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Discorder CITR-FM (Radio station : Vancouver, B.C.) Dec 1, 1988

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 4f    ^           m           i   «p
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f      THAT       MAGAZINE       FRO  I'
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I JU-JU 939 DAVIE
clothing, accessories DficORDER
That Magazine from CITR FM 102
DECEMBER 1988 * ISSUE # 71
EDITOR Kevin Smith
EDITORIAL ASSISTANTS Viola Funk,
Barb Wilson, Miss Finch
WRITERS Janis McKenzie, Dave Watson,
John Ruskin, Michael Grigg,
Fernando Medrano, Keith Parry, Lloyd Uliana,
Bill Baker, Lane Dunlop
ART DIRECTOR Marty George
ARTISTS Julia Schenck, William Thompson
PHOTOGRAPHER Mandel Ngan
COVER Julia Schenck
PRODUCTION MANAGER Michael Grigg
LAYOUT BY Martin Olivier, Julia Schenck,
Laura Corobotiuc, Katalyn Banks
PROGRAM GUIDE BY Kathryn Hayashi
TYPESETTING AMS Desktop Publishing
ADVERTISING AND DISTRIBUTION
MANAGER Matt Richards
ACCOUNTS AND SUBSCRIPTION GUY Randy
Iwata
PUBLISHER Harry Hertscheg
Discorder isThat Magazine from CiTR 101.9 Fm.
It's published monthly by the Student Radio Society
of the University of British Columbia. It's printed
in Surrey, Canada. Discorder Magazine prints what
it wants to, but pledges to (try and) put the CiTR On
The Dial program guide and Spin List record chart in
every issue. We also vow to circulate 17,500 copies
to over 200 locations by the first of each month.
Twelve-month subscriptions are $12 in Canada,
$12(US) in the States, $20 elsewhere. Make money
orders or certified cheques payable to Discorder Magazine. All written, drawn or photographed contributions are welcome. But don't expect to get anything
back. To pick up or to improve your reception of
CiTR's 49-watt stereo signal, just put a little effort
into it. Stick a clothes hanger or some other kind of
antenna to your receiver. Better yet, if you're a subscriber to Rogers, Shaw or Delta Cable, turn us on at
101.9 cable fm. Office hours for CiTR, Discorder
and the CiTR Mobile Sound Rental are Mon-Fri,
10am-4pm. Please call then. But call 228-3017. For
the News/Sports line, call 224-4320. To talk to the
DJ, call 228-2487 or 228-CiTR.
7 SHORT DOGS GROW
Not Too Much Of A Rock Band
9 ADVENTURES WITH RATMAN
Episode One
13 THE PURSUIT OF HAPPINESS
The Possibilities Are Endless
17 NEVERLAND
A Story
20 DUBLIN IS WHERE IT'S AT
Musically It's Hot; Take, For Example,
Guernica
30 LITTLE MOSES
A Christmas Tale (Not Really)
4 AIRHEAD
readers who write
6 PROFILE
numb
11 VIDEO EYE
watching out for your best interests
15 LOCAL MOTION
(VICTORIA VERSION)
sixty-four funny cars
22 UNDER REVIEW
style council, laibach, the pursuit of
happiness and more
23 THE UNDISCOVERED
the possible fruitful world of
27 ON THE DIAL
every person's guide to citr
27 SPINLIST
the hipper sounds
CHAPTER'TWENTYFOUR
D/ftrVA   WAS   <W€. 1  OrATHER£& uPMYErVTBA.K AKP
r\G.TOr\r*eOTo THE   CTTY- 6138 SUB Blvd.
Vancouver, B.C
V6T 2A5
BETTER AND DIFFERENT
Dear Airhead,
Hi! Hi! Hi! For starters, the September issue
was boring and the October issue didn't make up for
it. No, the October issue isn't "great", but it's different and BETTER than the September issue. Interesting surprise guest writer David M. I like the drawing
of how David M. got his look. It's great! "The Right
Direction" was a bit warped, but God was I glad to
read a story, not a review or interview. Please continue to include at least one story in every issue!
Those are my comments for now—
AMK
PS: Dumb ending, but—?
A STRONG MIND
Attention: Airheads, gentle listeners, and world scapegoats...
Abandon all hope ye who enter. What is to be
done? To act or not to act, courage is the question.
Hang convention, courage is not bold, self-preservation is at the fore. Yet preservation is a term of
maintenance and self-worth is found in accomplishment. How many licks does it take to get to the centre
of a Tootsie-Pop? Stepping out into the unknown
requires a strong mind. Look before you leap. Learn
to communicate and listen to people before barricading yourself. The broadcasting of powerful frequencies triggers fear. Response is crucial. A simple yes or
no, on or off will suffice, but don't. Hang on, drag it
out, and subject yourself. It's a process of education,
maturity, and acceptance. All men are created equal.
People, as animals, look out for themselves and are
naturally suspicious creatures. Will attack occur when
defenses are down? The passive savour the sadistic
and the uncertain toy with bondage. Ridicule is a
powerful weapon, but ideas are arbitrary and emotions are transient. There is no right or wrong, only
options, so to be ambiguous is simple. Don't involve
and trap yourself? HaHaHa! I don't understand.
Actions speak louder than words. Anti-social behaviour is objective, calming and safe and at least on the
floor you won't fall out of bed. Listen. It's common
to want the impossible conquest. It's less common to
attempt the struggle. To sleep perchance to dream—
it's a lie of the mind. Submission itself is a dominant
condition. But to be forever a child is an escape. Ditto
skeptics. Tune in. Grateful are the masses. Open your
mouth, close your eyes, and you will get a big surprise. You don't believe me, I can tell.
High Power, Truth, and Apple Pie
129142119.
4   DISCORDER
GO WITH IT
Dear Airhead,
Re: Hippie Days Are Here Again
In regard to your article, my first thought was
"Oh God, not another opinion about the so-called lost
generation!" However, if lacking in originality, the
article did manage to cover some good points. Yes,
everyday, faceless numbers of youth may gaze upon
their reflections, wondering the unanswerable question, "Who am I?"
It seems that young people have been brainwashed throughout time. They have to be someone;
without an identity, they will be nothing. Is this where
the nerd part comes in? Actually, I'm quite frustrated
with this never-ending stereotyping of people. Individuals of different groups are assumed to dress and
act a certain way. Can one deviate from the norm?
Cannot a hippie have bad skin or a nerd have a drug
problem?
The whole point of being "real" is being yourself and therefore unique. If being yourself means
dressing in the latest "fad", then by all means go with
it. Being "real" has nothing to do with a person's
general taste; it is a state of mind.
Yours sincerely,
Coral Fidler
In other words, if you're a shallow, mindless sheep
then just go with it?
SOME ADVICE
Dear Airhead,
I do not going criticise you, I just like give you
some advice. I do like very much Discorder and I
also do listening CiTR. Actually only one station
what I do listen. You always talking about music—
mostly, what is good and politics what is also very
educational. I do prefer if you also do stronger intention to visual arts. I do understand it is not possible
transmit paintings by radio waves, but is possible
give review about local artists and they work. And
give more information about art shows going in the
town. You maby said: They have them magazines or
what ever, but remember, they are also in different
hands. I'm artist by myself and I will very much
appreciate this understanding.
Yours,
Rudolf N.
Your wish is our command. Next month should see the
start of a semi-regular column dealing with visual
arts.
THIRD RATE DRIVEL
Dear Airheads,
Please stop printing those Guy Bennett-written
Steve Albini rip-offs. Bennett is doing a poor job of
plagiarising Albini's short story ideas and styles. If
you would like to publish some clever avant-garde
literature, why don't you reprint one of Albini's
stories from a past issue of Forced Exposure magazine, or contact Mr Albini and ask him for a submission? That way it would spare us from any more of
Guy Bennett's second-rate drivel.
Sincerely,
Harry P. Kniss
(3rd Year Arts)
Ditchmond, BC
Assumption #1: All cool people know who Steve
Albini is.
Assumption^: GuyBennett hasactuallyreadAlbini's
stories.
Assumption #J: Harry P. Kniss doesn't have the
courage to submit a story to Discorder.
Capt QnytUrig CJjat
Sounds 3Uke or
HUminte $ on d
Christmas
(your favourite card, a cash register,
rent a choir and orchestra and sing the
Hallelujah Chorus, or somehow
make a comment)
It Can ©t Sivp 3Uttjjtrj
You will be immortalized on
December 25 between 9pm and midnight
M Camrifottion* ftffl
©e ©roatoast
Phone-In contributions are possible
Phone 228-3017 (Mon-Fri lOam^pm)
for more info
©ea&fint if or
Submission*:
JBettmber 16, 1988
&Nrrtss Tjj&tUagtz to:
CiTR, SUB Room #233,
UBC, Vancouver, BC V6T 2A5
2Brop~<©ft joints:
CiTR-fm 101.9
Odyssey Imports 534 Seymour St.
Zulu Records 1869 West 4th Ave.
Pease HUmemter:
Return of material cannot be
100% guaranteed. GET KM
get mm\
THIS IS THE YEARS LAST DIG!
mOnDAYs
flnAl dig dEc  12
P
R
I
Z
E
S
i
CiTR
101.9 fM
1st!  24 HRS RECORDING TIME IN A 24 TRACK STUDIO
§ Mushroom Recording Studios
24 HRS RECORDING TIME IN A 16 TRACK STUDIO
§ Fluid Sound Studios
2nd!  24 HRS RECORDING TIME IN A 24 TRACK STUDIO
§ Profile Studios
3rd!  24 HRS RECORDING TIME IN A 16 TRACK STUDIO
@ Bullfrog Recording Studios "It's sort of a reflection on society in that we are so bombarded with stimulation every day that we
are desensitized on the whole. So you get into this problem of if your audience is desensitised, what do
you do to grab their attention? Well, there's two ways of doing it. The obvious way is to do something
that goes above that threshold of numbness. So are we a symptom or a problem?"
That was the direction Don Gordon, guitarist of local distort-industrialists Numb, took the question of the
band's philosophy vis-a-vis their employment of X-rated films at their Graceland show last December. That
question itself was derived from a discussion I had with Numb prior to last year's appearance with Sons of Freedom, where Gordon was quoted as saying: "With our music and our visuals, we are trying to create a feeling... an
emotion. We'll take our aural and visual images from wherever they're available...whether that source is a
construction site, a TV set, or whatever..."
