TIMBRE PRESENTS: ffW*T$WS SUNDAY & MONDAY J^w NOVEMBER 5 & 6 Tibkets at all~^^^-^/ locations as well as TRACK, ZULU, BLACK SWAN, and HIGHLIFE Records. CHARGE BY PHONE 280-4444 CONTENTS NOVFJ1BER • 1989 Issue #82 SHINDIG Our own intrepid Shindig reporter "The Bope" tosses darts at the band 6 HANDLES FROM HELL The Man Sherbet's Leftovers 7 THE GIRL NEXT DOOR Extreme, extreme, extreme: Middle of the road Debbie Jaffe - by Lloyd Uliana 8 THE SWANS J.J. Dives in deep with The Swans - by J.J. Derrida 11 MR. MOJO RISING Tania Alekson picks up on Mojo Nixon 12 DOING AWAY WITH DAD Multi-media, killin' yer pa and other stuff - by Pete Lutwyche 14 THE SUMMER OF "89 Getting hassled at the docks by the cops - by Viola Funk 16 ROADKILL Bruce McDonald underthe wheels of Marek Cieszewski and Bill Mullan 18 ^■■■■■■■■■■KI^ZlJZflHBBBHHHBIHB AIRHEAD The letters are real, we just fake the replies 5 UNDER REVIEW Soundgarden, Faster Pussycat, Doughboys and soooo much more 20 REAL LIVE ACTION UK Subs, Tragic Mulatto, Silent Gathering, and Opera 22 RAG BAG Betty Cooper wigs out, daddy 24 LOCAL MOTION HEY! Let's get Janis...she listens to everything! 26 TAPE - A - MANIA You supply the tape, we supply the - A - Mania 27 HELL'S KITCHEN Supper in Surrey 31 SPINLIST You say: "What's new, man?" We tell ya * 32 ON THE DIAL It's like TV Guide, but it's for the radio 32 DISCORDER DATEBOOK What's on, what's hot, what's hip and what isn't 34 HMHHHHBHHHE22II2SHiHHHHHflHHHH EARTH GUY Scott Fearnley 3 DANCING ON THE CLOUDS Marc Yuill and Julian Lawrence 17 ROLAND THE HAPPY WANDERER Geoff Coates 27 CYBERTOONS DenLebel 30 FOR OFF CE USE ONLY EDITOR Kevin Smith ART DIRECTOR Scott Chernoff PRODUCTION MANAGER Bill Baker EDITORIAL ASSISTANTS Viola Funk, Michael Leduc, Lisa Marr PRODUCTION ASSISTANTS Jon Jacobsen, Den Lebel, Lydla Schymansky WRITERS Tanla Alekson, Chris Buchanan, Marek Cieszewski, Betty Cooper, Lane Dunlop, Viola Funk, Michael Klassen, Leora Kornfeld, Pete Lutwyche, Janls McKenzle, BUI Mullan, Lloyd Uliana, Leigh Wolf GRAPHICS Geoff Coates, Scott Fearnley PHOTOGRAPHERS Dan Andrews, Scott Chernoff, SI Lentgathering WORD PROCESSING Stefan Ellis, Alice Lorlng, Lydla Schymansky COVER PHOTO Courtesy Debbie Jaffe SPINLIST Chris Buchanan ADVERTISING MANAGER Mike Harding ADVERTISING PRODUCTION BUI Baker SUBSCRIPTIONS/MAIL DISTRIBUTION Robynn Iwata PROGRAM GUIDE/DATEBOOK DUDE Randy Iwata ACCOUNTS BULLY Barb Wilson TECHNICAL SUPPORT Peter, Alex, Sue, Karina is That Mag , CiTR fM 102and is published monlhly by theStudent Radio Society t wants, including the CiTR On the Dial program guide and the CiTR i free to over 200 locations. Twelve-month subscriptions are $ 15 in make cheques or money orders payable to Discorder Magazine. -Killough. Discorder wants your stuff: send in stories, drawings. © 1989 All Rights Reserved. Di of the University of British Columbia. Discorder pri Spinlist playlist chart. Circulation is 17,500 copies Canada, $15 (US) to the US, and $24 elsewhere "DISCORDER magazine: the DISCORDER of mi comics, money, photos or what have you. If we like 'cm, well use 'em. If we don't, we'll los. ad bookings is the 15lh of the previous month. CiTR 101.9 fM is 1800 watts of stereophonic bliss on cable fM from UBC to Langley, Squ to Sucia Island, but not on Shaw Cable in White Rock (if you want it, you'll find a way). CiTR and in cars too. Office hours for CiTR, Discorder, and CiTR Mobile Sound Rental are Mon-Fri, 10am - 4pm (please avoid Friday afternoons) Call the CiTR/Discorder Office at 228-3017, CiTR News+Sports at 224-4320, or the CiTR DJ line at 228-CiTR. Send stuffc/oDiscorderMagazineorCiTRRadiotoRoom 233,6138 SUB Boulevard. Vancouver,BC.V6T2A5. Fax (604)228-6093. ER.CD INNOVATIVE HAIR SERVICES THE PROFESSIONALS SPECIALIZING IN: • Tasty Haircuts • Hair Extensions • Superior Perms • Colours of Your Choice NOVEMBER 1989 3 THE EMPIRE 432 HOMER SI VANCOUVER DAMAGE POLYGRAM? Dear Airhead, While I'm sympathetic towards CiTR's boycott of Polygram, I'm puzzled as to why that boycott extends to the advertising of concerts by Polygram artists. While your actions are ostensibly intended to damage Polygram financially (and make them see the error of their ways), have you stopped to consider who you're really hurting here? I mean, how much money is Polygram going to make off the Pixies concert? I know little about record company contracts, but I suspect that the companies get dick all from So Polygram isn't negatively affected by your refusal to advertise the Pixies show, but who is? Obviously the Pixies, whose only crime is to be distributed by Polygram in Canada. Additionally, their opening act, Bob Mould, is hurt, and he isn't even remotely connected to Polygram. So you're carrying out a symbolically empty action that does nothing to further your goals. Why? I'll still be pondering it when I'm enjoying the Pixies show. Yours truly, Larry Dudock The boycoll of Polygram Inc. extends to all areas of possible CiTR- Polygram interaction — on-air interviews, record airplay, Discorder interviews, concert presentations, Discorder advertising et cetera. The intent is to eliminate all CiTR associated avenues of promotion and publicity for Polygram artists. Yes, ostensibly the boycott is meant to financially damage Polygram Inc., yet CUR and Discorder have no delusions regarding the negative economic affect of the boycott upon a multi-national like Polygram Inc. The purpose of the boycott is to convince Polygram Inc. to remove its record servicing fee. Of course, by boycotting Polygram Inc. we may hurt the individual artists as wellas, and possibly evenmore than, Polygram itself, since the artist is more dependent upon its recordsales and concert revenue than Polygram Inc. However, any publicity that aids a Polygram artist necessarily benefits Polygram Inc. Artists lour in order to promote a record, to make themselves and their music belter known, and thereby, sell records. And record sales do increase when an artist plays a concert. So, in fact, advertising a Polygramarlisl's concert does generate revenue for Polygram Inc. Yes, the Pixies may be adversely affected (although the show will probably do very well based upon the Pixies' popularity), but all Polygram artists suffer because of the boycott. We regret any injury to individual artists, but Polygram Inc. and its acts are inextricably linked; essentially, they are one in the same. Also, we hope that concert promoters, who can not utilise the promotion avenues of a CiTR presentation or Discorder advertising because of the boycott, will put pressure on Polygram Inc. to drop the servicing fee. The strength of the boycott depends upon the unity of the National Campus/Community Radio Association members, and the all- encompassing nature of the boycott. One station can not accomplish much but twenty-eight might be able to succeed, and to compromise on advertising would be inconsistent, which would weaken the boycott. With the recent "agreement to acquire" A&M, Bob Mould's label, by Polygram Inc., Mould is now more than remotely connected with that company. And finally, at press lime, the achievement of the boycott's goals appeared to be in the offing so by the time you read this the whole thing could have been re- KELOWNA #1 Dear Airhead, Please twist my rubber arm and renew my subscription (start with Issue #80). Thank Robynn from the dregs of my heart for her kooky illustrations. Please enlist more of the services of ex-New Reality Comix alumni like Bill 'Otto' Thompson, 'Den' Lebel, Colin Upton, Steve Geary, Peter Raymond Haskell, et Den Lebel has an installment of his Cybertoons comic in this issue (p. 30). Also, we have three new ongoing comix beginning this month: Scott Fearnley's Earth Boy (p. 3), Dancing on the Clouds by Marc Yuill and Julian Lawrence (p. 17), andGeoffCoates' Roland the Happy Wanderer (p27). Thanks to all those who responded to our request for comix in the October issue. If anyone is still interested in contributing comix give us a call at (604) 228- 3017 or send your submission to Discorder c/oCiTR, 6138 SUB Blvd., University of B.C., V6T2A5. KELOWNA #2 Dear Airhead, As an avid reader of your magazine (I've seen + read 1 copy - Sept/88) I am inquiring about the whereabouts of acquiring it in Kclowna. I've been to Vancouver millions of times in the past year, yet I haven't once found another copy. I got mine at a record store downtown last year, and since then have not had the luck of spotting it anywhere. "They're all gone" is the answer I kept gelling, so any info about getting it in my hole would be grateful. Thanks, Kelowna, B.C. Well, Tracy, you can subscribe to Discorder and have "that magazine from CiTR" delivered right to your person and avoid any injuries that could occur during the rush of the masses to pick up Discorder when it hits llxe streets. Or, you could risk life and limb and grab a copy of the mag in Kelowna at The Attic, located at 1530 Water St. IT'S IN THE MAIL Dear Airhead, I just thought I'd like to com- plament your station on always giving me such listening satasfaction. I really enjoy Friday nights when you air the "Bopatron" show. It very "well-put-together". I think you've done a great job at bringing your listeners the newest and oldest selections of "rap music" of the '80's. I was listening to your station one Thursday night, and Iheared a show called "Eating Vomit", I believe, it was the best show I've ever experi- anced the thrill of listening to. I especially enjoyed how it was so "uncencered". I enjoyed it so dras- ticly that I insisted on listening for it the following week. To my disapoinl-ment I realized that it was either cancelled or I could not tune it in properly. To prevent this from happening again, can you please send me a programe, or pamphelel, schcducling the shows and times of each show. I would really be deeply delighted. I will always admire your station and the variety of unique shows you provide me with. Thank-you, Miss Sandra Cross No, lhankyou. Ealing Vomit can still be heard on Thursday evenings from midnight until whenever in the morning. The complete listings for CiTR's programming can be found each month in Discorder in On The Dial. Sandra because we like yousomuch, we will send you one free complimentary (sic) copy of the mag, which is available at over two hundred locations on the Lower Mainland and. points beyond. MGMKS Of ]himh & sum rnimrn A Nettwerk Production 1989 SATURDAY, NOVEMBER 11 -8 PM THE ORPHEUM TICKETS ON SALE NOW - AVAILABLE AT ALL TICKETMASTER OUTLETS r+ry OR CHARGE BY PHONE AT 280-4444 PRODUCED BY PERRYSCOPE 850 Granville St. Vancouver, BC V6Z 1K3 Phone 687-2213 Open 7 days & 7 nights e«fWi$ by Rob Boper I o, I was sitting at the Railway last Monday, waiting for my next big e assignment from Mr. Ed. Where would he send me — Tibet, London, Saskatoon? I could hardly contain myself from getting up and dancing on 1 my table, but since a band named GLEE was playing, throwing up was much more of a possibility than dancing. Then Mr. Ed walked in. I didn't actually see him enter the room, but I just knew. It's not so much a smell as it is an aura of someone looking for something to edit. He tried to pretend that he didn't know I was in the club, but I knew he knew. Mr. Ed was looking for me. After speaking to everyone else in the bar, he had no choice but I took pity on him and grabbed him by his flowing to come over to my table. I sent the babes away. He had locks, wrenching his eyes away from GLEE. I looked him something to say. I could sense he was stalling, that he had my next assignment, but was reluctant to tell me. I had a fear he was sending me to Saskatoon after all. Damn. He approached my table with caution, not making eye contact, looking at the stage instead, watching GLEE. I knew it hurt him to do that. Listening to them was hard enough without actually seeing them. I began to think about what I would take to Saskatoon with me. I hate wheat fields. And I had lost me ski mask at the 7-11. At least I still had my ruler with inches marked on it. I didn't know how that would help me in 'Toon Town, but it was comforting to have the imperially scaled ruler anyway. You just never know when Tom Asnail would pop in (refer to last month's Polygram boycott article, Mr. Ed). Finally Mr. Ed sat down. "So, The Bope, (that's what my close friends call me), what do you know about this Shindig thing?" He continued to watch GLEE. Whatever he was getting at sure had to be hurting him deep down inside 'cause GLEE sure weren't getting any better. 6 DISCORDER straight in the eyes. "Look, Mr. Ed," I said, my voice wavering and cracking, much like the singer from GLEE, "if you've got an assignment for me then spit it out, but for god's sake quit looking at the band called GLEE! You're young, you have a future, kinda. Don't ruin your life now! Just give it o me straight, I can take it But stop looking at them!" Mr. Ed shut his eyes for a moment, muttered something to Mohammed and relaxed. I let go of his hair, wiped my hand on a towel from the bar, and bought him a beer. He spoke softly, "It's this Shindig thing, Bope. It's one of the biggest events of the year, but as soon as all the other writers heard that GLEE was playing, they all "olunteered for assignments in Saskatoon. One even went to Regina! You're my last hope. I know it's not like the Polygram story last month or anything, but Bope, I need this article for the next issue or else the Evil President of CiTR will revoke my membership at the station and slash the Discorder budget!" I could see the fear on his face. Or maybe it was mustard from the hot dog he had for supper, I couldn't tell. At least he wasn't sending me to Saskatoon. "For you, Mr. Ed, I'll do it." The colour returned to his face, and he took out his eraser, once again looking for something to edit. He would be okay. We both laughed, shared a beer, and talked about how much better the world would be if GLEE fell off a very high cliff. It was a very satisfying though. Unfortunately, they were still playing. I pulled a rather plump tomato out of my back pocket, the one that I had been saving for the Grapes of Wrath show. This would be much more satisfying. I hoped the singer wasn't wearing a can. Yes, it's true. Back for yet another year, Shindig is already well underway. The premise of the event is as simple as any Arts 100 class. Seventeen of the best of the new local bands, (it would be eighteen, but GLEE were mistakenly allowed to enter) compete over a three month period. Every Monday three bands play at the Railway Club vying for fame, fortune, babes, hunks, beer, half-hearted applause, and highly coveted, expensive studio time. The first semi-final, in which the winners of the three previous weeks face off against each other, took place on October 23. The second semi-final is scheduled for November 20th, and the third for November 27th. The three bands that eventually survive, (fortunately for us all GLEE Finished dead last in their preliminary round — if only they had just finished dead), will compete on December 4th at the Town Pump in the world famous Shindig Finals. Prizes galore await these three bands. Three of the best studios in town have shown their support for the local band scene and CiTR by donating major chunks of studio time as prizes. The band who, in the eyes of the esteemed panel of judges, is declared winner of this whole event will receive, in addition to the declared winner of this whole event will receive, in addition to the customary 8x10 of me, 36 hours of recording time supplied by the very cool folks at PROFILE STUDIOS. The first runner-up will be packing their bags and heading off to the friendly confines of MUSHROOM STUDIOS for 24 hours of noise making, taking along a 4x6 of my batde-scarred face. The third place finisher will spend 24 hours of their life visiting the keen people at FLUID STUDIOS and fighting over which one in the group will get the wallet-sized photo of my mom and I at Woodstock. And there's more to Shindig than just cool local bands (except for GLEE). There is also the time honoured tradition of JOKES FOR BEER, (hey, I didn't name it, okay, I'm just an overworked journalist). Much as the name implies, you tell a joke, you may "win a beer or two, depending upon what the highly intelligent and slightly inebriated patrons at the Railway decide. It's not a difficult concept, a bit tasteless at times, but still, not that difficult. Fun and games abound at Shindig. Celebrities frequently grace the premises. People from all over the continent come to see and be seen. Or you can hide in the back of the Railway and toss some darts, especially if a band similar to GLEE ever play again, (but by playing darts you would have missed them call everyone at CiTR "a bunch of c***s." Can't hear that on network television, can you?). Or stay up front and toss the darts at the band instead. And remember kids, it's all worth the price of admission — one bean if you are a