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 DiSIcOBDeR
IAPRIL 1985^F7\ guide to CITR  ^
102
100
- CENTS	 DiSfcORDER
In This Issue
6     High Power   .
Beyond 49 watts
10     Grapes of Wrath
Len Morgan peels the skin off
the boys from Kelowna
12      Anti Anti Porn
Carolyn Joyce Brown takes a rational
look at a sensitive subject
In Every Issue
4 Airhead
8 Shindig
15 CITR Program
Chart
16 CITR Program
Guide
18 Vinyl Verdict
20 Demo Derby
21 Singles
22 CITR Playlist
wm.
trara
22
4
Subscribe to
DISCORDER
$9 in Canada
$12 outside Canada
6138 SUB Blvd., Vancouver, B.C.
FM102
00
a guide to CITRc/n
APRIL 1985
Vol. 3 No. 3
EDITOR Chris Dafoe
CONTRIBUTORS   Carolyn Joyce Brown, Gord
Badanic, Sukhvinder Johal, Laurie
Mercer, Len Morgan, Mike Shea,
Andrea Gamier, Dean Pelkey, Steve
Robertson
PICTURE EDITOR Jim Main
PHOTOS   Ross Cameron, Len Morgan
CARTOONS   Susan Catherine. R. Filbrant,
PRODUCTION Dave Ball
LAYOUT   Pat Carrol, Randy Iwata, Ross
Cameron, Harry Hertscheg, Rob
Simms
Val Goodfellow
Dena Corby
The Grapes of Wrath—by Jim Main
ADVERTISING/CIRCULATION Harry Hertscheg
(604)228-3017
PROGRAM GUIDE
TYPESETTING
COVER
"SACK CLOTH AND ASHES CORNER"
Gee, we're sorry. It'll never happen again.
This is directed to:
Bev Davies—who took those swell pics of the Violent
Femmes last issue.
JIM MAIN—who took the swell pic of that large group
of people that accompanied "A Cutback Diary."
JASON GRANT—whose experience is chronicled in
"A Cutback Diary" and whose name disappeared from
the article on the way to the printers. (We blame Jack
Heinrich).
As we said, "Gee, we're sorry."
DISCORDER, c/o CITR Radio, 6138 S.U.B. Blvd.,
Vancouver, B.C., V6T 2A5. Phone (604) 228-3017
DISCORDER—A guide to CITR—is published monthly by the
Student Radio Society of the University of British Columbia.
CITR fm 101.9 cable 100.1 broadcasts its 49-watt signal in
stereo throughout the Vancouver area from Gage Towers on the
UBC campus. For best reception, attach an antenna device to
your receiver. CITR is also available via cable in Vancouver,
West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam, Port Coquitlam, Port Moody, Maple Ridge and Mission.
DISCORDER circulates 12,000 free copies at selected locations
throughout UBC and Vancouver—and beyond. If you're interested in either advertising in DISCORDER or having some
copies dropped off, call 228-3017. Twelve month subscriptions
are available at the following rates: $9 in Canada, $12 outside
Canada. Send cheque or money order payable to 'DISCORDER'.
Unsolicited manuscripts, photographs, cartoons and graphics
are also welcome, but they can be returned only if accompanied
by a self-addressed return envelope carrying sufficient Canadian postage. We do not assume responsibility for unsolicited
contributions.
DISCORDER and CITR offices are located in room 233 of UBC's
Student Union Building. For general CITR business enquiries
or CITR Mobile Sound bookings, call 228-3017. The music request line is 228-2487 or 228-CITR.
DOWNTOWN
A&A Records & Tapes
Arts Club on Seymour
Black Market
Bronx Clothing
Cafe Zen
Camouflage Clothing
Collector's R P.M. Records
Concert Box Offices
Confetti
Discus Music World
(Pacific Centre)
Duthie Books
The Edge
F 451 Books
The Gsndydancet
Kelly's Electronic Wofld
Luv-A-Fair
MacLeod's Books
Montgomery Cafe
Railway Club
Revolutions
Studio Cinema
Vancouver Ticket C
The Web Clothing
Wbittaker's On Sey
GASTOWN
Afterimage Photo Service
Basin Street
BeBop!
Stack Cat Accessories
The Block
Cabbages & Kinx Clothing
Cue Hair Studio
Deluxe Junk Clothing
Firerial! Theatre
Golden Era Clothing
John Barleys Cabaret
Metropolis
Minus Zero Leather Works
M.S.R Records
Pnunk 'n Hair
Pow-Wow Ciothinc
Re-Runs Recycled Apparel
The Savoy Nightclub
Sissy Boy Clothing
Smilin' Buddha Cabaret
Track Records
Video Inn
The Waterfront Corral!
AVAILABLE FREE AT OVER 120 LOCATIONS
EAST SIDE
Bikes On Broadway
Camosun Aquaria
Changes Consignment
Clothing
Collector's R.PM. Records
Cut Price Records
Highlife Records & Music
Kelly's Electronic Work!
Neptoon Collectors'
Records
New York Theatre
Not Just Another
Music Shop
Octupus Books East
People's Co-op Bookstore
Store No. i
Vancouver East Cinema
KITSILANO
Black Swan Records
Broadway Records & Tapes
Bullfrog Studios
The Comtcshop
Deluxe Junk Clothing
The Eatery
Hollywood Theatre
Jericho Market
Lifestream Natural Foods
Long & McQuade
WEST END
Bayshore Bicycles
Binky's Oyster Bar
Breeze Record Rentals
Camfari Restaurant
Denman Grocery
Downtown Disc Distributors
English Bay Book Co
Little Sister's Book & Art
Emportum
Octopus Books
Ridge Theatre
Rufus' Guitar Shop
Centre
Vancouver Folk Music
■  Yesterdays Collectable*
ZuUi Records
5 Records & Tapes
Pizzarsco's
Rooster's Quarters
NORTH SHORE
A&A Records & Tapes
(Park Royal)
Kelly's Electronic World
(Park Royal)
Rave Records (Londsdafe)
Sam the Record Man
(Captlano)
POINT GREY
A Piece of Cake
Cafe Madeleine
Dunbar Theatre
Duthie Bocks
The Materialist
University Pharmacy
Varsity Theatre
Vioeo Stop
The Video Store
West Point Cydes
RICHMOND
A&A Records & Tapes
(Lanrdown)
Cubbyhole Books
Kelly s Electronic World
(Lansdown)
Paui's Music Sales &
Sam the Record Man
NEW
WESTMINSTER
Courthouse Studios
Keliys Electronic World■ ■ A bad haircut can make
anyone look dumb.
Look sharp at the pointe! DISCORDER     a guide to CITR fm 102 cable 100o
Dear Airhead,
I am a Grade 7 student at U. Hill
Elementary school. Every day I approach the classroom, and sitting
in the bland looking desks are
American Bandstand fans that don
Hall and Oates shirts. I am disappointed to tell you that the majority of U. Hill Elementary's students
(even though some of the kids are
nice) are concerned with right-wing
American groups that appear on
the Grammys instead of liking
Channel 3 or House of Commons.
Every day I crawl into my house
gasping for CITR's alternative
sound after a schoolday of Prince
and Cyndi Lauper. Most of CITR's
programming is great, but it could
do with more rockin' Del Grauer
(he is hilarious). A main reason I
listen to CITR is its leftist news, vice
versa to CFOX which demonstrates right-wingedness with its Big
Sound DJs and McDonald's ads.
Remember, CITR is alternative,
and not meant for Video Hits fans,
rh6a|>
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T2A5
so why do you review shitty albums
like Crazy From The Heat and
"Don't You (Forget About Me)" by
the Simple Minds. Not that I have
a bias against Heavy Metal or Trendies, but CITR is alternative so
don't turn your listeners and readers into thinking Whitesnake, the
Simps, and David Lee Roth are
good. Keep up the alternative
sound.
A kinda happy listener at U. Hill,
Amos Resnick
Dear Airhead,
I would like to comment on the
review of Social Menace in "Demo
Derby" which appeared in the Feb.
issue. It saddens me to see the
hardcore portrayed in such a negative light.
It said hardcore "more often
than not has a degenerate and
nihilistic stance." It doesn't sound
like the reviewer is too informed on
the state of hardcore today, but
c'mon, at least realize there is more
to punk than the Sex Pistols! Hard
core has energy and power, unlike
the pretentious, flashy, self-indulgence of rock 'n' roll. Also the
reviewer remarked on the "chauvinism and crass machismo." Well,
there are all-female hardcore
bands (one that pops into mind—
the Iconoclasts—I wouldn't expect
you've heard of them) and female
fanzine editors also!
As I see it, the good aspects outnumber the bad. The hardcore/
punk culture can be a vibrant,
viable alternative to the many more
sexist, pointless and desensitizing
mainstream music scenes.
