the sympathetic use of traditional and modern instruments (but leave the playing of the inflated goat carcasses to Mustapha!). Unlike the 3 Mustaphas 3, unfortunately, Dissiden- ten's most recent album is a disappointment. Despite the traditional instruments used on "Out of this World" (notably Arabic percussion instruments, quanounes, ouds, mandolins, and gimbris), the songs are belaboured pop-disco, often featuring annoying string riffs supplied by the unfortunate National Orchestra of Morocco. In fact, some of the songs sound like rip-offs from Dis- sidenten's debut album, whose format is also copied on this release. Perhaps producer Marlon Klein (the group's keyboardist and drummer) was responding to pressures from Sire Records, or maybe, as Dissidenten seems to have always wanted their music to be played in North African clubs as much as European ones, they have tailored their music to be acceptable to North African and Arabic youths to whom American pop stars such as Michael Jackson, Madonna, and even the Bee Gees, are still popular. "Out of this World" sounds like the relentless Middle-Eastern disco music which is blared from every cafe and car radio whether it's in Rabat, Algiers, Cairo, However, the short piece "Urban Dervish" is quite superb, featuring some wonderful gimbri playing by Abdellah El Gourd. The gimbri is a thumping, resonating instrument originating in Eastern Africa which sounds peat when amplified and accompanied by Arabic percussion. The piece is very similar to "Roots of the Tangi- ers" on Dissidenten's first album, only faster and more lively. If you've got gobs of cash, you should buy the album, record "Urban Dervish," and then relegate "Out of this World" to a safe place in your music collec- Jon Hassell City: Works of Fiction (Opal/WEA) A Canadian, Jon Hassell is a well known figure in the ambient, soundscape crowd, a group which includes Brian and Roger Eno, Daniel Lanois, Harold Budd, Michael Brooks, Robert Fripp, and Holger Czukay. In the past, his music has maintained i level of distinction from the "new- igey" aural wallpaper stuff through his exploration and serious examination of aboriginal music and archaic rhythms and instrumentation. A trumpeter, Hassell plays his instrument through "electronic filters" to achieve a variety of sounds and voices, a unique musical feature which has enriched most of his fine recordings; the best, in my opinion, is "Dream Theory in Malaya" which contains some bewitching tracks. Unlike many of his colleagues whose talents only seem to shine in collaborative efforts (notably Brian Eno), Jon Hassell's solo albums have always contained his best work. "City: Works of Fiction" is a departure from his past musical styles. Jazzier, slicker and less structured, the album could have been quite enjoyable. Unfortunately, 1 found the album rather empty. It suffers from over-production and over-programming and sampling, as well as a lack of variety to the nine tracks on the album. He has committed the worst sin of all-using those god-awful synth horn section sounds one bears in all those horrible beer, pop, and jeans ads on t.v. Much of the ilbum sounds mechanical compared to the mystic, image invoking music of his past works. This is unfortunate because the richness and layering of sound is quite creative, and often extremely subtle and sensitive, especially on the last two tracks, "Warriors" ind "Out of Adebara." The problem is that the collection of pieces seems cold and calculated. The liner notes are interesting, though—snippets of Ctlvino-lilce mythologies ind histories. Toobadthemusicdoesn't match these intriguing images. James Bold! (New Albion) Colorado-based composer Stephen Scott has just released a digital recording of two of his pieces for bowed piano, "Minerva's Web" and "The Tears of Niobe." Scott's ensemble of ten performers gathers around the insides of a grand piano (sos- tenuto pedal depressed) and bows the strings with horsehair usually used for the bows of stringed instruments. The resultant timbre is quite beautiful and often reminiscent of a string ensemble (particularly cellos). Musi- cally.however.thisstuffistiddley-winks. It is not music which demands to be listened to; rather, it will rest comfortably in the background whilst you channel in (for a handsome fee) to contact Michael, the spirit who has possessed Lily the cup-reader. Yes, too new agey, a bit like a watered-down Scelsi (dig the segue?). The late Giacinto Scelsi threatens to be contemporary music's flavour-of-the- week. This recent recording contains three pieces for orchestra and choir: "Aion" (1961), "Pfhat" (1974). and "Kora-om-pax" (1969). The pitch-content of his musk is always slight, but the music is always very charged, often exploring the possibilities of a single note through wonderful enveloping timbral shifts. I'm not sure what directions Scelsi's music will lead other composers as it seems to be the most absolute form of minimalism (though not in the same sense as Reich or Glass). In itself, however, this is one of the best recordings I've heard in a while. Deskee Let there be House 12* (BMG) The word is hip-house. This U.K. cut has what it takes. "Let there be House" is jam packed with rhythms and beats that leave you no choice but to get off your ass and move your feet. The track to listen to is the A-side" A2Zen Mix" by C J. Mackintosh and Dave Darrell. Part 1 is a hip-house rap that sounds like a DJ trying to whip the dancefloor into a frenzy combined with the definitive piano and keyboards house sound. Part 2 is like the house of the past: no rap, very infrequent vocal samples, and a lot of Without knowing the B-side was a "West Bam" mix, the influence was obvious; the horns reminded me of "Hold me Back," a single by West Bam. Noah Grant Put Your Body In It 12* (Infinite Beat) As you might have guessed, this is a dance band. EQ are Ease & Quase on the mk with DJ D-Swift on the turntables and two dancers, Ty-D and K-Born. Quase started doing his thing four years ago in his home town of Birmingham, Alabama, where he hooked up with the Sir Mix-A-Lot tour. The tour eventually landed at the naval base on Whidbey Island, Washington state where Quase met Ease, who was in the Navy. The two joined forces and have now released The Kt included many of the songs from Tom's latest release, The Wonder." While this recording is decidedly weak, especially when com- during a Socred-o-fied version of "Be Like Us." Dave thought it might be due to God's intervention. Pico sang "Cruise Tom Cruiie." It goes, "My mom approves Tom Cruise/1 want to cruise Tom Cruise." No the Cash songs illustrate. The man in black sings "I fell down into a burning ring of fire," while the man in white sings "I keep a close watch on this heart of mine." Tom's interpretation of Cish's works, like his deliberate dispensing of showbiz hype was a philosophkal and cultural tour de force! Review #3: It's impossible to avoid No Fun. I swear, I can't spit in a gutter without getting a little phlegm on the hardest working band in Sumy. I'm afraid to look in the fridge. I'm too scared to shower. No Fun is everywhere. Geez. Well. What was this encounter wilh No Fun like? Kind of like the last six or seven. Dave made a dever remark about members of the audience who can- expecting to see the movie "Choeolat." During many of the songs Dave held up signs and magazine covers and Gorgo lime- flavoured chewy toffee. The lights failed Fun finished iheir set with "Woodstock II." A very small plastic guitar was battered on stage and tossed in the audience. Pas Consolidated Luvafair Wednesday, June 20th To the chant of "America No. 1" over the Luv-a-fair P.A. system the drummer for Consolidated held up a sign upon which is written MYTH. This was the theme set by San Francisco's collective known as Consolidated on June 20th. Their music is primarily in the hip hop vein, yet proved to be more musically articulate than many of their peers. They ac- compl isbed this through a diverse repertoire of samples that, surprisingly, held my interest throughout the nighl Consolidated were without a dull moment. The exuberance of lead vocalist Adam Sherburne which spread through the crowd with the show opening performance of "Consolidated." played video cuts from bands, politicians, T.V. evangelists and other socially destructive characters. The most interesting part of the show came near the end of the encore when Consolidated turned on the house lights and answered questions from the audience. Most of the questions were concerned with the band's motives and goals. Some people were not willing to accept Consolidated's brand of social/ economic/ political criticism. One questioner pointed out the hypocrisy of Consolidated continually complaining about the role of many musicians and how the media portray these "rock stars" as positive role models to consumers. Adam Sherburne replied that they understood that it was hypocritical, yet they were willing to risk that in order to get their message to people, as they could not find a more prictical medium. They closed out the night the same way they started, playing "Consolidated" one more time. Overall, an appearance in Vancouver. Braden Zmo ®> their first single, "Put Your Body In It." When I first heard this track I thought it was good but still just another hip-house cut. It seems like everyone is combining house and hip hop. However, these guys manage to make it sound fresh. Look for their debut album in the record store soon. Noah Grant Age of Chance Mecca (Virgin/AAM) What happened? The debut Age of Chance album "1000 