CiTR 101.9 fM presents the mighty lemon drop THE OCEAN BLUE and JOHN WESLEY HARDING LU LAUGHTER! THURSDAY, FEBRUARY 22nd THE COMMODORE PRODUCED BY PERRYSCOPE TICKETS AT ALL TICKETMASTER LOCATIONS, TRACK RECORDS AND ZULU RECORDS charge by phone 280-4444 CONTENTS FEBRUARY • 1990 Issue #85 RABID CURIOSITY Lloyd Uliana discovers that curiosity killed the puppy 6 DEMONS Lachlan Murray and a different kind of house act 9 AN INTERVIEW PRIMER KIT You know it's going to be a bad day when... by Rob Boper 10 ...BUT WAS IT ART? Laurel Wellman snoops at SNAFU for snubbed sniffy snuffer 13 VOX HUNT John Ruskin on the scent of things that smell 15 JESUS AND MARY CHAIN The stigma of stigmata - Rob Boper talks to Jim Reid 16 NORTHLAND NORMAL The rovin' ear ain't rovin' no more. By Christopher Kovacs 30 AIRHEAD No, no...he writes the answers 5 COMIX ARE ALL I READ Melody: The True Story of a Nude Dancer 22 RAG BAG Betty Cooper talks to a salty sea dog 23 LOCAL MOTION HEY! Let's get Janis...she listens to everything! 24 UNDER REVIEW You say: "What's new, man?" We tell ya 25 REAL LIVE ACTION G-e, Bamff, 'n' Superconductor 26 DISCORDER DATEBOOK What's on, what's hot, what's hip and what isn't 27 ON THE DIAL It's like TV guide, but it's for the radio 28 SPINUST "__£ don't ____/£ a top ten list here at CiTR" 29 EARTH GUY Scott Fearnley 3 SOCIALIST TURTLE Colin Upton 19 ROLAND THE HAPPY WANDERER Geoff Coates 19 DANCING ON THE CLOUDS Marc Yuill and Julian Lawrence 21 EDITOR Kevin Smith ART DIRECTOR Scott Chernoff PRODUCTION MANAGER Bill Baker EDITORIAL ASSISTANTS Viola Funk, Usa Marr WRITERS Betty Cooper, Lane Dunlop, Michael Klassen, Christopher Kovacs, Janis McKenzie, Lachlan Murray, John Ruskin, Uoyd Uliana, Laurel Wellman, Leigh Wolf GRAPHICS Geoff Coates, Scott Fearnley PHOTOGRAPHERS Captain Ned, Bob Forcler, Mandel Ngan, Kelly Wood, WORD PROCESSING Alice Hul, Randy Iwata, Alice Lorlng PROOFREADING Alice Hul, Randy Iwata, Robynn Iwata COVER Scott Chernoff SPINLIST Chris Buchanan ADVERTISING MANAGER Mike Harding ADVERTISING PRODUCTION Bill Baker SUBSCRIPTIONS/MAIL DISTRIBUTION Robynn Iwsta PROGRAM GUIDE/DATEBOOK Randy Iwata ACCOUNTS Barbara Wilson TECHNICAL SUPPORT Alexandra Johnson DISCORDER Copyright © 1990 by The Student Radio Society of the University of British Columbia. All Rights Reserved. Discorder is That Magazine from CiTR fM 102, andis published twelvetimesayearby The StudentRadioSocietyoftheUniversity of British Columbia. Discorder is printed in Canada on paper manufactured in Canada. Discorder prints what it wants to, including the CiTR On the Dial program guide and the CiTR SpinList playlist chart. Circulation is 17500 copies distributed free to over 200 locations. Twelve-month subscriptions are $ 15 in Canada, $15 (US) to the US, and $24 elsewhere. Please make cheques or money orders payable to Discorder Magazine. "Many suffer from the incurable disease of writing, and it becomes chronic in their sick minds." -Juvenal. Discorder wants your stuff: send in stories, drawings, comics, money, photos or what have you. If we like 'em, well use 'em. If we don't, well lose 'em. Deadline for submissions and ad bookings is the 15th of the previous month. QTR 101.9 fMis 1800 watts of stereophonic bliss on cable fM from UBC to Langley, Squamish to PointRoberts, but not on Shaw Cable in White Rock (if you want it, you Tl find a way). CiTR is now available on most clock radios and in cars too. Office hours for CiTR, Discorder, and CiTR Mobile Sound Renttl are Mon-Fri, 10am - 4pm (please avoid Friday afternoons) Call the CiTR/ Discorder Office at 228-3017, CiTR News+Sports at 224-4320, or the CiTR DJ line at 228-CiTR. Send stuff c/o Discorder Magazine or CiTR Radio to Room 233,6138 SUB Boulevard, Vancouver, BC, V6T 2A5. Fax (604) 228-6093. 5S3L \M?°RTSFR*M TAPFC WWTS X H ___. M^-vS^T |o'-3o-7-C*> &**%-$ CiTRioi.9 fM & ; PRESENT England's Foremost Dub Master «55 WITH VERY SPECIAL GUESTS SISTER BREEZE an. DENNIS BOVELL & THE DUB BAND vvith The Almighty Dread Band Mel 'O* Productions '90 SATURDAY MARCH 3 THE COMMODORE • DOORS 8 PM CHARGE BY PHONE 280-4444 DRAW THE LINE Dear Airhead, Maybe it's just been over- saturation or ennui on my part, but for awhile Discorder seemed a bit lacking in spark. The last couple of issues, though, have generated some strong reactions, which I'd like to share with you. First, how long have you been planning D-Magazine? It's cohesion and attention to detail are frightening and brilliant. Up there with National Lampoon's finer moments, but scarier, like the Ridley Scott/William Gibson futurist visions. Nice one, folks. Which made me think about the rest of the writing in the issue. Style, not content. The language in a few articles ends up in the same kind of phony street slang you parody in D.A.T.-A- View. There's a difference between vibrant, earthy colloquialism and the mindless overuse of gibberish. You know who you are. You're not idiots; don't go out of your way to sound like Then there was something in a previous issue that stuck in my mind like a fishhook: Janis' suggestion thatpunk and artrock are antithetical. Seems to me the difference is more one of social context - whose clique you're in - than philosophy. Both... species?... are based on intolerance with mediocrity (which I'll get to in a minute). They react either with complexity or brute force, or both: Nomeansno comes up with some pretty interesting rhythms, and Glen Branca can be as obnoxious as the Forgotten Rebels without even breathing hard (Incidentally, when I heard that Billy Bragg had said that he thought 'art' should be spelled with acapital 'F', itremindedme 0 f the quo tation of the high ranking Nazi who said something like, "When I hear the word 'culture', 1 reach for my revolver"). Viola Funk bewails mediocrity in the restaurant business. Too few people observe the mediocrity in the A-word music scene (the word 'scene' makes me cringe, but I guess it's necessary). Like rock and roll which spawned it, the non-mainstream music at its inception was scary, dangerous, rebellious music. Like rock and roll, the bulk of it is now... traditional. Conventional. Institutional. Safe. Even given the limited format of guitar, bass, drums, and voice, and the slightly less limited themes of politics and love (and their various interconnectednesses), there's still a lot of fucking redundant and unimaginative music being churned out. The world is run by cretins. We know. People hurteachother. We know. Love feels good. We know. Tell <Yo 6138 SUB Blvd Vancouver, B.C. V6T 2A5 !$%r lErm'ifl Ymm us ina way that's atleastmargin- ally interesting or unique. While one ofthe attractions of the punk sub-culture was the egalitarian, socialist, anyone can do it attitude, the fact remains: some people are better musicians than others. Some people are better potters. Some people are better carpenters. We are (probably) all equal in terms of the value of human life, but (fortunately) our talents are focused in different areas. Sure, everybody draws the line between creativity and incoherence in a different place, and there are times for all of us when we just want to hear comfortable sounds (define as you will: some of us are comfortable with Nurse with Wound, others with Zamfir). But apparently the idea of working hard to produce something valuable is an idea that has been scorned out of existence, ironically, both by the past few years of nihilism and by the music-on-hold (pun intended) mainstream radio stations. Arch enemies producing the same waste: mediocrity. In an interview in Nite Moves, Nomeansno's Rob Wright said "Musicianship is the death of rock and roll." Consider the state of rock and roll, and remember these lines from the Dead Kennedys' "Chickenshit Conformist": Punk's not dead, it just deserves to die, When it becomes another stale car- A close-minded self-centered social club. Ideas don't matter, it's who you Requiescat in pace. Paul (still no relation) Funk WHAT TO DO? Dear Airhead, While sojourning in a parked car, in the park on a Monday night... we decided to drop you a line, because something must be done! Let us elaborate. We first appear to be 16/17 yrs and also live miiiiiiiiilles from town. We don't appreciate the fact that every hardcore band plays those particular places where people of our age are NOT ALLOWED! Where the hell do these bands expect us to mosh? At the local Jehovah HALL?! We have just been refused at Club S oda, where we went to mosh to Death Sentence. I must say we are rather perturbed. So since we are so young and naive... Shall we go and discover god for something to do? Maybe disco? Thanx for listening to our childish ravings. Willow and Kelly PLEASE, NO POETRY Dear Airhead, I remember it clearly now; I was etching spirals and circles on my neighbour's fence when I realized the absolute frivolity of it all. It was Wednesday, so the clothes were out on the line waiting to be dried or soaked, depending on the whim of Nature. The red brick porch undulated comfortingly under my feet as my dog weaved toward me, struggling to keep his balance on the inconsistent earth. The rhythm of motion was kept by a neverending cycle of colours projected on the clouds. "If you want to see what we 're eating, why don't you look around the fence?" Honestly, Michael J. Hamilton WHICH ONE IS CHRIS? Dear Airhead, I have to take exception to last issue's music review of Chiefs of Belief. I think Chiefs of Belief are an excellent band (especially the keyboards). The songs are tightly put together with no loose ends. This is a strong band and the keyboards are rich and intricately played without being overpowering. Personally, I don't think your reviewer knows what they're talking about when it comes to synthesizers! And anyway, why don't they sign their full name? Chris' sister GILLIGAN IS DOG BACKWARDS Dear Airhead, Gilligan is coming to Vancouver! !! This is true. During the "Boat Show", an event dwarfing the birth of Christ and the Harmonic Convergence put together, will take place. The spiritually blind shall see, the emotionally hungry shall be fed, and the downtrodden shall rejoice! Bob Denver will be here soon. Help spread the word of salvation to the masses! Gilligan! Gilligan! Sincerely, AI-Ubhaid,official clukker for the Elainester Pee Ess. Look, I've been promoted! Bok. Bok. Bok. THE MAN SCAN by the Man Sherbet A Monthly Overview of People Who Are Spoiling Our Fun Person in Question #1 - John Gray: crotchety writer and one-man Canadian culture factory. The Beef - Those damn video cabaret's on CBC's "Journal" program. Advice - Burn your ACTRA card, go milk cows for a year. Person in Question #2 - Carole "Two-term" Taylor: former spokesmodel turned politician. The Beef- Her overly publicized departure from City Council. Advice - Leave hubby Art, move into a basement suite in Mount Pleasant, park your Mercedes-Benz on the street. Person in Question #3 - Michael Williams: Mr. "Yours Truly" hisself, self-possessed representative of Toronto "blackness," and Much Music Veejay. The Beef- Referred to future "Journal" talking-head Laurie Brown's "tits" on national television. Advice - Run for political office, in Haiti. _T A A ____ Thursday FEBRUARY 8th to i Vw'wi SnnHav FEBRUARY 11th ' Sunday, FEBRUARY 11th Vancouver East Cultural Centre & The WJ.S.E. Hall 0 2.7 TZ&fcTZ&b FEBRUARY 1990 5 I by Lloyd Uliana JOIN THE RHYTHM OF MACHINES, Fridays 12:30-4:00 AM "/ tend not to hide issues with people. I talk directly, face to face. Direct confrontation with direct issues is ultimately my goal." -cEVIN KEY sKINNY PUPPY t has been five years since Vancouver audiences were first swept up in the Skinny Puppy phenomenon. The Remission EP, with its "Smothered Hope" single and accompanying video, and the suicide-soaked performances that followed, started the ball rolling for what would translate into fanatic appreciation for the band in Europe and across North America, simultaneously propelling their record company, Nettwerk, into the ranks of such internationally respected independent labels as Mute, Some Bizarre, Factory, and Crepuscule. While my interviewee, percussionist cEVIN KEY disagrees with me on this, it appears that in recent years Puppy has detached itself from ils Vancouver base. According to Key: "Wc didn't feel there was any need to play or be here more, considering we've done more shows in Vancouver than we've probably done anywhere else. We've done some of our most outrageous and elaborate shows in Vancouver as well, so Idon't think that Vancouver has been missing out on anything. They had the beginnings. They had all the weirdest shows. I think to go away for awhile and to leave it alone is a good thing to do because it gives people a chance lo get a different perspective and maybe listen to something else for awhile. It really became loo popular or too unpopular, whichever way you want to look It also seems that their earlier following has grown up and grown out ofthe hero worshipping that was so much a part of Puppy's infancy. Maybe they've taken Key's indirect suggestion quite literally and are groovin' to the dimc-a-BPM electronic dance bands saturating our record stores and danccfloors. Still, few bands of the mutant dance rock genre measure up lo the level of excellence — creatively, visually, and conceptually — attained and defined by Skinny Puppy. Their new album is called Rabies, and while Alain Jourgensen (Ministry, Revolting Cocks etc.) is involved in the production, it is sur prisingly the most listenable LPsince 1985's Biles. Apart from "Fascist Jock Itch" and "Tin Omen," which reek of Ministry hyper-aggression. Rabies is far from being a counterfeit Land of Rape and Honey or Mind is a Terrible Thing to Taste. Discorder recently talked to cEVDM KEY (a.k.a. Kevin Crompton). Over the course of Skinny Puppy's recording history, you've recruited such personalities as Tom Ellard, Chris Sheppard, Justin Strauss, and Adrian Sherwood to lend some inspiration on the production end of things. With Rabies, you 've brought in Alain Jourgensen. What's Puppy's relationship with Jourgensen? He's a friend above all. A few years ago when I was working wilh Adrian Sherwood in Chicago, Al came in and introduced himself... a really maniacal guy. He expressed interest in wanting to work together, so it was only a matter of time before it happened. In England, they call it 'The Tribe.' I don't know where lhat comes from, but basically it's a handful of people including Sherwood, Ministry, Fini Tribe, the Cocks, Skinny Puppy, etc. All it is, is a Chicago-Vancouver friendship. Obviously, you are still in the initial stages of promoting Rabies, so you can't be all that concerned with future recording. But is there anyone else you'd like to work with? I, myself, have four projects going on right now other than Skinny Puppy. They involve different friends. I like to work with friends, really. It's got a lol to do with working off each other's enthusiasms and inspiration. Working with Edward K-'a-Spell for instance. Idon't know where it's going to fit in along the way, but I'd like to work with some Jamaican guys on a project. I know it sounds unusual. How is that going to fit in with what you are doing with Puppy? It doesn't, really. I work with Dwayne Goettel (Skinny Puppy synths and sampling) on the side as well. We're like a team and in actuality, working wilh Nivek Ogre (Skinny Puppy vocalist and lyricist) has more or less become a thing where we work together for a certain period of time and then he goes away and does different things... and we go away and do separate things. Our relationship together has become more of a distance relationship. There is distance between ourselves and who we work with, whether it be space or lime or whatever. Weren't Dwayne and yourself based in Toronto for some time? Two years. And Ogre was living here in Vancouver. I needed breathing space from diis particular band mainly because of the intense situations that we're dealing with on the road,etc. For Dwayne and my self,we don't have a problem being together on any project. We can blend and mold. That's why I'm happy things have fallen into the space that they have because it's more creative for us. We're not stagnating in the sense that before when we wrote music we would come up with a certain percentage of songs that would be applicable to a Skinny Puppy record. We'd also come up with a certain percentage of songs which wouldn't fit into any mode. So, the Tear Garden was formed (Key and Edward K-'a-SpeU of Legendary Pink Dots). The Tear Garden was like the less intense, more ambient styled music. We are now expanding on other styles of music that have been gathering over the years. We've just finished a project last month that'll be coming out in February. It's called Hilt. We've finished a 12" and an album which I'm really pleased with. Actually, I think it's one of my favorite things that we've ever done. Hilt is myself, Dwayne, and film and video technician Al Nelson. I'm starting a project with a guy I used to work with, Bill Leeb (Front Line Assembly, Delerium, Noise Unit). We just started a project a month ago called Cyberaclive, which is going to be for Wax Trax Records. Bill came back from FLA's North American tour without a place to stay and I decided lo let him sleep on my floor and in the meantime we came up with a few songs. So it was great just to toss around the idea of recording togetheragain (Leeba.k.a. Schroeder appeared on Puppy's Bites and Chainsaw/Cage EP). We made one phonecall to Wax Trax and they 6 DISCORDER immediately jumped on it. They agreed to give us a video and a good budget for an album. As you mentioned, Tear Garden was another outlet for your creativity. Is that project pretty much over with? No, definitely not. Tear Garden is one ofthe closest things to my heart for musical experience and creativity. I have a stockpile of songs for Edward (laughs). I saw Edward less than a year ago and we did have intentions of getting together last September and recording. That fell through because he is constantly on tour in Europe. Just to get together is a real difficult thing to plan out. We have intentions of doing an album. I think this time it will be more of a collaboration between myself and two members of Legendary Pink Dots - K-'a-Spell and Phil Harmonics (The Silverman). Phil's the keyboard player. OnthenewMinistryLP.TheMind isaTcrriblcThing to Taste, I notice your producer Dave Ogilvie does some background vocals and production work. Nivek Ogre contributes some lyrics. Could you clarify how extensive Puppy's involvement has been with Ministry? Did you support them,or vice- versa, on the last tour? Or did Ogre simply join Revolting Cocks? Well, first of