Well, thanks for reading this.
Anarchy and peace,
Jennifer
Dear Airhead,
We may speculate about what
ends an anonymous reviewer pursues, but the cultivation of a consistent and commanding critical
theory should be discounted at the
outset. All judgements about art
are mediated through the critic's
character, and therefore attempts
to conceal the writer's identity will
compromise the usefulness of the
reviews.
Let me defer to some remarks
written in the last century, for this
topic is no novelty, and Schopenhauer's remarks have passed the
venerable critical test of time.
The freedom of the press should
be thus far restricted; so that
when a man publicly proclaims
through the far-sounding trump-
pet of the newspaper, he should
be answerable for it, at any rate
with his honour, if he has any;
and if he has none, let his name
neutralize  the  effect  of his
words.
p. 77, "On Criticism,"
The Art of Literature,
trans, by T.B. Saunders.
Admittedly the circle of readers,
writers, and the producers of the
works reviewed in DISCORDER is
small. Perhaps the use of a pseudonym will spare friction amongst
acquaintances. However, the consistent use of a nom de plume
L AT AHEfltA'5 tUHCH QNUWtS J
'Td worry about the hair before
you worry about the Iffile goodies.**
"1 blow drieLTiTtluri^tT
ge\ on it, then it was sticking
up, so I put more qel on it,
ihm I brushed it.
seems to be precluded by the rapid
turnover of the DISCORDER reviewers, and the effect is not unlike those frail souls who find the
courage to express their convictions only at masked Hallowe'en
parties.
As I intend to sign my name, my
comments may be ascribed to a
general inclination of creative people to hate critics. Against that I
could say that I have never received a bad review from DISCORDER
and find myself engaged in con
genial conversation with members
of its editorial staff whenever the
opportunity arises.
A requirement that your reviewers sign their names would contribute to the improvement of the
calibre of your publication, and that
seems reason enough to write.
I remain,
Joe Naylor
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O
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D
co DISCORDER     a guide to CITR fm 102 cable 100
April 1985
High Power
CITR looks for a boost
You have no doubt heard
grinding out bits and pie
innuendo over the last six mo|jfis.
ing to increase its power!
running commercials!" "CMR i
C&W! Beautiful Music!
here are the straight gooj
rumours is true.
• We have no plansjjphange c
mat. We'll still
want) to hear. No
to all Julio Iglesii
hopes for
I play v
• We DO
type, breed
While
ruary DIS<
would
no;
i youu
our music
it we want (and whjj
iges there. (Our apolj
for unfairly raising
io station. Maybe next!
to run commercials c
'ariety. At least not at this 1
;ponses to the survey in thefj
IDER indicated that most listel
it some form of on-air promo
Lp'tn^B^sorshi|!n3^|^d commercial, we
pcidecnfc|jLmuch nea^^^^^^ and nail-
gg, mina^Jy^fto apply to the CRTC (Cana-
Radio,   Television,   Telecommunii
CdRkission) for alfefcr&e that would allow sal
of air time. What this means for the financial state
L there's a prism
We nmd more Pom
—Geza
of CITR remains toe seen. No doubt we'll pull
through. (Anybodytfent a bake sale on their
block?)
• CITR has decided to kpg\y to the CRTC for a
license that would allow ulfto broadcast at more
than the blow^em-off-ttie-m% 49 watts we are
powered by now. If thU
we will be able to begin purchase offrYeT
sary equipment and, with any luck, begin broadcasting with around 5000 watts of power near the
6L1.985.
all this mean?
We"' y^^%BK£l° take tne runnin9 snoe
off the top of yourftWfegrJwithout CITR disappearing into a cloud of OT^Btofernay, with a little effort, even be able to picH^^flKm^ your
car! If you live in Surrey, Richmond, (*
^urnaby, or any of the other areas in
^s reception is unreliable, available only on
yrat available at all, you may finally be
able td'pmyjp CITR without getting in your car
and drivirig^ij^jtown to visit some people that,
frankly, you're^^^^t crazy about.
A successful Hiffi^fewer application will mean
increased exposure fcllll^local music we play,
the community groups who broadcast their
messages on CITR, our publiaj^rs programming, and our news coverage. It will mean a
louder voice for students, both secondary and
post-secondary, in Vancouver. And, if you t
to become an active member of CITR (as yon
are always welcome to do), it will mean a louder
voice for you. Everybody wins.
A boost in power will mean that the only low-
power non-commercial radio station in Canada
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2565 Alma    224-5711 will become the only high-power non-commercial
radio station in Canada.
Unfortunately, High Power means a little more
than replacing the two gerbils currently powering our transmitter with four racing whippets.
There are a number of bureaucratic hurdles
to cross. We have to go through the wringers of
both the CRTC and the Department of Communications (if any commissioners of these august
organizations should happen to be reading, take
no offense. It's just that we'd rather be playing
Softball). The DoC will examine the technical
feasibility of our application: possible interference
with other radio stations,  aircraft,  low-flying
"...gonna drive past the
top 'n' Shop
&dmm&
x' m
wMWW
Mmh
f How these 18 Experts can
help you MB 25%
p or mm on ^
%vimw (Ming/ *TT    ^     worths trip!
74WMon,Gostownt 681-4632      ,
—Jonathan Richman
Canada Geese. The CRTC will assess a document known as a Promise of Performance (pronounced Pee-O-Pee) in which we describe, as
concisely as possible, the type of programming
we do. If the CRTC likes what they see (and we
think they will) they will grant permission for CITR
J® begin the trek to High Power.
Once we get past the CRTC and the DoC we
canB^sl^atlkj^hasing and testing equipment that
will al,(^*^W|hMricast in the 5000 watt range.
Presumably this wirfllHM^replacing the small
treadmills we currently owrlW||M^arge enough
to accommodate the aforemermo^i^^ets.
Whatever the case, the Alma Mate7srcMB^>f
UBC has agreed to advance CITR the furras
necessary to purchase this equipment.
By the time you read this, our application will
be in Ottawa. The money is here, just waiting to
be spent. The only part of the equation missing
is you.
In examining license applications and amendments, the CRTC allows supporting and opposing interventions from individuals and groups
who wish to give the thumbs-up or thumbs-down
to the application. These interventions play a
large role in the success or failure of an application. One of the major reasons for the success
of CITR's original FM applications in 1981 was
the enormous positive public response in the
form of petitions and letters to the CRTC. We'd
like to have that happen again.
Over the next two months petitions will be set
up at a variety of locations around Vancouver and
the Lower Mainland. If you should happen to
stumble across one, please sign it. Next month,
DISCORDER will print the information required
on a intervention to the CRTC. If you would like
to give your individual support to our application,
or if you are the member of a community group
that has benefitted from the existence of CITR,
we urge you to put this information on paper,
along with the reasons you think CITR should
get High Power, and mail it to the CRTC in
Ottawa.
We will also be holding a number of events to
promote awareness of the station's application.
So stay tuned, and get involved. Remember,
we can't do it without you.
If you have any questions about CITR's High
Power application, phone the station at 228-3017,
or drop a line to the AIRHEAD c/o DISCORDER,
6138 SUB Blvd., UBC, Vancouver, B.C. V6T 2A5.
CLOTHING
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THE BLOCK
350 W. CORDOVA ST. DISCORDER     a guide to CITR tm 102 cable 1000
ewtt
Week I: Monday, March 11
It was 9 p.m. and already a band
was setting up their gear. Did
people have to get up early for
school or something? Would this
reporter find himself shuffling
home an hour earlier than usual?
Oh, had it been that simple. In
truth, Shindig had taken a more
diabolical twist. A fourth non-
competing band would be warming up for the three "headliners."
On this particular evening our added bonus attraction were The
Haters. They were extremely annoying. Bedecked in black with
hoods over their faces, each of the
Haters essentially plunked and
plonked his assortment of noise-
making devices with little regard
for what the others around him
were doing. It was pretty funny for
a while but, as the novelty wore off,
the singer began to remind me
more and more of those people in
Tunnel Canary. Remember them?
(shudder) They did play "Louie
Louie" though, which is, as we all
know, one of those rare songs that
can be mangled to a pulp and remain recognizable. For that reason, I suggest that the Shindig
organizers make it mandatory for
all competing bands to play "Louie
Louie" during their set. Imagine
how it would simplify criticism.
"They've got some great songs but
they just can't play 'Louie Louie'."
The Belgianiques did not play
"Louie Louie," though I'd be extremely interested to hear them do
something with it. Their sound is
lively and quirky and reminds me
somewhat of New Jersey's Feelies.
