Discorder CITR-FM (Radio station : Vancouver, B.C.) 1990-02-01

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  CiTR 101.9  fM       presents
the mighty lemon drop
charge by phone 280-4444 CONTENTS
FEBRUARY • 1990 Issue #85
Lloyd Uliana discovers that curiosity killed the puppy    6
Lachlan Murray and a different kind of house act    9
You know it's going to be a bad day when... by Rob Boper  10
Laurel Wellman snoops at SNAFU for snubbed sniffy snuffer  13
John Ruskin on the scent of things that smell  15
The stigma of stigmata - Rob Boper talks to Jim Reid  16
The rovin' ear ain't rovin' no more. By Christopher Kovacs  30
No, no...he writes the answers     5
Melody: The True Story of a Nude Dancer  22
Betty Cooper talks to a salty sea dog   23
HEY! Let's get Janis...she listens to everything!  24
You say: "What's new, man?" We tell ya  25
G-e, Bamff, 'n' Superconductor   26
What's on, what's hot, what's hip and what isn't  27
It's like TV guide, but it's for the radio  28
"__£ don't ____/£ a top ten list here at CiTR"   29
Scott Fearnley     3
Colin Upton  19
Geoff Coates  19
Marc Yuill and Julian Lawrence  21
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
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 $24 elsewhere. Please make cheques or money
orders payable to Discorder Magazine. "Many suffer from the incurable disease of writing, and it becomes chronic in their sick
minds." -Juvenal. Discorder wants your stuff: send in stories, drawings, comics, money, photos or what have you. If we like 'em,
well use 'em. If we don't, well lose 'em. Deadline for submissions and ad bookings is the 15th of the previous month.
QTR 101.9 fMis 1800 watts of stereophonic bliss on cable fM from UBC to Langley, Squamish to PointRoberts, but not on Shaw
Cable in White Rock (if you want it, you Tl find a way). CiTR is now available on most clock radios and in cars too. Office hours
for CiTR, Discorder, and CiTR Mobile Sound Renttl are Mon-Fri, 10am - 4pm (please avoid Friday afternoons) Call the CiTR/
Discorder Office at 228-3017, CiTR News+Sports at 224-4320, or the CiTR DJ line at 228-CiTR. Send stuff c/o Discorder Magazine or CiTR Radio to Room 233,6138 SUB Boulevard, Vancouver, BC, V6T 2A5.   Fax (604) 228-6093.
M^-vS^T |o'-3o-7-C*>   &**%-$ CiTRioi.9 fM & ;
PRESENT England's Foremost Dub Master
The Almighty Dread Band
Mel 'O* Productions '90
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
Punk's not dead, it just deserves to
When it becomes another stale car-
A close-minded self-centered social
Ideas don't matter, it's who you
Requiescat in pace.
Paul (still no relation)
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
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?"
Michael J. Hamilton
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
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!
AI-Ubhaid,official clukker
for the Elainester
Pee Ess. Look, I've been promoted! Bok. Bok. Bok.
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"
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
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."
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
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
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.
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
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
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
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.
FEBRUARY 1990 7 Timbre Productions Presents:
plus special guests
CITR Shindig Winners
Tix available at the door.
th estovers
FEB. 5     FEB. 6
The Railway
Tickets available at Zulu, Highlife,
Black Swan & Track Records
FEB. 9
and from Claremont, California
Tickets available at Zulu, Highlife,
Black Swan & Track Records
AT        .___,
The sTO/fers
with nilPQTQ ™ ™    i
FEB. 20
Tickets available at Zulu,
Highlife, Black Swan &
Track Records
FEB. 21
Tickets at Zulu,
& Track Records
and the PALADINS
Tickets available at Zulu, Highlife,
Black Swan & Track Records
FEB. 23
with guests
Tickets: at Zulu,
Highlife, Black
Swan, Track,
Razzberry Records
(95.1 Ave. &
Scott Rd.h
V 870 GRANVILLE MALL • 681-7838 ^ p*&\
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
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
"... 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
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
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
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
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
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.
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
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)
(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?
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?
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
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...
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.
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
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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.
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
standing pn a
street bench.
Some raised Self-
conscious haifds.
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
"I don't eat red meat or
»»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
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.
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
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
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
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.
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!
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
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
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
"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'
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
vith    their
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<
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
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."       ^
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
"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
"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
"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
1B*Z   OFF   ALL
want one?
$10...come in or write us a letter avec cheque
or money order
a 3-day CABARET
of non-traditional theatre,
performance art, dance,
music, visual art
production tickets $5 at the door
info 688"8385
ALs    brushes
CSS.    687-8006 ^k§} FEBRUARY 1990 19 ODVttEV ililPOTO
#312-825 GRANVILLE
(604) 684-5479
#233  AT UBC OR
YOU. FEBRUARY 1990 21 Melody: The True Story Of A
Nude Dancer
By Sylvie Rancour* with Jacques Boivin
Published  by  Kitchen  Sink
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.