With performances kept to an absolute minimum, the trio of Gordon, Sean St Hubbs (Stubbs), and Dave
Hall (Rosychuk) have had to rely on the strength of their self-titled vinyl debut on Edge Records to get their
name out. The LP tops any other locally-based independent release of recent years. It's reaching the top end of
import charts in various US music trade mags and this summer hit the Number One position on the CiTR/
Discorder Spinlist, due in large part to the Nitzer Ebb/Young God-ish Two Faces, Eat Me, and God Is Dead.
All three, incidentally, co-produced by Moev's Anthony Valcic.
GORDON: Anthony's sort of like the fourth
member in a way. In the studio we work quite
closely with him.
HALL: When we were doing this album, he was
just starting to get into Moev. They were working out at Limited Vision and he just got on with
them really well. From then on he's been doing
a lot of their stuff... a lot of Nettwerk stuff as
well... Manufacture right now.
G: With the next album, we'll be working with
him again. We work quite well together because
of the way we tend to do things. We just very
roughly sketch out the songs before we go in the
studio; editing and just playing with it there and
just sort of capturing the mood as best we can.
Eat Me was actually all recorded and mixed in
one session. It was a long night... very strange by
the end of it.
DISCORDER: Those are probably the tracks
which have got the most mileage for the band,
club-wise.
G: Yeah, God Is Dead is sort of the "single" if
you will. It's not really a religious song per se.
It's more about false leaders, false beliefs.
D: Are you surprised with the response to the LP
at all, particularly on the local front?
H: Yeah, we're surprised especially with how
well we did in Vancouver. We weren't expecting anything like what happened.
G: Well, you know how it is in your own city,
people usually tend to ignore you and we're
surprised at how favourably the album was
received here. It's been selling quite well. Even
the major record stores in town have picked it up
which is once again quite something for an
6   DISCORDER
independent album.
We're not really that involved with the
marketing side of it, the retail end of it. That's
Edge Records' job and so that's been the beauty
of it—we haven't had to go out and try to sell our
record. Itseparates you because it makes you the
artist and you're not having to be the business-
person at the same time. It allows you to do crazy
things and be an artist.
D: Like your pals Front Line Assembly, Numb
have that split personality of part-time dance<
band, and part-time "serious" composers. For
instance, the more adventurous Morality of
Altitude, Hanging Key, and Blue Light. Are
Even if you do put together a video
can you see MuchMusic playing God
Is Dead? Lyrically, right off the top
it's not gonna get on there.
you going to be pursuing any one sound in future
projects?
H: A bit of both, I think. We like to do the dance
clubs of course. That sells records and gets your
name out very quickly, but we don't want to lose
doing any experimentation. We'll keep that part
of it for sure, maybe half and half on the next
album.
G: With the advent of compact disc as a popular
formatnow, it allows you more room. It expands
it to seventy minutes you can play with instead
of forty-five, so I think we can maintain both
sides of it and I think you'll find that the mood
of the slow stuff will still carry over into the
more uptempo things. Let's face it, nothing on
here's particularly happy, shall we say. That
mood will still be pervasive throughout all the
material whether it be of a less beat-oriented
nature or aggressive.
D: A video package is something you spoke of
a year back. How close are you to realising that
project?
G: We aren't really close. There's a two-edged
problem there. One of which is money. Let's
face it, as an independent artist, you're dealing
with limited budgets. We're audio artists and
not particularly visual artists at the moment, so
that's where we're going to be sinking most of
our money. And the other problem you get into
is even if you do put together a video can you see
MuchMusic playing God Is Dead? Lyrically,
right off the top it's not gonna get on there. The
whole point of video is to help increase your
audience and if you can't get the video played,
then what's the point if you're dealing with a
limited budget? We've been discussing the idea
at some point over the next little while of putting
together a package which is visual in nature, but
not the standard rock-band video thing. We're
hoping to collaborate with a video artist that we
know and put together a package which would
be like a visual package with Numb music to it.
In addition to an album, there may be this Numb
video/audio package that would be sold as such
but that's something we're working towards.
Lloyd Uliana
Soup Stock from the Bones of
the Elephant Man
Fridays, 12:30-3:30 AM reth<
lali:
fine
living
periodicals in ^e!HKflh>HacX|round
Dillon. "Should be one swell interview", I thought.
I'm not sui
Grow, Once
San Francisco
apprehensive at t
; in se;
Short Dogs
om
Upon meeting the band, my fears
were quickly allayed. Singer-guitarists Tom Pitts and Greg Foot
are genuine do wn to earth nice guys,
open and eager to meet people wherever they go
and possessing a healthy sense of humour. The
interview took place in the backstage washroom, which brought out the worst in us. We
unfortunately offended Carmela, and lost her
for the duration of the interview.
Describing the sound of Short Dogs Grow
may be an exercise in futility but I' 11 try anyway.
You could pick and choose dozens of 'they're
sort of like so and so meets so and so,' but to me
they bring to mind Sticky Fingers-era Stones,
or a less thrashy, more down-home Soul Asylum. Their brand of straight forward rock and
roll may not be the most original, but the heartfelt, uncontrived delivery and Tom's impassioned vocals somehow giveShort Dogs asound
of their own. Says Greg, "We're a rock band
that's not too much a rock band. It's hard to
explain, I mean we're not metal and we're not
punk, we'rejustsortof arockband. People who
get by in the city and just do their own thing."
Environmental Scatology	
Matt Dillon, the band's most recent lp, seems to have captured
SDG better than their self-titled
debut. Tom explained, "If you
like Matt Dillon, if you really, really love Matt
Dillon, you probably won't like the first one that
much. But we tell people that if they really like
the first one, then they'll like Matt Dillon even
more, but that's not always the case because it's
(their first album) a lot faster, the songs are a lot
shorter, it's a lot more basic, there's not so much
stuff layered over it, and it's not so decorated."
Greg adds, "I'd only been in the band three
months. It was the sort of stuff that Tom wrote
and we just wanted to get it on the first album.
I'm sure if we re-did it now it would be a lot
different."
Now why would they call their album Matt
Dillon? Greg's reasoning is "It's easy to pronounce, and everybody knows who the hell he
is." A more accurate explanation may be that
Matt Dillon's first movie Over the Edge had a
cheapo-seventies appeal that inspired the band.
Youknow.flaredpants, the soundtrack had Kiss
and Cheap Trick on it...that sort of thing.
- Mondays 12:30-4:00am-
The fact Tom is from Calgary partially
explains why SDG come to Vancouver and
Canada so frequently. "People out here tend to
support music more than in S an Francisco. There
might be people out there tonight who've seen
us ten times. It's really pretty up here and the
people tend to be a bit more friendly and open-
minded than we are ourselves sometimes at
home." Tom offers that "San Francisco is a lot
mellower," with less prostitutes, less violence
and less overall late night action.
And life on the road for a semi-successful
independent band? "It's up in the morning, go to
Denny's, drive for eight hours, get to a motel,
order pizza, get a twelve pack and relax, go to the
show, play, have a few beers, come back, hopefully catch some H.B.O. and get the hell to bed.
Do the same thing for six weeks and call it a
convenient love of life."
After this current six week tour, the band
will return to San Francisco to record an ep,
(slated for a Spring '89 release), on the Rough
Trade label. Tne tongue in cheek tentative title?
"Rock and Roll," replies Tom, "it's simple,
straight forward and you know what you get
when you buy it."
 Keith Parry
DECEMBER 1988   7 Sitting in the CiTR lounge watching the 19 hour Narduwar the
Human Serviette marathon go by, I had the distinct "pleasure" of
meeting and interviewing Mark DuMain, self-proclaimed "underground artist and commando percussionist" for a local noise band,
Girls! Girls! Girls!. DuMain, perhaps better known by his professional name, RatMan asked that he be given a chance to bring his "own
personal and unique type of message" to the readers of Vancouver.
Also in the room were three youngish looking girls, one of whom was
kneeling on the floor batting a ball bearing back forth between her
hands and chanting the word "shemp". Since they refused to disclose
their names, I will call the girls "1", "2" and "3".
Bill: Ok...let's get under way here...I'll just
check if this thing's on...
RatMan: Is that a Walkman, or what? It looks
like a Sony Walkman.
B: It is. It's a recording Walkman.
R: [groans]
B: What...you don't like them?
R: No. They've really distanced people from
each other...from listening to each other...from
listening to ME goddamn it. As an artist, as a
fucking  artiste,  I  find  it offensive  and a
little...urn...well it's offensive, anyway.
1: Really, shemp...shemp...shemp...
B: Ok. Well, let's talk a bit about-
R: Hang on. Excuse me [he asks 2], do you
smoke?
2: No, sorry.
R: You should. Does anyone have a smoke I
could bum?
3: Here. [Throws a cigarette to RatMan and
smiles.]
R: Fuck. Smoking. It's going to be my New
Year's resolution to quit smoking. Cigarettes,
anyway. Hey! speaking of New Year's, my
group is going to be playing at-
3:" You're in a band? What do you play?
R: Ya. It's called Girls! Girls! Girls!. I play
garbage can lids and stuff. I'm a percussionist.
Listen-we need some dancing girls for this one
song where-
B: Excuse me...I've got to get on with this. It's
half price day at Value Village tomorrow and
I'm going to need my sleep, so can we just get
the interview done first?
8   DISCORDER
R: Ok. Well anyway, we're playing on New
Year's [grabs microphone] SO COME OUT!
B: Ok, so what kind of a show can we expect to
see if we turn out?
R: Well, we're going to have aNew Year's party
where everyone starts off the year having fun,
because I was reading in the paper the other day
that they say - whoever they are - that what you
do when the New Year arrives is what you will
be doing all year. It's really bullshit, though,
because if that was true, I would've spent the last
nine or whatever months standing on the Granville Bridge wishing I could piss.
B:Hmm.
R: My teeth were really floating.
B: Why didn't you? P-I-S-S, I mean.
R: What's this P-I-S-S shit? Just say it! Piss!
Anyway, I didn't because I was in the back seat
of a bus.
At this point 2 and 3 stop reading the
Graffiti magazine on the table, 1 stops chanting, and they all move in closer to participate
in the interview (and get a better angle on this
artful dude).
2: Were you going to a party?
R: No. Coming from a party. I had to get home.
My head was really fucked by the time I left...I
knew it was time to leave when I saw this huge
fat guy, Sam, come running down the stairs
blowing Cheez Whiz out his left nostril.
2: What?!
R: Ya. [laughs] This guy had been eating Cheez
Whiz off a spoon when he gagged on some beer
and started sputtering and spewing this fucking
Whiz out his nose.
1: What were you guys doing? [She is wide-
eyed, looking as though someone had smacked
her in the back of the head with a 2x4.]
R: All night? Shit. You got an hour? [Chuckles
and pulls a Johnny Rotten face.]