Mike Sawyer (bass, vocals), Dale
Sawyer  (guitar,   vocals),  James
Harder (keyboards) and Jeff Tollef-
sen (drums) didn't really excite the
crowd all that much with their frenetic quasi-jazzo pop workouts, but
their energetic performance held c
my attention and more than a few §
of their songs were memorable. |
With more attention to technical u
detail and playing skill they could $
develop into an extremely good oc
band. The Belgianiques finished g
second. o
I found it difficult to like anything Q-
about the evening's second band,
New Strides They're about as
close to Loverboy as I hope Shindig ever gets. Everything about
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12-6 Thurs. thru Sat or by appointment
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The Nerve Tubes
their image—clothes, mannerisms,
lyrics, music—seems utterly contrived and painstakingly thought
out. A real package deal. There
was small contingent of the audience who were firmly behind
New Strides, cheering and dancing throughout their set. This didn't
particularly surprise me since you
could almost see the aura of
alligator that surrounded them.
And let's face it, if the Pepsi
Generation won't support New
Strides' brand of jock rock, who
will? Not the judges, who scored
them third, as in last.
The Nerve Tubes rounded out
the evening and found themselves
in a rather good position. If they
were good they would win since
neither of their competitors had
displayed what might be construed
as victorious rock form. They didn't
kill any giants but they turned in a
performance that was both energetic and appealing. Their sound
is hardly unique, combining upbeat
pop hooks with vaguely ska-like
rhythms and truly, they could have
been mistaken for a bar circuit
band. But they're good musicians
and their tight delivery drew people out onto the dance floor. The
Nerve Tubes won the evening in a
close decision.
Week II: Monday, March 18
Another Monday night, another
four—count em', four—bands
playing Shindig at the Savoy. The
evening's support band, The Soreheads are living proof that
anybody can form a band. Gary
Jones (guitar), Ron Yamachi
(piano), Tamas Revoczi (keyboards) and Tony Lee (drums) don't
really play all that well and Rob
Elliott (vocals) doesn't sing so
much as shout, but his off-the-wall
sense of humour was enough for
me to forgive all their shortcomings. In fact on a couple of the
quieter numbers, Elliott's delivery
reminded me of Jonathan Rich-
man.
The evening's first competing
band was Meet Men Not Machines
and Corby Keep (guitar) and Rorie
Tait (percussion, bass, vocals)
spent a good deal of time lecturing upon their philosophies of the
marriage of music and technology.
When they finally got down to playing, it became apparent that we
were witnessing a bit of a circus
act. Both use all their available appendages to activate the gadgets
that surround them. Tait himself is
a walking electronics shop, drum
pads attached to his chest, his feet,
a microphone headset on his head
and a portable keyboard strapped
around his shoulders. Watching
him writhe was good for a few
laughs. Their sound, unfortunately, tended to be repetitive. They got
themselves into a prog rock groove
(rut) and, for the most part, stayed
there for the rest of their set. Meet
Men Not Machines finished
second.
Although Perfect Circle provided less of a spectacle than Meet
Men Not Machines they suffer from
a similar problem. Their music is
remarkably narrow in scope. Of
course, the same may be said of
countless other bands who have
gone on to fame, fortune and drug
problems, but in the case of Perfect
Circle, they don't play anything that
I want to hear, and they play it over
and over again. Adam Gejdos
(guitar, vocals), Dave Thinley (bass,
vocals) and Bruce Grant rely on a
sound that is bass heavy with the
guitar providing texture and melody. The Banshees, Cure, Hunters
and Collectors derivations are evident to a fault and contribute great- DISCORDER     a guide to CITR fm 102 cable 100
Sexual Infections
ly to the impotence of Perfect Circle. They did have their moments
though, and on a couple of occasions they were able to build a
breezy, hypnotic atmosphere
slightly reminiscent of some of
REM's stuff. Too bad they didn't
stay with it. Perfect Circle finished
third on the evening.
The Wardells, an import from
Vancouver Island, finished up the
evening with lots of verve and pop
flair. Billed as Victoria's best pop
band they easily won the evening
on sheer personality. The Wardells
are a family affair, to be sure, what
with brothers Jim and Jeff Wardell
on guitar and bass respectively
and their cousin Rich Wardell on
drums. Jim and Jeff harmonize extremely well, which, of course,
adds an integral dimension to any
band pursuing the authentic and
traditional pop flavour that the
Wardells do. Here again, we have
a band whose scope is narrow but
because they have that essential
appeal they can easily get away
with it. The crowd thought that they
were pretty wonderful and evidently the judges felt the same way
because the Wardells won the
evening.
Week III: Monday, March 25
Alas, there was no warmup act
on this particular evening,
which I suppose was a bit of a
blessing in disguise. None of the
three competing bands were by
any means runaway winners. Dangerous Cheerleaders were the
first band up and I just have to say
that I have very little sympathy for
bands that call themselves Dangerous this and Dangerous that,
and end up delivering benign, pedestrian rock 'n' roll. Certainly Mike
Dezell (guitar), Fraser Hall (guitar),
Tim Ralphs (bass) and Randy Orn-
sby (drums) are good enough to
play the bar circuit but they lack
any sort of distinctive style. And,
without doubt, they must drop Ig-
gy's "I'm Bored" from their repertoire because it hits much too close
to home. Dangerous Cheerleaders
finished third.
The Wrestlers are another band
whose name is somewhat misleading. They also seem to have a consistency problem. For example, the
first couple of songs in their set
were lame and pretty awful. They
sounded kind of like a hybrid of
The Alarm and REO Speedwagon.
Then, all of a sudden, they played
a great song, and then another
one. I was somewhat disappointed
that none of their stuff appeared to
have anything to do with wrestling.
There was some mention of Mr. T
defending Cyndi Lauper's honour
on the big screen at the Queen E.,
but that was about it. If I was the
manager of this band I would insist that they drop some of their
pelvic thrusting rock star pretensions and concentrate more on the
wrestling angle. It's going to be the
next big thing. As it was, The
Wrestlers lost a split decision and
finished second.
Rounding out the bill were Sexual Infections who were (you
guessed it) young, loud, and raw
but, suprisingly not too fast. Oh
yes, they had their buzzsaw numbers but they varied their set with
plodding drones and some mid-
tempo stuff. Ben, Paul, Brad, Karie
and Les are not a thrash band and
they succeeded on this night
because they were able to create
some atmosphere. They were especially popular with the big hair-no
hair crowd who were out in force
for the first time since Death Sentence played Shindig. If the band
had one problem (actually they had
a couple) it was that they were constantly tuning up. It slowed down
their set a great deal but they won
the evening anyway, which was,
not to tread on anyone's toes, no
Herculean feat.
—Steve Robertson
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LU
<r    GUEST PRS5
THROUGHOUT
APRIL
350 RICHARD'S STREET, VANCOUVER-,' DISCORDER     a guide to CITR tm 102 cable 100
April 1985
The Grapes of Wrath
#
Raisin D'etre
Purple Prose: Len Morgan
Right down to their wood-grain finished guitars
and their unkempt curly hair you know that
The Grapes of Wrath are an unaffected, natural
band. When they clamber on stage the guitar
player is carrying an acoustic guitar. He wears
it high—above his hip—and doesn't look very
comfortable with it, but if he would look right with
any guitar it would have to be an acoustic.
He looks a bit awkward: his frail body capped
with an overgrowth of frizzy brown hair. If you
could see under the thatch that hangs over his
face you would see that he has water-pale,
shallow eyes.
Up on the stage the three members of The
Grapes of Wrath eye each other and nod affirmatively.
They launch into their first tune and are transformed. At once Kevin Kane—the man with the
acoustic guitar—glows, his once pale eyes now
flashing pride and determination. He and his
guitar have become inseparable, and the music
that comes off the stage sounds exactly as you
would expect it to: airy and melodic, the touch
of punk energy cautiously restrained.
Kevin's neck cranes up to meet the microphone. His words are slurred, but his voice is
gentle and clear. The song ends. An audience
concensus is that it was amiable but unspectacular. They clap.
Kevin is just glad that his throat hasn't acted
up on him. That, and the fact that he isn't
sweating.
All day Kevin has been worrying about his
voice.
"Lately I've had a scratchy throat every time
we've played a concert. My doctor thinks it mav
be related to stress."
So his doctor has equipped him with a stress/
temperature monitoring device: a little plastic
bubble that's glued to his wrist that changes color
as his body changes temperature.
When Kevin gets nervous the spot turns black.
Yellow and green indicate an agitation or a slight
level of stress. The bluer the color, the more
relaxed he is. A perfect calm registers purple.
There should be no reason for him to be having a stressful time, though. The Grapes of
Wrath—Kevin, 21, and brothers Tom Hooper, 18,
and Chris Hooper, 21, bass and drums respectively—have been having a very profitable time
since relocating in Vancouver late last fall. They
left their hometown Kelowna to seek out the big
city music scene and haven't regretted a thing
since.
