That Magazine from CITR fml02 cablelOO April 1986 • FREE! - Skateboards 10,000 Maniacs CITR Survey Results April 4/5 THE CRIMPOLINES 11/12 BREAKING CHAINS w/Jay and Jeff from SPIRIT OF THE WEST 18/19 TBA 25/26 LOS DURANGOS w/guests LIVE MUSIC IN THE LOUNGE I FRIDAYS FROM 10:30-SATURDAYS FROM 11:30 PM J I ARTS CLUB THEATRE 1181 SEYMOUR 683-0151 THE UNIVERSITY OF BRITISH COLUMBIA TH EATRE in > v. -1 m<\ JP >y: v mi i jiiyiiiiiiiiiiiiiiii j i i • < ,.- -*^k • B.F.A. IN ACTING Spring Auditions • B.F.A IN TECHNICAL in MaJor Canadian Centres. THEATRE & DESIGN F°r information and applications contact: • M.r.A. IN DIKbCTING Department of Theatre, • M.F.A. IN DESIGN ™e University of British Columbia, Vancouver, B.C. V6T 1W5 Bf§!' Home Remedy For Nuclear War A Musical Medicine Show • Eases tension • Relieves anxiety • Prevents holocaust • Reduces paranoia Dr. Bossin appears live on stage WedrSat. April 16-26 at 8:30 p.m. Vancouver East Cultural Centre 1895 Venables at Victoria Drive Reservations 254-9578 Tix at Folk Music Festival Office, Black Swan & Highlife Records, Front Row Centre PONT BE AN APRIL FOOL THE CITR BENEFIT CONTINUES AT THE April 7 and 14 Featuring Local Bands BE THERE THE SAVOY 6 POWELL ST. 687-0418 DiSfcOHDER That Magazine from CITR fml02 cablelOO April 1986 • Vol. 4 No. 3 Editor Chris Dafoe Contributors Terry Orr, Julia Steele, Fiona Bowie, Mike Johal, Jason Grant, Terry McDermott, Ken Jackson, Iain Bowman, David Firman, Michael Shea, Robert Shea, Steve Edge, Jay Scott. Photos Dave Jacklyn, Steven Van Slyke Cartoons Chris Pearson, R. FiI brant Cover Brent Lymer Production Manager Pat Carroll Design Harreson Alley Layout Pat Carroll, Randy Iwata, Alan Scales, Brent Lymer, Toby Thiersh, Beverly Demchuk, Ken Jackson, Karen Shea, CD, Robin Razzell, David Hart, Typesetting Dena Corby Advertising Representatives David Hart, Robin Razzell Distribution Manager Mike Johal Business Manager Mike Dennis DISCORDER, c/o CITR Radio, 6138 SUB Blvd., Vancouver, B.C., V6T 2A5. Phone (604) 228-3017. DISCORDER Magazine is published monthly by the Student Radio Society of the University of British Columbia (CITR-UBC Radio). CITR fml01.9 cablelOO.l broadcasts a 49-watt signal in stereo throughout Vancouver from Gage Towers on the UBC campus. CITR is also available via FM cable in Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Port Moody, Maple Ridge and Mission. DISCORDER circulates 15,000 free copies. For advertising and circulation inquiries call 228-3017 and ask for station manager Nancy Smith. Twelve-month subscriptions available: $10 in Canada, $10 U.S. in the U.S.A., $15 overseas. Send cheque or money order payable to CITR Publications. Unsolicited manuscripts, photographs, cartoons and graphics are welcome but they can be returned only if accompanied by a self-addressed, stamped envelope. DISCORDER does not assume responsibility for unsolicited material. The offices of CITR and DISCORDER are located in room 233 of the UBC's Student Union Building. For general business inquiries or to book the CITR Mobile Sound System call 228-3017 and ask for station manager Nancy Smith. The Music Request line is 228-CITR. 12 14 19 18 22 25 28 30 In This Issue A Skate Confession Terry Orr skins his knees while footplanting off public antipathy to sidewalk surfing. 10,000 Maniacs Terry McDermott makes himself comfortable in the Wishing Chair. Maniac John Lombardo talks. Walking For Peace "0/7, we'll all go together when we go, every Hottentot and every Eskimo..." Fiona Bowie begs to differ. Survey Says... At long last, the results of the C/TR/Discorder Listener/Reader Survey. And as Sally Field might say, "You like us..." even if you can't pick us up. In Every Issue Airhead An Open Letter to K.D. Lang, plus more Puppy droppings. Behind the Dial Life After Bed, Early Music, and more... On The Dial Your Guide To Radio Hell. Dante could've used this. Vinyl Verdict Fine Young Cannibals, Young Fresh Fellows, Live Skull, and other pleasantries. Armchair Eye The Chez Brothers explore Luminous Sights and discover the art of video. Roving Ear This month from Fiji. DISCORDER CN VVJ$ o< U#H h >>>''■ / \\\ Mon. and Wed. fill \\\\ REGULAR'S NIGHT IfS i Tues. and Thurs. Il * 1 LADIES NIGHT //flf n 856 Seymour f A l L 683-9602 1 \ EVERY FRIDAY & SATURDAY AT 12:00 MIDNITE • SPECIAL EASTER BREAK SHOWS Thursday, Friday, Saturday, Sunday March 27th, 28th, 29th & 30th DRESS-UP CONTEST - PRIZES NIGHTLY! ALL AGES ADMITTED ALL SEATS S5.00 BRING RICE, TOAST, CARDS, FLASHLIGHTS and NEWSPAPERS. \£iudi<* (Zuieme RH6ai> 5^c^vs^^c^^^ These are just a few of the replies we received regarding the Tong and Corruption letters. I don't know about you, but I think it's encouraging to see that people are willing to take pen in hand and let themselves be heard when it comes to the really important issues. Hip Alone Dear Airhead, I got your mag through a pen-pal in Richmond and as I was flipping through I happened upon a letter in Airhead that complained about the boppers catching up with Depeche Mode. My sister and I totally agree. Down here in Milwaukee the situation isn't much better. All these people that are devoted to their Top 40 radio stations think they have discovered the next big thing. The DJs don't help much either. What is a person supposed to do but become paranoid? I'm confused. And people look at me strange when I bring my Skinny Puppy, Grapes of Wrath, Husker Du and INXS tapes to school (yep, I'm a student). These are also the people who think that punk died with Sid Vicious (who they never heard of anyway) and all that other crap. Eek. Next thing you know, some of the real alternative stuff, such as X Mal Deutschland, Fad Gadget, Cocteau Twins, and Hunters and Collectors will pop up where you least expect it. Well, I feel better now. I'll add that if I lived in Vancouver, CITR would be blasting from my radio. But at least there's one college station here that's worth its weight in vinyl. Kim Wobick Milwaukee, Wisconsin More Puppy Stuff Dear Airhead, Re: I, Corruption's letter, March Airhead. This letter is not written to slag Skinny Puppy. That would be too easy. No, this letter is only to slag folks like Mr. Corruption. Anyone who has taken marketing knows that there are tour stages to successfully selling a product. There are those who try c/o CITR Radio 6138 S.U.B. Blvd. Vancouver, B.C. V6T 2A5 the product first, those who follow their peer group, mass acceptance, and those who never bite the lure. Now, to get to the point. Skinny Puppy never had a trial stage. They were the brainchild of Terry "Malcolm" McBride's brilliant marketing company, Nettwerk. So, if Skinny Puppy was nothing more than a sanitized, easy-to-use-death-rock substitute, then aren't you really admitting how stupid and gullible you are to have been a Puppy fan even before the Shaker Babies? Not afraid to use my real name, Rob Elliot and so on... and so on... Dear Airhead, Re: I. Corruption's letter in the March issue of Discorder. I agree with K*** Tong and I. Corruption that it is sickening to see all the trendies swarming around Skinny Puppy. The fact is, Skinny Puppy is currently an "in" band with teenage girls, But that doesn't mean that Puppy is no longer any good. Nor does that mean that we should disassociate ourselves from them. Puppy is not being "zapped up" by outsiders... they're just appealing to a wider audience. This brings to mind a discussion I had with some other CITR listeners. Each of us, at one time or another, had stopped listening to a band because it had crossed over. That is, it got airplay on one of the Top 40 stations. Because the "outsiders" liked this band, we would no longer listen to them. It was our way of disassociating ourselves from the mainstream and protecting our subculture image. This was embarrassing since it reflected an elitist attitude on our part. The point I'm trying to make is this: it is the music that matters, not the image that the listeners are trying to maintain. So support any band that you like and forget about what others think. And if the trendies are being tedious and obnoxious at concerts, douse 'em with a drink. Respectfully, Larry Soo C TR fm 102 cab e 100 An Open Letter to K.D. Lang Dear K.D., You did what seemed a beautiful affirmation of integrity on a showbiz award spectacle that I saw awhile back. When it was announced by a celebrity that you had won a statue for being the most promising young performer in Canada, you tossed on a wedding dress over your designer runners and ran like a mad scab to the alter and promised to either always make music for the right reasons or never make music for the wrong reasons. (Since this was on TV and I wasn't taping it, I can't quote you verbatim). I was as knocked out by that moment of truth and beauty and the Canadian Way as I was by your record. Now, my sweet man tells me that you are going to appear at Expo "Sun City" 86 (he read it in an official Social Credit Party of B.C. free-to-and-paid-for-by-every-taxpayer newspaper). I got kind of hot about people like you and Bob Bossin and Ronnie Hawkins involving yourselves in this fundraiser for the war against the poor. Then my sweetie, a cooler head, pointed out that you and the rest may not realize what's going on out here. So what can I tell you? Montreal is just paying off the last of its world's fair debt from 1967. Those were prosperous times and the rate of interest was far lower than now. The assistance programs have been thrashed by legalized theft in order to bankroll this megawelfare scheme for the haves. Last weekend in Vancouver, one of the food banks had to turn away hundreds of people after they had already fed about 3,000. On the same weekend, the scandal-ridden cabinet of the party in power chartered a ferry boat and circled around the Lion's Gate bridge while some less fortunate people got paid a bit of money to string $300,000 worth of lights along the bridge above. The cost of this spectacle was not borne by the politicians' personal fortunes but by the public purse. Many people are being kicked out of their homes and neighbourhoods to make room for Expo parking lots, hotels, etc., or just so someone can make more money off their living quarters during the fair. Thus social entities that bridge several generations are beirig uprooted and destroyed for one 6-months' circus of greed. In Alberta, your home province, I hear things are not so good either. Calgary has gone from boom to bust in a pretty short time. Anti-Semitism is growing. Is this our choice—Third World or Third Reich? How about getting the artistic shit together and sing out "We Ain't Gonna Play Rain City?" The homeless don't buy records. Besides, you made a promise! Judy Kootenay P.S. It costs $20 just to get into the gates of Expo 86. (oa/niret/ 683-6314 912 f.ranvillp <*t Vancouver's Newest Live Music Venue Apr. 2 Fab Mavericks with The Wardells Apr. 9 Joel Parkes and the Rondells with The Bottom Line Apr. 16 The Pride Apr. 30 The Return of Death Sentence with The Forbidden Beat Come on down to Bentley's and take a walk on the wild side gm 3&\ Yo-ci £r\S m Mar. 31-Apr. Apr. 7 Apr. 8-12 Apr. 14-19 Apr. 21-23 Apr. 24-26 Apr. 28-30 ■Im Science with Lori Paul L. Kabong and Hoi Polloi Dansekamp Vancouver Classics (Call Club Soda for details) Long John Baldry \j£&% Play 'em again Sam... and Bette, Bogie, Jimmy, Errol. Now you can own Casablanca, The Big Sleep, Robin Hood, 42nd Street & 16 more Warner films that are pure Hollywood On videocassette NOW ONLY SALES RENTALS 1829 WEST 4th AVE. AT BURRARD 734-0411 AFTERIMAGE Photo Service Specializing in Custom Black & White Printing & Processing (604)687-6811 72 West Cordova Street, Vancouver, B.C. V6B 1C9 COMING SOON...BIFF DESIGNS at the new improved and moved T-Shirt Gallery now at 2050 West Fourth 738-0484 /TWASDAR or six skate intersection checkedon down andpushe tion, wheels on t fasten the traffic cut through the i the second cms left and right in fr green as skater startled, drivers t set of lights and i towards a parka NLES iockec skateboarding uai boards are people riding e the people ri Johnny down t and plays intra four Mohican si to you and mad groceries. You without spottinc ing his thrash< aisle while his the other seat, ularity? Skateboardif