all. Ogre does tour with Revolting Cocks. He does backing vocals and guitar. We've never toured together with Ministry as Skinny Puppy. We were intending to do a North American tour which was supposed to start December 27th...a quadruple bill — ourselves, Ministry, KMFDM, and My Life with the Thrill Kill Kult. I think they've been billing it as "The Mutants of Rock' Tour. As a band, Skinny Puppy decided to pull out of that tour mainly because of tension (laughs) and a situation that didn't seem all too clear to head into at the moment. We basically left it until later on in the year, possibly in the summertime to support Rabies and anything else we may have done by that time. It's really a touchy situation at the moment. I really can't say whether that will happen. pro-democracy demonstrators by the People's Liberation army in central Peking (Tiananmen Square). It sounds odd for me to say this, but could it not also be said that "Tin Omen" is a celebration ofthe human will... the ability to unite against a repressive regime and mobilize for a cause that would better themselves? "Fascist Jock Itch", which is basically Ogre coming to grips with a brutal attack by skins, can also be positive just because of the fact he does deal with the incident. "As of right now, Skinny Puppy is as untogether as it's ever been, and it's totally at the will of the individuals involved to put it back together." Well, it all depends from which perspective you view it from. The biggest atrocity, probably, ofthe decade, is Tiananmen Square. (This interview took place before the mass civilian execution in Timisoara, Romania.) That is something that is only part of a repeating cycle of disease. It seems that, luckily, the disease is not a permanent stale. It is an ever-circling state. It's similar lo the human psyche. There's a very circular type of motion...people revolve in circles and continue to, ending up in areas where they may not ha ve wanted to end up in, but end up there anyway. I've seen that with a lot of friends. I've seen that with a lot of people. It's not so much a protest as it is a revealing of how Ogre himself dealt with these certain situations. Musically, when we wrote the songs we did not intend to write about Tiananmen Square. We did not intend to write about the oil- spill ("Hexonxonx"). These incidents happened in and around the time we were recording Rabies and they provoked a certain sort of re- Ogre has also been quoted as saying: "People have to start looking at what they're putting into the earth or it will be an environmental disaster for all of us. If human beings can just step off our pedestal and realize we are the disease, we might be okay."l Alain Jourgensen calls for "absolute civil disobedience...to wipe out the corporate stranglehold on our daily lives."2 With "Hexonxonx" ("Hex on Exxon") is Skinny Puppy calling for the destruction of the corporate sphere? Skinny Puppy is the furthest away from a corporation. I have different values than Ogre has and Ogre has different values than Dwayne. We can ask for civil disobedience and I don't think it's going to change the world in any way. Personally, I'm not asking for anything more than just being at one with yourself. I know Ogre has different feelings on corporations and things like that. He's very much against record companies. He's very much against people who make money off other people. I have over the years come to understand where he lies and why he feels the way he does. There's a certain amount of reasoning why somebody has to concentrate on those issues, bul then I've found if I dealt with the issues that directly involve me ... my girlfriend ... I just strive to make things as straightforward and outright as possible. I tend not to hide issues with people. I talk directly, face to face. Direct confrontation with direct issues is ultimately my goal. I had the chance to interview Mark Smith of The Fall about a year and half ago. Regarding The Fall's decision not to include lyric sheets in their albums, he replied: "If I wanted to be a poet, I'd bring out poetry books." Smith is also concerned that including lyrics has the potential of distorting listeners' perceptions ofthe lyrics. What are Puppy's aims, other than informing, in including your lyrics? Well.Ijust hate beingmisinterpre ted. I think misinterpretation is really rampant inmusic. When people can't decipher lyrics immediately they will come up wilh their own version of what they think we're saying...the messages. The sheet that comes along with the new album doesn't include all the lyrics. Two stories were written. "Stoiyeye" is Ogre's, while the very short one, "No Regrets," is mine. They basically talk about us as people making music. Ogre has a way of talking that is very confusing and can be interpreted in a lot of different ways. I think it's very easily pointed out when you read the liner notes. I was meaning to ask you about that. Is "No Regrets" directed towards the Robert Palmer that writcsfor the Village Voice or some magazine like that? ("Hypocrisy/ Little clarity/Learn and burn it out easily/Standstill and expect we work for your respcct?/Fuck you/ Robert Palmer/Just a doubting Thomas") It doesn't have anything to do with lhat guy actually. It doesn't have anything to do with Robert Palmer as a singer either. It's got to do with the business of working so hard and striving and working for something you believe in, and then, for instance, like Robert Palmer, selling out to die Pepsi Corporation. "No Regrets" is just a way of saying I don't really regret whatl'vc done so far. I've lived and done and said what I felt. At what point of corporate sponsorship would Skinny Puppy put its collective foot (paw?) down? I don'l know because it really hasn't been an issue for us since we don't go looking for corporate sponsors of any kind. I don't think that there is something all lhat wrong with getting Pepsi to support your tour, if y ou' re going to play lo 50,000 people a nighl and sel up a slage lhat costs $1/2 million and get people lo help you out. It's what these people demand in return, the actual contractual agreement where it's like "You belong to me, pal." That is what I'm against. It's not so much certain companies helping out people, supporting them in what they're doing. I believe in lhat. I don't believe in the owning of certain things. I don'l believe in the way a record contract is like, " I own everything you shit, everydiing you eat, and everything you dream." People really give me that impression sometimes with this business... as the company would say, "My exclusive rights to you." If AKAI came along and said, "Hey, we'd like to give you an endorsement with our company, give you gear, and you advertise the fact that you use our gear," I think that's fine. I don't think that they're going to try to limitme in the sense of saying you have to go out and be something now lhat you haven't been all along. Your full length concert video, Ain't it Dead Yet, what's it all This is the most confusing thing in the world for me. We shot it in 1987 on the Cleanse, Fold, Manipulate Tour. It was to be released immediately. We started working on the new album and thought, well, what's the point of releasing a movie for Cleanse, Fold, Manipulate if we're working on new songs. We decided to hang on lo it for a while... six months... eight months... and now it's been two years and we're not sure if we'U release it. We have people writing in to NeUwerk saying lhal they would like to purchase it, so we send them a copy of the tape. It doesn't have any packaging or anything. I think il's a completely bogus way of doing it I think it's partially Nettwerk's fault for not stepping on the gun, getting a package together, and getting it out there. I've heard through Capitol-USA it's The least Nettwerk could have done was promote it at the music video channel level, then your fans would be able to see something other than the "Smothered Hope" That's another issue in itself. Much Music has Ain't It Dead Yet and every video we've ever made. They themselves have chosen for the entire population of Canada that nobody should need to see that. They've chosen that with the last video, Testure," and "Censor," "Dig It" and "Stairs and Flowers." With "Testure" we decided to at least make an attempt at making a video that might get played. And I think that was a mistake for us because it didn't get played anyway. Right, so you feel doubly stupid for compromising. I feel stupid for that. This time with "Worlock" we went out with the intention of making a video for ourselves, and it's definitely going to be banned. It's dedicated to our original inspiration, horror movies. Il's directed at the MPAA (Motion Picture Association of America), the people that choose what you see, what you watch, what you swallow. They have a very unceremonious way of snipping out pieces from films that film makers spend enormous amounts of time putting together, in the same way that people put together their artwork. There is a need for a rating system that differentiates between an 'X' rating and an 'R' rating. There is a radical step between the two. I think now there is a need for an 'A' rating, an adult rating, which basically means you are going to see something a film maker made with the intention of you seeing, in the original form and uncensored in the sense that the director will not be offended by what was cut out. This originally was spawned when we met Clive Barker (Hellraiser) and we were lucky enough to see with the director of Hellraiser H (Tony Randel) the completely just-off-the chopping block version of what he wanted to release. It was unbelievable. I've never seen more intense scenes in my life. And we mentioned, "Well, how do you feel about what's going to happen next," and he goes, "As a matter of fact this cut right here is going straight to the cutting room." I then saw it after and basically it was a lot shorter. Gaughs) The direc- torhimself didn't feel too good about it. I think people should be given a chance to make up their own minds whether they want to see somelhing that was made by somebody for the i of their expression. Media distortion, isn't that what "Worlock" deals with? The clip that goes'The police used to watch over the people, now they're watching the people." Yeah. Helter skelter. Yeah, I noticed the Charles Man- son clip in there as well. Charles Manson has always wanted to sing "Helter Skelter," so we had to do him a favor. It's his expression even though I don't support his way of thinking. The video itself for "Worlock" is basically a compila tion of scenes from every honor movie that has ever been edited in Canada, all quick-edited and spliced in some sort of rhythmic sense. I really thing it's great. The BC Motion Picture Classification Branch has already edited all these scenes out of the movies, so you can't see these scenes anywhere else anyway. It's a real shocker video. It's neces- What is the Skinny Puppy show promising the next time out? Well, we were in the process of setting up a stage show. We were to be on tour at this time. Originally, the 'Mutants' tour was to start on November 18, then Jourgensen came down with mononucleosis. Our intention was to continue along in the same fashion as on the viviSECTvi tour, but obviously we're not going to go out again and do the same show. We were right up to the point of coming to terms with what we were going to do this time out, when all of a sudden the thing with Al happened. Plus, there were just too many confusing issues to gel this tour happening. And once again we get back to the issue of owning people. We have an agency in L.A. that has booked our last couple of tours who feel that they own us to the point where they aren't going to let us do this tour without paying them a considerable amount of money for doing absolutely nothing. We refused to tour. As of right now, Skinny Puppy is as untogether as it's ever been, and it's totally at the will ofthe individuals involved to put it back together. It's your choice as a band to be as fragmented as you are? Hiatus, as Ogre likes to call it. Yeah, it is, because a fe w years ago Dwayne and I left for Toronto for our supposed escape. Justtwodays ago Ogre moved to Chicago and is on his little journey. It all depends how long it takes. But it certainly is not going to stop the individuals involved from producing what they want to. There's probably going to be more projects now than before. At times, I feel like certain individuals won't be around anymore to contribute. That is the impression I've been led to believe about certain things lhat I actually would not hke to go into. But as for Dwayne and myself, the musical tour-de-force behind Skinny Puppy, we are alive and well and continuing on. We have another project that's just the two of us which is geared towards the film soundtrack side of things. It's called Doubting Thomas. We have a double album due out in May. We've always been doing stuff like lhat, it's just that we've never released it before. I'm sure the real hardcore Skinny Puppy fans will be like, "Well, what about die band?" But I think it's time. I really think il's time to sit back and just let time tell. I can't say for sure whether we'll be back together again, doing another FOOTNOTES 1. Staci Bonner. "Bloody Rock: Skinny Puppy's Morbid Extremes" in Spin. Dec 1988. p. 15. 2. Andy Dunkley. "Ministry of Mayhem" in Rockpool. Nov 15,1988. p. 15. FEBRUARY 1990 7 Timbre Productions Presents: T.T.RACER plus special guests CITR Shindig Winners BlackEarth Tix available at the door. TOWN PUMP th estovers MONDAY & TUESDAY FEB. 5 FEB. 6 The Railway Club Tickets available at Zulu, Highlife, Black Swan & Track Records &*** <» FRIDAY FEB. 9 and from Claremont, California LITTLE WOMEN Tickets available at Zulu, Highlife, Black Swan & Track Records HM.C WITH MAESTRO FRESH- WES l^_^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^*S« SUNDAY, FEB. 18 UBC WAR MEMORIAL GYM 4pm MONDAY, FEB. 19 QUEEN ELIZABETH THEATRE 9:30pm TICKETS AVAILABLE AT .___, CHARCE BY PHONE: 280-4444 A SOLO EVENING WITH JOE ELY The sTO/fers with nilPQTQ ™ ™ i TUESDAY FEB. 20 Tickets available at Zulu, Highlife, Black Swan & Track Records with GUESTS WEDNESDAY FEB. 21 Tickets at Zulu, Hiqhlife.BlackSwan & Track Records TOWN PUMP TOWN PUMP OMARand the HOWLERS! FRIDAYFEB. and the PALADINS Tickets available at Zulu, Highlife, Black Swan & Track Records 23 S*%/W^<%*'%*V'^^«'X»%*VN*%/^W^<N/^N««W>/N*X<',W%*^%*^ *^*S^^^^*i^^^«^^^^^^*^*%^'*^^'^^^'VS^^^^^^^^^*%'>*^A'^>'^^^^*^^^^^N^^M^ FRIDAY FEB. 23 with guests Tickets: at Zulu, Highlife, Black Swan, Track, Razzberry Records (95.1 Ave. & Scott Rd.h THE PRIMITIVES •THE FABULOUS" COMMODOREf V 870 GRANVILLE MALL • 681-7838 ^ p*&\ r hree o'clock on a Saturday afternoon and as yet there are only a handful g^ of patrons in the bar at *■**• the Yale Hotel. The Demons are the house band and they start the regular weekend jam more or less punctually, opening with a set of their own before turning the stage over to other musicians. The place will be hopping in an hour and a half, especially if it is raining, but the cognoscenti know to show up early for the choice seats and the Demons at their loosest, laid-back best. The set inevitably begins with an instrumental, something like"Blue Stu," the jazzy Robben Ford/Charlie Musselwhite mood piece, or the loping Mar-Keys classic "Last Night." If Dave Vidal is sitting in with his Hammond B- 3 organ, "GreenOnions"may kick things off. But "Last Night" seems to set the tone best. Two-thirds of the way through the instrumental guitarist Tim Hearsey and bassist and band leader Jack Lavin step up to their mikes, crooning in unison "aaahh... last night!" Pause, and then WHAM, in come the drums and the bass like sixteen tons, thumping out the bottom-heavy groove which is the band's trademark. Uh-huh. The musicians and the scattered patrons feel themselves coming back to life. The primal juices start to flow, for the sound is very basic: black Rhythm and Blues, the sort of thing you might have heard around 1968 in some out-of-the-way roadhouse anywhere between Chicago and New Orleans — the pipeline, the musical heartland of America. But, this is Vancouver, this is Canada, and we're now into the 90s, so just what are these guys doing? During a conversation I had recently with Jack Lavin, the veteran musician supplied a very good answer: "I've found an uptempo, dance-oriented style of the blues to be the most excellent form of music to listen to or play, and that's my own personal taste and that's exactly why I pursue it. It seems to have more soul and more emotion than any other musical form I've come across." This is not to say that just any form of blues- derived popular music appeals to Lavin. After five years of "touring, recording, and writing for Powder Blues," the band he established in 1978 with his brother Tom, Lavin "left to pursue a more bluesier form of music,"eventu ally joining forces with Al Wailin' Walker. "The Powder Blues had gotten a little too commercial for my tastes," Lavin admits. Likewise, "divergent musical directions" were responsible for Lavin and Walker recently parting company after several years together. Walker to pursue his "harder, rock-edge and whiter music" as Lavin describes it, and "us with our black Chicago blues derivation." Despite the eventual dissension, the Wailin' Demons —as they were known until Walker's departure — quickly established themselves as Vancouver's premier pick-up band for touring American bluesmen. They've played behind Taj Mahal, Johnny Heartsman, Guitar IDEMONS "... we're not really chasing our own tails, we can pursue the edges ofthe horizon for many thousands of musical miles." Shorty, Otis Rush, and Lowell Fulson, among others. During Guitar Shorty's visits to town (the uncontested champion of the mid-solo, flying forward roll) the Demons mesh so perfectly with his blues-funk approach that band and front man might well have been playing together for years. The backing, if always topnotch, is not so well integrated by every headliner, however. A recent two night date featuring Lowell Fulson with the Demons, while thoroughly professional, was a little frustrating from the audience's point of view. Fulson has a wonderful, hard-style gospel voice and is a more than adequate guitar player, but he was great apart from, instead of together with, the Demons. Had Fulson only given Hearsey and Vidal some space to solo he may have been pleasantly surprised. Says Lavin: "Hey, when we're hired in that capacity we're hired to do a job and that's to make that person look as good as they possibly can and any which way they