B: Hang on...listen, about this gig on New
Year's, where is it happening?
R: Just a second, man., .[turns back to the charming ladies] It got going at like about 5 in the
afternoon when these four guys and me, Matthew, Steven, Sam, and.. .urn.. .this skinny fuckin'
guy...urn...well anyway, we were deciding what
to do onNew Year's. There was a HeraldNix gig
at some Bohemian Church Hall in East Van, and
they wanted to go see that, but if I wanted to see
fucking Elvis, I could just stuff my Dad full of
Twinkies and rye and put on a record.
B:What?
R: Never mind. Anyway, so we decided against
going to Herald Nix because they were having a
party down at the Marine Club for like $5 or
something, and cheap drinks, and all. So then,
Phil Derrik! ...thatwas the guy's name. Anyway,
then Phil pulls out a bag of mushrooms that he'd
picked up from some head at Wreck Beach and
saved all year, and asks if we want to do them.
What can you say at a time like that? Of course
we did them, and we just sat around for like 2
hours, [sings] "Waiting for the drugs to take
hold." This Phil guy was really weird about stuff
like this, though, and he wanted to lock all the
doors and windows and make sure there was
some "mind blower" of a video to watch on his
VCR so he goes out to rent that Sci-Fi movie
with John Boy in it? You know that one where
the spaceship has a rebel flag on it and it has tits?
[nobody knows the one] Anyway, so we're
locked away in this basement in Richmond, and
we're watching this star movie, and suddenly
my head feels like it's full of air! [I choke back
an impulse to say the obvious.] We just had to
get out. So I said, "Let's get out", but it kept
coming out like "Hey brothers, lets bogart this
scene" and stuff, so no one moved. But eventually they got the message and we went upstairs,
and we looked for some food, and this S am grabs
a bottle of this like luminescent Cheez Whiz off WORK LESS,
GET HIGHER MARKS
WE CAN HELP!
call RICK ORNAR
879-6121
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South Granville Store
2556 Granville St.
Drop By For A Free Candy Cane the counter and stuffs it in his coat pocket, and
'we all left.
Well, we walked to the bus stop and just
stood there for like an eternity, until finally a bus
came, but Phil kept telling us not to get in
because the bus looked like an evil Don Rickles
and he's going "Can't you gents hear the laughter? Can't you hear it?" [laughs, coughs on his
Du Maurier special] Fuck that's a good sound.
Shit. Do you have any coffee in this place?
B: Ya...um, listen - I'll just go downstairs and
get some while you tell the story, and then we
can get down to the other stuff—I'll just leave
the tape machine on, ok?
After collecting money from RatMan, 2,
and 3 and convincing 1 that they don't sell
Cheez Whiz in the SUB, I left to get some
coffee. During my journey RatMan tells the
girls at great length about the bus ride downtown and how they ended up going to
MacDonald's on Main Street before going
downtown. By the time I've got his double
"expresso" and the coffees, the mushroom
party is reaching the old Expo Site.
R: Thanks, man.
B: Ok, so are you pretty much done? Listen, I
was wondering about your graffiti art and what
not. Is there any around town that I might have
seen?
R: Ya, on Clark and Gravely - hang on just a
second, man. So we're standing in Expo Theatre, and Sam is telling me about when Slow
played and how Hamm dropped his pants, and
we're trying to convince him that it was at a
different place. Did you see that show?
1-3: Ya. It was great. Slow? I love Slow!
R: Fucking rights. Anyway, you know that
Dream Machine? The roller coaster? Well, we
were trying to climb up on it, and then we saw
these lights. Well, we were still really high, and
we didn't take much notice, until these two
goofs in a truck pulled up, and one pulls a gun
and yells "FREEZE", you know? "GET DOWN!
NOW!" So we were shit scared, and we came
down. It turns out it wasn't a gun, only a walkie-
talkie, but the guy was huge. He told us to get in
the pick up, so we did, and we were all stuffing
our ID down our socks and underwear 'cause we
didn't want to get hassled by cops. So they took
us to the gate by the stadium and just said "get
the fuck away from here." We tried to be cool
and take our time, but then the cops drove by and
we left.
1: Oh my God!
R: Ya. So we walked up to the Marine Club, and
we got in, and by this time we were pretty
straight, and we just sat down by the organ and
waited for some service. You know how when
you're coming down off a drug and you see
something weird and then you think you're
stoned again?
2: Ya! Like this one time we were on acid?
Remember.Sylvia? and-
3[aka Sylvia]: You bitch! Now they know
it's me! I'm supposed to be in Powell River!
R: Relax! We can edit this out. [puts his hand on
her knee]
B:We?
R: Anyway, this little guy called Solly comes up
to our table, and he looks like a demented little
pervert, or something, and he looks Steve right
in the eye and says "You little bastards, my
friend was shot right through the head in World
War II. What'll you have?" [laughs] Fuck, the
Marine Club is great. Did you ever go there?
3/S: Ya, a few times. I like Frank.
R: Is that the big black guy on organ? He's
great! He knows the theme from the Jeffersons.
Anyway, we ordered a bunch of beer and just sat
there because we were glad to get out of the rain
and all. Oh ya - it started raining at Expo. So
we're sitting there, and this- what is his name
again?
B: Frank. Listen, umm...this interview can't be
longer than four pages, so maybe we could just
get some actual questions and answers happening...
R: Ok, I just want to finish this story. So Frank
comes up to the little stage and starts wailing
away on a sax. It was great. Then we went to play
pool.
It becomes Increasingly obvious as the
minutes pass that this interview is going
nowhere, so I relax and listen to Narduwar,
who's playing porn film soundtracks intermingled with a live performance of MacBeth.
Suddenly, DuMain, aka RatMan, leaps for
the radio and turns it off, leaving the room in
silence.
R: Fuck, that guy's annoying me. Anyway,
about this time, this really distrubed looking
really fucking acne-covered old man starts fishing his hand around in the pickled egg jar. Just
like, swishing.
3/S: Eeeeyew!
R: I know, fuck. Not even getting any eggs, just
.. .1 don't know, and this bar lady comes over and
says "get the hell out" or something, and he
raises a big fuss, and starts yellin' andscreamin',
and finally that guy stops playing his sax, and it
was like in cowboy movies, you know? That
silence? [they nod, naturally] And like everyone
looked over at him and watched. So what's it
again...?
B: Frank. Um...listen-
R: Frank says, "Looks like there's a weasel after
the eggs I" and everyone laughs and looks around,
and then he says, "I don't know who's more
pickled - him or the eggs!" And then everyone
starts laughing really loud and this guy runs into
the can. So we went to sit down, but I had to P-
10  DISCORDER Well, with all the moving
I've been doing lately, I
just haven't had the opportunity to be as lazy as
I normally Uke to be. In
fact, I've been downright energetic and feeling fine, at least in part because I now know
what poisonous mushrooms look like and
have eliminated them from my diet this
season. Of course, I had to totally redecorate once my pupils contracted, but that
was kind of fun, too. I'm a guy—my decor
needs are simple. Put the couch there, the
TV across from it and, if I really feel fancy
someday, I'll put the toilet paper onto the
little roller thing.
But, I did manage to squeeze in a few
films and, best of all, two had Sean Con-
nery in them. The first was Highlander,
starring Christopher Lambert as a medieval Scottish king who discovers he can't die
unless he is beheaded, and Connery as his
ancient teacher who schools him to fight as
part of a select group of warriors who are to
battle until only one is left. There are some
neat scenes, and some people lose their
heads, but the ending is a bit vague and
mystical. A so-so choice.
The other Connery flick was theterrific
Name of the Rose, set in the earlier middle
ages at a monastery plagued by unusual
deaths. The film is based on Umberto Eco's
excellent novel, and although a lot of historical detail and context had to be lost in
the translation to film, it is surprising how
well the atmosphere of the time is portrayed, particularly the plot subtext of the
Church's near stranglehold on knowledge.
A type of intellectual detective
story, with Connery as the wise
Sherlock Holmes-styled investigator. There's lots of neat
monk stuff, secret passages, caverns, and
an Escher-like labyrinth of a library that has
never heard of the Dewey Decimal System.
Odd and suspicious characters abound,
including a castrated assistant librarian who
looks like Jabba the Hutt's younger brother
and an evil representative of the Spanish
Inquisition, and I certainly didn't expect the
Spanish Inquisition. Then again, nobody
does.
And, I saw The Whistle Blower, which
has Michael Caine and Sir John Geilgud
starring in it, A quietly understated British
spy thriller, it quickly disappeared right
after its theatrical release, overwhelmed at
the box office by another Caine film and
Pierce Brosnan's The Fourth Protocol. This
is a shame, because it is a step up from most
films of this nature, with a fair bit of class
and no distractingly gory deaths. The
emphasis is on paranoid intrigue rather
than gunplay and there is a lot of commentary on the amoral secret world of the intelligence industry.The traitor-riddled British
Secret Service is entirely dependent on the
CJLA. for guidance, and we all know what
a bunch of bastards they are. In fact, when
I applied to them in 1979 after seeing their
newspaper recruitment ads, I didn't even
receive the courtesy of a reply, but I assume
my resume is still on file.    Dave Watson
I-S-S [glances atme sarcastically], and so I go to
the can, and here's this same old guy, lying on
the floor of the can with D-O-R-O-H-T carved in
his leg from a penknife and there was blood all
over the fucking place and he says.'T need help,
son, get Dorothy."
Girls: Oh my God!
R: Ya. And I said, "Who's that?" and he says,
"The barmaid...Dorothy." So I go out and I say,
"Are you Dorothy?" And she says "No" and I
tell her about this old guy, and then all of a
sudden the place is in turmoil, and ambulance
guys come, and all, so I suggested we leave, but
the guys wouldn't go, and I asked the bar guy to
call a cab, and he sort of laughs and goes, "No
cabs will come here, son, besides - it's almost
12," so I went out to get fresh air, and just as I've
decided, 'To hell with it. I'll piss on the stairs",
out comes Sam and all with the Cheez Whiz and
we'd been kicked out.
3/S: Why?
B: Listen - I'm just going to leave you four here
and you can call me if you want to go ahead with
an actual interview, ok?
I leave the room to go play a Nazareth
record on the Narduwar show. I leave the
tape recorder on just in case.
R: I can't remember. But..oh ya! Sam had ordered this drink called "Slow Comfortable Screw
Against the Wall" from that Solly fuckhead and
we got booted. So we caught a bus and went
home. At least I finally got a chance to piss. I
waited until I was right outside Lansdowne mall
and pissed on the sign there. Kind of symbolic,
you know?