"We've been happier since moving to Vancouver," claims Chris. Kevin decided that this has
been a positive step for the banck
"The lyrics are getting happier. But the music's
getting moodier," he counters. "If you listen to
the lyrics on the record, it could be a pretty
depressing record.
"Now the lyrics are definitely getting more
♦
chipper."
When asked about lyric sheets, Kevin's mind
is made up.
"My lyrics are personal and private; I keep
them to me."
"That's why he sings them through a PA to 300
people," jokes Chris.
"That's why I mumble when I sing. If we wrote *
out the lyrics people could pigeon-hole our
songs. As far as "Misunderstanding" goes, it's
a love song based on personal experience—but
it could apply to any number of things. See?"
Kevin writes most of all of the music and writes
all of the lyrics, but the band cannot be con-
Chris Hooper
^fe;"
r   JET"
sidered as a product of this sole making. All three
of them have been playing together and shaping what was to become The Grapes of Wrath
sound since Kevin and Chris were 13 and Tom
was 11.
Their first band together was Kill Pigs where
they learned to play "very strange and diverse
punk rock" with a singer who was many years
their senior.
"We were these little kids and he was, like, 22.
We played everything really fast. In the end he DISCORDER     a guide to CITR tm 102 cable 100
couldn't sing the songs 'cuz they were too fast."
Kill Pigs disintegrated and they formed their
| respective bands: Kevin in Empty Set, and the
Hoopers in The Gentlemen of Horror. They still
found time, however, to play together occasionally
in Honda Civic, a cover band playing Gang of
Four and Echo and the Bunnymen songs.
When Empty Set's drummer moved to Vancouver and that band dissolved, Honda Civic
went full time, changing their name to The
|  Grapes of Wrath.
Kevin described the new band as a compromise of their former musical ventures.
"It used to be a thundering, blasting sound
that the band first created," says Tom.
"It was literally putting our two groups
together," adds his older brother.
Kevin sees the band's sound as getting more
H  refined: "What we were doing even a year ago
was a lot more hard-edged and faster.
"We think our songs are getting a bit more j
like them at all."
"I think it has a lot to do with how stupid a person is. If somebody's stupid they'll say U2. And
if they're complete idiots they'll say the Rolling
Stones."
(I "People will listen to us," adds Chris, "and say, '
'urn...guitar...you can dance to it, urn...the singer
doesn't sound like Lou Reed...it's got kinda
melody in the voice...urn, yea: U2!"
"Nothing's  really contrived," offers Kevin.
He seems content to describe The Grapes of
Wrath as an "honest guitar band. And the key
word is honesty... Which is why, I think, we have
|r more natural, unified sound."
"We're not just musicians," he continues,
"We're not into being in a band just so we can
get our pictures taken."
"Anyway, nobody will be able to say that we
sound like REM after the next record comes out.
Nobody."
The band is taking April to record their second
)> release for Nettwerk, an album that should be
out in July. With the momentum The Grapes of
Wrath have created, that album could be very
successful for them.
As it is now, they don't exactly have throngs
of prepubescent teenaged fans following after
them. But Nettwerk president Terry McBride
predicts that as the next logical step:
§ "You should see them come into the store
(Odyssey Imports)—oh, yes—and all of them
voung."
"Any pretty ones?" presses Kevin.
Coming from smalltown Kelowna to Vancouver
and being hit with all this new-found success in
such a short time could go to their heads, but
as yet they remain pretty unaffected.
D    Well, almost. ..
In relating a story to McBride, Kevin tells him
that "a guy from Music Express (Canada's failed attempt to duplicate Rolling Stone's music
media dominance) called today.
"He asked, 'So what bands are on Nettwerk,
anyhow?' Oh come on now! I mean, you're talking to a rock star here. Don't you do your home-
P work?"
The biggest test The Grapes of Wrath have to
face is whether or not they can hold the interest
created with their first release. "Misunderstanding," the lead-off track on their four-song EP,
is a near perfect pop song with typical love-story
lyrics.
It was a verified underground hit and was
9 responsible for much of the airplay the record
has received on college radio across Canada.
Grapes of Wrat
The video for that song is now being seen
nationally on MuchMusic and on Superchannel's
Nite Vision.
But the song is uncharacteristic of The Grapes
of Wrath's sound, attests Kevin. "We could never
write another 'Misunderstanding'," he predicts.
I don't play guitar like that anymore. That was
only the fourth song we ever wrote.
"Right now the first priority is the album; second priority would be marketing: tours, posters,
t-shirts, buttons; and the third priority is videos."
Talking about the future makes Kevin happy.
Before hopping on stage for the band's recent
show at a Gastown nightclub, Kevin looks down
to check the stress-bubble on his wrist. Having
anticipated the worst—sore throat, et air—he is
more than just mildly surprised to see it sporting a bright, proud turquoise.
That's the best it's been all day.
Turquoise indicated a normal state of calm. It
could be that the stage fright is gone by now: the
show they played that night was much better than
the others they had done around town.
The Grapes of Wrath have the confidence in
their music, and in themselves. I'm just hoping
that Kevin doesn't get too greedy. Maybe turquoise isn't enough, or just isn't right?
He could always strive for the perfect relaxed
state: he could strive to be purple.
Y'know, as in grapes?
There used to
be only^ one
leather store
in Gastown. . .
There still is DISCORDER     a guide to CITR fm 102 cable 100
April 1985
Pornography - a sensitive issue—and a difficult one to discuss calmly.
Carolyn Joyce Brown casts a rational eye on this volatile subject, and
on the attempts to control it.
It is no accident that pornography has become
the major women's issue of the 1980s—not only pornography, but the interest in pornography,
is a product of the economic climate, the social
fabric, and the women's movement itself.
To gauge the concern about pornography in
less than absolute terms seems almost heretical,
unless you consider that the anti-pornography
movement (with its leaders, freedom-fighters, pop
culture debates and advocacy position) is an
ideology.
The effect of seeing pornography, especially
violent pornography, is such an emotional one
that discussing its power in logical terms is
almost unheard of. Instead, dissection of the
cultural tuning that creates the anti-pornography
movement is abandoned, in favour of constant
debate left too often at mere ranting.
Morality is a function of culture. The 1920s
created a certain morality out of a culturally-
corrupted Freudianism, but also out of a booming economy and technological creations such
as the moving picture and the condom, which
permitted an indulgence in and glorification of
sexuality.
Our society is less permissive by comparison.
A stagnation of egalitarianism for men and
women, a growing acceptance of homosexuality, economic recession and the repressive tolerance for former radicalism have created a schizophrenic situation in which all behaviours are
tolerated, yet questioned. The obsession with
pornography, both in the porn industry and in the
anti-porn movement, reflects prevalent economic
torpor and dismay, confusion of sexual norms
fascination with visual image and fear of exploitation—in short, pessimism.
DIGRESSION ONE
Maude Barlow collects pornography, to show
to those ignorant of its existence. She was accused of using her former office of equal opportunities for women in Ottawa as a centre for the
anti-porn movement. The National Action Committee on the Status of Women held a conference at the Chateau Laurier at which the only
consensus recommendation was that pornography be removed from the lobby smoke shop. The
National Film Board set up a studio to produce
films about women. The major coup for Studio
D was Not a Love Story, a film which examines
the porn industry.
That film can be credited with articulating the
anti-porn ideology, not only starting debate but
defining it. The portrayal of pornography in Not
a Love Story has been criticized (significantly, in
other countries) for exploiting the image as much
as the porn industry does, albeit for diametrically
opposed purposes. It is the visceral and vaguely analyzed position of Not a Cove Story that has
helped to make the anti-porn movement an unwitting and perverse sensationalism of pornography. This shock value has characterized
high-profile anti-porn agitation.
"What we're talking about is women with
barbed wire in their vaginas"—I paraphrase
Maude Barlow, in her vehement arguments
against "snuff" porn. While these concerns are
valid, to tout the evidence around to community groups lends the reprehensible material a
hysterical credence.
While Nepean by-laws outlaw harmless "starving artist" nudes sold in K-Mart, groups of
women invade stores demanding the removal
of pornographic magazines, regardless of their
actual content or tenor.
• • •
Pornography is not considered logically. 'Pornography is exploitative, therefore pornography
should not exist' is not a logical argument. It
assumes many ideological conceptions of society, namely: exploitation is related to eventual
violence, objectification is exploitation, media
representation moulds behaviour, censorship is
an acceptable social tool, and censorship will
restrict dissemination of ideas.
So it is that the women's Left (concerned with
advancing women's position), and the women's
Right (concerned with maintaining the status
quo), find themselves agreeing—Maude Barlow,
Doris Anderson and Mary Brown are on the
same side of a gut-wrenching issue. This "unholy alliance" of right and left has confused even
the casual observer. It is difficult to deny a broad-
based interest if you are a right-thinking person,
even if you really believe there is little harm in
visual titillation.