member of the Railway Club (which costs just $ 10 for an entire year), or only three dollars if you are signed in by a member. Much cheaper than paying $7.25 to watch incredibly stupid Dentyne commercials at you local Cineplex. And better for you than staying at home and listening to any useless Polygram releases that you may have not yet thrown out. So that's how this whole Shindig thing works. It's kinda like CiTR's way of giving some fledgling bands some much needed publicity and stage experience, so hopefully they can go on to become famous and have CFOX present their shows. It's a goal only an elite few will achieve. We're just happy to do our part to make CFOX an even better station. That's what we're here for. And that's why Mr. Ed and I hang out at the Railway every Monday — to become a little bit cooler, a little bit hipper, and to see bands like GLEE. CURE THAT HALLOWEEN HANGOVER! CAST OUT THE DEVILS Compiled by The Man Sherbet with Riff Randall Vancouver's Rock Dynamos Bruno Gerussi's Medallion have turned up the burner for bands without a good name. When Shindig organizers screened tapes for this year's competition a trend in offensive monikers was discovered. The "Let's Slag A Vancouver Celeb" idea had gone too far. Bands were forced to change names or get out. Let's hope that out of respect for these established local talents this tendency just stops. Here's a list of bands whose names, though catchy, Shindig couldn't allow... •Pat Burns' Flask •Liz McKinney's Leather Toys •Terry David Mulligan's Tweezers •Jeani Read's Vibrator •Linden Sole's Reptile Friends •Gord Campbell's Reckless Driving •David Foster's Utter Pusillanimity •Laurier Lapierre's Naughty Spatula •Vicki Gabereau's Whipping Boys •Murray Pezim's Nitro Prescription •Carole Taylor's Red Corset •Art Bergmann's Unpaid Parking Tickets •Harry Rankin's Secretions •Stu Jeffries' Neon Retainer •Bruce Allen's Electric Cattleprod •John Turner's U.E.L. Burial Altar •Marianne MaKenzie's Playgirl Sub scription •John Gray's Boil Trouble •Tom Harrison's New Pigtails •Tony Parsons' Contract With The Devil •Larry And Willy's Dominatrix However, Toronto references are permitted, and Michael Willians - A V J. Goof will compete at this year's Shindig •Jack Webster's Compost Heap • Sandy Wilson's Exciting Life Story As Told With B.C. Taxpayer's Help •Mike Winlaw's Last Gig •Lily Vanderzalm's Tattoo •Karen Campbell's Inexplicable Lumps •Bill Good's Private Petting Zoo •Svend Robinson's School Years •Bryan Adams' Hot Wheels Collec tion •Kerry Marshall's Curly Reds •Mike Reno's Garage Sale •Joe Shithead's Back Rent •Michael J. Fox's Bastard Gypsy Children •Denny Boyd's Urologist •Doug Miller's Pet Sheep •Pamela Martin's Wanton Desires •Dave Abbott's Crazed Insomniac Alter Ego •Harold Snepsts' Geraniums •Nardwuar's Open Sores NOVEMBER 1989 7 Will you take the pain I will give to you again and again...and will you return it? THE GIRL NEXT DOOR DEBBIE "Master!Slave Relationship is exactly as the name implies: duality. Extreme contradiction. Extreme obsession. Emotional bondage in addition to physical bondage. Only through mental and emotional bondage does one feel the excitement, the torture. The physical act of restricting someone in some way is merely a means by which one can create a feeling of fear or desire. Many people live a master!slave existence without involving themselves in the actual physical embodiments of it." Debbie Jaffe Master/Slave Relationship ebbie Jaffe is extremism personified. As Master/Slave Rela- Btionaship, she alone is responsible for her creations - a grinding ebullient barrage of tense electronics and vocal accompaniment that melds eroticism and hedonism with brutality. Through her own label, Cause and Effect, MSR material has been made 1 available to audiences across North America, Europe, and Japan. She has also assisted other performers who mostly rely on the cassette medium through the Cause and Effect. A regular fixture on Soup Stock...play lists, Jaffe recently completed an interview-by-mail with the printed form appearing here. Many listeners (and readers) cian background and your screamed while the others break from Viscera? may be unfamiliar with Master I Slave Relationship, yet an outfit that Jaffe was involved with - Viscera - via several dozen compilations and a handful of their own cassette releases is awellknown-name to anyone interested in the American and International experimental electronic music scene. Would you care to tell us a bit about your musi- Before I worked with Mark McGee [guest on some of Jaffe's work as MSR - ed.], I did some strange minimal music with Mark's brother, Hal. Together we were, and still are, Viscera. Before that I was a member of a little- known group called Gabble Ratchet. In GR I mostly played nervous, mechanistic keyboards and rhythm boxes. If you go back even further, I played clarinet and bass clarinet in band at school. I'm a technically-trained musician but found it all too boring to pursue. In a way, MSR is an extension of Viscera. I started MSR because I wanted to try something new and so did Hal (who formed Dog As Master). I began recording The Desire To Castrate Father in late 1984 and it was released in March '85. Hal and I broke away from each other musically at some point due to changes in attitudes andinterestes. I'm a very demanding person and found more satisfaction in.doing music myself...directing its outcome completely, by myself, with no one's intervention. Does the name you chose - Master/Slave Relationship and all the sweaty images that so along with it - have any bearing on the themes you have decided to deal with or vice-versa? No actually, because the first recordings I did really weren't all that explicit. They really didn't have that much to so with sex. They did in a broad sense, but I was more interested in not just the sexual aspects of the name but also the dualism - male/ female.. .positive/negative. MSR reflects more what I'm doing now that it did then. 'Cause then I had a drummer and the music was a lot more rock oriented. From there it got to be a lot more noisy and I think that's where more of the S&M overtones came into it I started doing more screaming and things like that...that people could connotate with being tied up or tortured or whatever. I don't mean to imply that it doesn't have anything to do with sex because it does. My music has always been very emotional. That's been the bottom line to it and I've never picked out titles just to shock. That's never been my interest. If it were I could be a lot more shocking than I am. Everything I talk about - even the S&M and the bondage - those are all interests of mine. I wouldn't be able to write lyrics that weren't something that I cared a lot about and that's where the emotion comes in. I've just always been very emotional and I put it through on the music. Last time we spoke .which was about a year ago, you mentioned putting together a visual package. Has that come together? Yes, the video is done. We recorded enough material for two or three videos! It's somewhat simple and it's certainly not as explicit as it could be. It's a good introduction to MSR and I look at it that way. Just a good introduction. It's hot. It's erotic. It's S&M. It's mostly me in bondage. But I like it a lot, otherwise I wouldn'thavereleasedit. The next video will probably be a little more explicit. I'm not sure to what degree. I really like the video medium. It's really a challenge to mix the music with the video. It's hard work, but it's fun. The music on this video is thirty minutes...thirty minutes of brand new music. I haven't recorded much music because I have been working on the video so hard. But there will be more new music coming up. I was hoping to release an album sometime soon but it probably will not be until the end of the year. It will also be released with a CD. There might also be some cassette releases. I got my studio upgraded a little bit which was a great boost to my inspiration to buy some new equipment, play around with it, get familiar with it. It's just really great to have brand new things to play with. So there will be more MSR music to come. Any other MSR updates? There are so many new things going on, I'm trying to think of them. We will be travelling quit a bit this year and next. When I say we, I mean Rick Darnell and myself. He and I live together and he's primarily responsible for the video itself...for the visual images. We both collaborated but he did the actual videotaping and he had a lot of input when it came to the editing and things like that We hope to sometime work on music together 'cause he does play guitar but we've just had so much else going on but we do hope to travel. We're going to New York City on October 20th - 23rd. ervation is the fact that I'm going to be out in California and I want to have fun. And I don't want to be going around with my tits in pain. So.Idon'tknow. Ihavebeen known to endure quite a lot of pain and sometimes I can "I'm just this clean-cut girl. My biggest vice is sex and S&M and music and film and art in general." The biggest reason for going at that time of the year is because in NYC, the Dressing for Pleasure Fashion Show will be going on and what that is, if you're not familiar with it, is people who are into leather and latex and rubber and really just about any kind of fetish wear will be there. There's a fashion show with people modelling new fashions. We were asked to model in this show but Rick modelled in it last year - they had him wear a pair of rubber pyjamas. They videotape it every year and it looks really interesting. It'sayearlyevent and it'll be the first I attend. I don't think I'll be modelling. I'd really like to but because Rick did last year he kinda wants to sit back and watch the proceedings rather than participate. And I can understand that. So that's what I'll be doing in New York. At the end of November and through the tenth of December, we'll be in California - Los Angeles and San Francisco. Mostly that trip is to visit with friends, also musical contacts regarding MSR but I'm not going to perform. I'm just gonna go out there and talk to people, meet people, and have fun. I was considering the idea of getting pierced. I don't know if you know but I' m quite into piercing and have been for some time. I'm not sure if you're familiar with Jim Ward or the Gauntlet in Los Angeles and San Francisco. Jim Ward is a piercer. All he does is pierce people. He did do my labia piercings last year. I was thinking aboutgettingmy nipples pierced. My only res- enjoy it, but piercing is the kind of pain that...I don't associate piercing with an S&M scene. It's not play to me...like when you get whipped or spanked or anything that involves pain...even clothespins on the tits. It feels good because it's all part of a sexual scene. But I'd never do play piercing. I know there are a lot of people who are into sticking needles into themselves or having other people sticking needles into themselves and enjoy it, then take the needles out and let it close up. But I'm not into that. I gure if I'm gonna have a needle stuck into me, it's going to be permanent. To me the piercing is work and it's not going to be fun. I'm pretty much committed to the idea of doing it, but I guess I'll have to wear loose tops during the trip (laughs) to be more comfortable. We did want to make it up to Seattle but it looks like we're not gonna be able to fit that in because we just have so much planned for California. S&M...The notion of pleasure through pain hasn't had the greatest public relations... I think as far as S&M and bondage and B&D (bondage and discipline) and all these strange, fringe interests that I have and a lot of people have, I find all these things in a precarious position. It's just so weird because there are so many misconceptions when it comes to these topics. Especially right now there seems to be a huge crackdown not just on drugs but on sex. I find it ridiculous. It's really stupid that people are so for violence even though they don't realize ie, but they are so anti-sex and further they think that S&M is violent sexuality. I don't feel that's the case. I don't know what's so wrong about leather atire or high-heeled shoes or whips and all that. It just is "Oooh, so scary" for people. But to me there are a lot of everyday things that are more scary than a whip. It just depends on your viewpoint, I guess. But I have been at both ends of the whip and I like both ends. It has very much to do with the person you're involved with...you have to trust the person and you have to know what each other's limits are. I don't advocate beating the shit out of somebody. It's just that there is something involved in pain and everyone's pain threshold is different, but there is something in just the feeling of pain...it's a sensation...a very intense sensation...and if the person giving the pain knows how to do it right and builds up...at least for me, I need a build up, it can be very effective and very intense and very enjoyable. I suppose it would be interesting also for me to tell you that I don't smoke and I don't drink, I don't take drugs, and I don't even drink caffeine. I find it interesting personally because I am so into S&M which is such a taboo and is so bad supposedly but yet, basically, I'm so clean-cut, you know (laughs). I'm just this clean- cut girl. My biggest vice is sex and S&M and music and film and art in general. But it's just interesting to me that I just don't do any of those quote 'normal' things that people do and yet it's so bad to be into S&M. I do hope that attitudes change in American and the whole world for that matter. I hope that people calm down. But it doesn't look like it's going to happen. For a Master/Slave Relationship Catalogue write to - Debbie Jaffe - PO BOX 30383, Indianapolis, IN, 46230, USA. Should you want to direct any further questions to Ms. Jaffe, write her care of this address as well. NOVEMBER 1989 9 VANCOUVER'S HOTTEST BLUES NIGHTCLUB THE BEST IN LIVE R & B EACH NIGHT FROM 9:30 pm- 1:30 am OPEN WEEKDAYS FROM 11:30 am WED THUR NOVEMBEH / - n AMOS GARRETT THE ORIGINAL CURTIS SALGADO SINNERS]____ -A NOVEMBER 21-25 WILLIAM CLARKE -TnovembebI^ecember^ ^WAUJN^^ 1300 GRANVILLE AND DRAKE FOR MORE INFORMATION CALL 681-YALE AltB\NS dr-I iUEPLies 368 Powell St. Vancouver, B.C. 687-8006 "Ever since I came from my mammy's womb I ain't seen a bit of truth." swans "Why is it that my Father was God, and yet, I am not Jesus?" Michael Gira (pronounced "Jerah") by Jean-Jacques Deirida YOUR MISSION: To infiltrate the Town Pump on October 11 th and interrogate the head man of the SWANS, Michael Gira, in order to determine if they are involved in any covert operations designed to instill despair, anxiety, andmorbidity in today's young people via [the Swans'] THE ENEMY: Michael Gira, singer/guitarist leader of the band, long blond hair which hides his shifty eyes. Jarboe, singer/ keyboardist only female in the band, blond wig hides possible lobotomy scars. Norman West- burg, lead guitarist: cannot place him in any government records. There are three other bit players, but they definitely are not responsible for the Swans' music and/or subliminal messages. BE AWARE: Michael Gira will throw at you various one-liners in an attempt to confuse and frighten you. Further, he will only reply with three word answers such as, "Of course not", unless you are able to trick or flog him into revealing himself and his thoughts. YOUR WEAPONS: Your only protection will be your faith in God, free enterprise, and a woman's right to be inferior. Oops, those are the premier's weapons. You have at your disposal only one tape recorder and your blissful ignorance. IF CAUGHT: Deny any knowledge of CiTR or Discorder. Tell them you are the Lifestyles editor from the SUN. THE REPORT Appearing on the New York scene in 1982, the Swans have become indie favorites on both the American and European continents because of their sty listically discomforting wave of dirge and emotions which they pump out unrelentingly. Unrelentingly, that is, until 1989's "The Burning World" lp, their first record on a major label, and their present seven month tour of the world (including a 10-day trip to Japan). Michael Gira's discovery of melody and delicacy in an otherwise towering Wall of Sound has changed the Swans' approach to sound, music, and life. But getting Gira to speak about this change, or anything for that matter, was a difficult and tortuous task. I was, however, determined to discover if the Swans do have a desire to spread their dark brooding emotions, so as to make everyone as miserable as Gira seems to be. In 1988 the Swans released their "Love Will Tear Us Apart" EP with a faithfully sung and arranged cover at that Joy Division song, and on the non- red vinyl version, a far superior, almost soul, rendition sung by Jarboe. Clearly, their recording this tune was a