Lunatic Fringe Presents A lesson in Grammar.
Fuck is perhaps one of the most interesting words in the English language.
Fuck is one magical word which just by its sound can describe pleasure, pain, hate and love.
Fuck comes from the German word "FRIKON".
In language, "fuck" falls into many grammatical categories. "Fuck" can be used as a verb, both transitive {I fucked the system), and
intransitive (The system was fucked by me). It can be used as an active verb (he really gives a fuck) or a passive verb (she really
doesn't give a fuck), as an adverb (she is fucking interested in him) and a noun (he is a real fuck-up). As well,"fuck" can be used as
an adjective (/ am fucking beautiful)- As you can see, there is a whole lot of real versatility with the word "fuck". It pops up everywhere.
Besides its sexual connotation, this lovely word can be used to describe many situations:
Fraud - / got fucked by that crook.
Trouble - I'm fucked now.
Aggression - Fuck you!
Philosophy - Who gives a fuck?
Numerology - Sixty-fucking-nine.
Displeasure - What the fuck's going on?
To Tell Time - It's six-fucking-thirty.
A Political Statement - Fuck Mulroney!
All Encompassing - Fuck 'em all!
A Poker Hand - A Royal Fuck
As An Acceptance - Fuckin'A!
Dismay - Oh, fuck it!
Confusion - What the fuck?
Despair - Fucked again!
Incompetence - He's a real fuck-off.
Rebellion - Fuck it!
Descriptive analogy - He's a fucking asshole!
As A Perdiction - Well, I'll be fucked!
A Put-Down -fuck off, buster!
Law Enforcement - Fuck tha'police!
To Start a Relationship - Let's fuck now!
Enjoyment - Fuckin' wow!
A Closing - Fuckingty yours.
Use fuck in your daily speech proudly fuck adds prestige to any conversation. Put this colorful four letter word to work
for you; today, tell someone you know "fuck you" or Let's fuck".
to be continued...
oVepAcnet/Une^ups
Sundays - Tuesdays - Wednesday
Buck - a -
Nights
3/5 Z. &wadujayal3&iffsway 676-7003
<9pet* .' 9u»io(Sal- Spmte2am, (Sunday ioCAOdnigM.
(Eeue*; &w. and (Sal, cnfy*x£OCJ/fcw*9pmio /an* di%orQeR
NOVEMBER 1991 - ISSUE #106...
IRREGULARS
90210: ROBSON STREET
Wanna-be's Enquire Within
....LI
MICKY DOLENZ
Everyone's Least Favourite Monkee
....L2
PUBLIC ENEMY
Learning The A,B,C's With Chuck D
...M5
ALICE DONUT
Scooter Gets Revenge Upon Tlie Impotent
...M6
PIGFACE
June and Tlie Industrial All-Stars
...M8
HARD ROCK MINERS
A Diamond In The Rough
.M10
MUDHONEY
Bryce Dunn Goes Along For The Mudride
.M12
GET RICH QUICK
...Or Work All Your Life. You Choose
....L5
CLIVE BARKER
We've Seen The Future of Horror
...L6
SUBCULTURE
The Long-Debated Topic
,...L8
FICTION
Literary Stuff
....35
MAN/WOMAN
38
REGULARS
AIRHEAD 5 FUTURERAP
..M18
MINIS M3 FELICITY DUNBAR
...M19
SHINDIG IVI7 SUBTEXT
L7
UNDER REVIEW M13 SPINLIST
36
REAL LIVE ACTION M16 ON THE DIAL
37
DUMMYHEDS, FOUND IN SUPPOSEDLY EMPTY EQUIPMENT
IN SEATTLE, WASHINGTON by Rob Adamson *"
DISCARDER by Gary Wildeman
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For this one month only we present the entirely tabloid "Pull-Out"
Discorder. If, in the past, you have found the "Lifestyle" articles to
get in the way of your enjoyment of the "Music" articles in
Discorder, rejoice. For now you can pull out those damn "Lifestyle"
bits. And, if music is not to your liking, you can pull out the music
related articles, leaving you with only the choice counter-cultural
perspective pieces. So, turn the page and let the pulling begin.
Due to some recent renovations in Vancouver Special, the column
will not appear this month. However, beginning next month, Redd
McJann and Coral Short will be providing you with all the important
local demos, releases, music gossip, and gig reviews.
Another programming note: usually at this point in the magazine
you would be reading one of many fine letters sent to the magazine.
Unfortunately we don't have any letters to print in Airhead, so,
instead...
Here al Discorder, we apologize for printing what many people, quite rightly,
found an offensive, sexist advertisement. Due lo an error in our process, which
has since been corrected, an ad was put in the magazine without being subjected
to the usual scrutiny. Unfortunately the damage has already been done. Yet again,
women have been portrayed as powerless objects lo be exploited by men. And
now Discorder has been caught in the web of the male hegemony that continues
to methodically marginalize and subjugate those who are not male.
Perhaps the most troubling aspect arising from this incident was the lack
of negative response from our readership. Although we received a few internal
complaints from people involved in Discorder, primarily writers, we only received one telephone call from a concerned reader. Apparently, people are
content to allow the mediaand advertisers to continue their sexisttraditions—nol
willing to make them accountable for their stereo-typing.
To insure lhat a similar incident does not occur again, a few things have
changed uDiscorder. the editors will pre-screen all ads, the advertising reps will
have greater discretion in refusing ads, and all have shared a greater awareness
as to the subtle and overt forms that sexism can take within the media.
Oh, yeah, while we are apologizing...our apologies go out lo Scooter,
whose name did not appear with his Big Drill Car interview, and Mark Kleiner,
whose name did appear alongside his Strawberry Alarm Clock article but was
illegible.
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Sub-Culture pL8
ROBSON ST. 90210
Live With Vancouver's Rodeo Drive
by Lee-Ann Hooker
Now, before I start spewing off about alt the aspects of Robson St. that
nauseate me, just let me say that even I must admit it adds some much
needed style to an otherwise aesthetically void part of town. After all,
as culturally hip as the West End is, it is also viewed by many outsiders
as a bit of an eyesore.
Having said that, then, here are some points I find especially
exasperating about The Rodeo DrivB of Vancouver..."
1) Robson St. Clothing Store Clerks
I sometimes feel as though I bring this unnecessary aggravation on myself. After all, it's not as if
I can afford any of the clothes in these shops, save
for maybe a pairof socks from the Sock Drawer, so
why go in? Whenever I do, I'm greeted by some
toothy Barbie doll salesgirl who reeks of Eternity
cologne. She grins as if she's about to burst a
blood vessel, and says something cute like "Hi!
How are you today?" Don't get me wrong, IVe got
nothing against being friendly, but does this girl
really care how I am? I doubt it More likely, she is
debating whether to go to Earl's on Top or The
Cactus Club for lunch, and wondering how much
sales comissbn she can squeeze out of me today.
I answer this last question for her; I walk out
2) Friday Night Pre-Pubescent 'Vogue'-ing
This spectacle occurs when throngs of teens, too
young to get into the bars gather on Robson in their
Guess jeans and Raider's gear and compete for
the coveted title of "Best Dressed Poser." My
friends and I have a theory that a lucrative career
could be had by bootlegging for these kids. Not to
mention the endless hours of fun we could spend
watching them get drunk off of one cooler and
puke all over those designer labels.
3) The Robson St Bus
I figure that I could be completely lame in both legs,
crawl down Robson from Granville St, and still
make it to Starbuck's Coffee before that damn bus
would. Forget public transit; there should be a
chartered flight service for this route.
4) The Weekend Battle of the Boomboxes
I can think of nothing more pleasant than falling
asleep only to be awakened at three in the moming
by C & C Music Factory blaring out of a Mazda
Miata parked just outside my apartment I mean, if
you're going to disturb the peace, at least be
tasteful in your choice of music.
Arts pL6/7
5) Robson Rent-A-Cops
It's really no wonder these traffic cops have such inflated egos.
Wouldn't you if you got to stand in the midst of traffic wielding a
glowing orange wand, performing ihe duties that regular cops couldn't
be bothered with?
Well, I could go on forever, but the liquor store is about to close,
and I've got some coolers to sell. Micky Dolenz pictures courtesy of Mark Kleiner
Mr. Monkey Man: Micky Dolenz
by Nardwuar the Human Serviette
How do you fed that you fit this role. Why did they ask you, Micky?
Cause fm a celebrity.
A rawk'n'roll celebrity?
Depends on your point of view I suppose. Some would say yes. Some would
say television celebrity.
Me being from Vancouver, B.C, Canada, how come I don't know a hell
of a lot about the Monkees? Were they syndicated In Canada?
I have no idea, but it's probably just because you're too young. But when you
grow up, maybe you'll leam.
Nardwaur: Who are yo
Don't you know? Why ai
: you interviewing me if you don't know?
Oh well, just for the people out there that wouldn't kaow.
Ah, my name is Micky Dolenz,. What's yours?
My name is Nardwuar.
Hi Nardwuar, how are you?
O.K...Now Micky you were Involved In that famous rock'n'roll group,
right?
Yes, that's true. Actually, it was a television show about a rock'n'roll
group.
It has been said you don't want to be known as a Monkee anymore, is
that a valid statement?
No, it's not. I'm not in the group anymore but I'm very proud of what I did
and I had a great time and it was very successful. I'm solo now.
And you 're here I n Vancouver, B.C, shooting a fun game show called,
Crazy Talk"!
Ah, no, Ac/i»i_ Crazy. It's basically just charades.
Is that the main reason you're in Vancouver?
Yeah, I came out just to do the show.
Did you quit the Monkees?
Yeah, I went solo about two years ago.
And before that, when the Initial Monkees broke up, how did the group
disband?
It wasn't a band. I already said this once.
Sorry.
Listen carefully now. It was a television show about a band. So, when the show
went off the air, the SHOW went off the air. It's like Leonard Nimoy and
William Shatner didn't hang around together, you know, after beaming each
other up.
What happened next, did ya forge new ground in movies?
I became a film and television director.
What stuff can people see that you have done?
Nothing really here, I was working in England-exclusively in England for
fifteen years.
On Monty Python material?
I worked with some of the guys from Monty Python.
I didn't work on that particular show but I worked
with Mike Palen and Terry Jones.
Does the name Linda Lovelace bring any m
ries back to you, Micky?
Yeah, we did a movie with Linda Lovelace in the
seventies. It was an attempt to try and legitimize her
as a comedienne. It wasn't a porno film, it was a
comedy. There were quite a few comedians in the
No, cause the movie (Linda Lovelace For President) didn't do that welL.it
was quite funny. It was an attempt to make a comedian out of her.
Has Jealousy ever played a part in your life?
No.
You've never been jealous about movies or parts you 've missed, like for
example not being cast as the "Fonz" In Happy Days. What's the story
behind that?
I was up for it as an actor, to play the part of the Fonz, but Henry Winkler was
excellent casting for that I think. I would have cast Henry instead of myself
if I was the producer.
Did you even know he was auditioning or was It at a totally different time.
No, it happened to be exactly the same day. He says he remembers meeting
me but I don't remember meeting him.
Before The Monkees did not Micky Dolenz have a real live TV Show?
Yeah, I did a series when I was a kid called Circus Boy.
Has that aired recently, or are there any plans for it on home video?
No, I dunno why. I suppose they must have a problem with the rights or
somelhing because they haven't put the show back on the air.
Did you come from a family of established artistes? Vaudeville entertainers?
Artists, not artistes. You talk funny.
I Ulk Canadian-it's the land of Clam Chowder and ice!
Artistes?!? Yeah, my father was an actor.
Who were the Missing Links?
Hiat was my band before the Monkees. "HIPPIE" MICKY
Dear Micky,
I read in a blah magazine that you aren't getting
along with the other guys because they think you act too
much like a "hippie."
Gail Feldman
Santa Rosa, Calif.
* Dear Gail,
False! The word "hippie" means a lot of different
things to a lot of different people. We Monkees don't
consider ourselves hippies at all. We do-and that means
all of us-like far-out clothes, Indian heads, etc. We don't
feels the least bit competitive and, as a matter of fact, we
Monkees are always making presents of these clothes and
trinkets to one another.
Micky
Could they be classified as a 60's wailing punk garage band, a la The
Stan dells?
Yeah, we were a bar band. We did Top 40. Yeah, just a rock'n'roll band.
What ever happened to the other members of the Missing Links? Have
you kept up with them?
Naw, haven't talked to them in yean and years. It's been a long, long time.
What, If anything, did the Links put out?
We ahhh— I had one record out but it wasn't with the Missing Links. Yeah,
I had one or two records out as a solo artist before the Monkees.
You've heard or the Plaster Casters, eh?
Yeah, those two girls in the sixties that used to go around talcing plaster casts.
"Moldings."
That's true.
l. Get your grammar right
What would you like to be known as nowadays?
Oh, the singing director probably.
Recently Operation Desert Storm caused a lot of commotion. Any
feelings regarding the Gulf Crisis Mr. Dolenz?
Well, I wasn't a big fan of old Saddam Hussein, so I don't have too many
complaints. What about you?
Ugh, I was really wondering wasn't Head, that luxurious, that hardhitting, that big movie that you Monkees did, sort of an anti-war film?
Yeah, part of it was. yeah. It was an anti-Vietnamese war movie.
And now with the Persian Gulf War, would that mean that if the
Monkees were around today, they might have made a movie like Head,
possibly about the Gulf Crisis?
No I doubt it. There isn't much of a counterculture today.
Do you feel you would have still made Head if you felt the way you do
now? In other words, have rock'n'rollers gotten more conservative, like
Jerry Lee Lewis wearing ties nowadays, and not being with 16 year old
girls-
No, I think you have to take each case in point The Vietnamese war was, and
I still believe, and most people do, unjustified. The Persian Gulf probably
(Pause) And, finally, thanks for the time, do you know who the Prime
Minister of Canada is?
Afraid no-
Later Micky!
Goodbye.
10 5_^»2E_3
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Booking Deadline: Wednesday, November 13
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PAT WRIGHT & THE TOTAL
EXPERIENCE CHOIR
by Dave Lang*lie
you come we try to find «
that will speak to the hearts of everybody in the audience, whether iu
When I left Nova Scotia to come
here to itudy I knew I wai leaving
behind my accen to real live gospel
music. There'd be no North Preston
Community Choir, Gospelheirs, or
Four the MomenL Little did I know
that here, in white bread Vancouver,
I'd get to see the Total Experience
Gospel Choir from Seattle, they perform a lot in Vancouver, as they did
in September at UBC. After the concert. I talked with director, Pat
WrighL
DISCORDER: Pat, I'm Interested to know wh ere you're from and
your roots In gospel.
PAT WRIGHT: I'm from a little
town in Texas, Carthage. It's about
twenty miles from the Louisiana line
and I grew up the daughter of a
Baptist pastor. So I kind of had no
choice than to do what I'm doing and
I'm glad, very glad.
What are your Influences in gospel? Who did you listen to growing up?
I don't listen to anybody, to tell you
the truth. What we do came from my
own childhood experiences. A lot of
the music we sing is probably a lot of
selections that I learned when I was a
little girl, just brought up to date.
When I was growing up in Texas
there wasn't a lot of black music on
the radio at that time. I 'm 47 years old
and there weren't any black stations
to speak of, so there wasn't that much
exposure to black gospel. I knew it
existed, from time to time we were
able to go someplace, pick up some
and leam the music lhat way. So
because it wasn't that readily available, I've learned more probably in
the last 25 years of my life than I
learned in the first 25.
You've had a lot of experiences,
things have changed in the southern states in that time; how docs
that reflect in your music?
I'm part of the struggle, that's for
sure. I marched in the '60's, I was in
college at that time. An, of course,
being raised in Texas, I know what
racism is first hand. But I must say
that it's more here in the North than it
was jn the South because at lhat point,
and still now today, whites in the
south are quite forward about the way
they feel and in the north it's very
subtle, it sneaks up on you before you
know it happens to you. The next
thing you know, BAM!I it hits you.
Tell me a Mt of the Choir's hlsto-
It started in 1973 as a class at a high
school. The schools in Washington
are funded by levies and it became
a very popular item among while
students and took away a lot of
students from the high school choir.
A lot of people in the school at the
lime didn't like the fact that so
many white kids were getting involved in the choir. So when the
levy failed that year, in 1975, they
saw that as an opportunity not to
hire me back. So I took it from the
school and went to the church with
it and we've been with the church
That's amazing. Tonight was a
benefit for African Relief and I
noticed that you blended your
music between both pure gospel
songs and songs about co-operation and working together. To
what extent do you contain social
messages in your music?
We do a lot of songs with a social
message because, you see, we ARE
the people. If we can't reach you
one way, then we'll hit you across
ihe head the other way. Either way
Is there much of a gospel scene
happening in Seattle?
Not like it used to be. I used to be on
the radio; I was on for ten years as a
gospel announcer. Gospel never really caught on in Washington. We're
sort of behind. I think you're doing
pretty good up here in Canada. We in
Washington, and particularly in Seattle, we don't get a whole lot of
'gospel' gospel music, its a whole
lot of contemporary gospel music.
Crossover music, I guess you'd call
it. So kids are not learning what our
roots really are and I try tokeepthem
interested. It's important that we
know our roots, but we're not getting much of that these days.
I notice you do a few spirituals,
you throw In some jubilees and
things. Theinflucnce of people like
the Wlnans, is that a good thing or
a bad thing?
Ils good for them, they're making
money at it. There's a couple of
songs I like by the Winans. I don't
fault them for what they're trying to
do, they're making at it, and I'm not
really making a living at gospel. I
have to do other things to make a
living, but that's their way of doing
it and I say God bless them, but it
doesn't fit my style.
mike victory
I first became aware of Mike Victory through his work, under the
moniker of Sect, on the Vancouver Spiral Records compilation,
Sound Generator, and found it to
be refreshingly original 'industrial'music. I finally met Mike at the
Front Line Assembly show where
he opened with Steve Rosin-
whom he collaborates with. I was
very impressed and decided togel
the word out about this shy, but
very talented, keyboard-meister.
How long haveyou actually been
doing music?
Mike Victory: Since the spring
of '89.
What made you start doing th is
type of music?
I was a pretty hardcore fan of
industrial music for a long time,
well, for a few years. I had, bought
and listened to everything. I was a
real supporter. I got to the point
where I knew it really well, the
style. And I thought it's too bad
there isn't more of it to get more
of it available. So I thought I'd
like to start playing around a bit
and start experimenting. The first
thing I did get was some guitar
effect pedals. I rented and borrowed them and I just hooked
them all up to a microphone and
this little drum machine...and just
processed the hell out of really
wimpy machines and it sounded
alright. It still is a bit wimpy, but
mainly it started just for myself,
so I could just play around and
actively do something 'cause mu
sic was something I had never gotten into. I just didn't have any talent
or ambition to be a musician. I just
got into it because my friends had
the machinery and were willing to
lend it to me. Since I've been little
I' ve always been drawing and doing
graphics and stuff like that I started
to slow down when I was 16 or 17,
not lhat I got fed up with it, but I
taken it as far as it would go. I
figured if I could do graphics, why
not do music! It sort of grew. My
limited success was purely by accident: like luck and accident. I was
just in the right place at the right
So you got onto Spiral Records by
accident?
Yeah, I went into Colourbox (a hair
salon), where Curtis (Bereza) used
to work, to get my hair done (chuckles). I started talking to him and I
found out he was doing (records?).
I told him I was playing around and
he told me to bring 'round a tape,
and he liked ill That'show it started.
What's the distribution of Spiral
like?
It's getting better. We have distribution through Chicago, I think
Ihrough Silent records, and we have
distrtibution in Holland. SoundGen-
erator did pretty well for a limited
release, considering it was a sort of
a frccbie introduction of everybody
on the label. It got sent oul as a
promo record lo college radio stations throughout Canada and into
some ofthe States as well. When it
was in ils prime, some ofthe songs
did get to number one. The big
radio station in Toronto played it a
lot I don't know if you know, but
the tour was cancelled (the Spiral
Records cross-Canada showcase
tour that was to include Sect) because there wasn't enough money,
due to the recession. It was basically because Emily (Faryna) and I
couldn't come up with the money
by the end of the month.
What about just playing here?
We'll do that in the fall...m_ybe in
a month, or so-I might just show a
video. It seems like the last show I
did with Steve (Rosin) went pretty
good. I think people were there for
Front Line(Assembly) any ways, so
lhal was a pretty good audience for
that type of music.I'd liketo concentrate on setting up my own studio and get a lot of material recorded and get releases out there. That's
the main thing, getting money to
get material out to the public so
you can get your name out a little
bit more.
What kind of style(s) would you
call your music?
The first would be the more percussive based, the second would
be the pure noise/barrage and the
third would be the more ambient,
heavy echo sound scapes that are
not so abrasive. I find that noise
can be more easily adapted to the
rhythm than the ambient, but I'd
like to move into, not dance music,
but more techno-based. Once I have
that, then introduce the more ambient into it-have sort of ambient
industrial noise! It's starting lo
get like Frankenstein; piecing together things that shouldn't be.
Haveyou had any formal train-
No, when I was four I had piano
for about two months, that's
about it. Music has never really
been important, never ever. I
don't consider music to be as
important to me as, say, art As
long as I'm doing something creative with myself I'm happy.
When Idon't have anything to do
or any work, I get mad. I have to
have an outlet I started basically
because I had no money, that's
why I started small. I still have
my first tape loop: actually an old
commercial tape I cut up, tore
apart and taped back together
again. I would tape a sound on
a tape loop, then have that tape
(and) dub it onto another tape,
so that the other would just
have that loop going on and on
and on. Then I would record a
different sound and put it on a
different tape. Then I would
play all these tapes of these
tape loop recordings on cassette decks and move a microphone around between the tape
decks. So it started out really
low-tech. There's something
about lesser technology that has
certain characteristics and
warmths lhat extreme technology doesn't have. Plus, having
less sophisticated technology
forces you to be more creative,
as you don't have all the prearranged programmes that take
careofany innovative ideas for
you, like pre-designed writing
techniques and stuff. Software
is great for helping you if it's
doing the same lines as what
you're doing. But if you're programming to fit your stuff into
certain parameters it can get
cold.
June Scudeler
MUSIC 3 It's been said before, but!
We'll repeat it....
Shindig is still running
strong, and now into the
second round. Come out
every Monday evening and
smell the magic. Coming
up at the Railway Club:
NOVEMBER 4-Night Three of
Second Round Preliminaries
NOVEMBER 11- Second Round
Semi-Finals
NOVEMBER 18- Night One ol
Third Round Preliminaries
NOVEMBER 25- Night Two of
Third Round Preliminaries
DECEMBER 2- Night Three of
Third Round Preliminaries
DECEMBER 9- Third Round
Semi-Finals
RAILWAY CLUB
579 DUNSMUIR
SHINDIG GRAND FINALS AT
the cruel elephant
23 west cordova
AND LET'S NOT FORGET OUR SWELL SPONSORS:
<k Vancouver
^ Studios KNBGAoe S1U0IOS QWUP PUBLIC
ENEMY
BY TARA SLOAN
^ r<V
It was November 24,1991, a Thursday, and the evening awaited by
many: The Public Enemy/Anthrax/
Young Black Teenagers/Primus concert, held at the P.N.E. Forum.
After much confusion at the
CiTR headquarters word was out that
the interview with Chuck D of Public
Enemy was cancelled. But for some
reason I threw my questions, written
the night before, in my back pocket
and headed out to the show. The bus
ride down gave me time to think if it
would be worth rushing lo the front
of the stage, seeing as no interview
was in check. Yes, it was confirmed,
I would send myself into that crowd
and face the sore achin' muscles the
next day.
Needless to say I only made it
through YBT and PRIMUS and then
decided lo forget itl I was front-center, front-left, front-right, back, forward.... The crowd consisted of alternative looking people: head-bangers
who were definitely thrashing themselves around and the rap crowd.
Picture this; General Admission, not
a good idea. Herded in like cattle the
audience went wild I
Chuck D came on, he was the
third of four acts, and spoke out
againstthe Canadian Government because his humourous partner-in-
rhyme, Flavor Flav, had not been
permitted to pass the border into Canada. This was because ofthe charges
laid on Flavor for an incident that
occurred between him and his wife. It
was personal but, of course, the media got hold of some incorrect information, exploited Flavor Flav in an
extreme negative light, and shattered
many fans' hopes of seeing this crazy-hype individual I Nevertheless, the
show went on and Chuck D tricked
his rhymes. Terminator X pumped
his fist now and then as he DJ'd away
behind the great red X that had lights
flashing throughout theentirity of the
show. The S1 W's did there thing and
Chuck D kept comin' out strong. The
crowd went into a frenzy and a few
fights broke out- Bul there was no
real problem with violence, that 1
could see...It was all out WAR!!!
Anyways, I got back in the
crowd after getting pulled out earlier
on. In the process of waiting for Public Enemy to finish their stage set-up
I noticed one of my friends above me
on someone's sholders. I don't know
what made me turn around and look
up but I did and that's all that matters
because amoungst the ruckus I clearly heard her say, "the interview's still
on! M" I could not believe this and so
I asked, "What?" She again respond
ed, "The interview wilh Chuck D.it's
still on!" Well I raced out of that
crowd and thought, "Wow! If that
isn't fate to just happen to see my
friend, I would have never known."
Next I raced around and then walked
back feeling quite helpless and
stressed out while I was looking for
my brother who had the MIC and
Tape Recorder. So, slowly, I made
my way back to where the audience
was, when out of nowhere, like a
shining light and of course that damn
fate again, stood my brother! I
screamed something in his face and
he then handed me the bag and explained how to use the equipment.
By now I was freaking out but, still,
there was another obstacle in my
path that could prevent me from
meeting Chuck D; I needed a backstage pass from one of the ladies at
Sony. But I didn't know what she
looked like, or where she was, or
where to find her! Luckily the guy
who was interviewing Anthrax did
know who she was because he had
just got a pass from her, however,
now she was gone. I asked security
people, roadies and even a member
of the St. John's Ambulance but
none were of any help and a few
were quite rude! No time for this!
My head was spinning and I did not
know what to do. Then I heard my
name, and "There she is!! ("The pass
was presented to me and my mood
switched from exhaustion to excitement. For this interview I had been
waiting years, and years.and years!
My chances had been so slim that
only fate could helpmeoul now. ..and
it did.
(Editor's note: Unfortunately, Flavour Flav couldn't make it to the
Vancouver show because of some
problems with immigration and access to Canada. The end result was,
regrettfully, Public Enemy's last
show in Canada—solely a favor for
the Anthrax boys. Despite all the
difficulties involved with PE's appearance at the Forum, Chuck D was
kind enough to grant Discorder(and
some mystery peson who went by
the initial G.) an interview. Let's
hope the brothers work it oul)
G: Tell me about the tour and
what it meant to you and the Importance of it.
Chuck D: The tour has meant a lot.
Music is communication—aboul
communicating with people—no
matter who's doing it. As long as
you get whatever perspective out
that represents for all and positive
progress for the good of people, all
of them.