want to handle us that's fine with us. We're professionals; we know our place. If they want to give us solos we're only too happy to take 'em, if they don't want to give any, we're still only too happy to make them look as good as they can be made." Which the Demons invariably do. But intense interaction between musicians is what drives everyone involved to their peak, and no better evidence of this came the second night of Otis Rush's Yale date a couple of years back. Rush, probably the greatest tonal blues player alive (and what separates the blues guitarists from the rest of the pack if not their tone?), went head to head with Al Walker in an extended back and forth solo, the two exchanging lead lines and producing some of the most delicious music the Yale has ever heard. Certainly a magical moment for those lucky enough to have been there. Lavin remembers the night well: "Otis was the most interesting of all the players that we've backed in lhat he was totally selfless with regards to his own personal show. He told us during a little rehearsal: 'When I take a solo' — he looked at Willie MacCalder — 'I want you to take a solo.' He says: 'Now when I take a solo, Al Walker, I want you to take a solo.' He just wanted a boiling blues cacophony happening all the time. That was the best gig I ever did here for sure." Obviously, living legends only increase in magnitude if they prove themselves flexible. With Walker having left the Demons — and, incidentally, sounding strong in his n - the n falls on Tim Hearsey, and fortunately he is more than up to the job. Hearsey is a longtime associate of Lavin's, the two having met-in 1974 on the East Hastings strip, which was home to the blues at the time. Both were new to Vancouver them, Lavin from Chicago via San Francisco and Hearsey a transplanted Englishman. In the ensuing interval they've played together on andoff in various bands, and have been reunited now about three years. I might as well say it. Given the amount of time he puts in on various stages around town, and given the surprisingly few people who seem to recognize his name, Tim Hearsey has to be Vancouver's best-kept musical secret Quiet and unassuming offstage, he's nothing short of a natural behind his blue Fender copy, a consummate guitarist who can flash his musical pedigree with a seeming flick of the wrist. Not that Hearsey is a showoff. Far from it His style rides on understatement and discipline. Fluid, economical, and above all, soul-drenched, .Hearsey's guitar is what lifts the Demon's sound to peaks which are occasionally extraordinary. His guitar bites, it sears, his surefooted electric patterns weave in and out of the structure laid down by the other instruments, endlessly inventive but never losing that essential contact with the groove. He plays like he really means it. His voice seems to match. While not a heavy voice, it has the same soulful ambience, the same authenticity as his instrument. Together they generate a most convincing art—white R&B every bit as dynamic and raw as its black counterpart. In fact, Hearsey is probably better than a lot of the people he backs. As I said jokingly to a friend: 'Timmy doesn't play the nextnote before you've finished listening to the last one." And in the world of million-note, but emotionally cold guitar solos, such an approach is truly gratifying. So, where does this leave the current version of the Demons — Hearsey, Lavin, and drummer Rex Fugard — a bluecollar and bluesy group of maturing musicians in a city which seems content to consult MTV about what it should be listening to. A recent video and two cassette releases. Hottest Brand (1987) and Hair of the Dog (recorded live at the Yale this summer and available directly from the band), indicate the Demons mean business, but not just any business. No sellout, Lavin maintains: "I don't think any of us can help what we are. We're all too mature of musicians to say, oh well, hell, we'll sellout, we'll go play rock and roll. We're all older guys now, you know, and MTV reveals that it's a young man's game. Well that's fine. I've been asked before what do you hope to achieve pursuing blues music. Well, fortunately for us the Blues and Rhythm and Blues encompasses such a wild, almost infinite variety of styles and feelings and tempos and chord changes and lyric subject matter that, you know, we're not really chasing our own tails, we can pursue the edges of the horizon for many thousands of musical miles. The guys that come through from Chicago are a testament; each one is their own universe." I, for one, hope the Demons do get the break talent and artistic integrity deserve, but if they don't the fault won't be theirs. Blame the straightjacketed music industry and its hopeless policy of excluding bona fide roots music everywhere. In the meantime more Vancouverites might take notice of the gold to be found in their own backyard — a slightly shabby, hundred-year-old brick joint on lower Granville. Lachlan Murray The Blues and Soul Show Sundays 3:00-5:00pm FEBRUARY 1990 9 CONDUCTING AN ill Iii An Interview Primer Kit by Rob Boper There are few Great Pleasures in Life: Sex, Money, Cars and Interviews. Now that I no longer have the first three, I am forced to concentrate on the latter. Which isn't really all that bad — you don't usually have to wear a condom during an Interview; when you are poor you don't have to worry about your shiny new dollar coins falling out of your pocket every time you sit down; and most Interviews arc Environmentally Friendly. What more could you ask for in life? And on top of that, you get to speak lo someone way more famous than you. Most triumphant. So I got to thinking, "Hey, The Bope, since you are now leading a condom-free, looncy-frec, environmentally friendly lifestyle, while at the same time speaking to people way more famous than yourself, and 'tis the season to be jolly falalalalalalalala (okay, so no it's not, but I've always wanted to type falalalalalalalala), why don't you share your new and improved lifestyle with the tens of thousands of loyal Discorder readers so that they too can partake in this newly found method of Happiness?" So that's what I'm doing. Gosh, I'i HOWTOFINDTRUEHAPPINESSTHROUGHINTERVIEWS 1. FIND SOMEONE TO INTERVIEW A very important element of the process, for if you have no one to interview then you must interview yourself, which immediately disqualifies you from finding True Happiness through Interviews because you are not interviewing someone more famous than yourself — you'd then have to rely upon Sex, Money and Cars for Happiness, and we all know how dangerous that can be. And interviewing yourself is far too close to masturbating, which of course causes blindness. It should not be difficult to find a prospective interviewee. Just look for someone who would not normally give you the time of day. Other things to look for when searching out somebody to tied shoelaces, matching socks, leather clothing, designer sungl; recent dental work, multiple time zone watches, briefcases wit combination locks, monogrammed anythings, lots of keys. Don WEIGHT ON LS OF FEET 10 DISCORDER waste your time with people who have: gym bags and/or knapsacks, clothing from beer companies, open flies, bus passes, stubble (face or leg), Vancouver Canuck jerseys, body odour, or a copy of The Province. Most importantly, avoid readers of The Province. You really don't want to talk to them, and they can probably only SPEAK IN HEADLINES anyway. 2. PREPARE SOME QUESTIONS Once you've decided who you are going to interview, you need to decide what to talk to them about; unless you have a really nice smile, then you can just dazzle them with your teeth. This p»- approach does not work often, except when interviewing Province readers, in which case you can pretend you are the Smile of the Day. Avoid topics like Sex, Money, and Cars since chances arc they have lots of these things whereas you have none, which is why you are doing the interv iew in the first place. It can get kind of depressing and lead to you crying, which tends to put a damper on the whole interview thing. Conversation topics range from jello to sex (sometimes uses of jello in sex), to Gorbachev and world politics (or uses of jello in world politics). It all depends on whom you are interviewing and what category of interviewee they fall under. There are three main categories. i) ROCK STARS WITH EGOS THE SIZE OF BC PLACE Perhaps the easiest of the three groups to interview. Once you get them going they will not stop unless their drugs wear off and their tour manager doesn't have anymore on hand. They like to talk about themselves, themselves, and/or themselves. Under the heading of "themselves," Rock Stars with Big Egos arc most likely to talk about: their penis size (males only), how good they are (on stage and in bed), how bad everyone else is (on stage and in bed), booze and drugs (how much they can drink and smoke/inject), guitars (or other instrument), or how they had to beat THE SYSTEM to get where they are today. Once the Rock Star with Big Ego begins to talk there is no problem. However, his/her body odour may throw your concentration off and you may forget what you are doing, so I have prepared a few questions that you can use as icebreakers until you adjust to the smell that is permeating the room. But be forewarned, they may never stop talking; maybe take a good book with you or something. Some Good Questions to Get the Conversation Going: a) So, (name of Rock Star with Big Ego and Constant Erection),I heard, and this is only a rumour, that you stuff the front of your pants with cucumbers. Is this true? Standard Response: "Who the fuck told you that? That's bull shit, man! Let me tell you this — it hangs down to my knees, man. My last album wasn't called "Three Feet of Hot Love' because of my height. Hell, I need a double bed just to masturbate. I shouldn't tell you this, man, but after this one concert, these four love bitches came up to my room..." b) Many people have compared you to (another Rock Star with an Equally Big Ego but Not Nearly as Big of Cucumber). Is that fair? Standard Response: "Who the fuck told you that? That's bullshit, man! Letme tell you this —I could blow thatbastardoff the stage with one hand tied behind my back. Shit, man, one concert I broke three strings on my axe and I still caused half the audience to orgasm during 'Purple Haze.' I tell ya, there were these four love bitches in the audience..." c) Many experts feel that to male Rock Stars, like yourself (subtle ego stroke),the guitar is nothing more than an extension of their sexuality. Any comments? Standard Response: "At least they got the fuckin' size right..." (see a) for further details) it) THE THOUGHTFUL ROCK STAR (Warning!!! Only interview these people if you can't find a rock star with a big ego!!!) You have to be more careful with these people because they actually know what they are talking about; as a result, you must be prepared. However, you needn' t worry too much, as this scenario isn' t likely to occur since there are only five or six genuine Thoughtful Rock Stars on this planet, and they have better things to do than talk to you or me. Since you must be more prepared, you need to have more questions. Touch upon subjects that are covered in his or her music, as well as events currently prominent in the media. However, there are some things that you should never ask, no matteT how Thoughtful the Rock Star may be. a) How would you describe your band — metaphorically speaking, of course? b) Is there any significance to you personally that 'god' spelled backwards is 'dog'? KiM wilh three love bitche. in the movie The Dec!be of Western CivilisMkn Pt. IT c) Is your breath always this bad? And when interviewing a Female Thoughtful Rock Star — d) So, was it hard sleeping your way to the top? Standard Response To Any Of These Questions: "Have you had a fucking lobotomy lately?" or the equally effective "Did someone forget about you during evolution?" Both of these usually signal the end of the interview and the realization that not only do you not have Sex, Money or a Car.but you no longer even have an Interview. Life can be cruel, can't it? iii) ANYBODY ELSE The most fun you can have with this group is to ask them the same questions that you would ask an Ego Bloated Rock Star; you tend to get great answers. For example, if you were to ask Bill Vander Zalm if Fantasy Gardens is an extension of his sexuality, you might receive aresponse something like this: "Well, The Bope, who really knows what sexuality is? But one thing I do know is that if the NDP ever got into power in B.C. there would be sex in the streets, condoms in the schools, and home abortion kits. Is that what we, as Christians, want? That's why it's important that we have an efficient, equal, and elected senate. Thank you very much for voting for me in Oak Bay. And I anticipate your support in the next election. Now, if you'll excuse me, I have a job to finish. Amen." See what I mean? 3. ACTUALLY CONDUCTING THE INTERVIEW By far the least important and least fun of all the steps to finding True Happiness through Interviews. This is when all your preconceived notions about the person you are interviewing are cither confirmed, if you thought he/she was a jerk to begin with, or shattered, if you were stupid enough to interview someone you actually like. (A word of caution: DO NOT INTER VIEW SOMEONE YOU RESPECT OR ADMIRE unless you enjoy finding out that your hero is an Insensitive Oaf/Drug Addict/Airhead/ Pawn of the Establishment/Nosepicker.) • So Just Do It and get it over with. You can always take everything that has been said and change it all around any way; which leads us to... 4. WRITING THE FINISHED PRODUCT Perhaps the hardest part because once the interview has failed miserably you will not want to deal with the thing ever again — trust me on this one. That's why it's important to remember that the interview is the least significant part of finding True Happiness through Interviews. There is no basic formula for turning an interview into an article but there are a few basic approaches. i) A Script ofthe Conversation Yawner. Face it, any reader doesn' t give a damn what you have to say, even if you are Rob Boper, which you aren' t because I am. The article is only being read because you are interviewing someone more famous than yourself, and in all likelihood, the reader as well. And quite often even your Rock Star will have very little of interest to say. This method doesn't usually work except with Thoughtful Rock Stars. But, might I suggest as an altcr- ii) Taking Everything Out of Context Through the process of decontextualization you can turn this — Discorder: What do you think about the recent events in Eastern Europe? (note: Obviously a Thoughtful Rock Star is being interviewed.) Thoughtful Rock Star: I think it's great, it will help solve all the tensions in the world. It's been along time coming. into this — Discorder: Any thoughts on the legalization of bestiality, heroin and public masturbation? Thoughtful Rock Star Taken Out of Context: I think it's great, it will help solve all the tensions in the world. It's been a long time coming. Makes much bctterreading, doesn't it?This is fun but tends to result in those nasty L-words— Lawsuit and Libel. But unless you are the editorof the publication you needn't concern yourself with such trivialities. iii) Just Make Everything Up This usually works the best and is what I like to do. Just take one or two strands of truth — like PolyGram charging campus radio for records — and let your imagination run wild. It's fun, it's creative and best of all, it's free. Also, this way you don't really need an interview; yet, you will still be happy. The more abstract and bizarre you can make the whole thing sound the more likely some sucker/reader is likely to believe what you, the Almighty Writer, has to say. The reading public is really stupid. Remember this and all will be well. And if you sound like you know what you are talking about, Editors will believe you too. They are only slightly more intelligent than the readers of their publications. I can say this because, as we all know, Mr. Ed rarely reads Discorder anyway. He's a big Cosmo fan. Conclusion For centuries humanity has believed that we need Sex, Money and Cars in order to attain a satisfactory level of fulfillment. Right from birth we learn that the only way you can get Fabulous Babes and/ or Hunky Boper-like Dudes is if you have a fast red car that takes tight corners, a six digit bank account, and a pack of Beemans. But times are changing. Sex, Money and Cars can no longer be relied upon for Complete Personal Satisfaction. Face it — Sex is messy and dangerous. Money is nothing but paper, and Cars ruin the environment. What we want—and I think I speak for all of humanity — is clean, purposeful, indoor/outdoor fun. If that doesn't make interviewing the 'Thing' of the Nineties, then I don't know what would. I can see it now: thousands, no tens of thousands, of celibate, impoverished people riding the bus with microphone in hand looking for someone — anyone — to interview. The time is at hand, start now before Interviewing becomes too trendy and it's available at your local 7-11 in three sizes and six different pastel colours. Nothing's forever, kids, but a good Interview can last a long time. FEBRUARY 1990 11 CO-OP RADIO CFRO 102.7 FM Listener Sponsored Radio PRESENTS REGGAE FESTA 1990 DIRECT FROM JAMAICA - SUNSPLASH'89 & THEIR WORLD TOUR 1990 FEATURING SUPERSTARS DENNIS BROWN FREDDIE McGREGOR LLOYD PARKES & WE THE PEOPLE BAND &Also TROPICAL BREEZE VANCOUVER'S REGGAE AND SOCA BAND & D.J. NICK SUPERKOOL from Winnipeg at the COMMODORE BALLROOM SATURDAY FEBRUARY 10, 1990 Doors open 8:00 pm M.C. WAYNE VERNON TICKETS AVAILABLE AT ALL TICKETMASTER LOCATIONS: CHARGE BY PHONE: 280-4444 Patty Shop-738-2144 Black Swan Records - 2936 W. 4th Ave. - 734-2828 Caribbean Market - 522-9480 REGGAE REGGAE REGGAE Tickets Also Available at: Chiquita's Hair Care - 736-4822 Ebony Eyes Beauty Salon - 872-2215 In Surrey: Gerard's Hair Styles - 581-0433 REGGAE REGGAE REGGAE — "Castrate him!" screamed a woman, and shook her SAVE SNIFFY sign violently over our heads. porter. "It's you people with exotic pets who are the problem." "What does he mean?" asked someone. Gibson was leaving, and the crowd was disappointed. "Idon'tcareifhedidn'tdoit. He's still sick," said a teenaged girl. Then the radicals saw their opportunity and charged towards Gibson. He turned and ran, which, as any animal behaviorist could have told him, was exactly the wrong "They broke into his truck and took all the stuff he was going to