Time to regard the question in a logical light.
To divorce the anti-pornography position from this
cohesive ideology is to ask three fundamental
questions—how are women depicted in popular
images? How does media affect behaviour? And,
what purpose would censorship serve?
The objective way in which women are portrayed is a visual utterance of social attitudes.
As John Berger delineated in Ways of Seeing, the
nude (woman) from the 18th century to the present is the token or embodiment of a woman offered as chattel to a man. In modern form, the
woman speaking to the viewer of Playboy films
is another step in this fantasy ownership. The
overwhelming representation of women in this
way reflects a view that men are, and women appear, as Berger put it. Men's power consists in
what they can do to others, women's in what can
be done to them. The division of strength and
beauty, action and passivity, aggression and exploitation is inherent in the constancy of the image. It has reached the point that the inequality
is accepted by women, who do not view pornographic images of men, and do read romance
novels which subjectify men as effectively as
porn objectifies women. (Objectification of men
exists in gay pornography, which has received
little comment).
D GRESS ON TWO
The representation of women as passive and
servile is so much a part of our culture that it
doubtless finds fruition in our conceptions and
expectations. From the lowest common-denominator display of lush and capricious women in
soap operas to innocent Kraft cheese commercials depicting little girls learning to serve cheese
to pencil-pushing little boys, women are depicted
O
N
F   I DISCORDER     a guide to CITR 1m 102 cable 100
as people who do not work (or do not command
respect and hold responsibility if they do), do not
take social or sexual initiative, serve men, and
are objects to be admired or wanted. Unfortunately, these stereotypes are often realistic, though
regressive.
The puzzling aspect of these representations
is that they are accepted by most women. People generally wish to express their ambitions,
personalities and sexuality, and search for acceptable ways to do this. Hence, women offered
little other alternative look to the models of well-
groomed, scented, domestic women on the tube.
They read cheap romance novels based on a
formula plot—older paternal man seems beyond
grasp of heroine, his domineering position is
challenged by a younger more emotional man,
heroine falls back into arms of older man when
he throws her a crust of some sort. The dangerous message says women should seek aloof
superior men who alternately ignore and rape
them.
The only responses voiced to this deluge of
representation has emerged from self-righteous
anti-male outrage, and from independent
thoughtful producers of culture. Otherwise, most
women accept and women reinforce these visions of themselves as women. The question is,
why? Are there no constructive expressions of
self and sex in this culture? Why not?
It is easy to suspect that the manifestation of
the female image is an expression of a long-
defined social attitude. The rarer incidence of
depictions of rape or torture express a strange
misogyny and sadism which must also exist to
be thus expressed. These representations can
be correctly seen as objectification taken to a
perverse extreme. The roots of these attitudes
must be examined and corrected to create a less
exploitative society.
Another prevalent opinion contends that the
image actually creates the behaviours it clearly
caters to. Scientific studies fail to clarify the link
between media and behaviour. Myths of television causing mimicry or passivity are passe,
other theories have not defined media effects
in such strict casual formulae. In fact, the actual
effect is significant but varying, found more often
in complex information and cultural patterns than
in simple equations. David Kronenberg's Video-
drome does more to amplify the psychological
compulsion of television than a stack of sociological arguments. The participation of culture
in the image and vice versa is such a chicken-
and-egg argument that no conclusion can be
drawn. Period.
Which brings us to censorship. This is the
most diverse of issues surrounding pornography.
Actual censorship concerns not production or
culture, but state-imposed control of distribution.
Whether the state could or would effectively control distribution is another question—but the principle is a dangerous one because of its precedent. Imposition of control by the majority power
over a minority would no longer guarantee freedom of expression. In a democratic society, it is
unthinkable. In a capitalist society—where profit controls distribution and the extent of state
contol—censorship on a grand scale is unlikely
as well.
DIGRESSION THREE
Journalists are taught to memorize passages
of John Milton's Areopagitica, the basic freedom
of speech manifesto of constitutional society. The
British invented freedom of speech concomitant
with democracy at a time when life was simpler
—limits to freedom were clear-cut social sanctions, information transfer was an active, engaging process, and freedom meant freedom for the
newly-rich industrial managers.
Milton's cerebral arguments about the educated mind selecting wheat from chaff pale at the
present corporate control of homogeneous mass
media information. Democracies speak in propaganda. Culture is thoroughly and subtly entrenched; the new gatherers are hemmed in by
corporate limits and fed both the issues and the
vocabulary to describe them.
The whole porn censorship appeal smacks of
the New World Information Order argument. (The
NWIO is a Third-World-backed system for regulating what may be printed and who may publish
in developing countries—for the good of the
country and in defense against technological
"Imperialism" of the Western press). To draw a
loose analogy, the argument for censorship is an
argument for the good of society. The questions
posed about the NWIO are applicable to porn
censorship: what is in the best interest of society? How do you decide? Who decides? Journal
ists object to the NWIO because it licenses cen
sorship and propaganda. Any cultural producer
starts in fear at the possibility of a similar situation permitted to run amok here. Censorship, the
producers will say, is not in the interest of society. Censoring publication to counteract the
economic censorship of corporate control is
fighting fire with fire, and adding fuel to the flame.
• * *
The original problem—that of women's social
position as reflected in pornography—remains.
If violence is still illegal, and its use prosecuted,
and If censorship is equally rejected, the vast
mass of pornography goes untouched.
It is a much more difficult matter to change
com ►
@WKdfc FiMls
%J  Monday, Apri
Semifinals
Monday, April 1
Nerve Tubes
Wardells
Sexual Infections
1st Prize - OCEAN SOUND
$2,000 of recording time
(20 hours)
2nd Prize - BULLFROG STUDIOS
24 hours of recording time
3rd Prize - STUDIO A
24 hours of recording time
PLUS
The winner will receive a PERRY-
SCOPE CONCERT DATE. All three
finalists will be recorded LIVE
at the SAVOY by COMMERCIAL
ELECTRONICS.
Monday, April 8
NG3
Death Sentence
Winner of Semis DISCORDER     a guide to CITR 1m 102 cable 100
1895 Venables at Victoria Drive
/
LA LA LA
HUMAN STEPS
World Premiere of Edouard
Lock's new work
HUMAN SEX
^     don't miss it!
"enough energy to light up
the entire west coast"
(the \ Province) y
April 3-6,8:30 pm
the first wind of spring
A festival of Japanese-
Canadian performing arts —
Taiko, koto shakuhachi,
dance, theatre, poetry
storytelling, and more. A
different program each night
for five nights, plus a special
children's matinee.
A benefit for Tonari Gumi
April 17 - 21, 8 pm
Children's Matinee
Sunday 2:30 pm
KAREN JAMIESON
DANCE COMPANY
"images of austere
beauty and
great power"
(the Province)
Powerful
Percussive
Audacious
(3 shows only)
April 25-27,8:30 pm
RESERVATIONS • 4NFO 254-9578
the attitudes which spawn pornography—how much easier it is to
make an obscenity law which forbids exploitation (read expression)
of sex, or to demand that a kiosk
remove its images of naked
women. The pornography issue
appeases those who dislike expression of sexuality (the Right) or
exploitation of women (the Left)
without changing the underlying
position of women. This pessimistic fixation has eclipsed every other
issue of progress to egalitarian-
ism—-which would hypothetically
end the discrepancy in representation of men and women.
■■II 1111II 111 11 Mil
The opponents of pornography
speak vaguely about permissible
erotica. The line is drawn arbitrarily
at various points by various feminists. The actual dividing line is a
class one—pop culture is infused
with pornographic suggestion, due
to its unifying simplistic nature. It
is in the realm of literature and art
that criticism and alternatives are
found.
The wish not to know starts in ignorance and ends there. So liberalism of thought finds its nemesis
in dogmatism of all stripes.
I should explain that my ideas of
sexuality were not formed by Playboy and Harlequin, but by Spenser,
Shakespeare, Botticelli, Picasso,
Norman Mailer, James Joyce,
Henry Miller, Anais Nin and others ^"i
too numerous to mention. And, of
course, by my parents, who define
pornography as badly-written sexual references.
But the real lesson of varied
literature obscured in the headline
instant nature of porn and anti-
porn, is that representation and
behaviours must spring from personal moral reflection. The position
of women is a function of their
powers and decisions. Often the
greatest contribution of any person
is the example set by his or her
choices. Ideology of any kind has
a way of divorcing rhetorical movements from lived reality. As long as
the conflict of ideologies controls
the individual, there will be no personal progress or moral choice to
change the outward symbols of
men and women.
—Carolyn Joyce Brown
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A program featuring African music and culture.