since Frank Nc urethane whee to the aggro-tei age skater anc difficult for the their driveway board wheels hard clay, and of plywood ati found in the b thing was na basically non- transition fror wheels was tc he switch frorc The Vancouver TheatreSports League presents LATE NIGHT IMPROV jCCfilr*55 JPKwM ** Licenced FRIDAY NIGHT 11:30 Tix $4 at the door $1 OFF WITH THIS COUPON! ARTS CLUB ■3EVUE THEATRE AiAlN SABOS presents I MARILIA PERA RICHARD ULACIA LINDA KERRIDGE AKi TSTi. PAUL MORRISSEY Life on New director of Ar "Paul Morrissey continue iced Blood is comic, brutal, primitive and sophisticatec A comedy with the manners of a live-action April 11-17 two shows nightly 7:30 & 9:30 classification to be announced April 1986 nian process has led us to the present day, and new revolution of skateboard technology that has meant an explosion of new recruits. The cycle will, of course, repeat, and again skateboarding will fade to the background—but it will not die. And for now, those young skaters, old skaters, and new skaters have discovered the essential truth: skateboarding is cool. "Oh my gawd, Martha," exclaimed the wide-eyed pedestrian to his wife. "That there skateboarder fella just fully tweaked a way- harsh-extend-texas-plant off of the bus stop and surfed it out." "Yes dear," replied the wife, smiling thinly and popping another pill into her husband's mouth. OBVIOUSLY, SKATEBOARDING is surf inspired. Get low and go with the flow is at the root of almost every skate move. It finds itself predominantly expressed in bankriding. Any skate- able bank or incline can be transformed into an imaginary wave and tapped repeatedly for maximum soul-searching rides. After years of scoping out potential terrain the skater's eye can home in on a new bank or pool instinctively. Quicker than you can say "awright, dude," a sedate urban setting will explode into a way-gnarly skate hotspot. Carves, lip slides, berts, laybacks, point your fingers for extra style, flow, shred, teach that bank a lesson it will not soon forget. Locations like the Expo banks, Granville bank, China Creek'bowls, North Van bowl, the planter in front of the 7-11 on Broadway & Arbutus, or your neighbour's driveway are begging to be skated. If you can't find any decent terrain, you can always create your own. I'm not talking about the killer Noah's Ark half-pipe construction project in your Grandma's strawberry patch (but if you could...). Stick a sheet of plywood on a box or use two trash cans as supports and blast airs off the side, or try to grind the top without falling over end. If it's a bit rickety, that's cool because it will improve your reflexes and you'll be ready to bail when it collapses in a pile of dust. Then build a half-pipe. A half-pipe is a U-shaped structure achieving a vertical incline in which the skater rides back and forth between the two walls, propelling himself against gravity by thrusting his legs. Although a high-speed downhill run takes balls, a half-pipe with a couple of feet of vert is what separates the men from the boys (or, presumably, the girls from the women). Picture yourself riding the flat wall of the outside of your house. Picture yourself bomb dropping off your rooftop and riding your skateboard straight down the wall. But that's not all. On a half-pipe you can ride the transition and then go up the other side. Don't forget to throw in a monorail, a sweeper, a backside boneless, a lofty six- foot air (that's six feet above the top of a ten-foot ramp, sports fans) and finally an invert for good measure. The tricks pulled off by today's riders are insane; learning these tricks so that you can achieve your dream of skate star status isn't easy either. You can't jam out, but you don't want to hang up and plunge to the ramp bottom in a four- point body slam or a face plant. No one wants to be carted away like a blob of jello. Dear Mr. Police Officer, Please don't give me a ticket for skateboarding. You see, I'm just trying to get from point A to point B. It's just that I don't always take the most direct route. If there's a curb that needs grinding, a mailbox that needs me to foot-plant off it, or a drain that needs to be hopped over, then I'm going to do it. I can skate faster and in better control than most people can walk. If you lock me up I'll shred the prison hallways. It's in my blood, bud. Later, Joe Skater THE MAJORITY OF SKATE RATS are tuned into the street experience. The problem lies in applying a non- traditional use to something that generally only functions in a traditional role. Innovation is met with ignorance and ignorance usually breeds fear. Those same people that freaked out from atop their horse-drawn buggies when they witnessed the introduction of the automobile have been reincarnated as today's pedestrian. They simply cannot relate to the mobility of a skateboarder weaving through them like slalom cones. They want to plod along, read the newspaper, count birds in the sky, window shop, or preoccupy themselves with what to cook for dinner when the boss comes over. The solution is to ignore them and keep skating. The street skating philosophy rests on one principle: no rules. Redefine the confines of your mind, explore the limits, grab the maximum yield out of life. Streetskating is not a newspaper shot of a boy being pulled down the road by his choking crossbreed mutt. Streetskating is bomb-dropping off car roofs, acid dropping off ledges, shaking past a cackle of secretaries, bus surfing, downhill speed runs or a heated parkade session, racing from top to bottom and sometimes dogpiling into one massive wipe-out halfway down. Every Sunday the Bentall Centre gets a visit from the twenty skaters bent on parkade action. There's nothing as intense as a race round and round the ramps at full speed, trying to inch past the guy in front while wondering whether a car will be coming up to greet you at turn 7. Blaring at maximum tilt to catch the bus while ignoring all pedestrians is pretty cool too, if you make it. Get on the bus, smile at the bus driver (who was playing the SPRING ART N EW STUDIO TOKYO JAPAN SPRING COLLECTION ?OYS COMPANY BOYS CO • OAKRIDGE CgNTHfi . » ^66-0388 | SO ARE WE. DISCORDER... AN INTERESTING PLACE TO ADVERTISE. PHONE 228-3017 • 16/8/2 TRACK RECORDING • SOUND ENGINEERING COURSES Learn The Practical Way! Hands-on, personalized instruction, small classes. All Levels Trade School Certified & Tax Deductible. Friendly and affordable classes. r REAL TIME CASSETTE DUPLICATION The Smart Approach to Packaging Your Product! High quality, real time duplication on BASF pure chrome tape. Free digital mastering on orders of 100+. Full package rates include insert cards, labels and shrink wrapping. U*R*I (U*RECORD*IT) A new approach to home demo recording! Record at home — mix in the studio. Unlimited track potential with 4 and 8 track Club Memberships available for studio/tape Drop by for a coffee and discuss yo Your Music Is Our Business BULLFROG RECORDINC STUDIOS 2475 DUNBAR STCTET VANCOUVER. B.C CANADA V6R-JN2 1604)754-4617 ignore-the-potential-passenger game, but you won), then give him the thumbs up sign and say "Right awn" while stuffing a stupid dollar bill into the farebox. Skate to the back. (P.S. Grab a transfer, just in case.) A SKATER'S APPEARANCE is a tribute to function. There are no designer labels longer than the name Levi's. 501 's seem to be the mainstay because they hang loose and don't restrict body movement. They also stand up to repeated trashing. They're usually dusty and worn thin in the butt and on the hips, patched over with repulsively mismatched swat- DISCORDER ches of lime-green or paisley. The cuffs are sometimes rolled up for maximum clearance and flexibility of ankles and feet. Shorts of various styles are also common (if only for the thick-skinned). The only thing not worth wearing is a pair of expensive, lightweight, multi-coloured California specials; they tear to shreds the instant the body meets the pavement. Shoes are high-tops for ankle support and good flat tread design for maximum surface-to-surface grip. Vans are the official skate shoe, but other canvas runners are just as effective. Most skaters refuse to throw away a well-worn set of footwear. The result is many coatings of shoe-goo, knots up and down the laces, and duct tape holding the toes in and the sides together. Some sort of skate-T is also common, usually printed with a favorite skateboard manufacturer logo. The shirt may have long sleeves or the sleeves cut off, it may have numerous rips in it. It may well be less than half a shirt. Gloves are used to lessen the severity of slapping palms on the sidewalk. Leather jackets, team vest, socks and hairstyle are all optional. Jewellery and scarves are a liability because they can get caught in the wheels and cause the skater's face to kiss the concrete. Although it may turn the stomach of a fashion designer, the skater's gear is comfortable and it works. With the addition of a hot band name written in felt pen, a sticker here and there, with an outfit that is glued, pinned, patched and taped together, with cuts, abrasions, and scabs on exposed skin, and with board underfoot, the skater sets himself apart from the non-skating world. A skateboard is not a fashion accessory. On the physical level it's an extension of your feet. On the mental level, it reflects your outlook on life. Some skaters live on their boards. They sit on it to eat lunch, they CITR fm 102 cable 100 use it for a pillow when catching some zzzzs, they try new moves in the living room when it's raining outside. Remember that attitude is more important than appearance. Don't pose, don't sit idly by and watch- make it happen. Finally, the answer to the question "Why skateboard?!" Just after he filmed Easy Rider, I had a talk with Peter Fonda. (Yeah, sure...Ed.) He said that the movie was about freedom and that his bike was the ultimate freedom. I held up my skate, slapped him on the back and said, "Yeah, Pete, I know ,what you're saying." Some were born to follow the leader, the rest were born to skateboard. An Obligatory Guide to Skate Lingo sfam: eat it, pay the piper; also ancient dance step Dial in that puppy: tune your skate; wire a trick gnarly: close to death, unruly, harsh, sketchy ' Rad-e-kal-mon": famous Mellow Cat saying road rash: skater's skin disease, pi2za dude: bro bail: jam, jamtart wannabee: aren't THE VANCOUVER RECORD COLLECTORS ASSOCIATION PRESENTS ITS 12«1> RECORD SWAP MEET SUNDAY, APRIL 13 $1 ADMISSION 11 a.m. - 5 p.m. Sellers — $20 per table (Vz table - $12) KITSILANO COMMUNITY CENTRE 2690 LARCH ST., VANCOUVER 1 or lurtru-r Info, ion Ai.,Mo K.xfv, A I4l.lv (oni.ui NMMtHIN RECORDS— 324 122** DISCORDER April 1986 10,000 Maniacs Terry McDermott goes crazy with Maniac John Lombardo Natalie Merchant Dennis Drew Jerry Augustyniak 10,000 MANIACS MAKE BEAUTIFUL music—Natalie Merchants ethereal vocals, wandering over the weavings of the simple guitar structures of Robert Buck and John Lombardo—but with a chilling, evocative lyrical undertone. Their three albums, the independently released Human Conflict and Secrets of the I Ching, and their new LP The Wishing Chair have established the band as one of the rising voices in American music. Terry McDermott recently spoke to Maniac John Lombardo about the bands history and music. Discorder: Let's start with something trivial and move onward from there. How did you come about choosing the name 10,000 Maniacs? John: In the early days we rented a huge warehouse in our little town, Jamestown, because there was nothing going on. It was a pretty boring town. This warehouse was going to be used as a meeting place for artists and some dancers and musicians. There were about three bands that formed out of this warehouse. Then at the end of the summer as they were all breaking up, we all got together and just sort of played in bars with a real conglomeration of musicians from each band. We choose the name 10,000 Maniacs as a bit of a joke and to irritate the local people. Also that people who were into heavy metal cover bands wouldn't necessarily come to see us and yell AC/DC requests at us. We just wanted to let people know what side of the fence we were on. In those days we