D: Are you suing the Malt Liquor
com pany because they took a sam •
pie from you?
CD: Yes.
D: And did that make you write
the "One Million Bottle Bags" lyrics?
CD: No.
D: That was for something else?
CD: I wrote "One Million Bottle
Bags" before that. Il was a coincidence that they used my voice so
they are getting sued.
G: Why did you feel you had to
write "One Million Bottle Bags"?
CD: Well, mall liquor is devastating
the black community. Now people
talk about stopping the violence but
I know the use of that type of stuff
causes a lot of violence.
D: Why doesn't Sister Souljah,
the new member in your group,
appear on the cover of the new
album?
CD: Because she's a limited member. She doesn't perform but she
does speaking engagements.
D: How did you meet her?
CD: Doing speaking engagements
at colleges. She does them too. She's
always working in the community,
so things happened to gel.
G: You guys encounter a lot of
controversy wherever you go, and
a lot of newspapers say a lot of
bullshit about it, is that what the
New York Post story song is about?
CD: Yeah.
G: Did they Uke aim at you deliberately or just the black community?
CD: AH of the above, yes.
G: Can yon give me an incident?
CD:[The] reason we wrote the song
[was] cause they printed Flavor's
address in there. I thought that was
foul.
G: After he was-.
CD: After the incident that he was
caught on.
D: Do you and Professor Griff
keep in touch, and what do you
think of his career?
CD: He lives in the same community . (Of] Course we all see each other,
just that he's not working with Public Enemy. We keep in touch, yeah,
"Hello, what's up? How's everything?", you know. Has the album
come out here?
G: A couple days ago, yeah.
CD: On CBS Canada?
G: Yeah.
CD: Did they put the lyric sheet in
there?
D: No, no lyrics.
CD: That's stupid I
[Unknown Person who barged
in ]You know what's stupid? They
censored it. They censored
"Dodge."
CD: Why?
[Unknown Person once again interrupting] I don't know, but everything else....There's no censorship In any of the other songs except that one.
CD: "Bottlebags?"
D: "Get the Fuck Outta Dodge."
CD:: I did that. I didn't feel like...
you know, I think cursing is played
oul, so I put the censored version,
but I like the beeps. But they should
have put the lyrics in. So how come
they didn't? That's a big mistake.
D: Are there lyrics in the American version?
CD: I make sure everything is done
'cuzl take care. I'm the one that puts
the package together.
D: Do you feel that some of the
rappers are using the power that
they've got over their audiences..
CD: No.
D: You know bow there's all this
cursing... I know there's the 2 Live
Crewand that's ail been discussed
but you mentioned X-Clan and
how you want to hear wm X-
Clan, but...
CD: I think rappers only rap what
they know. If they're limited, Ihey "re
only going to rap limited, you know?
So are they exploiting? I don't think
they even go that far.
D: What role do you think rap
should play because there was an
article, in Details, and it said that
Ice Cube and KRS-One are ruining rap. It's supposed to be all
communal, and all fun and stuff
like that, and he thinks that people
are talking too much self-importance...
CD: Who said that, John Leland?
Just 'cuz John Leland wrote that
D: From Details. Ice-T was on the
cover.
CD: Yeah, John Leland wrote it. So
just cause one crackpot writes the
article, you going to follow what he
says?
D: No, that's why I'm asking you,
what role do you think it should
play.
CD: I think many rappers out there
express many reflections from the
community. I like B.W.P. but I don't
really like all the stuff they talk about
I don't think that in order to be a
successful artist.. see a lot of people
[are] usin' that in order to be suc-
D: Yeah that's what I mean.
CD: It's gonna work for one and the
rest of them are going to fail.
D: OK, I think it is Brand Nubian
who are in the Nation of Islam—
or they are following It. Do you
support B lack watch or the Nation
of Islam?
CD: I support all black organizations that strive for a positive role for
the community.
D: I heard you didn't, at the beginning, know much about about
black history?
CD: Who told you that?
D: I think It was In some magazine.
See that is why I am asking you
straight. Because I heard in the
beginning you didn't know or you
didn't have much and then...
CD: That's bullshit.
D: So how did you start then?
CD: My mother and father.
D: They told and taught about
every thing? They made you read?
Did you read a lot?
CD: Yeah.
D: And when you went to school I
heard you ■*«• » . rtoonist?
CD: What magazine did you read?
D: Idon't know,I'veread so many.
CD: And you forgot which one you
read that said it?
D: No, there's so much stuff.
There's so much stuff In all of
them, but the thing is whether it's
true of not cause every body changes everything.
CD: I don't know where you read
that I never knew about black histo-
D: I think it was Spin. Do you
follow the articles written about
you?
CD: Yeah. Yeah I do.
D: You cut them all out or...?
CD: I try to save as many as possible.
There's a lot of them.
D: Oh I know. I can Imagine. How
do you like touring?
CD: Love it, but right now I'm homesick.
D: Homesick?
CD: Yeah.
D: You have family right? You've
got a wife and a...
CD: ...a daughter. So I want to go
home and see them.
D: How long is your tour?
CD: Five weeks, this is the end of it.
D: This is the end and then you get
to go home or...
CD: Get to go home for two weeks
and then sun another one for six
D: Is there a lot of racial tension or
anything at your shows?
CD: No.
D: I don't think there was any
here, it was more like just people
getting a bit too close and fighting
and stuff but...
CD: Naw. No tension at alL We had
a show in Idaho tomorrow but I
cancelled it. I'm not gonna fly to no
Idaho. Fuck that!
MUSIC 5 DOIN' DONUT'S
WITH ALICE
by Paul t.Brooks
Contrary to popular belief AHce
Donut is a real person. Well, not so
much a person as it is fate. Fate dealt
out by the hands of the great rawk n'
roll creator The She-Elvis.
"MichaelfJung.guitarist] was getting his teeth cleaned in
Kenarsee(ric), Brooklyn and the
dental-technician looked mighty familiar. Il was The King. The King is
not dead. He had a sex change operation, married a trucker and moved
to Kenarsee, Brooklyn. He's a den-
talhygaiist now. He's devotinghim-
«e If to flossing and the prevention of
gum disease. He said...she said,
you're AHce Donut, so that's it,"
explains Tom Anions.
So for the past four albums and an
extensive amount of years exploring the under-belly of alternative
music, Alice Donut have not been
ignorant to the perils of gingivitis.
Inflammation of the gums is not a
laughing matter. Alice Donut' s new
album for Alternative Tentacles is
called Revenge Fantasies of Th*
Impotent and is a welcome treat, and
change, from an independent record
market saturated with 60's psychedelia, hard-core and SUB POP.
"A lot of people would assume a lot
of things about us because we're an
Alternative Tentacles...but that's
what's cool about Alternative Tentacles is lhat there is no [atypical]
sound. All the bands are unique and
I think that's one thing that's really
interesting about ii....People will
come and check us out just because
it's an A.T. thing but they like it
anyway."
Alice Donut are definitely not seeing any hindrance from their typecast label and battle all who try to
label them or put a thumb on their
sound. In the past they've been called
everything from The Throwing
Muses meet Pil, to Led Zeppelin
meets the Butthole Surfers, and
now my comparison to X crossed
with Tupelo Chain Sex. "We get
the weirdest pegs and il's kind of
interesting; it's pretty funny. We
get a lot of weirdness." But Alice
Donut and weirdness kind of walk
naked in a rainstorm holding hands.
We're nol talking Tubes or Devo
weirdness here but the land of lyrical and musical weirdness possessed
by the likes of The Dead Milkmen
and a Bugs Bunny cartoon. Collectively, Alice Donut are: Tom
Antona(vocals), Ted Houghton(b_ss,
vocals), Mike Jung(guitars, vocals),
Dave Giffen(guitars), Richard
Marshall(guitars), and Steve
Moses(drums, trombone). They've
just finished up a European and
North American tour for the new
album in which they enjoyed the
fruits of their labour and the many
splendours of Canadian and German beer. "It's better, higher proof
and tastier than Budweiser 3 % piss-
water". So, don't expect to see Alice Donut doing any beer commercials in the future unless they're for
With Revenge Fantasies ofThe Impotent the band takes a hauntingly
surreal look at society and litters the
vinyl with angst, frustration and
morbidness. The trend of the last 3
albums has kind of pointed in that
direction but nobody expected this
monster. Spawned, and fed, by the
war in the Persian Gulf, Revenge...
focusses on the bleak and dismal
with an attack on sinister grooves.
Abetted by such lyrics as, "the wife
of my best frimd/stares right through
me intoAhe tumor of my sick need/
...flinches at the wheel takes a/vita-
min complex to supplement/her
meal/.builds the scaffolding for a/
splinter faction of the lunatic fringe/
...jumps from sillleaving me/to clean
all that's been spilt/this ain't right
but then/again no one will
knowTMy Best Friend's Wife").
and the sickening screech of trombone, Alice Donut have uncovered a
tomb which held their schizophrenias captive; indeed, difficult with a
6 member band and the creative input thereof.
However, all is copacetic in the Alice Donut camp as they also decided
to take a different approach to this
record(which they consider to be
their best yet), but an approach they
weren't unfamiliar with. "We're kind
of going back to something we've
been doing..Jive and simple. And
this one, because of the nature of the
album, we just wanted to get it down
on vinyl as quickly as possible and
get as much of the live feel as possible. It was all right before the war,
that's why it's called Revenge Fantasies of The Impotent...it's an album of frustration, says Tom. Hence,
the inclusion of the cover of Black
Sabbath's "War Pigs". Not your
typical cover, of course, but an instrumental which has trombonist/
drummer Steve Moses tooting out in
place of the vocals. Originally, it
was done on a whim but they liked it,
kept it and put it on the album. Eventually, they learned the song but still
refrain from adding vocals.
Most recently, with the huge success
of indie bands making the jump to
major labels I was curious to know
Tom and Mike's views regarding
bands going through this transition.
"The most important thing is for the
bands to not set their goals on becoming a commercial band but rather just staying out there and being an
independent band. I think il depends
on the band. A lot of bands have
gone and then just can't[deal with it]
and they suck or they try to change
and whatever. But as long as they do
the same thing. The Replacements
and Husker Du really died. The
major labels killed them. Sonic
Youth didn't lose anything. A lot of
kids will say, "Oh, man they sold
out". [But] Integrity is more than vision. You've got to really want to do
the music as opposed to be in the
business. When you see the possibility ofTmoving to a major] and then
you lose track of why you did it,
that's what selling out is about."
Conclusively, I don't think Alice
Donut fans need worry about a sellout from the band in the near future.
But there may be cause for alarm
the next tour is sponsored
army. Be all you can be...; Might
make for another interesting cover
ALICEDONUT DISCOGRAPHY
Donut Comes Alive LP - Alternative Tentacles
Bucketfuls of Sickness and Horror in an Otherwise Meaningless Life LP - Alternative
Tentacles
Mule LP - Alternative Tentacles
Revenge Fantasies of The Impotent - Alternative Tentacles
The Ass TrilogyEP - ALternative Tentacles
"Demonologist/My Boyfriend's Back" 7" - Alternative Tentacles
Alice Donut"Love RollercoasterTDa Willys"Egg" Split 7" - Rave Records
"Get A Life, Get A Job" 7" - Vital Records
MUSIC 6 Ding! Round One has now officially passed into history. If
you haven't been down to the Railway for the past five
Mondays you' ve been missing the fun of three young' n' sweaty
groups of rock-stars-to-be battling for those "fabulous prizes"
emblazoned on the striking Shindig banner which spans the
stage. What follows is a recap of the glorious first-round
action for all of you losers who didn't show up:
SEPTEMBER 23
Zolty Cracker At first, the fourmem-
bers of Zolty Cracker seemed to be a
little nervous and guarded, but as
their performance progressed they
loosened up a bit and appeared to be
enjoying themselves. Likewise, I
initially found the "I'm
singer-songwriter" attitude of the
lead vocalist a little annoying; however, as the Crackers charged through
their set of high-energy busker-folk
tunes, their determination and conviction began to make an impression
on me. The use of two percussionists
gave their arrangements an original
rhythmic flavour-it's good to see
ie bands realize you can get
a driving beat without having to use
a conventional drum kit. All four
Zolties sing too, and all have very
strong and original voices. The
hands-down Railway Club Staff
Favourites for the evening, Zolty
Cracker, finished a solid second place
with the judges.
Go Guy: More guys with nothing
better to do than strap on some guitars and get a dram set and try and
make some noise. More guys who
can't sing with nothing to sing about
trying to sing about nothing. It's
never easy coming in third, but all I
can hope is that the guys in Go Guy
will be inspired to work harder and
practice their playing, singing, and
songwriting until they become the
next Dinosaur Jr.
Cuter Than Spunky: The first couple
of Spunky songs were blasts of frantic chaos being thrown at the
pecting Railway patrons. But by the
third song of their short set, the angst -
core barrage had been twisted into
focus. The combination of frantic
drumming and bass spurts with the
rolling-eye sarcasm of the singer/
bassist and wierd wank-soundscapes
of the unusually-bedecked guitarist
managed to capture the audience's
attention, and won over the judges,
too-Cuter Than Spunky took the
night's top honours and proceeded
to the First Round Semifinal.
SEPTEMBER 30
Terror of Tiny Town: With s
like this, I was expecting (and hoping) for some off-the-wall zaniness.
What was dished up was a mix n-
match selection of styles ranging
from country-folk to AC/DC rawk. I
really liked a couple of their songs,
but the others didn't do much for me.
I think this "we're so eclectic" style-
jumping thing can get outta hand
sometimes. Still, Terror of Tiny
Town do have a lot of strong points:
good songs, good musicianship, and a singer who shows some
real originality in his singing and
lyric-writing, a trait far too lacking
these days. The Terrors
Rumble Fish: Another case where
blatent personal bias is about all you
can go on. If you like Sons of Freedom-type rhythms and loud, simple
rifling with sortaSiouxie-Hagen-Na-
tional Velvet-Goth-Vixen vocals,
you'll be into the 'Fish'. If not, yer
i luck. Personally not my favourites, I still have to give them points
for ha ving a friendly and personable
singer and for at least developing
their own "sound," however dcrivi-
tave it may be. Rumble Fish were the
3000 B.C.: Having lo watch 3000
B.C. was really a lest I began to
grapple with the thorny question of
whether or not it was ethical to subjectively judge olher people's music
and publish said opinions for all to
see. Yup, it's a damned shame that
has to come in last, and
forgivemeif I'm too blunt -I thought
3000 B.C. sucked the big long hairy
Cuter Than Spunky: After being
blown away by this band in the pre-
»s expecting a repeat
of their inspiring first-round performance. Unfortunately, the Spunkies
seemed to lose their touch and were
kinda mediocre. I hope they can regain some of the intensity that they
demonstrated in the preliminaries.
Rumble Fish: See above for definition of Rumble Fish sound. I was
sure the judges were going with the
'Fish,' but, as per usual...wrong
again, bud.
i FIRSTROUNDSEMI-FINALS
■ The winners of the three previous
■preliminaries gathered again on the
long haul to rockstardom; some really tasteless jokes were told; and a
major upset occurred, living up to
Shindig's reputation as the most
unpredictable show on earth.
Groove Ranch: Another set of "how
ya doin' tonite" rock'n'roll, complete with an ass-licking "thanks to
everyone at CiTR, we think Shindig
is such a great event blah blah blah"
speech. Hey man, we know! The
nail in their coffin?
"This song's being played on Coast
800!"
Ooops! Sorry boys...GONG!!l
As we say in Jokes for Beer... what will we give these bands?
Cuter Than Spunky? Two Beers! Groove Ranch? One Beer!
Rumble Fish? No Beer! Like life itself, it helps to think of
Shindig as a big, bad joke. So come on down and laugh along
with us (or at us) every Monday, at the Railway Club, 579
Dunsmuir.
all photos by Len Whistler n
NOVEMBER! Get jn
Free!!!
CTOW
YTHMIC UNDEICIOUND
E_J2
THE DEFENDERS
ACTION BUDDIE
CARDIFF REEFERS
DEATH MCSKATE BENEFIT
THE ANDY O BAND
HEY! THATS MY BIKE
GANGA FARMERS
THE CRAZY 8S
BIG BASS THURS
HOSTED BY DJ BOY WONDER
OPEN AT 8PM
SUN. TUES & WEDS
HALF-PRICE HAPPY HOUR
8PM - 9PM
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THURS. FRI & SAT
HALF-PRICE HAPPY HOUR
6PM - 9PM
Live From
Radio
ThundertDird
Hell*
10—11
pm
Lfctonto 101.9 fM on y©r
Radto Dial In othor words,
tun* in tor torn* real lv«
local band action.
Nov 7 • Alton ♦ th*
Psychos
Nov 14 • Sparkmarkor
Nov 21 • Mothortruckw
Dm 5* Just Add Water
D»sc 12 • GoGuy
Doc 19-Rusty Nails
CIGARETTES $2.50
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EXIT 250. 1-5 SOUTH I
1(206) 734-1539 |
music 8
I probably need my head examined. Three friends and I
rented a car and drove to Tacoma just to sec Pigface. I
braved traffic from hell
through Seattle, rawk'n'roll
groupies, and drunken,
drugged out musicians for a
change to experience the unlikely grouping of people as
diverse as Martin Atkins (Killing Joke, Ministry, P.I.L.), his
Killing Joke cohort-Paul
Raven, Ogre (Skinny Puppy),
Chris Connelly (Fini Tribe,
Ministry), Mary Biker (Gaye
Bikers On Acid), En Esch
(KMFDM) and McGuire
(Dogzilla-ftom Austin, Texas). The end result was noisy,
spontaneous and eye-opening.
We found the 'illustrious'
Temple Theatre in the Wasteland that is Tacoma. Armed
with a tape recorder and a Pigface EP waiting to be signed,
I take a deep breath and walk
confidently up to Chris Connelly to discover he actually
remembered me from our interview in Chicago-oh gleel
We set up an interview after
soundcheck, but I managed to
see a bit of the momentous
evening. It was mighty strange
to see Ogre with no stage blood
or sheep's intestines around
his neck. I had met with Ogre
at Front 242 and found him to
be quite affable, not the paranoiac of rumour. He shuttled
my friend and I to Martin Atkins and we trotted downstairs
to do the interview (this is the
part where you get to read
some of the interview with
Chris Connelly, eh?)
On Pigeonholing
People have said this is just a
bunch of fucking around, blah,
blah, you make up songs on
stage. I happen to think it is
absolute fuckin' brilliant, but
what people don't realize is
that we don't get much money
from doing this, compared to
what we get doing our other
things. We're doing this because we want to. There's sixteen people on the road. This
equipment we take out on the
road, we brought this lighting
rig, is twenty grand a week for
that light rig, the bus, and the
truck. We flew everybody in-
Nick (En Esch from KMFDM), flew in from Germany
and Ogre from Vancouver. It
costs a fortune and it takes
two people five months to put
a Pigface tour together, not
including the agent.
We have a bagpipe player
again tonight. Every Pigface
show is supposed to be different. I think if people are having a hard time with Pigface it
tells us a lot about what's going on in music-nothing I Pigface excites me, a year and a
half after it started. I have no'
idea what's going to happen
tonight; it might be crap.
We're not going to play the
same songs all the way through
the tour, so I think it's healthy.
I think it does good things for
us as individuals and as musi
cians, for our craft And it does
good things for us to take back to
the other projects we're involved
in. People say this isn't a regurgitation of things they' ve already
seen. We don't know what's
going to happen. So, come with
us on this journey and let's see
what happens. I think it's wild.
On Running An Indie
Label (Invisible Records)
Cash flow is difficult; time
is difficult. We work until two in
the morning sometimes seven
days a week. It's difficult, in
some senses, but it's not insurmountable. I'd like to take ads
out in Spin. I think if more people knew about Pigface, more
people would listen to us and
more people would be challenged. I think it is a challenge to
watch and listen to Pigface. If
Pigface is just too nasty for some
people, too left field, it might
generate some interest in some
less left field bands.
On Doing the Tour Thing
We had a great situation in
Florida. There's a promoter
called Fat Harry who has ripped
off Skinny Puppy and other
bands. Suddenly, he's doing a
Pigface show. We just circled
him and the guy just makes a
fearful noise. Everywhere he
turned someone was saying "You
ripped us off I", so I said, "everybody go to your dressing room,
I'll talk to this guy." He gave us
a bonus before we went on stage.
Some of the shows were
going for like 2 1/2 hours, with
people setting fire to things. I
went outside, ran down the street,
collected some trash cans, came
running back, found two hammers and joined the improvise
encore thing on stage. Also on
stage was the guy playing
bagpipes;the guys from Silver-
fish-who were opening for us-
came running out and set things
on fire and threw all these toilet
rolls onto the stage. It was totally wild. They turned off the PA
and the lights off, but we kept
going.
Also on the last tour, we
kidnapped Marston (Bozz McCoy) from Thrill Kill and got
him drunk in Chicago. He woke
up on the bus in Kansas. So he's
going "O.h, my God. What happened, what's going on?l" He
came on stage, he didn't know
what the hell was going on. We
had a life-size cut-out of Rod
Stewart. Michael Batch from
Front Line Assembly came out
completely covered in adding
machine tape and did an incantation in Latin. It was fucking wild.
Pigface Things To Watch
For
Pigface is not an easy listen. Welcome to Mexico Asshole
is taken from sixty shows on the
last tour, all recorded to death.
Mexico is just a different part of
Pigface we got to record.
Coming out is an interview
vinyl and CD with six songs that
aren't on Mexico: including in
terviews with Ogre, Nick, me
and Bill Rieflin. Two of the guys
from the Pixies play Flamenco
guitars while Ogre is talking about being tossed
around while being thrown
out of Mexico. People keep
asking what is Pigface? It's
this album (Mexico), it's
Spoon Breakfast, it's the
Gub album, it's as many live
shows as you can see and the
videos and all the rest of it
The Real Story Behind Those Weird Pigface
Album Names
I don't know if you
know the story behind this. I
had a cat named Gub—that
died while I was in England-
Spoon is Chris Connelly's
cat, and Breakfast is our other cat. So people are thinking, "Spoon, ahh, it's about
heroin. It's about having heroin for breakfast!" It's not;
Atkins was expansiveand
very helpful. Pigface were, on
the whole, not Rock Stars, just
talented people making a living
which sounds corny but true. (Be
sure to read with just the right
amount of earnestness.)
I wandered around and
found Ogre perched on a fire
escape (with appropriately
enough, no stairs I). He removed
his 'Realistic' headphones and
muttered something about the
new Puppy album weirding him
out and his hat making him hall u-
cinate-if I wore a hat with "Slut"
emblazoned in metal onitlmight
get strange too. He gave me the
headphones so I could listen to
the next Puppy as he shuffled off
to find his whiskey bottle. It was
very relaxing to sit in the open
doorway and listen to Puppy until Ogre reappeared to discuss
horror movies, his personal plans
and the next Puppy tour—something about a Mylar Pterodactyl
with film projected on it. I found
Ogre to be quite bright and smiley. Go figure!
I drifted around some more.
The bagpipe player and I decided that Chris shouldn't wear a
kilt as his knees are too knobby.
He also revealed that Chris was
a poet before he was a musician.
He didn't answer why he couldn't
be both at the same time but he
was intent on how much acid to
drop.
Finally the show started and
I watched from the wings. As it
was their first show on this tour,
and Pigface is synonymous with
spontaneity, it was pretty loose.
The surprise of the evening was
how riveting En Esch is on stage:
he was extremely intense with
his bald head and cadaverous
frame. Ogre rambled around the
stage, hugging and bumping into
people, having mock fights with
Mary Biker. The music, like the
members, was extremely freewheeling and it would've been
interesting to compare this, their
first show, with a later one. The
standouts were "Suck," which
Ogre sang (growled?) instead of
Trent Reznor, and also a kick-ass
of Puppy's "TFWO,"
plus a host of new songs. The set
was too '.hort with no encore
(which seems to be a disturbing
trend!)
I went back downstairs to
say good-bye and found Ogre
laying on a make-up counter in a
dressing room, where he acci-
dently smashed a light with his
boot. I gave him a quick hug and
we promised to do coffee when
he came back to Vancouver. Then
blonde women with little black
dresses appeared who should
have had signs saying "fuck me"
on them. I almost got wine poured
on my shoes by Will Tucker and
I heard the sounds of bottles being broken—it was definitely
time to go.
Pigface are genuinely trying to do something completely
new and experimental. The good
thing about this is that it can be
challenging and inspiring or, the
flipside, sloppy and self-indulgent. The Tacoma show probably fell closer to the.good end
of the spectrum rather
the bad. (the producer of the new album:)
HE THOUGHT ROB WAS A SERIAL KILLER,
HE THOUGHT I WAS PETE SEEGER'S ILLEGITIMATE SON—HE HAD US ALL PEGGED.
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OK, FIRST OFF...NAM
R: I'm Rob Thomson, I play guitar
and sing in the band.
ZODIAC SIGN?
R: Gemini.
AND WHAT ARE YOU DRINKING TONIGHT?
M: But don't forget, the home
team lost when we played.
R: Sure enough, but they went on
to win.
M: Mixed luck, we have mixed
luck.
NO MORE HOCKEY GAMES IN THE FUTURE?
R: Actually, we're going to one
tomorrow night, but we're not
going to play. Just watch.
HIE THE NERVOUS FELLAS HAVE BROKEN
UP?
R: Yeah, they WERE one of my
favourite bands. Actually, I heard
Sean's got a new thing, so that's
my favourite—Sean Murphy's new
band.
(Other favourites: Stingin' Hornets,
The Dots, Jimmy Roy and the Hillbilly Boys, The Last Wild Sons, NoMeansNo, Spirit of the West)
WHAT SORT OF STUFF DO YOU LISTEN TO AT
HOME?
R: I'm drinking lager.
S: I'm Maynard, *Smylie," and I
play bass guitar and sometimes
the bucket. I'm a Leo and I'm
drinking whatever Rob ordered
me.
M: I'm Mike Turner and I'm kind of
thejanltor-l play a bunch of different Instruments and I'm on the
cusp between Leo and Virgo.
YOU GOT TOGETHER IN 1967, AND YOUR LINEUP HAS CHANGED SOMEWHAT
R: It's changed a little over the
past few years. We've gone basically from a street band to a club
band, now we're better at playing the clubs than the streets.
We've got rid of some of the
acoustic instruments and brought
in the powerful...
S: (ominous tones) BASS GUITAR.
M: Rob's playing more trumpet
now.
R: We should play some Canucks'
games this year.
WEU, YOU DID PLAY...
R: We played the Edmonton Oilers' game, the first one in the playoffs 2 years ago, and they went on
to win the Stanley Cup finals. You'd
think the Canucks would've
picked up on that.
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DO YOU HAVE ANY FAVOURITE LOCAL BANDS
AROUND TOWN RIGHT NOW?
M: Herald Nix, RootsRoundUp,
Bob's Your Uncle...