transparent attempt at furthering the misery and angst in the world by awakening hidden remorse from 1980. "Not at all. I always felt our music has more to do with power and strength and white light than death. I think we just did an honorable version of a song that no one, including New Order, could object to. I don't look at it like this song was by the seminal group Joy Division. There is merely a bunch of songs that exist and this was a song that I just happened to hear for the first time in seven or eight years walking through a supermarket in London on the muzak system. I remembered that it was a good sad song, and I decided it was a good one for us to do. It wasn't a momentous occasion." Score one for Gira, he managed to evade the real question of what the Swans' true intentions are. This time... Some people assume that because the Swans sing about GOD and POWER they are making an inference that Gira is the all-powerful God of regret and anger. So what do you have to say in your defence, Michael? "SEX, GOD, POWER used to be things I talked about in the past. I was preoccupied with the ways in which people erase themselves in certain beliefs, systems, and in other persons. Whether that's good or bad I don't know. It used to interest me a lot because having worked so many crummy jobs I found that was a way of erasing yourself, working as a kind of slave all your life. And that got me thinking about various kinds of fascist systems in which you lose yourself in certain ways, religious things being part of that Anyway, that's the kind of things I used to think about when writing songs; now, I have much less control over it really, it comes from behind my head." Alas, his first admission of guilt Gira admits that receiving his orders subconsciously from above. "I have total control over the Swans. I allow people to have input but it's really my career. I determine where the band goes and what direction it takes. I wouldn' t be a good musician if I didn't allow other people to have musical input. But the way it goes is what I decide." You're notfooling anyoneGira, youhave already admitted it comes from your self-conscious. But who is controlling that vast uncharted wasteland of gloom? For a band that relies upon a powerful wave of noise and emotion, the lyrics and vocals always seem to be unusually prominent Undoubtedly this is an effort to bring the Swans' message of despair upon an unsuspecting andnaiveaudience. "Our music has always been centered around the voice one way or another. It used to be that we would make music that was chunks of sounds and rhythms, waves of atmosphere without too much attention to melody and that to me, was an excuse to rant and become a dictator of sorts in front of the atmosphere I made. Now I am making atmospheres which are more melodic and singing with them, but to me it's essentially still the same thing, merely a "Unfortunately, I am acutely aware of death's omini- ous presence all the time, it forms almost everything I do, really." different approach. One if the bands which were my earliest heroes were early Pink Floyd, their ability to mesmerize you very gendy and calmly, and also to lift you up to heaven with incredibly powerful rising cres- cendos. Our music, like theirs, is powerful and transcendent and still delicate as well." (Check into possible collusion between the Swans and Pink Floyd; full analysis of Roger Waters and David Gilmour's activities requested.) "The change in the Swans' sound was a desire not to be a buffoon and imitate yourself to death. And to keep our audience and ourselves interested. I would feel ludicrous doing now what we did five years ago. One of the things we have tried to do is to incorporate Jarboe's voice and my own into a duet but so far I find it incredibly corny. We tried a couple of times and erased it from the tapes because it was so corny." While the trip from Seattle to Vancouver is usually a pleasant trip for most, and certainly will be for the Rolling Stones, it was an experience which almost made the Swans' music immortal. Yes, on their way northward they were involved in an accident in the George Massey Tunnel which could have transformed them into cult heroes for eternity. Death has the ability to propel artists like the Swans to a higher status ordy bestowed upon bands and individuals who suffer great tragedies. Thankfully for their fans, this experience merely reinforced Gira's acknowledgement of death's dark grip on life. "Unfortunately, I am acutely aware of death's omini- ous presence all the time, it forms almost everything I do, really. But I think it's a Northern European preoccupation with death. I was talking to a guy from Portugal about that subject and how I often thought about death. In fact it seemed to rule my thinking, not that it's negative or anything, but it made me feel that every last little action I made was real important so that I thought too self-consciously about it. He had no idea what I was talking about because be never thought about death. He just lived." Ah ha, death does play predominantly on his mind and he attempted to spread its affects to the sunny beaches of Portugal. Fortunately, his worldwide agenda has been thwarted, now he can only concentrate on persons of Northern European descent. Finally, I could wait no longer and asked Gira point- blank if he was an existentialist and was bent on propagationg his values amongst today's youth. "What do you mean by that term? There was only one so-called existentialist writer that even accepted that term, that was Sartre. The rest of them disclaimed that term entirely. Every one of them. If you mean by existentialist that every minute is important to life, then yes, I guess I am. But then again, I don't claim to be a role model." Nonetheless, Gira, you are a role model for many troubled, remorseful individuals. CONCLUSION: If you saw the Swans at the Town Pump, you no doubt noticed that two of its members, Jarboe and Westburg, looked possessed, possibly because they were under the complete control of the ringleader, Gira. The drummer and second guitarist were busy snarling and looking angry, as if they were being forced to perform by som individual against their will. It was quite a spectacle to behold. Fortunately, there were only around a hundred and fifty souls present, so the adverse affects will be limited. Unfortunately, the Swans have numerous records, eps, and singles around, corrupting the minds and souls of many people. Throughout the seven year history of the Swans, there has been a predominant theme of despair, anger, and remorse. This is not a coincidence, it has been planned by Gira and possibly higher powers. Continued surveillance and further interogation recom- NOVEMBER 1989 11 rising by Tania Alekson t's 3:15 pm an' every dang one-uv us at C-aye-T-R is gittin' cagier than a muskrat in an alligator's behind 'cause our guest o' honour this fine afternoon is Mr. Kirby MacMillan, an' he's late! Yur probably askin', who the Sam Hill is this Kirby fella an what's all the southern backwoods dialect fer anyhoo? In case you wasn't in the know, Kirby is better known to college radio junkies as Mojo Nixon, one half of the irrepressible Mojo Nixon and Skid Roper duo. No, they've never beeen featured at any of the hotels on Granville but they are songsters, responsible for four albums and an EP, including their current LP, Root Hog or Die. Meanwhile, back at the station, Mojo has appeared, be-sideburned and guzzlin' a cola. He's quite a little critter up close, but he can by no means be described as unassuming, especially when he's on live doin' the college radio thing. TANIA. Mojo! up like a big bug, ya know. I MOJO: (please assume belting went campin' with my son, see voiceandNorthCarolinaaccent): you don't even have to ask me How ya doin', Tania? T: Just fine, I think, at least for now. M: I think yer doin' just swell! S welled up like my head, swelled 12 DISCORDER question, I 'm just gonnago here... T: I'll just sit back. M: I went camping. It was the first time in four years I took an actual vacation this summer. I spenta whole week and didn't talk to anybody about the band at all which is kinda amazing and me and my son and my brother went camping and we tried to teach my son some manly stuff. We wiped our butts with leaves, we stirred our food with sticks, and my mom, his grandmom, I got him to tell her that he had ticks onhis head that was swelled up the size of grapes an' we ate 'em. My mom was all freakin' out it was good. T: So, are you glad to be back in Vancouver, or you just don't M: Oh no, I'm glad to be here, we always do good h ere. We're going toplay where? The Town... T: The Town Pump. M: ...the Town Dump and, uh, we're gonna raise a big stink. T: Bigger than last time? M: Bigger than last time. T: Bigger than Country Dick Montana? M: Oh YEAH! Ya know me an Country Dick wrote a song together, King of Sleeze, an that even kinda has a tick reference in it, too. It's on the Beat Farmers' new album, an one of the lines goes, "I'm a sick lunatic with a big love stick, I can suck on ya honey like a bucket of ticks." Now, is thatpoetry or what? Now that Robert Penn Warren' s dead, an' there's no poet (belch) ima- ratus, or whatever, in America, I think I should become it ya know, with my new poetry. T: So, what have you been doing recently? M: Well let's see, uh, we're on the tour now, we're goin' up the west coast, ya know, U.S., Vancouver, we're goin' across west- em Canada, we're goin' to Moosejaw, we'll be in that big show, an then back down into the U.S., and uh, Minnesota, Idaho, Wyoming, Nebraska, ya know, all them upper plains states or whatever it is they call 'em, mountain states or somthin'. T: Is another album in the works? M: Another album's incubating, I'm gonna take some time off after this tour, probably early next year I'll make another album. It'll be coming out maybe like next summer or somethin'. I was telling the guy who produced our last album, Jim Dickinson, this nut from Memphis, I was telling him I wanted to combine the joy of "Double Shot of My Baby's Love" with the insurrection of "Street Fightin' Man". What I want to see is joyful insurgence. In fact hopefully tonight at the Town Pump, that'd be a good place to throw up a few baracades. I got pavin' stones, you know the streets are narrow, you could throw up a few baracades, and uh, have a little wild in the streets. The revolution needs to start soon, an' why not Vancouver? T: You're hoping to get a lot of juicy, er, controversial songs on the next album as well? M: Oh ya,yaknow, I don't think they'll, uh, be, like, up front politically songs like Billy Bragg, they'11 just be more insane social gonzo commentary that the illogical conclusion of which will be "Wild in the Streets". T: Well, your song on the last album, "Legalize It', was pretty straightforward commentary. M: It was, it was, and this whole war on drugs stuff, I mean, it's amazing how small George Bush's brain is. I mean, if you were to put it up a gnat's behind, it'd look like a b.b. in a boxcar, I mean we're talking small (snort). The way I see it, there's two problems with drugs. One, people get addicted to them and two, the price is inflated so much that it becomes like this big drug war. We would have no drug war if we legalized drugs because the price would go back down where it should be an' there wouldn't be no drug kingpins, 'cause there'd be no money involved in makin' 'em.That's thesameway Al Capone became, y a know, big an' famous an' powerful in the 20's because alcohol was illegal. Soon as alcohol was legal, Al Capone didn't have no way to make no money. T: Do you think that's one of the reasons, as well as your insulting other artists, that MTV don't like to deal with your videos? M: I don't know, I mean, I think they like it and they don't like it yaknow, there's afine line. MTV wants to use me to appear to be hipper than they are, 'cause I mean mainly what they play is very mainstream, very pedestrian, brain-dulling, butt-licking foolishness, ya know. But, uh, I wanna use them to put across my insane gibberish especially to reach people outside of, yaknow, Vancouver, San Fransisco, and New York, where they know about us, but, ya know, they don't know about us in, say, Nebraska and Wyoming and Colorado and whatnot. T: So you 're willing to have your videos played on their airwaves? M: Yeah, at no point did I ever say I was going to be kind of a troubadour . Ya know, I'm on a giant record label, so I'm playing the commercial game but hopefully playing it my way not their way. T: Are your videos being shown on MTV? M: We're being shown on MTV but...we had this giant fight with MTV about the "Debbie Gibson's Pregnant With My Two- Headed Love Child" video. Essentially, they wouldn't play it because they're chicken, they're afraid of Debbie Gibson (belch), they're afraid of Warner Brothers, they're afraid of everything, ya know, so I'm still fighting the evil beast. As much as people may think that MuchMusic is commercial an' all that they at least play it. MuchMusic and Austrailia are the only people that'll play the "Debbie Gibson's Pregnant" video. England, Europe, and the United States won't play it because they're chicken, they go (whining) "Oh, Mojo, I might lose my job." Ya, well you might lose your soul in the process !: B ack to politics in the United States, is there anything you'd like to make a fuss over? M: Well, this whole flag burning thing. The issue's kinda died do wn in the media but I think the thing that no one really talked about in the whole flag burning issue is that it's such an inconsequential issue, relative to all the otherproblems wehave. We have probably, 236 problems in America and in North America, in Canada, that come before burning the flag. Ya know, we got cold people, we got hungry people, we got people with no jobs, we got people that got AIDS, we got a giant national debt, we got a huge military industrial complex. We'responding a billion dollars a day on guns, on weapons to kill people, we 're not spending a damn dime on a giant sex farm in Nebraska. If we just take half that money an' put it into a giant sex farm in Nebraska, we could learn ho w to create life much better, ya know. I'm all for creating life an' all against destroying it I think we need to go by the pleasure principle around here. Somehow, ya know, America was founded by these weird Calvanist nut jobs who came over an' beat themselves an' stuff. We gotta get rid of this whole thing. The other problem thatno one wants to talk about is that too many people are working at jobs that they hate, an' it's makin' 'em crazy and then they're goin' to the post office an' killin' everybody. I mean, I think this is our biggest problem all together, what are we going to do next year, ten years from now, 50 years from now, what kinda jobs are people goin' to be workin' at, ya know, does everybody need to work, this whole idea of full employment maybe everybody doesn't need to work, maybe everybody only needs to work a few days. What people need to do is work at jobs they like, that they feel like they're accomplishing something. Ya know, if you're making a bomb in a defence factory, yer makin' something but no one's gonna use it no one gets any pleasure out of it It's not like a house that you can sleep in or a car you can drive, even like Cheez-Whiz and beanie-weenies you can eat or a go-cart you can ride around an' have fun in. A bomb don't do no thin' but just sit there an' maybe go off accidentally an' kill people. It's foolish, it's foolish... DidI say enough then? T: You've stunned me. M: The girl is stunned! I put the head belt or somethin' out there, that they messed with me, but I'm not gonna let that slow me down. C: So '92! M: '92! Nixon in '92. Has a nice ring to it "We're spending a billion dollars a day on guns, on weapons to kill people, we're not spending a damn dime on a giant sex farm in Nebraska. If we just take half that money an' put it into a giant sex farm in Nebraska, we could learn how to create life much better, ya know." At this point our operator, Chrispy Cannon, can't keep the ants outta his pants and jumps C: Gee, that sounded a lot like a political platform and I know youranforpresidentin '88. Were you upset with your poor showing in the standings? M: Man, I tell ya, the CIA and the FBI got involved, an' I got a lot more votes than they said I did. They just don't want to admit that I got all them votes. C: Was it the Bible belt? M: I think it was the knuckle- T: Don't you feel your name is kind of a set-back? M: Oh no, I say put another Nixon in the White House'cause Mojo's not a dick. That's what I T: I heard about your Holy Trinity. We've been wondering, which is the father, which is the son and which is the holy ghost? M: Well, golly, we got Elvis, Foghorn Leghorn, and Otis the drunk from The Andy Griffith Show. Well, I guess Elvis would be the father, an' Foghorn