were a little more aggressive sounding but now I think it works in an ironic way, although sometimes people tend to make huge presuppositions based on your name. I'm not sure if we're limiting the number of people who might come and see us. D: What was it like to work in Jamestown, N.Y? Is that a college town? J: No, it's not. There's a little community college. I think a lot of the people in the band actually met there. Dennis and Steve ran the radio station there. That's how they first met Natalie. She was like a 16-year-old student there and she came in with an armful of reggae records one afternoon. They talked her into coming down to rehearsals for their band. In the early days she didn't really want to come. We would have to bribe her to show up. In the last 4 years she's really turned into quite a performer. D: You put out two records before The Wishing Chair, Secrets of the l-Ching and Human Conflict No. 5. / understand that you recorded one or both of them for $500? J: Both of them. There's a little four-year col- John Lombardo lege near where we live called Fidelity State and they have a program there where people become recording engineers. Most of the time they're music majors so they record themselves, but we found people who wanted to work on outside projects. They were both practically done on the first takes, all the way through. There was very little overdubbing. It was strange to see reiews of them later criticizing the production not realizing that we did it all ourselves, and in two or three afternoons. D: It really puts the emphasis on the strong songwriting of the band. J: That's something that we have always been really concerned with. I see bands all the time in which the players are more accomplished on their instruments than we are, but they don't seem to have any logic to what they're doing. It's like a good actor in a bad play. You're only as good as the script. I think as far as a band goes it boils down to the script or the songwriting. D: There are particular songs in which the band really takes a stance socially. 'Among the Americans" is one that stands out. Does the band write songs with the intention of dealing with certain issues? J: I tnink so. So many people have used the same topics over and over again. Somebody walking out on you, or being in love, or I have to be myself. It's all first person stuff. I guess we are just concerned with larger issues. The music that touched us the most has been music that has had positive social implications and meaning. We try not to be preachy. It's not like we are suggesting any specific answers. We just want people to think about their situation a little bit. It's a quiet despair really. Talking about the social' issues and the unfairness of the wealth distribution. Not that every song is about that. We like to think that every song is individual. D: It's interesting that you use the phrase 'quiet despair.' I was speaking with a band from Britain and they use the same term to describe what they were doing. It's an interesting parallel between America and Britain in that way. J: In Britain people use music so much more. Music is a much more important part of their lives. There are 3 or 4 weekly music newspapers. The whole emphasis is on new bands. You're really held accountable as a musician for the lyrical content, for the subjects they sing about. In America, groups are given so much freedom, they are never challenged. No one ever pinned down Michael Jackson and said, "Why are you so irresponsible? And why, since you have this CITR fm 102 cable 100 Robert Buck huge public forum, why can't you use it?" Everyone says what a nice person he is, but his lyrics are just as sexist and tacky as anyone else's. They're not held accountable for perpetuating attitudes of sexual violence. We just don't demand much, in Britain and Europe they demand ever so much more. D: / think it's realizing the influence that music has on people. J: Exactly, because when a kid in Britain doesn't have a job or doesn't have a car or doesn't have a blaster to walk around with, he more or less identifies with a certain music or a certain band that ne might follow. Whereas in America, if you're a 16-year-old kid, you've got your own car and you have a tape machine and you've got a girlfriend. You don't identify with a band, you identify with other Corvette owners. We have so many other things to identify ourselves with that aren't present in Europe or Britain that it is logical to be loyal to a particular kind of music or a particular band. D: Your new album was produced by Joe Boyd. How did you meet up with him and how do you think he affected your work? J: We met Joe a few years ago. The booking agent that we nave in N.Y. was sharing a floo( in a building with Hannibal Records, which is Joe's label. He said, "I'm booking this band, Joe, you got to come hear them, they're kind of like folk-punk or something." Joe came to see us and he was quite impressed. He expressed an interest in working with us. Once we signed with Elec- tra and they started suggesting different producers. We really wanted to work with Joe because of his timeless production. Joe, on most of his records, had created... some of the old Fairport Convention, McGarrigle Sisters and Nick Drake records sounded like they were recorded on another planet. Very weird and very haunting, and we sort of wanted that quality. Joe was concerned with an overview of our work rather than specific guitar settings or whatever. D: You must be facing comparisons with REM as their new album is also being produced by Joe Boyd. J: In almost every article that's been written about us, REM has been mentioned. We don't get too bummed out about it. We just finished touring with them. I don't mind when people mention it. It was a bit of a drag because we settled on Joe first and actually we gave them Joe's tapes and they asked if they could use him too. They squeezed in before us. We knew their album would be coming out before ours, so Steven Gustafson everytime there was a review of our album it said: Joe Boyd, REM's producer. It was a little frustrating but we don't feel that uptight about it. D: / don't really see the comparison myself. Someone mentioned to me that they thought Natalie Merchant was a female Mike Stipe. J: I don't see it either. Some people say the way the lyrics are somewhat unintelligible is similar but in terms of our approaches they're really quite different. We're both very supportive of each other but I don't think there is anything too obvious. D: Is it true that you were sort of adopted down in Athens, Georgia? J: In a vague way. We moved down to Atlanta in 1983 because we had some friends down there who told us that we could get signed and work every night of the week. We went down there and we didn't make any money, but I think we made a lot of initial contacts which helped in the long run. Plus it was great to work in an environment where the other bands would come out to your gigs, be extremely supportive, and let you stay at their houses. It was very refreshing. In the area that we came from, the bands were a lot more bitchy and resentful of each other and it was great to be in an environment that was extremely positive. In the world's history some of the great movements in art and theatre have been a real scene where people weren't afraid to work together. D: How do you feel about the whole American rock revival? J: It's weird. We spent some of the summer in London recording our last album. The press was talking about this American invasion and we were being lumped in with other bands. 10,000 Maniacs, Los Lobos, Jason & the Scorchers. I don't know what the common denominator is other than we don't use a drum machine. There's a comparable movement in Britain that's a reaction to the slick synth. You have a real folk-punk movement going on there with The Pogues, the Boothill Foottappers and the Men They Couldn't Hang. I think it's a pendulum reaction. A lot of emotion has been drained out of music. It's almost the same environment that created the punk explosion in '77. Reprinted with permission from VOX, the program guide of CJSW in Calgary. Terry McDermott is CJSW's Music Director. I It's not hard to figure out. You can save a lot of money with the Blackbook. Especially now that we're putting the Blackbook on sale for $13.99. It's a coupon book. And, as you probably know by now, not your average coupon book. How could it be? With places like the Montgomery Cafe, Binky's, Odyssey Imports, Videomatica, the Savoy, the Van East Cinema, the Ridge, the Arts Club...close to 100 names in all. Lots of free passes. 2 for l's, too. $1000 or more to be saved between now and October 31st, 1986. At the regular price of $22.00, the Blackbook was a steal. Now, at $13.99... how can you possibly resist? Available at Zulu, Odyssey, Black Market, Black Swan, Cabbages & Kinx, Revolutions, AMS Tickets (UBC), Manhattan Books, and elsewhere. THE BLACKBOOK. NOW $13 99 m' ? V. ! U. B. C ACTIVATE! is a four-part, multi-media programme of events to heighten awareness of the nuclear arms race and to induce you to "add youri voice to the sound of the crowd" during the March for Peace Sunday, April 27th. Consider it a "butt-kicking in four parts." Part one is the following article by Fiona Bowie. Part two is a montage of clips from various movies to be shown on Soundproof, Cable 10 on Friday, April 18th. Part three is a performance by several new local musicians/poets with pieces composed especially for the event at Channel One, Wednesday, April 23rd. Finally, part four is a three-hour special edition of Propaganda!, Saturday, April 26th (see program guide). Your voice is needed. FOR L E ,11 ENT; £00 I ^;r P* ; ses B$ lMf^h K % "Most people want disarmament, but most people are inadvertently supporting the arms race by staying silent, by hiding behind the 'denial' or 'acceptance' positions, or by otherwise pretending to be uninvolved. It seems to me that with a threat of these dimensions, it can be said literally and accurately that those who are not pad of the solution are in fact pad of the problem." T. James Stark, President Operation Dismantle WE HAVE BEEN AN INVENTIVE, and constructive society, yet today our sleepy apathy is leaving the fate of our species to the interests of too few people. Our actions are threatening the very existence of all our past and future accomplishments, as well as other life on Earth (plants, fish, animals) who, for obvious reasons, are unable to influence policy dealing with their future. In the past, mankind has overcome the use of human sacrifice and slavery because the majority of the population was aware of it and concluded that these atrocities were not in the best interest of mankind. They became obsolete. It is time that we realize that war is not in our best interest in this nuclear age, and render it obsolete. We start by walking for peace, April 27th. In our day-to-day existence our world does not extend beyond our individual needs and desires. The rest of the world is remote; it intrudes only when we find it is absolutely necessary or desirable and therefore we ignore problems facing the Earth. The result is a feeling of fragmentation, alienation and powerlessness from which we can hide behind limitless distractions (nudge nudge, drink drink). The sense of powerlessness stops us from getting involved (even though we know our complacency is morally wrong). We do not understand the consequences of our lack of action. This is not surprising, because this is how we have learned to behave and react. Ambivalence has been, in our recent past, an acceptable outlook. Imagine how effective we would become if we gave the world even half the attention that we lavish on our stereos, VCRs, etc.! Our arms race still exists because we are silent. We must decide not to tolerate this situation any longer. The largest obstacle is our fear, which manifests itself as a lack of concern for the world around us. Some people thrive on this impassiveness: it allows them to gain influence and maintain large military budgets. Our scientific and artistic accomplishments are shining proof of human creative intelligence. The ability to resolve difficult tasks