use," one of the art school punks behind me explained to his friend. Still, many expressed hope that Gibson might yet arrive with an improvised rat crusher. "Kill Sniffy, kill Sniffy," chanted this faction. The S.P.C.A. van cruised slowly past as police ordered the crowd back onto the sidewalk. A man in a blue plush rat suit wearing a t-shirt lettered "Rats Have Rights Too" was being interviewed by a camera crew. "Man, I'm going to climb one of those trees," said one disgruntled spectator. "I can't see . worth shit." "How many of you are vegetarians?" yelled a demonstrator standing pn a street bench. Some raised Self- conscious haifds. HeraisedhisoWn. Just then the crowd surged towards Robson. The artist had ap- , pearcd. "Castrate have told him, was exactly the gued a skinhead. "I don't call crushing a rat responsible," retorted the woman with theRickGibson- under-a-weight sign. "I call it sick. How would you like to be squashed in the street like that poor little animal?" "It wouldn't bother me," answered the skinhead. "Oh, I'm sure." The skinhead became belligerent. "Do you eat meat?" "I don't eat red meat or chicken." »»H| "Well, do you H eat tunafish? Do you know how many dolphins die in fishermen's nets every single day? How about your makeup? They test eye makeup on rabbits." "I get all my makeup at the Body Shop," answered the woman virtu- "He turned and ran, which, as any animal behaviorist could him! Castrate wrong thing tO do.' wlcdthe & & Laurel Wellman Poses The Question BU WAS I ART? Two hundred people had gathered outside the downtown public library to see performance artist Rick Gibson crush Sniffy the rat under a 25 kilo block of concrete. Uniformed S.P.C.A. officers were stationed in the crowd, although the radical animal rights vigilantes had already made an announcement. The previous night, they said, they had in a peaceful action confiscated the rat- crushing apparatus. himF'howle animal rights activists, an allusion to Gibson'searliernon- pcrformancc at which he didn't eat a slice of what turned out not to be a human testicle. A woman holding an imaginatively felt-penned sign depicting a stick-figure Rick Gibson under a 5001b. weight led a cheer "Save the rat, crush the artist!" Meanwhile, Gibson was making a speech, unheard by all except those nearest to him. "Is the rat here? Did he bring the rat?" asked one of the art school punks. No one knew. Information filtered back through the crowd. Gibson had cancelled the performance and returned Sniffy to Aquariums West on Davie, where the rat would in all likelihood end its existence as python fodder. "So if you want to protest, go protest there!" yelled a Gibson sup- thing to do. The mob chased him down the opposite side of Burrard Street until, at the entrance to the alley behind Robson, some of the pack caught up with him and began throwing punches. "Oh God," screamed a woman. "Get the police!" After a scuffle, Gibson broke free and sprinted across Burrard, closely pursued by bloodthirsty vegetarians and several camera crews. "The Hotel Vancouver! Yes! Yes!"shouted the young man behind me, anticipating a riot. Fleeing to the safety of the hotel's security room, Gibson left the crowd milling aimlessly in the lobby. Conflicting groups of animal rights advocates fell to verbally abusing each other. "What he's saying is that we all have to take responsibility for how we live and how that affects other creatures," ar- ._ ously. "They 1*3 don't test any- | thing on animals." "What about you, anyway?" a man in the crowd asked the skinhead. "Where'd you get that leather jacket?" The skinhead feigned deafness with Re- aganesque aplomb. An anti-Gibson demonstrator had lost his cool and was yelling at a reporter from the Globe and Mail. "All he wanted was media attention and you guys arc giving it to him! Why arc you fighting against me?" "Everyone stop sweating," said a photographer, fanning the fogged lens of his Nikon. Print reporters, desperate to interview anyone who appeared to have an opinion.duckcdundermicro- phone booms to reach the man who had heckled the skinhead. After about ten minutes there was a shout from the end ofthe lobby. Gibson was escaping through a side exit. Everyone ran out onto the street, but he was gone. "Let's go get a hamburger," suggested one of the art school punks. FEBRUARY 1990 13 THE NEW ALBUM BY VANCOUVER'S wrung- pa AVAILABLE NOW ON INVASION/NEW ROSE RECORDS ODVttEV imPOTO I love things that smell. I One small portable il I that happens to emit a I totally cheesy, powerful, I warped, godlike stench is I the legendary Vox organ. I Its ready wail and quiver- I ing vibrato have been sounds on rawk'n'roll records from the '60s right up to today. Indeed, many a lame Elvis Costello, Iron Butterfly, John Boudainesque classic rock tune has been laced with touches of "da" Vox. Nevertheless, fun- loving combos like Blondie, the Specials, ? & the Mysterians, the Doors and the Lyres have all given the Vox Jaguar, Continental and Super-Continental organs a respectable place in history. In December of 1988, the Voxhunt began — a feverish search for the single Vox organ that would surely bring much joy and enlightenment to my twisted everyday existence. Along the way I ran into some interesting characters and a lot of red tape. To begin with, it became increasingly obvious that a young boy, such as myself, would never have the pleasure that must of been experienced by thousands of teenagers in the '60s — buying a brand new organ. Although the Vox Continental enjoyed a happy resurgence in popularity during the late '70s as new wave bands exploded onto the scene with a technological "back to basics" approach, the England-based Vox company was suffering badly. CBS used to own Vox and distributed its products everywhere except the US and Canada, where, according to Howard Jones' bible, Keyboard Magazine, Thomas International was the sole distributor. But in 1979, CBS sold its rights to the London-basedRoseMorris Company, which in turn instructed Thomas to send its parts and schematics to asoon to be bankrupt distributor. Luckily, I came across the name of a Vox fanatic, a one Mr. Daniel E. Hofer, from the stone-faced American Organ Parts company. Apparently his company now held all remaining Vox paraphenal ia. Yowzer, whoopie! Voxland here I come! No, no, no, reality soon set in; there was a hitch. Although I knew Danny was sitting on the biggest pile of Vox organs any mortal could imagine, he lied through his teeth and vomited forth the following: I do not have a Vox organ or know where one For beat sounds... moving sounds... latch onto the equipment used by your top favorites ... the Shadows' guitars, the Beatles' sound systems, all made by VOX and imported to the States for the first time. See, hear and try the complete line of VOX Guitars, Amplifiers and _Sound Systems today! VOX... the greatest name in sound! "ANK TREVINO/T.M.E. 2028 Olene Sulphur, LA 70663 phone: (318) 625-2233 might be for sale since these arc now considered collectors items and the sale price frequently exceeds what they cost when new. Sure thing pal, but you and your company couldn't stop me with your big talk. Onwards with the Voxhunt! Disgusted but committed, I, a man- child, turned to that ultimate primo bastion of trashy newsprint, the Buy and Sell. After a three month long love-affair with section 51, to my amazement up popped a Vox organ, with of all things, a Surrey phone number. Eagerly, and with no lack of hormones, I dialed THE number. A Vox it was, a big giant "god is my father" church sized relic with an interesting owner, the former keyboardist of an LG73 CD single, high hoped bunch r leather jackets while walking spread apart on railway tracks" group called After All. "Thanks anyway, Mr. After All." Desperately, I, a prancing gnome, combed the world further for more Vox contacts. Letter after letter arrived. Some voiced promise of Voxcs available at "this address" and "that address". Others tried to peddle microwaves, tvs and even vintage Rickcnbackcrs. The Rose-Morris Company in Great Britain came closest to bringing my body to a state of frenzied flabcrgastation by presenting a Vox Continental circuit diagram for my own keeping, and to top that off, a copy of the most recent Vox catalogue. A catalogue, ohh yeah baby, a real Vox Catalogue of...brand new 1989 Vox amplifiers designed by the "Vox Development Team." No organs. Nothing. Only a promise: When you choose Vox, you are in the company of the most famous rr l the world. Boy, as the seventh month of the Voxhunt came to a close, I, a manically loquacious Vancou- majorly revved up for some a Seconds became minutes, hours became days and THAT Vox organ never once stopped thumping in my heart. Then Don Greer's letter arrived. Mr. Greer, according to his letterhead, has the "world's largest amp collection," and also c Baroque doublckcyboard. Sounds promising, right? Well, he kindly supplied a few more useless addresses for the Voxhunt file, and then casually mentioned his professional musician status. It turned out I was holding in my greedy. Vox-hungry hands a handwritten, personally annotated letter from the former vocalist of Uriah Heep, DON GREER! "Oh ya, THAT Don Greer," you think to yourself. And the fun name dropping rolled right on; Don had a v super-group with drummer Clive Bunder from Jcthro Tull and bass player Dave Anderson from Hawkwind (Lemmy of Motorhead was once the bass player in Hawkwind, believe it or not). Holy lugnuts! Here I am, a highly excitable 21 year old, looking for some lame old cheezy Vox organ, and I get mixed up with this bunch of fat old English bozos. Now don't get me wrong, it was niceofthem to respond to my letter and all, but Uriah Heep and Jethro Tull, c'mon, couldn't they waste their time doing something else other than collecting precious, sacred Vox equipment? Time to go back to the Buy and Sell, the Buy andSell,THEBUYANDSELL!!!Andhereitwas, on that cool and crisp October evening, in the pages of Vancouver's BUY and SELL—a Vox Jaguar. After 30-60 phone calls, I got through to Mr. Jaguar, actually the boyfriend of Ms. Jaguar, and as quick as you could say "Fab," found myself grooving to the sultry sounds of a beautifully designed, ultra-efficient 1966 hunk of Vox. "Hey Lady, I'LL TAKE IT!" Yahoo! Hurray! Shebang! After 10 months and 300 dollars cash, I became one with a 23 year old Vox Jaguar. While the Voxhunt was over, there still lay much work ahead in practising rudimentary chords on a somewhat worn, reddish Vox Jaguar. All this in the hope of cracking the modern hotted-up pop-beat scene. FEBRUARY 1990 15 "I don't like anything in the music industry, the business side of it. I hate all that [ sort of stuff, but you've got to take part; but you don't have to like it. And I don't. j's nothing good about the music business." U do this interview. I spent the ^^/ previous night and all of the morning of the interview day trying to come up with a way out of having to face what I knew would be my c initiation, the result of which would be the end of my budding career in journalism. I tried walking in front of buses; sucking my head in dishwashers; sleeping on a bed of nails; jogging a mile and a half; watching back to back episodes of Much Music's hit game show, Test Pattern; listening to the r smash hit single by Dancespeak (featuring former Images in Vogue manager and present day Much Music veejay, Kim Cluck Chumpness); publicly dropping a forty pound weight on my pet fish, Eric; tuning in to CFOX; eating at the Ar ous Service, Quality Food); and finally, I topped it all off by not wearing any acid wash clothing to 86 Street. I had a death wish. But it was all to no avail. Through s of fate I was required to go through with it. I was going to have to interview Jim Reid of The Jesus and Mary Chain, who, in the past had routinely gobbled up journalists — real journalists — for breakfast, lunch and din ner. And then, if he was still hungry, he had a reporter or two as a midnight snack. I was sure that I was about to become yet another notch on his belt, or wherever he kept them. I didn't want to know. The phone rang in London (England, that is, swimming pools, movie stars...). A tired and rather annoyed voice picked it up and muttered something resembling hello. Although my Scottish isn't great, I assumed it was hello as that is how most people :r their phone, even if they are about to eat you alive. Millions of thoughts raced through my head. I still had time. If I hung up now, he 'd think it was just another crank call and it would be over with. No one would ever have to know what had happened. I could make something up about him nol being home or an earthquake striking London or I could just rip our phone equipment out of the wall and claim that s previous night and instead of stealing records from the station chose to vandalize our phone equipment. Brilliant. "Hello." It was the most I could say. If I was lucky, Jim would just start to rattle off a history of the band, talk about touring and the Vancouver show, and maybe speak for a bit on the band's penchant for peeing on people or bashing them on the head with Damn it. I! wasn't going to say a word unless I asked iuestion. That's the way these interview <gs usually work. What to start wilh: 'H are you?' or 'How's the weather?' A "iajor decision. In a panic I looked around for help, someone lhat could give me inspiraiion. I saw no one. I closed my eyes, trying to think of a higher being who could help me, someone to guide me through this. "Use the Force, The Bope. It is the only to get me through this ir inspiration for millions, he was now here i help me. A sudden surge of adrenaline n through my entire body. International r cording star/pianist Richard Clayden e to guide me. I was now ready for Jim Reid. Hell, I was ready for an army of Jim Reids. I had the theme from 'Chariots of Fire' raging through my head. Richard Clayden The first task for my revitalized self was to address the name. Not Jim's, but the band's. Not many band's are named The Jesus and Mary Chain. So I w limb and asked where the name came from, and did Jim and his brother William go to a Catholic school in Glasgow together or were 16 DISCORDER they really Satanists trying to spread blasphemy throughout the land. There was silence. A sweat broke on my brow. I quickly calculated how much this moment of stillness was costing the station on its phone bill. Seventeen cents. Then He "My brother, good old William, made that name up. There's nol really any story that goes with it. I don't know where he got that name from, I'm his brother and I don't know where the fuck he got it from. It just came out of William's head. I suppose that gives you a really good idea of what type of person William must be. We said, 'William we need a name,' and he just made it up. "We have no religious background at all, we grew up in a completely non-religious environment. Our parents just weren't interested in any religion at all. It's not as if we had the opposite preached at us, we just never heard of religion at all. It's probably a good thing we were brought up that way." Buoyed by my initial success andarmed with the knowledge that the spirit of the world's greatest pianist was inside my heart, I decided to press on. I was here to serve my station/magazine and I would either succeed or die trying. After the name, the most obvious aspect of the band was the enormous wall of sound that dominated their first album, "Psychocandy." Enquiring readers want to know where that sound came from -> was it a conscious decision o did you accidentally turn youramps upt "There's a lot of different r One is, at the time, we could hardly play. William had only been playing guitar for a couple of months before we were gigging. And when you can't play you tend to use your imagination if you can't do the technical side of things. It's good when you're forced into a situation where you' re forced to use your head, and that's what we've done. And all the equipment we were using was old and fucked, so what came out naturally made that sound (feedback). We liked it. We thought it was fine — that's the way we thought we should sound." So they found their sound. It was a sound that made me almost return the first Jesus and Mary Chain record I ever bought, the single, "You Trip Me Up." I was sure it was a mistake; I mean, why would anybody want to sound like that? Fortunately, I was too shy to return the record to the store. I had a fear that they would laugh me out of the place. There was only one solution: I went and bought another copy. Well, what do you know, it sounded exactly like the first one. And even worse, I began to like it. There was no turning back. Feedback quickly became a way of life for me. I began to distort all my words when speaking. I hummed'You Trip Me Up' everywhere I went (this is much harder than it sounds, try humming feedback). Life became even more pleasant as "Psychocandy" was released, a record many critics called the best record ever. A strange feeling for any band, especially one that had just released their first album. "It was scary. The response was a surprise in way. I mean, we thought it was a great record, but we didn't think as many other people would agree with us. So that was a shock. It scared the shit out of me. How can you follow up that kind of reaction? A couple of the reviews even said we should split up because we couldn't possibly top 'Psychocandy.' That was quite wonying." "As a result, (the recording of 'Dar- klands,' the second album), was a really weird time. I think we were a little loo aware ofthe fact that we couldn 'l do' Psychocandy' again. And because of that, it sounded so different because we thought it had to. Looking back on it now, 'Darklands' didn't have to sound so different. I think that maybe it was a mistake that we deliberately tried to take it in a different direction lhan 'Psychocandy.' I love 'Darklands,' I think it's a great reoord, but to me it sounds like a nervous record. We were uptight when we made lhat record and I think it comes across." So the feedback that at first confused us (well, maybe just me) and then fascinated us, was gone. Just like that. Now feedback fanatics across this great expanse of land known as Canada are forced to play Jesus and Mary Chain albums with the treble turned up, the bass turned down, and preferably in large cement rooms that have plenty of echo. Times have changed. "I think it was a conscious decision to drop the feedback from the record. There were a lot of reasons why — we learned lo play better and we had better equipment, but from the very beginning we though of ourselves as songwriters. It may sound