Girls'* Ya. Right on. I hate that placc.it's
so...like...plastic, you know? Ya.
R: Well, I got home and my dad and his girlfriend were listening to Classics IV records and
smoking dope, and they made me bang pots and
pans with them every hour to celebrate New
Year's in Uke fucking Turkey or something.
Like every New Year's. So the moral of the story
is...um...don't smoke dope, [the sound of the
microphone being grabbed is heard] Ok, Vancouver! Come and see us at the [night club, time,
address] on New Year's! Hey, do you guys want
to go somewhere?
Girls "Ya! We could go back to my parents'
place. They're away 'til tomorrow.
R: Ok, right on...where is that interview guy?
Hey! Fuckhead! [girls laugh, he grabsmic again]
Thanks for the interview. Bye. Let's go get
fucked. Bill Baker
DECEMBER 1988 11 MICHAEL THOMPSON
BOOKSELLER
FANTASY & SCIENCE FICTION'
434 West Pender Street
Vancouver, B.C.
Canada V6B 1T5
682-6885
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fash 'un$ • • •       319 cambie st. The Pursuit of Happiness have come
a long way. AU the way from Toronto,
as a matter of fact. But don't hold
that against them—not everything
from Toronto is evil, and anyway they're reaUy
from Edmonton, Saskatoon, and Winnipeg.
About TPOH coming a long way...(Cue
music, fade to black, turn on fog machine).. .Two
years ago no one really knew who they were.
Except for maybe their mums. They recorded a
basement tape of a song that vocalist Moe Berg
had written, the now-legendary (weU, by Canadian independent standards) I' m An Adult Now.
No big deal. The truly big deal was that for $200
TPOH put together a hot video that got major
rotation on Much Music, and most importantly,
caught the eye of the record companies.
"We had no intention of releasing that
song," apologises Moe. "But it became so popular and people were asking for it so much, that
we had no choice." Independently, TPOH sold
over 1500 copies of the single, and WEA Canada shipped over 15 000. "Yeah, I'dsay we were
happy. Surprised, yes, but also happy."
Then things got quiet for a while. The band
released another single, Killed By Love, which
did weU, but didn't grab people's attention the
way I'm An Adult Now had done.
"It's great to be on the same label as
Blondie, the possibilities are endless."
During this time, many different
record companies passed through
the doors of the TPOH management squad, but nothing was ever
agreed upon. Then Chrysalis came along. You
know, Blondie, Huey Lewis, et al. ("It's great to
be on the same label as Blondie, the possibilities
are endless.") Now TPOH have their first album
out, Love Junk.
With the album comes a tour, including
their third visit to Vancouver this year. Also
interviews. Long, endless interviews. And this
is what comes out of all that. Not really worth the
hassle if you ask me, but then again, a poorly
written article is better than nothing.
However, one point does come across in
our fifteen minutes in the presence of Moe Berg.
TPOH are not going to get swaUowed by success. They've already experienced a degree of
success, and are about to get a dose more. They
are ready for it. They've done all the things indie
bands are supposed to do without seUing their
souls. The Pursuit family kept their integrity and
have a record (produced by Todd Rundgren,
no less)that captures their sound.NotChrysalis's,
not Todd Rundgren's, just The Pursuit of
Happiness's. And that is something that they
can be proud of. Kind of a sappy ending, but then
I'm just a suck when it comes to Canadian
independents making the big time. I've got to go
now, I have to cry.
Oh yeah, you can turn off the fog machine
n0W- Lane Dunlop
1 THE WAY IN t
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Now if I went walking around Vancouver wearing an Iggy or (heaven
forbid) U2 or even Skinny Puppy t-
shirt, who wbuld notice, right? But
for some reason, when I'm wearing my 64
Funny Cars' 'Princes of Summer' shirt, with
the stunningly true-to-Ufe drawing of Tim, Colin
and the Erics, people stop and stare at it, and not
because they know the Funny Cars are the coolest of the cool. Unfortunately. The sad truth is
that, outside of some hip types in Victoria, no
one seems to have heard of this band.
So who are 64 Funny Cars anyway? Just
four groovy young guys from the City of CFUV
(where, coincidentally, two of the band members have high-powered jobs). Eric Cottrell
(formerly of Bruised and Stupid) on telecaster,
Colin MacRae on an Aria bass, and Tim Chan
and Eric Lowe (formerly of the Ryvals), who
play, respectively, Gretsch (guitar) and weird
transparent green and yeUow drums. They're
always getting compared to Seattle's Young
Fresh Fellows, which must drive them nuts, but
there are a lot of similarities, especiaUy with the
first one or two YFF albums.
The Funny Cars play simple songs,
the kind you can sing along with
after just one or two Ustens, with
siUy and/or sad lyrics. They all
(well...not Colin so much) contribute vocals;
and they sound (and this is why I Uke them so
much) like they are honestly having a good time.
Even when they played the Town Pump in
September and one of the Wardells came up to
tell the band that their van was at that very
moment being approached by an ill intentioned
tow truck in the back alley, the Funny Cars just
made a joke, tossed their keys to the bearer of the
bad news and forgot about it. When I asked Eric
C. how they always manage to have such a good
time onstage, he shrugged and said, "We amuse
ourselves by making lots-o-mistakes."
Now this is probably why 64 Funny Cars is
unlikely to pack out the Coliseum in the next
little while, and at the same time exactly why the
band already has such a dedicated (if small)
group of devotees. It seems that this is one of the
ways the world divides itself when it comes to
music - some people think technical perfection
is everything, while others... But I don't want to
say more unless you get the wrong idea. I mean,
I didn't hear any mistakes!
Eric C, who did most of the talking
that night, had lots of other quotable things to say. Of their recent
recording in Popllama Studios
with pop guru Conrad Uno, Eric commented
that Uno is "half bat, half producer", which
makes no sense to me unless it proves that mere
mortals can't put out YFF and Fastbacks records. (By the way, the ten songs that resulted are
still looking for some ambitious indie record
type to press them - is there anybody out there?)
The one place I don't agree with Eric is his
assertion that Neil Young is God ("One of my
most favourite Canadians next to Bruno
Gerussi."), not because of the theological impU-
cations (which are too scary) but just because.
Anyway, maybe just having the rough Uno
mixes next to my typewriter is making me too
sUly, or maybe I'm just too much of a fan at this
point to say anything remotely journalistic about
64 Funny Cars. I will only add that someone in
the band is reknowned for his chocolate chip
cookies and, unfortunately, the Funny Cars won't
be playing again until January or so (when Eric
C. gets back from Japan). In the meantime,
watch out for the Rockin' Chinamen, made up
of Eric Lowe, Tim Chan and Kevin Lee of the
infamous Bedspins. jan|s
2ND
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DECEMBER 1988 15 cv
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M
ichael padded
down the hall in
damp wool socks.
He had been playing in the snow at recess.
A snow man had been made anew after
yesterday7 s destruction and a dam of ice
erected in the gutter. Yesterday, he had put
his plastic sandwich bags around his feet to
keep them from getting wet. Space slippers.
He would make the same at lunch today.
Make his space slippers.
Michael hesitated at Room Three. With
an awkward grip he twisted the cold doorknob. A big lady with yellow hair sat behind a desk. The desk was bigger than his
own but not as big as teacher's.
"Hello there. You must be Michael."
The big lady with yellow hair stood
and came towards him. Her lips were bright
red. When she spoke her mouth did not
move. Michael backed away.
'There's no reason to be shy. I want to
be your friend."
She put a hand on his shoulder. She
had long painted fingernails, red like her
mouth. She led him to a small desk and sat
in a chair opposite. She brushed a hand
across his cheek.
"Ooh, your face is hot. Were you playing in the snow at recess?"
Her voice was long and soft. Michael
snuck his hands into his pockets.
"Did you build a snowman?"
"Mmm-hmm."
"I remember when I was a little girl I
wanted to play in the snow forever; I would
almost freeze into a big icicle. I would come
home with my cheeks red, just Uke you."
The lady ruffled Michael's hair. He
watched her fingers brush smooth the
creases on her dress.
"I'd like you to meet a good friend of
mine, Michael."
The lady smiled and drew an arm
behind her. A green crocodile appeared.
The crocodile had a red swollen nose and
long green arms. It had hair like spaghetti,
the same colour as the lady's.
"Michael, I'd like you to meet Mr
Smee."
She addressed the crocodile. "Mr Smee,
this is Michael. He's been playing in the
snow this morning, just Uke you."
The crocodile swallowed Michael's
hand. He tugged at Michael's sweater and
shook his arm up and down. When Michael
tried to pull his hand free, the crocodile
wouldn't let go.
"Now Mr Smee, you let go of Michael's
hand. Mr Smee is always so hungry."
The lady wrestled with the crocodile
for a moment and then, with great effort,
pried its jaws open. Michael pulled his hand
free before the jaws snapped shut again.
She bopped the crocodile on its nose and
Michael jumped.
"You watch your manners, Mr Smee."
The crocodile batted its eyes shyly. The
lady pulled a face and the crocodile spoke.
"I wonder if you can help me, Michael."
The crocodile had a groggy voice,
sputtering when it said the letter "S".
"I haven't seen my friends Wendy and
John in such a very long time. I miss them
very much, don't you?"
Michael nodded his head.
"We used to play games in the snow
and have so much fun, Michael. We'd make
believe that the snow would never stop
falling. Did they tell you where they might
go? I miss them so much."
Michael bowed his head and looked at
his socks. He could make a puppet with his
socks.
"I dunno."
"You never saw them speaking to any
strangers around the school? People you
didn't know?"
"No. I never saw that. I think they're
gone."
The crocodile leered at Michael, its
smile an ugly red slash across a green face.
"Gone where?"
Space slippers.
Michael laughed. "Into the snow."
"Well?"
"Back to square one."
"Nothing?"
"A big zero. They told me everything
but we're no farther along."
"You didn't have any problems with
them?"
"No, none at all. They warmed right up
to Mr Smee."
'They're a good bunch of kids. They've
taken it all very well."
"Yes. That struck meas kind of strange."
"How do you mean?"
"Well, when you consider the facts,
none of them seem too concerned. They all
think that John and Wendy are fine, they're
just off playing in the snow somewhere.
Don't you think that's strange?"
"Maybe so. I don't think everything
has sunk in yet."
"I honestly don't think any of those
kids are worried about it. I kno wthat sounds
terrible, but they're treating it like some
kind of game."
"Game?"
"Yeah. Like hide and seek."
  DECEMBER 1988 17 Michael sat alone in the cloakroom,
plasticvj^tgs around his feet. His socks were
warm! %ftcl damp. Dark patches of wet
material clung to his skin.