is another hallmark of our civilization. Surely we can use this ability to overcome our single greatest blunder: the nuclear bomb. You can be part of this process by acknowledging that your world encompasses the whole earth. In doing this you will become more aware of the complexity of our biggest problems, as well as gain insight into solutions. No longer can you take your life for granted. A greater appreciation for life on this planet makes it very rewarding to know that one is working to preserve it and nurture its future, regardless of the obstacles that are encountered. No matter how intangible a possible solution may be when you first become actively involved, the fact remains that nothing is resolved without effort. There are several effective paths you can pursue to grasp an understanding of the situation. Reading (a short book list accompanies this article) is one of the best ways to find answers (to questions like 'What about the Russian's?', etc.). Weighing contrary views is also very useful in gaining a broad understanding and will enable you to confront those viewsTn an enlightened manner. Some of the people most in need of this edification are the politicians who make or vote on military policies. President Reagan dangerously ignores even the basic ingredients that affect issues on which he makes decisions; he lacks knowledge of the weapons themselves and does not know those officials involved in weapons policy decisions. A discussion between Dr. Helen Caldicott and President Reagan in 1982 illustrates this very clearly. After being asked a question put to him by Dr. Caldicott regarding weapons, he answered with questionable accuracy: "/ asked him where he got his data, and he didn't seem to know. I asked him if they came from T.K. Jones, and he didn't apear to know who this was (T.K. Jones is the Duputy Undersecretary of Defence and Research and Engineering, Strategic and Nuclear Forces in the Pentagon—one of the officials in charge of defence policy who made the famous statement, 'If there are enough shovels to go around, everybody's going to make it.') "President Reagan, during the 1982 European CITR fm 102 cable 100 trip, said to the Westminster Parliament, London, that with a military buildup combined with diplomatic, economic, and propaganda campaigns, the Soviet Union might collapse into the 'ash heap of History'." How's that for diplomatic, informed leadership? Clearly, our leaders desperately need our input, encouragement, and knowledge. It is quite amazing what politicians can accomplish, if there is significant public pressure (dangle your votes in front of their noses!). We must make them realize that no one has immunity to a nuclear explosion. PROBABLY THE MOST significant lesson we have learned is that the decisions which have brought us to this dangerous point in history, have been made and have flourished as a result of pretence. Before the dawn of the nuclear age, our species did not consider the possibility that we could become extinct by our own hand. Responsible decisions are not possible when people refuse to acknowledge reality. Given the will, we can reshape our destiny. To do so we must accept our moral responsibility that condemns nuclear strategies as unethical delusions. They are simply contrary to humanity's best interests. Dealing with international conflict by using nuclear strategies is simply out of the question. In actualizing this moral responsibility, the first step is to increase public awareness. The Walk For Peace in Vancouver will do this Larger turnouts get more press coverage (local and international) and arouse more curiosity. Increased interest is evident in a turnout that grows larger every year. Our local walk in Vancouver sets an example for other cities (100,000 people from our community is a fantastic display of unity). This growth must continue. Your participation will show the world you are willing to stand up for your beliefs. To be part of such a large show of combined will for the good of mankind is inspiring. This kind of interest in our future is imperative or else we simply shall not survive. Without interest there is no will for knowledge. Without knowledge there can be no motivation. Without motivation there is no action. Without action, improvement is unlikely. Without improvement, there can be no hope. A Pre-Nuclear Reading List Gordon Adams: The Politics of Defence Contracting: The Iron Triangle Robert Aldridge: First Strike: The Pentagon Strategy for Nuclear War Or. Helen Caldicott; Missile Envy A Halberstam: The Powers That Be George Ken nan: The Nuclear Delusion Herman Kahn: Thinking About The Unthinkable Physicians for Social Responsibility: Nuclear War: The Search for Solutions Robert Scheer: With Enough Shovels Jonathan Scheli: The Fate of the Earth Dr. Linus Pauling, Adm. Eugene Carrol, Dr. Daniel Ellsberg: The prevention of Nuclear War Sir Sidney Zuckerman: Nuclear Illusion and \ Reality $rtp4/d/j&4u& 569 Hornby St. 685-5679 Mon. - Tue. — Reggae Nites. Wed. — Funk nite Wed. April 2 — Brazilian nite 3-5 10-12 17-19 24-26 * * UVE BANDS IN APRIL * * Latin band - BANDIDO Reggae band - FIRE TEMPLE Caribbean Rhythms - SANDY & THE ORIGINALS Reggae Soka Funk — MANGO DUB OPEN LATE THURSDAY EVENINGS (RGIA ST. 683#55 COWGIRL SHIR I I ROM POW WOW CAT PROC 50th Anniversary Bk THE GEORGIA STRAIGHT present EMMES OD6RE BALLROOM Friday April 11, 1986 Tickets at VTC/CBO and all usual outlets Presented in partnership with TIMBRE PRODUCTIONS HANNEL ONE KLUB are pleased to present EDWARD KA - SPEL Founder of the Lh^GENDAR !VK DOTS \pril 8-9-10, 1986 CHANNEL ONE KLUB 860 Denman Street Advance tickets $7.00 at Odyssey Zulu and Channel One Klub AUCTIONS m-Out Cel Thursday Ma^9 I the return of De MittelG Monday A¥iil 28 to Thursday May 1 ejpbrate the Weird" ollectors RPM and ergrowth Records present KEFINGER AL VIRGINS NSNO ickets $7.00 advance at Zulu, Odyssey, RPM SAVOY 6 Powell Street, Gastown KJ SUGARC with fu RHYTHM h guests WARDE1LLS Both shows at the LUV-A-FAIR 1275 Seymour Street A CITR Presentation DISCORDER Life After Life After Bed SHOWS COME AND GO around here with great regularity, each digging it's own grave and very often being buried alive. Among them Rabble Without a Pause, Rude Awakening and Life After Bed. Each leaving without any sign of returning from the grave ever again. One, however, has popped the nails on it's coffin and robbed the undertaker of his dirty deed. Enough of this shit!! Life After Bed is back. I've been treated like a piece of shit around here long enough, it's time to be loud or go home. Sunday nights at 1 a.m. turn off your TV and tune into CITR for the ugliest radio you've ever heard. Life After Bed—ugly radio for our time. Forget your aviados, warn your avocado. Early Music Primer THE EARLY MUSIC SHOW has been on the air for a year now. By now there are bound to be a few listeners who want a few representative medieval, renaissance, or baroque recordings, and, as you've probably guessed, I've got a few suggestions. One rule of thumb is the newer the recording the better, and not merely for reasons of sound quality. Scholarship is steadily advancing, and there has been a recent proliferation of musicians adept at archaic instruments. Still, there are always those classic recordings not likely to be equalled for some time. My list reflects general critical opinion, my own (of course), price and availability. For more information and excerpts from the recordings listed, tune in on April 5th. An Early Music Basic Library Twelve recordings for novice and connoisseur: Ave Maria; Gregorian chants; St. Maurice & St. Maru, Philips Festivo 6570 154 The Art of Courtly Love; Munrow, Seraphim _ 3-LP sic-6092 Tallis: Spem in Alium; Willcocks, Argo 411 722-1 Dance Music from the time of Praetorius; Collegium Terpsichore, Archiv 198 166 Monteverdi: Vespers of the Blessed Virgin; Harnoncourt, Telefunken SAWT 9501/02. Holborne: Music by...; Extempore String Ensemble, Meridian E77027 The King's Singers' Madrigal Collection; MMG 1105 Purcell: Birthday Odes for Queen Mary; Munrow, Angel S-37251 Vivaldi: L'Estro Armonico; Hogwood, Oiseau- Lyre 2-LP D245D2 J.S. Bach: Goldberg Variations; Pinnock (Harpsichord), Archiv 2533 425 J.S. Bach: 6 Brandenburg Concertos, Harnoncourt, Teldec 2-LP 6.35620 Handel: Water Music; English Concert, Archiv 410 525-1 —Ken Jackson CITR Benefit The CITR Mondays In March benefit concert series at the Savoy continues in April. A strange phenomenon we admit, March being extended by two weeks to accommodate a CITR fundraiser. Lineups have not yet been confirmed, but stay tuned for further details. CITR Presents... Upcoming CITR concert presentations include: Violent Femmes with guests, Commodore Ballroom, April 11 Tupelo Chain Sex, with Rhythm Mission at the Luv-A-Fair, May 15 Husker Du with guests at the Luv-A-Fair, May 22 We'll be there. Will you? "Q ON THE BOULEVARD hair and suntanning co. SUNTANNING 10 SESSIONS 20 SESSIONS $39 $79*<>«*cds Share Sessions with a Friend ALSO AVAILABLE 1 BED WITH SPECIAL FACE TANNER $1.00 EXTRA PER SESSION HAIR STYLING 15% Discount on any hair care services or pay regular price for your hair service and receive TWO FREE TANNING SESSIONS 5784 University Blvd. (in UBC Village) Valid with presentation of this ad Ph. 224-1922 224-9116 Expires April 30, 1986 ************************* * DISCORDER # * * * * : 1H E EAT E RI 1 FREE BURGER 1 THE GOOD PEAL IS your least expensive burger is free when two are ordered. This applies to beef and tofu burgers only, and isn't valid coupon * 3431 W. BROADWAY 738-5298 ************************* CITR fm 102 cable 100 AFTER 3 MONTHS OF WAITING, THE RESULTS OF THE CITR/ Discorder Listener/Reader Survey are in. Hours of tabulation and careful analysis have produced the following results. Make of them what you will. There were a total of 228 responses. Of these: 18% attended UBC; 19% attended high school (not every day, mind you); 19% attended another post-secondary institution. The remaining 44% were either students of life or were, I presume, deceased. 152 (62%) individuals purported to be male, 73 said they were female, and the rest championed equality by refusing to answer the question. (Most of these didn't give their age, either.) A whopping 95% of the respondents had listened to CITR before. Of those who had listened (and are listening) 11% tuned in once a month; 6% tuned in once a week; 35% listened a few times a week, and 47% were habitual users. (Don't ask me what happened to the other 1%. I think they're trapped inside the decimal places.) 59% tuned into CITR on FM, 41% on cable; these numbers, interestingly, are close to the numbers of those having problems with our signal: 62% reported problems while 38% were lucky enough to receive CITR distortion-free. "Hail to the new boss, Same as the old boss" THIS WAS THE PART where you got to compare the new regime of dictatorial DJ's with the old regime of megolomaniac announcers. 