a bit boring to say it, but we were really proud of the songs we had written. And we got bored with people talking non-stop about the guitar sound — (Hint to interviewer #107: This is a subtle way of Jim telling me that if I ask him any questions about their guitar sound he willprobably terminate the interview quicker than Stu Jefferies can say 'Milli Vanilli.' Therefore, my next two questions went ths way of Pilot One). We wanted to do an al bum where people would talk about the songs and the songs only. So we tried to make a 'songs' And they did. "Darklands" did weia but was a disappointing^ followup to "Psychocandy." Unfortunately, anything short of ^ rereleasing "Psychoc would have been. And to their , credit, the band tried to do i something different instead / of relying on the feedback J thing. It took courage. I took guts. It alienated a lot of fans. And so did I the live shows. There i were some real stinkers. The first time j through, after the i release of "Psychocandy," The i Jesus and Mary , Chain played . twenty i ofsc cblur backstothe :ly vith their obliv thing. The band seemed to have but one goal — to get off stage as quickly as possible. It seemed as if the last thing lhat the Reid brothers wanted to do was tour. "No, no, we did enjoy il. I just ihink that rock and roll audiences have been spoiled. They expect a band to walk on, smile at them and wave and all that kind of phony bullshit. We don't do lhat but it doesn't mean that we're not having fun. People don't always smile. It's unnatural to walk about with a stupid smile on your face, (sure, now someone tells me). It's unnatural lo introduce yourself to complete strangers, a wholemass of them. We stand on stage and do what we're supposed to. We play songs and they're damn good songs and we're doing them very well. I appreciate that people have come to see us do them, but it doesn't mean I'm going to introduce myself and the band and all that shit. Thai's the show business side of what we do and I hate the show business side of it. ;imple as that." "It'd be a lie if I said I enjoy it every night, though. Some nights it's hell. Some nights you don't want to do it, some nights you do. It's the same with everybody who lours, you can't possibly switch a mood on. But generally touring is fun." "We still don't talk to the audience, but I wouldn't call that ignoring ihem. Why should we talk to the audience? I don't know the audience and if I don't know them then why should I speak to ihem. They don't talk to mc either." I guess I see k Jim's point on this one. But if we all ^L wore name tags, and maybe if ihere ^^k was a preconcert party at some ^^m hold, one that had a spare room to ^Bl trash, then wc could all get ^^M^k lo know each other a little ^^^H^K belter, have a few beer, i tlingonthe i Then the / would b< pla would I [ big world, except^ r Prism gigs ; 1 the Shirley Jones " thing with the VSO, there is a for the Jesus and Mary Chain lour — th new album. "Automatic" is the third installment of The Mary Chain's contribution to our record collections (not counting the B- Side compilation album and a myriad of singles, all worthy contributions to society) and probably their most consistent and, dare I say, accessible venture thus far. Which is good. You see, contrary to what most of us may think, accessible is not a dirty word. It means that it can be listened lo without taking half-hour breaks between songs. It docs not mean that CFOX or LG73 will drag "Automatic" into overplay hell, bul il docs mean that more people can stomach it lhan, say, "Psychocandy." Which docs not make il better, just more accessible. Got il? Jim can explain it far better than I. "What we tried to do with the record was get a bit of everything in it. A bit of 'Psychocandy,' a bit of 'Darklands,' and the sort of sound we had on 'Sidewalking.' We tried to get the best of all the sides of the Mary Chain on one record, lhat was the plan when we went to the studio. And I think we succeeded. After 'Darklands' we had nothing to worry about, our confidence was there." The band had iheir confidence up and wilh lhat iheir reputation as the baddest bad boys of British pop soared as well. Stories flew around about riots at concerts, pissing on journalists (see why I was scared), and trashing of clubs, hotels and drummers. None of it sounded too mature, but was it true or just some hype from a Warner Brothers promo department with too much time on their hands? "It's true, I guess, in a way. But having said that, it's the easiest thing in the world to be a bad boy in the world of pop music. Music in the 1980's and going inlo the'90's is so incredibly safe. Everybody plays il to the safest possible formula. And to be a bad boy, to be considered outrageous, is not a difficult thing. I don't think we're outrageous, I think we're pretty normal, ordinary people. But in the pop business, normal guys... It's a business full of asslickers, basically, who just do what's expected. And if anybody's got a mind of their own it tends to upset people." Which is what the Jesus and Mary Chain do best, other than write songs, that is. The people they like to piss off the most seem to be (if you guessed concert goers take two demerit points) record company people/ swine. Jim doesn't seem to think they have much purpose, except for... "Maybe we have more money than what we would have got from an indie, but I don't think we've had very much promotion in comparison to some indies. I don't think it's got in the way. I think people blame major record companies too much for their own takes record label is record label, whether it's indie or whether it's major, they're doing the same thing, they're out to sell records. It doesn't matter if i Warner Brothers or on . Rough Trade, you're dealing wilh : kind of mentality — k people that want to sell records. l And if you're sure of what you nt to do, you'll do it yourself i anyway.itdoesn'tmatterwhai . label you're on. And that's . the way we've always ap- i proached it. Nobody has :ver told us how to make a record. They've tried, but you just don't listen. We make Jesus and Mary Chain rec- s the way we to hear them and lobodv ^_H 1 can really inter- ere with that ^^B ft if vou don'l vant them to." ^ Butiflwererun- ning a major commercial record label (a danger ous and equally unlikely pros- pect, I know) I'd be terrified of this band simply because of the name and the amount of leather that they wear. Whal kind of Satan worshippers would name their band The Jesus and Mary Chain? Your typical straight and narrow family kinda record exec must be scared to death of dealing with this gang of heathens. "I think so, ya, I think they are. I think record companies are scared for different reasons. I think they are scared because they can't understand why we make music because it seems lhat most people around today make music for the same reasons — just simply to become successful and rich. And record companies don't understand when people are making music for reasons other than that, for the love of music. And they can't deal with that. It seems like it really shocks people when you just want to really make a good record. People say, 'Well, why don't you do it like U2, they sell bucket- loads?' Fuck, I don't want to do it like that, I'd rather do it like this. Record companies are a bit scared by that kind of attitude and approach." "I don't like anything in the music industry, the business side of it. I hate all that sort of stuff, but you've got lo take part; but you don't have to like it. And I don't. There's nothing good about ihe music business." "That's the way the music business is, that's what il's all aboul. It's all about people making money off of groups they really don't care about. I know there's a lot of people lhat work for Warners that like our group. That's quite encouraging because it took usa long time to understand lhat. Il took us years lo understand that some of these people could be into the band, because we went in wilh the idea that, 'They work for the record label, they don't give a shit about us.' That's true in a lot of cases, but there are some people who do like the band. But the music business is full of people who don'l give a shit, they're just making money." Enough about the ugly business side of things. I'm starting lo gel depressed. On the up side of things... "The core of the band, me, William, and Douglas (Hart, cool bass god) is still there. We've got a permanent drummer, a guy called Richard Thomas (nol the one with the mole). He's been drumming with us for year and a half, two years. Ic's more or less like a full lime member of the band. And we've gol rhythm guitar player lhal wc use for the Now, this bodes well for the concert. As much as I really like the band, I've been leery to shell out the bucks lo go see them at iheCommodore because iheir last tour sucked in a way that you could not even imagine unless you saw Glee at Shindig. I saw the Mary Chain show in Toronto (the greatest city in all the world — really Jusl ask anyone from the big T.O.) when Jim decided il was lime lo use the microphone to bash someone's head in. So he did. And he did a pretty good job of it, too. It was kind of like going lo a hockey game; which probably would have made for a better concert. So I am quite happy to hear the word 'drummer' used in connection wilh ihis tour because the drum machine just didn't cut il musically. I gol really brave (and it was the end of the interview so even if Jim hung up on mc I'd at least have a good ending) and asked him about the logic (or complete absence of it) in bringing a drum machine on tour instead of the real "The drum machine tour came about because before that tour wc actually auditioned 25 drummers or somelhing like lhal. We just couldn't find anybody lhat would fit in wilh the band. Wc decided rather lhan lake a bad drummer we'd be better off jusl lo do a drum machine. I've got nothing against machines. It jusl seemed like a good idea at the time. It never worked out. I think thai tour was probably one of the worst ones we've done since the very beginning. I think the gigs these days with Richard playing drums are a whole lot better." Now that's what I wanted to hear. My faith in the Jesus and Mary Chain has been restored. My doubung days are over. My expectations have been raised. I want to hear the evil sounds of the Mary Chain blasted al me through a sound system twice the size ol my apartment. I survived what I was sure would be my last interview. All that worrying and fretting over nothing. Jim's right, they are jusl an ordinary group of guys looking lo have some fun. But then most ordinary guys I know aren't in a band called the Jesus and Mary Chain. Jim puts it all in perspective. "It's all aboulhaving fun. If you start to think about whether or not you are going to be Mick Jagger, then it's just not worth it." FEBRUARY 1990 17 317 A CAMBIE 3T VANCOUVER. 3.C. 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ROOM #233 AT UBC OR CALL 604/228-3017 (10-4 WEEKDAYS) TO FIND OUT HOW. COUSIN JORGE AND UNCLE MIFTY EAGERLY AWAIT YOU. FEBRUARY 1990 21 Melody: The True Story Of A Nude Dancer By Sylvie Rancour* with Jacques Boivin Published by Kitchen Sink Comix Have you ever wondered what kind of people work in the sex industries? Arc the strip clubs full of voyeurs and exhibitionists or arc there real people with real feelings connected to these cliches? In what is perhaps the first major comic to exclusively present itself from the eyes and mind of a woman. Melody is a breakthrough in bolh its content and its liberating point of view. Sylvie Rancourt is a writer/artist and a nude dancer. She worked the strip club circuit in Quebec, specifically Montreal, for nine years and all the while recorded her impressions and thoughts in a graphic journal. When her s began lo make posi- 5 about her car- loons, Sylvie decided to publish her work in a autobiographical comic book format. The original comic, published in French only by Editions du Phylactcrc of Montreal, was a commercial and artistic success. The translated English version, now being' published by Kitchen Sink Comix, is a simple triumph. Sylvie's (or Melody's) origins arc humble and eloquent. Born and raised in Abatibi a village in rural Quebec, at eighteen years of age Melody decides to leave the comforts of the country and try her hand at life in the BIG city. Unskilled and unable to find traditional employment. Melody connects with some friends from the village who introduce her to the sex industry where she becomes a table dancer. Thus, the basic plot offers no revelations or hidden agenda, a small town girl goes to the city and is corrupted by its wickedness, right? Not quite. Melody has an amazinggift. She has a grounded common sense that belies her years. Her ability to read people and events is uncanny and totally refreshing, as is her natural attitude towards human sexuality. The first four issues have included scenes of intercourse, voyeurism, group frolics, masturbation and saphic sex but all of these exploits arc handled with a loving sensitivity that defies their cold description on the page. Needless to say, the comik is sold from under the glass case at the Comicshop but many younger people could do worse lhan to learn about these from such an honest Melody's family is of two camps when considering her actions. Since she docs not go out of her way to hide her lifestyle, onchalf of her family (those married with children) sees her as a bra7.cn hussy who is not fit for their company. The other half, represented by the very old and the very young, sec her as a free spirit who is 1 iving out her youth. The juxtaposition between the feelings of her family, Melody's own questioning of her actions, and her need to be honest with herself, makes for wonderful insights into the nature of family, independence, and desire. In comics, women are rarely portrayed as thinking/feeling beings who have the strength to question themselves and still retain their independence. Melody docs all this. **» At this time in the storyline. Melody is still living with her boyfriend Nick in Abitibi and not yet feeling the tug of the city. In the lead story of the latest issue we are shown what happens when a new couple joins in the weekly group party and in the second story we are shown how anotherof the couples feels about their own relationship in relation to their group experiences. In an earlier issue, by means of a flash forward, we are privy to the fantasies of a patron of the bar where Melody dances. He has fallen in love with our heroine and over the course of five pages he describes his love as a pure act of heart and not simply bom of Though I may be doing so here, the comik itself docs not moralize. In portraying the characters as basic humans with flaws, needs, and unrealised desires, the creators offer an insight into human relations at a level not usually dealt with in the mainstream media. The lack of artifice is more than refreshing, it is a powerful challenge to the reader who may be uncomfortable with the feelings that such honesty brings forth. The artwork will win few awards but is adequate to deliver the story in a consistent way. The scripting is revealing and filled with unique perceptions, but it is in the storytelling that the readers are truly well served. It is interesting to note that the creative community in comic book land are enthusiastic supporters of this project which they see as breaking new ground and shattering taboos in its portrayal of graphic sex with taste and abandon. Unlike the awesome Yummy Fur graphic novel which has been held up at the border by Canadian Customs, a singular irony considering the book is created and printed in Canada and only distributed from Amer- eeka. Melody has (so far) managed to pass by the inspectors watchful eyes. The comik is foremost a love story that focuses on a young woman's respect for herself and the world around her, in that order. An eight out of ten on the Eros-meter while offering insights rarely glimpsed in the passing lane of pop culture. Melody is the first wave of the revolution that will be known as comiks for adults. If you've read this far you just might be apart of that revolution, so do yourself a flavour and vote with your wallet. Melody: The True Story of A Nude Dancer is available at our more evolved comic shops. UBC Student Union Building Main & Lower Concourse All Ages Welcome 7f!T ft (_> Ul <0 u \ \ _-__-7_fl_- .tdtP** ssaawHrWMHD _hja*ft_3^a*ftfE 710 HlOiSOB STOCffiC, mmowvm 681-8732 22 DISCORDER .. .The very deep did rot: O Christ! That ever this should be! Yea, slimy things did crawl with legs Upon the slimy sea... Sure it's beautiful poetry, but what does it have to do with dogs? To find out, I talked to Linda at Ancient Mariner Dog Grooming. Why Is the store called Ancient Mariner? It started out as an aquarium... why they called it that I don't know. Two men owned it, their wives did the dog grooming... They sold out, moved and we're still here with the Ancient Mariner. Have you noticed any trends in dog fashion? Well of course the coats and fancy collars. How have the coats changed? Well they've gotten more into the sweat-suit type of thing... There's raincoats... jogging pants... I noticed some plaid out there; is that popular? Yeah, very popular. Even the fur-lined ones... Where do these coats come from? Actually, a lady knits them for us. She does that at home all year type of thing and then come winter she sells them to us. And there's a couple industry places that make them. How much does a dog coat cost? Oh anywhere from about $8 to $40, $50. Holy cow! Why would it be $50? Well there's one out there, it's a velvet-type coat with mink on it. Real mink? Yeah (laughs)... Youcangetthem any size; most of them are small. The raincoats really go well 'cause it's sooooo... rainy. Are they made of plastic? Usually material. Sometimes they're quilted for the warmth, with the plastic over top... I've heard of umbrellas that clip onto a harness, and there's boots... And little hats, too. Do they have holes for the ears? Nope, it's just tie-around type with a little visor on top. What kind of dogs are coming in here? Every breed imaginable. Are they mainly upper-class dogs? No, every walk of life... big Standard Poodles, St. Bernards; we get Rotweilers, we get Pitbulls, we get Dachshunds, everything. What's your favorite kind of dog to deal with? Probably a Golden Retriever... there's not much to do on them (laughs). How often should dogs be groomed? About every 8 weeks. How much does it cost? Usually about $30, up to sky's the limit, depending on what you Have you ever dyed a dog? I have years ago. Actually somebody just asked for one but we couldn't get the correct colour... What colour? Amauvejavery beautiful mauve. What kind of dog was that? A Samoyd. You can dye dogs practically any colour... I did one rainbow once. Do you ever sedate the dogs? No. Do they like coming in here? Most of them have an attitude, "It's going to be done," and they get it done and they go to sleep but there's a few that just love to come in... others try heading off in the other direction. How long does it take to do a dog from start to finish? About an hour and a half... We clip their hair roughly, take all tlie excess hair off, do the nails, do their ears and then they go into the bathtub. Do you clean the inside of their ears? Yep. With what, a giant Q-Tip? No, just loose cotton. Some breeds, you have to take the hair out of the ears so you pluck all that out. Then we bath them and then they go into the drying cage and when they're halfway dry, we take them out and blowdry them by hand, brush them all out. Then they're ready to be reclippcd and scissored. How many ways is there to cut a tail? Oh, it depends on the breed. There's a proper way and then there's how you sometimes have to if its matted...just shave it off. Are there names for the stuff you do to poodles? Clips? Yeah. Most of them that come in cither get a Kennel Clip, a Teddy Bear Clip, Daisy Clip, Palm Beach— Palm Beach,what's that? Really short all over with pompoms on the bottoms of the legs, pompom on the tail and pompom on the head. There's hundreds of varieties of clips you can do on them... Do you ever get to go crazy and do The Linda Cut on the dogs? Usually they're pretty conservative. They want it done so it looks neat and tidy; they don't want any...coloured spikcy hairdos. How did you get into this line of work? Somebody mentioned it to me and I thought, yeah, that sounds like a really good idea... Have you ever been injured at work? I've had quite a few chomps... not real serious... What's the worst part of the job? Cleaning up after a dog that's had diarrhoea and thrown up (laughs). Does that happen a lot? All the time. They get nervous and they just let it go... It's not as glamorous as a lot of people think. Do you ha ve a dog of your own? Not for the past 2 years. He got old and I had him put down... he was a mutt... Speaking of mutts, did the hobo look for dogs replace grooming when Benj i was really popular? No, they came in and asked to look like that... they just say "Shaggy like Benji"... Do you see a lot of people who look like their dogs? Yep. Poodles and Peakenese... I guess the hair or the eyes or Are dogs good tippers? No (laughs). The majority of them, no. X&ftfti-t 6 AFTEft HOURS FHI/SAT 1S-5 Oj$c a.vtut able for *+«f*f At*. 