Years of Trouble " was a superb piece of industrial dance. The raps were tight and cynical and those beats! Like being in a rhythmic air raid. The album spawned "Don't Get Mad, Get Even," possibly their most famous track and a big hit in clubs. All this was in '86- '87 and apart from some tantalizing rumours about a Public Enemy collaboration, all has been quiet. When "Mecca" appeared a lot of people, including me, got pretty excited wondering how they were going to top the energy and power of the first album. The answer is, they didn't; and it doesn't sound like they were even trying. The album is filled with a kind of watered-down funk, possibly intended as a tribute to some of their influences, but showing that they are only mediocre in this style. The strength of Age of Chance lay in their assimilation of rap, funk, industrial and dance, a mix they had to perfection. DJ Powercut, the man who took scratching to ridiculous proportions on "1000 years.." is here relegated to a supporting role and is barely audible most of The worst thing about this record is that all the time I'm listening to it I'm expecting them to explode at any moment, but all I get here and there is a glimpse of the bidden talent and inspiration they possess. Ptter Lutwyche AndyPrieboy ...Upon My Wicked Son (Doctor Dream) Andy Prkboy used to sing with Wall of Voodoo. Andy has BIG HAIR and BLACK CLOTHING. Andy is obviously an alternative type person. His debut solo album "....Upon My Wicked Son" is crap, as simple as thai He sets a lot of shallow leftish lyrics to a bunch of lame Alternative-MOR crossover tunes and hopes to get away with it You know that an album is bad when the best song on it is a poorly done cover of Canned Heat's "On the Road Again," stripped of ill the original's character. On this record be tackles such topics as suicide, AIDS and homophobia all in the same formulaic "ren- The best thing about this album was the press kit that came with it. Laugh and read... "It is impossible to capture the essence of Andy Prieboy with simple instruments like pen and paper. He is far too dynamic and diverse. His music, lyrics and personality are all products of the radically left-of-centre instincts churning in his crafty soul." ...whilst listening to this half-assed trash on the turntable. In fact, if they gave the press kit away with every copy of the album I'd recommend buying it as the best laugh since Spinal Tap. But perhaps I'm being unfair. To even it up I'll leave the last word to Jennifer Beals, who Andy has just written some songs for. "[Andy is) a most profound genius," she says, "the guy is a poet" Peter Lutwyche Live an direct (MCA) I guess this is what you would call house music. One guy presumably does all the programming and there is an iwful lot of it This is live performance with no vocals (with some quick intros by somebody else), just electronic rhythms and keyboard including electronic piano and weird synth sounds. Repetitive? Yes. Boring? It depends on who's listening. After a few listens I grew lo like this recording very much. As far as I know it is an original concept to release house music performed live (with a mic on the audience) and it works very well. Adam Sloan Consolidated The Myth of Rock (Nettwerk) Publk Enemy Fear of a Black Planet (Def Jam/Columbia) When I first heard Consolidated's 12* "Consolidated" EP, I thought the title track was brilliant but feared that they would be a "one-hit" group because the other two tracks weren't impressive. "The Myth of Rock" ful fills my hopes that they would realize their potential. This industrio political dance music fantasy/nightmare is the number two album, combining relevant commentary on the rock V roll industry and racial injustice with excellent musk. Public Enemy's Fear of a Black Planet is number one. Adam Sloan Urban Dance Squad Mental Floss for the Globe (Arista) The Netherlands based UDS successfully combine the good components of rap and rock to create something danceable which would probably be great live. Son- songs have a tinge of Living Color in them but most of them are hard to attach to any other group's sound. Overall, this album is pretty good. Adam Sloan (§? JULY CONCERTS SUNDAY 1 CiTR presents CATERWAUL with BRUCE A & THE SECULAR ATAVISTS MONDAY 2 CANADA DAY AFTERMATH TANKHOG with former SNFU members WHEAT CHIEFS and the GRAND POOBAHS TUESDAY 3 CATHERINE WHEEL WEDNESDAY 4 MCA Recording Artist JILL SOBULE THURSDAY 5 THE STOATERS with BLACKTHORN FRIDAY 6 Rounder Recording Artists SLEEPY LA BEEF with SATURDAY 7 HERALD NIX SUNDAY 8 From Algeria CHABA FADELA MONDAY 9 Showcase TUESDAY 10 Showcase WEDNESDAY 11 OH YEAH with guests WIDE WORLD THURSDAY 12 STATE OF MIND FRIDAY 13 LAST WILD SONS with guests SPIN DOCTORS SATURDAY 14 ROOTS ROUND UP SUNDAY 15 SMUGGLERS with guests ELVIS LOVE CHILD MONDAY 16 From Jamaica RAS POSSE with ROOTS RADICS and CHARLIE CHAPLIN TUESDAY 17 Showcase WEDNESDAY 18 From London, Ontario LEGEND KILLERS THURSDAY 19 Timeless presents GOLIATH with JUSTIN SANE and MAD DUCK FRIDAY 20 SCRAMBLERS SUNDAY 22 CiTR presents ALL MONDAY 23 Showcase WED-THU 25-26 LAVA HAY FRI-SAT 27-28 BOURBON TABERNACLE CHOIR MONDAY 30 Showcase SUNDAY 31 THE TUBES ■"■■■■ ts m' TnWW D1I1UTD 1 KJ ww l¥ Mr U S¥l Mr 66 Water Street Gastown 683-6695 JULY 1990 15 COLIN UPTON'S BIG THING Published by Kd Varney 6424 Chester Street Vancouver, BC V5VV 3C3 SEXY STORIES FROM THE WORLD RELIGIONS Published byLast Gasp Eco- Kunnles P.O. Box 410067 San Francisco, CA 94141 Summer is the time when the big blockbuster comix are released. Much like movie theatres, the comic book shops arc filled wilh lots of eye candy lhat has as much nutritional value as I:amous Players' popcorn "topping." Anticipating the fan-boy explosion that inevitably follows the prison break known as summer vacation, comixbook publishers load the racks wilh as much crap as they can, hoping that the sheer volume will deluge the typical customer into consumption overwhelm. In that spirit, I will offer two non-crap reviews of two drastically differ- where the dust settles. Firsl up is Colin Upton, a local chap who has self-published his way into the hearts and minds of B.C. comix fans. Upton is part of a new breed of cartoonist who believe that his personal recollections and perceptions of people and events arc worthy of publishing and therefore docs so himself. His latest comic is a bit of a departure for Colin in lhat it is printed in an oversized format and thus is appropriately entitled "Colin Upton's BIG THING". That Colin Upton is a fairly talented cartoonist is immediately obvious. His thick, bold lines and his eye for detail allow him to render exact representations of the episodes he is recreating. The introduction lo his book is by Harvey Pekar ihc writer of American Splendor. The Pekar connection is telling since Harvey, like Colin, writes slice o' life comics lhat serve to entertain and lighten the toad. These comics can, when lhc> show the proper characterizations, give an insight inlo the divine comedy that is mostly unseen in reel world media. I am sad to say this is not always the case in Colin Upton's latest comic book. In fact, BIG THING seems like the obvious continu ation of an earlier series by Upton entitled "Self-Indulgent Comics." In the five years or so thai have been aware of Upton's work he has amused and confounded me at various turns. All will agree lhat the Granville Street Gallery was wonderful. Funny, scathing, and adroitly executed, the Gallery bode well for the future, it being one of the original self published pieces of ihe small press explosion. His Socialist Turtle, now being published here in Discorder, has been at times heavy-handed although sometimes insightful and of course his infamous Happy Ned went far beyond the realm of ( 16 DISCORDER j Ihe i ■ of wicked Upton has proved himself a viable storyteller wilh the modem horror tale of Artistic Licence and equally at home in the realm ol adventure fantasy in Buddah on the Road, proved Uptor telling a is he w ratlin Then somewhere along the way he read a copy of Pckar's American Splendor and seemingly became convinced thai triguing than ai al.ly lagim- This nl..in he could nately is always the case. BIG THING "offers ten pieces all featuring Colin on the course of his daily life. Although some of the stories are interesting, a few arc simply not worthy of being included in this collection. Case in point, the lead story which has Colin bootlegging raspberry cider for some underage girls. The conflict in this talc comes from Colin freaking out when a ghost car cruises past him on his way to spot ihe girls their illicit hooch. Okay...how about Untitled Incident where Upton is mistaken for a UBC professor by a member of the lost marble brigade. These stories are so devoid of incident that one is tempted to search for existential mcandcrings amidst the pen and ink. Not that BIG THING is without merit. I_atcr in the book we get a reprise of Famous Bus Rides in which the 2 a.m. Fraser bus is dissected e find oi certain terms that late night Mount Pleasant, isn't Towards.lhe end is another piece of social history that would otherwise be lost. We are privy to attend a New Year's eve gig featuring met- alheads Ogre and a brawl that looks like it chewed up the most hearty par- tyers These two pieces work better than most because they do not depend solely on Upton's self- characterization to propel the narrative. Though while reading these entertaining anecdotes I found my self longing for bid, even parody. Good things can be said about the last major piece in the