Every week, with news, current events and local
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April 7: Daniel Lentz—Point Conception
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April 21: A show of percussive madness.
The music of Het!, Harry Partch, The
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April 7: Theatre for Your Mother's production of Samuel Beckett's Cascanda.
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will feature either live interviews or in-depth
coverage of a wide range of topics including
social problems and programs, political events
and community access programs. Time is
available for groups to prepare their own shows.
(For more info, call Diane at 228-3017.) DISCORDER     a guide to CITR fm 102 cable 100
Tuesdays and Thursdays are sports shows. Tuesday's program, "Pulse on Intramurals," will on
a weekly basis explore the world of UBC's intramurals program which, incidently, is the
largest such program in Canada. While Thursday's show, "Sports Unlimited," will feature heavy
to lighter and more general sports topics. (For
more info, call Mike Perley at 228-3017.)
Random Cacophony
(Tuesday 11 pm-1 am)
The second radio show in the history of civilization dedicated to solving all of the world's
problems.
Rockers
(Sunday noon-3 pm)
The latest and best in toasting, rockers, dub and
straight forward reggae.  Hosted by George
Barrett.
Saturday and Sunday Magazine
(Saturday & Sunday at 6 pm)
Weekend magazine shows presenting special
news, sports and entertainment features.
Stop Paying Attention!
(Tuesday 12:30 am-4 am/late night Monday)
Radio for people who never listen and never
learn. General apathy provided by Jerome
Broadway and special hosts.
Sunday Night Live
(Sunday 8 pm)
From the archives of CITR, vinyl heroes captured
on tape in their truest element—the live perfor
mance. This 45-minute special is hosted by
Jason Grant and Vijay Sondhi.
April 7: Kate Bush live at the Hammersmith Odeon
April 14: Henry Coui Concert
April 21: XTC live in 1980
April 28: Tuxedo Moon
Uncontrollable Deviance
(Thursday 1 am-4 am/late night Wednesday)
A show devoted to music vthat might be con-,
sidered "non-traditional." Everything from the
Angelic Upstarts to the Zero Boys is played, with
plenty of thrash, skate, hardcore, metal, post-
punk, oi and great bands in-between. Local
bands are welcome to send in any material they
want played. Requests and any other input is encouraged. Hosted by Andrea Gamier.
The Visiting Penguins Show
(Sunday 1 am-4 pm/late night Saturday)
The madness continues.. The enigmatic
Gropius and the omnipresent Screaming Vegetable assault the airwaves with live interviews,
incredible screwups, penguin trivia, tales of the
U2 Mama and great tunes. Listen and discover
the epitomy of lunacy...
Where The Action Is
(Wednesday 9 pm-11 pm)
A fun-filled two hours, featuring local record
dealers and collectors, along with some of their
more obscure vinyl. Hosted by Janis Mckenzie
and Brent Argo. If you have music to share or
want more information on the show, write to:
ACTION, c/o CITR radio.
APRIL
HIGH PROFILES
Mon
1
The Bangles
Tues
2
The Times
Wed
3
Ellen Foley
Thur
4
Arts Underground (Alternative Roles in Feature Films
Part 1
Fri
5
Love, Peace & Violence
Sat
6
TBA
Mon
8
The Temptations
Tues
9
3 Teens Kill 4
Wed
10
Mystery Rock Star Interview
Thur
11
Arts Underground
Fri
12
Paranoia
Sat
13
TBA
Mon
15
Television
Tues
16
Pointed Sticks
Wed
17
Kiss vs. Jonathan Richman
Thurs
18
Kevin Kamota (Rational
Youth)
Fri
19
Peter Gabriel
Sat
20
TBA
Mon
22
The Rasberries
Tues
23
Mr. Rogers Rocks On
Wed
24
Dr. Feelgood
Thurs
25
Compilation Compilation
Fri
26
Pucker Up and Blow
Sat
27
TBA
Mon
29
Morricone Soundtracks
Tues
30
Violent Femmes
*•****••*•*•**•********•*********
FM102      I
CABLE lOO
Membership Application
Welcome, Friends, to Reverend Larry's House
of Radio Miracles. I'm asking you to be audially
healed! I'm begging you to take that first step
towards musical salvation.
Put your hands on your radio and feel the power
of alternative non-commercial broadcasting. Feel
it surge into your ears, swelling your cranial
cavities, popping those palpitating pleasure pots
known as ydur eardrums! Yea, Friend, you have
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Now, to help continue this fine work at Reverend
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us a contribution. We need to build our strength,
to increase our friendship circle. Just fill out this
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if you are a UBC student, and $25.00 if you are
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Thank you, Friend.
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INTERESTED IN PROGRAMMING? DISCORDER     a guide to CITR fm 102 cable 100
April 1985
VINYL
'i
The Velvet
Underground
vu
This, dear reader, is the first major phenomena
of 1985: a contemporary Velvet Underground
album. That's right—contemporary.
Oh, no matter that it was originally recorded
during a 20-month span of their halcyon years
of the late 60s, or that much of the material is
well-known to the aficionado. After all, most of
this is available either on discontinued VU LPs,
or on Lou Reed's earlier solo efforts, or from
"bootlegs" (which have received such international distribution and notoriety as to belie the
term). This is familiar territory, dear reader.
And no matter that it came with somewhat
suspicious media hype—while preparing for the
re-release of the original three MGM LPs, these
tapes were miraculously "found" after 18 years,
at the exact time when the cult notoriety of this
band was at a peak and re-issues selling with
amazing consistency.
No matter. This, indeed, is a contemporary LP.
Remixed within the high-tech facilities of New
York's MediaSound Studios, these ten tracks
sparkle with crisp clear production. Totally unlike
the original Velvet Underground releases, notorious for the muddy mix setting off jangling
vibrations in the listener, VU belongs on the 1985
turntable. The effect of modern techology is
wonderful—the music creates a luxurious setting
for Reed's sometimes-insistent, sometimes-
wistful crooning—and the Velvet Underground
are propelled into the 80s.
Most of the material is atypical of their image,
however. Listening to VU, it is difficult to believe
this band once represented the abyss on the
darker side of the human psyche, with their
paeans to drug addiction, sado-masochism, and
general debauchery. The members of the band
wallowed in large-scale drug intake during this
period, with Lou Reed in particular subject to
acute fits of intense paranoia resulting from
methedrine addiction (a vice he proved unable
VERDICT
'
to shake in later years—during the recording of
a subsequent solo LP, he was so wired as to need
his lines cued to him one at a time, and afterwards could not remember the sessions. Ironically this album—Sally Can't Dance—was one of his
more successful solo works). Most of these
songs seem gentle today, in direct comparison
to the jagged insanity of the earlier works.
No matter. This is an essential record; we can
finally hear what this band would have sounded
like with modern production standards. It is wonderful stuff, and more important, should introduce an entire new generation to the power and
beauty of this essential band. Perhaps now they
will understand what all the fuss is about.
As noted, this is the first of four Velvet Underground releases, with the first three MGM LPs
due to be released after similar remixing and
mastering. As a diehard, I can only wonder if the
savagery of the early material will be lost in the
process, and a comparable 'new' sound will
emerge from trie grooves I know so well. I can
hardly wait to find out.
—Laurie Mercer
The Asexuals
Be What You Want
First Strike Production
When a compilation album of Montreal hardcore (Primitive Air-Raid) was released last year,
we on the West Coast tried to ignore it and persisted in our belief that Vancouver had the most
dynamic hardcore scene in Canada. But, it's getting more and more difficult to ignore Montreal.
The recent release of Asexual's album Be What
You Want is proof positive that Montreal hardcore
is alive and kicking, and not about to be ignored.
The Asexuals are a four-piece outfit based out
of some Montreal suburb. They have three or four
EP's out as well as one song on the Air-Raid compilation. They play a good blend of music, all the
way from rhythmic melodies to bruising thrash.
The lead singer's voice sounds a bit like Andrew's of local greats H.O.C. It all comes together
in "Be What You Want" and creates one of the
best Canadian hardcore albums yet.
No one could accuse these guys of being no-
minds. They obviously have a lot of thoughts
about a lot of different things, and aren't afraid
to speak out about personal, social and political
situations. Some of their songs are in reaction
against troubles they have as a hardcore band *))
existing in Montreal. "Mister Rat" and "We Seek
No Glory" are good examples of this, the latter
song being, in my opinion, the best one on the
album.
The Asexuals are somewhat of an anomaly on
the Canadian scene. Along with bands like Youth
Brigade (formerly of Toronto) and the Stretch
Marks from Winnipeg, they form a minority of i
straight edge bands north of the border. Don't
think that straight edge is yet another fashion
trend though—it's an attitude which emphasizes
positive thinking and good, clean fun. When
there is music like this around that creates a
natural high, who needs any artificial inducements? The origins of straight edge can be traced
to such bands as Minor Threat (the sorely-missed $)
D.C. band), S.S.D. and more recently, 7 Seconds
and M.I.A. So, if Be What You Want is any indication of where Canadian S.E. is going, it's likely
that we'll be hearing a lot more of it in the not-
so-distant future. Let's hppe so, anyways.