634*3322 FEBRUARY 1990 23 book or record- can't decide? come to albion books 523 Richards St. .Vancouver-662-3113 for quality used books and records • Wholesale Retail Outlet for: -100% Plain Cotton Fabrics (36-88" widths) - Broadcloth, Canvas, etc... • Textile Paints and Dyes • Tanks, Shorts and Sweats • 1 Day Workshops: "Learn to Print Textiles" "Fabric Printing Techniques" • Wearable Art Mon-Fri 9:30 - 5:00 Sat 11:00 - 3:00 clothworks rr textile dyes and printers 132 Powell Street, Vancouver Like wow! The first Local Motion written in this brand new decade and I'm happy to say that, unlike ten years ago, I don't have Led Zeppelin going through my head. So far the '90s have sent a lot of really good demo tapes my way, but I guess I sho ul d start with the bad news.... The Arts Club Lounge on Seymour Street, after years of filling a niche that apparently no one else dared to, as a venue for less famous and/or harder types of bands, will be closing down for good early this month. Yes, this time it will be permanent, since the building (like so many others in the area lately) is going to be tom down. (The Arts Club Theatre will be looking for anew location, but don't expect the people running the theatre to make finding a new place for bands to play a high priority.) February 2nd and 3rd will be the last two nights to sec bands there: Friday it'll be Curious George, the S wagme n and Touch & G os, and Saturday Tin God and Dirt. And il's probably also time to say good-bye to one of Vancouver's favourite independent bands, Oversoul 7. Adam and Len and Daryl have lasted for almost six years (and put out critically-acclaimed records, an EP and LP on Edge Records), but now it looks as if the break they've been taking for the last few months may be permanent. Like lots of other fans, I'll miss them, but I'm sure wc haven't seen the last of the individual members. On a happier note. She is back making live appearances after taking a long time out to find a new singer. They've replaced their drummer as wcll- thcir original drummcrnow plays wilh another all-female band. Bombshell, which (so far) has opened for bands like Curious George, Tankhog, and the Scramblers. Andn /, those glorious demos: Chris Houston-"War of Da Dudes," "Rockem Sockem Robots" This 11-song cassette (artfully decorated with grease- pencil) is, thankfully, available in the local independent shops. The public hasn't had the opportunity (or misfortune, depending on your opinion of the guy) to hear the weird stuff from the creator of "Surfing on Heroin" and the Cult of the Baby Jesus (Looks Like Elvis) since that astro-turf covered LP, Hate- Filled Man, came out in '86. My favourite song on the tape, "Just Once For Kicks," has a sort of Just Say Yes theme (now this is what rock and roll is supposed to do, right?) and, with a groovy organ, it becomes an amazing pop song, still with that familiar and menacing voice imploring away on top. "Rockem Sockem Robots" is a lot like the Cramps' "Goo Goo Muck" (even with the addition of the way-out organ), loaded with those surf/pop/rock sensibilities that make you want to jump around. Not all the songs are so successful ("War of Da Dudes," for instance, just isn't as catchy) and some put forth questionable theories ("Girls like sex more than boys"?), but all in all, this collection of oldish recordings is worth getting. Obey Flagmen-"Sway" I don't know why (perhaps because of Ebcnezcr Obey, quite a different kind of musician), but when I saw these guys at Shindig last fall they didn't sound the way I expected them to. And this nicely-produced demo captures a feeling and sound I don't remember from Shindig either. This is power under control, something that could be loud but is barely subdued. Perhaps k would be nice if there weren't so much control, and if the vocalist didn't sound so similar in places to Ian Astbury, but these ars minor complaints. Paula Rempel-"Lester" Firstof all, let me just say that, despite Paula being a rather high-profile CiTR member (as a former star of Pilot 1 and lots of other things), it's not her station connections that are getting this tape so much airplay (and this review). This is quite possibly the best-produced demo I've ever received (it was recorded at Bullfrog over six or so late-night hours, funded by a CAP AC grant). The guitar and bass sound incredible, and no wondcr-they're being played by Jamie of the Dots (etc.) and Ronnie of the Nervous Fellas (etc.), respectively. And Paula, despite being a self-proclaimed "city girl," does have that quality to her voice. The only doubts I had were as to Paula's intentions - is she spoofing C & W or what? -but according to the singer herself, not only does she love country music (she says her band, Paula and the Eskimos, is at least partly designed to help her "get it out of her system"), but almost everything she says in the song is supposed to be true (yes, this includes her mother being named Lester). Well, golly! Black Earth-"Creatures" I think that what made this band so successful in the '89 Shindig was simply their attitude, their determination to have a good time, their obvious pleasure in being on a stage. And amazingly enough, this is what comes through on this tape. Some people have described Black Earth as playing "hard rock," but I can't think of any reason for them saying this except that at the moment that's one of the few compliments some people will give a band. (Okay, and when I first saw them hauling that drumkit, with the two bass drums, onto the little stage at the Railway, I had my suspicions too.) Certainly this isn't thin sounding, but there's a lot more than loud thumping going on here- "Creatures" is a really good song, in the tradition of early harder rock (including punk) songs that didn't sacrifice melody to musical ideals. The Ludwigs-"Talking to You." Off a 3-song tape entitled This is Not a Demo!, this is simple, basic R & R. The band is made up of people made semi- famous by playing with the Chocolate Bunnies From Hell, Flunkees, and Route 666, among others, and has collected some pretty impressive followers loo. (Any band that Nancy G. from She makes an effort to go see is good enough for me.) Anyway, with all these choruses it's easy to sing along, and (maybe this is why I'm not supposed to call this tape a demo) you can clearly hear all the instruments. A really fun song. I'm just sorry that the back-up singer isn't credited. TT Racer-"1990s." Wow, Paul McKenzie didn't used to scream like this on the Enigmas records (although he did when they played live). If you didn't read about this relatively new band in the West/East Ender or hear about them somewhere else maybe you need to be told that this band's main influence is old (especially British) motorbikes. And you can hear them here-none of those whiny-smooth Japanese engines andhighly effective mufflers, just that satisfying (almost organic, and loud) noise that tells you everything is working as it should. I've been a big fan of Paul's since I first saw the Enigmas' 'Teenage Barnacle" video on Soundproof six or seven years ago, and I'm sure that this is the band that's going to do it for him, or at least offer stiff competition to the Scramblers, who, up 'til now, had the market cornered on tough rock and roll coolness. (Let's not even think about the Sons of Freedom here.) I only wish I knew more about the other members of the band. 24 DISCORDER Various Artists The Last of England (Mute) Derek Jarmas' film. The Last of England, is a shattering experience. Shot in shaky, handheld 8mm film and on video, the film graphically portrays England in ruins— the decay, squalor and degradation of a people ruled by a government that delights in violence. Jarman uses old home movies showing children growing up in post-war Britain juxtaposed with footage of the horrors of colonialism to remind us that England never had a glorious past at all, and that a system that built an empire on brutality must in the end suffer the inevitable consequences. When the empire crumbles, the ruling class turns its spite on its own people. The music, largely created by Simon Turner, is strangely tranquil and restrained. Even the Diamanda Galas tracks are beautiful in their quiet desperation. On the side of the LP called "Bombers" (there are no sides one and two), Simon Turner has combined solo piano, classical and flamenco guitar, and subdued electronics interspersed feeling of bleak desolation. Pete Lutwyche Claytown Troupe Through the Veil (Island/UK) Bristol England's Clay town Troupe have released their debut LP on Island after quite a bit of wrangling with the various major labels who showed interest in the group. TheresultantLP presents them as Cult imitators, with lead vocalist Christian Riou displaying more than a hint of Ian Astbury's vocal style. This band seems to be entrenched in The Cult's 1984 "Drcamtime" period, including the use of graphics dealing with Native American imagery and obtuse references to Christianity. Sadly, they have also duplicated the same kind of production techniques, along with power chor- ding guitar and shrill, wailing vocals. The Claytown Troupe could possibly create their own sound by highlighting the unique keyboard playing of Rick Williams. Instead, this musically competent band is lacking ir with snippets of dialogue to create a sad, haunting soundscape. Side "Diplomat" includes contributions from Barry Adamson, Mayo Thompson and Andy Gill (whose rock song "In the Free World" spoils the unspoken anger of the rest of the album with some cliched "fight the system" lyrics). The aforementioned Diamanda Galas tracks, "Deliver Me" and "The Thirteenth Returns," finish off the record, and although these songs have been released before they seem to gain atmosphere from the new context. This soundtrack easily stands on its own without the aid of the film, and is possibly even more successful than the camerawork in creating a and creativity. Through the Veil founders, treading on territory that The Cult has already thoroughly mapped out. Greg Garlick MDC Metal Devil Cokes (Boner Records) This is the latest release from punk rocker-type legends MDC. Reports have the average age of this band at about 36, but time has not slowed them down on "Metal Devil Cokes." Those MDC fellers seem as intense as ever, playing fast and loud. Dave Dictor is still able to sing faster than anyone I've ever heard. This album keeps up MDC's ultra- political image with songs like "Dirty Harry For President," "Acid Reindeer," "Huddled Masses," and "Mongoloid."This isn't an all-time super-excellent record but it's a great MDC album. The lucky buyer also gets a wonderful musical recipe for tofu spaghetti with the album. Think about it, eh! Mikey Jiggle 808 State 90 (ZTT) Not only has Manchester produced some ofthe best guitar pop of the last ten years, it has always kept up with the dance scene and music technology, combining the two to make memorable dance songs from "Blue Monday" onwards. 808 State are blasting the U.K. char's to pieces with their debut album "90," a formidable slice of '90s techno-house. 808 State, along with other new names on the dance club scene, have tended to steer clear ofthe frantic "what's that sample?" style, as typified by Simon Harris and Coldcut, and replaced it with swirling, trancelike synths and ice-cold beatboxes. Rather than keeping the dancer alert by slipping in tantalizing samples, the emphasis is on inducing a hypnotic state —dancing in a brightly-coloured world of whirring and spinning noise. In fact, one of the latest trends in Europe is "Ambient House," where the beat is removed from the tracks altogether, leaving just the synthesized patterns. These records are usually played towards the end of the night when the dancers are exhausted, but their minds are still on "chemically induced" overtime. 90 is THE dance album of the moment, each track busy withlush textures and hard beats. Largely instrumental, with the only full vocal being on the track "Magical Kingdom," the record is concerned with creating almost subconsious atmospheres. The tracks are similar, but not boring, and there's a full range of BPM's — from the relaxed, exotic "Sunrise" to the noisy "Cobra Bora" which, with its analog synth solos, sounds dangerously like Yes at times. What more can I say? Grab a copy, put it on a full volume and let it weave its way through your brain AND your body. Peter Lutwyche Sly and Robbie Silent Assassin (Island) Sly and Robbie are session musicians who have been going for many years, putting out something creative every time, adapting their rhythms to fit their collaborators' styles. On this release, produced by KRS-One, Sly Dunbar displays his competence at creating a rhythm with the addition of soon-to-bc-heavily-copied gunshot sounds supplementing his drumming and drum machine programming, while Robbie Shakespeare does the funky but smooth, and sometimes strangely processed, bass thing. A number of rappers glide over this raw reggae sound: Queen Latifah, KRS-One, Young M.C., Willie D., and Boogie Down Productions' Shah of Brooklyn. KRS- One really gets into reggae with his rap while the Queen keeps to her usual style. Young M.C. proves that he can be a good, political rapper; Willie D. is a bit shallow lyrically but is saved by thecxtraordinary production; and the Shah of Brooklyn shows that he is ready for the big time (even though he's only 17) with mature, socially-conscious lyrics, a great rap voice, and perfect timing. This is definitely arecord to have if you're into danceable, smooth rap, but will probably not sell well because of its very low profile (black and white cover and no push from the record label). Its main audience, rap fans, are probably not the aware that this Sly and Robbie release would appeal to them very much. Adam Sloan Lou Harrison - La Koro Sutro Morton Feldman - Three Voices for Joan LaBarbara The California EAR Unit (New Albion) New Albion Records is a relatively new independent label based in San Francisco, catering primarily to the work of West Coast minimalist composers. Their latest releases (La Koro Sutro, The California EAR Unit, and Three Voices for Joan La- B arbara) have a number of things in common. All contain excellent performances (particularly Joan LaBarbara's vocal performance of the Feldman work), and all three were recorded very Three Voices is a fine example of the late Morton Feldman's dramatic restraint, sensitivity, and tendency to write long, expansive music. LaBarbara's intonation in her performance is so precise that in places it seems as though her voice was sampled. La Koro Sutro is very representative of Lou Harrison's work, showing the influence of Balinese gamelan. Varied Trio is proof that he understood the Asian instruments he incorporated into much of his music. The California EAR Unit are a new-music ensemble based in Los Angeles, and this recording attests to their versatility. The collection includes music by two members of the Unit as well as music by the characteristically difficult, though enjoyable, Elliott Carter. Also included is a very short work by Karlheinz Stockhausen and the extremely intense twenty four minute "Hoketus" by Dutch composer Louis Andreiessen. You will hear these works on "Are You Serious Music," Sundays 8am to noon. Paul Steenhuisen Warren Zevon Transverse City (Virgin/A&M) Warren Zevon was once a great songwriter who fuelled his lyrics with expressions of personal tragedy, desolation and anger. Zevon laced his songs with a satirical humor which was as frightening as it was amusing. Songs like "Excitable Boy," "Play II All Night Long" and "Carmelita" were truthful, hardhitting visions of suburban America. Zevon's chaotic live performances were no less powerful as he took to the stage drunk and angry. Zevon is now sober and, unfortunately, his music has lost much of its vitality. 