book entitled Loonies. In it, Upton professes to an extreme distaste for the mentally handicapped based on emotional stress he suffered in his childhood. This kind of self-examination is healthy and gives the reader an insight into the chap who has been telling ihem very little about himself in ihe preceding pages. Perhaps if Loonies led off the book instead of being left till the end we would have more sympathy for the iconoclastic cartoonist who initially comes off more as a victim than a protagonist that we can identify wilh. Ali told an uneven effort from a local fan favourite. BIG THING shows that Colin Upton is reaching for the big leagues (the book is priced at $4.50 cdn) despair Colin! I predict here in print, as I have before, lhat some day you shall rise out of the com - munal pool for cartoonists and the lavish praise on the back cover of BIG THING will repre- the mmm nun, AHP TH£ MAP MONK of fAGATA TEMPl£ but cannot justify the steep cover price with his autobiographical tales of tension. A tale from his imagination with revealing character development and twisting turns would be the perfect balance for this book. But do nol Sexy Stories From The World's Religions is hot off the press from Last Gasp Eco-Fun- nies. Rarely has so heavy a howler come up the 1-5 and crossed over the border. If some of you remember my ravings about border censorship in a previous issue, I take il all back. How this book cleared customs I can only guess but I am truly grateful lhal il has. Here we have religion al its most repulsive brought lo you by many angry/funny cartoonists, including: Mario Hernandez (the third bro), Mary Fleener (cubo artist), Mike Matthews & Lydia Lunch (she writes-he draws), Steve (Dogboy) Laughler, Krys- line Kryttre & Michael Furey (he wriles-shc draws), Dori Seda (b. 1951 d. 1988), Aline Kominsky (another Weirdo), Joe Sacco (hot pencil boy), Hiromi Hiraguchi (SM Sniper/manga master), Naz- ario (Anarcoma), and editor Er- ick Gilbert, who has dubbed himself the von Stroheim of Underground Comix. Together, these prime candidates for hedonist engineering have masterfully plotted the downfall of the world's bogus religions and have cleverly chosen as their secret weapon- comix. Everyone here has an axe to grind, not least of all former altar boy Hernandez who plants the blade firmly in the skull of his saviour. Everyone has a wonderful time while the sparks are flying. Leading off the pack is Mary Fleener who shares with the reader the story of Pope Sergius. Sergius, who in the year 906 AD had a fifteen year old girl as his lover, was a prime mover behind the infamous Corpse Synod. The previous Pope to Sergius, Pope Stephen VU, was unearthed from his grave and his corpse made to stand trial for his various nefarious crimes. I won't reveal the grizzly bils, suffice to say that Sergius' love-making is greatly enhanced by the whole sordid experience. Next up is Lydia Lunch and Mike Matthews who re-tell the story of St. Dymphna- Patron Saint of the Sexually Insane. Lunch has a wicked way with words, as her fans will tell you, and her teaming up with Matthews has produced an inspired stroke of comix. Matthews' art stands league and legion above the olher artworks in this anthology. Offering what can best be described as more/ better Kurtzman, Matthews has somehow combined the best elements of the Checkered Demon with the hyper- cartoony renderings found in (early) Mad Magazines. Sort of a tight line merging with ob- scuro shadow play from a light- speed pencil. Fast? Funny? This guy could give lessons in attitude to S. Clay Wilson...and probably will. How About Divine Anarchy or the Gospei According to Fa ther Phlegm? Funny and yet ferocious in a howling vein. Then comes the one-two knockout punch from the late Dori Seda. Kicking ass from the grave, Seda gives the Pig People of Paraguay- a rollicking metaphor that exposes the shameful attitudes towards ritual sexplay lhat her fellow humans have bathed themselves in. Dori, I miss you. Dori is followed by Aline Kominsky- Crumb who seems to be reaching for the Most-Outrageous Housewife award. Aline tells us the tale of the Most Holy Couple in the West-a couple of sixties rejects who ate far too much acid when it still packed a wallop. He begs on the street sitting in the lotus position while swallowing a towel which he later pulls from his bum in an attempt to cleanse himself. She is the ultimate recycler who eats her own shit (purify, purify) which eventually has the consistency of chocolate pudding. When he watches her eat her own shit it drives him inlo a cataleptic fit. When she eats her own shit it makes her come. Is this comic strange enough for you yet? If not, how about the Ro- mainc Slocombe image of ihe beautiful nun and the mad monk which turns tragic with the punishment of the monk's daughter or there's the literal translation of Ecclesiaslicus 9: 4-9 which includes such sage advice as "Do not confide in a woman, so much so she has dominion over you" and "Do not rivet your look on a young girl, be afraid to walk into her condemnation's trap." These stories are awesome in their goal and in what they accomplish. They proclaim "If the end is near, so is the beginning." They announce " Hallelujah-Gobble and pass the anti- pasto." They say "The history of religions is peppered wilh senseless violence, pointless massacres, abusive exploitation, abstract authority figures and fantasies aboul ihe afterlife. Religion has provided easy justifications for the most horrible negations of human life, organized murder, genocide and slavery. Still, any predator with video access rings in big bucks and devoted followers. Will they ever learn? So enough with the hypocrisy, enough wilh the pious lies, here is religion at its most repulsive There is no doubt in my well reasoned mind lhat this is comix entertainment. That it is brutal and enraged is only too true but it is also, ultimately, compassionate and caring in its attempts to reveal, and thus expose, this collective madness called religion. In the Sixties comix like Tales of the Leather Nun and Binky Brown Meets The Holy Virgin Mary were radical indictments of religious intolerance and bigoted persecution in the name of God. Welcome to the Terrordome. Welcome to the Nineties. If comix like this one keep appearing on the stands at my local comix outlet, chances are the Nineties will make the Sixties look and feel like an alumni pic- FIRST CHOICE STEAK & SEAFOOD BUFFET 143 - 13757 72nd Avenue, Surrey Whoa. Heavy bad trip here. Although, judging by the massive line-ups outside, you enter unprepared...but there again, there's no accounting for avarice. Greed over gastronomy any day. I cannot adequately convey the WEIRDness here. It's as if every last Surrey Mutant-Person simultaneously decided to go out for dinner and ended up at First Choice. The lunch buffet is $5.95 a head and the dinner, $7.95. The latter differs from the former only in that it features a few more items, such as Sweet and Sour Spareribs. Waitaminute, did I say "features"?? - I meant, um- ah... "sustains"... "harbours"... "breeds"... "grows" - you get the idea. Pop, coffee, tea (generic bulk teabags; don't look for Stash here), milk; all are for the taking in the bottomless- cup format, and a wasteland of sad-looking desserts are similarly unrestricted. The main buffet consists of one long, straight, arid trough starting with a big tray o' buns, all baked together in one slab with sorta dotted "cut-here" lines criscrossin' it. Sprinkled with sesame HeirsfKitchen B£ANZ 'TODAY seeds, these buns bear a passing resemblance to foccacia... "passing" as soon as you chomp into dough the consistency (and flavour, I'd reckon) of heavy-duty Styro- foam. So, no hope for the buns; on to the "real" food. Ya. Cruise quickly past a limp, festering expanse of meat and meat-based delicacies, and DON'T, whatever you do, try the lasagna, I warn thee. Right down near the end, just when you've almost given up all hope, you hit the Sweet and Sour Spareribs, and THEN you completely give up all hope. But no, after that there's some rice thing with cashew nuts, though sadly, also containing meat chunks, and after that, fried rice with tofu bits; a curiously blackish mess of chop suey; and a wacky chow mein concoction. Vegetarians take heart (at least, till you move on to the next station which houses the turkey and prime rib). Oh yeah, sure, there's a salad bar in there too somewhere - I even saw nacho chips, though no other relevant fixin's; saves on the calories, I guess - but for the most part it's insipid and uninspiring. You grab a water. Head for a table. Sit down. Start chewing. The bun disappoints. The black chop suey, ifyou can disregard its tint, is edible. The fried rice 'n' tofu doesn't make you barf. The best of this sordid lot turns out to be the kooky chow mein stuff. Noodles, green pepper slices, some kinda cabbage-y product, and - wait for it - a green residue on your plate. Pale fluorescent green, very delicate, very aesthetically-pleasing, understated, tasteful. Yum! I even contemplated a second helping of this luminescent ambrosia but, being in a wildly masochistic mood, decided on another piece o' bun instead. Actually it was not sexual thrills, but a vague hope that the darned things might taste better given another chance, that motivated me. They didn't. After we watched yet another straight-outta-The- Far-Side fellow diner gambol past our table, my brother remarked "It's like - every once in a while, you see a normal person, and then it's back to..." "- Reality" I sup plied. Considering