Student Union Building
Main & Lower Concourse
All Ages Welcome
u \
_-__-7_fl_-                                    .tdtP**
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
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
Why Is the store called Ancient
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
How have the coats changed?
Well they've gotten more into
the sweat-suit type of thing...
There's raincoats... jogging
I noticed some plaid out there;
is that popular?
Yeah, very popular. Even the
fur-lined ones...
Where do these coats come
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
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
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
How often should dogs be
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?
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
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
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
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
I've had quite a few chomps...
not real serious...
What's the worst part of the
Cleaning up after a dog that's
had diarrhoea and thrown up
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
Oj$c    a.vtut able   for
*+«f*f    At*.
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
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
/, 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
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
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
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
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
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
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
Paul Steenhuisen
Warren Zevon
Transverse City
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
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
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
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
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
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...
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
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
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
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
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)...
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
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
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.
MONDAY 12   GoodnightDesde-
(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
CLUBSODA 1055 HomerStreet 681-8202
Street 681-7838
66 STREET MUSIC HALL former Expoo Site
Street 689-0926
Road. UBC 228-2678
GRUNT GALLERY   209 East 6th Avenue
HOGAN'S ALLEY 730 Main Street 681-
LAQUENACOFFEEHOUSE 1111 Commercial Drive
Street 688-3456
PIT PUB   Basement of SUB 228-6511
Street 734-8001
RJ CHRISTIES 315 East Broadway 876-
RAILWAYCLUB 579DunsmuirStreet 681-
RECITAL HALL   School of Music, 6361
Memorial Road 228-3113
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
1895 Venabtes Street 254-9578
Street 876-4165
WAR MEMORIAL GYM  University Blvd &
Wesbrook Mall UBC
WISE HALL    1882 Adanac Street (right
behind the Cultch) 736-3022
Street 875-6624
YALE HOTEL 1300Granville at Drake 681-
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So what if Barry doesn't show up anymore? Who gives a shit? GuldoandTrini
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News, sports, weather and more with the
CiTR News. Sports and Weather Depart-
Reggae. Rock Steady and Ska with
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Lachlan Murray provides the best of
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If YOU want to contribute, get in touch
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Caustic alphabets couple with (varied
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Information, news, interviews, political
analyls from the global cultures of resistance. Hosted by Horaclo de la Cueva.
Alternates Sundays with LeechCraft,
Join host Dave Emory for some extraordinary political research guaranteed to
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AIDS: Epidemic or Weapon of War?
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Lunch goes down better with The Afternoon Report.  Tune in for no frills news.
After a peaceful 15 mins. of News, from
out of no where a blistering bolt of audio
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the auditory fringe.  Live! Contributions
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See Sunday for details.   Join host Ian
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Join the CiTR Sports Department for all
the latest in Thunderbird varsity sports
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The big mouth is back, bigger and mouth-
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Trini Lopez. Ronnie Self, and The Phantom all love you. Marc Coulevin brings
Vancouver's longest running prime time
jazz program.    None of that late night
graveyard/eartyweekendjazz. Features
at 11. Hosted by the ever-suave Gavin
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!
Rebroadcast of Monday night's programme.
See Monday for details. Wake up with
Kim and the Glenn Miller Orchestra.
Garnet doesn't give a shit and neither
should you.
Country music to scrape the cowshrl o
your boots to.  With yer host-poke. Je
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!
Join Kim Trainor and Stefan Ellis for 1800
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Like your worst nightmare and mosterotic
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With Pete Lutwyche.
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
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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
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Join Ed. Peter, and John for a real live
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Interested in participating, give Ed a can
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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
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.
See Monday for details. Wake up with
Kim and Chris.
Always and forever dedicated to stuff-
ingyour ears with the soundsof the North-
West/South West(youdefine). Send stuff
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
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
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
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!
See Monday for details. Wake up with
Stefan and a yard full of smiles ond
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
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-
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.
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!   '   '
Join Kim Trainor and Stefan Ellis for .21
days of definitive frequency modulation.... Lots of stuff about everything
everywhere. Varies weekly.
Radio adaptations of movies. Taping
this program is strictly prohibited.
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
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.
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.
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.
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
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
ie on by and see for yourself!
DJ UNE 228-2487 (228-CiTR)
NEWS LINE 222-2487 (222-CiTR)
FAX LINE 228-6093
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
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.
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
OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 am 4$W
CO OP 10 2     7
Available Now on Warner Bros. Cassettes, Compact Discs and Records.
issfi&ss OUTLETS OR CHARGE BY PHONE 280-4444. \ <SfiP
AT   G
DOORS   AT   <
00     SH'
At vtc,;
Tickets A va i I a b I
Produced by JOIN THE RHY|THM OF MACHINES (Fridays on CiTR fM102)
cine Entrance)
H   6,    1990
)W   AT    10:00
uluand   Odyssey


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