Leghorn would be the son, because the son's the one who goes out extemporaneously pontificating a lot. He's always talking an' Foghorn Leghorn has a lot to say. I mean, you could have a whole book, a new Bible, the Foghorn Leghorn I Say, I Say Son Bible. Ya know, "Pay attention when I'm talkin' to ya boy. Sharp as a bowlin' ball, colder than a nudist on an iceberg. I feel slicker than two heels fomicatin' in a bucket of mucus membrane. An' then that would leave Otis to be, he's kinda spiritual ya know, due to his imibin' in, the Holy Spirit T: Andhismystical experiences, no doubt Didyourroots inNorth Carolina lead you to this sorry fate? M: I guess they did. Part of my problem was that I grew up in a very small town an' my parents were very conservative, especially my mother, ya know, very worried what the neighbours would think. I'm still rebelling against all that Yaknow, hadmy parents been communists in Greenwich Village, I'd probably be an accountant or somethin'. T: Any pet peeves right now, ranting and raving kind of stuff? M: Ya know what I really hate, I hate goin' into bathrooms where they got those hand blower things, like after ya wash yer face ya wanna wipe them off with a towel, or yer shirt, or yer pants or anything, except for these handblo wing things. I think if there should be a constitutional amendment, it should be to outlaw these things, not to outlaw burning the flag. I hate these things, they're useless, worthless, they're some kinda Nazi idea. And so the mutton-chopped face of Mojo Nixon got the hell outta there, never to be seen again, except maybe at the Town Pump thatevenin'. An' afunny evenin' it was, too. A personal attendee of theMojo Nixon an' SkidRoper doin' the rock 'n roll thing soiree, I scouted out the thus far invisible Skid Roper, whom I aespied doin' the 8-ball thing upstairs before the event. After I introduced myself as a CiTR member and interviewer of his pal Mojo, there was a very tense pause before he said "Oh", after which the tense pause continued. Further conversation led me to discover that the same Skid who was, according to Mojo, "condom testing", had not actually been informed of the interview. "Mojo never tells me these things" could have been the bitter words I heard, just after "I have my own record to promote, too". Trouble in Mojo'n'Skid land? NOVEMBER 1989 13 DOING AWAY WITH DAD Jonathon Barker Interviewed by Pete Lutwyche, Neon Meate Dream Tuesday Evenings 7:00-9:00PM One of the surprise hits at the Vancouver Fringe Festival this year was the complex and disturbring multi-media presentation "Patricide" by Jonathon Barker. Utilizing a wide variety of formats ranging from slide projectors, silhouettes, human voices and electronic sound effects, a baffling scenario was built up which came to a shattering climax that obviously left much pf the audience wondering what had hit them. I was lucky enough to interview Jonathon Barker on my show, during which he explained the complex message his production was intended to convey. rything bad with the father. PETE: Starting right at the beginning, Jonathon, "Patricide" is the act of killing your father. Could you, in general terms, explain the significance of this tide? JONATHON: Well, it's pretty 14 DISCORDER obvious isn't it? Killing your father means killing your father. It's getting rid of the male part of humanity in some way. P: And you're making this statement as a man? J: Yeah, but what are we but citizens of one universe? P: Well, that's true, but you would perhaps expect to see the father playing a more significant role in this work. J: Well, you know, your father's been around for most of your life, and after a time you just can' t escape hating the guy and I think this must be even more true for women. I think women in general must just associate eve- Pi So this performance is simply a straight forward condemnation of the father? J: Yeah, I think that if we got rid of fatherhood we would have a much, much better world. P: It was not at all evident from the scenes in this production, at least as far as I'm concerned, that was what you were say ing-maybe I haven't understood fully. You had, for example, three projectors up at the back of the stage showing words and images that seemed to me to have very little connection. In one part, the projectors were showing the words "BLOOD", "SPERM" AND "OIL". Can you tell me how this is related to the death of the father? J: What do you associate a man with but pure, raw, physical work? Blood is obvious, I mean, as soon as he gets working his blood's getting into a rage. And sperm, well, I don't need to explain that even to you. And oil evokes the image of something slimy, a bit mechanical, dirty, not something that you'd like to associate with. I mean, oil spills, all the ghastly images that come up... P: Well, that's one explained; how about the series that read "SPAIN". "GIRLFRIEND", and "AIRCRAFT"? J: Well, you can't just expect all the three things that appear at any one time to be interconnected. I mean, the interrelationships between the words and the music is something you're overlooking completely. They are so obvious in some way, e.g. when "SPAIN" appears, there is the hovering sound of the helicopters that we saw during the Vietnam War; the association with the Spanish Civil War is so obvious to anyone who has read Ernest Hemmingway, really. P: Yeah, obviously I had noticed that but what about the "GIRLFRIEND"? J: Exploitation, exploitation! P: So that's why "Bolero" faded in—obviously a reference to Blake Edwards '"10"? •J: Yeah. So you picked up on that. Good, good. P: Well I'm obviously not quite as stupid as I appear to be. But when the word "AIRCRAFT" began to flash on and off, "Bolero" faded into what appeared to be just a monotone hum that baffled me totally. J: Actually, Irecorded that flying in one of those oldB-52's. I was sitting in the tail section of the aircraft and just put the tape recorder on and this was the humming noise you heard. P: A piece of "found art" then? J: Well, it's something original you know. We got so much dead baggage that we're carrying around with us and so I just wanted something new in there. And, I suppose, aircraft, there's destruction, there's war, there's violence- there's the male. You don't fight wars with females. It's just that men are always the soldiers. You know, like, that other scene when this naked girl comes on stage and opens that cube and takes out this uniform, this hollow uniform, and she's instantly transformed into a male. P: Yeah, I understand, I think, though I thought there may have been some inherent sexism in this performance. For example, there was a woman dressed only in black underwear rhythmically "Right, the guitar. Here's this guy dropping the pennies and he's just—I mean, very slowly, and without people noticing it, money is taking everything out of art. Capitalism is killing art, you see. That's basically it. And that's why I'm so dirt poor and I can still make art." hitting a rock throughout the entire show. What was your justification for that? J: So that people invite me into their studios and ask me what that was all about really. It's just provocation, you know. P: Well, that's, I suppose, the artist's job- and how did that fit in with the projected photographs of the lawnmower, the young ballet dancer and the lungfish? J: You know, ever since I've been, oh I don't know, I guess something like seven years old, I've always had this dream about these lungfish being splattered about the lawn and then Daddy running over them with the lawn- mower and at the same time I was watching this old ballet you know the Swan Lake by Tchaikovsky, and these images just sort of interconnect with me. They've been around with me for most of my life. P: Would you say that perhaps the lungfish was a kind of phallic symbol and the lawnmower running over the lungfish is castration, the killing of the father? J: Yeah, but Daddy was driving the bloody lawnmower... ell, thai obviously...pretty deep. J: Oh...oh yeah, deep, deep... P: So, the guy dropping pennies on the guitar- very clever, yes, but did it really have any point? J: Well, there you have your phallic symobl. P: The guitar? J: Right the guitar. Here's this guy dropping the pennies and he's just—I mean, very slowly, and without people noticing it money is taking everything out of art. Capitalism is killing art you see. That's basically it. And that's why I'm so dirt poor and I can still make art. P: Yeah, and that's why it cost $7 to get in! J: Well, I've got to live somehow, right? P: I suppose so. Anyway, alotof this performance puzzled me— the brutal poetry describing burning a man for instance... J: Yeah, kill the bastards... P: But is this the way forward? Burning men on a pyre? J: Oh well.Idon'tknow, it is one way I suppose. P: Well, it certainly is one way. The final scene- the scene that left most people gasping- was when the stage darkened completely, apart from a single large, white candle flickering right in the centre, on which you then proceeded to dump ahuge bucket of what looked like real blood. What's your message? J: Well, it wasn'tjustblood, you know. Going back to the beginning of the play, well it's technical, you see you're giving the play a frame- if that's what you want to call it, a play. You've got to keep your performance together. So, what you mentioned, the blood, sperm and oil, the words on the screens at the beginning of the work, here they come back, you know. And, of course, this candle is again in some way phallic. It's the male light that is burning, and here comes his blood, his sweat, his sperm and oil, everything that is slimy and associated with the male, and it comes back to haunt him and extinguishes the candle and then he's gone and it's peace after that Nobody knew what was going on, nobody knew whether the play had ended and there was just silence. And that's how it's going to be when you get rid of the male. P: Obviously this production was a great success. How can you possibly top this work? Where do you go from here? J: Oh well, I've been working on another idea lately. You know, I want to do another multi-media presentation- I'm fed up with all those pseudo-intellectuals and I just want to do a presentation condemning, in Freudian terms, those misguided individuals who are always poking fun at serious, intellectual artists like myself. NOVEMBER 1 The Summer Of '89 ■■ Down On The Docks With Viola Funk So, like, I'm walking along the railroad tracks somewhere east of Main, heading west. It's getting dusk. And I hear a voice way off in the distance, off behind me to my right. After a bit I realise the voice is endeavouring to attract my attention: "Hey! Hey, you!" Brought up (in Surrey) in the "Ignore 'em and they'll go away" school of dealing with unwanted harrassment, I steadfastly continue walking. Head down, enumerating the passing railroad ties and weeds beneath my Converses. "...Hey!" Now I hear a car engine, cruising along in time with the voice. Both getting closer. Great. A bunch of No. 5 Orange St escapees out for a joyride or something. I pick up the pace, thinking if worst comes to worst I can make for the hole in the chain-link fence that affords exit from the trainyards into the parking lot beside the Archimedes Club. And run like hell. But for the moment I consider it expedient to just go on as if nothing is amiss. A bit faster, maybe. Then, footsteps, obviously those of someone of considerable bulk, crunching and slamming across the gravel and ties toward me, catching me up. I'm about to break into panicked run - fuck being "cool" - when before me, rising up in all his splendiferous navy blue uniformage, appears a cop. "Hey" (and yes, the voice is his) "You deaf, or something? ("Yes," I reply in my best ASL.) Okay, so, no "Stop in the Name of the Law", or Riot Act read me, or even my rights, no nothing, just this police, wanting to know "Where you going? I've been shouting atyou from the roadforthepastfiveminutes. What are you doing here?" "I'm going to the park," I reply, indicating Crab up past the Main St. overpass. "Not along the tracks you're not," he replies, thinking quickly for a cop. "It's against the law to walk along the trackes, or be anywhere around the trains here. Dangerous, you 16 DISCORDER know. Could get hit by a train, or...'Gainst the law. Let you go with just a warning this time, but..." Once he's finished spewing off this drivel, I inquire demurely, "is it alright if I walk along the road then?" "Oh yeah, the road's alright. Just as long as you don't go on the railroad tracks." Just in case I missed his point the first time around. Ya. Knees knocking as a result of still being in "Oh my God, I'm about to be macheted to death by a slavering transient" mode, I make my legal, road-abiding rest of the way to the park. Port Police. Ya can't live with 'em, ya can't kill 'em. So one other night I take an innocent little stroll down between the Pacific Elevators at the north end of Salsbury Drive. Noneof this once-burned, twice-shy,shit Actually, having sojourned between these very elevators time and again, I don't give it a second thought. Down at the dock, sunset on the lapping waves; the sea is gorgeous; lights are coming on in the North Shore hills; a freighter sits contentedly moored at the side of the port. Looming up in the gathering darkness, the name of some exotic foreign place inscribed on its helm. In the recesses of the humming, grinding, expostulating elevator behind me I can just discern the mackinawed shapes of smoke-breaking employees. Regarding me from beneath baseball cap brims. After five or ten minutes of introspection at the water's edge (punctuated by only a temptation or two to immerse myself therein) I turn to go. Halfway down through the elevators I espy a car approaching. Before I have too long to be indifferent aboutit the vehicle pulls up beside me and I'm hailed by its uniformed occupant "Hey." (Again, that fail-proof conversational gambit...) "What are you doing here?" These guys have fairly one-track minds. "I was just down at the dock, looking out at the sunset." "Okay, well can you just hang on for a minute. I'd just like to ask you a few questions." Speaks into his radio. Returns attention to me. (Having stepped out of car, in case I try to bolt or something.) Third degree. While they're running the security check on me, in a rather constricted effort to make conversation he asks, "So...how often do you work at this.UW H Smith'?" (Obviously skeptical.) "Full time." His moustache digests this information, still doubtful. Anyrate, the security check checks out; the fact that No, I've never "been in trouble with the police" before is confirmed. With egg on his face Cop-o ventures "It's just that..you know...this is kind of an odd place for you to be wandering around at night...And when we see someone suspicious walking around here after hours, we just like to check 'em out..make sure they're not a security risk. In terms of theft, or whatever." When I point out "What am I gonna steal - GRAIN?!" it's "Well, there's a lot of valuable stuff around here you know...the longshoremen's equipment and stuff..." Oh, okay. So those over-inquisitive assholes on their smoke break rang up PP on me. Buncha dicks. "So, you know, I'd advise you not to wander around here this late at night..." (Huh? It's like, 9:30...) "or you might get stopped by one of us again. Okay. Have a good evening..." But this time, no wimpery did I evince, via knocking knees or any other method. No, I strode boldly away, muttering to myself dis- gruntedly as is my wont. You can bet those railroad tracks will be hearing from me again. Plus, I know of a secret passageway into the VanTerm facility, and no one, be he ever so uniformed, can deprive me of that respite. • Wholesale Retail Outlet for: -100% Plain Cotton Fabrics (36-88" widths) - Broadcloth, Canvas, etc... • Textile Paints and Dyes • Tanks, Shorts and Sweats • 1 Day Workshops: "Learn to Print Textiles" "Fabric Printing Techniques" • Wearable Art Mon-Fri 9:30 - 5:00 Sat 11:00 - 3:00 clothworks ^if textile dyes and printers 132 Powell Street, Vancouver Wobile Sound pental rp, £CUZ>r PHONE: 228-3017 MAREK CIESZEWSKI AND BILL MULLAN CHAT WITI*BR^E MCDONALD AND VALERIE BUHAGIAR blowing the first Vancou- L, ?'{ e and Mullan a ver unspooflng or^DADKILL, ^'tfack'n'road movie about a girl who learns to drive". Mulla#Ts ^drinking Canadian Khd I refuse<o panake. A fe\MBk away, surrounded bjfc^n^ nymjhets and l§nos*3sTeigning interest in semiotics, a# Ira^ %e Bilmjfctojwuid^alerie, each hokfcng |ypottlw^fcCanadiarij|B^' W «*> «-< .