this is in Surrey, the statement wasn't contradictory. Atmosphere, people, ATMOSPHERE, is what you wanna go here for. The food certainly is a letdown, but the atmosphere is pure unadulterated Surrey, 1990. It's amazing, eye-opening, terrifying, to witness the urgency your average suburbanite can be plunged headlong into by a $7.95 buffet. "All you can eat" - perhaps the epitaph of the 20th-century food-world? Wacked right out by the clientele, I was possessed of a crazy urge to venture into the wasteland of desserts. Green or red jello, vanilla cake, tart shells filled with a pale yellow, unidentifiable fruit... Hm... Back I came with the least despondent of the lot, chocolate cake. Straight outta the box and topped with a few weakling imitation chocolate chips. Gulped down with a cup of coffee, not completely guaranteed to revolt. Okay. First Choice Steak 'n' Seafood Buffet. It's away in the back of beyond, in one of them new pastel malls behind the Liquor Store in Newton. I could call this place the Bino's of Surrey buffet- dom, but even that wouldn't do it justice. I mean, heck: It's ALL YOU CAN EAT!! tt ATTRITION Recollection 84-89 A 16 song 'best of.' I INDUSTRIAL - GOTH prqfekt iqafoud ;cjjo8-uiooiS jvauacpa i jvt^jsnpui JULY 1990 17 ■M *•] _ [r_IM :(»I»I«I»I»W»_Ti 4-«_■■ VARIOUS ARTBT5 UkeaGH.I Wart Vfou to Keep Comrig Gior no Poetry Systems CONSOUDAIED MythofRock NCK CAVE a IHE BAD SEEDS TheGoodSon Enigma/Mute NITZER EBB Showtime WEA/GefTen PUBUC ENEMY Fear of a Black Planet CBS/Def Jam PLUNDERPHOMC Ptunderphonlc Fun Music ABOVE THE LAW LMrt Like Hustlers CBS/Epic/Ruthless ...WTTH THE THRILL KILL KULT Confessions of a Knife Cargo/Wax Trox ATTRITION Recolection 84-6* Profekt THE RESIDENTS TheKingandl Enigma AU TroX>kxer THE FLUID Glue SubPop FUGAZI Cargo/Disc hord CATERWAUL Portent Hue MCA/IRS LI X1ANGTING Chine: L'artdu On SRI/Ocora n.GRUMH A Hard Days Night ;argo/Ptay It Again Sam WEDDINGS PARTIES ANYTHIr- K3 The Big Dont Argue WEA SOCIAL DISTORTION Social Distortion CBS ATRIBECALLEDQUEST People'sknlinchveTravelsathePalhsotRhythm Zomba BOO-YAA T.R.I.B.E. New Funky Nation VICA/lstand/4th & B way THE FALL Extricate PolyGfam/Fontana CASSANDRA COMPLEX Cyberpunks Corgo/Wax Trax LOU REED &JOHN CALE Songs tor Drela WE A/Sire COFFIN BREAK C/Z TRIP SHAKESPEARE Across the Universe A&M AFGHAN WHIGS SubPop NINE POUND HAMMER The Aud. the Blood, ond the Bears Wangheod THAT PETROL EMOTION Chemlcrazy A&M/Virgin The Word as Law ETTA JAMES Stickln' to my Guns MCA/Island LENE LOVICH March Justin Time/Pathfinder VASILISK Aequo Ml sico Maxima Magnetica VARIOUS ARTISTS This is the New Beat! EDDIE -CLEANHEAD- VINSON*... 80 ssos otthe Blues. Vok. mell BMG/Bluebird PROFESSOR GRIFF 4 THE LAS1 .. Pawns in the Game Luke Skyywalker NOISE UNIT Grinding into Emptiness Cargo/Wax Trax aUE AEROPLANES Swagger MCA/Chrysalis DWINE STYLER W/THE SCHEKrf E... Word Power CBS/Epic/Rhyme Syndicate MCILWAINE * SMITH DEAD MILKMEN Metaphysical Graftitti Enigma FRIGHTWIG Phone Sexy Boner HUNTING LODGE Carnivora! S/W Operatlons/Permis de... THE DAMNED Final Domnation 3 MUSTAPHAS 3 Heart of Uncle A&M/Ryko/Ace ALAIN THIBAULT SRI/Diffusion 1 Media COTTAGE INDUSTRY Spin Ikon LADYSMITH BLACK MAMBAZ O Two Worlds One Heart WEA PSYCHIC TV owords thee Infinite Beat Wax Trax HOUYNEAR Sky Dances Redwood BIG MILER&THE BLUES MAC IINE IVe at Athabasca Um ersity WEA/Stony Plain GREEN DAY MR. LEE Get Busy BMG/Jlve/Zomba CONTROLLED BLEEDING Cargo/Wax Trax FRANK MORGAN MCA/Island/An titles THE HOUSE OF LOVE The House of Love PolyGram HaveaSwig Crypt JAU MUSA JAWARA & MUSIC IANS Vbsirrako Denon/Hannibal CARMEN MCRAE Carmen Sings Monk BMG BILL FRISSELL Is that You? WEA/Elektra SADUS Cargo/Sodus Uveondrect MCA THE JACK RUBIES ' ee the Money in my Smile TVT MC. SHAN Ploy it Again. Shan WEA/CokJ Chain1 JAWBREAKER Shredder BUCKWHEAT ZYDECO W iere There's Smoke There's F ire MCA/Island DUKE ELLINGTON BMG/Bluebird IN THE NURSERY Counterpoint Cargo/Wax Trax MCGARRIGIE8 BOURNE Variety Uncording, 3 CBC VARIOUS ARTISTS Groove Yard MCA/Island JIMMY SOMEIA/LLE Reod my Lips PolyGram/FFRR REVERB MOTHERFUCKERS Tv* ■etve Swinging Signs of the Z GREEN PAJAMAS 39/Smooth Lookout! STEEL POLE BATH TUB Lurch Boner WmmmmWLm^ \ [•] l\ _M ll*I*\U « TACKHEAD 'D-molWon House" )2' TVT SKINNY PUPPY -Warlock' 72* Nettwerk HUT 'Get Stuck' tr Nettwerk MORRISSEY •November Spawned a Monster'12 WEA/Ske NEGAZIONE Sempre in BmcoVLo Nostra Vita'T We Bite PD-2 Surprise- 12' JROO SAMIAM loo Many Buttons'/Iked o-Waitmg-7- FARE -Break the Grip of Shame' 12' PolyGiam/Tommy Boy MC 900n JESUS W/DJ ZERO Truth is out of Style' )_* HDV -Pimp of the Microphone-7_" l»ba NEGAZIONE -Behind the Doof J_ * WeBrte THE MR. T EXPERIENCE So LongSuckerVZeio?- T AJAX -Mind the Gap'TT Cargo/Wax Trax NINE INCH NAILS 'HeodHke a Hole' IT TVT TREACHEROUS JAYWALKERS lo -to Borvta EP SST AMMA 'Belly Dance'12" PoryGram/Philips EQ Vut your body in if 12' Infinite Beat PASKA Super Double Mega Maxi Hits'7' Bad Vug um ElECTRIBE 101 7a*ing with Myser IT PolyG ram/Vertigo SHINEHEAD 'Fornty Affair 12' WEA/Elektra SALT-N-PEPA •Block's Magic' 12' PotyGram/FFRR WHITE BOY MIKE AND DJ 'Something to Dance to' TT Jive GAME FOR VULTURES -Goin'my way'/'INeed Vfou'7* SNAP 7he Power' \2' BMG/Arista EZEE POSSE 'Love on Love' IT A&M /Virgin THE MONO MEN '1 Don't Care'/'Jezeber 7" MENGELE •Senseless Extermination'T Bod Vug um MAIN SOURCE -Watch Roger' IT Actual PSYCHOTC TURNBUCKLES The Goodtimes..'7' Shake/Rattlesnake THE SUBJECTS Ytord of God IT 2 World Productions HONEST ROBBERS "Join to my Piano '12' GDM/Tasmania WOOD CHILDREN 'Sweets for the BHnd-/'Manniple' 12 REVOLTING COCKS -Physicor IT Cargo/Wax Trax ELECTR'BE 101 Tell Me When the Fever Ended' 12' PoryGrom/Vertigo GRANI HART 'A. 0/My Senses' 12' SST INSPIRAL CARPETS Cool As Fuck EP Mute/Cow ■__MU_I»7:VM___H ARE YOU SERIOUS? MUSIC 8 00AM- 1200NOON The newest new music: Ugetl. Dho- morrt. Schnlttke. lutoslowski. Birtwistle. etc Information on concerts, recordings, composers THE BRUNCH REPORT 12:00-12:15PM the CiTR News. Sports and Weather Department! THE ROCKERS SHOW 12:15-J0OPM Reggae. Rock Steady and Ska with George Barrett THE SUNDAY NEWS MAC.... S 00 5 30PM CiTRs In-depth current affairs/news magazine show Coverage and analysis of UBC News plus news and sports, doily editorial commentary, entertainment reviews and reports on events here at UBC. all in a comprehensive and comprehensible magazine package And we promise, notraffic reports. HEARSAY 5:30.00PM CiTRs literary arts program wants YOU to submit your works for on-air performance or reading (you or us.your choice). DE-COMPOSITIONS/ ELECTRONIC SMOKE SIGNALS 4:00-8 OOPM Information, news, interviews, political anaryis from the global cultures of resistance hosted by Horocb de la Cueva. alternating Sundays with electic music and caustic alphabets/spoken word RADIO FREE AMERICA 10PM-MIDNIGHT Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think twice. Bring your tape deck and IwoC-Ws Originally broadcast on KFJC (Los Altos.CA) IN THE CRIP OF INCOHERENCY 12- H..[«]_l>7_Y-s-*___i THE MORNING SHOW 7.30-8.15AM From the famous siren to the not-so-famous BBC Radio News Reel, wake up with The CiTR Morning Show. Information to go: news, sports, weather and 'scenic view' (reod: rodor) reports, features, enfertoinment reviews and Alberta Hog prices Weekdays! BREAKFAST WITH THE BROWNS 8:15- 11:00AM Are you blue? Get Brown! Your favourite brownsters James and Peter offer a savoury blend of the familiar and exotic In an excitingly luscious blend of aural delights! Tune in and enjoy eoch weekly brown plate special. THE AFTERNOON REPORT 1:00-1:15PM Lunch goes down better with The Afternoon Report. Tune In for no frills news. your boots to. With yer host-poke. JefT THE UNHEARD MUSIC 3-5 00PM Demo Director Date Sawyer provides some insights ir" ** "Not for anger and despair but for peace and a kind of home." Suicide note of Lewis Hill, Founder of KPFA Berkeley - 1957 great alto saxophonist and with Charles Lloyd (flute and tenor sax) recorded in the mid-60s at Shelrys Manne-Hole. a club owned by drummer Shelly Manne. 23th Lambert-HendrickJ and Row: one of the most popular vocal groups in Jazz. Great singing and wonderful arrangements. From their first Columbia album (1959-40). 30th Arlo Summit: four great alto saxophonists together: Lee Konltz. Phil Woods, and lesser-knowns Leo Wright ond Pony Poindexter. a wonderfully OPEN COUNTRY JOY 12:00-4:XAM All the tastiest LUNGBUTTER with Keith, a confused but friendly person. You will be exterminated! SPORTS DIGESTS 30-6 00PM Join the CiTR Sports Department for an the latest in Thunderbird varsity sports ' action and sports everywhere else for that matter. Interviews, too! FACING THE MUSIC 6 00-7 00PM A musical/informational hour wtth an emphasis on topics related to awareness and sanity. THE JAZZ SHOW 9:00PM-12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever- suave Gavin Walker. Features at 11. 2th Parisian Sketch** by Max Roach (who also wrote the title suite). This overlooked group (3 horns. 2 rhythm) had a fresh sound that is still relevant 9th The New Trittano: solo piano by one of the great innovators of modem Jazz Lennie Tristano. Many consider this album to be a 'desert Island* record. 