—Andrea Gamier
Various t
Pay It All Back (Vol. 1)
ON - U Sound
Compilation albums are a bit like love: a
dubious concept with many potential pitfalls, but t/i
everyone ends up trying it, at least once. Like
love, compilations come in many strange, suspicion-inducing varieties. You've got your soundtrack compilation, your greatest hits compilation,
your live compilation, your one-hit-wonders compilation, your complication compilation, your consummation complication (sic) etc. etc.
Usually, the most successful type is The '!;)
Record Company Sampler Compilation (gasp,
not the Record Company Sampler Compilation!). DISCORDER     a guide to CITR 1m 102 cable 100
They get their advertising for the various artists
on their label, and we get to hear the best songs
£ from each. Voila, mon sewer, tout le monde est
9 content. (Oh woe, you fickle human beings, if
only the rest of life were that simple!) What Godfearing fan of urban eclecticism doesn't have
Cherry Red's Pillows and Prayers? What eager,
wide-eyed fan of post-punk pop doesn't have
Rough Trade's Wanna Buy a Bridge? I have both,
but then I am an eager, wide-eyed Christian.
^    After several years of producing the New Age
^ Steppers and Creation Rebel (amongst others)
on his independent ON-U Sounds label, studio
whizz-kid Adrian Sherwood has gained enough
respect to gather the stable of artists which are
showcased on Pay It All Back. Ten artists, to be
precise, including the standard-bearing New Age
Steppers who, ironically, suffer the embarrass-
^ ment of having one of the weaker cuts; "Some
w Love" is the most 'normal' (there's that word
again!) amongst some very individual offerings
vying for attention. It's the track which least
demonstrates the innovative genre of sound
which Sherwood, de man a' de control, has
steadily developed and navigated from enormous
cult popularity to its present flirtations with The
*. Limelight. At various times it fuses various ele-
^ ments of experimental electronics, reggae, beat-
style dance rhythms and studio/tape effects.
This is music you feel as much as listen to, or,
as Billy Idol screamed on the first Generation X
album, Heavy Heavy Dub! Feel the beat, it'll raise
the pulse. Lots of bass and drums, sparsely yet
thickly produced in Sherwood's by-now distinc-
^ tive style—crank those levels up 'til it hurts, oops,
* there goes a bit of distortion, what the hell, we'll
leave it in. Play loud.
That just about describes the industro-dub of
j   Jerusalem, Mark (ex-Pop Group) Stewart and
Maffia's contribution, taken off their only album
to date, Learning to Cope With Cowardice. Maffia's solo rendition of "Hallelujah" 'without Mark's
^ pleasant voice' and Missing Brazilians' "Ace of
* Wands" are similarly subtly political, nearly overwhelming in their skin-scraping tension; not the
sort of stuff one listens to with the lights down
low, cognac in the glass and anticipation in the
air.
Brilliant new ideas from floor to ceiling: neo-
gamelan esoterics from African Head Charge,
£ experimental, techno-dub sound-collage from
The Circuit and N.Y. street-beat dancing from
Akubu. It's all kicked off in a fine style by the cool,
throaty, resonating tones of veteran 'dub masta'
Prince Far I who tells a curious tale of Bedward,
The Flying Preacher. It's apparently the true story
of a Jamaican holy man who had a vision that
he could fly. To prove it he jumps off a building
H and promptly breaks his neck. The cut effortlessly oozes power from a solid drum and bass
rhythm attack which positively thunders from the
speakers. Flash adds a slinky sax line—love it.
ON-U appears to be one of those organizations
in which it can be said that the whole is greater
than the sum of the parts. The musicians don't
necessarily belong to one band; they are freely
^ borrowed as session players by most of the
bands on the album. Thus, the same names crop
up in different places on the credits; more importantly, it lends a certain uniformity to the album
as a whole which makes it all the more engag-
| ing. The price is pretty engaging too: at a little
over six dollars it's easily the best value import
■   record in town. It's not a dubious concept.
^    Now, can anyone fill me in on this thing called
"love?
Sukhvinder Johal
Scatology
Force & Form/K.411 (UK)
I'm a sucker for doom-and-gloom music—
especially when it's cohesive, comprehensible
(even barely) and faintly cultish. Scatology is
pretty close to the mark and understandably so.
The group responsible for this album is Coil,
which is, if you will, the newest tentacle of good
old Throbbing Gristle. This is not to take anything
away from Coil's own very strong identity; but
tracing the genealogy is interesting. When TG
was dismantled, it consisted of Chris Carter,
Cosey fanni Tutti, Genesis P. Orridge and Peter
Christopherson. Chris & Cosey, of course, have
gone their own way and made their own impact.
Genesis P. & Christopherson added and subtracted various people (including Alex Ferguson)
to form Psychic TV and Nurse With Wound.
Orridge also had a hand in the workings of Test
Dept. Over the months, years and record releases it has become clear that TG was composed of two and possibly more entities: Chris &
Cosey on the one hand and Genesis P. et al. on
the other. It's also pretty clear where the elements
of angst, ugliness, "scat," etc. have gone.
In its various configurations the latter group
have produced some terrifying, violent, silly,
brilliant and occasionally (?) very inconsistent
music. Then there was "Thee Psychic Temple
of Youth—a series of efforts which brought about
a certain cult status. These people were never
afraid of taking chances, consequently whole
albums have been variously labelled as garbage,
pretentiously inaccessible and even commercial!
The controversy will no doubt continue with
the formation of Coil (who now consist of John
Balance and Peter Christopherson with the aid
of Alex Ferguson and Stephen E. Thrower). It will
no doubt be fuelled by the fact that Ferguson and
Christopherson maintain that they left Psychic TV
while Genesis R claims they were asked to leave.
(Expelled from Thee Temple as it were). G.P.O.
even implies that he is the real author of some
of Coil's material. Having listened to Scatology
for several weeks now, I'm inclined to give Coil
the benefit of the doubt.
While not as "difficult" as Genesis P. at his
worst/best, Coil have a nasty, gothic miasma
which is uniquely their own. "Panic" (side A cut
2) will hopefully be danced to around town. Other
tracks such as "At the Heart of it All" (side A cut
3) come close to the ideals of people who like
"This Mortal Coil." Then there's my personal
favourite, "Tenderness of Wolves," which has the
absolutely inspired addition of Gavin Friday from
the Virgin Prunes (more cult status). To go on
would be redundant—all the cuts are good. It's
easily the nastiest album so far this year. I'd love
to hear more.. .soon.^^
r Larry Thiessen
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VANCOUVER
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604 224-2344
Demo Derby (not Demo Destruction as it has been dubbed
recently), is a monthly feature
designed to offer exposure in print
for the innumerable local musicians who do not have the resources to release their material on
vinyl.
CITR receives and plays more
demo tapes than any other radio
station in the country, and in that
context is the antithesis of commercial radio. We believe there is ■
enough time on the airwaves for
everyone, so play on.
SONG OF THE MONTH: "We Paid
Already" by Peter Archer, was
written in response to a plea for
submissions for Vancouver's centennial theme song. One can only
deduce that the committee's
choice will be as insipid as the
furry mascot picked to present our
fair city to the world, "We Paid
Already" is a thoughtful, dare I say
'folk' song sung in eloquent harmony to a slightly distorted guitar
track somewhat in the manner of
Englishman Billy Bragg. Very simple and very effective, it is reminiscent of the 1960's protest songs,
and hopefully it will catalyze a like-
minded spirit in all those that hear
it. Excellent.
Rhythm Mission have been busy
recording in Mushroom Studios
since their second-place finish in
last December's Shindig finals.
Their first offering, "Life's Level" is,
I have been told, not one of their
strongest songs but they still manage to convey their brand of kinetic
white funk a la James Chance. A
few neat echo effects are employed
on singer Dennis Mills' rather dispassionate vocals, and it promises
greater things to come from one of
Vancouver's best live acts. But hey,
where's the beat?!
Peter Gunn is a well-known,
piano entertainer on the upwardly
mobile lounge circuit around town,
and he's deviated just a bit to
record "Scenes Of Crime," the
theme to a music-video-fashion
show to be staged this spring. The
song is introduced by his version  of  "Feter  Gunn,"   which
sounds truer to the original character than the House of Commons'
interpretation: slightly sleazy soft-
shoed surveillance cloaked in tight-
fitting trenchcoats. "Scenes Of
Crime" is an upbeat song woven -
with swirling syrrths, commenting
on our society's complacent voyeurism of social crimes.