R: I like the Rattled Roosters, Chris
Houston and the many incarnations of his Evil Twang...
M: I think I'd like Coal if I saw them
play.
R: One of my favourite bands in
Vancouver is the Smugglers, (general assent around the table)
DID ANY OF YOU GO TO THE FUGAZI GIG?
M: No, we were ID'ed and they
felt we were too old for the gig.
R: Who wants to start?
M: Well, I like Meat Puppets, Gun
Club and X. I also like a lot of old
American and British folk stuff, like
Ewan McColl, Phil Ochs—more
journalistic narrative songwriters;
folkie people.
S: I just bought the Bare Nakes
Ladies tape and I've been listening to that a lot. They're great. I
went to see them a couple of
times....I listen to a lot of reggae:
Bob Marley, Peter Tosh. Rob's
turned me on to the Ventures. I
listen to a lot of old stuff: Pink Floyd,
Neil Young, Bruce Cockburn.
R: I listen to XTC, Elvis Costello,
Squeeze, the Pogues, Violent
Femmes and about six Ramones
albums, which I put on before a
show to get the energy happening.
S: And I'm battling him with Jimmy
Cliff in the next bedroom. R: We're roommates, so every
night before a show we're putting
on the music and getting
dressed—we have the doors open
and It's like a wave of music comes
out....
S: It's like a dance club.
R: And our other roommate who's
an athlete gets very confused.
YOU DO A LOT OF TOURING AROUND CANADA.
WHAT'S THE FURTHEST FROM HOME YOU'VE
PLAYED?
R: Cape Breton?
M: Sydney. The Capri in Sydney,
Nova Scotia.
R: That's right. We played there
one afternoon in the hopes of
getting a night gig. We played
three one-hour sets In the bar.
There weren't very many people
there and we didn't get to play
t night. We left right after that.
M: We ended up going to
Louisburg (Lunenburg?) for a band
vacation on the road. Fort Louisburg is economically depressed,
so what the government did when
they opened the fort was hire all
the locals, who'd been laid off in
the fishing business, to dress up as
old sixteenth-century Frenchmen.
We got there at the end of the
day so they were trying to sneak
cigarettes and stuff. We turn a
corner and they're looking like an
outtake from the first Pogues album, sneaking butts.. .itwas funny.
Then we talked Newfie politics and
went home.
YOU FLEW OUT THERE. DO YOU EVER ALL TRAVEL
IN THE SAME VAN?
R,S,M: (chorus) Oh yes.
M: Except on the first tour we travelled in two vehicles-altttle van
and alittle ear-both brand new
1988 Mazdas.
9 people in the van...
M: ...coming from Toronto to Winnipeg in the middle of winter.
R: The van seats 6 people comfortably, and 7 now, which is fairly
comfortable, but you can imagine nine...It was a bad thing. And
there were some people in the
band at that time...their bathing
habits....
M: And everybody smoked and
drank In the van. Man, that was
awful. I had to throw some stuff
out when we got home.The
smell....I had a McDonald's hamburger wrapper pressed against
my sleeping bag for 48 hours
straight and I could nAver get the
R: How much is that per page?
M: I don't know, 8 cents a
page....And Ingrid does commercial design work. And who else?
R: That's about It. There's nobody
else In the band.
NEXT WE DISCUSSED COVERS.
M: Our philosophy is if we take a
tune that's really heavily dance-
oriented we try to make It sound
older... more like a traditional tune.
And if it's a traditional tune we try
to make It sound more like a contemporary tune.
M: The challenge is using the endorsement creatively.
DO YOU EVER GO OUT TO DINNER AU TOGETHER?
R: When we're on the road we do
it all the time, which is actually
kind of weird 'cause I know a lot of
bands who just do their sound-
checks and go mOK, we'll meet
back here at ten" and that's it. But
in our case, we do the sound-
check and go "What're you guys
doing for dinner?" and then quite
often we all go to the same place
and sit together.
AND ASK FOR A TABLE FOR SEVENI
R: We do. I know other bands that
go to restaurants together but they
don't sit together.
smell out of that little square.
R: There was a time In Toronto
when we were driving around for
2 weeks and the van just stunk.
About a week later we found a
carton of milk that someone had
put in the side door and it had
turned into cottage cheese by
that time.
(To Rob) I KNOW YOU'RE A WAITER BUT THE
OTHERS... DO YOU AU WORK?
S: I do carpentry-type work.
R: Ike, the drummer, works at the
same place I do and Paul is a
window-cleaner. Pierre is a self-
employed musician, does studio
work, guitar lessons...
M: I do a bit of freelance writing
and I have a book coming out on
Pulp Press in October, called Company Town. buvit-S 10.95.135 pages.
THEN WE TALKED ABOUT PRESS COVERAGE
WHICH LED TO THEIR RECORD RELEASE, WHICH
LED TO THEIR SPONSORSHIP AND ENDORSEMENTS. I
S: We may be doing a product"
placement In our video.
R: Maybe a condom-
M: A condom company...maybe
Bud Country, Budwelser Country.
R: They have a condom out now?
M: Yeah, a tin can but it's honed
down a bit. They're recycling their
cans in the name of safe sex. Some
people may have a problem with
sponsorship and product placement but if you believe in a product... and we certainly believe in
beer. We believe in safe sex, for
example, so having product
placement would not be a problem for us as long as they don't
directly place the product on us.
S: As long as it's done with taste
and helps us achieve our goals
and get what we want.
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RThe worst was when there were AROUND" WITH
MUDHONEY
Bryce Dunn
Every good boy deserves fudge.
Every good boy deserves a chance to
interview one of his favorite bands,
and for this happy-go-lucky interviewer my dream has come true. So
after an EP, an LP. various 7"ers and
tours around the globe it was time to
sling a little mud and see whal exactly Mark, Matt, Steve and Dan had
been up to recently.
My discussion with Steve (guilar-
pyTotechnics) Turner began with their
tou rs of Europe, North America (with
up and comers Gas Huffer) and The
Land of The Rising Sun (by the lime
you read this article).
Having conquered Europe (particularly England) on many occasions-including last years headlining gig at the infamous Reading Rock
Fcstival-this trip would sec Mudhoney leaving a two week trail of
pleasure for adoring fans and disillusionment for British rock critics.
Could this new album and lour
reignite the spark inside those cold
hcans?"It'skindagoncupanddown
with us," says Steve." They liked us
a lot at first, then last year they didn't
like us very much and we attributed
that to our haircuts [two members
now sport very short do's; Matl's
remains unchanged) but now they' re
used to that, so now they can deal
with us again."
After a short break, Mudhoney are
now on their way from coast lo coast across
the U.S.A. wilh some fairly new North-
West talent collectively known as Gas Huffer.
When I asked, "Why Gas Huffer?" the answer was simple. "We know them. We like
them. We thought it would be good for
them." Indeed it has. With Huffcr's debut
LP, Janitors ofTomorrow, jusl released, this
lour wil] help spread ihe word that Gas
Huffer is a force lo be reckoned wilh. Lastly,
just when you thought it was over, it was off
to a 4 show, all expenses paid jaunt across
the Pacific to Japan. Following in the footsteps of such bands as Pussy Galore and
Sonic Youth. Mudhoney were out to show
they were leaving no stone unturned in their
quest for world domination. The revolution
will not be televised.
Every good boy deserves fudge. Not
only is it the title of their latest effort on SUB
POP bul also an outlet for women's groups
lo scream "Sexism!" while Ihc rest of us
scratch our heads in confusion. For Steve
Turner, however, this is how the title came
about: "Me and Mark were at our practice
^placc, and normally we tunc down our gui-
MUSIC 12
tan, and we were trying to figure out how to
tune to E-what the actual notes were. When
il (E.G.B.D.F.) popped into my head we
realized those weren't the actual notes we
were looking for. So we thought that was
pretty funny and as a joke we told SUB POP
that was what we were going to call the
record. And they believed us." Well I can
believe it, and so can the radio stations
across the country, as Every Good Boy Deserves Fudge soars up the college music
charts-much like 1989's self-titled LP. The
only difference between the two, however,
is the approach in music. Gone are the crunching, wah-wahing guitars, whipcrack snare
and deadening bass groove in favor of harmonica, organ and the feel of we-just-
stcpped-off-the-set-of-"Hu_abaloo". In other
words the 6-6-60's are back for Mudhoney.
Is this a step in the wrong direction?
"Not really," claims Steve. "It's just whatever comes out at the time. I really thought
'Touch Me I'm Sick" wa^a total 60's riff
anyway. It comes and goes. The Blue Cheer/
Siooges thing has run its course with me and
we are pretty aware that we like a lot of
different things. It's always interesting to try
new things even if it's nol new necessarily."
For the time being this strategy is paying off, for at one Flipside reviewer notes on
the new record,"Mudhoney fail to hold their
grunge throne and I'm fucking glad 'cuz
another LP like their last, or even Super
Fuzz... would have gone over like a lead
weight. Not that I didn'l like those records/
songs, it's just that every other band all of a
sudden 'discovered' hard-heavy-rock-punk
a.k.a. grunge." In response lo this Steve
makes an affirmative stand, "There's a lot of
really horrible sides to the Seattle rock scene;
a lot of really horrible bands on major labels." About the Seattle scene in general
Steve says, "Don't believe Seattle's reputation. The city doesn't matter. You have to
judge a scene band by band, otherwise mediocre bands slip through the cracks." Yet,
Mudhoney believes lhal there are also good
bands in Seattle and they try to see ihem
whenever possible. Some of the bands they
mention are The Gits, Gorilla, The Night
Kings and Flop.
Every good boy deserves fudge Every good boy deserves a shot at the big time
and you would think that by now Mudhoney
would've had the chance. Sitting comfortably on the SUB POP roster of ever increas
ing size as one of its top revenue holders it
seems only fitting that this latest effort would
have phones ringing off the hook or record
execs falling over themselves to get a piece
ofthe Mudhoney pie. Alas, not yet. They can
only sit back and watch as former SUB POP
bands like Nirvana (now Geffen/MCA) and
Soundgarden (now A&M) relish in the splendour of the big time. But does this have
Mudhoney worried? Are they feeling lonely
and rejected by their peers? "We feel the
same as we always have about ihem," Steve
points out. "I understand exactly why they
moved on and at some point we may have to
as well. It's not much more corporate going
to a major, really, than being on a major
independent." For the time being, it seems
Mudhoney are content on being where they
are, bul don't be surprised if the next time
you see them they're sporting brand new
haircuts and sipping champagne.
Every good boy deserves fudge. These
good boys deserve a break too and the sooner
il comes the better. After touring and
tributing cuts to two compilations (a Northwest Damned tribute and Nardwuar'
ond compilation LP) Steve tells me Mudhoney will be on the backbumer for a while,
However, he will not stop playing
as he gigs occasionally with fellow
Mudman Mark Arm and Ed Fother-
ingham (artist extraordinaire for
E.G.B.D.F.) as the Thrown-Ups-
known exclusively for making song s
up on the spot and spewing foreign
objects on the audience while
dressed as Elvis impersonators or
huge sunflowers. If this isn't your
bag then you can tune into your fave
video channel and see their brand
new visual masterpiece for "Good
Enough," directed by SUB POPpho
to-mogul, Charles Peterson. In any
case, Mudhoney are here to stay
whether you like it or not. And if I
could sum up the Mudhoney philosophy in 25 words or less I think it
would be: if we're "Good Enough"
and we "Let It Slide" then "The
Money Will Roll Right In." My
prayers go out to you boys cuz I
think you may just get what you
wish for.
Mudhoney Discography
Touch Me I'm Sick/Sweet Young
Thing Ain't Sweet No More 7"-
SUB POP
Superfuzz BigmuffLPSVB POP
You Got It/Bum It Clean 7"-SUB
POP
This Gift/Baby Help Me Forget 7",
12" (inc. Revolution)-SUB POP
Mudhoney LP-SUB POP
Boiled Beef and Rotting Teeth EP (Import)-
SUBPOP
Thorn/You're Gone/You Make MeDie(with
Billy Childish) 7"-SUB POP
MudhoneyPlaysHateThePolice...EP-V/i-
Let It Slide + 4 CD Single-SUB POP
Every Good Boy Deserves Fudge LP-SUB
POP
Masters of War/My Life With Rickets (The
Free-Wheelin' Mark Arm) 7"-SUB POP
Compilations
Mudhoney "Halloween'VSonic Youth
"Touch Me I'm Sick" split 7"-SUB POP/
Blast First
"24"-Dope, Guns, & Fuckin' In The Streets
Vol.1 - Amphetamine Reptile
"The Rose"-_l/S POP 200-SUB POP
"March To Fuzz'-fit/rns Half Rae k-Eslrui
Mudhoney "She's Just 15"/Halo of Flies
"JaggedTime Lapse" split7"-Amphel_mine
Reptile
"Stab Your Back"-Anolher Damned Tribute Compilation- Dashboard Hulagirl NIRVANA
Nevermind
(MCA)
It would've been so easy to make
this a one word review by using a
word synonymous with Nirvana
(ie.bliss, euphoria, rapture). But that -
would have been a cop oul Anyways, someone who thinks of thern-
self as being artsy or witty will probably do it in Hype, Spin, The Melody
Maker or (cringe)TA* Georgia
Straight. But until you read thai in
some other rag of tripe., .nevermind.
After an LP (Bleach) and two
T releases ("Sliver"; "Molly's Lips"
with The Fluid's "Candy" on the
flipside) on the infamous SUB POP
label. Nirvana have been matched
up by the corporate weasels at MCA,
lucidly. Otherwise, Fugazi and Bad
Religion were in danger of having
their claim to highest-selling indie
bands matched from their proverbial clutch-purse as this Seattle reiro-
core/garage-punk trio launch a
ground attack on all musical camps
with their premiere DGC/MCA release. Nevermind. Unfortunately,
now they're in the same boat that
Sonic Youth were in when they released Goo. What use to cause tidal
waves in the realms of college charts
now is witnessed to be but a ripple in
the pools of suits-who hold the contracts for our fave indie bands making that transition to the big leagues.
AU goo aside, Nevermindpicks
up from where Bleach left us hang-
ing-by our bamboo-shooted fingertips precariously clutching to the
ledge of immortal resonance.
Huh?...nevennind. In simpler terms
Nevermind whittles your appendages to the marrow. Kurdt Kobian,
guitarist/vocalist, must have experienced some of the same torture because his diamond-scratch-glass
vocals on tunes like "Territorial Piss-
ings" and "Stay Away" make it hard
to believe that he doesn't live off a
steady diet of Vic's Vapor Rub and
throat lozenges.
"Smells Like Teen Spirit" is
the first single, and probably not by
coincidence, the first song on the
disc. Like many of the songs on
Nevermind, "Teen Spirit" sneaks up
on you and fondles your cerebral
cortex until you're rendered para
lyzed or choking on your tongue in a
raging fit. It's a surprising edge-of-
your-seat blend of full-bore aggro-
hardcore, bass/drum/guitar attack and
an undistorted, rockabilly, come -hith-
er-if-you-dare, 2 note guitar whisper.
Not to be outdone by the rant
and rage of "Teen Spirit" are "Breed"
and "Territorial Pissings," which con -
tribute an even healthierdose of angsL
"Breed" is a quadruple-time primal
bashing accentuated with psycha-
dirge guitar while "Territorial Pissings" is a straight ahead hardcore
tune that hurts the senses. The drams
and guitar keep up a furious pace
while the vocals stream behind in a
screaming attempt to outdo the
rhythm section. This is only one example of Kurdt's need-a-lozenge
vocal, um, technique(7).
Unlike Bleach, Nevermind
bounces with diversity. And just as
Kurdt and co. pummella, pummella.
her back hurts/She's jusl as bored as
me/." 'Nuff iaid(7). "Something In
The Way," on the other hand, is
almost angelic. Is that a cello in the
background? Well, some kind of
symphony string instrument is sighing in the background while Chris
Novoselic (bassist) and Dave Grohl
(drummer) dronefully float behind
Kurdt's serene vocals... nevermind.
Prior to the release of this album I was fortunate enough to aquire
a bootleg copy of 3 songs oaNever-
mind, including "Breed" and "In
Bloom," which I didn't think would
make it to the album. However, I
was proven wrong as indeed they
did make the transition to the bigger
format. "In Bloom" is a slap-happy,
back tobass-ics groove which keeps
you wanting the guitar to reach out
and pluck you from your happy
place. "Sell s the kids for food/Never
changes mood/Spring is here again/
Reproductive glands." Can there
possibly be a happier place than
(N)nirvana? Eden? Utopia?.... nevermind. Well, until any of us find
that sacred place let's be happy that
Nevermind is steadily rising as one
of 1991's best albums-not a bad
acheivment considering it's already
late in the year-and should continue
to be well into the new year.
In conclusion, the uncontested kings of riff-core arc back with a
vengeance and a nauseatingly catchy
release...nevermind, "Tm so happy
"cuz today I found my friends/
They're in my head/I'm so ugly,
that's okay 'cuz so are you."
Scooter
SEAWEED
Despised
(Sub Pop)
Some dork-head at the VOX in Cal -
gary wrote a review of this record
while trying lo do his homework.
"YOW! It's rock, and not very
good rock at that!" he wrote. I
suppose he
was hoping
pummella the listener into submission, they wake you with a potpourri
of smelling-salts in the form of "Polly" and "Something In The Way."
Both are acoustic ballads-I use the
term loosely-but not your typical
life-is-good-cuz-I'm-in-love-
with-a-woman-who-has-domesti-
cated-me-to-lhe-point-of-where-
rm-happy-cuz-I'm-sad. "Polly
wants a cracker/Think she wants
some water/To put out the blow-
torch/...Polly wants a cracker/Maybe she would like some food/She
asked me to untie her/...Polly says
reek.
True,
when ya pop it on for the first time,
but this is one of those records that
takes a few listens to get into... and
as everyone knows, those are the
kinds of records which stick around
in your collection, know what I
mean? My only complaint is that
the production doesn't allow you
to experience the overwhelming
energy lhat these songs take on
when performed live-and of
course, you can't watch Clint,
Wade, John, and Aaron frantically
wobble around on stage while Bob
pounds out the backbeal. It sounds
a little flat, but at least you can hear
Aaron's singing, and he's got a
good voice, and the lyrics make
good reading ifyou pick up the CD
(which has ten songs). These
thrashing Tacomaites should be up
here again soon, so be sure not to
miss 'em next time.
Rory Talt
RED HOT CHIU PEPPERS
BloodSugarSexMaglk
(WEA)
Here are some cool facts about the
Chili Peppers' new album Blood-
SugarSexMagik: the whole album
was recorded in a haunted mansion
in the Hollywood Hills; the Chili
Peppers are no longer wilh EMI, or
longtime producer Michael Bien-
horn; the Chili Pepper- are now with
Warner and producer Rick Rubin;
there are 17 (yes, 17!) songs on the
new album (three of which are slow,
acoustic tunes) totalling 74 minutes
in length!; Traci 1-ords, River Phoenix and Faye Duna way are all fans of
the Chili Peppers! All together now,
WOW.
My point is there is a really
weird vibe happening on this new
album (Imean, the haunted mansion
thing? Weird.). But don't get me
wrong, it is still distinctly the Chilis,
but, well...shit, I really don't know
what I'm trying to say. Let me put it
this way-I've been a Peppers fan
since 1987 when they released The
Uplift Mofo Party Plan. Ever since
then I've loved their style of positive, party punk-funk. Then I think,
"Man, that was almost five years
ago." In five years a band can
change (unless il's ZZ Top), and
should change, otherwise things get
stale. And I think BloodSugar-
SexMagik represents a change in the
Chili Peppers.
The new album is great, with
all their standard tunes about funk,
sex and friendship. There is no real
speed punk-funk like past stuff, it is
more like funk-rock. Producer Rick
Rubin has obviously influenced them
enough to get some slow songs out
of them. Man are these songs cool.
Imagine an acoustic guitar, a Led
Zep "Stairway To Heaven"-type
flute, a funky base and slow beat,
and you have a slow song Peppers
style. My favorite tunes, and coinci-
dcntally the besl tunes, to crank lhat
volume knob on are: "Funky
Monks," "Suck My Kiss," "Mello wship Slinky in B major," "Give It
Away," and "Sir Psycho Sexy."
My only complaint about the
album is its length, at 74 minutes
some of the tunes can get rather
repetitive. You get the feeling they
just went on a writing frenzy and
said, "Fuck it, we'll keep 'em all." I
am concerned that not all the old
Chili Pepper fans will like this new
one. But you lose a few and you gain
a few. So, to end this damn review on
a high note let me put it this way: the
Red Hot Chili Peppers are still the
funkiest, rowdiest, most passionate,
get naked and party musicians
around! Don't under-estimate their
power, hahahaaa! O.K. I'm losin' it.
Now all I can say is, "WHEN'S THE
CONCERT?!"
Harrison Barr
Billy Bragg
Don't Try This At Home
(Polygram)
With Don't Try This At Home Billy
Bragg appears to have completed
the journey away from the unadorned
guitar-folk he began five years ago
on Talking With The Taxman About
Poetry and continued on Worker's
Playtime. His new album has few
musical hard edges, and while Peter
Buck's mandolin gives some of the
tracks the working-class sitting-
room feel present on earlier albums,
the overall production is designed to
attract more than Bragg's original
folk-rock fans.
In this new territory Bragg is
clearly successful. The songs are
attractively textured, and Bragg's
vocals arc more controlled and haunting than ever. The first ever single,
"Sexuality," must be Bragg's biggest hit yet. Catchy, funny and thoroughly danceable, it should be getting more notice from club deejays.
"Cindy of a Thousand lives" would
have been unthinkable for the Barking Bard in 1984. A startling cross
between psychedelic Beatles and The
Jesus and Mary Chain, "Cindy" is
clear testimony to Bragg's committment to a more complex musical
presentation.
With greater musical complex -
ity has come more lyrical ambiguity
and elusiveness. This is partly due to
Bragg's habit of using slightly obscure and localized British allusion,
but even more so because Bragg has
become particularly introspective.
This self-consciousness appears to
have been conditioned by the socialist songwriter's concern about world
events. "North Sea Bubble" is an
indictment of British capitalist dependence on war, but it is also a
defensive articulation of Bragg's
own position as a socialist in a continent that has been rejecting socialism. While the song may well been
convincing his argument that "no
one idea/ < an solve every problem
on Earth/...You can borrow ideas/
But you can't borrow situations"
leaves his own idealogy insecure.
Thus, in the pretty "Dolphins" a political pessimism appears. As Bragg
sings "I'm not the one to tell/This
world how to get along/...this world
may never change" he appears to be
in the mood for reconsideration.
Some of Bragg's new thoughts
are both surprising and tough to evaluate. "God's Footballer"is a strangely sympathetic ballad about a religious zealot. It contains none of the
overt criticism expected from the
Bragg of old. As usual, he is ready to
expose his bittersweet lovelife, as in
"Wish You Were Her" and "Body of
Water." By now, everybody does
know how much Billy's body hates
him. What is perhaps surprising on
an album with the single "Sexuality"
is the lack of an explicit statement of
or about feminism. In fact, women
seem to continue to play the role for
Bragg of either personal or political
problem. The Cornflake Girl from
"Body of Water" is the same representative of consumerism, the same
fashionable "dedicated swallowerof
fascism" whom Bragg criticized
years ago in "The Busy Girl Buys
Beauty." At times, he almost seems
to hold women in contempt, and it's
hard to be sure that it's not Bragg
himself who, in "Accident Waiting to
Happen," is "Impressed with a girl/
Who could sing for her supper and get
breakfast as well" However, he does
an admirable job of representing the
difficulties of a sexual relationship
"Trust"
Billy Bragg continues to write
provoking songs, and continues lo try
to clarify the relationships between
the personal and the political as he
sees them. Don't Try This Al Home is
Bragg's best work since Talking with
the Taxman and if he continues to
take himself seriously he could produce even better music in the future.
Glenn Clark
VARIOUS ARTISTS
Death...Is Just the Beginning
(Cargo)
"Endless tract housing, nameless avenues and streets gridded out with
incessent and never-ending regularity, formless, post-modern strip malls,
vast expanses of asphalt parking lots
and triple lane thoroughfares, video
arcades, car dealerships, doughnut
joints, steak houses, and lube
shops...welcome to the suburbs. In
the millions of square kilometres of
North American development which
falls between urban density and rural
or natural tranquility, a new generation is being spawned. Fed on the
yuppie materialism of their parents
and the banal, mainstream nothingness of their environment, and in a
constant tv and advertising induced
beta-wave, "flat-brained" state, certain youthful elements of this consumer society are going through a
metamorphis of truly Star Trek rerun
proportions. In their mom's basement
and the hallowed halls ofthe underground shopping malls, the new
Prophets ofthe Apocalypse are emerg -
ing; Guardians of the True Faith,
Paladins ofthe Unseen Reality, they
have a message for you, and il ain't
Verily, the world may not be
blown to bits by nuclear devices, but
the Prophets know the great End
Timesare rapidly approaching. Carnage, blood, destruction and obliteration await us all through the Maws
of the Grottoes of Technological
Nightmares. Our only hope lies in the
crypts of the matrices of the New
Cyberspace, where we can live out
the gothic nightmares to begin anew
as the ChildrenoftheNew Jerusalem,
far away from the experiential Sodom
and Gemmorahs of... the Suburbs!"
Does any of this make sense?
Well, it doesn't to me either. I just
made it up because it sounded kind of
cool. The point is that the suburbs
truly have spawned a new category of
musical phenomenon-the "Death-
Metal" bands. Sounding like a hybrid
between Finnish hardcore and Tom
Waits with a bad chest cold, this music, also affectionately called
"Grunge" or"Death-Core,"represents
the ultimate debasement of rock and
roll mixed with the altruisms of fundamental, suburban Christendom-or
similar doctrinal philosophies. Drawing from metal roots going back to the
sixties, these bands add this new twist-
MUSIC 13 THE BEST IN LIVE
RHYTHM & BLUES
EACH NIGHT
13D0 GRANVILLE (AT DRAKE)
Nov. 1-2 THE DEMONS with special guest LIZ
MANDVILLE
Nov. 4. 11. 18 OLIVER AND THE ELEMENTS
Nov. 5-9 from Portland LLOYD JONES
STRUGGLE
Nov. 11 Special Remembrance Day Jam from 3
to 8 pm
Nov. 12-16 INCOGNITO
Nov. 19-23 GARY B.B. COLEMAN from Chicago
Nov. 25-27 GAIL BOWEN
Nov. 28-30 JIM BYRNES
KmiBSjmumjm
SATURDAY 3-8 PM / SUNDAY BLUES MARATHON JAM 3PM - MIDNIGHT
JACK LAVIrfS JAMS ARE SPONSORED BY MOTHER'S MUSIC AND THE DRUM SHOP
OPEN EACH NIGHT FROM 9:30 PMTO 1:30 AM OPEN WEEKDAYS FROM 1130 AM
VANCOUVER'S LITTLE
AMSTERDAM
Open Friday and Saturday until 2am'
Weekdays until midnight
THURSDAY A
199er NIGHT UO"
THE BULLDOG
CAFE
510 Nelson at Richards 688-4438
many of them are indeed "fundamentalist Christian"; witness (nopun
intended) Incubus with their ditty.