16th Cannonball Addertey Uvel The -n Phoenix. Arizona: The Si ■___U*1>7:l.tt___ THE MORNING SHOW 7-30-8:15AM And he s not telling you which is which! THE CiTR DINNER REPORT 6-5 30PM See Monday for details B.C. FOLK 5 30-7 OOPM The thoughts and music of B.C. folk artists, hosted by Barb Waldern and Wayne Davis. AVANT-PIC 700-900PM Avant-garde thuggery with Pete Lutwyche. First Tuesday eoch month: World Music Exploration. IV_*»J_|:M»J_1.K1 WHITE NOISE S:15-10:OOAM The bastard love child of 70s progressive and 80s electronic has changed time slots!. Improvised fusions of traditional rhythms from oround the globe. Burroughs. FVnchon. "unreleased live sets' and more. Hosted by Chris Brayshaw. MID-DAY PHALLACY 11:00-1:00PM Daisy checked out and her evil twin Tania now inflcts the airwaves with eclecticism. If its phallic, it plays. Check out special children's program July 11 for frolicking f riskiness and Happy B-Day America, we love you. LIVE FROM THE KNITTING FACTORY 6:00- 7:00PM Concerts recorded in the fall of 1989 in the heart of the New York arts district. JIGGLE 7 00-900PM Mikey's here. Gavin s here. Six years of combined DJ experience; 40 years of lovin1 experience. Games, hiking, drugs. orgies, breakfast all day: an odoles- PERMANENT CULTURE SHOCK 9:00- 12:00AM Permanent (per-md-ndnt): tasting, intended to last, indefinitely; Culture (kdhchdr): (1) the civilisation of a given race or nation at a give n time or over all time: (2) the raising of microorganisms in specially prepared media for scientific study: Shock Cshak): (1) violent collision, concussion; (2) sudden and disturbing mental ond physical impressions. _BI__lJ;M»7_Y£fl_ NOW YOU HAS JAZZ 8:15-10:00AM Join Tommy Paley now on Thursday's with an extended one hour feature! A morning of stories, anecdotes. JAZZ, and 18 DISCORDER HANFORD NUCtEAR PIZZA PIE 10:00- 11:00 AM Ran outta string cheese... went to get more... missed 3 weeks In June os a result... forgot the Pibb... gotta go bock and get It... not here the 19th and 26th... stf the OR-to-AK show tho1. reaHy... Rowena's sorry. NOW YOU HAS JAZZ FEATURE 11:00PM- 5th Shuffle Demons 12th Charlie Mingus 19th Sonny Ro»ns 24th Jock de Johnette -ERIC— THE CiTR DINNER REPORT 500-630PM See Monday for details. ARTS CAFE 6:30-4:00 PM Be updated, be wtth It. be Informed about Art. theatre, fin and ony other cultural event happening In Vancouver. With Antje! TOP OF THE lOPS 6:0O-7OOPM Trlnl Lopez. Ronnie Self, and The Phantom ol love you. Marc Coulevtn brings Rock n Rol to Its roots. LIVE FROM THUNDERBIRD RADIO HELL 9:00-10:30PM Peter, Andy and sometimes Ed Introduce the »ve bands at 9:30pm. Sth The Picasso Set 12th Toxic Jimmy 19th Dirt 26th Evan Symons Uneven Steps SOUND OF REALITY 1030PM-1:00AM Experimental Radio, wtth Vision! Featuring envkonmentol sounds, found noises, information/propaganda and the worlds ethnic and experimental musics fromtheauditor/fringe. UvelContributions welcome. Practitioner Anthony Roberts. MEGABLAST1 1:00-4:00 AM Compoct Discs and concepts on au- torepeat. band specials, turntable feed- backgammon courtesy uncle mlfty. stagnating creativity: welcome to tate night radio where the Ghetto Boys ore considered artistic. ___■_(;•] I »J:1.K___H MOVING IMAGES 10:30-11:00AM Join host Ken Mocintyre as he takes you ' jr through tl ___Kf:Ulk W:\_aM THE SATURDAY EDGE SAM-NOON Steve Edge hosts Vancouver's biggest and best ocoustlc/ioots/rogue folk music radto show. Now In Its sbrth year on CITRt Roots music from around the world, new releases, studta guests, and the World Cup FootboJ Report at 11:30. POWERCHOR0 12:15-3 OOPM Vancouver's only true metal show wtth the underground speed to mainstream metat local demo tapes. Imports and other rarities Gerald Ratttehead and Metal Ron do the damage IN EFFECT 3:00-6:0OPM The Hip Hop Beat brought to you by DJs NielScobie.ChceBafkerondBilTzotzolis. THE YAP CAP 5:30-6 OOPM Hear figures in the Aits world talc about thek works, other peoples works and Hosted by Antje Rauwerda THE NEW AFRICAN SHOW 6:00- 10:00PM World of Africa Dance Party back tot of life with film n« tunes. And Disco, too! ITS NOT EASY BEING GREEN 1:15-2.30PM The greenest of the CiTR DJ crop try togerminate and take root on the air. Ifyou ore Interested in CiTR programming possibilities, phone the Program Director at 228-3017. ABSOLUTE VALUE OF NOISE - PART ONE 23O-330PM AND PART TWO 4:00-5:00PM Found sounds, tape loops, compositions of organized ond unorganized aurallty. power electricians and sound colloge. Live experimental music. 100% Canadian Industrialism. HOME VIDEO INTERNATIONAL 645- HOMEBASS 9PM-12:30 AM Turn your own home into your very own club. Get out your flared pants and put on your dancing shoes and prepare yourself for 3 1/2 hours of house, new beat and a lift le disco and.rap th rown in to liven things up. Dope jams and fresh beats for a groovy evening with DJ ie wheels of steel. NewShow! 'e the chidren of jr beautiful world WmmWMHtt^m CITR provides free aktime for Community Access by groups and individuals. If you or your group would Ike to say something to someone somewhere, please caH the Program Dkector. _HWT'J^fll CITR wants you to become Involved with your friendly UBC Radio Station which broadcasts at 1800 watts to the campus ond beyond. Opportunities abound! Wheeeel Programming, pro ducing, editing, witting, engineering. operatlng.announclng.hostlng.etcetc etc. Come by the studios during normal office hours. Or phone us. ARTS ANTJE RAUWERDA DEMOS/CASSETTES DALE SAWYER MOBILE SOUND LINDA SCHOLTEN MUSIC.. LLOYD UUAMA. RANDY IWATA NEWS KM TRAINOR PRESIDENT ROBYNN IWATA PRODUCTION MIKE LYSENG PROGRAMMING RANDY IWATA PROMOTIONS DORRITTA FONG STATION MANAGER .. LINDA SCHOLTEN TRAFFIC TOMMY PALEY VICE PRESIDENT BARB ELGOOO VOLUNTEER COORDINATOR.. BILL BAKER BUSINESS UNE 228-3017 DJ UNE 228-2487 (228-CiTR) NEWS UNE 222-2487 (222-CiTR) FAX UNE 228-6093 STAND IN UNE ROOM 233. SECOND FLOOR OF THE STUDENT UNION BUILDING. 6138 SUB BOULEVARD. UNIVERSITY OF BRITISH COLUMBIA. VANCOUVER. BC V6T2AS. CITR wi once ogaki be sending representatives to the National Campus/ Community Radio Association Conference, this year to be held In Calgary In thetastweekof July. Ifyouoryourband would like to have your music distributed to over thirty campus and community radio stations from throughout the country, CiTR wi gladly hand-deliver your stuff to Calgary. Drop off cassettes, ohbumms. press releases, and other paraphernalia at CiTR offices before Friday Jury 20 to ensure their inclusionwtththeCiTRdelegates. Phone Robynn at 228-3017 for more Info. CITR presents the first annual rap contest to be held on August 31 and September 1 In the SUB Balkoom here on the UBC campusl You can win prizes! Categories: MC... DJ... MC&DJ... MC. DJ & Dancers... Alogesl To register or for mof- — 3017. jlCiTRal _____________fc__U< .^^.fc^.1.1" L-*-_____■_■ ■■) trlJtlHVOI..: t .__■_■_■ TANKHOG -Reptilion* 2-song demo TOUCH - GO'S "Beaver Inn, Bellingham" SPECIAL ICE ■Rock-a-talk* MARILIA The Boat and the Volcano' Riverboat Goddess PAULA REMPEL "1 Ride my..." 2-song demo NO FUN "Open Letter" CROUP 49 "House of Death" BANG TWANG "AH of this to you" 2-song demo BARON VON FOKKER "Post-modem Youth" 8-song demo MARY "Loving Ivy" 3-song demo TANKHOG 2-song demo VIDEO BAR-I-QUE "The Stegasaurus Stomp" 6-song demo TT. RACER "1990V WALKING SCARECROW "Voice that Crips" Out ol Ihe Snakspit RHYTHM ACTIVISM "Polski Flat" Perogys, Pasta, and Liberty PLANET OF SPIDERS "A Place 1 Found" HOOVER EFFECT nto Stepha nie's Room" The 18 h Wonder of the World JOJOKA "Dogs Awaiting" Jojoka DAYGLO TADPOLES "Do 1 Dare" Gunpowder LIST OF MRS. ARSON "The Load Holgen" /90B LAST RAY PRODUCTIONS LTD "Imaginary love" 3-song demo NIGHTSTAIKERS 3-song demo NEIGHBOURS "Footsteps* live in '79 LUDWIGS This in not a Demo! 9*"4! (A CARTOON SWEAR) "Weak Link" 4-song demo VIDEO BAR-B-QUE "Subway 6pm* RHYTYHM ACTIVISM "Condo Vampire" Ur togement pour une... MC TERROR T 1 -song demo SWANYARD "Believe" TEN COMMANDMENTS "She ain't no use to me" BRUCE A A THE SECULAR ATAVISTS "By Request" Cheap Release BAMFF NOVALTONE "A Question ol Love" PLANET OF SPIDERS "Carnhral" 6-song demo BILLCOSTIN "24 Hour Sky" Secret of the North DEATH SENTENCE "Eye on You" Vancouver Rocks Compilation EXCITED FIRST DAUGHTER "Sand Kings" 6-song demo ROOTS ROUNDUP Cet Rooted THE HERETICS The Heretics HOOVER EFFECT •Zombie" The 18th Wonder of the World ROUTE 665 ROUGHAGE "Jah in Vi»tnam"/"The Axe" Mystery Dick MARY "Heaven's Gate" 3-song demo HOWE SOUND "Somebody Girl" 4-song demo JIMMY ROY'S FIVE STAR. "Everybody's Talkin'" 6-song demo LAST WILD SONS "Around Town" THE WAMMEE "Send you away" SNAKESQUIRT "Thinking of Scotch" Songs lor Casualties UNEVEN STEPS "Censor the Bible" Whoop Whoop Whoopah! SMUGGLERS "Up and Down" 3-song demo LUDWIGS "She was Real" This is not a Demo! WATCH CHILDREN "Kinda Retarded" 9-song demo Y.O.Y. "It's too Late" THE WORST "The Creepy Thing" 2-song demo «#*».! (A CARTOON SWEAR) "Long Face" Bright Red Paint WHIRLEES "Sharman Edward Johnson" Mood Swing MC TERROR T "Rappin' Rhymin' Rhythm PATRIK SAMPLER "(What it _)" Cut M3/(03) WHITE PICKET FRENZY •Acid Rain" Big Team; Little Me It looks as if Paizley Productions' experiment wilh the Lux Theatre Saturday nights has been successful-at least the all-ages shows are now booked through July. The doors open at midnight and the cover is $5. (It's worth going if only to support an alternative to the nause- atingly frequent "showcase" nights at certain local clubs, where bands do their own pro- motion-at their own expense- and usually play on badly planned bills.) 