-v.. Mullan: fro himself) It'd be nice to actually put t£e mikeffcv somewhere so it doesn't noise... so it's acl quality. Me: (to Valen Mullan: (to thing I hate more terviewed is doing intoviews happi lively) Yeah, v 5 that movie? Film Festi' Filte* >ut£rthi :a^- We: «fow lo»g was iff Bruce: One hour. Bruce: (to us) WhrVSe you? % JMultyn: I ve neve* seen it. We: Ahh...err,we'redoingthis>u*Me: (more aggpesmvely) YealT7 for the DisordeMfhean, Discor- we've never seen it! der magazin^nd CiTR v Bruce: I thinJft racognisej^ I was at UBC in l^fcfilm program and did a film called Psychic Avenger and you (Mullan) did all the narration for us. Mullan: That's true. Whatever happened to that movie? Mullan: Like d' you have a' otape copy somewhere, or what? Bruce:J|es, I do. I got two stars in TV gufce. It was the first student film made at UBC to ever recover its^udget. Mullan: (hiding real motive of the question) And so did you ac- ^tuaUJPbse myjj cut?* Bruce: Yes^ve^ k Multan: (coming fbrth witk real rivefNind I never got paid for ^is! Look, $25,000, there'sgotta Lleast a grancftoming to me. otioning with my head) v a£out it^gL^ bee: Well^fl^ paid our fctor five thousand^ lost on it, i I don't think I'll ever get my ey back. Me: (to Bruce) That's what they all say. (and to Mullan) Keep pressing, man. Bruce: But it was a good experience. Actually, you should see it or get a clip of your voice. Mullan: Yeah, that... that... that'd be great. 18 DISCORDER Me: Geeeezes Krrrist, Mullan, you'd burn yer mother at the stake if that was the only way to light up his cigar. Bruce: Yeah, Roadkill was shot in 16mm black'n'white, blown up to 35. Shot forunder 5 million dollars. Me: (to Mullan) I can tell when he's lying. Bruce: We shot it in two weeks. We began in May, we finished on September 15th. We're putting out a soundtrack record, all the music is Canadian, except for the Ramones. Mullan: (impolitely) What is the plot in twenty-five words. Bruce: It's a rock'n'road movie about a girl who learns how to drive. Me: That's only eleven words. Mullan: There is a discussion of the serial killer epidemic running through America... Me: I prefer the phrase "mass murderer". Mullan: ...and Canada. Bruce: Yeah, Ramona is a timid Maltese-Canadian girl. She lives in Toronto, works for a Machiavellian rock promoter, Roy Seth. He sends her to Sudbury to bring back a band of his that's not shown up for the last four gigs. The Sudbury circuit is a kind of bargain-basement rock'n'roll circuit where bands just beginning go get their chops down, and bands that have faded out go to relive their glory days. Me: Like Nash The Slash. Bruce: Like Nash The Slash Me: (with satisfaction) I heard that Sudbury looks like the Moon? Bruce: Yeah, Sudbury is the land of mining and nickel and it looks like the Moon. Actually, they tested the Lunar Module up there. We: Heh, heh, heh. Bruce: It's a true story. They tested the Moon Buggy up there. Me: Let me buy you a beer, Bruce! Mullan: That brings me to my main criticism of the film: because you shot black'n'white Sudbury was not ugly enough. Bruce: Right. Me: Your camera has a deliberate, compositional coarse look to it. Bruce: Because we had such a low budget, we didn't have time to move the camera a lot or build dolly tracks so the stress was on composition. Me: I read that you have a Polish cameraman. Is it true that Polish cameramen can only see with one eye at a time? Bruce: Heh, heh, very funny. Yeah, but he was always thinking with the other eye, you know. Me: What happens to Ramona? Bruce: After a bungled beginning she finds herself stranded in Sudbury without the band, without her bag, and without money. Her search for the band crosses the careening paths of three ambitious men and one ambitious boy: Bruce, played by myself, an out of control, outlaw movie director, obsessed with sensationalist images, in search of a bang-up ending to his obses- come on, they all wanted sex. Me: (to bystander) And who the fuck are you? Bruce: Sure, they all wanted sex but they all sublimated their sexual desires. Mullan: We should talk about the title of the film, Roadkill, and the fact that there were hardly any animals killed during the making of the film. Bruce: That is the truth. By-stander: (impudently) Oh yeah? And what was on that engine being fried in motor oil? Me: {very impolitely) Fuck off. Bruce: That was a cat. Mullan: No, really? Me: (to Mullan) Cats die all the time. Bruce: Tastes like chicken. Mullan: Did you eat it. road. So that involved a number of different setups to shoot the scene. The farmers were standing on a hill and after each take they were under the impression that we were killing rabbit after rabbit and they called the police. We looked kinda rough; we had our leathers on. Me: You must have come close to shooting a remake of Easy Rider there? Bruce: Yeah, but luckily they didn't pull out their Winchesters. But most people we met were fairly receptive. Me: How much music was written for the film? Bruce: One or two pieces. Nash did Roadkill which is in the Joey Ramone scene. All theotherstuff was already seen in gigs. I was sive documentary; Matthew, a disillusioned rockstar on a spiritual quest; Russell, a loner trying to break into the competitive field of serial killing;... Me: I still prefer "mass murder"... Bruce: ...and Luke, a 15 year old boy who stole his father's car and wants to be a man. They all wanted something. Me: The only one that wanted sex was the 15 year old. Some by-stander: (to me) Oh, Bruce: Yeah. By-stander: (stubbornly) Whose cat was it? Me: (reaching the limits of my patience) Blow bum!!! Bruce: Ah... the name tag said Fluffy, so I don'tknow. We were accused of being a Satanic cult from the city by a group of farmers up in Northern Ontario. We were shooting the last scene of the film where the main character Ramona finally dodges her n-th rabbit that she sees on the really trying to pick conciously Canadian inderendent music. Mullan: i^^s^nna be han* dling the^o^dtraSll^ BrucerW%'re just talkmgto tv^i different people. Yomsh( write this dovH^but it Virgin or WEA. t Me: (philosophically) poster looks okay to* Bruce: This is a kind of a a^k • thing we've whipped opjjJWftrl * the festival and we're working on another r poster. Butthe album covercould be what we have here and cassettes and video cassettes will have this one with a splash of blood on it. Mullan: I gather you've contacted the Ramones? Bruce: Yeah. The co-producer and myself are big Ramones fans. The co-producer was one of the first guys to book the Ramones at the New Yorker in 77 in Toronto and it was the first gig they played outside of NYC. We didn't really know them but we phoned them up and they were great. Me: Did you show them the script? Bruce: Yeah. We sent Joey the script and he really liked the title and the idea of a rock'n'roll movie and his manager thought it' d be a great idea for Joey to get some exposure. Joey is no big shakes as an actor but he's a really cool guy. Me: Did they see the film? Bruce: They looked at it last week. We sent it to them. We just got it in on time 'cause they're in England on a tour. We included a bunch of t-shirts. Joey said he'll be plugging the film in interviews. Me: Did he like it? Bruce: I haven't heard from him yet but I'm sure he'll love it. We: Who else can you hear on the soundtrack? Bruce: About twenty bands. Any independent guy would kill to get his song in the film 'cause it's good promotion and it's good for them. So The Ugly Ducklings — old Toronto Rolling Stones clone band, IT, The Paupers, Graeme Kirkland and the Wolves with Julie Massey, ex- singer with the Parachute Club, Cnronic Harmonic, Teknakul- ■taAaincoats — a kinda punk- gOTrjic^ band out of Toronto, Cow,boy Junkies, Razor—hard- co^^eavy metal, Leslie Spit, '^flbrfffoi^i, Sturm jr Machine — elec- pyt t>f London, 10 Sec- Over T#kyo, Razorbacks, pTorrfltopnnors, Hand- [uflanfHaAisome Ned is dead, i*thel *Vi I ^Brucyj^eah. jpo much heroin... We:*Hrkay "no", kids..#mless the pricWs right. NOVEMBER 1989 19 David Sylvian and Holger Czukay Flux and Mutability (Virgin) Flux and Mutability is the first example of the absolute latest in commercial trends; the twenty-one minute and two-second long single. In actual fact this new collaboration by former Japan singer/songwriter David Sylvian and Can member Holger Czukay bears no relation to conventional pop music styles. It consists, instead, of two pieces of(lengthy)music which occupy the "Flux" and "Mutability," sides of the record respectively. A big, bright colourful world is the first track on the disc. Beginning with a sample of musique- concrete from Holger's dictaphone, this first tune instantly settles into a relaxing groove backed by simple percussion parts and randomly executed bits of keyboard, guitar, flugelhorn and mysterious voices. Overall, this first track, which totters randomly forward for sixteen minutes, is rather reminiscent of David Sylvian's solo work. Brilliant Trees. On the flip side of Flux and Mutability, the second track opens with gentle string washes. As this twenty minute epic wears on, echoing guitar lines and an African flute are also introduced. Again, this piece is stylistically very similar to Sylvian's early solo efforts. Overall, the record sound is very pleasant, and extremely aimless. (Did you launder your socks? A question to ponder while listening to this record.) J.W. Faster Pussycat Wake Me When It's Over (Electra) Taking its name from the 1966 cult-movie classic. Faster Pussycat Kill! Kill! (or The Cramps song of the same title, you decide), this quintet hit the music scene during the metallic revival of the mid-eighties. These origins lead to aproblem: is Faster Pussycat merely an untalented hardcore band or a bombastic, heavy-metal group being played by underground music stations to unwary and easily misled listeners who believe they are hearing hardcore? In fact if the listener removes the micron-thin plating of loud, half-hearted guitar swipes on top of an annoying voice and concentrates on the lyrics, it becomes readily apparent Faster Pussycat is just a sub-standard, heavy metal knock-off. (Incidentally, those serious about listening to quality hardcore should pick up Husker Du's Metal Circus.) Wake Me When It's Over is the soundtrack of a pre- adolescent wet dream. Permanently mired in Freud's phallic phase, lead-singer Taime Do wne works himself into a masturba- tory frenzy, groaning about his "Little Dove": Your high-heeled river of love/Is drippin' down your thighs/It seems like my lover's/finally satisfied. One of the most repulsive of the eleven songs is "Where There's A Whip There's A Way." While the title is heinous, the lyrics are horrifying! Got you screamin' like a pooch on a leash to let you know/ She grinds her leather like Liber- ace rhines a stone/She rides just like a pony gonna sign that philly (sic) up for the rodeo. The bestial imagery is continued ad nauseum in another song, "Slip of the Tongue": I got a psychopathic love/that fits like a glove/ My baby bucks like a bronco/ When I start to shove/Get your, get your, get your feet up to your ears/Slam ithome and take me to Rome/And watch me disappear. The lyrics, specifically chosen to shock the listener, are the attraction (the mus ic certainly isn't). Producers of so-called "slasher movies" strive for a similar effect with like subject matter and undoubtedly appeal to the same audience: twelve year olds. One last point: in light of the depraved lyrics, it is ridiculous that on the dust-jacket Faster Pussycat gives "Special thanks to all our families and friends." Touching, isn't it? If Faster Pussycat releases an album similar in content and style to Wake Me When It's Over, don't wake me. I'd rather die in my sleep. Will Reith Big Audio Dynamite Megatop Phoenix (CBS) As I listened to Big Audio Dynamite's latest album, Megatop Phoenix, asinglephrase from Simone de Beauvoir's Les Belles Images remained fixed in my mind and typified the album's contents: "wholly different and exactly the same". Big Audio Dynamite (B.A.D. for short) was formed in 1985 upon the collapse of The Clash. After an ideological argument with Clash co-founder, Joe Strummer, Mick Jones teamed up with film-maker Don Letts, Basement 5 bassistLeo Williams, Greg Roberts, and Dan Donovan. With artists coming from varied musical backgrounds, classifying the band's style is tricky. B.A.D. is best described as — for lack of a better term — ghetto-blaster funk a la reggae hip-hop. In short ahodge-podge. The album is a mix-mash of seventeen songs. The group's divergent composition is likely its greatest weakness, rather than strength. Megatop Phoenix (and the other three B.A.D. albums, for thatmatter) feature an engaging collection of sounds — musical and otherwise. However, lyrics and melody are inconsistent as the group switches from one style to another. Album composition and order suffer too. The first three tracks on side one are strung together so incoherently the group jeopardizes the impact of an otherwise interesting social commentary in the third song, "All Mink, No Manners". Even the good material is tainted. The anthemic power of "Union, Jack", the best song on this album, sounds undercut when sandwiched between a bright, but lyrically repetitive "Contact" and "Dragon Town", a paean to the disco era. Side two is a stylist mosaic of eight utterly forgettable, laxative-smooth tracks punctuated with occasionally good instrumentation and vocals. In light of the talent exhibited by Jones, Letts and Williams before the formedBig Audio Dynamite, it seems ironic they are so mediocre as a band. However, evidence fromB.A.D.'spast albums in general, and Megatop Phoenix in particular, indicate they are — to use the old cliche — "jacks of all trades and masters at none". Will Reith A.C. Marias One of Our Girls (Has Gone comprehensible) and you've got the A.C. Marias. In a Kleenex- box music world of unoriginal, lachrymose, prattle, One of Our Girls (Has Gone Missing) makes a welcome, yet ever-so-sullen, alternative. The group has created an aural dreamscape of dark grey skies, veiled reality, and brooding loneliness. The funereal instrumentation makes a perfect balance to the recitation of pseudo-Beatnik poetry. The voice is compelling andhypnotic, but never tranquilizing. Good production and intelligent selection of material also make the album enjoyable. No single track is superior to another; as a result the music flows evenly from beginning to end, without choppy inconsistency . Particularly praiseworthy, 'Trilby's Couch" sets the tone for the album, introducing the listener to the isolated, ethereal voice on the wind. The tangible is avoided in favour of the vague and atmospheric. The turbulent "Give Me" features a stronger rhythm andharder-edgedvocals. One of Our Girls strength lies within the A.C. Marias' ability to reinterpret a style of music and perform it in a new and interesting manner, without making it sound plagiarized. Other artists should note this accomplish- Will Reith (Mute) Eureka! Something truly inspired. Imagine Chris and Cosey (but more melodic) anaTheCoctequ Twins (butmore Soundgarden Louder Than Love • (A&M) If you like noisy, whining guitars, thundering drums, and abrasive vocals played at 1500 decibels, you'll enjoy Louder Than Love, recorded at LondonBridgeStudio in Seattle. The twelve tracks come together to form a cohesive whole. From beginning to end, the listener is caught up in the austere simplicity: no gimmicks, no padding, no filler, just solid music. The band is not pretending to be anything it isn't. In fact, one of the most engaging things about this album is the "I-don' t-give-a-shit", garage - band style. The lyrics present a deliberately warped tribute to self-indulgence ("Get on the Snake" and "Loud Love"). Enough said. Go out and buy it! Will Reith Berurier Noir Concerto pour Detraques (Bondage Records, dist by New Rose) I just read it in the July 30 NME—Brix has left The Fall. Iphonedheronce, gavemy name and where I w as calling from and she yelled out to her husband, "Mark, it's Canada calling." I'll say this about The Fall, if you ever have to phone the suicide hot line and all the operators are busy, your best hope is that they're using "Hip Priest" for hold music. The above has nothing to do with this review except that two weeks ago I ditched The Fall as my favorite band in the whole world for Berurier Noir. The band performs wearing clown masks and they speak in crude Parisian street-punk argot. No matter how many times I retake French 110, I will not understand any of it. Apparently their material is full of humour, but to me it sounds like one long, angry polemic with a large dose of unflattering animal imagery. Take the song "Porcherie" (Pigsty) forexample: Flics-armee (military police) - PORCHERIE! Apartheid - PORCH- ERIE! D.S.T. - PORCH- ERIE! Et let PEN (right wing politicians) - PORCHERIE! The music comes on like fatter, meaner, faster Deja Voodoo: buzz saw guitar over cheesy handclap, spoons and kneeslap rhythm. This rhythm is almost identical from song to song. It would get monotonous if it were- n't for strategically placed bells, whistles and saxophone, the latter played by un homme named Pascal Kung-fu. Detragues, so