60% of those responding enjoyed CITR's programming more than a year ago, and 54% enjoy it more than they did two years ago. On the flip side, 23% enjoy the new boss less than last year's; 26% less than two years ago. 12% enjoy CITR just the same as they did both one and two years ago. You also told us which other stations your radio stops at (at least, 83% of you did). CFRO tops the list with 41%, followed by CBC FM (33%), CBC AM (22%) and various Top 40 FM stations (18%). Only 11% 'fessed up to listening to Top 40 AM radio, most to LG73. Finally we asked you to confess to the sin of home taping off CITR. 50% of you said you did, 45% said no way and 5% kept their mouths shut. Next you had to tell us what you thought of the rag you hold in your hands. Where did you pick it up? ON SWEAT SHIRTS $14-21. TILL APRIL 3 0 We carry a full line of -^aurwapB&or PINARKLL0 f^SSl* NORCO BRC Maruishi wide selection of 1986 a models available Mountain and Triathlon j Bikes also available C Now TWO locations to serve you 224-1034 669-3646 "We offer the BEST bikes, prices and expertise and that's why we stand out." Full year Warranty available on all our bicycles. ** ^ NON FICTION CUSTOM SCREEN PRINTING INNOVATIVE GRAPHICS 13 6 POWELL ST. VANCOUVER V 6 A 1 G 1 6 8 4-9834 DISCORDER April 1986 20% off all Perms & Colours Phone for appointment 2529 Alma at Broadway 224-2332 Point Grey 28%; Downtown 45%; West End 13%; Gastown 12%; Kits 22%; East Van 8%; South Van 1%; North Shore 4%; Richmond 2%; Surrey 0.5%; New West 1%; Victoria 2%; others 4%. (Yeah I know it adds up to 142.5%, but some of you like to get your Discorders all over town.) 95% of you told us how many people read each copy, the breakdown as follows: just one -40%; two - 33%; four - 10%. Most of you also told us you wanted more. More of just about every feature in the magazine— Want More: Want Less: Like It As It Is Airhead 64% 9% 27% Behind The Dial 42% 23% 34% Vinyl Verdict 74% 9% 17% Demo Derby 63% 11% 26% Armchair Eye 32% 29% 39% Music Features 80% 1% 19% Local Music Features 79% 6% 15% Non-Music Features 40% 36o/o 24% Cartoons 72% 11% 17% The next section of the survey asked our listeners to tell us their feelings on various aspects of our programming. We asked you to rate these features on a scale of 1-5, with 1 representing an extremely negative response and 5 representing wild applause. It was, we realize, a flawed system since some tended to give out 1s and 5s with gay abandon while others tended more toward the middle ranges. Also, the system gave little room for you to tell us why you liked or disliked a show. At any rate, the responses were added up, then divided by the number of respondents to give an average based on a possible score of 5. Regular Music Programming 4.1 Powerchord 2.1 News 2.6 Neofile 3.6 Live Sports Broadcasts 1.4 Generic Review 3.4 High Profiles 3.7 No Commercials 4.7 Public Affairs Programming 2.5 Rockers Show 3.0 Public Service Announcements 3.2 African Show 3.0 Music Of Our Time 2.9 Folk Show 2.5 Soul Galore 2.9 Just Like Women 2.2 Fast Forward 3.4 Party With Me Punker 3.6 The Jazz Show 2.8 Mel Brewer Presents 4.0 UBC Weekly 1.9 Big Show 3.0 Top Of The Pops 3.3 Propaganda 3.6 A disappointing 42% of respondents said they used our program guide—On The Dial—before tuning in to CITR. We wondered why we were getting requests for the Ramones in the middle of the African Show. 52% said they would pay for Discorder. This is by no means a mandate for price gouging, but in these days of tight money we're always looking for a way to make Discorder bigger and better. The circumstances under which 53% of you would pay rated as follows: more pages - 76%; to benefit CITR - 71%; to decrease advertising - 21%. Some of the feature ideas we ran past you received positive response: 30% would like to see DJ profiles in Discorder; 38% would like a local gossip column; 37% want book reviews; 47% want social and/or political commentary; 29% want stories on student issues; 39% want broader arts coverage. Thanks for taking the time to fill out the surveys. And special thanks to all those who donated prizes and helped compile the survey results. Let's do it again sometime. SURVEY COMMENTS •Please ask everyone to cut the continual on-the-air crap about totally trivial and moronic shit—play music from Satan and spaceship music or I'll kill you. •I'm a long-time listener/reader of your output. It gets better and better, unlike most other radio stations/publications. •More jazz and classical music programming is necessary! CITR programmers could learn a lot by listening to KOUW (a true university radio station reflecting a musical taste beyond the latest 'hip' guitar band). • I like everything that is undesirable and experimental, noncommercial spiritual rhythms, "industrial music," anything that is untraditional, taboo and avant garde. Anything that intimidates people. • Kirby Hill and Mike Johal give eye-opening political insights while still putting on great shows. •Some of the DJs are too egotistic and verbose. • Love it, want more. CITR fm 102 cable 100 •The guys who do Neofile are the idiot-equivalent of Buzz and Dave on Soundproof—drone, drone, drone—boring, otherwise improving. •I can't receive it in Coquitlam without cable. Wombat is my long- lost brother. •Don't remove Party With Me Punker or I will cease to listen. •There is too much punk and thrash rock played. •Keep Party With Me Punker on the air. •Burn the Big Show goof. Too much thrash. •Discorder is great. •LESS JAZZ. •I hope you go high power—the reception I get is really bad. Discorder could be bigger. Jazz Show is great. •Half of the CITR DJs cannot speak or read English. •CITR is a suicide prevention device. •Death would be too kind for the likes of the trendy airheads that populate the elitist corporation that masquerades as a "free" station. •Groovie. •Get rid of the news. •Love CITR. Look forward every month to latest edition of Discorder. Am sitting here with Fast Forward on while I write this out. •More demos, less interviewing on Mel Brewer. •I have listened to CITR for about 4 years now. I especially enjoy Jason Grant and Mike Johal. •Cut off Jason's fucking head and ram it down his fucking throat, then cut his thumbs and ram th—- •Great magazine!! Expand! More ads if necessary to keep down price. I like D. Watson and Jason G. CITR: go high power! I signed the petition, what happened? • Bring back the Playlist Show format. •Talk between toons should be relevant and informative, please less burble, especially Saturday AMs. •CITR is a good alternative radio station flavoured with a slight anarchistic feeling that keeps things interesting. Discorder reflects this. •PSA carts are overplayed. •Gave the Folk Show a 4 for all the UK football scores and his accent. •Get down off your boring old pedestals and get into music instead of all your egos. •We want a glossy front cover! Nude pictures! •Just Like Women never offers positive alternatives. (Have you ladies considered suicide?) •Make Just Like Women 2 hours, or Vi hour daily. • Less Vinyl Verdict; have comments on Neofile instead. •Although the DJs are good they sometimes talk too much, I want to listen to music. •Keep Discorder as weird as possible. CITR: I like Wednesday Night at the Fights. •Good mag. Doing a good service for local muzak! •God help us if there was only C-Fossil and Georgia Straight to keep jjs informed. •Discorder's really good, wish I could get CITR in White Rock. Fun to read on the bus. •Nuke Dafoe! •Discorder: great mag. CITR: wish I could get it on my radio. •Keep Discorder topics on music, forget shit politics, ditto tor on air. Just play new music on air. • More 60s rock n' roll! More punk rock! •CITR is great when it's not being cluttered up with horrid public affairs and specialty shows. I know your license requires them, but they are really insipidly dull. • Saturday and Sunday evenings are great! Propaganda, PJ Party, FF, etc.; they have good, intelligent announcers, especially Mike Johal. •P.S. I hope you're all good capitalists! •Wish I could get you on my radio at home. Stay rad. Don't go yuppie, please! •The DJs should be able to speak English properly—start a fund to send the news staff back East so that they may learn to speak properly. •Go high power, please! •Cover as much local stuff as you can! (esp. Slow, Soreheads, NoMeansNo, etc.) • Everybody should just drink and do drugs and have more sex. Get a strong enough signal to reach the north end of Vancouver Island. CFMI Presents ECHO& THE BUNNYMEN CHURCH APRIL 11 • 8 PM The Orpheum Tix: VTC/CBO and all its usual outlets. Info & Charge 280-4444 Plus Zulu & Odyssey C-FOX presents SIVPI3 MNDS WITH GUESTS THE CALL April 23 • 7:30 pm Pacific Coliseum Tix: VTC/CBO & all its usual outlets Info & Charge 280-4444 ON THE DIAL WEEKDAY REGULARS 7:30 am Sign-On 8.-00 am WAKE-UP REPORT News, sports and weather. 10:00 am BREAKFAST REPORT News, sports and weather followed by GENERIC REVIEW and INSIGHT. 12:00 pm HIGH PROFILE. im pm LUNCH REPORT News, sports and weather. 4:30 pm AFTERNOON SPORTSBREAK 6m pm DINNER MAGAZINE News, sports and weather followed by GENERIC REVIEWS, INSIGHT and a DAILY FEATURE. 4M am Sign-Off WEEKDAY HIGHLIGHTS MONDAYS SOUNDTRAK 10:30-11:30 am So, here it is: a program of music At tcUciiC auotimtot ok good quality tued dotlmq Jot m% cud mm, Cwnew^omic^shirts^^ 2565-Aiwa 224-5711 DISCORDER and UBC poets lined up for April. Most of them are published by ARC magazine and are pretty normal. THE JAZZ SHOW 9:00 pm-12:30 am Vancouver's longest-running prime time Jazz program, featuring all the classic players, the occasional interview, and local music news. Hosted by the ever-suave Gavin Walker. 06 Apr. The great Roland Kirk, featured in two live performances: in Copenhagen and at the 1968 Newport Jazz Festival. 13 Apr. Miles Davis' Jack Johnson—the post-1970 Miles' album for those who don't like post-1970 Miles. 20 Apr. Pete Johnson's Housewarming. In the days before the LP this great Boogie-Woogie piano player invited his friends over to his house to play. On these sides we hear their arrival as they make themselves comfortable and join in. Featuring Ben Webster and Hot-Lips Page. 27 Apr. Charles Mingus—Changes 1 & 2. Arguably Mingus' last great albums. We'll hear excerpts from both. CITR DEBATES 5:30-6:00 pm Stephen Gold hosts the logical successor to rock wrestling. THE BLUES SHOW 8:00-9:00 pm Can blue men sing the whites? Join host Eric Von Schlippen to find out. TUESDAYS UBC WEEKLY 10:30-11:00 am A new show dealing with issues of concern to students at UBC. THE FOLK SHOW 8:00-9:30 pm It's Tuesday and you're not even tempted by 2 for 1 movies, so why not tune in to CITR's Folk Show? See what traditionally-based music can do for you as host Steve Edge presents a foot-stomping mix of Celtic & Rogue Folk. Features during the month are: 01 Apr. April Fools & Easter Fests. Folk music from the bizarre to the irreverent. 08 Apr. Rogue Folk Extravaganza! Featuring The Men They Couldn't Hang and the Boothill Foot Tappers. 15 Apr. Oh Canada! A personal celebration of 5 years in This Land of Ours' with music from some of Canada's finest performers. 22 Apr. The New St. George. A St. George's Eve spectacular with English folk music at its best. 29 Apr. The Boys of the Lough. One of Celtic music's longest-running & most accomplished combos, they are regular visitors to Vancouver. This evening's show may help to explain why... BUNKUM OBSCURA 9:30-11:00 pm A variety show of sorts, from time to time there will be live in-studio interviews, perhaps April 1986 some poetry reading, music, of course, etc. Bunkum latin (n) Bullshit Obscura latin (adj) hidden LOVE PEACE AND VIOLENCE 11:00-1:00 pm An earnest effort to resolve 7,000 years of passion, sedation and empty threats (read civilization), featuring live sex, tape loops, simulated drug taking and lots of normal music. "Some things are so stupid that they must be done." E. Raoul PLAYLOUD Late night 1:00-4:00 am Where rage, soiling (under control), catharsis & discipline are conditions for a certain aspect of sanity. Music for Transylvanian insect life. Aural Surgeon: Larry Thiessen 01 Apr. A collaborative Easter aftermath with Bill & Norm. 08 Apr. A survey of the work of David Tibet 93. 75 Apr. Harsh Reality. A night of power electronics. 22 Apr. Music for D.H. Lawrence's The Devils. 29 Apr. TBA WEDNESDAYS VANCOUVER INSTITUTE 10:30-11:30 pm 02 Apr. Dr. Partha Dasgupta: The Silent Food War 09 Apr. Dr. Arthur Kleinman: Bodily Idioms of Distress 76 Apr. Sir John Donaldson: The Courts: The Citizen's Non-Nuclear Deterrent 23 Apr. TBA 30 Apr. TBA JUST LIKE WOMEN 5:15-6 pm Woman, heal thyself with Ann and Lil's remedy for the Old Boys' Network: an hour of news, interviews, and music. A shot in the arm for all women, and for any man who likes them. THE AFRICAN SHOW 8:00-9:30 pm A program featuring African music and culture with hosts Todd Langmuir, Patrick Onukwulu and Dido. Tune in for the latest news from Africa, plus special features at 5:00 pm. THE KNIGHT AFTER Midnight to 4:00 am Music to clobber Yuppies by—featuring radio shows traded with alternative stations in Europe and the U.S. This show will really mess up your BMW! THURSDAYS STUDENTS FOR A DEMOCRATIC UNIVERSITY/AMNESTY INTERNATIONAL 10:30-11:00 (alternating weeks) PARTY WITH ME, PUNKER! 