64 Funnycars' new 4- song EP is just out, and fans of flat vinyl can be assured that it is the 7" variety (the hand-coloured sleeve is a nice touch, too). The Funnycars also plan to make a mail-order catalogue available, as an insert with the EP or on request, that will list all kinds of local (and near-local) releases. Any bands lhat are interested in being in the catalogue, and having their tapes or records sent out to potential fans, can write Eric Lowe c/o Bruiser Boy Products, 2404 Eastdowne Road, Victoria, V8R 5P7. And now, for this month's tapes: Nightstalkers-"Images." Imagine a band made up of a 40-year-old singer, a surfer, the drummer from Planet of Spiders, and the bassist from the Smugglers (here on lead guitar). Now imagine that, in the ten or so months they've been together, they've written more than fifty songs. After imagining all this, I found the tape to be a pleasant surprise. It would be going too far to swallow the band's own description-'60s punk/pop meets '70s punk (a la Ramones) and creates a "fresh new sound for the '90s"-but this is a good song with nice production, refreshing backup vocals and handclaps thrown in for emphasis. And the Nightstalkers sound a lol tighter and more confident than when I've seen them live (at SFU with Marshmallow Overcoat and at the Cinderella Ballroom at a Nardwuar show). Perhaps Dave of the Smugglers didn't play with them those nights. Another selection from this very enjoyable 3-song cassette, the authentic surf-sounding "Sombreeo Beach," gets played on Much Music. Intoxicators-"Death & War." This will probably be the last tape from the Intoxicators as Ihey appear on this song and their earlier offering (from this same tape), "Mighty Idy." And the truth is that I'm not terribly sorry to hear about their decision. Perhaps it's only because they haven't been together for very long, but when I've seen them play, I haven't thought the band really jelled-"Death & War" sounds much the same, with the instruments and vocals somehow not complementing each other very well. The song itself is okay and definitely fits the "rockin"' category, but I still think that the Intoxicators aren't yet up to being the sum of iheir parts. @#*&! (Cartoon Swear)- "Weak Link." "Weak Link" is one of Cartoon Swear's more memorable songs-unfortu- nately, like the olher three songs on this tape, it really suffers from poor production. While they've never been an exceptionally clean sounding band, these songs give the impression of having been recorded in a big cement room, which doesn't help to make them any more memorable. Y.O.Y.-"It*s Too Late." Once again, a band whose description of themselves doesn't seem quite right—in this case the comparisons are to INXS, the Smithereens, and Replacements. What they seem to be lacking, in contrast with these other bands, is a certain spark, perhaps of originality. These former members of Linear B., Dekka Dolls, The Love Weasels and Spotlight winning Innocent HI are unquestionably good musicians, yet don't project enough energy onto the tape. With their thin clean sound (even recorded, they sound like a 3-piece), and rather familiar lyrics, what they might really be able to use is the addition of some noise. But I suspect that Y.O.Y. are in a difficult position-while they sound too close to mainstream, and not especially original, to the "alternative" ear, they must sound dangerously "alternative" to the Top 40 types. And probably, like most bands in this situation, they're not going to care much what people like Discorder reviewers have to say about them. Mary - "Loving Ivy," "Heaven's Gate." Another pleasant surprise, the key to this tape is production: both songs make good use of noise without sacrificing hooks and melody, and dynamics without losing power. There really is a wall of sound here, especially in "Loving Ivy," where the constant repetition of a little riff underneath all sorts of noisy, growly stuff makes for a dangerous kind of pop catchiness. And in "Heaven's Gate" some very effective feedback (reminiscent of early Jesus and Mary Chain) shows up just where it's needed. It's rare to hear something sound so clean and contagious while evil and noisy. Death Sentence-"Eye On You." Once again, lots of well- produced loudness, yet this time the song itself isn't so memorable. You've got to expect that this song (from the Vancouver Rocks compilation, which is mostly metal-type rock) should be in that ever- increasing blurry zone between hardcore and metal, and Death Sentence (quite possibly with none of its original, punk rock members) doesn't let us down. The snarling vocals are a vast improvement over those way- too-familiar falsetto shrieks that some bands equate with harder rock and roll, and the guitars sound just as they should, very loud. There is a great deal of power here... the only real problem is that the song doesn't seem to really find itself until close to the hard cold ending. No Fun-"Open Letter." No doubt the former Official Folk- rock Duo of Expo 86 have realised that songs like "Be Like Us" and numerous olher CiTR hits are just too subtle for certain elected leaders, and have at last decided to be perfectly clear. Well, even the Zalm couldn't possibly misunderstand this one. Dave, Paul, and Pico make some pretty reasonable suggestions (i.e. reading, rather than thumping, a bible) as well as some tough criticisms. Sigh, if the premier would only listen.... _? JULY 1990 19 tdm. -rUo+TE wMO(>OrJT d.£A > COHl*. PACK (VtAje-t, k<; A L.eu£L , R&\& r YW.i ^4*>TX<Wfr-iVf \\E$FM-r pEAAJGr /\AJ lANE UOLVeP |-See? ^T^THgRg^/iAA> Gggj *c*o£s** ofrtoo/mx)... of* pAfcC/ff ___j___K VFT ptow*-\ >u>i*f k^E>°Fn i^i *\ lUH^UAjK^ug^M . ac \(rOT to WA £?i '*VteW*#J (_l_^_M-f^___ky- y ' }53f -jtLip,°tWTWiJp; f \\ iJfl? &/r^z! ' | 8UT£ PO A/' LA/Ah/ASA GO . J 3Mfi^~ KaVx ^n^Zr *E/w IU° '&oAkf M» >&&NT £>?/>-■] ettff OR &ofcec*>M OR WHAT£v/6ft.... -/AaJoth^R fAG-E FRoAl THE. 'toO >Rua/K to I>RflvO /W* /MulH HOfcMOA/ES ttgowm ckj^ ,A/e*r *n*e .. V W HV1H gflKX/f srooft> HAk-l>£ W HUM FUGtf'^MBS/OAR? MW VOHlf GKWB.L JJWPo'iHl'CS' 20 DISCORDER DISCORDER DATEBOOK 1 SUNDAY CITR presents MCA/ IRS artists Caterwaul with guests Bruce A ft the Secular Atavists at the Town Pump... Sun City Glrlsat Arrest Studio... Jack Lavin ft the Damons Jam Session at the Yale... Whoever Says tha Truth Shall Die (7:30pm) and Accattone (8:45pm) at Pacific Cinematheque... Sleeping Beauty (2:30 & 7:30pm) and Do the Right Thing (9:45pm) at SUBTheatre..The Best ol the Best ol Cannes Advertising Festival (7:30 & 9:30pm) at the Star- 2 MONDAY Canada Day Aftermath with Tankhog with guests The Wheal Chiels and The Grand Poobahs at the Town Pump... Jack Lavin ft the Demons Jam Session at the Yale... Les Amazones de Guinea at Saturno... Whoever Says the Truth Shall Die (7:30pm) and Accattone (8:45pm) at Pacific Cinematheque... Jean de Florette (7:00pm) and Manon ol Spring (9:15pm) at the Starlight... 3 TUESDAY Catherine Wheel at the Town Pump... Charlie Musslewhite at the Yale... UBC Music for Summer Evenings Concert Series with Robert Silverman (piano) and French Tickner (narrator) at the UBC Recital Hall (8pm, free)... Love and Other Arrangements at the Kitsilano Theatre... Jean de Florette (7:00pm) and Manon of Spring (9:15pm) at the Starlight... 4 WEDNESDAY MCA artists Jill Sobuls at the Town Pump... Charlie Musslewhite at the Yale... CITR Hot Wednesdays In the Pit Pub... Love and Other Arrangements at the Kitsilano Theatre... Gyas Ago (Tha Way il Began) opens at the Van East Cultural Centre (8:30pm)... Chilsu and Mansu (7:30pm) and Ths Whale Hunter (9:35pm) at Pacific Cinematheque... Catch-22 (7:30 & 9:45pm) at SUB Theatre... Kiss ol the Spider Woman (7:00pm) and Apartment Zero (9:30pm) atthe Starlight.. 5 THURSDAY The Presentation Hall Jazz Band ol New Orleans at the 86 Street... BMG artists The Church with guests MCA artists Blue Aeroplanes at the Commodore... The Stoaters and Blackthorn at the Town Pump... Charlie Musslewhite at the Yale... UBC Music for Summer Evenings Concert Series featuring chamber music at the UBC Recital Hall (8pm, free)... CiTR Cool Thursdays in the Pit Pub... Love and Other Arrangements at the Kitsilano Theatre... Gyas Ago (The Way il Began) continues at the Van East Cultural Centre (8:30pm)... Chilsu and Mansu (7:30pm) and The Whale Hunter (9:35pm) at Pacific Cine matheque... Flashback (7:30 & 9:45pm) at SUB Theatre... Kiss ol the Spider Woman (7:00pm) and Apartment Zero (9:30pm) at the Starlight... 6 FRIDAY Rounder artist Sleepy La Beet with Herald Nix at the Town Pump... Charlie Musslewhite at the Yale... Grapes ol Wrath at the Commodore (7pm all ages show, 10pm drinkin' show)... Love and Other Arrangements at the Kitsilano Theatre... Gyas Ago (The Way it Began) continues at the Van East Cultural Centre (8:30pm)... Cellica Festival opens at New Brighton Park (12-11pm)... Forbidden Planet (7:30pm) and 2001: A Space Odyssey (9:25pm) at Pacific Cinematheque... 7 SATURDAY Edmonton's Ninth Configuration at the Lux... Sleepy La Beel with Herald Nix at the Town Pump... Charlie Musslewhite at the Yale... Love and Other Arrangements at the Kitsilano Theatre... Gyas Ago (The Way it Began) continues at the Van East Cultural Centre (8:30pm)... Cellica Festival at New Brighton Park (12-11pm)... Forbidden Planet (7:30pm) and 2001: A Space Odyssey (9:25pm) at Pacific Cinematheque... The Little Mermaid (2:30, 7:30 & 9:45pm) at SUB Theatre... 8 SUNDAY Chaba Fadela from Algeria at the Town Pump... EQ at Club Gyas Ago (The Way il Began) the Van East Cultural Centre (8:30pm)... La Notts Brava (7:30pm) and The Gospel According lo Matthew (9:20pm) at Pacific Cinematheque... The Little Mermaid (7:30 4 9:45pm) at SUB Theatre... 9 MONDAY Chlel Osila Osadebe at Saturno... Morgan Davis at the Yale... Gyas Ago (The Way it Began) continues at the Van East Cultural Centre (8:30pm)... La Nolle Brava (7:30pm) and The Gospel According to Matthew (9:20pm) at Pacific Cinematheque... 