'Transverse City" is a failed attempt to comment on every element of modern life from shopping malls to the state ofthe environment. The lyrics are weak and detached, and the music is highly overproduced. In the end, Zevon ends up saying nothing that matters about anything. Guest appearances by Neil Young, David Gilmour and Chick Corea serve to only confuse this glossy, impersonal disaster. Zevon may be sober, but he has lost the edge that made him a once great and important artist. Gene Derreth FEBRUARY 1990 25 Bang One World Glee Town Pump Monday, January 8th Bang. Another one of those "Oh no, they've got keyboards and high-heeled backup singers and balding men boogeying to their music"-type bands. 'Nuff said. Sometimes at the Town Pump you can go there and be lost in the '80's. This was the case with the next band. One World. Not as Police-inspired as their name might lead you to believe, these guys really grooved in an innocent Payolas- bly the least pretentious lead singer I've ever seen. No keyboards either. The amazingly large crowd stuck around for the last band, which is in itself an amazing occurrence. Glee definitely have a following already, no doubt due to all the bad press they've received. (In fact, that was my primary motivation for going out to see them.) But, if I'd been waiting to writhe in agony, I was not vindicated. No sirrce Bob, these dudes and dudetle (on accordion, no less), played a rockin' set that kept me enthralled. Their lead singer, a happy marriage of David Byrne i Real live * ACTION guitarists. Hot shit. Speaking of which, reminds me ofthe remark of one overwrought witness: "They are to music what amoebic dysentery is to digestion: It goes right through." Engulfed in billows of dry ice and manic hair- throwers, I couldn't help but wonder "Hey - ami atClubSoda, or what?" Alex "the guy from Tom Hooper of Grapes of Wrath's Alex Varty Hate Club" Varty, who was in attendance for Bamff's set, was nowhere to be seen during Superconductor. That oughta tell you something. I don't really pretend to begin to understand what these guys are about, but cock-rock does not exist to be dissected and analysed. It just IS. Well hey, after this orgy anything would be anticlimax, and so it was with Mary. The formerly full dancefloor was as good as empty at the beginning of Mary's set, the end of which I did not stick around to see. What I did witness, however, was the familiar brand of competent but not too slick, issue-conscious rock 'n' roll served up by this bare-bones three-piece outfit. Quite the contrast from what had gone before. Technically there's nothing wrong with Mary, but maybe that's their failing...they just lack the necessary eccentricities to compel. Guess we'll be seeing them on MuchMusic in no time, tie-dyed T-shirts and all. Alex Varty probably re-materialised for their set too. Viola Funk bcfore-scllout (okay, maybe "before their existence") mode. Sporting Bang's lead singer as a bass player; the addition of a flutistononenumber; andproba- and Bob Denver, delivered odes to Vancouver and rain among other things and kept up an entertaining repartee with the audience between songs. The band's sound is really happenin'; if it's any indication of the direction "pop" music will take in the '90's, we're in for a good decade. Now if I could only figure out the constant self-abasing reference, "Once again, many thanks to Linda Scholtcn and all the fine people at CiTR." Whatever. Viola Funk Banff Superconductor Mary Town Pump Tuesday, January 9th I hate headless guitars and telephone-operator-style mikes. Bamff were adequately gifted in both these respects, if not in any other. Of course, they chose their very most annoying song of all (tough competition, believe me) as the one to shoot a video for, and they had the nerve to stay up on stage wielding their hyper- bombastic technostuff for over an hour. Look, I don't care if they 're mostly women. I can only hope that their lead singer wasn't kidding when she said she was going deaf from the intense decibel level. That at least'd spare us any further installments in Bamff's "comeback." Next we heard Superconductor, playing a gig that had been postponed from December. The fermentation had done them nothing but good. I mean, these spotty perpetually adolescent renegades brought new meaning to the term "hyper-bombastic." 7000 bass- and guitar-players (it says that in my notes, so it must be right); one Christmas light- festooned drummer; a maraca- shaker (who as it turned out no one in the band knew); and vocals by one of the aforementioned DISCORDER DATEBOOK THURSDAY 1 cnRp™«nt, Game Theory with Grin Factory and 99 Steps at 86 Street Music Hall... Curious George, Touch n Go's and The Swag men at the Arts Club... Evan Johns and the H- Bombs at the Town Pump... "After Dark" at the Railway... Jazz Quintet at the Recital Hall (1230pm)... Doug Greenall's Dead Serious continues at the Arts Club Seymour... John Gray's Billy BishopGoeato War continues at Presentation House... Sweeney Todd (The Demon Barber of Fleet Street) conducted by French Tickner continues at the Freddy Wood Theatre (8pm)... Carousel Theatre's Twelfth Night by Shakespeare opens at the Waterfront Theatre (8pm. until the 28th)... Mad Love Theatre's presentation ot The Dreamer Julia Scholar's Love on the Plastic as at Vancouver Little Theatre... First lay Art Night begins in over forty Van- area galleries and museums... jrnsbys ues at the Grunt (until the 3rd)... Women in View continues with Re:Sound—A Playshop at Four Sisters (9:30am, 2pm); Old Flames: An ln...formation Reading at Four Sisters (7:30pm)... FRI DAY 2 Dirt and Tin God at the last Arts Club show ever... T.T. Racer with Black Earth at the Town Pump... Jazzmanian Devils at the Railway... Professor Blues Revue at the Yale... Concert in memory ot Martin Luther King Jr. with Special Order, Lo vena Fox, Stripes, Ron Haywood and M.C. Frostt Graves at the Commodore... UBCContemporary Players directed by Stephen Chatman and Geoffrey Michaels atthe Recital Hall... Karen Jamieeon Dance Company at the Vancouver Playhouse... Love on the Plastic continues at Vancouver Little Theatre... The Dreamer Examinee his Pillow continues at Station Street... Dead Serious continues at the Arts Club Seymour... Billy Bishop Goes to Wsr continues at Presentation House... Sweeney Todd continues at the Freddy Wood Theatre... Women In View continues with Four on the Floor at the Firehall Theatre (12pm); Confidantes at the Firehall Studio (12pm) j Prairie Winds atthe Firehall Studio(1:30pm);Great Explanations atthe Firehall Studio (2:46pm); Jojoka at the Firehall Theatre (3:15pm); Modern Notes of Persuasion at the Firehall Studio (4:15pm); Just s Utile Fever at the Firehall Theatre (4:45pm); Bad Dollies at the Firehall Studio (5:15pm); ellemental secrets at the Firehall Theatre (6:30pm); Runner's Tale/Sun and Shadow at the Pin (6 30pm); Woman in the Box at the Firehall Studio (630pm); Forbidden Fruitcake at the Firehall Theatre (8pm); Soundwright at the Firehall Studio (8:15pm); Strings at the Pitt (8:45pm); Not Just 9 to 5 at the Firehall Theatre (9:15pm); Wondeur Brass at the P«t(10pm);Moon Lodge atthe Firehall Studio (10pm)... SATURDAY 3 The sk.t_ii_-. from Jamaica at the Town Pump... Jazzmanian Devils at the Railway... Professor Blues Revue atthe Yale... Tempus Fugit at the WISE Hall... Orford String Quartet at the Recital Hall (7:15pm)... Karen Jamieson Dance Company at the Vancouver Playhouse... Love on the Plastic continues at Vancouver Little Theatre... The Dreamer Examines his Pillow closes at Station Street...Dead Serious continues at the Arts Club Seymour... Billy Bishop Goes to Wsr Todd closes at the Freddy Wood Theatre... Michael Homsby's exhbition closes at the Grunt... Women in View continues with Forbidden Fruitcake atthe Pitt Theatre (12pm); Puente II at St. James Church (12pm); GO Factor at the Firehall (12pm); Sun and Shadow at the Pin Theatre (1 pm); Bad Dollies at the Firehall Studio (1:15pm); Jojoka at the Firehall (1:45pm); Runners Tale at St. James Church (1:45pm); Prairie Winds at the PM Theatre (2:15pm); Confidantes at the Firehall Studio (2:45pm); Bassish Voices at St. James Church (2:45pm); Not Just 9 to 5 at the Firehall (3:15pm); Modern Notes at the Pm Theatre (3:45pm); Eight Facets of Woman-Spirit at St. James Church (4pm); Great Explanations at the Firehall Studio (4:15pm); Wondeur Brass at the Pin Theatre (5pm); Justs Little F«ver at the Firehall (530pm); Calendar Girls al the Firehall Studio (545pm); Snakes in the Mind at the Pitt Theatre (630pm); Soundwright at the Firehall Studio (730pm); Woman in the Box at the Pin Theatre (7:45pm); Reading Writers at the Firehall Studio (9pm); Strings at the Prtt Theatre (9:15pm); Under the House at the Firehall Studio (9:15pm); Four on the Floor atthe Firehall Theatre (9:15pm); Spend the Night at the Pin Theatre (10:30pm); Moon Lodge at the Firehall Studio (11:15pm); SUNDAY 4 NoFunattheRailway... Dirty Dozen Brass Band with Brass Roots at the Commodore... Guy and Candie Cars- wan and the Joyful Sound at the Vancouver East Cultural Centre... Sarah Vaughn at the Orpheum (7pm)„. Women in View con- (11:30am); Four on the Hoor atthe Firehall Theatre (12pm); Reading Writers at the Firehall Studio (12pm); Strings at the Pitt (1pm); Modem Notes at the Firehall Studio (2pm); Snakes in Mind at the Pitt (2:15pm); GQ Factor at the Firehall Theatre (3pm); Survivors at the Firehall Studio (3pm); Prairie Winds atthe Prtt(3:30pm);Soundwright at the Firehall Studio (4:15pm); Just s Little Fever a! the Firehall Theatre (430pm); Sun and Shadow at the Prtt (4:45pm); Moon Lodge at the Firehall Studio (6pm); ellemental secrets attheFirehallTheatre(6pm); Greet Explanations at the PM (6:15pm); Bad Dollies at the Firehall Studio (7:15pm); Forbidden Fruitcake at the PM (745pm); Jojoka at the Firehall Theatre (745pm); Puente II at the Firehall Theatre (9pm); Spend the Night at the Pitt (9:15pm); Bassish Voices at the Firehall Studio (8:30pm); Runner's Tale atthe Firehall Studio (10pm); Wondeur Brass at the Firehall Theatre (1030pm)... MONDAY 5 TheStoateraatthe TUESDAY 6 TheStoateraatthe Railway... Willie and the Walkers at the Yale... CFOX Demo-Usten at Club Soda... UBC Students in Recital at the Recital Hall (8pm)... Love on the Plastic continues at Vancouver LMIe Theatre... Mike McDonald's 117th)... WEDNESDAY 7 SweetDicka, the Railway... Willie and the Walkers at the Yale... Gregory Cox (trumpet) and Nancy Bussard (piano) at the Recital Hall (12:30pm)... Fort Worth Travelogue at the Grunt... Billy Bishop Goes to Wsr continues at Presentation House... Love on the Plastic continues at Vancouver Little The- THURSDAY 8 SweetDickatthe Railway... Jim Byrnes at the Yale... Winter Roots Music Festival opens with Peter Case, Natural Elements and Aya at the WISE Hall... UBC Symphony Orchestra at theOld Auditorium (1230pm)... Billy Bishop Goes to War continues at Presentation House... Love on the Plastic continues at Vancouver Little Theatre... FRI DAY 9 Sweet Dick at the Railway... The Bonedaddys with Little Women at 86 Street Music Hall... Winter Roots Music Festival continues with Ancient Cultures. The Dota and James Keelaghan Trio hosted by Seattle's Sam Weis at the Vancouver East Cultural Centre (8pm); plus WISE Hall Cabaret with Roots Roundup (1130pm)... Jim Byrnes at the Yale... Robben Ford and Elvin Bishop at the Town Pump... UBC Symphony Orchestra at the Old Auditorium (8pm)... Billy Bishop Goes to War continues at Presentation House... Touchstone Theatre's Homework for Men and Curtains for a Crazy Old Lady by John Lazarus open atthe Firehall (8pm)... Love on the Plastic continues at Vancouver SATURDAY 10 SweetDicka, the Railway... Dennis Brown, Freddie McGregor, Lloyd Parkes, We the People Band, and M.C. Wayne Vernon at the Commodore... Jim Byrnes at the Yale... Winter Roots Music Festival continues with Workshops at the WISE Hall (11am-7pm); Ngsi Lum Music Society, Nyetz and Faith Nolan hosted by David Campbell at the Vancouver East Cultural Centre (8pm); and WISE Hall Cabaret wilh Roots Roundup (113Qpm)... Bob's Your Uncle at the Town Pump... Billy Bishop Goes to War continues at Presentation House... Homework for Men and Curtains for a Crazy Old Lady continues at the Firehall (8pm)... Love on the Plastic continues at Vancouver Lrttlo SUNDAY 11 Young FreshFeilow. at the Town Pump... No Fun at Ihe Railway... DJ Jazzy Jeff and the Fresh Prince at the Commodore (all ages show at 6, licensed show at 9:30)... The Hooters at 86 Street Music Hall... Winter Roots Music Festival continues with Workshops at the WISE Hall (1 lam 7pm); Allen Dobb and Dumela, The Hightops and Roy Forbes hosted by Wyck- ham Porteue and Marcy Nokony at the WISE Hall (8pm)... Homework for Men and Curtains for s Crazy Old Lady continues al the Firehall (8pm)... MONDAY 12 TouchnGosatthe Railway... Oliver and the Elements at the Yale... UBC Student Composers in Concert at the Recital Hall (1230pm)... TUESDAY 1 3 Feathered Pens with Pat Conroy Band at the Railway... Demo-Usten at Club Soda... Guitar Shorty WEDNESDAY 21 cm-presents Laurie Anderson at the Queen Elizabeth Theatre.. Eddy Clearwater at the Yale... Eckhardt-Grammate 1989 Music Composition Winner Janice Girard (piano) at the Recital Hall (12:30pm)... Clive Pig from the UK in a solo performance at the Railway... Patric Caird Group atthe Grunt... WEDNESDAY 14 OhYeahlat the Railway... Guitar Shorty with The De- mona at the Yale... Peter Berring Jazz Trio at the Recital Hall (12:30pm)... Bill Smith Men and Curtains for s Crazy Old Lady continues at the Firehall (8pm)... THURSDAY 15 R.yCondo.nd Ns Hardrock Goners from Montreal at the Railway... Guitar Shorty with The Demons at the Yale... Salsa Ferrerss at the Commo- Crazy Old Lady continues at East Ci alCentr for a Crazy Old Lady continues at the Firehall (8pm)... Tamahnous Thealre presents Living Art: A Celebration of Alternate Performance at the Cinderella Ballroom... FRIDAY 16 Ray Condo and hi. Hardrock Goners from Montreal at the Railway... Pete Morton at the WISE Hall... Guitar Shorty wflh The Demons at the Yale... Homework for Men and Curtains for a Crazy Old Lady continues at the Firehall (8pm)... Living Art continues at the Cinderella Ballroom... SATURDAY 17 FredPenner with Len Udow and theCat's Meow Band at the Orpheum (11 am, 1:30pm),.. Ray Condo and his Hardrock Goners from Montreal at the Railway... Guitar Shorty with The Demons at the Yale... Lorraine Desmsrais Trio from Montreal at the Vancouver East Cultural Centre... The Dots, Stingin' Hornets, Hillbilly Boys, and Rocky Craig at the Commodore... Mike McDonald's exhibi- Men and Curtains for s Crazy Old Lady continues at the Firehall (8pm)... Living Art ends at the Cinderella Ballroom... SUNDAY 18 Young MC. with Maestro Fresh Wes at the War Memorial Gymon the UBC campus (all ages)... Croon- toons at the Railway... Homework for Men and Curtains for a Crazy Old Lady continues at the Firehall (8pm)... MONDAY 19 Young MC. with Maestro Fresh Wes at the Queen Elizabeth Theatre (all ages)... Natural Elements tape release party at the Railway... Oliver and the Elements at the Yale... TUESDAY20 Th«whi_Rope_ Club Soda... UBC Students In Recital at the Recital Hall (8pm)... Women's Jam Session at the Railway... Eddy Clearwater at the Yale... Rudy Rozanski (piano) at the Capilano College (Room H-113, 1pm)... Anna Banana BananaPost exhbition begins at the Grunt (until Ihe 3rd)... Homework for Men and Curtains for a Crazy Old Lady continues at the Firehall (8pm)... the Railway... David Raven Lawrence Cherney (oboe) i Hall (12:30pm)... Joseph Music at the Grunt. "" and Curtains for a Crazy Old Lady ues at the Firehall (8pm). East Cultural Centre (8pm)... THURSDAY 1 DavidR.venat.he Yale... UBC Stage Band at the Recital Hall (12:30pm)... UBC Mixed Chamber ie Recital Hall (8pm)... THURSDAY 22 CiTP.pre.ent. The Mighty Lemon Drops with The Ocean Blue and John Wesley Harding at the Commodore... Eddy Clearwater at the Yale... Clive Pig from the UK in a solo performance at the Railway... UBC Wind Ensemble atthe Old Auditorium(12:30pm)... Eliot Fisk (guitar) at the Recital Hall (7:15pm)... Artist talk with Ann. Banana at the Grunt (7:30pm)... Homework for Men and Curtains for s Crazy Old Lsdy continues at the Firehall (8pm)... Goodnight Desdemons (Good Morning Juliet) opens at the Vancouver East Cultural Centre (8pm)... FRI DAY 23 CiTR present. The Sugarcubes with The Primitive, at the Commodore... Bob Brozman and the Brozophonics at the WISE Hall... Eddy Clearwater atthe Yale...The Paladins at 86 Street Music Hall... Rocking Fools at Ihe Railway... Homework for Men and Curtains for a Crazy Old Lady continues at the Firehall (8pm)... Goodnight Desdemons continues at the Vancouver Easl Cullural Centre (8pm)„. SATURDAY 24 Rocking Fools at the Railway... Eddy Clearwater at the Yale... Homework for Men and Curtains for s Crazy Old Lady continues at the Firehall (8pm)... Goodnight Deademone continues at Ihe Vancouver East CulturTl Centre (2pm, 8pm)... SUNDAY 25 MosesRascoeatthe Vancouver East Cultural Centre... Croontoons at the Railway... Homework for Men and Curtains for a Crazy Old Lady continues at the Firehall (8pm)... MONDAY 26 CiTR presents The The with Johnny Man at the Commodore... Oliver and the Elements at the Yale... Goodnight Desdemons continues r East Cultural Centre TUESDAY 27 CITRpre^toThe The atthe Commodore... T.S.O.L. at Club Soda.. Jesse Winchester at the WISE Hall... FYF at the Railway... David Raven at the Yale... Homework for Men and Curtains for a Crazy Old Lady continues at the Fire hall (8pm)... Goodnight Desdemons continues at the Vancouver East Cultural Centre Crazy Old Lady continues al the Firehall (8pm)... Goodnight Desdemons continues at the Vancouver East Cultural Centre FRI DAY 2 David Ravenatthe Yale... University Chamber Singers at the Recital Hall (12:30pm and 8pm)... Homework for Men and Curtains for a Crazy Old Lady continues atthe Firehall (8pm)... Goodnight Desdemons continues at the Vancouver East Cultural Centre (8pm)... SATURDAY 3 CiTR present. Lint on Kwe si Johnson with Sister Breeze, Dennis Bovell and the Dub Band and the Almighty Dread Band at the Commodore... East Cullural Centre (2pm, 8pm)... SUNDAY4 i Curtains for a Crazy Old Lady closes at the Firehall (8pm)... MONDAY 5 Goodnight Desde- tural Centre (8pm)... TUESDAY 6 CiTRpresent, Severed Heads with MC 900FT Jesus and DJ Zero st Graceland... Jesus Lizards at Club Soda... Goodnight Desdemons continues at the Vancouver East Cultural Centre (8pm)... WEDNESDAY 7 Bob Be. snd Necropolis 90 at the Grunt... Goodnight Desdemons (Good Morning Juliet) continues at the Vancouver East Cultural Centre THURSDAY 8 GoooMghtDes- demons (Good Morning Juliet) continues at the Vancouver East Cultural Centre (8pm)... FRIDAY 9 The Beat Farmer, at the Town Pump... Goodnight Desdemons (Good Morning Juliet) continues at the Vancouver East Cultural Centre (8pm)... SATURDAY 10 Th.BestF.rm- era at the Town Pump... Goodnight Desdemons (Good Morning Juliet) continues at the Vancouver East Cullural Centre (2pm. 8pm).