Continuing in the synthetic vein
is a three-song cassette from MOP,
a musical project led by two young
German filmmakers now residing
in the depths of upper West Vancouver. MOP makes quirky electronic dance-pop not unlike the
more recent efforts by Der Plan.
With titles like "Die Fische Tanzen"
(The Fish Dance) they could be
just as able at putting pictures to
their words as they are music.
Hiroshi Yano is no stranger to
the CITR airwaves. "Empty Point"
is his third demo tape to receive
airplay and continues in the ambient landscape genre but, hey, this
one has a beat and you can almost
dance to it if you really wanted to,
but wait, better yet—MEDITATE!
Five Year Plan is the epitome of
an underground band, and they
show no signs of surfacing with
their latest records, "Man From
The Land," "Love Urge," and "At
The Beach." They are certainly tho
one-hit wonders—following in the
wake of "Socred Youth," these
three songs offer the same satirical
commentary on local life underplayed by their anarchic musicianship. Points for spirit and courage,
but...
Brilliant Orange bring us back
to the surface of the wild western
frontier with two songs, "Happy
Man," and "Shotguns." This band
plays fast and clean rock M roll
accentuated by some hot guitar
picking and shotgun drumming.
The singer sounds like Jeffrey Lee
Pierce after a good rest in Nashville and the lyrics are interesting
enough to listen to. With bands like
REM and True West entering the
commerical mainstream, Brilliant
Orange could very well hop the
bandwagon in this part of the country. Yee-hah!      —Michael Shea
fi
i
i
M
m
u DISCORDER     a guide to CITR tm 102 cable TOO
THE JESUS AND MARY CHAIN - Upside
Down/Vegetable Man (Creation, UK)
A band that's been getting a lot of attention
in the UK (particularly from the NME). The Jesus
and Mary Chain are out to explore new sounds
STARVATION/TAM TAM POUR L'ETHIOPIE
(Zarjazz/Virgin - UK)
The much-awaited single featuring members
of UB40, General Public, Madness, Specials,
Pioneers, Afrodiziak, and more. A wonderful
cover of the old Pioneers' song "Starvation"
highlighted by the toasting of Ranking Roger.
This one makes you want to join hands with the
nearest person, kick up your heels, and sing
along in joyous celebration. No kidding. Puts
Bandaid to shame and makes Northern Lights
& USA for Africa sound like a computerized
greeting card verse. The flip side also contains
the cream of current African artists (Manu Dib-
ango, King Sunny Ade, etc.) in a heavily percus-
Msive and electronic song called "Tarn Tarn Pour
HL'Ethiopie." Sounds great loud.
and re-invent rock 'n' roll, or something like that.
Both sides of this single feature an extensive use
of feedback which may irritate a lot of people,
but in a world that has room for Test Dept., why
not? Actually both songs are pretty enjoyable
guitar rock thrash not too far removed from the
Cramps. And yes, you can tap your feet to it. This
one's a must for all you trend setters.
SLOW -1 Broke The Circle/Black Is Black
(Zulu)
Young, these guys are young, and confident,
and even obnoxious. But put this band in a live
setting and they explode. They're incredible. And
while it's probably impossible to capture their live
energy on vinyl this single gives a good indication of what they're about. Snarling vocals and
chainsaw guitars highlight "I Broke The Circle"
(shades of Grand Funk here) but "Black Is
Black" (not the Los Bravos tune) is where they
really shine. A great riff and a scream that sums
up teenage rebellion for all time. Play this one
loud and watch your parents run for cover.
THE CULT - Resurrected Joe (BB, UK)
Guitar rock bravado from The Big Waterboyl
Country Cult in which they dwell once again
upon the-plight of the North American Indian.
Dense production and pleading vocals, this band
should be a killer on American AOR radio. Still
all in all, aside from a neat piano hook during
the instrumental break nothing much about the
song stays with me. I guess I'll just have to wait
for the video.
YOU'VE GOT FOETUS ON YOUR BREATH -
Wash It All Off (Self Immolation, UK)
Rumour has it that this is an old song but the
copy I saw had a 1984 date on it so I don't know.
(Okay, okay, sure it's '85 now, big deal.) Anyway
on this record Jim Foetus has harnessed a circus in a recording studio, set it to a punchy beat
and snappy chorus and presto! Instant pop wizardry pays off with not only the catchiest but the
most hilarious single of the month. Picture calliopes, elepants, the kitchen sink, choruses out
of Mary Poppins and you have an idea of what
this sounds like. Groans and moans, chants, explosions, and it all works. Much more accessible than anything on the album Hole (where else
can you walk away singing "You've got foetus on
your breath" to yourself?), this is indeed aural
sculpture.
 —Dean Pelkey
AFTERIMAGE'
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Video Pic Of The Month
ALTERNAT11E TOP TEN VIDEOS
Peeping Tom
Kate Bush^-SingleS'File
Doors: Dance 0^f||^:
Inframan
itf The Jam—Trans Global S&
Satan's Satellites
:J|j(|gter, Pussycat Kill! Kill!
Bob Marley Live
Japan: Instant Pictures
w     ^B
WIDE094
MOVIE
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.RENTALS
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VSNWT *******
DISCORDER     a guide to CITR 1m 102 cable 100
•••••••••••••••••••••••••*••••••******
WOMBAT, H/B
^EEN MfcAN/iVG TO
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CITR TOP 25 SINGLES
CITR TOP 25 ALBUMS
ARTIST
1 ANIMAL SLAVES
2 CELEBRITY DRUNKS
3 SMILEY CULTURE
4 SLOW
5 TIME ZONE
6 CHRIS HOUSTON
7 AND ALSO THE TREES
8 RHYTHM MISSION
9 WEST INDIA CO.
10 ROBYN HITCHCOCK
11CAMPFIREBOYS
12 KILLING JOKE
13 THE CHAMELEONS
14 54/40
15 ONE FELL SWOOP
16 JESUS & MARY CHAIN
17 FEAR OF FALLING
18ANTI-NOWHERE
LEAGUE
19 CONDITION
20 YOU'VE GOT FOETUS-
TITLE
Save Me From Ruin
Ode To A Dreamer
Police Officer
I Broke The Circle/Black is
Black
World Destruction
BabyJesus/XTCof
Ignorance
A Room Lives In Lucy
Life's Level
Ave Maria
Bells of Rhymney/Falling
Leaves
Ain't No Beach in Calgary
Love Like Blood
In Shreds/Nostalgia
Cha-Cha
Moonwork
Upside Down/Vegetable
Man
Bitter End/Profiteering
Out In The Wasteland
Stranded In The Jungle
Wash It All Off
LABEL
UNDERGROWTH
"DEMOTAPE**
FASHION (UK)
ZULU
VIRGIN (UK)
"DEMOTAPE**
REFLEX (UK)
"DEMOTAPE**
LONDON (UK)
MIDNIGHT (UK)
"DEMOTAPE**
EG (UK)
STATIK(UK)
DONDUB/MODAMU
"DEMOTAPE**
CREATION (UK)
"DEMOTAPE**
ABC (UK)
"DEMOTAPE"
SELFIMMOL(UK)
21 PETER ARCHER We Paid Already/The
Movement "DEMOTAPE"
22 THE ASSOCIATES        Breakfast WEA (UK)
23 UNITED STATE Automaton/Glass Knight VICTORY
24 SISTERS OF MERCY    No Time To Cry MERCIFUL (UK)
25 FARMERS BOYS I Built The World EMI (UK)
ARTIST
1 VELVET
UNDERGROUND
2 MONOCHROME SET
3 BUSHIDO
4 GO FOUR 3
5 THE SMITHS
6 GAME THEORY
7THETRIFFIDS
8 BUNNY DRUMS
9 JASON & THE
SCORCHERS
10 MALCOLM McLAREN
11 THE ENIGMAS
12 VOICE OF AUTHORITY
13 LAUGHING CLOWNS
14THEHIGSONS
15THEPRIMEVALS
16 THE KANE GANG
17 ORSON FAMILY
18THECRUCIFUCKS
19 THE LUCY SHOW
20 FASTBACKS
TITLE
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Go Four 3 EP
Meat Is Murder
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Law Of Nature
Curse of the Higsons
Eternal Hotfire
The Bad and Lowdown
World-
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Every Day Is Saturday
21 COIL Scatology
22 LAURIE ANDERSON United States Live
23 THE BOMBARDIERS Search & Enjoy
24 THE ASSOCIATES Perhaps
25 THE BLASTERS Hard Line
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NEW ROSE (FR)
KITCHENWARE(UK)
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ALT. TENT. (US)
A&M (UK)
NO THREES (US)
FORCE&FORM(UK)
WEA
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WEA
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