10 TUESDAY Morgan Davis at the Yale... Gyas Ago (The Way il Began) continues at the Van East Cultural Centre (8:30pm)... Love and Other Arrangements at the Kitsilano Theatre... 11 WEDNESDAY CiTR presents Twin/Tone artist Robyn Hitchcock solo al Tom Lee Music Hall... Oh Yeahwith guests Spin Doctors at the Town Pump... Professor Blues Band at the Yale... CiTR Hot Wednesdays In the Pit Pub... Gyas Ago (The Way it Began) continues at the Van East Cultural Centre (8:30pm)... Love and Other Arrangements at the Kitsilano Theatre... The Age ot Success (7:30pm)iand First Son (9:35pm) at Pacilic Cinematheque... 12 THURSDAY State ol Mind at the Town Pump... Tammy and the Americans at the WISE Hall... Professor Blues Band at the Yale... CiTR Cool Thursdays In the Pit Pub... Gyas Ago (The Way it Began) continues at the Van East Cultural Centre (8:30pm)... Love and Other Arrangements at the Kitsilano Theatre... The Age ol Success (7:30pm) and First Son (9:35pm) at Pacific Cinematheque... 13 FRIDAY Enigma artists DOA with guests Spunk and T.T. Racer at the Commodore... BMG artist Michael Penn and Capitol artist Lloyd Cole with guest Victoria Williams at 86 Street... Lasl Wild Sons with guests Spin Doctors at the Town Pump... Professor Blues Band at the Yale... Vancouver Folk Music Festival starts at Jericho Beach Park... Gyas Ago (The Way il Began) continues at the Van East Cultural Centre (8:30pm)... Love and Other Arrangements at the Kitsilano Theatre... The Trip (7:30pm) and Blow Up(9:15pm)atPacificCinematheque... 14 SATURDAY CiTR presents Tropical Fever#1 atthe Commodore... Mudwimmin from San Francisco at the Lux... Roots Roundup at the Town Pump... Professor Blues Band at the Yale... Vancouver Folk Music Festival continues at Jericho Beach Park... Gyas Ago (The Way it Began) continues at the Van East Cultural Centre (8:30 pm)... The Trip (7:30pm) and Blow Up (9:15pm) at Pacific Cinematheque... 15 SUNDAY Smugglers with Elvis Lovechild at the Town Pump... Vancouver Folk Music Festival closes at Jericho Beach Park... Hawks and Sparrows (7:30pm) and Oedipus Rex (9:15pm) at Pacific Cinematheque... 16 MONDAY Ras Posse from Jamaica with Roots Radics and Charlie Chaplin at the Town Pump... Mute artists Erasure with guests Mute artists Nitzer Ebb at the Coliseum... Billy Branch A The Sons ol Blues at the Yale... Hawks and Sparrows (7:30pm) and Oedipus Rex (9:15pm) at Pacific Cinematheque... 18 WEDNESDAY London, Ontario's Legend Killers at the Town Pump... Billy Branch ft The Sons of Blues at the Yale... CiTR Hot Wednesdays in the Pit Pub... Surrogate Molher (7:30pm) and Adada (9:30pm) at Pacific Cinematheque... 19 THURSDAY Goliath with guests Justin Sane and Mad Dirt at the Town Pump.. Billy Branch ft The Soni ol Blues at the Yale... CiTR Cool Thursdays In the Pit Pub... Surrogate Molhei (7:30pm) and Adada (9:30pm) at Pacific Cinematheque... 20 FRIDAY Roots Roundup Stoaters, Lasl Wild Sons, Sandy Scot ield and Herald Nix at the Commodore...Scramblers at the Town Pump.. National Velvet with guests She at 86 Street... Billy Branch ft The Sons ol Blues at the Yale... Walkabouts at the University Sports Bar (Seattle)... Js T'Aime, JeT'Aime(7:30pm) and Fahrenheit 451 (9:20pm) at Pacific Cinematheque... 21 SATURDAY Legend Killers al the Railway... National Velvet at the Paramount... Mordam artists Victims Family with Supercaustic Fertilizer al the Lux... Billy Branch ft The Sons ol Blues at the Yale... Walkabouts at the University Sports Bar (Seattle)... Js T'Aime, JeT'Aime(7:30pm) and Fahrenheit 451 (9:20pm) at Pacific Cinematheque... 22 SUNDAY Cruz artists All at the Town Pump... 5th Annual La Quena Fiesta at Grandview Park... Blues Guitai War Contest at the Yale... Teorema (7:30pm) and Pigsty (9:30pm) at Pacific Cinematheque... 23 MONDAY Enigma artists DRI at the New York Theatre... David Raven at the Yale... Teorema (7:30pm) and Pigsty (9:30pm) at Pacific Cinematheque... 24 TUESDAY David Raven at the Yale... 25 WEDNESDAY Lava Hay al the Town Pump... David Raven at the Yale... CiTR Hot Wednesdays in the Pit Pub... The Given Word (8:00) at Pacific Cinematheque... 26 THURSDAY Lava Hay at the Town Pump... The Toasters at the Yale... Wynton Marsalis at the Commodore... CiTR Cool Thursdays in the Pit Pub... Dreams trom China and House ol Unamerican Activities (7:30pm) at Pacific Cinematheque... 27 FRIDAY Restless artists from Los Angeles Screaming Sirens with guests Nervous Fellas at the Commodore... Ontario's Bourbon Tabernacle Choir at the Town Pump... Peter Os- Iroushko and Dean Magraw at the WISE Hall... The Toasters at the Yale... Privilege (7:30pm) and Wild in Ihe Streets (9:30pm) at Pacific Cinematheque... 28 SATURDAY Touch & Go artists The Didjits at the Lux... Ontario's Bourbon Tabernacle Choir at the Town Pump... The Toasters at the Yale... Mission Folk Festival with An- zanga Marimba, Back Porch Blues, Nyetz, Dumela, Louise Rose, Roy Forbes, Chinese Ensemble and others at the Fraser River Heritage Park (Mission, 826-5937)... BC Amateur Danc- ers's Association and UBC Dance Club's Dance lor Strength 10-hour ballroom dance-a-thon at Robson Square (noon-10pm)... Garage Sale/ Recycling Fairat Mclnnes Field (10am- 5pm)... Privilege (7:30pm) and Wild in Ihe Streets (9:30pm) at PacificCine- matheque... 29 SUNDAY Notes for an Alrican Orestes (7:30pm) and Medea (9:00pm) at Pacific Cinematheque... 30 MONDAY Zydeco with Major Handy at the Yale... Notes lor an African Orestes (7:30pm) and Medea (9:00pm) at Pacific Cinematheque... 31 TUESDAY Tubes at the Town Pump... Big Joe Duskin ft the Demons at the Yale... 1 WEDNESDAY Big Joe Duskin A the Demons at the Yale... Hot Wednesdays in the Pit Pub, music by CiTR... La Notte (7:15pm) and L'Eclisse (9:30pm) at Pacific Cinematheque... VANCOUVER'S HOTTEST BLUES NIGHTCLUB Jul. 1 - 2 - Jack Lavin and the Demons Jam Session Jul. 3 - 7 - Charlie Musselwhite Jul.9-10-Morgan Davis Jul. 11 -14 - Professor Blues Band Jul. 16 - 21 - Billy Branch & The Sons of Blues Jul. 22 - SPECIAL JAM SESSION- Blues Guitar Wars Contest Jul. 23 - 25 - David Raven Jul. 26 - 28 - The Toasters Jul. 30 - Zydeco with Major Handy Jul. 31 - Aug. 4 - Big Joe Duskin & The Demons DON'T MISS JACK LA VIN'S JAMS: SAT. 3-8 PM / SUNDAY BLUES MARATHON JAM SUN. 3 PM-MIDNITE OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 am UBC STUDENT UNION BUILDING LOWER CONCOURSE ALL AGES WELCOME ^TMJEgFTCUNES - f you really want to know any Central American city or town or village, the thing to do Is to find the centre and then •lowly work your way out. The centre of the centre Is a square known as Parque Central. The centre is the heart, the start of everything: history/ culture/ commerce/ law/ politics/ religion. If you ask someone in Managua where the centre is, that person will shrug and smile: "There is no centre." And if you look at a map you will see for yourself that physically this Is so; the city is a crazy bug sticking its gangly legs out all haphazard. Well there is the old centre and you can go there but no one calls it the centre anymore. One morning early in May we go there, my sister and I, we leave our little USDOLLARSONLY hospedaje in the Barrio Martha Quezada, a friendly residential neighborhood characterized by burned-out Ladas, sagging power lines and a bunch of plywood houses, a few with tacked-up homemade signs proclaiming THERE'S MILK or WE HAVE EGGS- the Nicaraguan version of 7-11. We turn left, in the direction of the highly polluted Lake Managua. A wide tree- lined boulevard goes all the way to the lakeshore and we walk along the broken bumpy sidewalk, the incredible heat and humidity pressing fierce. There's no traffic. There's no people. There's no apartment blocks/ stores/ bars/ gas stations/ parking lots/ schools/ offices. In other words, NOTHING. This used to be the core of the city but now there's just empty lots stretching out on either side of the boulevard, their burnt brown expanse littered with garbage and chunks of metal and concrete and glass. Away off in the distance are the charred skeletons of two or three buildings, remains of the big earthquake of '72 and the big fighting of'78/ '79. It's very very quiet. Once in a while we pass a piece of wall still standing and it is covered with either a revolutionary mural praising Industry and Agriculture and The Worker or, more likely, it Is covered with spraypainted political slogans/ logos/ caricatures. Most flat surfaces in Nicaragua are covered with •lection graffiti: a smattering for the PSC, the PRT and the communists, a few more for Chomorro's UNO party (NOW OR NEVER!