I'm told, are people who have become unpacked, distracted, or otherwise * screwed up through spending a year in compulsory military service. I'm not sure why I've fallen for this stuff. LikeMarkE. Smith, there's a noir side to these characters which remains inaccessible. To an English audience this may be the band's biggest asset. It's on the unseen parts that one projects anything that one wants to, or has to, see. Remember kids, "Tant qu'il y a du noir, il y a de l'espoir." J.B. Hohm Spacemen Three Sound of Confusion (Pinnacle) The Spacemen Three's new LP is awash in guitar fuzz and beats like a Triumph Bonneville motorbike idling, never altering throughout. Lead singer Jeremy Kember's anguished drone is a void into whichreverb distortion kings The Jesus and Mary Chain would dare not tread. Kember's bandmates follow him on a relentless drive along a highway of drug-induced stupor, smashing through the guardrails and plunging into a gorge of emptiness. A group that ends side two with "OD catastrophe" knows where bands like the Thirteenth Floor U fib ■ isS i 'J y Elevators and The Stooges have been, and wants to go there. This album is a migraine to the mind of sobriety. It's something like a great big gnat trapped in your speakers, buzzing relentless until its inevitable demise. Greg Garlick Material Seven Souls (Virgin) With a little imagination, this album could take you on some bizarre surrealistic trip. One could call it "In Search of Man's Soul". This aural adventure consists of a mixture of Hindi and African lyrics, and English narration, accompanied by in- strumentationranging from coral sitar to electronic keyboards and the violin textures of Shankar, frequent collaboratoin with Material main man Bill Laswell. Side one starts with a funky beat Hindi lyrics and Shankar on the violin. A mid- tempo instrumental of percussion and synthesizers follows. Then the English narration comes in. Here the adventure truly begins: the voice of William S. Burroughs fades in and out of the mix, narrating the story of the "Seven Souls" throughout the rest of the LP. Side two is mostly instrumental but also includes a song with African lyrics. It finishes with a slow psychedelic pace, simulating the end of a long trek. This is definitely one of those albums to be enjoyed throughheadphones (a Walkman would be ideal) in order to be absorbed by the hypnotising sounds that surround you. Categorizing this release is difficult Try Hindi/African with a taste of funk. A psychedelic adventure for soul searchers. Claude de Leseleuc Jegsy Dodd and the Sons of Harry Cross Wine Bars and Werewolves/ The Jewel In The Flat Cap EP (Probe Plus Records) When these two records first appeared on the CiTR play- list I had no idea who Jegsy Dodd and the S ons of Harry Cross were. It turns out that Jergsy Dodd is in fact a ranter/poet from Liverpool, England, and The Sons of Harry Cross are his punk-folk- reggae-pop backing band. One listening was enough to decide that Jegsy has a lot of talent and pretty soon I was totally won over by his savage observations and dry humor. The album "Wine Bar and Werewolves" is a highly personal account of life in today's Liverpool, loaded full of bitterness and resentment. The despair of the inhabitants as their city crumbles into disrepair at the hands of an uncaring government is documented painfully on tracks like "So Here We Are" and Downtown Birkenhead". Liverpool has a huge heroin problem and "Hillsview Heights", named for a council estate where heroin use is at epidemic proportions, shows the slide from the dole to addiction. Side one closes with "The Art of Rape", in which a rapist gets off the charge due to the chauvinism of the judge and jury-robbing the victim of justice and dignity. I put side two on, ready for more realism and tragedy, only to find that the guy also has a wicked sense of humor. The first track "Wine Bar Man" (set to the tune of the "Spiderman" cartoon theme) is a piss-take of the kind of man who inhabits wine bars in England, which are roughly equivalent to Richards On Richards here. Side two continues in a lighter vein on to the hilarious final track, an account of how he was hilarious final track, an account of how he was refused entry into "Atmosphere", "a club for beautiful people", because of a persistent zit that only appears on Saturday nights. The other Jegsy Dodd release is the EP "The Jewel in the Flat Cap". Side one is again intensely tragic. "Always the Bridesmaid" is a histroy of Liverpool, ending with the optimi sm of rebirth and the Une "old lady Liverpool must never get screwed again". "8,000 Miles Away" is a poem about the Falklands war, set to the sounds of a distant harmonica. It concentrates on the war seen through the eyes of the wifeof aserviceman who is killed fighting for this worthless piece of land on the other side of the world. I played it in a crowded room once and slowly all conversation stopped until, at the end of the track, there was silence. Most of side two of the EP was recorded live in Briken- head without the band, and includes a vicious send up of the police and their tendency to wear mustaches (in "Psycho-Nazi Police Cadet in Where's Your Muzzy Shock"!) as well as a painfully accurate description of "student types". Jegsy Dodd and the Sons of Harry Cross have released two strong records, and their honest mix of humor and pathos is a sure sigh that there are more good things to come. Pete Lutwyche Master/Slave Relationship This Lubricious Love (Cause and Effect) The penchant of Debbie Jaffe (a.k.a. Master/Slave Relationship) for extremism comes to the fore here on her v inyl debut. Subtitled Soundtrack to Black Leather Bondage, This Lubricious Love serves up a dish of unrepenting harsh electronics and tortured vocals. No sampled anything. It grinds. It scours. It does all those things paint stripper is supposed to do. A cross between 'Emily' Farynaandthe Haters is a decent call. Fans of Merzbow and Smersh would also groove to the sounds of America's best-knownnoise act. While Ministry's Land of Rape and Honey was once referred to as background music for hostage takings, side two of Jaffe's Lubricious Love would be perfect muzak for waiting rooms at sperm banks. This side of the LP consists of the title track, a near- half hour "What I'm going to do to you...what I want you to do to me"-style lascivious dialogue between Jaffe's electronics. Incidentally, McGee and Jaffe did work under the name Viscera. Canada Customs blacklisted This Lubricious Love, so you'll have to get it through mailorder. (Contact Cause and EffectMai- lorder, PO Box 30383, Indian- US No Limit 12"/ (Third Mind) Delerium Morpheus/(Dossier) Catching just enough of a breather between Front Line Assembly's first-ever European and subsequent North American tour to iron out conflicts on their itinerary and lift the toilet seat a couple times, locals Bill Leeb and Michael Balch find themselves being versed again in TWA emergency procedure. But that's not before Leeb swings by CiTR to inform us of two new releases — the first being his second solo project Morpheus. Employing the moniker Delerium, Leeb's Morpheus is made available through Dossier-Berlin who did Leeb's first solo Faces, Forms, and Illusions and FLA's State of Mind LP. Both Faces... and Morpheus captures a very thick and thick-on the-thick synths- sound (whew!)... very meditative...cerebral; again mostly soundtracky material a la Controlled Bleeding, SPK, Borghesia, and In the Nursery —particularly 'Temple", "Somnolent", "Fragments", "Faith", and the title track. "Veracity", "Allurance", "Requiem" and "Coup D'etat" (which features the only non-TV cut-up vocals on the LP) build up on a little more rhythm. The Cabaret Voltaire "Kino"-influenced "Gaza", however, is the only reference made to the Middle East; and while the Faces, Forms and Illusions project relied more on mid-Eastem, ethnic textures ("Mecca", "New Dawn",' "Certain Trust", "Sword of Islam"), Morpheus still has a very anthe- maic and lavish, yet unsettling feel to it "No Limit" is the second remixed single from FLS's Gashed Senses and Crossfire LP, which, like Morpheus and Faces, Forms, and Illusions, depends more heavily on technical grandeur than earlier FLA material. Ernest Angley clips, much like those used on Front 242's "Welcome to Paradis", infiltrate the extended instrumental tacked on to the club mix of "No Limit": "I'm not going to think about unhappy things, I'm going to think abouthappy things, andl'mgoing to think about a journey .A journey to the skies and beyond, and I'm going to heaven one of these days", said the preacher to the fool. Swirling keyboards, big bass synth, and different clips than on the LP. "Lethal Compound" is the non-LP b-side. It's reminiscent of "Body Count" from the Disorder LP. Running over eleven minutes, it's a little excessive. However, it kicks in halfway through with minimal synth rumblings, screams, Leeb's chanting, various strings and metallic percussion. The CD single includes a toned-down five minute version of "No Limit". Lloyd Uliana Doughboys Home Again (Restless) I've heard many comparisons between Vancouver and Toronto regarding which is the real center of the Canadian music scene. I don't think Toronto has ever produced a worthwhile band but, more importantly, the argument overlooks a third element what about all the great bands coming out of Montreal? Consider- The Gruesomes, The Asexuals, Deja Voodoo, and Mitsou. The Doughboys are another fine Montreal band and they now have a second album out entitled. Home Again. When John Kastner defected from his frontman/singer role with The Asexuals he formed The Doughboys, who released an excellent debut album called. Whatever. Now they're sponsored by Vision Street Wear, they have a new label. Restless, and judging by the performance in Vancouver severalmonths ago, they have an exciting and energetic stage show. Like their first album, Home Again is characterized by a solid, driving dual guitar sound and strong vocals. All members of the band sing back-ups, which is put to good use on the sing along choruses. Two of the better songs are "Buying Time", and "I Won't Write You A Letter". And there's a nice classical virtuoso guitarintro to the Husker Du-ish "Never Sleep". Although Home Again is quite good overall, my only complaint is that it's missing a bust-out catchy hit single like "You're Related" or "You Don't Know Me" from Whatever. The band has filed down some of the harsher edges of their sound but they still write some of the best music in Canada. And as we approach the 1990's with more regurgitated poofter pop bands on the radio and television, the Doughboys are an even more welcome relief from the usual dross. Terrorr NOVEMBER 1989 21 UK Subs Club Soda Sunday, October 8th To be truthful, for the low low price of six dollars, (four if you had a handy two bucks off pass) I entered Club Soda not expecting great things. I thought, "the UK Subs... fast, hard, possibly even generic hardcore punk wok." But I was wrong. Lucky me. The firsthand. Lost Generation, was a lost cause. The high point of their performance was the infamous Club Soda Smoke Machine which atone point blanketed the entire band in dense fog, completely blocking them from sight. Normally this excessive smoke is an irritating habit our friends at Club Soda have, but in this case, it was well re- cieved. Then, Curious George. A fine up n' coming group of Van- couverites with a distinctly local flavour. Songs included "Pit Bull Attack", "Better Dead than Socred", and of course their ever tasteful cover of that old Bangles classic, "Walk Like an Egyptian". Because they play at least twice monthly around town, you will have many opportunities to see more of them. You have my personal recomendation. After a brief intermission, the UK Subs took the stage by storm. I has only heard them once before and knew none of their songs by name. I couldn't tell you what they played that night even if you gave me millions and millions of dollars, but as it turned out an intimate knowledge of the band's repetiore was not necessary to enjoy the show. They had good rapport with the audience and played requests as well as many long encores. It was an evening when just as you thought it was really over this time, they would emerge again to whip the crowd into renewed frenzy. Eventually, late into the night (if you run on Club Soda time) they stopped, and turned their sweaty but satisfied fans out into the night. The Vancouver stop on the UK Subs Killing Time tour was a huge success. Nit Gritty Tragic Mulatto/Silent Gathering Club Soda Sunday, October 15th Sure, they have a "No black T-shirts except on Sunday & Monday nights" policy; and someone is overly keen on dry ice, but hey, as long as they can put on shows like this one, Club Soda can't be all bad. Tragic Mulatto visited their wrath, and their curiously inspired vision, upon the populace of Vancouver 22 DISCORDER on Sunday, 15th October. Said vision is one that plumbs depths hitherto undisturbed even by those with the strongest stomachs. Case in point: the opening segment, which saw one of their drummers stand demurely before the microphone, centre stage, and recite a paean to the joys of airing one's anus. Hey, in these days of too-tight jeans the guy probably has a point. Anyway, while the musical accompaniment for this highbrow stuff was fairly mellow bass and drums gyrations, the pace quickly changed when lead songstress Gail (no last name, please) took the stage. Quite the woman, she. Clad in innocuous baggy cotton trousers & top at first, she later stripped to reveal a green Glad garbage bag outfit emblazoned with Mr T's glowering features and strategically cut to reveal a red lace brass-ear and ginch, the latter wedged amonst resplendent rolls of cellulose. Contorted in the vise grip of the lyrics spewing from her gullet, she whirled and careened about the stage, gleefully flaunting shuddering thighs and butt. ("At last, at last, arolemodel," thinks Viola.) Her spells of frenzied demon-possession were accompanied with music that by turns grated, grooved, and gyrated straight through one's solar plexus. Not passing GO, not collecting $200. (Huh?) Threatening - or promising - during one instrumental bit to erupt into a cover of "A Quick One While He's Away", but not delivering on that score. Cacophony incorporated, yet boasting varied enough tempo, rhythm and instrumentation to keep things intense. The hairshakers were going at it; the skins were nodding in agreement; and the coolest of the cool just sat there and ingested it all. With two drummers, a guitarist, a bass player, and Gail of the metallic green eyeshadow and Chi Pig locks, this in itself was a full-time occupation. In response to some half-witted heckling re the band's SF origins, Gail advised "If you're going to San Francisco, be sure to wear a pentagram on your bass..." (Or she might've said "face", I'm not sure.) And the beat-up old tuba she belaboured was wielded metaphorically between her legs as often as at her mouth. What's life without a little penis envy. To wrap up this maniacal spectacle, our horn-rimmed- glasses wearing bass player handed Gail his instrument and took her place on vocals, clutching an electric razor for moral support. As he emptied himself of the song's lyrics he similarly divested his head of hair with the razor. Who says youcan'tplease longhairs and skins at the same gig? Overheard between two audience members later while leaving: "Wow, like, I thought he was gonna shave his whole entire head when he took out that razor..." " — I thought he was gonna shave his legs, personally." As a prelude, cock-rockers - whoops, I mean hillbilly- slash-grunge-rockers - extraordinaire Silent Gathering served up a platter of the usual. Sunbaked, rattlesnake-bitten, sand- encrusted Seventies stuff. Although tonight they were lean ing more in the direction of liquor-steeped, all-out insane screa- marama times, which they've been doing more and more of late. Their set was graced (or cursed, depending on how uncomfortably close to centre stage you happened to be) with the presence of a severely drunk, purple-haired, head-banging whirling dervish who had no qualms about charging full-force into whatever objects, animate or in-, stood in her trajectory. This chick combined with the ubiquitous Club Soda dry ice visitations created an interesting backdrop for SiG's prognostications of death via sex, homicide, drink, birds, and other kooky methods. Their set was shorter than usual but then Tragic Mulatto had their act nipped in the bud too. "We don't have time left for anymore folks, sorry," the waitress-cum-MC announced cheerfully over the sound system. Yeah, fuck you too. In this happily belligerent frame of mind I stumbled down the stairs and out beneath the waning moon, having had a groovy evening of fun and perversity. Not neces sarily in that order. Viola Funkdom