"Slaughter of the Unborn" (the song
no politically correct person would
ever have in their repertoire). Some
espouse prophesies of doom and destruction (Benediction with "Grizzled Finale." or Abomination with
"Impending Doom"), gothic horror
fantasies (Death Strike with the
sublime "Mangled Dehumanizaticn
Outro." or Pungent Stentch with
"Suspended Animation"), Nancy-
sez-no morality (Righteous Pigs
with "Overdose"), or just plain silliness (Disharmonlc Orchestra with
"Disappeared with Hermaphrodite
Another element should also
be noted. Like other bands in this
genre (i.e. Nalpalm Death, Morgoth, Unleashed, Cannibal Corpse,
and so on), the fans as well as musicians are exclusively young males.
This may have to do with the male
component of contemporary west-
em society trying to find its identity
in a now socially and economically
confusing world. "Grunge" music
reaffirms the fact that although technically human society has evolved at
a blinding rate, physically we arc
identical (perhaps slightly taller and
less hairy) to our ancestors who sat
around grunting in caves wondering
how to domesticate cats (let me digress fora moment and ask you, who
domesticated who?). Like the primal joys of territorial power-belching, enjoying a deafening, heart palpitating, wall of rhythm and noise
accompanied by vocals which sound
VAGRANT RECORDS PRESENTS
J?% OF THE NI$Sft&_
like Cookie Monster on acid, is something exclusive to the male realm of
experience. In fact, females to whom
I have tried to explain this music to.
or even the finer aspects of power-
belching, only respond with same
sort of derision. Too bad, for they
will never feel how this aggressive,
stirring music awakens the great,
primeval male desire to run semi-
clad through a forest, howling under
a full moon and beating things up
with a big stick.
This vinyl compilation is a
good starter lot for those of you who
want to dabble in the Children of the
Apocalypse's sound but don't want
to spend $20 on any one group's CD.
Oh, and parents, don't worry about
this primal thing. After a good night' s
howling, beating things up with a
big stick, power-belching, and domesticating a cat or two, your son
will be refreshed and emotionally
re-adjusted to return to class and
study Advanced Fluid Dynamics,
Current Regression Theories in Ecc-
nomic Modelling, and Canadian Parliamentary History in the Twentieth
Century. AAAAARRGH! (=primal
J. Boldt
HOLGER CZUKAY
Radio Wave Surfer
(Virgin)
Holger Czukay is the only tolerable
aging progressive rock sur in
existence.. Jus quirky music and his
Einstein hair give this venerable musical lunatic that extra something
that, in a perfect world, would bestow fame and fortune unto him.
Radio Wave Surfer is Czukay's
latest venture comprising Uve material recorded between 1984 and 1987.
The music was recorded straight,
wilh only minimal editing and no
mixing. As such, this CD offers a
fairly true picture of the Czukay live
in action. Holger Czukay's back-up
musicians offer excellent support and
the lead vocal sounds amazingly like
Gil-Scott Heron. (Unfortunately the
musicians and vocalist are not credited so we might never know who
they are.)
Radio Wave Surfer offers the
two sides of Czukay. The first half
of the CD serves up some funk tinged
prog rock gems that owe much to
Can, Czukay's previous group. The
remaining songs are closer to the
more recent Czukay with its clever
use of tapes, sounds and trademark
french hom interjections. All tracks
have enough depth that encourages
discovery with each repeated listening. Great Czukay ...sure to please.
Peter Sickert
YELLO
Baby
(Vertigo)
Just in time for Switzerland's 700_i
anniversary of confederation Yello,
that cool musical carbuncle on a
conservative dear friend's face, has
released its new musical lour de
force. Baby, excluding the alp-horns
in the opening fanfare "Homage to
the Mountains," owes very little to
Swiss cheese, precision time pieces,
chocolate and other such cultural
cliches, but does owe a lot to heavy
doses of B-movie Americana.
The decadently cosmopolitan
Dieter Meier and his slick companion, Boris Blank, are the offspring of
yean of American cultural dumping. Yello has drunk in the wealth of
B-movie American and European
artists (Wim Wenders comes to
mind) and throws it back at them
with distinctly European flavourings.
Baby cttm the fall catalog of B-
movie imagery...the neverending
night of Manhattan, tough men in
seedy bars, the inevitable femme
fatale, sunbaked openness and ice
cold martinis...Meier, that irrepressible strutting.
"Lothario," is amazing. "Rubber Band Man" is sure to terrorize
the dancefloors of the New York
Schickeria. "Ocean Club" is the best
tip of thehat to the hard-boiled American detective since Zom's "Spill-
ane." A perfectly azure and golden
scene is painted in "Capri Calling,"
a musical trip to paradise no travel
agent could ever book. Meier, as the
slippery confidence man, sleazily
sells his wares in "Blender." "Sweet
Thunder" is as expansive as the widest, most big skyed space you're
likely to ever experience. As for the
rest of the tunes.._>eaven. Yello is
visual... Yello is B-movie... Yello is
mood making...As good as Stella
and You Gotta Say Yes lo Another
_jcc-j-...Indulge.
Peter Sickert
BONE CLUB
Bless This
(Rocket Sound Record)
I'm sure Bone Club are sick to death
of being pegged as a next-generation
Soul Asylum or some such nonsense,
simply because they're from Minneapolis. Emerging from the Loud
American Mid-west Guitar Band incubator is the songwriting team of
Andrew and Dacey Arashiba, who
have enough original ideas between
them to push Bone Club out of the
nest and fly their own course. You
might know that Andre w spent some
time singing for Skin Yard, and yes,
he's that good: husky and melodic,
but when he belts it, hoo boy, that
sends chills up my spine. Strong
songwriting, singing, and excellent,
solid guitar playing make Bless This
an exceptional debut.
Rory Talt
Ned's Atomic Dustbin
God Fodder
(Sony)
If forced at gunpoint to compare
Ned's Atomic Dustbin to another
group I would say they sound like
old Dinosaur Jr., only poppier and
less depressing. While both groups
seem to like writing songs about
confusion. Dinosaur Jr. seems to have
chosen aliens, little fury things and
wagons to be confused about while
Ned's Atomic Dustbin has chosen
the more traditional teenage problems such as girls, parents and destroying televisions. I could see how
a much older person might not be
able to remember this confusion,
and hence might become confused
and not like it, or become confused
and then suddenly identify immediately with the songs. BUT SERIOUSLY: Tliis isn't Zit Remedy from
Degrassi and the songs aren't all
about Teenage Pregnancy and Drugs.
The songs won't fix your problems
but they will make you happy if
you're depressed. And if you're already happy then they'll probably
just make you confused.
"What does the group sound
like," you make ask confusedly?
Well, the lead singer, John, has a
strong passionate voice and is probably the greatest asset the band has
got. The two bassists' playing, although audible, is not funky in any
way it just lays a strong foundation
for the guitarist to play over. Ned's
Atomic Dustbin is one of the more
REAL ROCK'N'ROLL groups out
of England and is said lo be the new
Pop Will Eat Itself. No matter what,
they're a pretty damn good band and
should, in time, become a slightly
better older band.
LAST WORDS: They're better than
EMF.
Anton Suurkask
HOLE
Pretty On The Inside
(Caroline)
After two 7 inchers on farm team
labels(Sympathy For The Record Industry and SUB POP-Thelattercon-
taining the bludgeoning iracks Dicknail w/Bumblack (lhat still give me
goosebumps with every rotation on
my turntable), Hollywood's Hole
make the jump to the big leagues
with the 10 searing cuts on Caroline's Pretty On The Inside.
I keep thinking that this should
be called Pretty On The Outside because of the angelic faces on the
cover but once "Teenage Whore" erupts from the speakers I can understand the land of pretty/ugly dichotomy that Hole possesses.
Like "Teenage Whore," Hole
want to give you the impression that
everything in life isn't so rosy. la-
stead there is pain, anger, disgust,
and violence, especially where Hole
know it best-in Hollywood. This is
created not only through their music
but through the Drew Barrymore of
grunge-spoo-rock lyrics of lead vocalist Courtney Love. Witness this
excerpt from "Garbage Man":"She
tears the hole up even wider/Let's all
the darkness up inside her/Holy old
yeah your mine/Your everything is
mine/Hey where the fuck were you
when my lights went out." Or from
the equally gut-wrenching"Mrs.
Jones": "Sister ectoplasma she's incredulous/lust like a pro she takes off
her dress/She tricks you down in her
snow white pumps/Just remember it
was me who found the lumps."
Musically, the dichotomy appears via the guitar wrangling ofthe
only male contingent to the group,
Eric Erlandson, and the rock of
Gibraltar 4-rtring of Jill Emery and
Caroline Rue on the drums. Where
Courtney's lyrics and vocal style
make changes in volume and intensity so do the melodies by creating
grating, surging hooks backed by
structured, lush refrains. These characteristics are brought out on songs
like "Ben-y," with its choppy innard-
stretching riffs and deliberately slow
and painful chorus and Pretty On The
Inside'i aggressive, go-for-the-
throat. approach that slips into the
trippy 13th Floor Elevators style of
the last track, "Clouds."
A witness of Hole's live show,
myself included, knows that each
song in itself is an emotional release
fueled by angst and frustration that
only musicians like Hole could spew
forth because they have lived it. It is
bands like them (and Minneapolis'
Babes In Toyland) that can turn a
song like "Whole Lotta Love" into a
whole lot of pent-up angst, anger and
aggression. Words to the wise, I say.
Bryce Dunn
VARIOUS ARTISTS
Absolute
(Soleilmoon)
Absolute is a compilation ofthe now
deleted You Bet We've Got Somelhing Against You and Fight compilations. This is a fairly good CD
that's pretty middleground-it is neither astoundingly amazing or blatantly bad: its just good-although it
could've definitely included more
info on the bands and release dates of
the tunes.
Some of the more interesting
cuts are: Fini Tribe's "All Fours,"
which has both a melancholic quality
and great percussion; Current 93's
"Holy Holy Holy," a gospel song
about about watching Christ die over-
laycd with a sample of "Good Morning, Young Prince," complete with
thumpin' church organs; and "Work-
corps" by In the Nursery, which is
hea vier and more ominous than more
recent work and features a repetitive
beat and militaristic Uve drums. The
weakest track is by Pink Industry,
which is way too wimpy, but is made
up for by the peaceful ambience of
Zoviet France and Hula.
June Scudeler
PRONG
Prove Ms Wrong
(Sony)
This is the quality album I was expecting Metallica to come out with.
While Hetfield and company have
chosen the well trodden mass popularity ground. Prong remain true to
the ethic of progress. This trio, while
simmering in the bowlels of Noo
Yahk City, have produced their
fourth album of non-conformist
metal, slathered with their trademark
scummy, chunky guitars and lethal,
voice of God drums. Former bassist
Mike Kirkland has been replaced by
Troy Grgocy (ex-Flotsam & Jetsam),
rounding out the bottom.
Prong's male rial is not theusual
tripe that you encounter with most
metal bands, a result of their past
experience with grunge kings Swans
(drummer Ted Parsons drummed on
Children of God) and other New
York noise influences. The songs on
Prove Me Wrong mostly concern
themselves with rebellion and disso-
lutionment with anything and everything.
There is a big dose of power in
the songs, especiallly "Unconditional," "Tom Between," and "Contradictions." There is a nod to the past
in their cover of The Strangler's
"Grip" and a steamin' instrumental
with the cheezy title of "Territorial
Rites." There is not enough of the
sonic blasts I loved on "Force Fed,"
but it is also obvious that Prong are
taking the cliche that metal has become and turning it into a much
more relevant music.
Mofo
GODFLESH
Slave State
(Relativity/Earache)
This is incredible stuff-harsh, harsh,
harsh, full of anger, the fury of metal
on metal-an almost perfect hybrid
of technology and guitar, with more
emphasis on technology. This is definitely for for folks who think electronics means Depeche Modeness.
"Slateman" and "Wound 91" are too
metallish for my palate, but as they
are at the end of the album, I can
always skip 'em.
My fave tracks are the title
tracks (all three versions), "Someone, Somewhere, Scorned," and the
12 minute opus "Perfect Skin dub."
They're supposedly touring with
Ministry on the North American leg
of their tour, the mind boggles at
seeing these two bands together.
June Scudler
BULLET LAVOLTA
Swandive
(BMG)
Bullet LaVolta: who are they and
where do they fit into the general
scheme of things?
Well, they're five guys out of
Boston; they wear suits (or so the
picture in Swandive would have us
believe) and they rock pretty hard.
You get the sense that this is important to them that.if nothing else, they
wanted an album that "kicked."
And "kick" Swandive does, but
not in any new or memorable way.
slightly-above-average thrash and "My Protec-tor"
sounds like Metallica (no melody to
speak of, shrapnel-like rythm guitar). The drums hammer the point
home and the lead guitar squeals up
the scales, if given half a chance.
Yukki Gipe, vocals, digs into his bag
of tricks for metal shrieks and punk
snarls. His angry vocals (you'd be
angry too if your name was Yukki
Gipe) infuse the whole thing with a
punk energy that no amount of
thrashing drums and lightning-quick
guitar scales could.
Unfortunately, Metallica-type
rythm guitar rears iu ugly head all
over the place, usually at odds with
the pop hooks that sometimes find
their way into a song. The hooks
themselves sound out of place, as
though Todd Rundgren had snuck
into the studio while the boys were
out.
WeU okay, it's not that bad.
and sometimes the songs really work,
"Ceiling life," forinstance, and "Before I Fall." But too often the songs
rock at the expense of the song itself.
Too many dreary verses and lyrics
about imminent self-destruction anchor the tunes when they could fly.
These guys are desperate to
rock, and who can blame them?
There's enough limpwristed, panty-
waist music out there to fuel an entire industry-Hell, it's happening-
and something has to be done about
it. Unfortunately, the LaVolta end
up suffering post-Jane's Addiction
syndrome: taking themselves too seriously, and thinking they can make
the world safe for tedious guitar solos. One last note, the LaVolta are
from Boston, so there is a Pixies
connection... they are thanked in the
credits, as are Buffalo Tom, Jawbox, Volcano Suns, Mudhoney,
Soundgarden and the Rev. Farra-
khan (just kidding). And hipsters
will want to take note that Pixie/
Breeder Kim Deal contributes whis-
pery backup vocals to Swandive.
How does that one go again?
Oh yeah, it's the one with backup
vocals by Kim Deal...
Shawn Conner
WEIRD PAUL
Lo Fldelty, HI Anxiety
(Homestead)
Hear Weird Paul play the accordion!
Hear Weird Paul play the guitar and
one of those little Sunday school
organs with the pre-set chord buttons! Hear Weird Paul and his friend
Manny sing "Are We So Bored"
while trashing Paul's mom's basement! Hear Paul play with some of
his punk rock friends! In fact, on his
album, Lo Fidelity, Hi Anxiety, hear
Weird Paul do ju st about everything!
Who is Weird Paul? The next
George Michael? The next Brian
Adams? Hardly. In fact, I haven't a
clue who he is. What first prompted
me to listen to this album was, upon
tuming the cover over and seeing a
picture of Weird Paul, realizing with
horror that he looks just likel did in
high school-total dweebsville (with
all due respect)! In fact he looks so
much like I did that at first I was
quite disturbed. Upon listening to
the album, however, I decided that
in fact a big difference exists be
tween us. Weird Paul is musically
Now, a lot of odd recordings
slide across the ol* review desk here
at Discorder/CUR. Some are inventive, some are contrived, and
some are just plain strange. A lot of
bands like to use silly or goofy titles
to catch your attention (next to covers and profanity the best bet), but
fail to deliver in the song. This is
where Weird Paul triumphs. Whether a tender ballad about a fly drowning in his drink, or a psychological
introspection piece about unconsciously acting like Mel Torme all
the time. Weird Paul gives it his
soulful best. But the range of his
topics does not end there; he covers
such diverse things as Coming of
Age ("Tom ate a Banana," a tale of a
friend who ale a banana wilh the
slicker slill on and thus becomes a
man), or a comment on Life Values
("Scott Baio was seen ai the Legfcnd-
ary Pink Dot Convenience Store
Buying 12cansofTunaandaCarton
of Cigarettes," a tune concerning
life after fame. Also indulged are
issues of Esthetics ("Simulated
Wood"), Violence ("Give Me Your
Lunch Money"), Disgusting Things
("Pieces of Meat in the Tang"), and
even a bit of hardcore, screaming
surrealism, a nine second ditty about
his dad's toe. What sets Weird Paul
apart from other pretenders to weir-
dom is he, and his friends who help
him out, give it iheir heartfelt best.
Most of these songs are memorable
for that reason. Some you could almost whistle at work and drive ev-
So, what does the future hold
for Weird Paul? Sure, he may not
have a voice like Brian Adams or the
charm of Kevin Costner, but he
wouldn't take no damn lip from Madonna either! In fact, he'd probably
write a little diuy about her. And to
truly make it sweeter, he'd play it on
that Utile Sunday school organ. Weird
Paul, you're a kindred spirit!
J. Boldt
MOFO'S PSYCHOTRONIC RECORD PIX O' THE MONTH
This month I turn up a slab o' vinyl (yes, only vinyl can count) which is as cheezy as everyone would expect
it to be. Before he became the Sultan o' Sappiness, Lionel Ritchie was in the Commodores, one ofthe many
ersatz post Motown, pre-disco soul bands (which also included limp noodles like Earth. Wind and Fire, The
Chi-lites and BT Express) that peppered the charts in the early '70s. Cheapness was de rigeur and,
apparently, quantity replaced quality as squads of eight or more vocalists told us how they wanted to do
something freaky to you or how much fun it was workin' in the car wash (as if!).
The Commodores first LP had more of its quota of uselessness, BUT, iu one shining moment is "Brick
House." A steaming pile of funk, laden with trademark '70s overproduction, this song is so creepily catchy
you will be goin' "Shaka-down, Shaka-down-now" after the first listen. Lotsa comedy value too, since this
song is totally concerned with the size of this girl's hooters!!
Here's a few other gems from the dark age of soul:
SFQiHERS-Rubberband Man, Games People Play
WAR-L<w Rider (but you all know this already I)
OHIO PLAYER-Fire, Love Rollercoaster
NEXT MONTH: The "70s TV hunks do the vinyl thang.
PROFESSIONAL
01/41117 DEMOS
Fully equipped 8-track studio
Live sound room and full MIDI sequencing
Musicians and services available
DEADjEATjTUJS
qiant
FESTIVAL
RECORDS
XSale
Widest selection of Canadian Independent recordings, world music and
mports from around the globe on CD, cassette, and yes, even some vinyl.
New labels include Keltia from France, CMP from Germany, Sugar Hill—
a great label of progressive country and bluegrass recordings, Greentrax
from Scotland and Soar—a label of North American native music.
3lus an even better all-sales-vinyl discount section!
Thursday, Friday & Saturday 10am to 9pm
november 21*22*23
3271 Main Street - between 16th and 17th 879-2931 Jonestown Punch
Bone Club
Stab
Cruel Elephant
Friday October 4
The original line-up for that evening
was supposed to read with the inclusion of Fat Tuesday and the Wheat
Chiefs but rumour has it that Chi Pig
phoned the Chiefs with threats of
slashing his wrists,...er.um...I mean
dreads, if they didn't let him join yet
another band that is so much better
than his last musical vehicle - that of
which was a Pinto - The Wongs. So,
the Chiefs and Chi were al a suicidal
stand off until the wee hours of the
moming with reconciUation coming
in the form of an SN FU reunion tour.
No shit?!
Fat Tuesday? "Who the hell
arc Fat Tuesday," I was quoted as
saying all night Nobody really had
any great insight into this question
except for one Helen G.: gentile,
regal host of Dog's Breakfast with a
voice so angelic it makes all the Uttle
boys at Cargo Records turn into Play -
doh. Helen was sporting a newly
shaved nape and to touch it was
sensually erotic She informed me
lhat Fat Tuesday is the day proceeding Ash Wednesday, which is in fact
part of the most important week of
the year to the Christian faith-concluding with EasterSundayCTheRes-
urrection). So, Fat Tuesday aka.
Shrove Tuesday derived its name
because it was the day when the
people refrained from eating
meats.vegetables and food of sub^
stance all to use up their flours, fats
etc. Ergo, pancakes!
Now because Fat Tuesday can-
ceUed we can theoretically assume
that they would have sounded Uke
pancakes? wrote songs about pancakes? ate pancakes? and formed a
band with the original intent to call
themselves Christmas Eve. However, realizing that this would have
been an even stupider name stuck
with this futile attempt at being wit-
ty/punny and chose Fat Tuesday.
Real men eat crepes boys!
Now it's dark.
The only good thing about Jonestown Punch happened to be their
name. You would assume that with
such a cool name this band would
have a lot of original stuff to offer.
Not so. Jim Jones is rolling in his
MUSIC 16
grave knowing that these guys escaped the wrath of his killer Kool-
Aid. Never before have I witnessed
such a flagrant mis-use of talent.
What leaves me even more aghast is
the rumour that women line the stage
for these guys, in Punch's hometown of Calgary, to ogle, grope and
do what young hormone driven girls
da Once again a fine display by the
youth of today beseeching to photocopy icons.
Next on the bill was Minneapolis ' next best thing since Husker
DO, Bone Club. These guys proved
jusl how easy it is to be original and
laughed in the face of SUB POP and
hardcore/funk all the while. Not an
easy task when those sounds are
making superstars, or reasonable facsimiles, of a lot of artisans who perfected their craft over the years.
However, at this point Bone Club
could blow many of the major label
heavyweights out ofthe water. Take
the hypno-groove sound of, say,
Soundgarden, Pearl Jam or Temple
of the Dog and mutate it as it goes on
a long drive from the Northwest
through the grainbelt to Minneapolis. Add a dash of angst from bitterly
cold winters and you got Bone Oub.
You got a distinctively original sound
too. There's not a lot of ego with this
band; no posing and they thankfully
refrain from using their hair as whips.
Just 4 guys playing their guts out for
you and caring less whether you
enjoy it ornot-although.deepdown,
they probably wouldn't take offence
toyou purchasing theirnew CD Bless
This. The Cram (cruel elephant) was
the home for Bone Club's first Canadian gig, on this tour, which will
see them doing some time in Germany and back home by Christmas.
Finally, a breath of fresh air in a
room gone stagnant with homogenized sounds. After a short but
screaming set Bone Club humbly
left the stage with narry an inkling of
how many new fans have joined the
exclusive Bone Oub.
But Uke staring at a total solar
ecUpse aU good things must come lo
an end and the stage was nefariously
taken by Stab (formerly. Government Issue). Yet another post-punk
skate band from Bronto years trying
to rekindle their lost youth and find
an audience that remembers them.
Well, had anyone remembered them
they would have been embarrassed
to admit it. Just what the doctor
ordered: clean, pristine. Pop Tart
tunes played by the Knack of the
90's for young liberals everywhere.
Okay, they weren't as bad as Jonestown Punch but somebody should
tell these guys that Frank Zappa is
running for the '92 primaries, 'nuff
Scooter
Front 242
Commodore
Saturday October 5
People were really confused at this
show; somebody should've broke
the news that this wasn't a hardcore
gig. The audience can't really be
blamed for reacting in this way as
242 played Uke a hardcore band,
albeit without the guitars.
I have to admit, though, I kinda
ted the Uttle mowha wks, but they
did have sunglasses and, yes, they
all son of do look the same; clones,
perhaps? The evening was heavy on
Tyranny For You and the songs were
pretty similar to the record, but what
kept it interesting was Richard 23 's
percussive work. He was really
amazing, being that enthusiastic afler being on the road for nine months
is astounding.
The crowd, a mix of 'alternative' and Z95 types, went predictably nuts for the encore of "Welcome to Paradise." 242 was certainly a lot more energetic than I expected.
June Scudeler
The Pogues
PNE Gardens
Saturday 5 October
The Pogues had an awful lot to answer for heading into their show on
October 6th at the P.N.E. Gardens.
Without frontman Shane McGow-
an, could they maintain the sound
that made them famous? Was inviting the venerable Joe Strummer to
replace McGowan akin to admitting
the band was done as far as forging
new musical ground goes? Could
another vocalist do justice to
McGowan's songs? Well, the answers that were revealed atthe show
are all affirmative.
The show on Saturday night
proved one thing that should have
been obvious to anyone that thought
about it. The things that make the
Pogues sound original, for the most
part, do not depend on Shane
McGowan. The incorporation of ethnic instrumentation is what really
makes the Pogues unique, not
McGowan's voice, cool as it may
sound. Their sound is defined by the
accordion of James Fearley, the tin
whistle of Spider Stacy, the banjo of
Jem Finer, and the mandolin of Terry Woods. And all these elements
were in great form at the show, as
was especially apparent on the instrument als the band did, Uke "Gridlock" and "Planxty Noel Hill," which
were uniformly excellent. I was especially impressed with Fearley's
work at the show. He's got to be the
only ass-kicking accordion player
around (or the Eddie Van Halen of
the accordion, if you need a Guitar
Magazine type of endorsement).
Now, the show also proved
another thing: that the Pogues are in
serious trouble as far as new ideas
go. McGowan has always been the
group's dominant songwriter, and I
don'tihinkit'i assuming to much to
say that his presence made the band
a Utile more unpredictable. And boy,
if there is one thing the Garden's
show wasn't, it was unpredictable. I
was very, very disappointed by the
set list which "contained all your
favorites of yesterday and today."
Yep. ihey opened with "If I Should
Fall From Grace With God," and
went on to play "Sick Bed of Cul-
chullian," "Body of an American,"
"Sunnyside of the Street," "Yeah
Yeah Yeah," "Turkish Song of the
Damned," and a bunch of others you
just knew they were gonna play.
Now, that's OK, I've got nothing
against hearing a band play a bunch
of their best known songs at a concert. But the general predictability
ofthe choice of originals was really
amplified by the choice of cover
versions. I mean, in Joe Strummer
you've got a man with ten soUd
albums of seminal material behind
him, and what do we get as his input
into the show's play Ust-"Brand New
Cadillac," "London Calling," and "I
Fought the Law." Great songs, sure,
but pretty goddamn obvious choices, loo. Why not some stuff Uke
"Trash City," or "Clampdown," or
anything that isn't bound to be used
in a beer ad in the next five years?
And they also did "Honkey Tonk
Women." It sounded OK on that EP.
I guess, but I sure would have liked
to hear the band do some stuff they
hadn't done before, especiaUy with
regards to covers. There was a Steve
Earle cover called "Johnny Come
Lately" that was new to my ears, but
it didn't really make up for the fact
that I had to Usten to four songs ("I
Fought the Law," "Brand New Ca-
dillac," "London Calling," and "Honkey Tonk Women") that, quite frank-
ly, I was sick of in the tenth grade.