/ YES WE CAN!) but hundreds and hundreds for Daniel (as he Is known and referred to here) and the FSLN: FSLN FOR PEACE, FSLN FOR THE FUTURE, DANIEL FOR CHILDREN. EVERYTHING WILL BE BETTER YET is the a big one, along with Daniel and his running mate Sergio wearing military garb and looking serious or Daniel and Sergio surrounded by children looking happy and confident. Finally, suddenly, we're at the centre of this old centre, a big asphalt square that once was called Parque Central. On one side is a dingy park with rusting playground equipment, a fountain missing the water and a lew listless men sprawled on dirty concrete benches to the left, on the lake- shore, is the ugly Teatro Ruben Dario. To the right is the colonial-style building that was the National Palace during the Somoza years, then the Palace of Heroes of the Revolution during the Sandanista years but now is just closed, although the giant colour portrait of Sandino is still in front. Directly ahead is the Cathedral. There are a lot of Churches in Central America and they are pretty but after a while they all look pretty much the same. The Cathedral is not pretty or pretty much the same. Blackened by bombs and dust, a tattered red and black Sandanista flag flies from the cross at the top of the right tower. The cross on the left one is toppled. Some boys sit in these towers, peering out through 22 DISCORDER the busted wooden shutters- they live here. A couple nr lean against the cracked pillars where the door used to be. I'll wait here, my sister says. Nicaragua gives her "the creeps." And leave the camera. By the time I get to the steps the boys are gone. Like the rest of the old centre the Cathedral is quiet and destroyed. Inside I walk through the weeds coming up through the floor and look at the crumbling grimy statues, the wrecked altar, the windows where the stained glass was and the pictures of Jesus doing this and that, faded from the sun coming in through a roof reduced to a few crossbeams. I don't go up the crazy crooked tower stairs where the boys are waiting silent in the dark. I join my sister at the little stand in the park where she is drinking a Coke. Can't Beat That Feeling even in Nicaragua, where Coca Cola is one of the few signs of overt American influence (albeit in the old bottles). Coke is more expensive than the local drinks but I have to have one anyway. Nearby a few of the listless men are cluttered around another stand. "Fucking Americans, they're all the same!" says one, significantly loud. "Why can't they stay out of our country and leave us the fuck alone?" My Spanish isn't that good but good enough to get it. We hastily hand back the empties and slink off through the rubble. On the way back to the barrio we pass a strange USDOLLARSONLY FSLN giftshop in the middle of nowhere, selling election posters and Daniel t-shirts and combat boots, and further along, the half-completed Ernesto Che Guevaro Housing Development. At the hospedaje we sit around sweating in the courtyard with the underfed resident rat, a young Spaniard who's always running off to mysterious appointments and was here last year when everyone was "more open," and an old Mexican-American hippie vegetable vendor from Florida who is trying to sell the new government or the old government or anyone who will just listen for five minutes on a microwave communications system. We talk, half in English half in Spanish , about news/ rumours/ observations. The new government has just outlawed the use of the word "campanero," the standard form of address in the country and the rough Spanish equivalent to "comrade." On the front page of La Prensa (founded and run by the Chomorro family), La Presidenta, wearing white and looking oddly like a hostage, "negotiates" with camouflage-clad contra boss Franklyn and his boys, who've just reneged on a promise to give up all arms and men. The rest of the newspaper contains much passionate talk about Democracy and Freedom, interspersed with fullpage Congratulations Violetta! announcements; meanwhile the UNOs revoke the law that made it illegal to fire an employee for political beliefs or affiliations. At the swankiest hotel in town, the lobby newsstand sells postcards showing armed Sandanistas happily going off to work in the fields. In the streets the mode of dress is overwhelmingly Daniel and Sergio election t-shirts or military togs of unidentified origin. The licence plates on all vehicles say NICARAGUA LIBRE. The old hippie and the Spaniard go off to make "telephone calls." My sister and I go out in search of cold drinks. Just up the street, near the boarded up cinema still advertising a Mexican War movie, there's a little building with a glowing sign that says DISFRUTE COCA COLA and TACOS. We enter and sure enough people are sitting around the few wooden tables eating tacos. On the walls are a Daniel Presldente poster, a technlcolour portrait of Ernesto Che Guevaro and a poster of the same with the caption WE WANNA BE LIKE CHE!, a Sandanista army recruitment poster, a sticker that says change South Africa Not Nicaragua, and a personalized British Columbia license plate with the initials FSLN. Behind the counter a smiling middle-aged man is cracking ice for liquados with a hammer while In the background RADIOYA plays the standard Central American mix of lambada, Top 40 circa 1984, salsa, and current Latin pop which is really any Phil Spector tune with different words. Just your basic everyday revolutionary Chok'lit Shoppe. We order drinks (they don't sell Coke) and tell Pop we're from the same place as the license plate. He calls sis out of the kitchen to meet us. Sis brings her massive currency collection (mostly Soviet/ Cuban/ Nicaraguan) and proudly points out a couple of 1960 Cuban twenties signed by the great guerilla himself as Presldente del Banco. Mom takes a break from taco slinging to tell us which faces on the bills are the "good ones" and which are the "bad ones": forget about him, he was in the Somozas, terrible! Mom goes back to the tacos. Sis talks about the neighborhood. Two throats slit in the Mercado orientate last week. Suddenly there's a bunch of men with machine guns walking around at night and no one knows why. She had to quit her French nlghtschool classes because it's too dangerous to be out after dark now. Her eyes dart this way and that. Pop's already been told once by the authorities to get this commie crap off the walls. Pop refused. There's rumours though of a big crackdown coming soon, with all signs of Sandanista fervor to be erased, removed. No doubt there's a law brewing right now. She leans to us confidentially: I think the Americans are getting ready to invade. Junior sits down at the table. Don't be stupid, he says. They have to have a reason first. Junior studies computer science and architecture but his passion is the revolution. He gives us a condensed history of the Sandanistas, throwing in scientific equations, economic theory, a beginner's revolutionary reading list (everything by Omar Cabezas and Eduardo Galeano), production and literary figures, and a few good socialist anecdotes: Before the revolution, if you were thirsty and went to a door for a glass of water they'd say "Ten centavos" but afterwards it was "Sure! Come on in! Can we get you some coffee? How about a sandwich?" Of course, he says, this is my whole life. It's what my parents believe in, what all my campan- er, my amigos have been working together for all these years. And now it's like we're up against a brick wall; the same place we were before the revolution. No one knows what's happening. Junior jumps up and runs to the kitchen coming back with a copy of El Acero de Guero O El Olivia de Paz, a collection of Daniel's speeches. On the title page Junior scrawls: In the knowledge that adversity will never be stronger than our own Nicaraguan forces and with a profound security in the strength of our battles, we will fulfill our every duty. Managua, May 1990. He gives it to us. It's getting late: TACOS is closing up. A song I've never heard before comes on the radio. Oh, says Junior, smiling a little bit, I like this one. It's about the rain of hope falling on the land. Timbre Productions Presents: recording Jill Sobule WEDNESDAY JULY 4 TOWN PUMP with Special Guests Doors:8:00 pm, Showtime: 10:30 pm TICKETS: Zulu, Black Swan, Highlife, Razzberry (95th & Scott Rd.), & Reminiscing (Across from the Bay at Surrey Place) and all _______2______?_> locations or charge by phone 280-4444 - Also available at the Town Pump. THE CHURCH THURSDAY JULY 5 presents BMG recording artists With Quests MCA record- Doors: 8:00 pm TICKETS: Zulu, Black Swan, Highlife, Razzberry (95th & Scott Rd.), & Reminiscing (Across ing artists Bllie Aeroplanes Showtime: 9:30 pm from the Bay at Surrey Place) and all fsss^ssrs^ locations or charge by phone 280-4444 RAI MUSIC FROM ALGERIA COOP CMBA FADELA fuTfY TOWN PUMP presents JE£ 10 PERFORMERS artist Doors: 8:00 pm, Showtime: 10:30 pm TICKETS: Zulu, Black Swan, Highlife, Razzberry (95th & Scott Rd.), & Reminiscing (Across from the Bay at Surrey Place) and all _______^______7!irV locations or charge by phone 280-4444 - Also available at the Town Pump. CiTR A S0L0 EVENING WITH 101.9 fM DOORS: 8pm SHOW: 8:30 pm WEDNESDAY ROBYN HITCHCOCKimy S presents A&M recording -« TOM LEE MUSIC HALL 929 GRANVILLE TICKETS: Zulu, Black Swan, Highlife, Razzberry (95th & Scott Rd.), & Reminiscing (Across from the Bay at Surrey Place) and all _______^b_____'* locations or charge by phone 280-4444 presents BMG recording MICHAEL PEI SPLLOYD COLE with special guest ROUGH TRADE recording artist A/l/^'TORT A AA/TT T TAIN/TS CD |f% A \/ I IIV 19 TICKETS: Zulu, Black Swan, Highlife, Razzberry (95th & Scott Rd.),& Reminiscing (Across II| mJr\ I JU LT __L««3 from the Bay at Surrey Place) and all _______£______?_, locations or charge by phone Zfa&f- Doors:8:00 pm, Showtime: 9:30 pm E)_[K_ with MONDAY □ guests JULY 23 artists NEW YORK THEATRE TICKETS: Zulu, Black Swan, Highlife, Razzberry (95th & Scott Rd.), & Reminiscing (Across s*r%r\ _»-i*-*_t- _r_> **¥-«-_-_ *~t*r a x *r\-ft from the Bay at Surrey Place) and all _______2______t_, locations or charge by phone 639 COMMERCIAL DR,2scm444
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1990-07-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1990-07-01 |
Extent | 24 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1990_07 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | bf2b1540-f5be-46ec-8a83-84e0f57f9ab8 |
DOI | 10.14288/1.0050194 |
AggregatedSourceRepository | CONTENTdm |
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