Sj^y appeared from behind a raincoat.
"Did ya fib?"
'I^ope. They don't know nuthin'."
"Okay. You gotta go tonight, Michael."
Billy leaned forward and whispered. "Wait
until your*Mum and Dad are in bed. Then
you gotta go right away, real fast. Okay?"
"Okay.^
The tw0boys smiled at one another.
Michael fastened his coat like a cape and
slid aqross the floor.
"My invention. Space slippers."
"Neat."
Despite the January weather, the air in
the hall was warm and heavy. The town, its
merchants and farmers, looked towards the
front podium with hard eyes. The sheriff
switched on the overhead projector and a
map of the town appeared on the screen
behind him. The overhead's fan began to
hum and sing.
"...the forest adjacent to the lake has
been searched thoroughly and we've had a
patrol with dogs out every day, looking for
anything at all. As of yet—"
"You been questioning any of them
drifters we get through town? All of them
hitch-hikers?"
"—none of our leads has turned up
anything concrete. However, a child psychologist has been—"
"Seems to me we ought to be questioning all those boys that just pass through
town."
"—sent to us by the school board and
we're hoping that some evidence and clues
will arise—"
"Somebody ought to make a note of
who's not here tonight."
"—from the discussions she has been
conducting with all of the school children. I
ask you, all of you, to try and recall—"
"Can't even do his own job."
"—any events, large or small, that have
struck you as strange or peculiar in the last
few weeks. Anything. Anything at all."
The hall was silent. The fan's pitch rose
a notch higher.
"Just what have you got, sheriff."
The sheriff switched off the overhead.
Behind him, the town vanished. The fan
slowed to a whine. The sheriff looked past
the eyes upon him and into the night.
"Nothing. We've got nothing at all."
*****
The house was still. Michael could
hear his parents' breathing through
the wall behind him. Minutes earlier, his mother had checked he was asleep.
The furnace purred two stories below, reassuring him with its steady drone. He sat up
in bed and rubbed a spot clear on the frosted
window. The night sky was full of stars
twinkling brilliant against the blanket of
white. A snowman stood guard at the front
of the house, listening to the wind and
snow.
Michael grinned and slid his body to
the foot of the bed. In the darkness, he
found his winter coat. The space slippers
guided him across the hardwood floor. He
passed his parents' room and made his way
to the stairs. The socks fell with a hush in the
middle of each step.
The slippers tucked themselves into
his boots. He unbolted the front door and it
opened with ease. The night spread before
him. The wind shifted the snow, catching
the starlight like slivers of glass. Warm
shapes burst from the distant forest. Silent
beads of white carried on and on, lasting
forever.
Michael laughed. The space slippers
floated into the night.
Keith Damsell
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THE SCENE:
It's 6:30pm London time
that's England of course. We're sitting in the
Red Lion, a quaint smoke-fiUed pub in the heart
of Covent Garden, sipping on a rather oily
tasting bitter. Over the last two months we've
stalked through the U.K. and here we are, two
Vancouver mates together after the trek, eating
a ploughman's meal. And we're disgusted with
the London scene - musically, socio-politically,
environmentally. After a day in London we find
our bodie's reacting adversely to the urban degeneration. Our phlegm is as black as the Thames.
nhe music scene in London, although
quite cosmopolitan and diverse, is
unfortunately swamped by the
media-hyped mainstream disco
scene. Acid house is everywhere - in the shops,
on the radio and even in the traditional oak-pan-
eUed London pubs - you just cannot escape it.
20   DISCORDER
GUERNICA
Don't get us wrong, the independent scene is
aUve hidden in the ethnic suburbs. The London
scene mocks the traditional musical
principles .The commercialism of the 80's has
overwhemed the typical rock'n roU ideals like
rebeUion, sex, drugs and other sins. Here money
sings and programs the sequencer.
But wait, aU is not lost....
mublin is the place to be. Hip, happening and cheap. Contemporary
demographics throughout Ireland
and specifically in Dublin mimic
the scene of the '60's in the USA and U.K., i.e.
major baby boom. However, the national debt is
over $38 billion, income taxes are high and the
unemployment rate is a whopping 19%. Compound that with the threat to Ireland's cultural
sovereignty from the U.K. media and pop culture - this nation has a lot to complain about. The
Dublin youth are reacting to these pressures by
searching within their religiously inclined folk
culture roots to escape the invading generic pop
culture. Folk based rock'n'roll is this nation's
reaction to their internal strife and the external
invasion.
Religion has a profound influence on the
music of Ireland. Also, Dublin lacks a cosmopolitan atmosphere so the energy of the youth is
focused upon portraying their plight through
rocked up folk music. U2 illustrates this quest.
Interestingly, the Dublin/ Belfast music circuit
has attracted much attention world-wide for
their ability to pump out a lot of good groups
recently. The Pogues, Hothouse Flowers,
Sinead O'Connor and That Petrol Emotion
quickly come to mind. How is it that this small
and monetarily stripped musical scene is so
aUve? Much of their vitality stems from the Irish
youth's near fanatic support of these groups.
nd this is only the beginning. New
groups of Dublin are quickly gaining in popularity. The Swinging
Swine and Guernica are two new
groups hitting the airwaves these days. In fact,
CBC's Brave New Waves recently did a spot-
Ught on Guernica. They are a five piece Dublin-
based band formed three years ago amidst the
strife of Ireland. They've got something to say
and lead singer Joe Rooney is the perfect person
to say it. His deep soul-ful voice compliments
the brooding hard pop melodies that are
Guernica's signature sound. Their unique 'pop
with an edge' cuts through contemporary musical culture. Graham Lineham, editor of Dublin's
'Hot Press', has caUed Guernica "devastating"
and "appaUingly briUiant". If you want to make
comparisons, their sound is reminiscent of Echo
and the Bunnymen, the Pale Fountains, or the
Triffids with a young Howard Devoto fronting. The enigmatic and sincere Rooney has a
nervous rapport with his audience, and his singing style alternates between a soothing massage
and an outright physical assault. Caught live,
Guernica and Rooney are mesmerizing - a fusion of depth and energy that is rare. London's
NME have said that "In their darkest moments
Guernica almost rival the power of the famous
Picasso named after them". Indeed their future
looks bright.
Anyway, back to London. Time to get
some more pints and drown our frustration. And
you can't even get a good mug of Guiness here.
Dublin is where it's at. Seriously.
Michael Grigg & Fernando Medrano THE RED HOT CHILI PEPPERS
& Guests
a
tf)
s-i
a
on
NO MEANS NO
DEC 30th
g   FISHBONE
^•^    & Guests
DEC 7th
DOOR AT 8pm
ALL TICKETS
Ticketmaster/VTC, Zulu,
Black Swan,        Highlife & Track Records
Charge by Phone 280-4444
COMMODORE BALLROOM 870 GRANVILLE STYLE COUNCIL
Confessions of a Pop Group
(Polygram)
The Cappuccino kid appears to have given up
coffee for health reasons, and the net result is an
album even duller than previous Style Council releases. The best way to approach this album is to study
the cover, the liner note design and the overall layout.
Then put it back in the sleeve and file it. Paul Weller
should run for the Labour party, cease his attempts at
recycling classic soul grooves and install a powerful
(and so very chic) lyrical content to them. Mr Wel ler' s
attempts to produce Yuppie protest music is a sick
joke, but I'm certain that music as non-existent as this
will be accessible to a large enough audience to
enable the Style Council to play well into their
sixties. It stinks. Don't waste money. Buy the new
James Brown, or whatever.
Stuart Derdryn
R.E.M.
Green
(Wamer Brothers)
Yes folks, here we have it. Perhaps one of the
most influential bands in recent memory has moved
to the big time. Major label status. Huge recording
contract One could be snide and say that Green is
much more than simply an album title and is an
allusion to the money mat R.E.M. is hoping to make.
One could also rant about how R.E.M. has sold out
and forsaken its "alternative" fans. WeU, this rates as
a load of shit in my books. Yes these Athenian gods
will make loads of cash from Green, simply because
it stands as arguably the best release of the late
eighties. Impressions of the album: "Where is the
filler?", "Yes, Michael Stipe can actually sing." and
"I can't believe how eclectic this band is!"
Maybe this album will be big and make the top
of the pops at the Fox or at LG, but with good reason.
This is a great album and should be taken as such and
not rejected for being "too popular".
Michael LeDuc
THE FEELIES
Only Life
(A&M Records)
Sure it's only life. And The Feelies are only
another three chord guitar band with aspirations of
making it big, just like thousands of other guitar
bands. But wait! How do The Feelies rate an entire
one page article in TIME magazine? Being somewhat cynical, I would be inclined to attribute it to their
ties with currently hip filmmaker Jonathan Demme,
but upon listening to this album and subsequently
seeing them Uve, I came to appreciate this band.
The Feelies play finely crafted guitar many
bands can only dream of. High points on Only Life
are many; low points are almost nil. Every track
22  DISCORDER
shines in its own way. Higher Ground has fantastic
chord changes and a great melody. For Awhile is a
tune that revolves around a single, almost hypnotizing guitar riff and wonderful Whoo ho hoo! background vocals. Away, the single, is a locomotive of a
composition that slowly builds up to top speed and
rewards with a panoramic view of what The Feelies
are all about.
Yes, simpUcity can be beautiful, for this album
is both simple in concept and beautiful in execution.
Indeed, The Feelies are truly a band to be reckoned
with.
Michael LeDuc
THE PROCLAIMERS
Sunshine on Leith
(Chrysalis)
A lilting brogue figures prominently on this fine
piece of work by these Scottish twins who, if one can
judge by the cover picture of an album, enjoy standing
on Edinburgh rooftops. The Proclaimers have leanings towards some kind of melodic Scottish Country
and Western music with tracks such as I'm Gonna
Be, Cap in Hand and I'm On My Way which display
distinct, guitar oriented, folk and country influences.
On the other hand, in songs such as Then I Met You
and Sean, the band reveals a good pop sense combining acoustic guitars, touches of organ (perhaps VOX?)
and an adept but unobtrusive rhythm section (the best
kind) to showcase talented songwriting. If one requires an extensive Ust of dropped names to compare
this band to, such groups as The Bluebells, The Faith
Brothers, and perhaps even (dare I say it) The
Waterboys, come to mind. A fine melodic album.
J.W.