3:00-5:00 pm The show the Minutemen like^'sfo much, they named one of their albums after it. 03 Apr. Live Minutemen 70 Apr. Surf Season Opener Special CITR fm 102 cable 100 17 Apr. 85 RPM 24 Apr. Request Show PLUS: The death of Mike Raphone (gone to that big alternative radio station in the sky.) TOP OF THE BOPS 8:00-9:00 pm On the 10th of this month Vancouver Record Collectors' Association business manager and vinyl fiend Chuck Demean will be in to spin some vintage shellac. MEL BREWER PRESENTS 11:00 pm-Midnight We at Mel HQ appreciate your vote of support in the survey. We promise to continue our coverage of the thriving local music scene through interviews, reviews and features...and other stuff. FRIDAYS FRIDAY MORNING MAGAZINE 10:30-11:30 am STIRRINGS: More insights into cross-cultural music, poetry and personalities. Expect spontaneity. With your host and researcher Kirby Hill. 04 Apr. A look at aboriginal rights and title, featuring highlights from the conference at Robson Square of March 5 and the South Moresby March of March 15. 77 Apr. Rennaisance/Medieval Music with guitarist Nathaniel Hervitz. Plus a preview of the 1986 Vancouver Children's Festival. 78 Apr. MP Svend Robinson speaks on the needs and concerns of Canada's native people and the government's role in the issue. 25 Apr. Another side of Vancouver's independent music culture with Randy Raine-Reusch, Paul Serret, Zalfman, Eric Adams, and guest host Paul Dolden. POWER CHORD 3:30-5:00 pm Vancouver's only true metal show, featuring the underground alternative to mainstream , metal: local demo tapes, imports and other rarities, plus album give-aways. SPECULUM' - REFLECTIONS ON SITUATIONS 5:30-6:00 pm News; RET. (Pesimists Endurance Training); and "Forward From the Past." SOUL GALORE 8:00-9:30 pm All the tearjerkers, all the hipshakers. From R&B to funk and especially soul. Join Fiona MacKay and Anne Devine at this new time. THE BIG SHOW 9:00 pm-midnight Why pay money to get into a nightclub on a Friday night? If Big InternationAI can't get you dancing, no one can. THE VISITING PENGUIN SHOW Late night 1:00-4:00 am Interviews with local musicians and artists, the newest sounds at CITR, your personal requests and even golden oldies. What more could you want? Hosted by Andreas Kitz- mann and Sheri Walton. WEEKEND REGULARS 8:00 am Sign-On Noon BRUNCH REPORT News, sports and weather. 6:00 pm SAT./SUN. MAGAZINE News, sports and weather, plus GENERIC REVIEW, analysis of current affairs and special features. 4:00 am Sign-Off WEEKEND HIGHLIGHTS SATURDAYS EARLY MUSIC SHOW 7:30-10:30 am Have breakfast to music from the Medieval, Renaissance and Baroque periods, played on strange and exotic instruments. With host Ken Jackson. 05 Apr. The Basic Early Music Library (see listing in Behind the Dial for more info) 72 Apr. Medieval Troubadours 79 Apr. Henry Purcell 26 Apr. W.A. Mozart Symphony No. 41 ('Jupiter") performed by The Academy of Ancient Music Kitsilano's Night Time Cabaret We open at 7...We party 'til 2 U^PJ Buck Off Jacko 7 till 9 nightly DISCORDER April 1986 NEOFILE Noon-4:00 pm A new look on the Spinlist, with more listings, more readable type, and a new feature—the Top 10. This represents those LPs, EPs and singles that the MD's feel stand apart from the rest of the list. The rest of the list remains ordered according to number of plays on-air, and is divided into 3 groups; heavy, medium and light. The Neofile acts as a radio guide to this list, as your hosts, Jason and Don bring you the latest in music from around the world. WHATEVER HAPPENED TO GILLIGAN'S ISLAND? 4:00-6:00 pm Alas, kiddies, this is the last listing for awhile. The search must continue...in Greece. Join host lain Bowman for one final month of in- depth probing of little-known philosophies. Assignments for the month: 05 Apr. The Empire Strikes Back 72 Apr. Excerpts from the Hitchhiker's Guide to the Galaxy 79 Apr. Stanley Holloway Pt. II 26 Apr. Final Exam: Vita Briani Au revoir, mes amis. PROPAGANDA! 6:30-9:00 pm An eclectic mix of interviews, reviews, music, humour, High Profiles, and other features with Mike Johal. 26 Apr. ACTIVATE! An audio collage. 3 hours. No host. No narration. Music. Sound effects. Voice. Interview clips. apathy is best but action is better. Norad. Frankie. A CALL TO ARMS, awareness, "my god, what have we created?" PEACE. Warsaw Pact. doa. WAR. reagan. FB3. "Superpowers don't have friends, they have interests." N.A.T.O. mark Stewart, wah! ambivalence is for the mediocre. Gorbachev. TEST DEPT. style council, thatcher. MARCH! Clash, "we begin bombing in 5 minutes." Ha- ha. BOB MARLEY. "...add your voice to the sound of the crowd!" Is all propaganda bad? Regular Features AEIOU—Political satire with the Artists Educational Iconoclastic Organisation (Un-) limited (6:55 p.m., April 5, 19) Video reviews—Catherine Wheel, Scum, Best of Elvis Costello (Videos from Videomatica) Today in History PYJAMA PARTY 9:00 pm-1:00 am Your hosts Mike Mines and Robin Razzell present everything from ambient music for snoozing to upbeat tunes for popcorn and pillow fights. SUNDAYS MUSIC OF OUR TIME 8:00 am-Noon A sampling of the vibrant, electric and exhilarating sound often erroneously file$ under the misnomer of "classical" (i.e. pedantic) music. Paul Smith continues his musical lexicon of the twentieth century, and is joined by Tyler Cutforth, with his favorite remedies for Sunday morning complacency. ROCKERS SHOW Noon-3:00 pm The best in Roots, Rock, Reggae, DJ and Dub. With your hosts George Family Man Barrett, Collin Hepburn and Bruce James. 06 Apr. Singers and Players. On-U-Sound 73 Apr. Brigadier Jerry Jamaica Jamaica 20 Apr. Rita Marley Rasta Woman, I he Sister 27 Apr. Big Youth Pioneer DJ SUNDAY NIGHT LIVE 8:00-9:00 pm Wanted: S.N.L. is currently looking for live tapes of local bands for a possible month of local features. This is a great opportunity to have your band profiled in a live context. So let them tape machines roll. Contact Paul Clarke c/o CITR or phone 228-3017 on Sunday nights. 06 Apr. King Crimson 73 Apr. Talking Heads Part I 20 Apr. Talking Heads Part II 27 Apr. Richard Thompson (w/guest host Steve Edge) FAST FORWARD 9:00 pm-1.00 am Probably Vancouver alternative radio's most alternative show. Mark Mushet searches the world over for experimental, minimalist, avant-garde, electronic, and other non- mainstream sounds. LIFE AFTER BED 1 am-4 am The return of the nightmare from the people you're parents warned you about. Ugly radio has returned. Warn your avaiados. CITR fm 102 cable 100 Vinyl Fine Young Cannibals Fine Young Cannibals (I.R.S.) TO TAKE AN ANALOGY FROM SPORT, 1979 was a good draft year for British music. It was the year of the Two-Tone ska revival, a movement which spawned a number ot talented bands, including the Specials, the Selecter and the Beat. The main aim of these and other bands was to make the youth of the U.K. forget about the dole queue for awhile and go out and dance. For a year or so, it worked. Then in 1981 the Specials' Lynval Golding was stabbed after a gig in Sheffield and it was "Ghost town" time. Most of the bands broke into bitter, disillusioned fragments. The Beat lasted a bit longer than most, but in 1983 they too bit the dust. Now, over two-and-a- half years later, Andy Cox and David Steele have followed General Publicans Dave and Roger back into the musical arena with the Fine Yo! • -"« Cannibals. But while General Public sounds an 'awful lot like the Beat with synthesizers, the Fine Young Cannibals have modified the Beat sound by incorporating something of the cool soul style currently popular in England. For that reason alone, this record should slide easily into this continent's Top 40 charts. (After all, if Sade can make it...) But there are better reasons for this record to make a significant impression on this side of the pond. One is the semi-revelation that Cox and Steele must have been more vital to the Beat than most people supposed—the tunes on this record are surprisingly catchy, besides being superbly executed. The band's real strength, however, is the third Cannibal, Roland Gift. Without him the record, although pleasant enough, would be a fairly innocuous collection of pop songs. Gift's presence, though, adds another dimension; his voice transforms the material, and conjures up images of Otis Redding or the Temptations. Make no mistake, the guy can sing. Verdict He gets plenty of opportunity to put his gift to work: standouts are "Like A Stranger," "Couldn't Care More," and "Johnny Come Home." The latter cut, the single, is rather typical of the mood of the record, being a plea to a teenage runaway from the distraught parents: "Who do you know? /Where will you stay? /Big city life is not what they say...Johnny, we're sorry /Won't you come on home?" The same loneliness and despair, set to exquisite pop melodies, permeate much of the album; even the love songs are about disintegrating relationships. The best of these is "Funny How Love Is," a shameless tear-jerker featuring ex-Beat sax man, Saxa, and a devastating vocal from Gift. (Footnote to any girl who has ever dumped her boyfriend: If this song leaves you with a clear conscience then compared to you Alexis Colby is a warm, caring, and compassionate human being.) Despite the generally morbid lyrics ("Couldn't Care More" is apparently sung by a guy who is trying to ignore a murder in the next-door apartment), the Fine Young Cannibals hit a groove that all too many bands seem to be missing these days, and Gift's voice alone is enough to quell most criticism. Not a record to change your life, but you can never have enough catchy pop music, can you? —lain Bowman Young Fresh Fellows Topsy TUrvy Popllama Products 1} M STANDING ON THE CORNER OF HAS- tings and Carrall, just hanging around, when [i us man asks me for a quarter for an alleged cup of coffee. I put down my record bag to reach into my pocket for some spare change and this guy grabs my bag and starts running down the street. So I jump up and down and yell thief, but all the assorted Uncle Wigglys sprawled out on the benches surrounding me just stay put and leer at me because I can't chase after the thief because my hand is stuck in the pockets of my jeans because they're way too tight. One of the more articulate of the derilicts says: "What's da matter, sweetie? Did that nasty man rip off your Young Fresh Fellows' album? Heh, heh, heh." I swallow and nod. Two great big tears begin to slide down my face as I think about the loss of the most totally cool album of 1985—Topsy Tur- vy by the Young Fresh Fellows. I start thinking about the human condition and I decide to go to the Lotus Hotel for one or five beers. I sit next to this old man who seems friendly and I begin to teil him about the thief, but I can't tell whether he understands English or not. He nods and smiles energetically, so I finish my story. After I finish drinking my five or ten beers I start feeling burned. The man who watched me drink my beers offers to drive me around town to look for the thief in his "expansive sport car." I say I have to go to the bathroom and I crawl out of this window. I decide that I need supplies in order to hunt down this guy properly, so I stop off at the Save- On Surplus on Cambie and West Hastings. I purchase a hunting knife and a Safari hat. The clerk at the counter points out that they're having a special on deactivated hand grenades, so I get one of those too. Thus equipped, I go back to Pigeon Square. "Okay, rubbies, Where's the guy who took my Young Fresh Fellows' album?" I say as I wave my hand grenade menacingly at the benches. One old guy says: "Is that the record with 'Searchin' USA,' 'Sharing Patrol Theme' and 'Hang Out Right' on it?" "Yeah,, what about it? Do you know where it ' is?" I say as I narrow my eyes meaningfully and unsheath my Save-On Surplus hunting knife. "Cool record. Joe only wanted to tape it so he could hear it on his walkman because he doesn't have a turntable. Here." I grab my record, press it close to my chest and yell over my shoulder: "Home taping is killing music." —Julia Malcolm McLaren Swamp Thing MALCOLM MCLAREN — INSTIGATOR OF musical perversity, abuser of cultural identity, the man who went through punk, funk, got hipper, then did opera—has let down his front of creative upheaval and allowed (?) to be released a collection of material recorded between '82 and '84, his hip-hop "rap-off" period. This record