Eek-a-Mouse/Roots Roundup Town Pump Monday, October 9th What better way to round out the holiday weekend than working up a sweat to some dynamic Jamaican reggae? Obviously this idea appealed to people as there were many in attendance at the Town Pump. Roots Roundup had no problem filling the dancefloor with a solid opening set setting the mood for the whole evening. Eek-a-Mouse took the stage after a short delay (probably caused by difficuties getting his ego through the door) and straight away slipped into some of the tightest most exciting reggae I've ever witnessed. Last time I saw Eek-a-Mouse, five years ago, he had the appearance of a novelty act. He was dressed as an Arabian prince, complete with gold lame turban. His back ing band were sloppy and amateurish. By contrast this show was serious black leather and sharp, punchy music laid down by his multicultural band armed with some of the latest electronic equipment. The sound was superb throughout. The unique voice of Eek-A-Mouse would sometimes soar way above the backbeat and at other times, machine-gun tongue-tripping rhymes at the audience. Eek-a-Mouse also had plenty of stage presence. He engaged in lots of posing and tongue-in-cheek audience participation, but he would.often move out of the spotlight to allow the band to get do wn to some serious dub reggae. This was a highly professional yet relaxed show, proving that Eek-a-Mouse is on the front line, helping to take reggae into the nineties. Pete Lutwyche Hip Flip The Gruesomes/ The Picasso Set/The Smugglers/The Evaporators/The Roosters West Van. Rec. Centre Friday, October 13th Hip Flip took a few hundred people in West Vancouver on a time-travel trip back to the days when a band's place was in the garage and rock 'n' roll dealt with the really important issues of life, like boy meets girl. Presented by CiTR's own John Rusltin, a.k. a. Nardwuar the Human Serviette, his ninth concert showcased some of Canada's most enthusiastic practitioners of hip-shakin', foot- stompin', pop-o-matic teenrock. The Roosters, playing their first- ever gig, ably warmed up the audience with their harmonica- laden barnyard boogie-woogie. Hot on the Rooster's heels came Nardwuar's own musical outfit, the Evaporators. Admittedly, the show-stealer here was Nardwuar himself, decked out in sixties-style garb (as were the majority of those onstage), and sawed-off sunglasses. A veritable showman, Nardwuar wowed his audience with a dance routine that combined arthritic King Tut maneuvers withSt. Vims' Dance. After turning in an admirble set, the Evaporators made way for those "cubist groovies", the Picasso Set. And groovy tunes they served up, indeed, paying homage to rock V roll greats like the Dave Clark Five. Fresh from an exhausting local club tour, the four-piece group soon had the walls of Cypress Gym reverberating with their happy-go-lucky repertoire of sixties-inspired melodies. The audience at the front of the stage was an indecipherable tangle of flailing human limbs by the time the next act the Smugglers, hadstormed through their first number. Lead singer Grant Lawrence belted out such memorable lines as "I just wanna make love to youuuu!!!" as the crowd pogoed up and down in sheer glee. Self-confessed "worst guitarist inB.C", DaveDykhuis, added some tasty "kerrangg!!" on top of the band's pounding rhythm section. Unfortunately, time constraints put a premature end to the Smugglers' set Finally, the moment had arrived for Montreal's premiere garage-rock gurus, the Gruesomes, to hit the stage. Having played at previous Nardwuar extravaganzas, the band appeared to be familiar favorites with the all-ages audience. This time, the band included a new member, Albertan Al Boyd, on guitar. The Gruesomes performed an enjoyable set keeping the audience, including myself, on its dancing toes. When the clock struck twelve, the band was forced to bid adieu, allowing concert patrons the hope of catching a bus out of the wilds of West Van. Andrea Cserenyi The Man Who Mistook His Wife For A Hat Opera By Michael Nyman Vancouver East Cultural Centre Friday, October 6th You hate opera too? All that trojan horse stuff, lions, gawdy scenery, boredom- a giant spectacle one would expect to find crammed into B.C. Place, like a tractor pull or a retro-rock show. The Man Who Mistook His Wife For A Hat, by Michael Nyman, with libretto by Christopher Rawlence, is notlike that It is a chamber (not dungeon) opera consisting of three characters and a small ensemble of two violinists, a violist, two cellists, a harpist and a pianist which clocks in at just over one hour (thanks to the jerk who didn't turn his hourly watch beeperoff). This is no Wagner Ring cycle where the last one awake in the hall is the first one out of the parkade, but instead a short opera about a neurological disorder. "Hat" is based on a case study by Oliver Sacks in which Dr. P (a professional singer) confuses parking meters for people, and his wife...; in other words, he has a severe visual agnosia. Dr. P resorts to using melodies to help him coordinate everyday tasks, enabling him to live a relatively full life, instead of "deteriorating in the shadow of his 'deficits'." According to Sacks, "Dr. P. and his wife have elements of the heroic, but the real hero is surely music- the power of music to organize and integrate, to knit and reknit a shattered world into sense." Nyman's straightforward music deals with Dr. P's gradual deterioration, but more importantly, it's not boring. He overcomes the difficulty of maintaining momentum by relying on an almost minimal style of composition with a pop influence. Contrary to what I have read, Nyman's writing is certainly not avant-garde. This rendition of Hat, put on by the Vancouver New Music Society, was quite successful. It was nice to see the Society (with the help of Barry Hegland, Phillip Tidd, and Anne Ramsden) pay such close attention to scenery and lighting. Although predictable, the slides were helpful in enhancing the imagery of the libretto (unfortunately, one of the slide projectors was out of focus for the first quarter of the performance on opening night). Hat is light, very light and it is questionable whether Nyman was truly sensitive to the story (Sack's description, quoted above, gives the expectation of a more profound representation, whereas Nyman seemed more interested in exploiting thecomic elements). Since Nyman points out in the liner notes of the recording how quickly he composed this opera, I feel free to comment on his craftmanship. Gary Dahl's fine performance was marred by the fact that Nyman had scored the bass part so low that it was often buried by the strings. As well, Nyman's insistence on scoring the soprano so high was annoying, and the strain showed on her face. As far as the New Music ensemble was concerned, performances were good, but there were some very wonky things happening in the string section. Despite these few complaints, I enjoyed this opera. Now I wish someone in this city would present Ligeti's "Le Grand Macabre", Berio's new opera, a Kagel music-theatre piece, Mes- siaen's opera, or a Xenakis pol- ytope (but please, no Phillip Glass). The Man Who Mistook His Wife For A Hat was a good start to what promises to be an interesting 1989/90 Vancouver New Music season. Look for the nice posters by Joe Average (miles better than those tacky Vancouver Opera things I see everywhere) advertising the upcoming concerts, the next being on November 5, entitled Works (Recent Discoveries). Paul Steenhuisen ODVttEV ililPOTO VANCOUVER'S ALTERNATIVE RECORD STORE -RECORDS • COMPACT DISCS • TAPES • T-SHIRTS • POSTERS -SPECIALIZING IN: UK+U.S. IMPORTS, NEW RELEASE DANCE SINGLES, ALTERNATIVE C.D.'S AND TAPES -OUR SELECTION INCLUDES: ROCK, BLUES, JAZZ, SOUL, REGGAE, WORLD, RAP, >C<^| HOUSE AND NEW BEAT OPEN 7 DAYS A WEEK 534 SEYMOUR STREET BETWEEN DUNSMUIR & WEST PENDER 669-6644 saiagiiLffi CINEMA - 16 • Admission $2.50 • [MONDAY / TUESDAY OCT. 30-31: THE ROCKY HORROR PICTURE SHOW MONDAY NOVEMBER 6: THE LAVENDER HILL MOB (MONDAY, NOVEMBER 13: THE AFRICAN QUEEN [TUESDAY, NOVEMBER 14: PATHS OF GLORY (12:40,7:00,9:30) MONDAY, NOVEMBER 20: NOTORIOUS MONDAY, NOVEMBER 27: MONTY PYTHON AND THE HOLY GRAIL • Admission $2.50 / Annual Membership $2.00 • WEDNESDAY NOV. 1: RABID WEDNESDAY NOVEMBER 8: FROM THE LIFE OF THE MARIONETTES WEDNESDAY, NOVEMBER 15: SANJURO WEDNESDAY, NOVEMBER 22: BARRY LYNDON (8:00 ONLY) WEDNESDAY, NOVEMBER 29: SCANNERS NOVEMBER 1989 23 What do Andy Warhol, Phyllis Diller and Glenn Grant of Glenn Grant Chevrolet in Burien have in common? Wigs, natch. Toupee, fall, piece, rug, dog, periwig, peruke, postiche; whatever you warma call it fake hair has been around at least as long as the Egyptians (that's 3000 B.C. to you and me), and it's still going on strong today, from bargain bins full of matted rat fur at major thrift stores everywhere to hi-class operations like Poor Richard's Distributing Corp., where I talked to Evelyn about the mysteries and joys of wigs. BETTY: How much do your wigs go for? EVELYN: Our prices are wholesale because we sell only to wig shops and beauty salons. They mark them up at least twice. So they don't sell anything under $100. B: Holy cow, that's pretty expensive! E: Well, it is. B: How much hair does it take to make a wig? E: Oh, I have no idea; we don't manufacture them. (Another source informed me that it takes "two big bunches" of humanhairfromoneofthe "hair factories" to make a wig, blonde hair of course being more expensive because "it's much more rarer". Poor Richard's distributes hand-tied (expensive) and machine-made (less expensive) synthetic wigs.) B: Do these wigs last a long time? E: That all depends on how they're treated. B: What's the best way to treat a wig? E: They have to be washed in cold water— not hot that takes the curl out. Brushed before they're washed, turned inside out and then squished in a solution of shampoo and cold water and just sort of shaken out and left to dry. B: How do you store It? E: For going on a trip or things like that, we suggest that they put it in a ziplock bag. B: You have over 100 styles— that's a lot of wigs! E: Yes it is. The most popular styles now are ones for people who need wigs, like working women who don't have the time or wherewithal to get their hair done 2 or 3 times a week at the hairdresser. So they can wear wigs between shampoos. Others wear wigs all the time because it's just too much bother to do their own hair. And then there are entertainers who wear them strictly for show and they would get more elaborate types. And of course there are chemotherapy patients who lose their hair and must wear wigs. The same with children. B: Do you have long hair and short hair wigs? E: Oh yes. B: Are the short ones more popular? E Actually, yes. Most people are in the middle age to older. B: And what's your most popular colour? E: For elderly ladies especially it would be Number 56. B: What's that? E: That is a very gray... a silvery gray. And those that are not gray, the most popular colours would be4,6and8. B: What are they? E: A medium brown to a chestnut brown. B: How many colours do you have in all? E: Oh my goodness, my goodness.there must be 50 colours. B: How long have you been working with wigs? E: About 18 years. B: What trends have you noticed come and go? E: Well, I've noticed when the curly-all-over styles came out what they used to call The Poodle Cut or The Wash 'N* Wear, they were the most popular and they have gone on being popular over the years. But other styles have come and gone, like the straight ones, and no w it's the very elaborate type of spiral curls and tight sort of wild-looking things. B: Do you own any wigs yourself? E: No, actually I'm blessed with a very nice head of almost-white hair so I don't really need one. B: Do you ever try them on just for fun at work? E: Oh yes, not so much anymore, but I used to all the time because I used to wear them... between perms and things. B: Have you sold any wigs to famous people? E: I don't think so, not that famous. To fellas that are in bands... a lot of transvestites, crossdressers and entertainers. B: And what styles do they prefer? E: Usually the ladies' long styles. B: How about colours? E: The in-between browns. B: What about wigs for men? E: We have customized toupees: we get them from the Orient We send all the particulars of colour, style and face and a pattern of the head... made out of Saran Wrap and Scotch Tape. B: Saran Wrap and Scotch Tape?! E: Yes, Saran Wrap is stretched over the head and then they hold it and twirl it around and they put Scotch Tape on it to make a little solid dome and they they mark it with a permanent-type pen around the area for how they want the base to be. And speaking of men's wigs, let's move on over to Larry's Hair Place, which caters especially to men and where Larry thinks a column devoted to wigs is "Right On". BETTY: So who's wearing a wig these days? LARRY: You name it, you name it... No limit to the age group. B: Say someone wants to get a wig, what happens? L: Everything I do is custom made with plaster of Paris molds... We're talkin' a custom unit— we build everything for the person... Okay now, we have to determine first if they want one and what quality they want If we're talkin' Born Again, then I would measure them... B: How do you measure someone's head? L: Tape measure. B: Really? L: That's how the mold is made up that determines how we make the base... And then we go from there and then decide what style we're going to do and I get that information and I send it to Salt Lake City in the United States. B: Why's that? L: Because of the superior quality, and the workmanship is better. B: How long does the process DISCOVER "NEW YOUTH" The Hairpiece YOU Can Afford To Own 95 NOW ONLY $5.00 NOW, BALANCE COD. *29 UNRETOUCHED POLAROID PHOTOS Look* more natural than many hair* niece* costing #2tXJ and up. • Secure in winil or water. A universal hairpiece that can be fit tu any decree of baldness. 24 DISCORDER Send No Risk Trial Coupon Now! Look*, acts, combs and feels like your own hair. Mailed In plain unmarked package. Wear It for work, play or sleep, fan he custom fitted by any barber to defy detection. • Custom color matched. Dftittrr Imjutrtet Invited. MONEY BACK GUARANTEE! "New Youth" speaks for itself far better than any advertising pamphlet or "staged TV commercial." Look Ten Years Younger 100% satisfaction or full refund. take? L: Six to eight weeks. B: And how much does it cost? L: At least it wouldbe a thousand and from there on up. B: Do they last a long time? L: Well I got one here that's been here six years. B: Can there be sideburns attached, or is that on your own? L: Well, with the Born Again unit, I build a whole unit— it can be a complete head of hair; it'll completely cover your own hair. B: What about colours? L: The colour-chart I have is totally in depth. And each particular strand of colour, in Born Again, has a minimum of seven colours made out of two main colours because like there's no particular colour that's just one colour. Like you're talkin' about Asians okay and everybody says "They've got black hair." Not true. So each strand, each piece that I start with, has seven colours and I go from there. And I blend that hair in accordance to what the colour of their hair is— that is the most important part because that hair has to match. B: And do most men want it to match their own hair or does anybody come in wanting something totally different? L: Anything different, the gentleman is likely in a rock band or something like that. B: So you do rock stars? L: Now I don't know where the terminology "star" starts and stops. I don't believe I have anyone who just makes a living out of music but they' ve got good groups. B: Any names? L: Totally confidential. B: So is this Born Again idea yours? L: Nope, I wish it was, ha ha ha. B: Who thought it up? L: A man named Ian Candle in L.A., he invented the process. I happen to be the only person in B.C. that has it. And the unique thing about it is when you make it, the hair inside the hair replacement is put in place and then is turned upside down WET, turned upside down and BRUSHED straight down and that gives the hair the tendency to stand. We have three types of hair... it's synthetic... Each hair shaft does a certain thing— one is strong, the other one lays easier. Your own natural hair does not cooperate right, and neither does the hair replacement. I mean, it looks fine but it has a little bit of its own mind to make it look natural. The wind blows and you get wind in it, it comes out looking natural. B: How did you knowyou wanted to get into this business? L: I've been in the hair industry for 25 years and I just thought it would be really nice to give people hair. B: Are people embarrassed when they come in? L: Some are. B: So I guess you have to be not only a hair guy but a bit of a L: Yeah, I think so. You know, you shouldn't be selling things to people that don't want them. You know if a guy comes in because his wife sent him in, a hair replacement is not going to solve his problem. If he doesn't want one, I'm not interested. It's gotta feel good to him inside because it's gonna make a big change in his life. B: Do people ever come back and say this isn't working out or, conversely, this is the greatest thing that ever happened? L: Mainly it's positive. I have had some negative reactions but most of that can be cured with styling; generally, they don't know—I didn't give them enough ins miction, enough indication of how to brush it and stuff like that. Take a guy who's been 20 years with no hair. Put hair on him. He forgets how to use a comb, you know what I mean, ha ha ha. B: Do you think men are less inhibited about getting wigs since Burt Reynolds and everybody has them now? L: Well, I think the ego of a man is very very high. That would be the major obstacle. They're very embarrassed about what their friends are going to say, right. They think everyone is looking which is not true. I shaved off a guy's mustache and everybody said "What's different about you?" Twenty-one years of age, he had some hair, and then he just had a lot more. B: So you took it away from one place and put it somewhere else! L: Two weeks later, he phoned me up and said everything was beautiful, everything was great and he started to grow his moustache back. But his mother noticed immediately that he had it, I mean you couldn't fool her with all the rice in China, moustache or no moustache! B: How do you take care of these wigs? L: It's really easy. Just shampoo itrightin the shower when you're in there. B: So you never take these things off? L: It's non-surgical— that means we do not attach it surgically— so you can take it off, but you can shampoo with it on, sleep with it on, even make love with it on, right? B: Okay. Anything else you want to add? L: Larry's Hair Place. PLEA$EBEAWAREOFTHEFO££OWING DEAD£INE$ FOR AD BOOKINGS IN THE AD $PA0E FOR THE DECEMBER l$$UE MU$T BE BOOKED NO£ATER THAN NOVEMBER 12. A££ AD COP¥ MU$T BE $UPP£IED BY NOVEMBER 15. THE l$$UE Wl££ BE ON THE $TAND$ B¥ NOVEMBER 24. AD$PA0EFORTHEJANUAR¥I$$UE MU$TBE BOOKED NO£ATERTHAN DECEMBER 10. A££ADCOPYMU$T BE $UPP£IED B¥ DECEMBER 13. THE l$$UE Wl££ BE ONTHE $TAND$ BY DECEMBER 22. FOR MORE INFO, CALL MIKE HARDING AT 228-3017 used a old W^^h i West.Bavter Vancouver 681-7654 J CB283 !