Still, the show was a good one.
It is always aesthetically pleasing to
see a great big band (the Pogues had
eight members) up on the stage. The
band was fairly active on
stage, and kept the sober,
all ages crowd fairly active
as weU. Joe Strummer did a
nice job on most of hi s parts:
he still has alot of stage presence (although I suspect ol*
Joe is having a contest with
Mick Jones to see who looks
dumber in a baseball cap)
and the rest of the band did
a nice job of picking up for
McGowan's absence.
"Body of an American" and
"Turkish Song of the
Damned" were the only two
songs where McGowan's
presence was reaUy missed.
It sounded weird to have
somebody else sing "Sick
Bed of Cullchullain" and
"Dirty Old Town," what
with instrumentation that
was identical to the album
versions, but Strummer
didn't try to imitate
McGowan, and those two
songs were highlights ofthe
evening.
Strummer seemed a
Uttle more comfortable with
the more recent Pogues
songs, especially those from
Hell's Ditch, but after aU,
he produced Hell's Ditch,
and ought to be more intimate with it's materiai The
between Strummer and the band
came on "Rain Street" and "Fiesta,"
but that was of no matter, really.
Philip Cheveron did a very nice vocal on "Thousands are Sailing," and
Terry Woods' vocals were credible
on the songs he replaced Shane for,
most notably on "Medley ."The over-
all impression was that, for this tour,
the Pogues are quite capable of doing without Shane McGowan.
The long term synopsis for the
band, I fear, is not so healthy. Apparently, the date of the concert coincided with the 9th anniversary ofthe
bands first gig. (Strummer even got
the audience to sing "Happy Birthday.") And nine years is maybe too
long to expect a band to keep evolving, especially when that band relics
so heavily on a boozehound like
Shane McGowan for written material. The only new stuff that showed
up in the show was the afore mentioned Sieve Earle tune, and an instrumental. Not a good sign. But, the
fact remains that the Pogues, with or
without Shane McGowan, are a really good band that can, and did, put on
a strong show based solely on the
pasl. If their best stuff is behind
them, so be it. Judging from the
reaction the near sell-out crowd gave
to the Clash (and Bobby Fuller) and
Stones covers, that's just fine with
the paying customers.
Chris Uren
Allen and the Psychos
TRUK
GoGuy
Twilight Zone
Monday October 7
The gig got off to a slow start we
found out because Moisty's (a meme-
ber of GoGuy) grandma had to embroider GoGuy on his baseball cap.
It was a good thing for me though
because I got off work at nine.
GoGuy showed a lot of potential to really go somewhere in some
songs such as the funky "Disco
Rules," energetic "Too Few Dimes"
and an a we inspiring one called "The
Room." Yet, some of the songs had
less energy and sounded Uke the
Norothem Pikes. One member of
the group said later that it was hard
for them to pull together because he
was literally getting electric shocks
on stage. They pulled it off, just
barely, but their different sound and
talent do have potential.
TRUK was alright-quite hardcore at times. The skinhead singer's
mic was drowned out be the loud
guitars most ofthe time. Many songs
sounded tight, but a few had a long
way to go. They got a positive response from the crowd with an en-
AUen and the Psychos-well
what can one say, lots of raging,
thrashing energy brought about by
the lead singer who was wearing a
dress of someone's grandma (this
gig had a lot to do with grandmas)
and ripped shorts repaired with a lot
of duct tape. A mosh finally started
and fun was had by all who attended.
And remember support your local
hardcore scene.
Coral Short
Down By Law
Kingpin
Mushroom Trail
Facepuller
Club Soda
Tuesday October 8
Having never been to Club Soda
before I found it quite odd that a
band Uke Down By Law would
choose, whether or not by their own
free wiU, to play in a club which
sports air-brushed caricatures of
Poison and Skid Row and a VJ/
announcer who sounded like he graduated from the Dick Clark/Casey
Kasem School of Broadcasting.
Nonetheless, I overcame these idio-
syncracies and waited patiently,
watching MetalUca on the big screen,
JOE STRUMMER until Facepuller decided it was time
to kick out the jams.
And kick out they did.
Facepuller raged Uke Mdlorhead on
amphetamines with distorted vocals
and choppy guitar riffs lo boot The
bassist had one of those air traffic
controller mics which was to his
advantage as having the standard
microphone stand would have only
crumbled under the strain and intensity his vocals emitted. Rumour has
it that their recent T slab has garnered the attention of international
labels and perhaps soon those
Facepullers will be pulling smiles on
the faces of fans abroad.
How can I describe Mushroom
Trail in 25 words or less? Wimpy
bar-rock to the Nth degree. YAWN.
Kingpin from T.O. were up
next and I became witness to another
case of good talent gone bad. These
guys SCREAMED every chance
they got. C'mon guys, there's got to
be more to life than Cruz Records.
Hone your skills, come back in a
year and show me what you got. Oh,
but keep the cover of Ihe Kings'70's
classic"Switchin'ToGUde,"it rules.
Well, if you have just emerged
from under a rock or from the womb
you should know lhat Down By Law
is 1/2 Chemical People, 1/4
Clawhammer and 1/4 Dag Nasty.
Tonite they came to lay down the
law with their furious brand of melodic hardcore and the small but enthusiastic crowd on hand were not
disappointed.
Showcasing most of the songs
of their self-titled debut on Epitaph
Records(produced by Brett Gure-
witz of Bad Religion fame), Dave
Smalley, ex-AU member, and company pounded out tunes Uke "Right
Or Wrong," "Vision"(also on The
Big 0«-Compilation)and"TheOne"
with passion that only Down By
Law could conceive. The versatility
and prowess with which these blokes
play is amazing; the rhythm section
of Dave Nazworthy (drums) and Ed
Urlik (bass) speaks for itself alone-
check out Dave's vocal contribution
on "The Truth" and Ed's instrumental genius on "Surf Punk" off the LP.
Oh, and lest we forget the double axe
attack of Chris Bagarozzi and
Mr.Smalley. Together ihis pair make
a formidable team trading leads
wherever possible, leaving room for
Smalley's powerhouse vocals
spumed by only wanting to please
us, the Ustener, wilh an attitude both
promising and positive.
WeU, this show, as positive as
it was, was marred by the negativity
by certain patrons and staff of the
club, but that's another story altogether. I wiU go no further but to say
that if you missed Down By Law
you missed a heUuva great band and
if you care about supporting bands
Uke them don't go to clubs that don't
support the scene.
Bryce Dunn
The Sons of Freedom
Town Pump
Friday October 11
I bought their first tape because a
friend suggested it to me. I loved it
and I couldn't wait to see them Uve.
Friday night was the first chance I
had, so me and a bunch of friends got
to the Town Pump real early to get
good seats. We spent the two hours,
before the bands started eating,drinking and arguing over whether the
animal on their T-shirt was a dog or
a racoon. I still believe it is a racoon.
Mary came on around ten
o'clock and played an adrenalin-
pumping set. They were loud and
good and reaUy got the audience in
the mood for the Sons.
The Sons came on just after
midnight and they were even louder.
My ears arc still ringing. But a Uttle
deafness was worth it to Usten to the
group Uve. The ionic assault ran
through all of my favourites from
the first album and quite a few from
the new one. Particular stand-outs
were "Fuck the System." "Mona
Lisa," and "Judy Come home." The
crowd reaUy got into the music slamming themselves silly.
The Sons of Freedom may not
be very original when it comes to
naming their albums but they can
sure play some lack-ass rock. Here's
hop in' they come back soon and
don't wait so long for the next al-
Steve Elvemark
Ann Magnuson
Love Battery
COCA (Seattle)
Saturday October 12
Was feeling kinda artsy, kinda deep,
so some friends from The ViUage
and I jumped in ouraubergine Citroen and headed South. Crispin and
Guy were discussing Kirkegaard under the swinging metaphors for the
alienation of the artist in an increasingly alienating club. Kinda New
York.
Swilled some one-doUar red
wine, then hunkered down for some
jaded social commentary prior to the
show. So many berets.. .Kinda Seattle.
Love Battery killed forty-five
minutes before Ann came on.
"Downtown" by Petula Clark killed
another half hour (two minute song,
half hour, you work it oul). How
banal.
Then Arm. From atop a ladder,
she launched into a searingly acerbic
indictment of just about everything
from public apathy to Judge Thomas
to network television politics (an
insider's perspective). Not in a bad
way, though. In a subtly witty, wry,
been-around-the-block -but-not-too-
bitter sort of way.
BUTTHE CROWD DID NOT
GET IT. Nope. Too much hip, not
enough camp. You don'tcheerwhen
Ann Magnuson waves at the sound
man to start the tape. You don't
wave back. You sit quiedy in anticipation of the greatness to follow.
It went like this: costume
change plus wig, persona, biting satire, minimal set adjustment, costume
change... performance art videos,
Bongwater video, Bongwater song
with floppy hat (Everyone laughed
when she gazed at her guitar and
said, "It's really easy, you know.").
Then swingingmetaphors, then
home to make snide remarks about
Americans.
Chenyfyr
King Missile
The Off Ramp (Seattle)
Thursday October 17
Remember the night of August first
at that shopping mall known as 86
Street? That night of which four of
New York's finest musicians/entertainers opened "ever-so-deserving-
ly" for Vancouver's finest rock V
roll ensemble known as She Stole
My Beer? I do. What a waste.
Little did that small but enthusiastic Vancouver crowd, who did
show up early for vocalist/poet John
S. HaU (who must have the roundest
cheeks in modem rock 'n' roll and
who definitely loves his fnril), sock-
footed guitarist Dave Rick, lumber-
jackian bassist/Farfisa organist Chris
Xefos and the-new-drummer-who-
isn't-David-Ramirez-but-I-don't-
know-his-name-anyway know, but
the pride of Kramer's fingertips and
Dogbowl's former penmanship was
making a rather extensive tour
through the whole area. And not just
to our city, including stops at such
musical centres as Seattle and Portland, where THEY DID NOT OPEN
FOR SUCH FAT FOLKY LAME-
ASS SANDY-COVE-ISH BANDS
AS SHE STOLE MY BEER!!!! As
a mailer of fact, Seattle's response
was apparently so incredible to King
Missile's performance in support of
their Atlantic release The Way to
Salvation, (especially compared to
Vancouver's apalheticnon-reactian)
that John S. Hall promised to come
back (to Seattle) real soon.
Guess what? They kept their
promise, and on a nigh-on-winter
night, in the Emerald City at a club
just a felt bowler's throw away from
the 1-5, and with a signpost that used
to have a Hanford Nuclear Pizza Pie
sticker on it, but now doesn't 'cause
the pole got bumped off by a runaway American compact, they made
a whole bunch of people very .very
happy.
EspeciaUy the two guys right
in front of me who were dancing in
such a manner as to put my head and
my groin at risk of being pummeUed
alternately by shoulder and (bum)
cheek as they ground their Uthe com-
puteresque bodies in time to the songs
(Of course, I could have moved out
of their way, but I didn't, because I
found it rather Seattle-like.). There
was also the guy who reminded me
of Andy-the-(Sports-)Nut-who-
goes-to-each-and-every-Canucks-
Lions-86ers-game, and sorta slam-
danced around the floor screaming
the lyrics lo King Missile's
songs(John S. HaU's poems) at the
top of his lungs; demanding at their
every pause to hear "Double Fucked
by Two Black Studs," to which the
band finally obUged him acapeUa-
Uke as the finale of their encore. And
there were also the several other
trendy folks bouncing about who
ordered the band to play "Mr Johnson" and they did play it, as the last
tune of their set. In short, the crowd
wanted to hear pre-Salvation King
Missile, Uke stuff from Mystical Shit
and They, but instead were treated to
almost aU their major-label stuff,
which really wasn't so bad because
King Missile were rockin'. As John
S. said, "Rock and Reee-oh-lUll!"
Plus, to top it all off, they had
extra-super-special King Missile
baseball caps with wonderful embroidery on them, which, for two
Vancouverites, was aU that was left
to say. "I wish."
Wilma Nguyen
Seaweed
Rocket
Windwalker
Arcadian Hall
Sunday October 20
The Arcadian HaU took a while to
fill for this gig but eventually the
turn-out got better. Windwalker started the night off with their high energy stylistic rock and roll. Having
never seen them before the lead sing -
er reminded me of Ian A stbury from
the Cult. They did weU-you can tell
why they won Shindig last year. I
especially remember the insane
strength of the song "Down a Rabbit
Hole."
RED RED RED. Rocket from
the Crypt, from San Diego, had entire red outfits, red Ughts and red
hardcore music. What made the
music red you say? Well, ifyou were
there you know the instrument lhat
added to their total sound. If you
weren't there, it was a saxophone: a
satisfying divergence from the mainstream. For some reason they all
reminded me of Elvis Presley.
SEAWEED put on a good solid show with "Patchwork," "Stale"
and "Carousel" being some of my
favourites songs. Being a Sunday
they told the crowd they should be at
church. From the crowd's guarded
enthusiasm for the headline band
you would of thought so loo. For an
all ages gig the audience was very
mature, or perhaps sober, because it
was Sunday and the next day was
Coral Short
Roots Roundup
King Apparatus
Cruel Elephant
Tuesday October 22
Having never seen King Apparatus,
though we share the same hometown, I went to the much hooplaed
Elephant with high spirits. However, these spirits were dampened
slightly by the sight and sound of
Roots Roundup. My initial introduction to Roots Roundup was in
Toronto last year when I went to see
Bob's Yer Uncle (whom I had orig-
inaUy seen with the Rheostatics. So
it seems funny that aU four bands
are/were playing this week) and
Roots opened. At the lime Roots
impressed me so much with their
energy and originality thatl left after
only a couple songs from Uncle because they were not nearly as good.
Roots have changed their format if my foggy recoUection serves
correctly-I seem to remember them
being a four-man band (a trombone
player/vocalist, bassist, guitarist,
drummer). They now have seven
members. Add both a sense of belonging or of family, that rubs off on
the audience and a couple (or more)
dimensions of sound...ii doesn'l fit
the group. For me, most of their
power and attraction came from their
easy to find rhythms and their un-
compUcated sound (trying to figure
out all of their influences is complicated but their songs were easy to
foUow) which made it easy to dance
to. But somewhere Roots decided to
emulate a ska band and add a few
more musicians to the'family', play
more aggressive songs, etc. I still
think that they play great music but
they are no longer as original as they
had once seemed.
King Apparatus was also something of a disappointment in that I
was perhaps expecting something
along the line of the Hopping Penguins (another, of the few, Toronto
ska bands). While the Penguins play
mostly covers and moved constantly
between funky James "Ok, whose
been usin' my bathroom" Brown,
Bob "I shot the sheriff Marley and
ska faves. King Apparatus play mostly originals with a few ska coven
(and an extremely, damn, good version of "BUster in the Sun" by the
Violent Femmes). Which means (in
my humble opinion) that the King's
are less a loud party and more a loud
band.
About halfway through the set
the singer joked that he had seen
better dancing and that "you should
try to include the girls, too," a reference lo the moshing pit that had
developed. The night bore out the
fact lhal the "girls" were more than
capable of skanking their own way
onto the dance floor.
King Apparatus is also a damn
good band but they are smart enough
to reaUze (I hope) that they are a ska
band and wiU not fuck wilh lhat
formal
But to tell you the truth one of
the best combinations I have seen in
a long lime was this show: two incredible dance bands, a fantastic
chance to toss off your cares and
'shake your booties.'
Kevin Geluch
Public Enemy
Anthrax
Primus
YBT
P.N.E. Forum
Thursday October 24
Man, Anthrax suck. I guess I was
under the assumption that they were
"heavy.. .Uke Slayer" with a bit goofier attitude. However, a Better Assumption would have been PubUc
Enemy do "Channel Zero" with Slayer, which they do in the studio for
PE's second LP, Nation O' Millions. Then of course, to further
bridge those musical gaps, we have
Sonic Youth and John Cougar Mel-
lencamp open.
Such was not the case. And in
lame-ass Canuck tradition, one of
the PE posse couldn't get over the
border. Last time I think it was Chuck
D who couldn't get over the border
due to weapons on his person. This
lime, ex-Parliament member. Flavor Flav couldn't get across. I don't
know why, but it may have somelhing to do with assault charges.
ActuaUy, the PNE forum isn't
a bad place for a show. Originally I
was thinking Coliseum, but I'm glad
it wasn'theld there. I'm also glad the
hockey game ended at a DIFFERENT time than the concert, for obvious Langley-rooted reasons. Brothers gotta work it out.
Big show security was in effect and sucking hard: face-painted,
female stage-hopper gets back-Up,
swollen lip and tripped to wet paddy
wagon, where she stays for the duration of Anthrax, in serious juxtaposition with the two siUconed Marble
Arch-hags Anthrax invited on stage.
No, we're not the same 'cause we
don't know the game.' Lose those
two geeks in Anthrax thatmakethem
an Italian version of Whitesnake.
OK, "the Anthrax Rap" is a cool
song, they call on an extra guy for
lhat with the same Krishna cut as the
guy in the band everyone remembers. And I guess I Uke the "Got the
Time" track too, but only because it
reminds me of "Ballroom BUtz,"
(and a bit like "Walk Like An Egyptian" too). During Anthrax's extended "Cry for the Indian" rock-
baUad the lead singer jumped around
in a candy-com coloured headdress.
At this point in the show it would've
been ideal if Chuck D had come out
as the cowboy and they broke into
"Macho Man" but once again such
was not the case.
When it was duet time, the
prelude was a big condiment spray-
gun fight. Anthrax, and what looked
like a couple of Nile Moves contest
winners, were spraying each other,
and the audience, while Chuck D
threw drumsticks of KFC out into
the audience. He was sporting a
blue sUcker similar to the ones you
buy in the fairgrounds for $1.25.
The strings section of Anthrax
milled around their big clock in the
corner and the noise was brought.
I don'l know of any fights,
other than the security bashings,
that broke out. An ambulance did
have to come backstage to get someone who was originally in a wheelchair and six or eight girls let me go
ahead of them in the bathroom.
PE did a whoppin' 35 minutes
of classics. Chuck D did a Libcrace
impersonation as a salute to hi s missing bro Flav. The SI -W dance tribute and the ghostly "ycahh boyyyh-
hh," sampled throughout ihe show,
would've been enough perhaps if
those Anthrax yobs were wearing
theirbigskuU-mock concrete clocks
around their necks when they came
teetering oulon stage in white sheets.
No, nol with large pointy hats.
YO YO YO YO YO YO
I'm walking around the Forum and I see this Uttle wiener yeU-
ing, "Yo Yo" to the beat of the
fanfare music. She looks like your
typical high-school bathroom girl
YO YO YO YO YO YO
There's no band on right now
& the fanfare ranges from the Cure
to Iron Maiden.
YO YO YO
She's doin' laps around the
Forum, accosting security guards,
steppin' on toes and looking at no
one. Her Utile friend who was trying
to stop her told me she dropped acid
for the first time. Acid 171 For what.
Primus? I didn't even get to see
Primus 'cause of that twat at the
pass door. But I made it in time to
yell "Primus Sucks" as they left the
stage, and who the heU cares about
the Young Black Teenagers.
TOP FIVE QUESTIONS I'D ASK
PUBLIC ENEMY (if I had any
guts):
1.) How did you come to discover
old David Bowie songs for "Night
of the Uving Baseheads"?
2.) D'you know what inspired
Sinead O'Connor to shave the PE
logo into the side of her head for the
Grammys in '88?
3.) Have you thought about doing
"Brothers Gonna Work It Out" with
Alexi Sayle to compensate for the
anti-Semitic charges you were faced
with during the release of Welcome
to Ihe Terrordomel
4.) What sneakers would you endorse if paid?
5.) What is the instrument you use
that sounds Uke a cat in pain under
"Don't BeUeve the Hype"?
Redd McJann m
< FUTURE
BY TARA SLOAN
Welcome lo the Future Rap
zone! Yes, some absolutely dope
music has entered my ears...
Public Enemy #11 That's
right! From DefJam comes the latest
release. Apocalypse '91...The Enemy Strikes Back. There are 14 slammin' iracks cm this CD. Some of the
issues mentioned are: alcoholism,
aboUtion of the words "Yo Nigga,"
and Flavor Flav dis sin' the New York
Post for interfering in his personal
affairs. Which they, the Post, inci-
dentaUy printed wilh incorrect information! Yes, this CD contains
cxphcil lyrics and strikes black with
great force. "Can't Truss It" is a song
about the many slaves aboard the
ships and tells of the rough conditions the slaves had lo endure: Chuck
D's lyrics are indeed powerful. He
definitely gets certain statements
across lhat hit sooo hard you almost
feel a hand reach out and slap yah!
Nevertheless, this is a "must-have,"
ifyou are a P.E. fan. Terminator X
continues to rip shit up, Flavor moves
into more serious rhymes. Chuck D
hits harder than hard, and Sister Soul-
jah (the newest member of PubUc
Enemy) gets her two words in loo. I
am disappointed though that this lady
(Sister Souljah) does not appear on
thecoverof the release,seeing as she
isamemberofthegroupl "Bringthe
Noise" (featuring Anthrax) appears
at the end and explodes into a mad
frenzy! Some stompin' tunes are,
"Nighttrain,""l MilUon Bottlebags,"
"How to Kill a Radio Consultant,"
and "A Letter to the New York PosL"
Somebody's definitely done their research and arekickin' the real knowledge lhal needs lo be taught!
Queen Latifah has come out
with her newest Nature Of A Sista',
a Tommy Boy release. Latifah continues to use her smooth-flowin, elevated inteUect Her crisp voice de-
Uvers many different styles. There's
some singin' and swingin', and reggae bringin' her music to that other
level. Latifah speaks with authority
and much confidence. She says she
hates the commercial stuff but isn't
she...Oh well... Unity is discussed in
an upbeat tune called "Love Again."
There's singin' in this hit too. It
seems as though Queen Latifah has
come to a sort of peace within herself. The CD seems to reflect an
open love for the souls ofthe people,
MUSIC 18
and a concern for the lack of love
many have towards each other.
Naughty By Nature and members
from Main Source help produce this
12 track CD. Latifah takes part in
doing production, as weU as mixing
several tracks. House music, along
with plenty of homs, smooth reggae
rhymes, soul singin', and flavor-
filled tracks make up this CD.
"Peace, Unity, Love and Ha vin' Fun"
is what this Queen is aU about!
A dose of positivity on the
scene? Yeah, you got ill H.E.A.L.
(Human Education Against Lies), a
group of famous rap artists, have
released a CD called Civilizations
vs. Technology. "Heal Yourself' includes such artists as: Harmony, Kid
Capri, Big Daddy Kane, Freddy
Foxxx, L.L. Cool J., MC LYTE.
Queen Latifah, KRS-ONE, Ms.
Melodic, Run-DMC. and Jam Master Jay. This compilation contains a
mixture of rap and reggae by both
male and female. A song that caught
my attention was by Ms. Melodie
called "Anti-Ho" where, at the end,
KRS-ONE talks of how when too
Short comes on the set all the girlees
run to the stage and scream "We love
you too Short," at the same time he is
cussing at them and calling the ladies bitches and ho's. Heather B has
a release on this 13 track CD. It's
tided "Don't Hold Us Back." This
tune expresses Heather B'S concern
over the issue of woman being repressed by men in today's society.
Surprisingly, Billy Bragg appears
on this CD as weU. The beats are
pretty kickin' but it is the messages
that reaUy throw down and make
you think. Another cool hit is "Family Got To Get Busy," that features
Salt'n'Pepa and many other
rappers...Heal yourself.
Naughty By Nature's self-
titled 12 track release has just busted
out recently! "Yoke The Joker" is
the first song, which is
rough'n'tough, expUcit, and even a
bit crude, in flavour. This sing is
truly not like the next track, "Wickedest Man AUve," where Latifah
rhymes some flowin' reggae style.
The dance floorhit"O.P.P."appears
on this Tommy Boy CD. One track I
found extremely, hard-hittin' is
"Ghetto Bastard." I think the title is
self-explanatory. Quite touching actuaUy ! The production is done by the
members of Naughty By Nature,
with Queen Latifah mentioned as
one of the three executive producers. "Guard Your Grill" is pretty
dope. Naughty By Nature's style
varies from reggae chorus, to past-
flowin' lyrical lashings, to loungin'
level-headed words to tough,
rude'n'crude bitchin' ballistics.
These Boyz have quite the "Naughty" mouth as portrayed in a funk in'
hit caUed "Strike A Nerve." Naughty By Nature has got the Flavour! I!
Word.
Rem ember those two girls who
backed up M.C. Hammer? WeU in
case you don't, they're called Oak-
town's 357. Their first cassette
didn't seem to make it very far. (It
was kinda...wackl) But now Oak-
town's 357 has gotten a face lift, sort
of. I'm sitting here Ustenin' to the
tracks and not enjoying it one
bit...The productions is aU jazzed up
and R+B bullshit is inserted in certain spots. "It's Really Goin' On"
isn't loo bad 'cause it's not some
mushy love ballad that doesn't hit-
it's definitely a houseparty hit.
Auurghl The invasion of M.C. Hammerhead! 11 No, he doesn't appear
courtesy of nobody, but his rap-
style and beats, and backup racket,
is an influence that's nol positive.
"Respect" is an almost dope track.
Knowledge is being dropped and
respect is due to these 2 for trying to
improve the conditions amongst the
people of today's society. "We must
respect each other in the world we
Uve today," is the message being
tonight- Go! Go! Gol "Load the
3.5.7." has a hittin' bass drum and
the lyrics are spoken sharply. But
the backup hysteria ruins the tune.
Track 13, "Use Whal We Got" has
singin' in it- I jusl don'l Uke these
girls. They have improved but don' t
seem to have their own style or their
own lyrical input.
Now here's what I Uke to see:
"Written, produced, and arranged,"
by A Tribe Called Quest. The
meUow rhylhms begin right from
the first tune. High hats, basic bass
lines and original native notes arc
voiced. "Butter" is a song to think
about. Phife complains about black
girls trying to look fly by putlin' in
blue contacts, geltin' ex tensions, and
dying their hai r. The Tribe next talk s
of "Show Business" and what it takes
to make it. Lessons are get tin' spread
around. (Obviously from personal
experience.) It's about gettin'
scammed, Uve shows, record deals,
and concern for the low-talent artists gettin signed. "Do You Wanna
Be In the Business?" is the question
they are askin'. Next the Tribe describes "The Infamous Date Rape."
The 12" appears here..."Check The
Rhyme."It's alright. Basically Tribe
CaUed Quest is using the same style
of rhyme they are known for. But
personaUy I think the last CD, People's Instinctive Travels and the
Paths of Rhythm was a better album
with more variety. Phife does, in this
1991 CD, happen to say in his paragraph on the inside of the cover, "to
Vanilla Ice, F_ck You." Hmmm...,
is this the start to static? I doubt it!