„ MONDAY 12 GoodnightDesde- TUESDAY13 c (Good Morning Juliet) continues at the Vancouver East Cultural Centre (8pm)... WEDNESDAY 14 Kateiw me tt-Vaughn atthe Grunt.. Goodnight Desdemons (Good Morning Juliet) continues at the Vancouver East Cultural Centre (8pm)... PLACESPLACESPLACES ARTSCLUBSEYMOUR 1181SeymourStreet 483-0151 CENTENNIALTHEATRE 23rdand Lonsdale, CLUBSODA 1055 HomerStreet 681-8202 COMMODORE BALLROOM 870 Granville Street 681-7838 66 STREET MUSIC HALL former Expoo Site 683-8687 FIREHALL ARTS CENTRE 280 East Cordova Street 689-0926 FREDERIC WOOD THEATRE 6454Crescent Road. UBC 228-2678 GRUNT GALLERY 209 East 6th Avenue 875-9516 HOGAN'S ALLEY 730 Main Street 681- 6326 LAQUENACOFFEEHOUSE 1111 Commercial Drive PACIFIC CINEMATHEQUE 1131 Howe Street 688-3456 PIT PUB Basement of SUB 228-6511 PITT INTERNATIONAL GALLERIES 36Powoll Street 734-8001 RJ CHRISTIES 315 East Broadway 876- 6777 RAILWAYCLUB 579DunsmuirStreet 681- 1625 RECITAL HALL School of Music, 6361 Memorial Road 228-3113 RIDGE THEATRE 3131 STATION STREET ARTS CENTRE 930 Station Street 688-3312 STUDIO 58 Main Building, Langara Campus 324-5227 SUBTHEATRE Student Union Building. UBC TOWN PUMP 66 Water Street 683-6695 VANCOUVER EAST CINEMA 2290 Commercial Drive 253-5455 VANCOUVER EAST CULTURAL CENTRE 1895 Venabtes Street 254-9578 VANCOUVER LITTLE THEATRE 3102 Main Street 876-4165 WAR MEMORIAL GYM University Blvd & Wesbrook Mall UBC WISE HALL 1882 Adanac Street (right behind the Cultch) 736-3022 WOMEN IN FOCUS STUDIO 849 Beatty Street 875-6624 YALE HOTEL 1300Granville at Drake 681- 9253 The listings that appear here do not cost a stinking dime. Listingsare printed based on available space. If you would like your listings included here, just submit any and all details to Discorder Date- book, c/o Discorder Magazine. 6138 SUB Boulevard,Vancouver, BC V6T2A5. And i have your listings read out on OTR K k Thanky «Btf^i§_?0F Ever spend money on short life clothing, incomplete car repairs or unwanted fitness memberships? Have an employer / teacher grievance that's being ignored? RAVEN COMMUNICATIONS saves you the time and the frustration by making your complaints heard quickly and professionally. Student rates. Personal letter writing also available. CALL DOUG AT 325-4868 FEBRUARY 1990 27 IN THE GRIP OF INCOHERENCY 12-4 00AM So what if Barry doesn't show up anymore? Who gives a shit? GuldoandTrini ARE YOU SERIOUS? MUSIC 8AM-NOON Schoenberg, Varese. Berio. Xenakis. Schafer. Webern - Artistic Evel Knievets compositions in a classical vein with Paul B A. Steenhuisen and Ian Crutchley aF temating weeks THE BRUNCH REPORT 12-12:15PM News, sports, weather and more with the CiTR News. Sports and Weather Depart- THE ROCKERS SHOW 1215-3.00PM Reggae. Rock Steady and Ska with George Barrett. BLUES AND SOUL SHOW 3-5:0OPM Lachlan Murray provides the best of blues, rhythm and blues, funk and soul. THE CiTR NEWS MAGAZINE S-S:30PM CiTR's In-depth current affairs/news magazine show. Coverage and analysis of the days news and sports.daily editorial commentary, entertainment reviews and reports on events here at UBC. all In a comprehensive and comprehensible magazine package. And we promise, no traffic reports. HEARSAY 5:30-4:00PM The best in literature. ON RADIO! Hear what our contributing authors have to say. Poetry, radio plays, creative non- Action, short stories; the best of the bunch. If YOU want to contribute, get in touch with Kim. Richardd. Antje, Barbara or Chris at 228-3017. LEECHCRAFT 4-B:0OPM Caustic alphabets couple with (varied fish sundries). Spoken word. Alternates ELECTRONIC SMOKE SIGNALS .-8:00PM Information, news, interviews, political analyls from the global cultures of resistance. Hosted by Horaclo de la Cueva. Alternates Sundays with LeechCraft, RADIO FREE AMERICA 10PM-MIDNIGHT Join host Dave Emory for some extraordinary political research guaranteed to make you think twice. Bring your tape deck and two C-9C*s. Originally broadcast on KFJC (Los Altos.CA). This month: AIDS: Epidemic or Weapon of War? ie CiTR Moming Show. Information to o: news, sports, weather and "scenic ew" (read: radar) reports, features. prices. Wake up with Norm and Dave. THE AFTERNOON REPORT 1-1:15PM Lunch goes down better with The Afternoon Report. Tune in for no frills news. A SHOW OF STRENGTH 1:15-3:00PM After a peaceful 15 mins. of News, from out of no where a blistering bolt of audio destruction kerrangs off your forehead and bursts your heart and brains, oh. and of course your ears. Chris 8i How lay down an ultra-mega hot vinyl arrangement. What a wonderful day! Ing informal ton/propaganda and the world's primitive and experimental musics from the auditory fringe. Live! Contributions welcome. Practitioner. Anthony Roberts. THE CiTR NEWS MAGAZINE 55 30PM See Sunday for details. Join host Ian Gum here weekdays. SPORTS DIGEST 5:3O-4:00PM Join the CiTR Sports Department for all the latest in Thunderbird varsity sports oction and sports everywhere else for that matter. Interviews, too! ITS JUST TALK WITH R.J. MOORHOUSE 4- 7:00PM The big mouth is back, bigger and mouth- ier than ever, taking on all the issues that TOP OF THE BOPS 7:00-B:00PM Trini Lopez. Ronnie Self, and The Phantom all love you. Marc Coulevin brings TUESDAY WEDNESDAY THURSDAY THE JAZZ SHOW 9:30PM-12:30AM Vancouver's longest running prime time jazz program. None of that late night graveyard/eartyweekendjazz. Features at 11. Hosted by the ever-suave Gavin THE MORNING SHOW - BBC WORLD SERVICE AT 8:00 mi ELECTRONIC SMOKE SIGNALS/LEECH CRAFT ONE STEP BEYOND/ RADIO FREE AMERICA IN THE GRIP OF INCOHERENCY THE JAZZ WITH ENVIRONMENTAL SCATGLCY GARNEI TIMOTHY HARRY THE CiTR NEWS MAGAZINE HEADS VERSUS WOLF AT WAKE UP AND SMELL THE COFFEE THE TASTE OF THINGS TO COME LIVE FROM muNDERBIRD RADIO HELL PERMANENT CULTURE SHOCK HOOTENANN' SATURDAY NIGHT MOVING IMAGES THE VENUS FLYTRAP SHOW NARDWUAR AND NOW THIS HOME VIDEO Emm EVERYTHING YOU KNOW IS WRONG e90s. Drummer Hamilton with Hungarian guitarist Gabor Szabo and Charles Lloyd on flute and tenor. 26th Sonny Side Up: Dizzy Gillespie (in superb form) flanking two of the "heaviest- saxophonists in Jazz history: Sonny Rollins and Sonny Stitt. Jazz at its hottest! IT'SJUSTTALK WITH RJ MOORHOUSE 4:30- 7:30AM Rebroadcast of Monday night's programme. THE MORNING SHOW 7:30-8:15AM See Monday for details. Wake up with Kim and the Glenn Miller Orchestra. GARNET TIMOTHY HARRY 8:1S-10:00AM Garnet doesn't give a shit and neither should you. BLOOD ON THE SADDLE 1:15-3:00PM Country music to scrape the cowshrl o your boots to. With yer host-poke. Je THE UNHEARD MUSIC 3-5.OOPM . Derno Director Dale Sawyer provide some insights into the best and the wor of the newest Canadian music. And he not telling you which is which! RANDOM SAMPLING 5:30-6:00PM Join Kim Trainor and Stefan Ellis for 1800 seconds of definitive frequecy modula- NEON MEATE DREAM 7-9.OOPM Like your worst nightmare and mosterotic dream combined. God what a mess. With Pete Lutwyche. ■M.»lti.>A'i-_l In the Kwa language of Yoruba, there arc Iwo words for radio: "Chohun-ghohun" (snatchcr of voices), and " A-s'oroma gb'tsi" (lhat which speaks without pausing Tor reply). CiTR 101.9 fM is both. Listen and find out for yourself. But first read ON THE DIAL. Rock n' Roll to its roots. Walker. THE AFRICAN SHOW 8 9 30PM Mh """''' l" M°'a0n WQS LeeS H"** IHE AFRICAN SHOW 8-9.30PM album for one of the first black-owned record labels: VJ. A straight-forward, no- nonsense date with Morgan and a hand- picked band including WyntonKelry and 121h Thelonious Monk "live". Recorded at the legendary Five Spot Cafe in New York Monk at the piano leading the great John nyGriffinontenorwith Ahmed s) and Roy Haynes MORNING BREATH 8:15-10:OOAM RoH over, open one eye, and share your Wednesday moming waking experience with Daisy. Cold pizza, lukewarm coffee ond music to jolt you back into existence. 9-10: in celebration of Block History Month: 7th Public Enemy 14th George Clinton 21st Ladies of the Blues 28th Living Cotour/Ladysmith Black Mam- OUR TALENTED FAMILY 10-11:00AM Recordings of live performances ai the UBCSchoolof Music. TheComtemporary Players. Student Composers. Guest Artists. Stage Band. World Music...and oth- THE RETURN OF NECRO-NEOFILE 1:15- 3:00PM The newest additions to the CiTR playlist as well as the tortured ramblings of any musicians that fall into the tar pit. Facilitated by MD Chris Buchanan. THE TASTE OF THINGS TO COME 3-500PM Sound waves to sink yer teeth Into, with yer host Paula the radio sex goddess. INSIDE INFORMATION 5:J0-6:00PM Join Katherine Vogt and Barbara Elgood for an eclectic view of UBC and the universe! News, reviews, previews, interviews and much more. Find out what's really happening in EC's largest mental institution. Special focus throughout the job. -viola UVE FROM THUNDERBIRD RADIO HELL 7- 9:00PM Join Ed. Peter, and John for a real live band In your livingroom. automobile or WalkPerson. If YOU or YOUR BAND are Interested in participating, give Ed a can at 462-9281. 31st Juan Valdez Me moral R&B Ensemble 7th Sman Man Syndrome 14th Valentine Special w/Intoxicators 21th The Big Lie 28th Jethro Gun Freud MIDNIGHTTOTHELASTBUS 12:00-4:00AM Post-Pit party featuring the hit of the night from the campus' number one sperm bank. Ministry. Pixies. Puppy, andother things that specialise in noise and loudness. Plus Abba and Shaun Cassidy but only if you ask. Lost of ranting about life. too. THE MORNING SHOW 7:30-8:15AM See Monday for details. Wake up with Kim and Chris. HANFORD NUCLEAR PIZZA PIE 10-11:00 AM Always and forever dedicated to stuff- ingyour ears with the soundsof the North- West/South West(youdefine). Send stuff JIGGLE NOON-1:00PM Under new management! Gov's dead. Mikey killed him. Tune in. It's a changed show, really It is. Watch for special guest hostsand Mikey* special birthday show! I JIGGLEJIGGLE JIGGLE til thee ARTS CAFE 6:30-4:00 PM Be updated, be with it. be informed about Art, theatre, film and any other cultural event happening in Vancouver. With Antje! THE NO HOST BAR 4-8:00PM Richard Gere knows the Dalai Lama. Biondie did a theme song for a Richard Gere movie. Pat and Lisa have looked at the cover of a Biondie album. Coincidence? We think notl HOOTENANNYSATURDAY NIGHT! 8-10:00 years! Listen forour legendary Backwards Song (8:15) to win valuable prizes, guffaw uncontrollably during Let's Ask Valerie (8:40). call in your votes for the Listener's Choice (9:00). then sit bock and enjoy six bucks' worth of fun on the 50* Record Hour (9:05). Mmm - good! THE MORNING SHOW 7:30-B:15AM See Monday for details. Wake up with Stefan and a yard full of smiles ond happiness. NOW YOU HAS JAZZ 8:15-10:30AM Join Tommy Paley for a mixture of jazz music, insight, and indepthstories. Ideas, requests, and comments are always feature that closes every show. 2nd Jack DeJohnette 9th Singers through the world MOVING IMAGES 10:30-11:00AM Join host Ken Macintyre as he takes you on a tour thro ughthe silver screen's bock lot of Hfe with film news, reviews. Inter- IT'S NOT EASY BEING GREEN 1:15-2:30PM The greenest of the CiTR DJ crop try to germinate and take root on the air. If you are interested in CiTR programming possibilities, phone the Program Director at 228-3017. ABSOLUTE VALUE OF NOISE - PART ONE 2:30-3:30PM AND PART TWO 4-5:00PM Found sounds, tape loops, compositions of organized and unorganized aurality, power electricians and sound collage. Live experimental music. 100% Canadian! ' ' MISCELLANY 5:3O-6:0OPM Join Kim Trainor and Stefan Ellis for .21 days of definitive frequency modulation.... Lots of stuff about everything everywhere. Varies weekly. HOME VIDEO INTERNATIONAL 7-9:00PM Radio adaptations of movies. Taping this program is strictly prohibited. STOMP ON THAT BOPPATRON 9PM-12:30 JOIN THE RHYTHM MACHINES 12:30- Soup Stock Irom the Bones of th* Elephant Man Is no more. Long live the Elephant Man! Long live the Soup! This new show will be exploring the relationship between post-night-out anxiety, the complexity of human movement performance, and exercise-related mood enhancement. Tear ligaments to Nitzer Ebb. KMFDM. Mussolini Headkick. 242. the Nettwerk and Wax Trax! rosters, etc. Hosted by Lloyd Uliana. Features: 9th Interview with Skinny Puppy's cEVIN KEY (part one) 14th Interviewwith cEVIN KEY (parttwo) 23rd Anthony Roberts of Group 49 and Carbon 14 live in-studio. discussing new project. The Big Lie. Upcoming interviews: Nitzer Ebb. A.grumh. Borghesia. and Jarboe (of Swans/Skin)... THE SATURDAY EDGE 8AM-NOON Steve Edge hosts Vancouver's biggest and best ocoustic/roots/rogue folk music radio show. Now in its fifth year on CiTR! UK Soccer Report at 11:30. POWERCHORD 12:15-3.OOPM Vancouver's only true metal show with the underground speed to mainstream metal; local demo tapes, imports and other rarities. Gerald Rcrttiehead and Metal Ron do the damage. IN EFFECT 3-5:00PM The Hip Hop Beat brought to you by DJs NielScobie.Chaz Barker and BillTzotzo lis. THE YAP GAP 5:30-4:00PM Hear figures In the Arts world talk about their works, otherpeoples works and anything else that occurs to them. Hosted by Antje Rauwerda. MEGABLAST1 1-4:00 AM Hey, now you can request whole shows! How about an Iggy Pop special? Phone in! Requests for individual songs ruin the 28 DISCORDER continuity of my show, so instead I wi» build myshowaround speclak requested by you 228-2487. Join the crack CiTR Sports Unit for play- by-play coverage of a mess o' varsity sports both on the campus and off. from soccer to football to ice hockey to basketball. Find out the reason why the TR* is in CiTR. Playoff games beckon! Upcoming regular season games carried by CiTR which will pre-empt regular CiTR programming: JANUARY FRIDAY THE 24TH. 7:30PM: MEN'S ICE HOCKEY VS U OF MANITOBA. SATURDAY THE 27TH. 8:00PM: MEN S BASKETBALL VS U OF LETHBRIDGE. HOCKEY VS U OF BRANDON. SATURDAY THE 17TH. 7:45PM: MEI BASKETBALL VS U OF CALGARY. CiTR provides free airtime forComm unity Access by groups and individuals. If you or your group would like to say something to someone somewhere, please call the Program Director at 228-3017. CiTRwantsyouto become involved with your friendly UBC Rodio Station which broadcostsat 1800 watts to the campus and beyond. Opportunities abound! Wheeeel Programming, producing, editing, writing, engineering, operating, announcing, hosting, etc etc etc. Come by the studios during normal office ho urs. Were located in Room /233 on the second floor of the Student Union Building. Or phone us at 228-3017. And yes. Jen Kelly, everyone is welcome regardless of age!& ie on by and see for yourself! mimrmim ARTS DIRECTOR ANTJE RAUWEROE BUSINESS MANAGER . .BARBARA WILSON CURRENT AFFAIRS DIRECTOR. STEFAN ELLIS DEMO DIRECTOR DALE SAWYER DEVELOPMENT COORDINATOR LINDA SCHOLTEN MOBILE SOUND LANE DUNLOP ENTERTAINMENT DIRECTOR RICHARD VILUS MUSIC DIRECTOR ... CHRIS BUCHANAN NEWS DIRECTOR STEFAN ELLIS PRESIDENT LANE DUNLOP PRODUCTION MANAGER.. ADAM SLOAN PROGRAM DIRECTOR.... RANDY IWATA PROMOTIONSDIRECTOR. BARBELGOOD RECORD LIBRARIAN .. JEROME PRINGLE SECRETARY JOHANNA BLOCK SPORTS DIRECTOR JEFF PATERSON TRAFFIC DIRECTOR TANIA ALEKSON VICE PRESIDENT ROBYNN IWATA VOLUNTEERCOORDINATOR.. BILL BAKER BUSINESS LINE 228-3017 DJ UNE 228-2487 (228-CiTR) NEWS LINE 222-2487 (222-CiTR) FAX LINE 228-6093 STAND IN LINE ROOM 233, SECOND FLOOR OFTHE STUDENT UNION BUILDING, 6138 SUB BOULEVARD. VANCOUVER. BC V6T2A5. All surveys are in and are being counted by our crack CiTR Survey Crew. Stay tuned to these pages and listen to CiTR If you wanna submit any material, just remember to Include important details like names, phone numbers, addresses, etc. Send/address to the attention of the Demo Director please. Thank you. CiTRs newest program exposing the written word as art needs you! Be they poetry, prose, radio drama, etc. if you would like to read your written works out on Hear Say, or if you would like to have your works read out for you, just phone the Hear Say coordinators Antje. Barb. Chris. Katherine. Kim. or Richard at 228- 3017. The success of the show depends BOLD MEANS CANADIAN, DONCHA KNOW AN ALPHABETICAL DEMOLIST OF THE MORE FREQUENTLY PLAYED STUFF OVER THE PAST LITTLE WHILE TRAVIS -./ASIAN YOUTH GANG ... PSYCHOTHERAPY KEMPTON DEXTER DICK ELIZABETH FISCHER MARTIN FIELDS AND THE ACADEMY VALERIE ROUGHAGE SCRAMBLERS JAH IN VIETNAM/THE AXE .. OUT OF SIGHT, OUT OF MIND SPINLIST JESUS AND MARY CHAIN AUTOMATIC MINISTRY THE MIND IS A TERRIBLE THING TO TASTE KILLDOZER MAESTRO FRESH WES TACKHEAD TWELVE POINT BUCK LET YOUR BACKBONESL1DE12" FRIENDLY AS A HAND GRENADE VARIOUS ARTISTS DAVID SYLVIAN & HOLGER CZUKAY LAURIE ANDERSON .. RADIO TOKYO TAPES WOMEN FLUX AND MUTABILITY STRANGE ANGELS . OH GOD MY MOM'S ON CH. 10! BUTTHOLE SURFERS WIDOWMAKER TRANSVISION VAMP VELVETEEN SUICIDAL TENDENCIES CONTROLLED BY HATRED The Annual General Meeting of the Student Radio Society ofthe University of British Columbia is on Monday February 19 1990 starting at 8:00PM in Room 205 of the Student Union Building on the campus of UBC. All members please attend. VANCOUVER'S HOHEST BLUES NIGHTCLUB Feb. 1-3 - Professor Blues Revue Feb. 5-7 - Willie and the Walkers Feb. 8-10- Jim Byrnes Feb. 13-17 - Guitar Shorty with The Demons Feb. 20-24 - Eddy Clearwater Feb. 27- March 3 - David Raven Feb. 12, 19, 26 - Oliver and The Elements DON'T MISS JACK LAVIN'S JAMS: SAT. 3-8 PM / SUNDAY BLUES MARATHON JAM SUN. 3 PM-MIDNITE OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 am 4$W N(wu LAURIE ANDERSON £fcTRiAi»r> CiTRiS_.9 CO OP 10 2 7 *S$?RANG£ ^^N^4 4nG* °f*SOW Available Now on Warner Bros. Cassettes, Compact Discs and Records. THE STRANGE ANGELS TOUR, COMING TO ■ THE QUEEN ELIZABETH THEATRE WEDNESDAY, FEBRUARY 21 9:30 PM TICKETS AVAILABLE AT THE QUEEN ELIZABETH THEATRE ALL -—^ issfi&ss OUTLETS OR CHARGE BY PHONE 280-4444. \ <SfiP ON SALE NOW NETTWERK ANN CiTR / DISCORDER AT G 1250 RICHARD TU ESD AY, DOORS AT < STREET ( MA RC 00 SH' At vtc,; Tickets A va i I a b I Produced by JOIN THE RHY|THM OF MACHINES (Fridays on CiTR fM102) LAND cine Entrance) H 6, 1990 )W AT 10:00 uluand Odyssey
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1990-02-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1990-02-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1990_02 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | bf2b1540-f5be-46ec-8a83-84e0f57f9ab8 |
DOI | 10.14288/1.0050264 |
AggregatedSourceRepository | CONTENTdm |
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0050264/manifest