NICK CAVE AND THE BAD SEEDS
Tender Prey
(Mute)
Seems Uke those bad seeds sprouted some real
Ustenable tunes. On Tender Prey, Nick Cave has
meUowed out and deUvered a top notch lounge dirge
that sounds Uke Tom Waits on gothic downers. The
obsession with blues remains, but the tongue-in-
cheek deUvery of Nick's done-me-wrong, death/
suicide and sunset ride-off lyrics is irresistable. The
mid-60s style sing-a-long Deanna has Alternative
Top 40 Hit written aU over it. One barely notices the
lyric "I cum a death's head in your frock."—the song
just bounces along right over it.
The Mercy Seat opens the album with a quasi-
operatic gospel chant complete with pulsing organ
riff. Watching Slice is a positively beautiful song
about watching a nun get dressed. It features tin-pan
aUey harmonica and (gasp) sensitive chord progression. The playing of The Bad Seeds - Blixa Bargeld,
Kid Congo Powers, Roland Wolf and Mick Harvey - is strong on aU cuts.
This is a reaUy great rainy day cheer up disc.
Sort of Uke the movie Wings of Desire which has a
great cameo appearance by the band.
Stuart Derdryn
THE PURSUIT OF HAPPINESS
Love Junk
(Chrysalis)
FinaUy. It seems Uke decades ago since I'm an
Adult Now came out. When you're waiting for
something, the time it takes to get in your hands is
unbeUevable. But it's here.
Moe Berg and his cohorts from Toronto have
issued their first fuU length LP, a real test of TPOH.
Instead of releasing two songs at a time, they have to
write 13 bam burners. WeU, nine in reatity—four of
the songs are from the two previous singles. The topic
of the 13 is fairly consistent— man/chtid looking for
girls and hopefuUy sex. But don't let that turn you off,
for it's not your usual sexist lust. TPOH have a sense
of humour which enables them to laugh at themselves, and translates into absurd fun. Witness the
female vocaUsts singing "looking for girls" in the
background.
Love Junk fulfiUs the promise that was evident
in the earUer stages of the career of The Pursuit of
Happiness and shows that they have enough good
material to rock with the best around. FinaUy.
Lane
VARIOUS
A Time to Stand Together
(Slim Evans)
The first album/cassette compttation released
by the Slim Evans label, A Time to Stand Together
continues on the path forged by the cassette releases
Hold the Fort, Watch Over Liberty and Talking
Union. AU four share a concern for the defense of
Canada's organised labour movement. Produced by
the Canadian Union of Postal Workers, this new
, album was unveUed across the country during
Mayworks 1988 and represents the potential broad-
based level of popular resistance to all of the Rights,
either New or Far or ReUgious.
The proceeds are being donated to postal workers fired or suspended in the 1987 strike, and to the
Working Committee for Social SoUdarity.
That the songs on the album are not overproduced, kilo-doUar extravaganzas is a given. They
range from a local a capella group Aya singing
Heather's Song to Arlene Mantle with Our World
to Pierre Fournier's Un Accident, aU of which
emphasise the direct and straightforward. The music
delves into the corny with Phil Vernon's No Contracting Out. Folk Festival 1988 performers Nancy
White and Eileen McGann are also included. The
former's Good Girl is quite disappointing compared
to her other witty swipes at the Canadian mainstream.
Man's Job takes a look at Ms McGann's experiences as a woman labourer in the male-dominated
workforce.
The best tracks are the opening Why do we
have to fight? by Lillian Allan, which also appears
on her Conditions Critical LP, and the closing A
Time to Stand Together by the Ginger Group.
Although I admire the laudable intentions of this
album and understand the tight time frame it was
forced to follow, something stiU bothers me. A Time
to Stand Together highlights both EngUsh and French
speaking artists, but only two Quebecois(e) are included. One of two conclusions can be reached: either
there are only two Quebecois(e) supportive of CUPW
(highly unUkely), or there are only two Quebecois (e)
artists (even more unUkely). I won't even go into
Lillian Allen and Clifton Joseph being the only two
people of colour...
This doesn't mean that A Time to Stand Together is not a good album. It is just difficult to
separate content from context. Oh weU.
Alexander Stonefleld MICHELLE SHOCKED
Short Sharp Shocked
(Polygram)
Make room k.d.lang, Dwight Yoakum and
Steve Earle. (Piss off Randy Travis.) A new kid has
arrived. Michelle Shocked bounced from absolute
obscurity to folk notoriety with The Texas Campfire
Tapes and some exceUent Uve performances. Now,
with the aid of Pete Anderson (Yoakum's producer), she is on her way to becoming the most
exciting "new country" artist around. Shocked may
lack the powerful pipes of lang and the rock star flash
of Yoakum or Earle, but the strength of her songwriting and guitar playing are compensation enough.
Plus she's eclectic as aU get out.
Side one opens with When I Grow Up, which
sounds Uke Siouxsie and the Banshees and features
the wonderful refrain "Me and my old man and a
hundred and twenty babies." Hello Hopeville is a
basic country stomp. Memories of East Texas, a
semi-autobiographical piece, has a tilting melody that
reminds one of Emmylou Harris. The first side
finishes with Grafitti Limbo, a song dedicated to
Michelle Stewart, a black graffitti artist who was
strangled to death by New York City PoUcemen.
Side two contains the single Anchorage, a real
radio bid complete with a casual feminist message,
and ends with an unannounced cut of Shocked and
M.D.C. doing Falldown, a roaring hardcore/metal/
blues stomp. Side two also includes the destined-to-
be-classic If Love Was a Train, the quintessential
country swing number.
Overall, Short Sharp Shocked delivers the
goods on this exciting performer. The poUtical angle
of S hocked' s tif e is left to the cover photo of her being
arrested by the SFPD foUowing a squatters' protest,
and the underlying just plain folks stuggle message of
aU her songs. This is one of the finest country albums
released this year. However, I think it will be awhtie
before Shocked is charging $32 for a perfomance at
the Orpheum. Buy this record and go see this woman
pick and preach. You'U love it!
Stuart Derdryn
T.V.B.C.
Ex Cathedra
(Treehouse)
WeU, it's about time someone reviewed this
retic of 1987. Initial Ustening reveals a very strange
yet effective sound from a three piece band that haUs,
as far as I can teU, from MinneapoUs. The album
begins with the unpromising cut, C'mon Boy, which
sounds Uke some sort of free-jazz metal, rather reminiscent of large, misshapen, five hundred pound garden
ornaments raining down from above. Despite these
humble beginnings, the record shows promise with
songs such as Forsake Me Not, Not O.K. and the
exquisite instrumental Slices of Happy wherein
T.V.C.B. exhibit rough vocals, hard-edged guitar,
and great melodies. Unfortunately, with other numbers such as Festlge, the record lapses back into a haU
of even larger, more hideous, garden ornaments.
J.W.
THE MEN THEY COULDN'T HANG
Waiting for Bonaparte
(Magnet Records Ltd.)
It's Celtic jig rhythms! Similar to the Pogues but
possessing pearly whites, TMTCH are sober and
tuneful. For upbeat and optimistic songs Uke The
Colours get out your bagpipes, kilts and highlands.
For the, unfortunately, many forgettable songs, don't
bother.
Jen Read
LAI BACH
Let It Be
(Mute)
If the Beatles had been a fascist, classicaUy
influenced group from the communist bloc, would
Laibach have been the result? Probably not. Though
their Let It Be cover album is occassionaUy funny,
hip, and (dare I say) groovy, specificaUy on Get Back
and One After 909, the vast majority of the songs
drag. The "classical" influence muzaks most of the
tracks into a monotonous rut.
With any cover album one has to ask, "Would I
rather Usten to the original?" Unfortunately, old, tired
and overplayed as the original is, the answer is "Yes".
Let's hope their forthcoming E.P. of Rolling
Stones tunes fares better.
Tania Alekson
LLOYD COLE AND THE COMMOTIONS
Mainstream
(Polydor)
No, the title does not mean what it says. Lloyd
and his cronies haven't lost their traditional commotion sound—they've improved it. However, it is hard
to be objective about a group with such great ideas for
titles as Jennifer She Said. Lloyd is less pained and
poignant than usual: "My baby left me. Heck, ain't
that a shame."—My Bag
The songs are better taken as a unit, an album,
rather than separated into singles. This album is a
soUd, exciting continuation of their career.
Jen Read
The Earthly Delights
Since they work so well together, here in brief
are the first four releases from the new improved
Nocturnal Emissions (Nigel Ayer and Carolinge
K) on their Earthly Delights label.
NOCTURNAL EMISSIONS
The World Is My Womb
(Earthly Delights)
Reviewing this album from the perspective of
other releases causes it to be viewed as a transitional
work. HaU of it harkcns back to the furious days of
Songs of Love & Revolution, while the other half
heralds a departure from these disruptions. While
admiring Nigel Ayer's work, it must be confessed
that sometimes it is difficult not to dislike his voice.
There are very distracting long passages on this
record where he recites a lot of stuff that sounds Uke
the liner notes of a Bill Nelson album.
NOCTURNAL EMISSIONS
Splrltflesh
(Earthly Delights)
So much better than the other one. Many of the
sounds are environmental—a concept explored by
Graeme Revell (The Insect Musicians)—but animals are the sampling here instead of bugs. Not
surprisingly, the results are more human. Some are
almost breathtaking. Although the production is
somehow inexpensive sounding, this doesn't preclude enjoyment by a wide spectrum of the people
with whom you are required to share whatever it is
you've got (old-agers with kharma layers, lifestyle
clones and street goths wiU aU be affected). Very
original and enjoyable.
NOCTURNAL EMISSIOINS
Spanner Thru My Beatbox
(Earthly Delights)
Machines don't create music and art—people
do. When machines threaten people, they should be
destroyed. That's what happens here. This record
speaks to the sadist in many people and should-be
played in places where you can watch people be
disgusting.
CAROLINE K
Now Wait for Last Year
(Earthly Delights)
Some of this also sounds transitional, but side
one (The Happening World) sounds Uke no one else
and is worth the price of the record. The background
sounds are mostly sterile noises (electronics) with
beautifuUy clear animal noises, choruses, etc added
sparingly. The effect is physicaUy penetrating. Of the
four it leaves the greatest impact.
BUY THEM ALL. MERRY CHRISTMAS.