From the Black Watch comes
Queen Mother Rage with Van-
glorious Law. Smooth, intelligent
lyrics are spread; funky vibes are
shaking; and "To Be Real" lets
Queen Mother Rage deUverhcrmes-
sagei quickly. These messages in
clude her saying "A black man needs
a black woman..." and for the black
ladies not lo have blurry vision and
try to make "Self pretty for the white
man's attention." In the song "Path
of the Mad," this Queen discusses
the end of iu lines.
Here's something to get the
mind ticking, "Original Man was
Black, in the continent called Africa,
where the human race had emerged
on the planet Earth."-(Taken from
being in control of oneself and one's
actions. There are ten tracks aU dealing with information directed to the
black men and black women's ears.
Professor X appears, in every track
without exception, to school the listener some more. Roots, the past, the
future, and the existence of all is
shared. Queen Mother Rage speaks
in a low, roll in'voice lhal trails off at
the Autobiography of Malcom X as
told to Alex Haley, 162)
I took a quick Usten to B.G.
The Prince of Rap, The Power of
Rhythm, but disappointedly discovered that the majority of the 13 songs
are housey-fiUed with sappy love
ballads Uke, "Wishing For Your
Love,"which includes that lady that
seems to sing chorus for everybody's
hits. There's a lot of samples, that
lady hooh-hooing and yah-ing all
over the damn place. The lyrical
content is nil. Dance! Dance! Dance!
If you Uke dance then maybe B.G. is
up to your taste but I don't hear
much happenin' from this boyee.
What else is new? Well
Smooth B and Greg Nice (Nice &
Smooth), have come out with a 12
tune CD called, Ain't a damn Thing
Changed. Singin' again? Not only
is it harmonizing, but it's really
painfuUy off-key. "Cake & Eat It
Too" is indeed hard to Usten ta
Why sing if you can't? Better still
why sing? This is s 'posed to be rap
isn't it? What column am I writing
here? R&B Hammer Jammin'
BuU****,or dope, slammin',pimp-
strut rhythm hittin' shitl Huh? No,
No, No, this is all wrong, let me
move along. Check. Hey "Hip, hop
Junkies," is a dance hit that's currently playin' in the Dance Halls.
Fuck This!
Piles'n'PilesVPiles of new
12"'s. So many in fact that I know I
can't possibly mention aU. Here's
some new names to look out for
Lady Fresh. Black Sheep. MC
Peaches, Tim Dog, Javier & the
Str8Jackers, Don Q, BFM, 44 Max,
success'n'effect, MC Breed &
D.F.C.,Sweetenlo, Capitol Punishment. Dosta Crew. U Know Who,
First Star, Lance Romance, Zab-
rina. The Don, and a new 12" from
Hen-Gee & Evil E.
Increase the Peace! As for the
#1 rapper this month. Let's take it as
a group effort and say Public Enemy! Peace and I'm out!
''&&/. BY FELICITY DUNBAR
The Melvins: Mikey
Oh-blaah-dee, oh-blah-dah! Life
goes on... sigh. Sure do wish it was
Decembernow. Oooooh, I can't wait
'cause I've been a-hinting to Uncle
Alfred that that shiny purple vinyl
45 canying case I spotted in the
window of ol' Blakley's Five & Dime
the other day sure would suit my
glamorous Discorder columnist image scads better than my frayed green
corduroy bag with orange fringe.
But it's only November, and I must
be patient. In the meantime, let's
peek into my old mossy tack and see
what's there... What ho! It's a Moes
Icon single (Vermin Scum). When I
received this gem much to my dismay, the cover looked like it had
gotten dunked in a puddle or something. Luckily tho' the record came
out unscathed. I sat in my room and
played the two songs, "Memorial"
and "Moth," over and over. Good
head bobbing ditties to play over and
over... Ooh baby, hold me back. El
Vez has a record out now "Esta Bien
Mamaciia"/"En EL Banio" (Sim-
p-ricoPordlndustrio). Oh, he's just
soooo suave. Ooooooh he's "The
Mexican Elvis." Somewhere I know
a black velvet painting of his lovely
visage is gracing someone's wall.
Oh El Vez, you just make my heart
go all boompily. I swoon. I swoon...
And what about those Icky Boyfriend* (CAP Records)? The Jiggle boys named this band as "possibly the new Sockeye." And with
twisted songs like "Sex Trash,"
"Muffin" and "Frank's Mom," yup,
I guess so. I figure tho' if your boyfriend is icky, damnl get rid of Mm,
but keep this record 'cause the Jiggle
boys don't he. Andbesides, thehand-
drawn portrait of the Ickies on the
back of the sleeve really looks Uke
Mikey Jiggle's rendition of the
Melvins in a past issue of Discorder.
Oh yeah, and if you send me a hand-
drawn picture of yourmost favourite
swingin' singles band, heck you
might win a prize and/or get your
artwork printed right here!... Hey,
don't eat that poor pup. He's real
ugly but don't eat him! The band
shown preparing to chow down on
the back of their new single "13
Family" b/w "Dog Energy" (Blossom) is Gnome. Gnome is the band
whose name shaU forever be suffixed by the phrase "formerly Earwig." I've been trying for days to pin
down what exactly is wrong with
this record. Something sure ain't
right. The vocals on "Dog Energy"
don't reaUy suit the music, and it
sounds Uke it's on the wrong speed
(and no, it's not my record player's
fault!). "13 Family" doesn't fare too
much better... Yeah, Iknow coloured
Singer's voice is almost as sweU as
Mr. T Experience Singer's voice-
But hold on a sec! More bloopy
swirly vinyL same as PopDefect's.
Must have been a sale. Cool vinyl
aside, the Tommyknockers'
Noisy Beast 7" (Dionysus) is one
of those records that doesn't reaUy
knock you over and onto your bum
wilh a first Usten. There are screams
on the title song that just don't belong there; the B-side however caUed
"MoretoCome"is far superior. Isn't
it weird how lately so many B-sides
are better than their respective A-
sides? At least I think so... Looks
Uke Black Angels' Death Song
(Dionysus) didn't get in on that vinyl super sale: instead their record
sports a Lemon Fluff/Banana Pineapple Taffy hue, and some weU-
placed and weU played tambourine.
And look here, another example of
my B-side/A-side theory! B-side
"What Do You Mean?" has a nice
kind of dark, moody
quality to it to match
the deep purple
sleeve... Apart from
the really rather unflattering black and
white photo of the
Electric Ferrets on
the sleeve, this is a
pretty neat punchy
rock 3-song EP (Dionysus). There's a
tune called "My Son
CaUs Another Man
Daddy" that recounts
a highly emotional
tale you'd more often find being sung
with a slow country/
westem-y twang...With few other
lyrics other than the title "Wow,"
Hypnolovewheel's T (Alias) is
fuU of charm and fun seesawing between rocking geetars and boppy
plink-plunk guitars... Speaking of
charm, finally another record by
Courtney Love. Ever since that
one with "Uncrushworthy" on it
came out I've been eagerly searching for more. This one, called "High-
Ughts," is Vol. XXII in the International Pop Underground Series (K).
It gets the prize for bestest-cover-
art-of-the-month: simple colour
blocks of rosy red, eraser pink, and
mango orange. Simple poppy music. By the way, this Courtney Love
is Patrick Maley and Lois Maffeo
(not Hole singer Courtney Love)...
Speaking of Patrick Maley, the McTells 7" was engineered by this very
same feUow and produced by Calvin
(K). This record is supposedly a spUt
single with The Supersonic
Butcher Bitches 'cept on "advice from Russell Mummy, tuned
all their drums and guitars so high
lhat you can't hear shil!" So says the
record insert. Nice guy Maz Mummy handed Ihis 7" to Nardwuar saying, "Here's some product from my
label Four-Letter Words." Thank
you very much!... Oh wait, here's
another one-sided single that just
plopped in my mailbox. It's " 10" by
Zipgun (eMpTy) that threatens to
put a fist in yer eye, ear, nose, and
throat. You can't get il unless A.)
you'reordering somelhing else from
eMpTy or B.) you're under 21 and
visit Fallout Records in Seattle (or if
you're an old fart, ask someone
nicely who is to go for you)... More
from Seattle, The Gits have followed up their Precious Blood 7"
with another entitled Spear & Magic Helmet (eMpTy). I've said it before and I'll say it again, Mia Zapata
has an amazing voice. Amazing!...
Oh before I go, your attention please!
I gotta say that Portland, OR's Imp
Records wins the most-bestest-
package-I-received-this-month
award with records by Crackerbash, Mudwimin, and Oswald
Flve-O. To start off, ummmm, I'd
give "Walk Back," an 86 because I
can dance to ill It's one of the songs
on Crackerbash's beautiful 7". WeU,
maybe beautiful ain't quite the right
word for it_ These here are some
pretty heavy and scary, yet catchy,
tunes that seem real loud even when
played at a low volume. Lock yourself in the bathroom and play this
record LOUD 'cause, as you know.
the
there
exceUent...Didya also know that
Mudwimin's 3-song EP was produced right here in Vancouver at
Profile Studios and has spooky cover art and features one damn wicked
rumbling song in "Wild Bill." Now
you do... Didya also know that on
Oswald Five-O's 7", their vocahst
sounds like he's swinging by a rope
holding on for dear Ufe as he sings
about "A Love Supreme" and
squirming around on the floor as he
sings "Crashproof." All three
records gave methecreeeeps... Plus,
didya also know that Mr. Imp
Records is the same guy who puts
out Vicious Hippies from Panda
HeU fanzine, which some day will
be mentioned in Sassy if it hasn't
already. Uh huh... 'kay, so it seems
to have been the month of segues
forFehcity. Each record review just
flowed into the next didn't it huh?
Well okay, not reaUy. but I tried.
(C______Z3)
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m YOUR TOTAL ENTERTAINMENT C£NTRE
O&Osound How To Get Rich Overnight: Some Sure-fire Ideas.
By Chris Uren
Tom Vu, as we aH know, is full of
shiL He charges tons of dough to tell
you how to make money, and I'll bet
it still doesn't work. And Ed Beck-
ly "s (remember Ed Beckly?) another pretender. After renting half an
hour of TV airtime that by rights
ought to be devoted to Hogan's Heroes or something good, Ed had this
hard-hitting advice for getting rich.
"Vou watch what the poor people
do, and you don't do it." Thanks, Ed,
I'll stop all that dumpster diving
right away.
No, these guys are duds. If you
want to make real money, I'm your
man. Here is a list of actual, tangible
items that will make money. And
I'm not asking for a red cent. Because more than just being ingenious items, popularly demanded
(even if the population doesn 't know
it yet), the following are items that
the world desperately needs.
1. The Convertible Winnebago.
What could say "I've got an
enviable lifestyle" better than a con -
vertible Winnebago. Imagine roaring down the Interstate with dandruff infested, rapidly disappearing
hair a-Wowin' in the wind, while
you sit twenty feet above all the
other travelling suckers with a fridge,
bunk bed and working sink. I envision options like hot-tubs, satellite
dishes and fake gas fireplaces for
the convertible Winnebago. Christ,
if people are willing to believe that
beer gets them hot chicks, just think
what the idea of working on yourtan
while sitting in a hot-tub and watching the Playboy channel as you motor from Cleveland to Pittsburg
would do to the babes in these idiots'
minds. Now, I know lhat some people are worried about the technical
aspects of the Convertible Winnebago, but rest easy. If they can build a
Skydome, they can build a convertible Winnebago. It's the same idea.
You know, take an already weir-
idea, like the original Winnebago or
the domed baseball stadium, and give
it a roof that retracts. And, really,
proof of this baby's marketability is
the popularity of the Skydome. Also,
it could be sold with a catchy slogan
like "for retirees lhat want to live a
Uttle."
2.Black Velvet paintings of Jesus
on the Cross.
This one, quite frankly, is only
logical. See, lots of people buy Black
Velvet paintings of Elvis. And let's
face it, to these people Elvis has
gone far beyond being just a lard-
assed rock star. To them, Elvis is a
religious icon. So why not put a real,
bonafide religious icon on a black
velvet painting. Also, my sharp marketing eye has noticed a trend among
the targeted consumer. There is a
tendency for people with marble lions at the entrance of their driveways to have a crucifix displayed
inside their homes. And, people with
marble lions at the entrance to their
driveway are also the same people
who buy black velvet paintings. So
there you go, a natural. If you really
wanted to branch out with this one
you could make some paint-by-
number paintings of Jesus on the
Cross, through which the consumer you could sell the video tape to peo-
could have one of those creative/ pie that were thinking about buying
religious experiences like Harony- a fake fireplace. When they wanted
mus Bosch or Michelangelo (the the ambience of a fire, they could
just pop the
tape in the
OOUOUR^
3. An aquarium that looks like a
TV set.
Now, I admit that it may be a
little difficult to get people to give up
watching TV, but I actually have a
reason to think this one will work.
See, I've watched TV, and I've
watched people watch TV, and even
my ralher low estimation of the "average person" can' t convince me that
anyone gives a rat's ass about what's
on the tube. People just like to sit on
their couch and stare at that box. So
I figure, you keep the box, take out
it's guts, fill it with water, add some
plants and some nice looking little
fishies, and who's gonna know the
difference. As a selling point, you
could point out that buyers would
save on cable and electrical bills.
And nobody has ever gone blind by
silting too close to an aquarium. Also,
people may be able to achieve a kind
of healthy, meditative state if they
stare at an aquarium long enough. I
don't think healthy meditative states
can be achieved while a TV is on.
Plus, those of us who aren't enamoured with the TV would be spared
the obnoxious philosophy TV imparts and which seems to pervade
every aspect of society. Yep, aquariums ihatlook like TV's.every home
should have one.
4. Videotaped Fireplaces.
Along the same lines as the
aquarium/TV set is the videotaped
fireplace. You would start by videotaping a warm, toasty fire that was
going on in a real fireplace. Then
*"- hind us, and
forge on in
search of
(Ed.-Actual-
ly, due to an
office memo
leak two years ago at Discorder,
someone has already implemented
Chris' idea of the videotaped fir-
place. This leaves you, the reader,
with only four ideas left. So act
quickly before they all go the way of
the taped fireplace.)
5. The Elvis L«wn Ornament
That's Elvis, not elves-elves
have been done. Now, granted, this
one is a little obvious. You had to
know we'd have an Elvis something
on this list But it's a natural. Imean,
lawn ornament owners and Elvis lovers
are one and the same,
are they not? And, the
Elvis lawn ornament
would have certain
qualities that traditional lawn ornaments do not Right
now, you see, I feel
that the traditional
lawn ornament is really only valuable for
its aestheticqualities.
But the Elvis lawn
ornament, while
holding on to the important aesthetic
qualities, would give
off some sex appeal.
See; I'd have plaster
Elvis with his lip
curled in that sexy
pose that drives the
ladies wild. What's
more, the Elvis lawn
ornament would tl- JpiV
make tribute to a great, great man
in a very public fashion. And
there's more. The Elvis lawn ornament would provide security
for its owner's home. Think about
it, would you break into a house
with a three foot plaster replica of
the King on the front lawn? No
way. I mean, what could possibly be of value in such a house.
The real problem would be people making off with the Uttle Elvis. There is also a hidden agenda
here. I envision Elvis taking over
from the Uttle black guy in a red
porter's uniform as a lawn ornament model. And all kidding
aside, that's a good thing. I mean,
its usually white trash that buys
these things, so why can't they
just put one of their own on their
lawns, huh? I also think that the
characters from those McDonald-
ads (youknow.MayorMcCheese
and that purple thing that I think
is supposed to be a milkshake),
have tremendous potential as
lawn ornaments. I know I'd buy
WeU, that wraps upmy marketing suggestions. Sort of. The
natural retail forum for these
items? Why the Home Shopping
Channel, of course. And to promote sale-snuff advertising
(where the people in the Workers
Compensation ads really do lose
their arms, and the people with
headaches really do have furniture vices being tightened on their
And if you're silling there
saying "Sure buddy, you could
make money selling Elvis lawn
ornaments, yeah right," then I
say to you this. The guy who
thought up those baseball hats
with a fake turd on the bill and a
caption that reads "SHITHEAD"
probably had to face a hoard of
doubters loo. Bul he didn't Usten
to the critics, or overestimate the
inteUigence of the general populace, and I'U bet he's rollin' in the
green stuff now.
Here's to ya, buddy.
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1175 Robson 1937 Cornwall FAMTAST1QUES AND FABULAT10N:
Chris Brayshaw meets Clive Barker (again)
Clive Barker's having lunch in the lobby of the Pacific PaUsades Hotel when
hi- publicist and I interrupt him. A scheduling problem has given me Ten
minutes-maybe," before the Sun and Province'i entertainment reporters
descend lo pick his brains. We relocate to a table at the front of the room
where we chat as I set up my recorder and provide him with a transcribed
copy of our lasl conversation together. ("Clive Barker," Discorder, April
1990.) By the time his publicist returns, we've discussed his new novel,
Imajica, a forthcoming children's book, Everville, and his continuing
dissatisfaction wilh being typed as "the king of Splatterpunk." The afternoon concludes with a reading at the Vancouver Public Library, where Clive
is introduced to the audience by a librarian who attempts to read a publisher's
press release without her glasses ("Clive is-a writer! And-a movie director!
And—"), and a signing at the Granville Book Company.
DISCORDER: In our last Interview, we discussed your reluctance to
categorize your fiction as belonging to a particular genre. Is Imajica a
novel that consciously resists generic classification?
BARKER: I've got a number of things to say [about that]. One of them is
related to the business of spreading your audience laterally. There's a whole
audience out there that simply says, "I don't care how well horror writers
write; I don't care how profound their messages are; I don't read horror
fiction; end of story." There's a whole bunch of people-I was one of these
people for a long time-who say, "I don't read science fiction." What's
important is that imaginative fiction should reach the largest possible
audience possible, and as long as imaginative fiction is locked into very
narrow genre definitions, and packaged accordingly, that's not going to
happen. So your quintessential honor reader steps into the store, heads for
the sign that reads. Horror, walks past all sons of other material, picks up
CUVE BARKER
the new Stephen King or the new Dean Koontz, and walks out. I don't want
to be in that Uttle section marked. Horror. I want to be included with
writers of mainstream fiction; that's terribly important to me. I don't want
to feel that my work is the exclusive property of the people who read the
genres, who wiU find my material regardless of packaging.
Do you think the success or
Books of Blood has permitted
you to escape classification? Is
such an option available to a
writer of Imaginative fiction
breaking Into themarket today?
Sure. It is. And if not, you can
fight [classification]. You can say,
"No, I don't want that" You may
not succeed every time. ..to some
extent it depends upon the kind of
fiction you're writing. You asked
whether I minded'arriving'as the
author of Books of Blood. I'm not
sure if I'm glad that I'm the godfather of splatterpunk. I did that
seven years ago; it was a tremendous experience. Subsequently, no
pubUsher has come to me and
said, "Look, we'd prefer it if you
were to go on writing short horror
fiction." As long as the books sell,
they're content
Did Imajica receive more editing than The Gnat and Secret
Show? It seems a much tighter
read.
I'm pleased that you say lhat. Imajica is perhaps two-thirds as long
as The Great and Secret Show, but
the scope of iu narrative is much
greater. Imajica is a more European book; in Show I was writing
about the American scene, and I
wanted to write a book which had
a popuUst feel. After all, popular
culture was the subject ofthe book.
To write about it in Imajica's style would have precipitated a clash of form
and content It simply wouldn't have worked. It needed a kind of fluidity,
an ease with the language. Imajica's characters are articulate; many
characters in the Show were woefully inarticulate. Imajica is a kind of
fiction which has layers to it; it's a series of stories _nd ideas wrapped
around Christian mythology. The language needed something of the
cadence of the King James Bible. But at the same time I didn 'l want to write
a book which was stylistically alienating. Imajica's language is clear and
direct, but it is also very elegant I'U be interested to see what the critics
make of it
matter. What can we to expect from Everville, your children's novel?
Is there pressure on you to censor or bowdlerize your style, given
publishers' reluctance to present anything "questionable" to a young
st similar to, say. [Ray Bradbury 's| Somelhing WickedThis
■0~
d
v_7
Way Comes. It's
more than half
finished,and I'm
telling it wilh as
much gusto as I
Kfag*
wi
know how. So I
won't be sanitizing things. If that
gets me into
trouble, so be it
J\A \i
1 ■
01
to
en
>
The biography
on the back of
Imajica lists
yon as, among
other things, a
short story
writer. Yet you
haven't published any short
stories lately-
have you given
up on the form?
No. No, I
haven't But in
k tT^—y
^
terms of the
'/i__C
>>
amount of work
I've been doing,
I haven't had
time for short
o
fiction. I've just
finished a
1' *•*■*» -
^»>^p^
ra
screenplay;
(__to_K?
S
Imajica was a
huge project;
^uA
_3
Hellraiser III is
-x"*»W^**""V»
■_*
.£
being shot as we
Tl i( "/*•
ft'-
speak; a movie
called Candy-
man, based on a
ihort story of mine
caUed
"The Forbidden," is being
directed by a man called Bernard Rote [director of
in absolutely supurb
fantasy film called Paperhouse; now out on
video at Videomatica]; and
I m at work on
a top-secret science
fictior
project for Universal So
movies are currently occupying moat of my
time.
One final question: If someone had told you seven years ago that you *d
be doing all of this today, would you have believed them?
I wouldn't have forseen it If you'd asked me this question every year, I
would have shaken my head and said, "No." My writing experience has
been one of following wherever my imagination goes. So all I can do is
foUow it as relentlessly and religiously as I can. SECRETS ENTRUSTED
TO A FEW
BY JUDITH BEEMAN
The best way to sum up the words
and music of Leonard Cohen is to
recaU the headline used for a Cowboy Junkies revie w...il went thus.. Jf
il'slooquiet.you'retooyoung.Thotc
words, of course, are a jab at that old
cUche..J/ it's too loud, you're too
old...words, gulp, same of us once
stood by.
Unfamiliar with his work, I
had dismissed Leonard as a mopey
depressive and, frankly, was annoyed
by Judy Collins' version of
"Suzanne." Then in 1986 Famous
Blue Raincoat was released by Jennifer Warnes, an album of Leonard
Cohen songs, including her rendition of "First We Take Manhattan"
which became a hit Famous Blue
Rain coat also included"Joan of Arc,"
"Bird on a Wire" and "Coming Back
to You." Hearing these songs sung
so beautifuUy-no offense Len-by
this woman gave new inspiration to
the music.
Cohen had been a star in Europe for years but not so big at home.
The release of his I'm Your Man
album (88) in Canada changed all
that I took notice ofthe old smoothy
from Montreal. The album is a classic: sex and religion, it's safe to say,
are the predominant themes. The
lyrics grabbed me, then, turning attention tothesinger.Isaw that while
still melancholy as heU, he had a
flair and use of black-humour not
noticed before. At 53 he was enjoying the biggest international success of his 32-year career. Maybe he
had developed a better sense of humour, maybe h»« had meUowed out-
many people began to "discover"
this Canadian legend.
This Fall more people wiU get
the chance to experience the poetry
of Cohen through I'm Your Fan,
the recent double-play coUection of
artists covering his tunes: folks like
the Pixies, That Petrol Emotion, Ian
McCulloch, House of Love, Lloyd
Cole and Nick Cave. And that's
only6of the 18 bands involved I As
Cohen's recordings run as far back
as 1967, this anthology includes cuts
from his entire career including "So
long Marianne," "Who by fire," "I
can't forget," "Suzanne," and
"Chelsea hotel." Compiled by Chris -
dan Fevret editor of French rock
mag, Les InrockuptMes, the tape
also features artists little known here:
Bill Priichard, Geoffrey Oreyama,
Dead Famous People and Murat
At the sun of his musical career Cohen's voice was rather Dy-
lan-ish with a folksy twang; his latter work portrays a throaty croak,
years of cigs and a poet's Ufe added
up. Renditions on I'm Your Fan run
from faithful (John Cale with "Hallelujah") to the downright abstract
(Nick Cave's version of "Tower of
Song").
Why all the fuss? Leonard Cohen's songs combine confessional
lyricism with the sort of melodies
you find yourself humming days
later. His words could be your words,
your thoughts. It may be quiet, but it
The Leonard Cohen Playlist:
selected poetry/recordings/books
The Poet
Let Us Compare Mythologies (56)
Flowers for Hitler ((A)
Parasites of Heaven (66)
Selected Poems 56-68 (68) Go for
this onel A 'greatest hits' of his
poetry. If you have that great Collegiate Bible, "20th C. poetry and
poetics," he's in there too.
The Author
The Favorite Game (63), a young
man's coming of age in Montreal.
Beautiful Losers (66), simply put,
a mythical love triangle.
The Musician
Songs from a room (69)
Songs of Love and Hate (71)
New Skin for the Old Ceremony
(73)
Best of Leonard Cohen (77)
Various Positions (84)
I'm Your Man (88)
TheC
Like a bird on the wire
Uke a drunk in a midnight choir
I have tried in my way to be free
Uke a worm on a hook
Uke a knight from some
old-fashioned book
I have saved all my ribbons
for thee
If I have been unkind
I hope that you can just let it go by
If I have been untrue,
I hope you know it was
-excerpt. Bird on a wire.
I said to Hank Williams
How lonely does it get?
Hank Williams hasn't
answered yet
but I hear him coughing
all night long,
a hundred floors above me
in the Tower of Song
I was bora like this,
I had no choice
I was bom with the gift
of a golden voice
and twenty-seven angels
from the Great Beyond,
they tied me to this table right
here in the Tower of Song
-excerpt Tower of Song
The reason I write
is to make something
as beautiful as you are
When I'm with you
I want to be the kind of hero
I wanted to be
when I was seven years old
a perfect man
who kills
The music crept by us
I would Uke to remind
that the drinks are watered
and the hat-check girl
hassyphiUs
and the band is composed
of former SS monsters
However since it is
New Year's Eve
and I have Up cancer
I will place my
paper hat on my
and dance
American author Edgar Allan Poe was thee spook-master of an era (mid 1800's). His mystery/horror stories have
been staples of late night fright for over a Century. And if you haven't read'em you've proably seen the movies! The
Fall ofthe House ofUsher,Murders in the Rue Morgue and, my childhood fave. The Pit and tke Pendulum ('64 dir.
Roger Cotman, w/Vincent Price) are available on video. There's also the wonderful Alan Parson album. Tales of
Mystery and Imagination which sets The Raven, Cask of Amontillado and the ever scary Tell-Tale Heart to a "rock"
soundscape, early copies included a detailed history of Poe and lyric sheet.
One of Poe's stories dealt with the theme of Madness, Debauchery and Plague. This tale. Masque of the
Red Death, written in 1842 recounts the adventures of the lurid Prince Prospero and his band of "a thousand hale and
light-hearted friends from among the knights and dames of his court" who are summoned to the Princes' castle to be
sealed in, there's "Red Death" about and this move is to protect the healthy and damn the ill. Forever. The story teUs
of a nights event-a staged masked baU held in seven different rooms, each a different colour. Needless to say, it's
pretty intense.