affords a chance to view the fine line between artistic expression and creative indulgence, the line that Malcolm knows too well. His past efforts, and present ones for that matter, have always bordered on the absurdly pretentious, and because of this he has frequently succeeded in shaking up our perceptions and expectations of modern pop/rock music, making us realize the transientness of our trend systems. He has created his own trends through ingenious manipulation of present popular needs, proceeded to rip them off, and then gone on to do the same elsewhere. In "Duck Rock Cheer," for example, he creates a rah-rah atmosphere for a song that he has already recorded, as if this new song is an excited hallelujah response by the peon who exists only to ingest and respond to his whimsical meanderings. Both "Duck Rock Cheer" and "Duck Rocks/Promises" are variations on "First Couple Out," a song released with DISCORDER Madame Buttedly. Yet all three create their own feel, their own atmosphere mostly though the non-stop production/manipulation of Malcolm and Trevor Horn, without leaving the rather limited format of the song idea itself. There is no need to describe in detail his collection of songs individually, since they all are basically formed on the same principle, that of sonic and trend manipulation. Malcolm McLaren is a modern man, in the sense that he abuses all that is of the modern world—technology, cross-culturalism, multi-media—and quite often spews out something original, even humourous, deep in cultural connotations. Anyone who cannot giggle at "B.I. Bikki," at least in private, has no sense of humour. To admit that you like Malcolm's efforts, or at least that you appreciate them, is to be honest and open to the constantly changing and fiercely intangible concept that is called popular music (no categories, please). Even through material not intended to be released as an album, one can sense the creative and thought-provoking twist of what we have all heard before (and of what some people even hold to be sacred!). McLaren is not a musician, I would not dare even to call him a songwriter, but he is a producer, one who creates, manipulates, agrivates and agitates, and makes a good living at it. If you think that's not a useful means toward a desired end, stop buying records. —Robert Shea Live Skull Bringing Home the Bait Homestead (U.S.) iir* UITARS. INSTRUMENTS WHOSE POT- vJ ential for innovation is seemingly exhausted. Hahahahahaha...Try telling that to Fred Frith, or better yet, Live Skull. While playing it closer to the rock vert than Frith or his cohorts, this NYC combo manages to wrench some equally mind- numbing sounds out of the six-string dinosaurs. Less eccentric than Sonic Youth, less blatantly sadistic than Swans, Live Skull shares space with these bands in every 'hip' music magazine around. They also share a predilection for brutal, volcanic sewage that masquerades as music, and stark, violent lyrical imagery. The final common characteristic is their use of the guitar as an abrasive, almost industrial, element of sound. On Bringing Home the Bait, their second 12" effort, Live Skull continues to use the traditional rock rhythm section to create melody while the atonal vocals and guitar wash over (and through!) it all like an acoustic avalanche of mud. Distinguished performances are put in by Marnie Greenholz, bass and vocals (her lyrics on "Sparkey" describe a violent sexual encounter with a car; positively anti-social!), James Lo, drums, Tom Paine and Mark C, guitar and vocals. The only major difference between this LP and their self-titled debut is the production. Martin Bisi (of Material fame) has removed one or two unnecessary layers of shit from the sound, exposing an even rawer, more visceral LP than one could have hoped for. That's fine, you say, but why should I listen to Bringing Home the Bait? Is this record pleasant? Enjoyable? Well, those are relative terms, and should not be the only determining factors in one's choice of music, especially today, when wonderfully disturbing sounds are coming out of everyone's hometown. So listen to and appreciate Live Skull; just for the hell of it. —Jason Grant <$£ GQ S0\M (blues, R&B, gospel, and classics too) L CHARLY — R & B at low prices ROUTE 66 — essential R&B from Sweden ROSETTA — Historic womens' jazz & blues collections • all quality import pressings, attractively packaged with informative liner notes AMERICAN CLAVE BACK IN STOCK KIP HANRAHAN Verticals Currency Desire Develops an Edge J both featuring Jack Bruce, Arto Lindsay, Anton Fier, David Murray, and many others. CONJURE: MUSIC FOR THE TEXTS OF ISHMAEL REED featuring Taj Mahal, Allen Toussaint, Jamaaladeen Tacuma & others. 2936 WEST4th AVE. 734-2828 We buy and trade for your unwanted LPs, Cassettes and CDs. C3i_niH«silhfc/§re YkPWNf Available at Windsure 4th Ave. at Burrard CITR fm 102 cabe 100 Clannad Macalla RCA Christy Moore Ordinary Man Green Linnet Fairport Convention Gladys Leap Varrick Dick Gaughan A Different Kind of Love Song Advent THESE NOTABLE LPS HAVE BEEN RELEAS- ed domestically in the last few weeks under the umbrella label "Folk Music." Clannad began in Donnegal, Eire as a traditional folk band but have drifted towards a more generally accessible sound. Maire Brennan's voice is hauntingly wonderful and the whole album exudes a pleasant ambience, while retaining the band's Celtic roots. It's hard to differentiate between the tracks as they all seem to run together, but my personal favourites are "The Wild Cry" and "Journey's End." Fairport Convention are back with their first studio LP since 1979, and are currenlty on a world tour. Dave Pegg, Simon Nicol and Dave Mattacks are aided by former Soft Machine violinist Ric Saunders, and occasionally Richard Thompson and The Albion Band's Cathy Le Surf, and provide some fine dance music, highlighted by "instrumental Medley '85" and Thommo's guitar work on "Head in a Sack." Established Brit folk stalwart Ralph McTell penned three songs, including the tale of Wat Tyler who led the peasants' revolt in 15th Century England, but the outstanding song is "The Hiring Fair." All in all, a welcome return for the band who started the first folk revival in the U.K. back in the Sixties. Christy Moore has the definitive Irish singing voice and he also gets help from his former Moving Hearts compatriots Andy Irvine and Liam O'Flynn on his latest LP Ordinary Man, which contains a good mix of serious, politically correct songs like the title track, "Blantyre Explosion" and "Quiet Desperation," and more flippant ditties like "Delirium Tremens" and "Reel in the Flickering Light." One of the outstanding folk LPs of recent years. Dick Gaughan's 1983 LP A Different Kind of Love Song has been released in Canada for the first time. This man is Scotland's premier singer/ guitarist. The songs here are some originals plus covers of more famous peoples' work, e.g. Leon Rosselsson's controversial "Stand Up for Judas." Check it out. On the import front, Clive Gregson's Strange Persuasions, Moving Hearts' The Storm and The Battlefield Band's On the Rise (featuring pipes on "Bad Moon Rising") are all recommended. Ignore Clive Gregson at your peril! The man is a monster guitarist/singer who used to front Any Trouble and toured with Richard Thompson's band last year. Finally, check Thommo's video LP Across a Crowded Room recorded "live" at Barrymore's in Ottawa. It features the many talents of the great man, as well as more-than-able support from Gregson and Christine Collister. —Steve Edge r€ 0^ The Universal Institute of Recording Arts Complete 24 track facility Excellent Rates Specialists In Audio Production Training. Designed environment. Complete AMS Digital Reverb System LIMITED ENROLLMENT 2190 West 12th Avenue Vancouver 734-2922 NEW AT ZULU THE STONES Dirty Work LP THE fucking A best band of all time! ALSO IN: Jackson Browne Lives In The Balance Electric Light Orchestra Balance Of Power Blue Oyster Cult Club Ninja Black Sabbath (featuring Tony lommi) 7th Star Peter Frampton Premonition all available at everyday list prices!!! For real rock and roll (and that wimpy new wave shit, too) visit us at: zulu records 1869 west fourth avenue 738-3232 DISCORDER April 1986 Armchair Eye Who's Afraid of the Art of Video? The Chez Brothers Investigate Luminous Sites. I IT WAS APPROXIMATELY 8:25 SUNDAY evening when we finally left the Seabus Terminal at the corner of Granville and Cordova. It had been an exhausting day spent attempting to coerce Sunday travellers to give us their expired SkyTrain and Seabus tickets; mothers recoiled when we approached, taking their children in hand, teenagers sniggered, others took pity and offered to pay our fare. We hadn't the inclination nor the breath to explain to each and every one of them the real reason why we wanted their usless travel chits. To these stalwarts of the status quo, our dream—to construct a monument to modern transportation, in this year of Expo, from Metro Transit tickets—would undoubtedly seem ridiculous. It was becoming clear, by viewing the circus around us, that the attempt to initiate the construction of familiar content in a new form is often treated with a suspicion akin to superstition. Monuments abound, yet we wanted to approach the subject with different materials. These so- called "new" traditionalists are the most resistant to the process of change because it seems to utterly confound their value system, tenuously based on what they think the world should be as opposed to what it actually is. And there were enough "new" traditionalists in the Seabus Terminal that day to re-elect the Socreds. Momentarily dismayed, we crossed Cordova to the Sears Centre where our attention was arrested by an unusual flurry of activity coming from beneath the building in the truck loading bay. Descending the ramp to the dark below, we entered an environment quite unlike that of the average shipping and receiving depot. Situated on the truck turntable, a huge surface disc that rotates to allow for easier maneouvrabili- ty in tight corners, were three screens projecting recorded images of the live action happening before us. The action consisted of a succession of statuesque characters synchronously moving with the slow but steady spin of the truck turntable: a young girl twirling her baton, a 50's-style glamour queen, a woman dressed in Red Army fatigues, lissome men shooting light guns, holding disco glitter balls a la Atlas, and blowing saxophones. They were shrouded in smoke pierced by intense lighting effects and propelled by a hypnotically melodic symphony of electronic sound. What form of show biz glitz is this, we silently wondered? It was theatrical in its consideration of site and viewer perspective, and it was dynamically presented in its provocative use of different mediums. The familiar references were easily identified, yet its form did not immediately expose its function. What was it? Art? It was, as we were quickly informed, Body Fluid, a video installation performance produced by local video artist and bon vivant, Paul Wong. Video installation? It sounded suspiciously to us like a new art form! Rather than recoil with horror, we decided to investigate, hoping to illuminate our initial discovery. Picking up a strikingly designed pamphlet entitled The Video Inn and Western Front present Luminous Sites, we found that Body Fluid was one of ten video installations occurring at nine Vancouver galleries and city spaces from late February to early April. The exhibition presented works by local artists Wong, Kate Craig and Cornelia Wyngaarden, Ian Carr- Harris, Vera Frankel and Randy & Berenicci from Toronto, Max Dean from Ottawa, Barbara Stein- .