Larry Thiessen
Tke Possibly Fruitful
World of
lne Undiscovered
"Do this column!" I was ordered
by someone who will remain nameless. So,
I'm doing it-— 'it' being briefly mentioning
music that you might not hear about elsewhere. That very day I stumbled across the
Ornette Coleman and Prime Time LP
Virgin Beauty (CBS) and was impressed
by its jazzy feel. It wasn't as impressive as
Billy Child's latest Take for Example,
This (Windham Hill), which I heard thanks
to the Monday night Jazz Show. Venturing
further down this avenue, I flung the
Modern Jazz Quartet's For Ellington,
released by East West, on the turntable. A
collection of jazz tunes expertly done resounded in my ears. I then moved on to The
Feelies release Only Life (A&M) which
seems to be an REM, styled Lou Reed-
pretty good. Next up was the Social Club's
Flogging Peasants (Petroleum By-Prod-
ucts). I was attacked by a guitar rock party
type Californian band who play in an extraordinarily widerange of interesting styles.
From a wide range to a limited one - The
Wedding Present's latest on Reception
Records, Why are you being so reasonable now? Same voice, same fast guitar
rhythm, same sound—same good tunes as
always. Lastly, the Azumuve label re-release of Bambi's 1986 cover of the old
David 'Where am I now?' Essex smash hit,
Rock On: very Mission-ish and really quite
good. Can I stop now?
DECEMBER 1988 23 UP TO
$10,000
REWARD
For any information
leading to the
location
(and verification) of
Emerson Grant
Dobroskay
He disappeared the
night of the Butthole
Surfers show in SUB
on Oct. 27
Please call UBC RCMP with any information
224-1322
ANGELS HAVE FUN
WHY NOT YOU?
LADIES & GENTLEMEN!
John Fluevog cordially
invites those currently
having fun and strongly
advises those that are
having none to do one of
the following: A/ Check
out any of our 3 retail
stores, B/ Send for our
amazing free catalogue
2nd CI Visit some of the
icross the US,
d see John Fit
l their awesoi
Don't delay . . .
Fluevog Today!
JohnFluevoo
852 Granville Street,
Vancouver, BC V6J 1 K3
(604) 688-2828
1611 First Avenue,
Seattle, Wa. USA 98101
(206)441-1065
328 Newbury Street,
Boston, Mass. USA 02115
(617)266-1079
<  /""
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523  Rich
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to see John Fluevog shoes
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FRI—SUN, DEC 2-4
POWAQQATSI     730
mature:  occasional nudity
ARIA 9:30
Restricted: frequent nudity, occasional
suggestive scenes & violence
WED—THURS, DEC 14—15
Paul Morrissey Duet
MIXED BLOOD 7:30
Restricted: frequent gory violence & very coarse
language
BEETHOVEN'S
NEPHEW 9:30
14 yrs - lim. adm.: occ. nudity & sugg. scenes
•***PPf |
.    1           K^
WED—THURS, DEC 21—22
% .Jl[lljar
^0
O'Connor, Yulin, Waits in
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CANDY
M ' i
;      MOUNTAIN         730
1               Mature: some very coarse language
I        Quaid & Barkin in
1     THE BIG EASY   9:20
14 yrs: some violence, sugg. scenes & very coarse language
1989 MEMBERSHIPS
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UI
U-
uT PROGRAM SAMPLES
MONDAYS
BREAKFAST WITH THE BROWN'S 7:30-
11:00am
"Blah, blah; tranquil music; blah, blah; theme set
music; blah, blah; breakfast restaurant review; blah,
blah; readings; blah, blah; music fortissimo; blah
blah..."
ALIEN WATCHDOG l:30-3:00pm
Do people tell you that you have extraordinarily
slender fingers with perfectly shaped nails? What
about your stature? Are you delicately boned? Perhaps YOU are descended from aliens. Stay tuned to
take the most important quiz of your life, and hear
some great local tunes too.
THE UNHEARD MUSIC 3-5:00pm sharp!
Get down with host Dale "The Saw" Sawyer for 2
crucial hours of demos and debauchery. Requests and
bribes accepted.
CRAPSHOOT 5:30-6:00pm
Our slap happy, crazy panelists are ready to do
(verbal) battle. This month it's Dean (Liberal), Ken
(Tory), Martin (NDP), and the omnipresent Robin
(Libertarian). Election results, free trade, and general
muck raking.
HOT PINK 6:30-8:00pm
Garnet Timothy Harry does what he does best: absolutely nothing.
MORE DINOSAURS 8-9:00pm
Teenage stegosauri racing Hot Rods to Hell. Hard,
fast, greasy, butt-rockin' music from the 1960's.
THE JAZZ SHOW 9:00pm-12:30am
Dec 5: Sonny Criss, one of the most passionate voices
of the alto saxophone, made an album called "The
Birth of the New Cool" in 1968. It accurately reflected the turbulent times of the late sixties.
Dec 12: Booker Little (died 1961 at the age of 23)
could rightfully be called "the Wyntom Marsalis of
his day". He was a trumpeter who possessed a gorgeous warm sound, a virtuoso's technique and a
college degree. In his short career he made only one
*Mi<udici(L^
quartet album. We'll hear it tonight.
Dec 19: Tonight a recorded interview with one of the
most important post-Parker alto saxophonists, Jackie
McLean.
Dec 26: The Jazz Show takes a vacation. Gavin
wishes you a swinging Christmas!
ENVIRONMENTAL   SCATOLOGY   12:30-
4:00am
Admission: 1 jumbo 20oz. 7-11 coffee.
Dec 5: Residents-Commercial Album
Dec 19: Special Guest Bubba-Slob-Chicken spins the
ultimate speed thrash obscurum muck. You've been
warned.
WEDNESDAYS
WAY TOO EARLY 7:30-10:00am
Loud, shallow, rock V rollish noise to cattleprod you
into consciousness. Listen for special rainbow features.
Dec 7: Blue
Dec 21: Red & Green
Dec 28: White
THE AFRICAN SHOW 8-9:30pm
The latest in modem African dance music plus/minus
a few oldies but greats and extras. Your host: Umerah
P. Onukwulu. Welcome.
TUESDAYS
LINUS LOVELACE KINDER KREEAYSHUNS
7:30-10:00am
Ah Christmas! Now that we've got high power, this
year I'd like some of Santa's bourbon breath
and...um...oh ya! I'd like some big thick fuzzy red
Alfred Sung socks! Tune in and rejoice?
PEST CONTROL 10-l:00pm
The diabolical Jerome Broadway delivers humming
sounds and killer bee updates.
BLOOD ON THE SADDLE l:20-3:00pm
Music to scrape the cowshit off your boots to. Host:
Jeff Gray.
IN CONTEXT 3-4:00pm
Dec 6: Rita McNeil, Chili Peps
Dec 13: Christmas-oriented possibly political stuff
Dec 20: A pleasant Christmas special
Dec 27: New Year's Eve is coming. Observations of
1989
TRIBES & SHADOWS 4-5:00pm
Dec 6: Better soundtrack music of 1988.
Dec 13: The second installation of Newerks, a performance entitled "Still" concentrates on the role of
the individual in a mass society. Artistic Director/
Choreographer Hilda Nanning discusses this piece in
the context of the Vancouver environment.
Dec 20: Exploring "new music" for young audiences.
A kind-of Christmas special; consumer-oriented.
Dec 27: Obviously, a "best of new music of 1988
program.
FINE LINES 5:30-6:30pm
Literary criticism in a Canadian vein from the studios
of UVIC Radio, CFUV.
AURAL TENTACLES midnight 'til the moon
plummets to the surface of the earth
Space limited. For advanced listeners only. There
will be a weekly workshop featuring the WWOD at
2:00am.
Class instructor: Pierre Huish
THURSDAYS
MOVING IMAGES 4:30-5:00pm
Join host Ken Maclntyre as he explores the world of
film-making and the movies.
Dec 1: Preview of the new movie releases for this
festive holiday season
Dec 8: Mark DesRochers of the BC Film Commission explains why Vancouver is a 'hot property'
Dec 15: Helpful hints on investing in Showbiz stocks
Dec 22: Coverage from the new Cineplex/Odeon
Station Square Cinemas grand opening
Dec 29: The ubiquitous Top 10 movie list for 1988
CANCON JOB 9-10:00pm
The latest in local bands and tunes, along with the
hottest playlist stuff.
LIVE FROM THUNDERBIRD RADIO HELL
10:00-midnite
Peter, Ed & John host Catch a live local band in your
living room.
Dec 1: The Distractions
Dec 8:54-40's PhilComparelli and friend with Video
BBQ
Dec 15: Excited First Daughter
Dec 22: Tin God
Dec 29: Against the Grain
cSp^l-sf
DECEMBER 1988 27 FRIDAYS
THE EMMA PEEL FAN CLUB 10-l:00pm
Weekly offerings at the temple of Emma, by your host
and acolyte, Pat Carroll. The only show to listen to
while battling cyborgs and looking good (with 7th
inning relief from rockin' art guy Chas Reeve).
THE NEW EXPO '66 l:20-2:30pm
Uve from the pavilions of the WORLD'S MUSIC
FAIR!!!
Dec 2: Pavilion of British Youth
Dec 9: Electronic Pop Pavilion
Dec 16: Damned If I Know Pavilion
Dec 23: Pavilion of Bah Humbug
Dec 30: Pavilion of the End of the Year
NARDUWAR THE HUMAN SERVIETTE PRESENTS 2:30-3:00pm
Join Narduwar and his war cat Cleopatra von Fluf-
flestein for half an hour of Manhattan clam chowder
flavoured entertainment.
HOME TAPING I.N.T.E.R.N.A.T.I.O.N.A.L
6- 9:00pm
Radio for the 1990's.
Warning: Recording of this program may be prohibited by law.
SOUP STOCK FROM THE BONES OF THE
ELEPHANT MAN 12:30-3:30am
Three hours of independent music from around the
world ranging from spoken word to the latest in club
tunes. Hosted by Lloyd Uliana.
AURAL THERAPY 3:30-8:00am
Helping you get your poop in a group... hosted by
Matthew & guests.
Good luck to all the
Shindig Semi-Finalists!
Tombstone Etiquette
Excited First Daughter
Stick Figures
Video Bar-B-Q
Benzene Jag
Sarcastic Mannequins
Idiot Savant
Free Water Knock-Out
Gracious 4
If you have any questions about performing rights,
please talk with Don Osborn, CAPACs
representative at Shindig, or feel free to drop into our
Vancouver office any time.
The Composers,
Authors & Publishers Association of Canada
Serving Canada's
creative musical community
Suite 703,1155 Robson Street, Vancouver, B.C. V6E 1B9
Dorothy Allen, Don Osborn (604) 689-8871
1240 Bay Street, Toronto, Ontario M5R 2C2
Larry Ftapatrtek (416) 924-4427/Richard Flohll (416) 925-5138
Suite 1470,1245 Sherbrooke St West, Montreal, Quebec H3G 1G2
France Lafleur, Suzanne Munger (514) 288-4755
SATURDAYS
POWERCHORD 12:15-3:00pm
Vancouver's only true metal show with the underground alternative to mainstream metal: local demo
tapes, imports and other rarities. Metal Ron and
Gerald Rattlehead do the damage.