You can discover the Masque of the Red Death through the joint effort of grunt gallery and the Public
Dreams Society who are presenting a multi-media extravaganza at 1460 Burrard Street during the entire month of
November. What makes this interpretation special is how the tale, heard in 1991 is an allegory to today's
Plaguc.AIDS. The ideas discussed in Poe's fiction: locking one-self away, ignoring disease and basic selfishness
are as timely today as ever. A Uvely re-teUing of a Poe classic with a serious message.
Copies ofthe story are free on-site, performances will be Nov.1/2,7/8/9, 14/15/16 at 9 pm wilh admission set at
$12.-come in costume and/or mask and be prepared for powerful theatre and art work. Suffice to say, with 9 Artists,
6 Actors and 4 Musicians, this show is big-big-big. The exhibition is also open daily Tues-Sat 1 l-6pm, 1 Loon
admission. Go-Go-Gol on till Nov. 30.
PEOPLE ARE READING
Ever wonder what people are reading? I do. Anna Banana, local artist and mail-art aficionado, took the time to
write and tell subtext.
Usually, I've got one book on the go, and that'sit, aside from a magazine or newsletter. But I'min a funny
phase just now. I've recently completed the entire 8 books of Carlos Castanadas' series of adventures with
Don Juan, and nothing so compelling has come along to fill the gap.
In the meantime, I have several book- on the go at once and they're from all over the spectrum.
Certainly the most gripping of these, in tenris of conceptual shake-up, is Rupert Sheldrake' s The Presence
ofthe Past, subtiticdMorophic Resonance and the Habits ofNature; which challenges our notionsofhow
characteristics, learning, even myth, are passed from generation to generation. Sheldrake, a British
biochemist, teaching now, I believe at Cambridge, methodically goes through the theories that science
has come up with to explain heredity, shoots holes in them then replaces them with his hypothesis of the
"morphic field which contain an inherent memory."
Another of my 'on the go' books, is John Held Jr. 's MAIL ART: an Annotated Bibliography. Not
exactly a gripping tale, it's definitely an 'insider' book which details the history of a very low profile field
of art activity that has expanded dramatically since its inception in the mid-fifties. It's a mammoth effort
by a librarian dedicated to the field, if not to accuracy in the reporting of his findings. His three
introductory essays, that cover this activity from 1955 on, is long on established academic male bias, and
COMPLETELY OMITS any mention of my substantial contributions to the field from 1974-1980; ie.
6 issues of VILE magazine and umpteen editions of the Banana Rag. However, if you want a fairly
extensive view of the activity...sans Banana, don't miss it!
The third of my 'read-a-bit-at-a-time' books, is anodier anthology, Performance aulin Canada 1970-
1991. Prepared by Alain-Martin Richard and CUve Robertson through Editions Intervention in Quebec
city, this bilingual, 395 page whopper is hot off the press from Toronto's Coach House Press. A large
format book, it features a chronology of events form 1970 on, full page photos, and essays by some of
Canada's more prominent practitioners and critics. I haven't had it long enough to comment, other than
to say, it's another monumental work. Available through the Western Front
The other side of the spectrum comes from the periodicals to which I subscribe. These provide social
commentary from both serious and irreverant viewpoints; Mother Jones magazine offers the serious
commentary on world affairs, and a really down-home scrutiny of life in America. To balance this
perspective, I enjoy both Paul Krassner's Realist newsletter and Reinhold Aman's Maledicta Monitor.
Krassner continues his assault on poUtical Ufe in America with spoofs such as "Bush's letter to Hussein"
and "The True Story of how Columbus Discovered America" (he was sponsored by die Mafia, who in their
own egoless fashion preferred Queen Isabella to get the credit, while they continue to get the cash).
Meanwhile, editor Aman, A.K.A. Uncle Mal, monitors world media for 'bad language', jokes, slurs,
crudity, stupidity and the like for his substantial, sometimes annual journal, Maledicta.
For those more indined to Uterature, Vancouver's recent Geisl, edited by Stephen Osborne, has proved
to be an ongoing treat With it's share of tongue in cheek, Geist presents a variety of short contemporary
writings that so far, have captured my interest no matter how mundane the subject may seem. Items such
as Greg Snider's "Garage" or Caroline Woodward's "Farm Stuff." With 5 issues per year, it's a cover-
to-cover read for me, and I like to support a local effort with a subscription (sample copy 4 bucks, #100-
1062 Homer St.-Judith). PrcmlCcunter-ciJlture
by H. Julian I iii<-m
ture
So heavy metal pukeheads are concerned about
Sex, Drugs^ and Rock'n'Roll. Why is it then,that
Rock'n'Roll is the most important one?
Anyway, i've been part of the Punk/New Wave/
Alternative/Progressive "scene" for longer than i can
recall (Which comes to anything more than two month;
or thereabouts).
I've seen innovators turn into musical dinosaurs like
the Rolling Stones and i've seen innovators release an EP
and promptly disband.
I'm no authority. I've got the shiftiest taste in music.
Well, i don't actually know that for sure, BUT, every time i
introduce someone to new music they listen attentively
only, whilst i'm watching their reaction, but when i leave the
room, they shut it off.
Anyhow. There was once a time when alternative
music was exclusive. Though of obvious significance, it was
once the sole property of disenchanted, white, middle and
lower class youths.
As a matter, of course, it happened to be a British
invention. Not surprising though. North America doesn't
create new music. Every "American" type of music is just
another evolutionary step in someone else's music.
Rock'n'Roll is just a white-bread version of the blues which
could be bunched with jazz which in turn is just African
slaves' gospel music with a heavy dosage of hormones.
Even that country shit that Americans are so proud of
as their own is someone else's. Along with square-dancing,
it's just like any British/Scottish/Irish jig and reel with a
couple hundred years of isolated growth.
Y'know, I wouldn't be surprised if all music, as we
know, it evolved from a waltz written by some few, living
in the Teutonic region of Europe.
O shit! What was i talking about? I'm rambling on, eh?
I've been told by a lot of people that when i write i tend to
ramble and lack continuity. So what? This ain't the fuckin'
New York Times.
Anyway, it seems as if the whole "punk" movement
can be traced back to the Sex Pistols and the Clash. Sure
there were other influential bands but if your gonna be a
nitpick, Jack Kerouac remembers seeing "the bearded, laconic sage..and his girlfriend who says nothing and wears
black" way back in 1944. And if you deny that the Beatniks
held similar musical attitudes to the sombre, black-bedecked Gothics of to-day then you must be abysmally
ignorant or simply just a big git Ranging from politics to
religion to fashion, their disdains are practically indistinguishable
Now i'm not suggesting that the Pistols held a lock on
political commentary. If you can get past Chaucer's scatological fascination, you'll find more politics than you could
shake a tallywacker at. I'm sure that someone before the
130CS also attacked the dirty fuckers in control, but they
didn't write it down.
But punk of the late 70's was truly revolutionary in
that it held no reverence at all for such institutions as the
Queen + the Church. Nor did they seem to hold
sanitation in any high esteem either, so go figure.
Remember, we are talking ancient history here.
Really. Robert Smith wasn't fat yet. So what bearing does it have on what we're hearing to-day?
LIFESTYLE 8
-*v*>
Well, attitudes and such haven't changed. Alternative
music is still counter-culture. T ie values in the music are not
the status quo for the rest of society. Must be. The Earth hasn't
been utterly decimated yet.
But these attitudes must be fairly influential. I know they
won't touch the Postwar Baby-Boomers (too fucking isolated
in their memories of seemingly influential youth). And the
same attitudes are a tad bit much for Baby-Boomlets who've
only just become accomplished with the English language. So
they must be important to the people in the 25-odd year gap
in between.
And damned if those attitudes aren't prevalent. I remember, a few years back, i was loathed + feared as being a misfit
+ a malcontent + so on. Now the all those lost people of our
generation are starting to appreciate the ideas put forth in the
music. Hmmm.
So what has this done to the musical movement that
started with the pistols et al? Well, there's a lot more people
out there now listening to the stuff. How else did Coast 800 get
on the air and become even moderately successful?
It used to be there were two types of stations to hear
alternative music played on: your local college radio for your
local music, and CBC radio, after 11pm, for national music.
Oh, i guess i should add that MuchMusic plays alternative
videos too. But who want to sit at home on Friday night to
watch videos by bands that are so "safe" that a record company will sponsor a video?
I suspect the CBC will stay with the same format as long
as bands are still
produc-
~ing the
same type of music but the others i'm not so sure
about. MuchMusic is hardly a shining example of
open-minded adventurism. They've banned more decent videos than i dare consider (But, the French sister
station, MusiquePlus, is not at all squeamish about Mitsou flashing her tit. Maybe Moses Znaimer, producer at
MM, could go on record for having the tightest asshole in
existence.).
Even college radio, long the stalwart protector of
musical deviation, has started going commercial. Along
the Easter Seaboard in the States, college radio is becoming commercial. They aren't yet handing out cash arizes
or sending guys in minivans to the beach (what are
alternative people doing out in the sun let alone basking
on the beach?) but they're getting there.
So, if the radio statit ,ta are becoming more commercial, then the music wih become more commercial so it
will get played. And it already has.
Have you been subjected to Consolidated yet? Potentially the most politically-correct pieces of shit in the
alternative music scene. Sure they're aware of the sociopolitical aspects of to-day's world but the edge is just not
there. Face it, the Dead Kennedy's they're not.
So even the progressive tunes are not radio-friendly.
Is this what caused the sudden appearance of so many
thousands of poseurs? I suspect it is. No one would touch
Siouxsie & the Banshees when they looked like botched
gene-splicing experiments. But now,since she looks like
your average Mid-western housewife, she's a hot ticket.
And i fear this. By my nature i am an elitist (The
deranged product of a British background where class
distinction still counts).
Why shouldn't i fear this? It's all well and good that
bands that deserve recognition are now getting it but it's
like my favorite cafe; It was my special wee nook in the
Hellish Kitchen of Life. When they added three more
stools i was devastated. Now there are tourists coming in.
Plus I have seen what happens when a "new" musical movement becomes popular. Think about it. Look at
rap music.
When it first reached beyond the inner-cities, it was
thought of as the first stage in an uprising by the Black
people. Then Grandmaster Flash and his ilk got onto
MTV. And the establishment got a hold of them. And it
begat the likes of M.C. Hammer and Vanilla Ice. What
started out as a counter-culture has become yet another
sub-culture of greater Western culture.
Imagine, ifyou will, Sid Vicous surviving long enough
to do an endorsement for Pepsi. Can you imagine alternative music lasting a year longer?
I don't want to suffer that fate. I revel in the distinction that my music allows me. Fashion changes. Morality
changes. But music is impervious to the seasonal variance
of the others. Alternative music is about looking forward:
looking for something different. If all music suddenly
becomes new, unusual + distinct, there won't be any
mainstream music left to hate.
So i'm not going to embrace these pukes who "discovered" Depeche Mode in the late 80's. Go back to
your Top 40 soon. When's Bruce Springsteen releasing his next album? _*__#
Souffle a' Sarcophage
by Ahasiw Kitocigan Maskegon-lskwew
(Donald Ghoskeeper)
Intensive repetition or chanting of a word will cause its meaning to alter and shift
/ Filth / Filthy / Filthy ones / Also, when cojoined as a universal adjective or adverb, it will cease to be of any effect / Filthy love / Filthy hate / Filthy joy / Filthy
fear / Filthy rage / Filthy thoughts / Filthy memories / Filthy acts / Filthy deaths
Filth / Filth / Filth / Filth / Filth / Filth / Filth /
In isolation from all others, mirroring only itself,
its meaning is empty, its power lost, its dangerous abilities
rendered impotent / however, the vacuum thus created begins to suck away all
other meaning and significance / once incited, the consumption proceeds unstop-
pably, in geometric progression, dissolving great patches of infinitude and potentiality
The body of my mother. Marguerite, implodes. Pressure from the eyes of the grieving
children and the weight of the hot, still air squeeze the skin down between her ribs
and tighten it around her bones. Each breath, her mouth gaping and dried, escapes
more fully; enters less. The stump of her leg lies withered beside her uncovered sex -
stretched tightly over the jutting ridges of her pelvis. All the light of the room is devoured by the hungry eyes of the children. Hers, fixed, empty, half-open, gasp at the darkness as it pours in, filling her. The long waiting leading to these massive, corroding seconds is
almost over, the one leading away almost begun. Her last breaths are exhaled directly into the distant
mouths of the children. Their organs writhe, seeking to break their frozen bodies into motion that will not
come. Movement is hardly possible under the great weight of this waiting.
Sunday Morning
IidZuuq:
'juab:..;
ado ■:*■„„ «o
DesHny:Jealous H»av«i
He stared into the mirror. The bathroom was steamy, but he could still make out the
details of his form. He stood, afixed by his own gaze for some time, sliding his hand
over and over the cold condensation on the bottle of Jaszbereni Rizling that rested,
half-consumed, on the counter.
He was afraid to look at the reflection of his pubic hair, or to contemplate the vaginal
juices encrusted upon them. He was afraid of the violence within him, his dependencies, his lack of motivation, and most of all, the Truth. The bottle suddenly pressed to
his lips and a cool, harsh sensation flowed across his palate, down through his chest,
and landed with a satisfactory thud in the bottom of his belly.
"If Christ were here, I'd show him a fucking thing or two!*
The straight razor was there on the counter, as it always was. With a quick flip, it was
open and resting against the wrinkled skin of his scrotum. He contemplated the
strength of his resolve.
He watched his iris widen, then the twitch of his shoulder that started a chain reaction
down his arm and through to his fingers until the tip of the blade pierced the dermis
above the left testicle. He paused while a small, warm trickle accumulated down the
inside of his thigh. Then, with only the slightest pressure he twisted his wrist. The
trickle became a cascade, and a tiny thwolop resounded against the tile.
He smiled, a man in control of his own destiny.
A hundred years within this alloted lifespan
What a sheer hatred bstwssn the fat. and gift of
AAulberrles nov/ grow where ones rolled the sea
People arm sick at heart with thlnos they see
The law of counterpoise Is not so strange
Jealous heaven of wrongs rosy cheeks for revenge
she looked dignified, no challenge knowing:
A moon shaped face with brows In nice drawing
A flowering smile, a voice sounding like |ade
A skin excelling snow, hair the stallion shade
Her grace is especially deep and keen
Wmr eyes recalled all fall streams, her brows spring
Too flower* an willows as well envied her hue
' glance, repeated could shake towns, even a stc
Her gift Is quite pureless. her charm so great
Being graced by heaven with natural wit.
'Cruel fate' a choosen creation of hers.
So sad It could move people to tears
For such a bright lady with such a dull fate
A glittering life down at such beaten rate
Why does she meet me. who went past me?
Could there be any link for life at last?
Her bosson of hundreds of riddles so full
She poured a nice lyric fourth from her soul.
/V\ellssa Anne Nelson)
Life,
The beloved toul where the
tun may.
Behold a sunny ray for a
brighter day.
Within the depths of the
earth.
Mother nature beats a drum
for the
One who may always run.
In the sky may lie a single
white.
Cloud which will sing out
loud
For the cheering crowd.
The moist groind will sound
the birth.
Of the seeds below the
beloved earth.
The life that roams It's free
land stand.
Tall, and so very grand.
Danger may stalk, but does
not over power
The so very few reasons of
birth.
The test for a new example,
may only be
A minute sample of the
freeing race.
And a happy face.
Let green always be green,
and save
The earth we live on for the
new
Life beyond.
(Melissa Anne Nelson)
NOVEMBER 35 Mindy s Top Ten Advertising Slogans
(Someday &nr%/f*my
1 Mother nature's gas station....
2A vote tor the Uberal Party b a vote tor the NDP
3 We'll change our sex before we change our music
4 Madonna
5t_a anything
6 I've fallen and | can't get up
7 You're really gonna love It when you pop It In your mouth....
81 just had a hippopotamus for lunch
QSIry wabblt. Trtx are for kids
'-Canadaj first non-smokingclub
The IVtax Thrust Show
(Thursdays 8:J.S-10:00am)
1 The Doves Affinity-"Wouldn't Know You From the Re*f
_ John Lee Hooker Mr. Lucky -*l Wanna Hug You"
3 Satan and Adam Hortem Blues-'Sweet Home Chicago'
4 Bob Geldof... Vegetarians of Love - "The Great Song of Indifference'
5 Spirit of the West Go Figure-'Goodbye Grace"
6Anger Means Not Human Anymore T EP
7 Abbey Lincoln... The World b Falling Down - The World Is Falling...*
8 Innocence Mission Umbrela-'BeglnnlngThls Worfd*
Jiggle Top Ten Foods For Kids
(Wednesdays 7:0O-9:00pm)
1 LauraSecordMintyBars....
4 Ding Dongs (aka King Dons. why?)....
7 Fruit Punch Slurpees....
8 Generic Pork and Beans....
0 Gavin's fresh baked treats....
10 BlgRedCreamSoda.
Master DJ Tom-EZ's Top IO
(Thursdays ll:OOam-l:OOpm)
1 Public Enemy/Anthrax Bring The Noise
2Crosby.Stills.Nash.andYoung....
3Chat1le Mingus' Jazz Workshop....
4-ane's Addiction....
SButtholeSurfers.
Suite Judy Blue Eyes
Hold Em Joe
...Fight The Power
Stand
... DonlLet tt Bring You Down
Melanoma Carcinogen: Everything
Causes Cancer (Fridays l:15-2:30pm)
1 Bukhara Musical Crossroads of Asia (Smithsonian. Folcways)
2 Classic Swede Swede ToleklBango (Crammed Discs)
3DeathRayCafe Built on Good and Right (Pagan)
4GenbakuOnanies Forward Command Post 7* EP(PubJc Bath)
5Men2nd Plato's Highway (Crammed Discs)
•SelgenOno NekonotoptaNekonomanlaaMTMVoL 29 (Crammed)
7PGR/Merzbow/AsnrnjsTletchens Grav(davEntertainment)
8 Ranking Ann A Slice of English Toast (Ras. Artwa)
•MHIadoIro CorteBum Honest! (Fes tival.Green Linnet)
10 Poesie Moire TobutaBasq(Antler«Subway)
NOVEMBER 91LQQQQNG GROOVES 101
...Nevem*td(MCA*DGC)
... 13-PoW Program to Destroy America (Dischord)
JanBors of Tomorrow (eMpTy)
Tiompele Monde (PolyGram«4AD)
.Apocc#yp*e91 (Sony.DetJam.Rush)
BaheCAAM)
BloodSugarSexMogBc (Warner)
.. Scavenger (SubPop)
8 Red HotChll Poppers
10 TheWafcabouts.
11 The Young Gods Flay Kurt We«(Caro*>es Play ft Again Sarin)
12 Coffin Break. „ Crawl (Epitaph)
... Pennywise (Epitaph)
...drcl»C(MCA.DGQ
... Steady DM of Not hkig (Dischord)
Gump(MCA»Chrysals)
...Batch (Cruz)
18 OrdoEqultusSob SoWII Temports (Musica Maxima Magnetlca)
10 Sarcastic Mannequins UBIe Brother (Eyecon Industries)
20 Queen Latifah Nature ofaSWaaammyBoy)
21 VarlousArtists TheBigOne:CtyofLA.Power(Flpslde)
22 Celtic Blue Brec*k>g Trad-ton* (Celtic Blue)
23 The Vandals Fearota Punk Planet (SRO.TrtpteX)
24 Look People Boogaan(A&M.Hypnotlc)
25 BIBngsgate.
28 EdsRedeemingQualtles..
27 Bit/Chldlsh
28 MC Lyte.
No Apoiogtes (Cargo. Nemesis)
More Bad Times (FestlvaUFIylngFish)
lamtheBiyCha_kh(SubPop)
Act Uke You Know (Atlantic)
20 Les Thugs I>.B.F. (Alternative Tentacles)
30Godflesh Slave«tale(RelatM1y»Eafache)
31 BilfyBrogg TryThatl(PotyGram)
32 Fudge Tunnel Hato Songs hE Minor (Relativity. Earache)
33S.N.F.U The last ofthe Big Time Suspenders (Cargo)
34 Various Artists HMoryotVancouvefRock»RoftVolume4(VR.CA)
3SDaslch Die Propheten(Darse Macabre)
38 Naughty by Nature Naughty by Nature (TommyBoy)
37 Monster Magnet SplneotGod(Carolne.PrlmoScree)
38 Chemical People Angels'n'DevBs (Cruz)
30 Hole Pretty on Ihe in*lde(Ccirolne)
40DieWarzau Mg Electric Metal Boh Face (Atlantic)
41NanaMouskourL Onty Love (PolyGram)
42 Skin Yard....
1000SmllngKnuckle*(Cru_)
43 NapalmDeath Death by Manfeulalton(ReiatMty«Eciroche)
44WekdPaut LoFldelty, HI Anxiety (Homestead)
45 Queen Mother Rage VanglortousLaw(Cardloc.Black Watch)
""MM Too Cool ForSatan (Satyricon)
47 Alice Donut Revenge Fantasies ofthe Impotent (Alt. Tentacles)
48LaMuerte Kustom Kar Kompetttton (Caroline. Play It Again Sam)
40 Don't Mean Maybe Real Good Ufe (Dr. Dream)
50 Cypress Hill Cy (Sony.Ruff House)
51 Mel Torme& George Shearing 'Do'WWll(PolyGram.Concxyd)
52 Voivod Angel Rat (Mechanic)
53 They MIchtBeGianls MkceOaneoutT(Re*ness*BarNone)
54 H.EAL Civilization Vs. Technology (Warner. Elektra)
55 Thin White Rope The Ruby Sea (BMG.Frontier)
You're Gonna Miss Me (Restless)
58 FrontUneAssembly....
61 John Lee Hooker tm. Lucky (Warner.Atlan tic)
62 PGR/Merzbow/AsmusTtetchens Grav(dcvEntertalnment)
63 AgentOrange Rea I Uve Sound (Restless)
64 Various Artists Gospel Celebration (Spinner. K-Tel)
Spinout Spinout (Delicious Vinyl)
66 PosterChJdren
67 CabaretVoltaire
The Odds.
... Neopo»an(BMG.Zoo)
70 GotfsUttle Monkeys....
...NewGMOtd Story (Cruz)
71 Ranking Arm A Slice of Engfch Toast (Rco.Ariwa)
72 The Zeroes 4-3-2-l...the Zeroes (Restless)
73 MJIadoIro Castellum Honest! (Festival .Green Linnet)
74 Statecf Mfrid The Road Inside (Stateof Mhd)
75Satan&Adam Ha item Blue* (Frying Fish)
76 Unleashed Where No Ufe Dwetts (Century Medta)
77 ATribe Called Quest The Low End Theory (BMG. Jive. Zomba)
78 Scientists Absolute (SubPop)
70 Classic SwedeSwede .ToleklBango (Crammed Discs)
80 StrawberryZots LoveOperatlon (Continuum)
81 Minutemen What Make* a Man Start Rres? (SST)
82 Various Artists Estrus HalfRock (Estrus)
83 Poesie Noire TabutaRaM(Antler.Subway)
84 Johnny Heartsman The Touch (Wamer.Alli gator)
85 Crumblowers Coto**u»(RecortiauHeadstun)
Tlmbuk3 Big Shot In the Dark (Capltoi.IRS)
87 Various Artists-Soundtrack. TheComm»menls(MCA)
86 Death RayCafe Buff on Good and Right (Pagan)
"The Wendy* Gobbledygook(Warner.Atlantlc)
Pearl Jam Ten (Sony* Epic)
01 Lomie Brooks Satisfaction Guaranteed (Warner* Atgator)
02 UrbanDanceSquad...Ure'nPerspectlvesofaGenulne...(BMG.Arlsta)
03 Bolt Thrower War Master (Sony.Earache)
04 Grave Into the Grave (Century Medta)
05 Texas Tornados Zone of Our Own (Warner. Reprise)
06 Various Artists Veteran DJ Jamboree (Ras)
07 Material TheThkd Party (Axiom. Island)
I Uoyd Cole....
DonlGetWeirdon Me Babe (Capitol)
00 Slayer Uve: Decade of Aggression (Def American)
00 VarlousArtists C4P Records Compilation (C&P)
0124Gone TheSpln(BMG»Oceana»Onslot)
02 Crime .„ San Francisco's Doomed (Soiar Lodge)
fttVEMBER 91 SINGti MAfifCTTC PAIffYftflfflES 50
llndedsive*....
3Jkmiyftays5StarH_b_te«.
4 Show Business Glonts
5 Total Experience Gospel Choir
0 Surfdusters
7 Perfume Tree
•GoGuy
•Jack Feels Rne
lOWIndwafcer
11 Sweaters
12 Wheat Chiefs
ISTenorT.
14LesMc<adesMartea_x.
IB RandomKHIng
18 Dr. Shkry Forehead
17 KatNeen Yearwood
IS Show Business Giants
1»PtehxePc*itlix>s
20 Stavoe Tango Ensemble
2lFurnacetaoe
__PurpleClry
23 Evaporators
24 Crazy Fingers
28 Monica Schraefel A Her Hungry Band....
28 Ten Feet TaH
27 Perfume Tree
28 Mother Tongue
" "i The 14th Wray
38 Shine
31 Crazy Fingers.
SaMlnstre-onSpeed
33GodsMom
34TenFeetTall
38 Red Fisher
36Waystrels
37 Steve Headrick
38UnevenSteps
SOHoofarurrp
40 Planetof Spiders
41 Jerome
42 Hitting Birth
43 Kiss Khs'n' Bang
44 Sand Dooms
48 Brian Bonet
46 Tombstone Etiquette
47 Cots Game
48 Gardenof Earthly Delights...
40 The Suns
50 Factor X
ThePoplThUg
Let's Get Together
...Hold Yer Own
Worfdb Too Crowded
Who's Dead Inside?
Whle My Dod Gently Weep*
Lavender Jane
Vampire Blue*
CoodtoSee You Again
I Used to Be Crazy
Death hi Pi I not hue
„._ICho*e
... HaOuclnatton Generation
BeoutttulSon
King Louis Blues
Lymg
ReaBty Check
Beat of the Sun
... Star of County Down
CalMeaSlnner
DoTeB
She's My Girl
TiaveBngUgt.
Love Me
Stray Kids
6- Vattant on the Mounted Highway
iwanlYou (Winona)
The Snlpei
...Running Free
NOVEMBER 91 SHORT GROOVES 50
lWlndwalker/Tankhog....AMIntlsaTerrlbieThlngto taste Spitt7*(Mnt)
2 Superconductor The Most Popular Man In the World* r (Scratch)
SUndertow/Resoiutlon SpB*7"(Overklf)
4Supersuckers Junk 7" (eMpTy)
BVarious Artists Blob* Volumel: Four Victoria Band* (WayOutl)
6 Anger Means Not Human Anymore 7*EP (Skene!)
7Crackerbash Holday7"EP(lmp)
8Electric Ferrets....