- CALUtJG, MISSION COhmpt i ieSy T AM tJoti OtJ Trie ACTUAL that's that, cocimuoeZ? NO, no sigwj of /wv eM-HounccwetJteNte stones so far . HA/e o(XY etjawmeo Tux? pfscxwjr fYivmeK veAieft? wo R HAlRQeufl£T/H^W$TRj6l/n«0CVTL£r. CITR fm 102 cable 100 man and David Tomas from Montreal, and Tomiyo Sasaki from New York. Each work was presented in the context of "site-specific," utilizing the communicative aspects of the video medium to promote a dynamic interaction between the work, its particular location, and ultimately, the viewer. The pamphlet succinctly pointed out that "artistic priorities in the various works encompass the areas of painterly use of colour and light, the sculptural designation of form and space, the social discussion of content, theatrical references to cultural motifs, the contemplation of place and time, and the realities of technical prescence." Whew! WE KNEW WE WERE ON tosomething. Having long been averse to the contemporary art world with its institutionalization of art as a market commodity, frustrated by the imper- viousness of traditional forms to a world changed by mass technology, we found the combination of elements through the video installation an exciting prospect. Not only did it seem to offer more opportunity for active involvement on the viewer's part, it challenged the "new" traditionalist notion of art in the social and technological context by presenting familiar concepts in new forms. This we could understand; after all, it hadn't been easy trying to convince the people at Expo HQ of the legitimacy of constructing a transportation monument from Metro Transit tickets. Seeking inspiration and a fuller understanding of the video installation, we visited several of the Luminous Sites. Granted, seven of the ten were installed in galleries not generally frequented by the layman, and of the remaining three installations, only Body Fluid and Kate Craig's Clay Cove Newfoundland could be referred to as truly 'site- specific' inasmuch as their respective sites had as much to do with their effectiveness in presentation as their content. Clay Cove was located on the 31st floor of the Park Place office tower, and there Craig astutely employed the seductive qualities of the magnificent harbour view. Once drawn to the window, the viewer was treated to an aural montage of particular Newfoundland sounds. In one corner a video screen ran tape loops of the Atlantic lapping against the cove, reminding the viewer that while it may well be the Pacific below, the effects are similar. All of the installations illuminated their respective sites by attending to the dynamic interaction between technique and spatial texture, in which video played the connecting role. This interaction was manipulated by the chosen content of the work: robot-video/letraset literature/fabrics of myth and adventure/islands in the sky/cargo cults/dying fish/stagnant momuments/revolving irrelevance/a spouse and a beast/self-reference. Bingo! What we had was an exercise in aesthetics, a crash-course in a conceptualism that has no beginning and no end, just a middle. Speaking with Daina Augaitis, who curated Luminous Sites with Karen Henry, we discovered that this exhibition, the first of its kind to be presented in the city, was primarily an attempt at not only "legitimizing" the relatively new genre of video art in the traditionalist view, but also accentuating its accessibility to the populace. The technology required is generally available and in the case of the video installation it can become an integral part of the work. The mystery and imagination is provided by the view. Now that's not really so frightening, is it? SPACE FOR SALE Call 228-3017 leave message for Robin Razzell or David Hart • •••••••••••••••••••••••••••••A-* *• • • • * • •••••••••••••••••••••••••■A-** RENT A NIGHT CLUB we wiil supply • DISC JOCKEY (EXTENSIVE SOUND & LIGHT SYSTEM) (ALL TYPES OF MUSIC) • FRIENDLY EXPERIENCED STAFF • LARGE DANCE FLOOR • FULL BAR & KITCHEN FACILITIES AVAILABLE • SPECIALIZING IN LARGE GROUPS For private bookings, fund raisers 1225 HOMER • 683-0318 THE WILD SIDE Open to the public from 1 am-5 am DISCORDER The Roving Ear THE HOT WET AIR HIT ME LIKE A SOGGY slap in the face as I walked off the plane. By the time I cleared customs my clothes were drenched with sweat. The airport was small and simple and thankfully free of stale, canned music. I assembled my bicycle and, in a light rainfall, headed out to enjoy my annual, tropical pilgrim- mage. Happiness soon turned to terror as a car was heading straight for me, on the same side of the road! I dove for the shoulder and the car, indifferent to my acrobatics, sped past. My first critical lesson had been learned: they drive on the left in Fiji. Fiji consists of 300 islands in the South Pacific. The population is dominated by two groups. The native Fijiians are large, strong and friendly people. For the most part they still live in communal villages of 300 people or less, pursuing a traditional lifestyle of fishing and simple farming for subsistance. The other major cultural group is East Indian in origin. Originally brought to Fiji to work as indentured labourers on copra and sugar cane plantations, they now outnumber the Fijiians and control economic life in the islands. The two groups keep fairly separate and, though they are highly suspicious of each other, they are proud of the fact that there are few instances of outright racism and fewer still of racially-motivated violence. This separateness extends into cultural life. The Indian population is mostly Hindu, but there are Sikhs and both groups have schools where traditional dance and music are taught. As a result religious events and cultural celebrations are rich, colourful and noisy affairs. The Fijiians have a simpler style. They love to sing and their voices are strong and full. They harmonize naturally and seemingly in as many parts as there are singers. There is usually someone in the village who plays guitar and he will often find accompaniment from a washtub bass. The songs are slow and mellow. They sing about romance and the land they live in. Every inhabited area has its own song, some with so many verses that they create a detailed travel guide for those who dare to stray from the beaten track. I stayed for awhile on a small island in the Yasawa group. One night, after sharing many bowls of Kaxa (the local, non-alcoholic intoxicant) with the village elders, the talk turned to the pending arrival of a cruise ship. The village had a contract with the cruise line to perform a meke on board. A meke is a traditional Fijiian song and dance celebration. The ship arrived the next day and in the evening I went with the villagers to check out their performance. Villagers of all ages took part in the fast-paced, energetic affair—a stark contrast to the lazy singing sessions I had grown accustomed to. The music was provided by guitar and ukelele and rhythm was produced by clapping and beating a long, drumlike instrument against the ground. THE WOMENS' DANCES were not unlike the Hawaiian hula in that the narrative element was communicated through hand signs and arm motions. But where Polynesian dances are characterized by smooth and sensuous motion, the Fijiians move in a sharp, almost stacatto style. The men dance too, and their dances were traditionally used as preparation for battle. They are noisy and aggressive as they move in unison, faces fierce and weapons held high. It was an exciting and moving experience. Later I asked the chief about the meke. He told' me that only villages that do performances for the tourists are maintaining this particular tradition. The kids learn the songs and dances only when they decide to become part of the village meke group, or if they plan to work at a resort. There is a government sponsored traditional dance group but they are virtually ignored by native Fijiians. There is no TV. broadcast in Fiji, so the radio is a popular source of entertainment. This, and the need for entertainers who can play modern music at the resorts, has created a small but solid music industry. This is one area where the cultural boundaries between the Fijiians and the April 1986 This month from Fiji Indians begin to melt. There is so much respect for the human voice that excellent singers record popular releases in Hindu, Fijiian and English, regardless of their racial origin. There are a lot of covers of first world pop hits but there are a lot of original recordings as well. Almost every resort has its own house band and their recordings enjoy a reasonable popularity. As far as imported music goes, Fiji is not much different than anywhere else. Reggae is extremely popular, and because Fiji was a British protectorate, English ska music sells well too. Otherwise, the music selection on pop radio is like listening to a light rock station in Vancouver. An FM station hit the airwaves last year, but aside from a few American and British rock specials, the selection is predictably bland. With such a large Indian population it is not surprising that there is one Hindu station dedicated to playing hits from the massive pop music industry in India. To my untrained ear, much of this music sounded like my stereotype of traditional Indian music; strange instruments, inconsistent rhythm and drone-like, nasally vocals. My Indian friends assured me that in fact, Indian pop music has its own distinct style. Shortly before leaving Fiji I stayed in the capital city, Suva. I was sitting on my bed in a $4.00 per night dorm when my Fijiian roommate walked in and popped a tape into his ghetto blaster. It was a locally-made medley of insipid hit songs, past and present. An Indian family lived next door and in self- defence they turned their radio way up and the strange sounds of Indian music battled with the mediocre pop for aural supremacy. Then the bells started ringing in the church at the end of the block. Soon the full congregation were belting out Christmas carols in multi-part harmony. At first I was confused, then slightly terrified by the crazy cacophony. But then I remembered I was soon to return home and I laughed at myself. What better preparation could I find for my impending return to the aural onslaught of Vancouver's own FM102. —Kawika mw ¥ iou <$e£ vesrfzvcxioN \Hte*?TTri£ F wzosja-fpssujzs THAT NOW., j. 0H / jrvsr on uetwe4) P/tfS? © AIWA "SIMPLY ON SALE" HSP04 AUTO-REVERSE, DOLBY & ANTI-ROLL NOW YOU CAN HAVE THE FABULOUS QUALITY OF AIWA AT A NEW LOW PRICE! HSP-04 features: auto- reverse continuous playback «Dolby noise reduction •metal/chrome selector •anti-roll "high performance headphones •belt clip 149 86 HST46 AM/FM, AUTO-REVERSE DOLBY & MORE EVERYTHING YOU EVER WANTED IN A PERSONAL MUSIC MACHINE! HST-06 features: sensitive AM/FM stereo radio "auto- reverse •anti-roll •Dolby •metal/chrome selector •high performance stereo headphones "belt clip 179 86 HS648 REMOTE CONTROL WITH BUILT-IN EQUALIZER THE PERFECT MATE FOR THE ACTIVE MUSIC LOVER! HSG-08 features: custom molded case •built-in 5 band equalizer 'auto- reverse 'computer controlled transport with remote control »dual headphone jacks 'deluxe headphones "belt clip & more 249 86 HSJ70 AM/FM AND THIS ONE RECORDS TOO! THIS AIWA HAS GOT IT ALL AT A PRICE THAT CAN'T BE BEAT! HSJ-70 features: AM/FM cassette recorder complete with stereo microphone •auto-reverse "Dolby •anti- roll •metal/chrome selector •cue & review "carrying case •belt clip & more 299 88 CSW-300 HIGH-SPEED DUBBING AM/FM RADIO FANTASTIC SOUND, FANTASTIC PRICE & THE VERSATILITY OF HIGH-SPEED DUBBING! CSW-300 features: double speed dubbing -superb sound 'sensitive AM/FM stereo radio 'built-in mics •auto-stop "headphone jack »AC/DC operation 2X9 88 CSR-10 AUTO-REVERSE 4 SPEAKERS, SUPERB QUALITY THIS UNIT EPITOMIZES THE QUALITY AIWA IS FAMOUS FOR! CSR-10 features: auto- reverse -record & play •AM/FM stereo radio »4 speakers •soft-touch operation »auto-loudness •AC/DC & more 229 88 DOWNTOWN VANCOUVER: 810 Granville (at Robson) 682-5221 (Open Sundays Noon - 5 RM.) 599 Seymour Street (at Dunsmuir) 662-8377 (Open Sundays Noon - 5 P.M.) VANCOUVER: Oakridge Shopping Centre 261-0258 (Open Sundays 11 A.M. - 5 RM.) RICHMOND: Lansdowne Park Shopping Centre 278-3041 (Open Sundays 11 A.M. - 5 P.M.) PORT COQUITLAM: 2877 Shaughnessy Street 941-0551 (Open Sundays 11 A.M. - 5 P.M.)
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1986-04-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1986-04-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1986_04 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 76d0a324-bdc8-4ef0-be1a-353cceab3f07 |
DOI | 10.14288/1.0050217 |
AggregatedSourceRepository | CONTENTdm |
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