RADIO INFREQUENCY 6:30-9:00pm
We're in the stretch, RI will be permanently preempted by sports in about a month. For those of you
with no friends or family tune in Xmas eve for the best
party west of Blanca.
TUNES R' US 9-midnite
The incredible music show from two incredible people.
Join us for 3 hours of fun and foolishness. But mostly
GENERIC FRIEND midnite-sunrise
Kunio has no friends, has no friends, has no friends.
Kunio has no friends, that's why he's here all night.
Don't forget:
Dec 24: Special Christmas Special
Dec 31: Special New Year's Special
SUNDAYS
ARE YOU SERIOUS MUSIC 8:00-noon
Schoenberg, Varese, Berio, Carter, Maxwell Davies,
Bussotti, Scelsi, Xenakis, Schafer, Cage, Webem -
Artistic Evel Knievels.
Hosted by Paul and Ian, who really like it when people
request modern(?) music, so call them during the
show.
THE ROCKERS SHOW 12:15-3:00pm
Reggae, Rock Steady, and Ska. Host: George Barrett.
THE BLUES AND SOUL SHOW 3-6:00pm
Blues, Blues, Blues every second Sunday the best of
Post War Chicago blues and more.
Dec 4: Jimmy Reed (High and Lonesome)
Dec 18: Chuck Berry (Merry Christmas Pretty Baby)
ELECTRONIC SMOKE SIGNALS 6:30-
9:00 pm
Dec 4: UN Human Rights Day feature: An International perspective on indigenous peoples and human
rights. Speakers from the Gitksen Wetsuweten, World
Council of Indigenous Peoples, Union of BC Indian
Chiefs and Mayan Indian Nation.
Dec 18: Winter Solstice Celebration: Reflection on
Light and Darkness, Hope and Despair.
PLAYLOUD/THIS IS NOT A TEST 9-midnite
"There are many people for whom hate and rage pay
a higher dividend of immediate satisfaction than
love". THE DEVILS OF LOUDON - Aldous Huxley
Oral surgery performed by Larry Thiessen. Listen to
invitational program Dec 25. Details elsewhere.
IN THE GRIP OF INCOHERENCY midnite til
the eggnog runs out
Join the Evil Bareman and his tattooed
sidekick Guidemaster for a month of Yule-
tide carnage.
Dec 4: Hanukkah Blowout
Dec 11: Music to Roast Elves By
Dec 18: Mistletoe Mayhem in Las Vegas
Dec 25: Christmas Show From Hell. Special guests:
Joe, Mary, and little Hayzeus. Supply your own
lumps o' coal. ANOTHER
CUSTOMER
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H/\N ;rHKT PLKe£ UNlfK
TH£ S^'WALK fcJUU=S»
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317 ACAMBIE ST.
NEW      AND
SOUNDS
FRESH
BEATS
HOME TAPING I,i\.T.lLR.I\.A.T.I.O.I\.A.L.
AVAILABLE NQW:
INTERFERENCE!
CASSETTE 60 MINUTES OF
MAD MIXES
...COMING SOON: v
CRASH DUMMIES
TRAVIS B.
KILLING MUSIC COMPILATION
AND MUCH MBRE
 ^—
■   Q YES! I'm in full
• effect. Please send me
|    INTERFERENCE
• tape(s). Enclosed is
I   $6.00 for each tape.
L
□ CHILL! Please send
me more information
about HOME TAPING
I.N.T.E.R.NA.T.I.O.N.A.L
Mail this and make payable to:      NAME
HOME TAPING INTERNATIONAL
577-810 West Broadway             ADDRESS
Vancouver, B.C. V5Z 4C9
CANADA                                    CITY
PROV.
CODE
AGE
 1
I
I
I
J uttl© moses
(WHAT A NIGHTMARE!)
"WHOA DAD!!!", EXCLAIMED LITTLE MOSES, "IT'S ALMOST 1966, THE YEAR OF PROSPERITY, THE
YEAR OF COBBLESTONE STREETS, AND THE YEAR OF VOX EQUIPMENT. OHHHH YES, IF ONLY MY
BAND, THE CHOPPERS, COULD GET THE BACK UP SLOT AVAILABLE FOR THE BIG STONES GIG
ATTHE GARDENS. I JUST KNOW OUR SEARS GUITARS COULD WOO THE MINI-SKIRTED MOB LAYERED AT THE FRONT OF EVERY ROLLING STONES CONCERT. THE LAST TIME BO DIDDLY WAS IN
TOWN, I PLAYED HIM A REEL TO REEL OF THE SONG MONA, OF COURSE INTERPRETED IN THE
LITTLE MOSES AND CHOPPERS STYLE, AND MAN, DID HE DIG IT. THEREFORE, BY JESUS, THE
STONES CAN'T REFUSE US A PLACE ON THE BILL, WE'RE NATURALS FOR THE POSITION. I KNOW,
ITS TRUE STEVIE GOT DRAFTED BY THE CANADIAN ARMY TO SERVE IN *NAM, BUT WHO CARES.
STEVE ALWAYS SUCKED SHIT AS A GUITAR PLAYER AND I'M GLAD THIS *NAM THING HAPPENED
*CAUSE IT SAVES ME THE TROUBLE OF TELLING THE GUY HE'S OUT OF THE BAND. IT'S ONE OF
MY WILDEST DREAMS THAT THE WAR WILL LAST FOREVER, RIDDING ME OF THAT SHORT-HAIRED
BIBLE THUMPIN' SQUARE. HOSPITALS, YA KNOW, SUCK THESE DAYS TOO, WITH ALL THEIR WEIRD
KNIVES, SQUEAKY BROWN TILE FLOORS, LONG BLOOD LAYERED SMOCKS AND METALLIC
HANDRAILS. YOWZER, MAYBE IF STEVIE GETS WOUNDED, HE'LL DIE IN THE HOSPITAL. YUK, YUK,
YUK. AND THEN, OHHHHH, PAMELA WOULD BE MINE. YES PAMELA, THE QUEEN OF THE WHITE
SPOT DRIVE-IN. I'D SMOTHER HER WITH TRIPLE O SAUCE, TAKE HER TO BROCKTON POINT, AND
ISSUE THE ULTIMATUM: KILL STEVE NOW. SHE'D DO IT *CAUSE EVERYBODY KNOWS STEVE IS A
CATHOLIC, AND IT BEING HIS FAULT THAT JESUS DIED, THERE WOULD BE NO QUESTION ABOUT
NAILING THE POOR BOY BEFORE HE GETS TO * NAM. THAT WAY HE WOULDN'T END UP AS A
SWANSON'S TV DINNER LIKE ALL OF THEM BATTLE REPORTS FROM *NAM INDICATE HE WOULD.
I JUST WOULDN'T WANT TO RISK ACCIDENTLY RUBBING MY FORK AGAINST THE ALUMINUM
SIDING OF A TV DINNER AND BEING SMACKED WITH THE TASTE OF METAL IN MY MOUTH. THE
TASTE THAT ALWAYS FILLED MY TRAP AS STEVE SWAGGERED IN LIKE AN EXPLOSION OF POPPING ZITS EVERY SUNDAY MORNING AFTER ROMPER ROOM."
John Ruskin
30  DISCORDER ULL
.*£**>>
POWELL DECKS 1/3 OFF REG. 74.95SALE 50.00
DOGTOWN DECKS 1/3 OFF REG. 65.95SALE 44.00
VISION DECKS 1/3 OFF REG. 65.95SALE 44.00
SIMS DECKS 1/3 OFF REG.65.95SALE 44.00
ALVA DECKS       . 1/3 OFF REG. 65.95SALE 44.00
BLOCKHEAD DECKS 1/3 OFF REG. 65.95SALE 44.00
MADRID DECKS 1/3 OFF REG. 63.95SALE 42.00
SftccSreecs 1/2 OFF REG. 54.95SALE 36.50
S&oSekos 1/2 OFF REG. 49.95SALE 24.95
J INDEPENDENT TRUCKS REG. 51.95 pr.   SALE 39.95 pr.
GULLWING TRUCKS      REG. 54.95 pr.   SALE 39.95 pr. -
I TRACKER TRUCKS REG. 54.95 pr.   SALE 39.95 pr. .
SELECT SANTA CRUZ WHEELS REG. 8.50 ea.   SALE 5.70 ea '
SKULL SKATE WHEELS REG. 8.50 ea.   SALE 5.70 eaj
OR BUY ANY REGULAR PRICED SET OF FOUR WHEELS
| AND GET ITALIAN MADE SKF FULL PRECISION BEARINGS
AT NO EXTRA CHARGE. ($20.00 Value)
j AVALANCHE 160 FLEX SNOWBOARD610.00 SALE 475.00 " f
GNU ANTIGRAVITY 166 SN0WB0ARD549.95 SALE 425.00 a
BURTON WOODY 145 SNOWBOARD229.95 SALE 199.00 _ |
I VANCOUVER'S COOLEST T-SHIRT DESIGNS
] 100°b COTTON T-SHIRTS
I TIE DYED 100% COTTON T-SHIRTS
I SKULL SKATES SWEAT SHIRTS
I SKULL SKATES SWEAT PANTS
I PD'S HOT SHOP SWEAT PANTS
I SKULL SKATES LAB COATS
RIBCAGE LONG SLEEVE T's
m
SEVERE^
(XMAS m
SALE
«t        ^ Cr
«^
e ■■'&■ £'*
h
REGULAR
^4
1/2 OFF Reg. 19.95 SALE 9.95
1/2 OFF Reg.24.95 SALE 12.45
1/2 OFF Reg. 29.95 SALE 14.95
1/2 OFF Reg. 34.95 SALE 17.45
1/2 OFF Reg. 34.95 SALE 17.45
1/2 OFF Reg. 34.95 SALE 17.45
1/2 OFF Reg. 14.95 SALE  7.45
■ 8261 OAK STREET, VANCOUVER. B.C. V6P 4A8
(604) 266-1298
■ 1405 HUNTER ST., NORTH VANCOUVER V7J 1H3
(604) 967-1975
■ 306 FITZWILLIAM ST.. NANAIMO. B.C. V9R 3A5
(604) 754-4335
SALE BEGINS NOVEMBER 15th 1988 AND ENDS DECEMBER 15th 1988."
ONE MONTH OF THE LOWEST PRICES EVER. HURRY WHILE SUPPLIES LAST.
J*
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