•The Mortals....
... "2-5-4" 7" (Dionysus)
DteWegrallon 7" EP (Estrus)
Ro*y Jack World 12" EP (Mammoth)
1l2UveCrew "PopTtK_Coochle"12"(Attantlc.Luke)
12 El Vez. The Mexican EM* rSynpathy for the Record Industry)
ISLung PsychopomadeBar (Scratch)
14Vegan Reich 7" EP (Hardline)
15 Black Angel Death Song Nothing Equals Nothk>g 7" (Dionysus)
16DMice "25TaUle*12"(Sony.DefJam)
17Rsh&Roses FriarTuck Record T (Ajax)
16Javler&theStr8)ackers "The Other Guy* 12" Ochtoan)
WMudwImH 3-*ong7"EP(lmp)
20 Statement Prepare lor Battle 7" EP(HardUne)
21 OswaldFlve-O *ALoveSupreme*/"Cru»hproor 7* (Imp)
22 Mono Men Boozer (Estrus)
23D.C. Beggars You're So Pretty But You Make MeSlckr(Ratho_se)
24 Icky Boyfriends. „ 4-*ong7"EP(C&P)
25PopDefect....
Game of Fear 7* (Dionysus)
26StunrpyJoe *loveP1umb»rAW.S.B."r(Poplama)
27Hypnolovewheel "WoW/"KMG-3«T(Alas)
26 Shadowy Men.../Change of Heart. Spl»7" (Cargo)
2«Curve "Frozen" CD-5" (Vlrgln.Charlsma)
SOTheGrtfters The Kingdom ot Jones 7' EP(Doink)
31 Ignatius "Sweeltlsh"/"Mr.Gauge"7"(Sience)
32 Treepeople/Houseof Large Sizes Spit 7" (Toxic Shock)
33 Stereo MC's "Lo*tlnMu*lc"ir(4th8iB'way.lslcind)
34Llys. * February Fourteenth*/*Threw a Day" 7" (Slumberland)
36 Dream Warriors 'Folow Me Not" 12" (4th & B'way •Island)
36GenbakuOnanles Forward Command Po«t7"EP (Pubic Bath)
37JustSayNo *Qlckets"/-Fa-edtheTe_rr(Rave)
36 Lady Fresh ■*UackCt_UK_k*n_"(ValeyVue)
36PaperTulps 3-*ong7"**P(Flpslcle)
40LosBlchos....
43Phunhogg....
44TinaChopp....
...."WfchlnShBr 7" (Ohuka)
..."PBhe Helmet" 7" (Estrus)
4-song 7* EP (New Rage)
. -Uttea" T (Davies Productions)
... *Story of My Ufe" 7* (Wheezing Panda)
46WeeHuggum 'HeodacheTBadSWei*7"(Szanktone)
46 Armand Schaubroeck "Baby Love I'm Comin' Home" T (Mirror)
47 Captain Condoms Kinda Kool 7"EP (Public Bath)
48HelBiys "DrogstrlpGIri" 7" (Dionysus)
46 Drone Voice of Reason 7* EP (Vinyl Communications)
50 Raid Words ofWar7"_P(Hdrclne)|
36 NOVEMBER SUNDAYS
ARE YOU SERIOUS? MUSIC 8:00AM-12:00PM
The newest new music end Information
on concerts, recordngs. and corrpos-
ers with host lan Outchtey.
THE BRUNCH REPORT 12:00-12:15PM News.
sports, wecrher and more wtth the CiTR
NewiSporticn- Weather Deportments.
THE ROCKERS SHOW 12:l5-3flOPM Host-
George Barrett and Mike Cherry.
Reggae hna al styles and fc_hlon.
Dancehd, Dub, Roots. Lovers-rock.
Rock Steady. Ska and beyond!
THE SUNDAY MAGAZINE 5:00-5:JOPM Al
Ihe dcr/s news, weather and sports. Plus
an In-depth htervlew. movie reviews
end more. Hosted by Ljc Dinsdde.
HEARSAY 5:JO-6:OOPM CiTR'sIteraryarts
program needs YOU to ubrnltyourworl-
for orvdr performance a readng.
MAURY*} GOT THE NIGHT OFF HX-9MM
Kooky antics, current irrelevcnt Issues.
JoeJodtsoaPantow.lce-T.Hetoostord.
aid your cod raqjesh. Hosted by Keren
Toddngton and Uoyd Ukna
GEETANJAU»«>-10:00PM Geetan)allsa
new onehour rado -X>w when fea-
tue» a wide range of music from hda
This includes classical music, both
Hndurtai end Camallc, popda mu-
sc from hdenmovtes from the 1930s to
the 1990s. Semi-dassicd music such as
Ghazds and Bhqjans. and also
Quawwdb. Fok Songs, etc. We wfl dso
play songs from various regions of hda.
In dl Its rich end dverse languages. We
wl try to present a 5 rrinute tak about
hdon mu*:. hshurentj, dngers, musicians, etc. based on the research that
we conduct every week to hform and
educate you Hosted by Jyotl Dho-and
Prodeep t&mar Nandam.
RADIO FREE AMERICA 10:00PM- 12:00AM
Joti host Dave Emory and cdteague
Mp Tuck for some exVaodnay politic-
reseach guaranteed to moke you think
twice. Bring you tape deck and two C-
90_ Ori*x_y broadcast on KTJC (Los
Altos. CdBarta).
MONDAYS
THEMORNINGSHOW 7JO-M5AM Woke
ip with the CTIR Momhg Show. Al the
news, sports and wealher you need to
start you day. PUwhafshappering at
UBC each day with UBC Digest, a feature interview and more. Topped off
with ihe BBC World Service News at
8:00AM, Ke from London. England
Hosted by km Gunn and Antje
Rauwerda
BREAKFAST WITH THE BROWNS 8:15-11:00AM
Your fovoutte brown-stars Janes and
Peter offer a savouy blend of the f arrH-
kr ond exotic h en excitingly luscious
blend ot cud detghh. Tine In and
enjoy each weeMy brown plate spedd.
DON AND GOURD'S STUPID RADIO SHOW
11:00 AM-1:00 PM Random selection,
mitipie exposures, DA, Dust Buries.
and a mission from God
THE AFTERNOON REPORT 1:00- 1:15PM News.
Sports ond wealher.
MEKANIKAL OBJEKT NOIZE 1:15-3:00PM
OTRs only al hdustrld / tectn'cd /
electronic tfiow with dfferent featue
dbuns every week. Wth you d pd,
June. Cevin Key lees some of you
LOOK I IT'S BONUS GIFT TIME AGAIN,
HOWARDI 3:00- 5:00 PM Tofu chili dogs
dnt so bad Mustard, extra onions. No
relish. Thank you very much. Rowena
hosts
THE CJTR DINNER REPORT 5:00-5:30PM All
the latest on campus: news, sports, an
kvdepth Interview, theatre or flm review, edtortd commentary and more.
Weekdays with host lan -UNAUTHENTIC AMATEURBM 5:3O-6:0OPM Fo-
cu*ig on locd. campus and amateu
Varts. Upcoming gomes to be covered
IveonOTR:
2nd, 1:00PM CITR presents the UBC Varsity
foolbdlganeagckistdefendngVcnier
CupChampionU. of Saskatchewan Huskies. lAeiy a key gome for the Bkds as
they try to make the C1AU playoffs With
Jeff Paterson and Chris Urea
4th, B-.MPM The UBC Men's Basketbdl
juggemaught tckes on Seatle Christian
U. A good chonce to see If Ccnada's
best can pkry with ihe Americans.
"th The T-Brd f ootbdl teanmdees the playoff* CITR wl be there to broadcast the
action Time to be anrxxneed.
15th, 7:30PM Hockey. UBC against the U. of
At>erta Golden Bears, who are dways
the team to beat In the Canada West.
With Jeff Paterson and Otis Uren
22nd, 7:30PM Baskelbal from War Memorial Gym. UBC. the consensus #1 in the
Canadan pols. takes on the U. of
Cdgary Dhosaut
29th,7-J0PM U. of Cdgay visits the Winter
Sports Center to take on the Varsity
Hockey T-Bkds
30th, 745PM The men's basketbdl team
takes on ther crctHlvds. the Vikings
from IMc. A bitter rtvaky that CITR Is
dways proud to cover.
BOXER SHORT BOYZ 7*>-9:00**M Just a
couple of guys who Ike to walk aound
In thek boxer shorts with thekbig fat guts
hanging out. Jerome Broodwoy and
Garnet Timothy Horry alternate weeks
THE JAZZ SHOW 9:00PM-12:00AM
Vancouver'slongest ruining prime time
Jazzprogrcm. Hostedby Ihe ever-suave
Gavin Wdker. Featuesatll.
4th Tonight two great pioneers of Jazz...
tiurrpeter Roy Uflte Jazz' Ekfrldge
and 'ihe fattier of t>e tenor saxo
phone" Coierrxn HawMns: together
In concert h 1957. Ihe two Jcsz g-
tnts at the* peck... kupttng later
generations
I It) 'African Cookbook', a wonderfd
dbun by pkrrst Raicry Weston end
Nsdktar sextet with Ray Copelcnd
(Monk's favorite trumpeteO end the
great Booker tvtn (Mingus favorite
tenor senkt) axtothea Agreat pro-
gam of Weston compo*lor. reflecting a strong African Influence.
lMh We celebrated John Coltrane's
birthday on Sept. 23 with an d-
Cotfrcne program but dent get past
19MI Tonight another oJ- Coltrane
show from 1960 to Ns lost offidd
recorotogs mode In Much 1967. The
featue wl be the Feb. ^recording "The John Coltrane Quartet
Ploys'.
25th Ihe great ChaKe Parker sesstons
this evening. The consurxrte otto
saxophonist wtth tnmpeter Miles
Davis and rJummer men roach In a
great reunion session. The second Is
Parker and an dl- star qdntet wrfn
trumpeter Red Roetiey end boss
great Ray Brown and others. The
bkdflyhgMgilnl951.
TUESDAYS
THEMORNINGSHOW 7:30-8:15AM Hosted
by Antje Rauwerda and len Gun.
MADONNA DEATH WATCH 8:15-11:00 AM
Mornings havent been the seme since
the Eriendy Giant was caujsM picrying
with Rusty too meny times end Mr.
Dressup ate the nose- candy. Morn-
core wtth Bryce and Scooter.
DOG'S BREAKFAST 11.-O0AM-1:00PM Dog's
bredefast. 1. A mess: low Glasgow (-
1934) 2. Confusion: turmol: Austrdicn:
since ca 1935. Tune In for inept pandemonium, hilcrlty end fairy tries - with
you exquisite hostess Helen G. Yes. Ihere
rslfebevondn
BLOOD ON THE SADDLE 1:15-3:00PM Country music to scrape the cowshit off you
boots to. \Mth yer host-poke Jeff Gray.
UVE FROM VENUS 3O0-5:00l>M Women-
made music ond stuff, hosted by Jane
Tiley.
THE REAL DEAL 6:00-7:00PM 'If it ain't rap
then you know ifs crap.'-Eazy-E.
Haelcore rep with you hardcore rap
host Terror T.
THE UNHEARD MUSIC 7:00-9.O0PM Demo
Director Dde Sawyer provides some
insightlnto the best end the worst ofthe
newest Ccnexfen music.
AVANT-PIG 9:00PM- 12:00AM Alternating
Tuesdeiys with Wolf at the Door. Now
three hous of funky cmbient noise
piggery with Pete Lutwyche.
WOLF ATTHE DOOR 9.O0PM-12:00AM Alternating Tuesdays with Avant-Plg. The latest In dance music and Interesting
drama every second week. With Lupus
Yonderboy.
AURAL TENTACLES MIDNITE UNTHTHE MOON
DROPS Fun for the whole (amly to er^oy!
Weird chinks of news, odd pieces of
tmeage. Pierre end the 2AM WWOD.
WEDNESDAYS
THEMORNINGSHOW 7:30-8:15AM Hosted
by lan Gunn and Antje Rauwerda.
SOULCHURCH 12:00-1:00PM We Is bock!
That program that brings you the best of
the African- Conadan and African-
American gospel music trodtion.hosted
by Dcrve Lcngjlte.
6th Cenaden Gospel, featuring highlights of the Gospel festivdin Dartmouth
N.S., August 1991.
13th Gospel Roots 19)0 to 1940.
20th Gospel Roots 1940 to I960.
27th Gospel Roots 1960 to 1980.
CONTENTS UNDER PRESSURE 1:15-3:00PM
Sphnhg the best (and sometimes the
worst) piay»st matertd, bringing a variety of mu*: styles from places youl not
hea on crry other rado station... seriously. I appreciate al requests. I work
best inder pressure end the gods have
seen to It thot I am suppled well with
sonic bhs... hence the title.
NORMAN. KITCHEN 3:005:00PM Breathe.
Breathe. Brecrthe, Teiee a deep breath,
now push I OK, there's the heod II Keep
pu*in' II With you host the Reverend
Norman (Ministry of Scrvatlon Chuch,
Quia Vista. CA.)
NO INTERMISSION 5JO-6:0OPM Addressing
Ihe dama theatre, film and arts communities With Anlje Rauwerda
HANFORD NUCLEAR PIZZA PIE 6:00- 7:00PM
StB suffering from the depression of mlss-
Ing the entire K festtvd In Olympic.
Rowena solders on. If you went, cal h
and goat.
JIGGLE 7:00-9:00PM Join Saten's fat-tired
beJIes. Mikey aid Gavin for their weekly
homage to the "Wng of dl that k punk",
Bg Ring Ray. GRIND, GRIND, GRIND. If
the elderly get spooked by It, wel play
it. Drop by, we'd love to tak to you
THURSDAYS
THEMORNINGSHOW 7:30-8:15AM Hosted
by Anlje Rauwerda and len Gum.
A VOICE OF DISSENT 1:00-OOPM The
frenzied dence of ubon primitives,
drumming to topple the cement wefe
of the dty cage, preening eexh other.
beautifU apes. Grow plants grow, child
adult seed, rhythm sneJee strike without
convention, none do we need. Conformists, molded, will not wdt, as voices
whisper, chents ae made, drums that
beat, you mind wil shape, if you that
listen desire change...
Send me a tape of you poetry/sound collage/spoken word!
FLEX YOUR HEAD 3:00-5:00PM
—HARD JINX—
-ERIC—
-CORE-
OUT FOR KICKS 6:00.:00PM Explore the
plea sue s of plastic with your fdthful
native bearers Pat. Usa, and Chris
RED HOT AND BLUE 8:00- 9:00PM Roots music, rhythm end blues, rock 'n rdl. and
who knows what, hosted by Edde J.
LIVE FROM THUNDERBIRD RADIO HELL
9:00-11:00PM Local music from 9.
Live bands from 10.
Nov.Tth- Allen and the Psycho
Nov. 14th - Sparkmarker
Dec.Sth • Just Add Water
ABSOLUTEVALUEOFNCHSE1 !:0OPM-l:OOAM
100%CanodanlndustridlsmNolsewtth
fou-dlmenslonal psycho-acoustic
interactivity. Practitioner: Peter
Courtemenche.
GIGASIASTI1 AM-COMPIiTE EXHAUSTION
Late right ^oontoneous oud combustion Easy Istenlng for the tnjy weird.
Live mfoes. sonic toop-d-toops. projectile poetry, microphone molestation,
and Impromptu noise jams
FRIDAYS
THEMORNINGSHOW 7:30-8:15AM Hosted
by len Gunn end Antje Rauwerda.
THE INTERNATIONAL VENUS FLYTRAP NETWORK OF LOVE 11:00AM-1:00PM Donl
tvne In 'cause youl hate It anyway,
wel...maybe not. Bye.
THE NOBSHOW2:30-3J0,4«)-5a)PM What
month _ IP Noirvembee. Adam Noizi
Sloan brings the nob.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM YOU the Istener
have the ultimate contrd. YOU can tun
off the rado. YOU cen mdee you opinions heard, but YOU must redize
Nardwuar and the Grand Duchess of
Cat Crime. Cleopatra Von Rufflestein
ae onry you friends
THE OTR DINNER REPORT 5fl0-5:30PM With
The Voice of Reason,' ou weekly look
bock at the week In the news, tongues
(irmly in cheek.
THE THUDERBIRD PREVIEW 5:30-6:00PM The
Sports Deportment's preview of wham
be goin down this wekend, so tuie in!
THE DARYL AND SUZI SHOW 6ft)-9:00PM
Underground sound system-style
mastermix rado.
FOR THE RECORD 630-6:45PM Excerpts
from Dave Emory's Rodo Free America
Series
HOMEBASS 9:00PM-12:30AM Dopejams
and fresh beats for a groovy evening
withDJ Noah on the wheels of steeL
UmpSynk 12:30AM-Momlng Aphkfeather
duster, a tiny pirk loce pdr of panties,
and a minute pink dustpen.
SATURDAYS
THE SATURDAY EDGE 8:00AM- 12:00PM
Vencouver's biggest end best acous-
tlc/roots/rogue rodo show. Now h Its
6th yea on CiTR! Roots music from
orotnd the world.
POWERCHORD 12:15-3:00PM Vancouver's
onry true metd tfiow; toed demo tapes.
Imports and other rarities. Gerald
Rattlehead and Metd Ron eto the damage.
IN EFFECT 3:00-5:00PM The Hip Hop Beat
and nuttin'butt. With hosts BZ Jem and
NeilS.
THE SATURDAY MAGAZNE 5:00-5:30PM
UBC's weekend news. Al the latest news,
spexts. weeither. a movie review, feature
report and more. News wtth Luc Dinsdde;
Doug Richards has sports.
THE AFRICAN SHOW 8:00-10:00PM It's a
music thing from dl'Africa' Ifsenawae-
ness thing of self end others Ifs an Africcn house party. Stories, music, dance
fua Welcome! You host Umeren.
GROOVE JUMPING 10:00PM- 1:00AM There
ae those who ae never heppy with the
status quo. Those who must have the
new. those who define themselves by
what others ae not...ih. this Is more to
the point. Out ol beer, out of tuie, end
out of contrd...music to peel paint by.
Hosted by Terry Hdbnd
WHOM & HOW
ARTS JEROME PRINGLE
BOARD CHAIR SOMA FRASER
CURRENT AFFAIRS
ANTJE RAUWERDA
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT LUC DINSDALE
MOBILE SOUND DARREN REITER
MUSIC ROBYNN IWATA
NEWS IAN GUNN
NEWS FEATURES TRACY DOLAN
PRESIDENT DARREN REITER
PRODUCTION JOELFRANSEN
PROGRAMMING ADAM SLOAN
PROMOTIONS MIHKELRANNBTE
SECRETARY HELEN GODOLPHIN
SPORTS CHRIS UREN
STATION MANAGER
UNDA SCHOLTEN
VICE PRESIDENT
MINDY ABRAMOVITZ
VOLUNTEER COORDINATOR
JOHN RUSKIN
BUSINESS LINE 604/822JOI 7
DJ LINE 604/822-2487 (UBC-CiTR)
NEWS UNE 604/222-2487 (222-CiTR)
FAX UNE 604/822-6093
ENVOY ID CITR.FM
STAND IN UNE ROOM 233, EAST
SIDE, SECOND FLOOR Of THE STUDENT
UNION BUILDING. 6138 SUB BOULEVARD.
UNIVERSITY OF BRITISH COLUMBIA, VANCOUVER. BC. CANADA V6TIZ1. Note the
new postd code!!!!!!
ACCESS
CITR provides free airtime for Community Access by groups and individuals wishing to share some thexights
with our listeners. If you or your group
would like to say something to someone somewhere, please call the Program Director at 822-3017.
1
Rll
ARE YOU
SERIOUS
MUSIC
Ks
SHOW
KNEW KM
A8G0SH0W
SIM.
MAURYS
NIGHT
0FF/M.C.
GEETANJAU
ONE STEP
KY0ND/RA0IO
REE AMERICA
iNTHE
GBP Of
KIKI
k'ii«l»iU*Vi^_«i:ii_ia^l
BREAKFAST npATH DIGITAL MAX GUMBY
WITH THE ^ifi{J ALARM THRUST RADIO
BROWNS WAIIH CHRONO BRINGTHE HAAA!!
STUPID i|_| RFfc NOISE VENUS
RADIO fast cat sovkm FLYTRAP
mmmzn^»nu:mw--mam*:m!K»M.~j*?m*:ma-ji»M:m*m
MEKANIKAL BLOOD ON CONTENTS |\ I € C CIJ T FYFWATFP
C-JEKTNO-E THE SADDLE UNDK igSUBE |/|j)[fl| LILV'nlLI'
bonus JJVt FROM NORMAN'S «« ™
time VENUS KITCHEN head NO1ZTW0
»ll^li?l4ra_ir«a_f*i-«sr*&
NO MBM6SI0H VUtCWr-fCCI* SPORTS !!!
_ hnpp mm DARyl
__.!§ AN*)
" SSS gg HOME
BILL MULLAN
????? REAL DEAL
BOXER
SHORT
BOYZ
J£l WOLF
show /rib
SS M
DANCE nVIVnh
HALL
REGGAE
OPEN
COUNTRY
JOY/
OPEN
SEASON
ABSOLUTE BASS
VALUE Of...
GIGA MOO
BLAST! ZICK
fctti
THE
EDGE
POWER
CHORD
INEFFEO
mmfax
HEALIN'
HOUR
AFRICAN
SHOW
GROOVE
SOME
IHING
NOVEMBER 37 Manwcman: A 3€ Year
Retrospective
*^iV
Art dlrwaor: rvin Th« C«l
Photo: Brim Cl.rtcsonl
For ManWoman 111
He is nof associate)
n- Swastika
1 wilh Nazis
symbolize
, Whiles
upremists or Skii
inciple.
\J&
Listen to ManWoman
for only a little while
and you realize that he
is quite serious about
his beliefs...and quite
sincere...Meet him and
you can't help but be
touchedbyhisjoy.lt
literally reaches out to
you.CCatherine Car-
son,1974)
ManWoman was
bom Pat Kemball in
1938 in Cranbrook.B.C.
and was raised a
Catholic.He returned
to his hometown in
1975 and works out of
a studio behind Kemball 's Fine
Diamonds .his family's
jewellery store .to this
day.
A brush with death
and a number of out
of body experiences
led to a desire to
dedicate his life to a
more important pursuit,
which, in his mind,
meant the choice of
Art as a career
ManWoman's
impressive body of
work can be approached, and appreciated, on many levels.
It is difficult to categorize stylistically, and to
analyze it only on that
level would be to miss
the true significance of
this artist's effort and
his contribution. Richer
rewards are to be
gained .rather, by
starting from the point
of view of the personal
context of the artist
himself—the mysterious
source of so much
energetic production—the inner impetus
for these outer cultural
artifacts.
For someone with
no prior knowledge of
the work and life of
ManWoman, viewing
his art production of
the past 30 years must
be akin to crossing a
border into an exotic,
unknown territory. The
traveller would then
begin to discover a
highly developed
system of customs and
rituals and a sophisticated language in
operation which hint at
the rich and imaginative source. The starting point for such an
investigation would
also be readily perceived—the common
emotional groud of
passion, energy, and
joy.
^^^^^^ | Holy B
An extensive
exhibition of works
from the past thirty
years tracing the
career of one of
Canada's most prolific
and controversial
contemporary artists
will start with an opening reception
FRIDAY NOVEMBER 29.
at 8:00.
MANWOMAN: "DIVINE
MADMAN:A 30 YEAR
RETROSPECTIVE" at
SMASH GALLERY of
MODERN ART
160 CORDOVA ST.
WEST 662-7200
photos cortesy of
Smash Gallery
text taken from'The
Iconography of Man-
Woman" An Essay by
Sandra Tivy
38 NOVEMBER special gnat SYD STRAW
THURSDAY NOVEMBER 7
LID AY NOVEMBER 8
Tickets available at ______^^_______v , Zulu, Black Swan,
Track and Highlife Records.
ODORE BALLROOM 7
Z Monday to Wednesday 10:30-7:00
111 Thursday and Friday 10:30-9:00
1 Saturday 10:30-6:30
0 Sunday 12:00-6:00
1869 W4th Avenue. Vancouver. BC
604-738-3232
IVlSmS ARE COMING!
The rumours are true!
These legendary native sons of Manchester will be in
town for their first ever Vancouver performance
November 26th at the Commodore Ballroom. Pick up
your tickets early at Zulu.
In Person at ZULU!
This long-overdue event will be preceded by the only
thing that could possibly be better—an opportunity to
meet the Buzzcocks at ZULU! Markyourcalendar and
be at Zulu November 26 between 4:30 and 5:00pm.
o
Buzzcocks
• operators manual
A collection of 25 of their best This is the
essential compilation that we've all been
waiting for. From 77 to '80 in one brilliant
package.
Also On Sale AliveTonightEP
Buzzcocks 1991 release - a four-song CD EP.
: Their triumphant return to the recording studio.
Import
New Releases On Sale at ZULU *»Nov 1 -30
16.98cd/10.98cass
LFO ® Frequencies
LFO stands for Low Frequency Oscillation which, as the
warning sticker on the cover indicates, means "Beware
of Bass!" This release joins KLF. The Orb, and Gary Clail as
one ofthe top club raves of 91. Import
U.98cd/9.98cass
Dylans • S/7
UK indie ctiartbusters release their first album
after a series of critically acclaimed EPS. Import
Sister Double Happiness • HeartandMind
The ir first major label release after a stettar SST
record debut Import
Swervedriver • Raise
Yet another exciting UK debut with elements of
Dinosaur Jr. Husker Du, and My Bloody Vatenttne. A
permanent fixture in our CD deck, hence. aZutu
recommendation!
12.98cd/8.98cass
NoMeansNo ® 0+2=1
Following the recent re-issue of "Sex Mad" and the
release of their "Live and Cuddly" album. No Means No
add to their 1991 catalogue with an ALL NEW STUDIO
ALBUM! Available in early November.
H.98cd/9.98cass
Primal Scream • Screamadelica
A "1D out of 10 "from England's New Musical
Express and a "greenlight" from Spin Magazine.
Includes the EP hits "Loaded "."Come Together"
and "HigfterThan the Sun".
TheShamen ® En-Tact
Big in the clubs in the UK. and now here, their most
recentfutl-length release. Features "Move any
Mountain".
Jonathan Richman • Having a Party With...
Mega party animal—righteous release from
Beantown s favorite son. Party on J.R.!
11.98cd/8.98cass
Dinosaur Jr. • Whatever's Coot With Me
An 8-song release, featuring their latest single and. lo
and behold. 2 tracks recorded in Vancouver earlier this
year. Snap it up! Import
U.98cd/9.98cass
My Bloody Valentine • S/T
My Bloody Valentine's emphasis on ambient guitar
stylings and ethereal vocals laid the foundation for bands
such as Chapterhouse. Ride. Slowdive and many other
recent UK acts. Based on their previous album and EPs.
this could be one ofthe best records ofthe year.
Available in early November.
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 1991-11-01
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