#! Prssakel ty HeSler#> SWGW ^ sag The Acting Consul-General of Brazil Proudly Presents CONTEMPORARY BRAZILIAN CINEMA A Centennial Celebration of the Republic, 1889-1989 with eight provocative new films showing November 16-23 (Free 2pm matinee Saturday, Nov. 18) A1 s o i n N o v e m b e r Quebec Cinema in the 1980s: Le Matou, Au Clair de la Lune, Les Fous de Bassan & Les Bans Debarras Sweet Subversion: The Fourth Man, Mauvais Sang, The Ploughman's Lunch, Dirty Little War, In the Realm of the Senses & Odd Obsession Glenn Gould on Film: The Terminal Man, The Wars Look for our f ree bi-mo nthly bulletin CINEMATHEQUE 1131 HOWE ST. INFO: 688-FILM 26 DISCORDER By the time you read this, Shindig's first set of semi-finals will have been decided, but CiTR's annual battle of the bands is far from over. There may even be room for one or two last-minute entries, so if your band is interested, call Lane or Linda at 228- 3017, or show up at the Railway on a Monday night to check out the competition and talk to them in person. The CASBYs will be held this month (November 7th), and two of the nominees for Independent Band of the Year are from Vancouver, Nettwerk's Skinny Puppy, and Bob's Your Uncle (now with the up-and- coming Culture Records). BYU will be playing at the Town Pump November 17th. Another (but quite different) Culture Records band, Memory Day, will be going into the studio next month to record their first album, possibly to be produced by Bill Henderson (that's right, of Chilliwack). Here are this month's demo reviews: Freedom Press- "Shelter Me", "Broken" Jason Clark and Mike Taylor of the Rainwalkers play guitar and bass for this new band, but there's nothing on this tape that will remind you of the Rain - walkers' jangly guitar sound. If anything, Freedom Press appears to have been listening to Tangerine Dream — there's that familiar layering of sound for ambience — but the keyboards don't take the place of vocals and guitar. The inside of the cassette cover says Freedom Press has a "psychedelic yet contemporary feel". There's a fair bit happening here, but "psychedelic yet contemporary"? I find that kind of description a litde scary. The Open Graves-"105","Nu- clearLove?" "105" opens with a Japanese-sounding motorbike revving its engine, and in fact the title refers to how fast the bike goes before things get outof hand. There's a one-time Surf Hippy in this band, and the female singer is a former go-go dancer for kd lang. Her motorcycle-induced scream sounds pretty authentic, but it' s really on "Nuclear Love?" that she comes into her own. When she sings low and sultry it's not unlike Tracy Brooks of the Hip Type. The problem is that the tape suffers from poor production — vocals and guitar cut in and out and the dynamics are bizarre. But I'd like to see them play live. The WardeUs - "What's So Great About Marilyn?", "Under the Johnson St. Bridge" The WardeUs are at their best when they're playing classic- style pop, and "Marilyn"has most of the major elements — backup vocals going "bop bop" and handclaps, not to mention good lyrics thematically along the lines of "My Guy" (albeit for boys to sing). If the guitar's not as strong as the voice, who cares? On the other hand, "Under the Johnson St. Bridge", while definitely tuneful, tries to be a pop song and a wry piece of social commentary, set in the band's place of origin, Victoria.Itworks.butnot as well as "Marilyn". Speed of Life - "Election Year" The little note that came with this didn't say if they named themselves after the David Bowie song, but it does give the band's influences as U2, Led Zeppelin, The Who, Hendrix, and Rush. Well, the U2 influence is pretty apparent here, especially in a good part of the guitar and em- passioned lead vocals, but the singer also does a pretty fair Robert Plant impression here and there. (But remember when everyone was trying to sound like REM?) Earthling - "Surprise Me", "Unnatural Laws" A second tape from Earthling, and lots better than the first one, "Pure Hell." What's especially impressive is that the band (with Enigmas Mike Davies and Brian Olinek on guitar and bass) plays hard rock while somehow sounding as if they've never heard of Eddie Van Halen. There's no guitar noodling here (and not much on vocals, either), just something like a pre-metal rock and roll. And when he's at the lower end of his range, the singer's pretty powerful too. "Unnatural Laws" has that almost epic feel, and a break that's not unlike Roxy Music, but it's "Surprise Me" that I like. It sounds positively evil. Brilliant Orange - "Always the Same", "Love and Evolution" To be fair, I don't think Brilliant Orange ever intended for us to have this tape, labeled an "Invasion S ampler," but this is the first we've heard from them since 1985, so it's hard to resist listening to it. Unfortunately, however, the band doesn't sound inspired here. Although the production is beautiful (the tape was recorded in LA), the songs lack life, and definitely don't represent the band's recent, heavier live sound. Fans of the old Brilliant Orange, with all its harmonies and acoustic guitar, are better off with Green House, Graham Brown's new band. And fans of the new Brilliant Orange will have to go on seeing the band in the clubs. And now, two tapes available in stores: The Dots. A self-titled 11-song cassette on East Side Records, this solo debut lives up to what this mostly female, mostly rockabilly band promised us in their appearances on earlier compilations. A single song, "Goin' Crazy," is playlisted at CiTR, but it's not fair just listening to one—buy the cassette and hear 'em all, including the highly danceable "Eeny Meeny." Hard Rock Miners - "Making the Bedrock" What's surprising about this tape is that, although it sounds so clean and uncluttered, it manages to capture that 8-people-on-stage-at- the-same-time feel. Chris Houston (remember, the Church of the Fallen Elvis was way before Mojo's "Elvis is Everywhere) did one heck of a job producing these ten songs. Good clean fun and another recommended purchase. IS THIS HOW YOUR OUT-OF-TOWN FRIENDS GET DISCORDER? - YOU SAUNTER DOWN TO YOUR FAVE STORE AND PICK UP SOME COPIES, - YOU TROT TO THE DRUG STORE AND PURCHASE SOME LARGISH ENVELOPES, - YOU HOP TO THE POST OFFICE AND ORDER UP SOME STAMPS, - YOU CRAWL HOME, STUFF THE DISCORDERS INTO ENVELOPES AND STAMP 'EM, - YOU TRUNDLE OFF TO THE MAIL BOX AND BID THEM FAREWELL LETTHESUBSCRIPTIONSGNOMEDOALLTHATFORYOU! FOR A MEASLY $15 IN CANADA ($15US TO THE STATES, $24 EVERYWHERE ELSE), YOUR BEST FRIEND IN THE ENTIRE WORLD CAN GET A FULL YEAR OF DISCORDER AND YOU WONT HAVE TO RAISE A FINGER. OR A TOE. JUST SEND CHEQUE OR MONEY ORDER TO DISCORDER, 6138 SUB BOULEVARD, VANCOUVER, BC V6T 2A5. AND LEAVE THE REST TO THE GNOME TAPE-A-MANIA We give you the tapecover. You cut out the tapecover included here. You tape the band at 11 pm, Thursday, November 16th. We tell the band to stop after 45 minutes. You stop recording the band. You have a 45 minute cassette tape release of Video BBQ presenting Violins in Love. Next month: The Method January: The Big Lie February: Small Man Syndrome Hey, I know. You're there, you've done it all. Travel, art, business, love and sex- all the things that make life enjoyable are yours. You are way cool and the edge is the only place that matters, right? But are you aware of the most intriguing medium of the decade; not the decade just passing but the era just about to begin. The nineties are beckoning and the essence of the next decade can be summed up in two words: comic books. Whoa, what did he say? Who is this guy trying to kid? Well airbabes, I kid thee not. Cartoon reality is upon us and collectively we are changing as fast as we become aware. Comics today represent a powerful communications medium. A medium in which the reader naturally integrates the two hemispheres of the brain (that graphix interface thang). A medium that can disseminate surface information to a mass audience as successfully as television. A medium that best showcases subjects ranging from rock/ pop social commentary to surrealistic pillow fights using psycho-sexual imagery. Finally, comics are a medium worthy of intelligent investigation if for no other reason than fewhave ever been used as such. Long relegated to the rubbish bin after kids had read them, comics are now adult oriented, political, and have an edge that most of popular culture sorely lacks. Communication is a two way street, but until the imminent revolution offers up an interactive technology other than the telephone the best we can do is exchange our heads. Thus, the current boom called the small press ex- plosionhastens of thousands of independent publishers throwing their word into the void and catching whispers on the winds. Through the publishing facilities of the personal computer, the door is being opened to more publishing from groups and individuals than ever before (eg. Discorder, Disco- text, Black Pages et al). Comicbooks? Ok. Millions of dreams released must realise a 28 DISCORDER goal of whole systems coming together. Comicbooks? Ok. Imagine your greatest dream of a possible future. Close your eyes and visualize a future where people have all they need to fulfill themselves as creatures. Nations are formed, children are born sharing the dreams of their worthy by the images we share with each other. As we all realize sooner or later, most of popular media is controlled by a bunch of crazily evolved organisms who have a vested interest in maintaining their own status. Here is where comics enter. Easy to produce (hand drawn or w/computer, pho- Since the media is, as some eas- tener once said, the massage, we owe it to ourselves to invest in a medium we can actually be part of. The political implications of new technologies are historical fact, just ask Gutenberg why the reformation followed the creation of his device. If you have an opinion, and Martin Luther surely did, perhaps narrowcasting your thoughts will help to open up your world. I'm not suggesting the political process has been significantly altered by the comicbook. But that an examination of the social fabric of our time reveals the thread of comix. Who can deny that a part of the previous generation's understanding of itself came from their various comix experiences. R. Crumb's Mr. Natural and Fritz the Cat, Gilbert Shelton's Freak Brothers and Wonder Warthog are examples of how various social realities (sex, drugs, violence) can be exposed and illuminated. The undergrounds were able to break down the barriers of sexism, racism, and other sixties isms simply because they were products of one of the the most accessible and uncontrolled mediums around. If it seems I a mans now rekindling the spirit of balance. Comicbooks Ok? Any environment filled with two-eyed beings is endless and bountiful. Imagine writers saying what is theirs by proclaiming the art of collective action off the page and into the air. We have for years been told that vision creates change and now we will prove ourselves tocopier, recycled paper) and easy to distribute (mailouts, handouts, computer on-line), this modern marriage of word and picture is a powerful factor in protecting our freedoms of speech, action and thought. Comicbooks can serve to inspire, prompt, cajole, reflect, amuse, and generally spur on contestants in this race against time. within the first quarter-century. But that's another column. So comic books serve as the mechanism with which I will examine the emerging information age. The medium itself and the material it transmits both facilitate current evolution; and, I believe, as our awareness expands so does our collective ho- SPMWI THE ORPHEUM THEATRE TICKETS ON SALE NOW TICKETS AVAILABLE AT ALL TICKETMASTER OUTLETS OR CHARGE BY PHONE AT 280-4444 PRODUCED BY PERRYSCOPE NOVEMBER 1989 October 27 / 28 T.T. RACER November 3/4 TANKHOG November 10 /11 From Richmond, Virginia: SST Recording Artists THE ALTERNATIVES plus from TO. CELTIC BLUE November 17 / 18 SARCASTIC MANNEQUINS November 24 / 25 From Minneapolis: THE BONE CLUB with guests 683-1051 OORS OPEN 9:30 FRL, 10:30 SAT. SORRY, NO MINORS THROTTLED &ACK ON Ttil FIELZ>_ ^IHDUCER AHD PUNCHED* Up THb% GAMMA PRIVB TO r^ACH lO., SAL DROPPED BACK As I RAnntDWY INDUCERS TO MAK< TO £E co/vri/vueD... ,© peejr/gf FURREY SOOD Well hey. Believe it or not, there are various haunts in that tepid backwater, Surrey, worth checking out victual-wise. Should you ever venture across the Fraser, gingerly clutching your trusty Discorder in hand, here are some favourite hangouts of mine. NB: We're talking El Cheap-o here. None of that La Cote de Boeuf shit Following a more or less straight trajectory across the Pattullo (given that it doesn't collapse on you), the first eatery ofnoteyou'll encounter is housed in the community's bastion of culture, Surrey Place Shopping Centre. Yes, none other than the legendary Smitty's Pancake House. Enter via the main mall entrance off the east parking lot and don't be daunted by the omnipresent line-up. Those feather-haired, polyester-clad waitresses will disperse it eventually, and within await some of the fluffiest, lightest, thickest, most delectable waffles on Earth. (Within the restaurant, not the waitresses.) The rest of the menu consists of your basic family restaurant fare - burgers, steaks, chicken, salads, eck cetera. But the waffles, which definitely give the Elbow Room a run for the money, are worth the one-and-a- half hour Transit sojourn from the city. Only thing is, in these cholesterol-conscious times, the chocolate-chip waffle is no longer the sybaritic, strawberry- syrup-smothered extravaganza I remember from my childhood in the Seventies. Oh well. Order one with token nutritious blueberries thrown on top, and be transported. Did I mention that this place achieves a divine balance of clientele between mall- hung-over suburban mum-dad- and-kids ensembles and the faction of industrial-strength bikers that reign supreme at the two or three tables closest to the cash desk? You bet. The graffiti in the cans might be worth a gander too, though whether it can equal that found in the toilet of the Whalley Library down the street is doubtful. - "Iron Maiden rules" ■ "Rockers go to the library?!" Speaking of down the street by the Whalley Library, which is also where you'll find the storied Whalley Exchange, Evita's Donuts is your hole-in- the-wall refuge in times of Quick- I-need-to-shove-something- down-my-gullet-cheap trouble. Generally thronged with Transit operators, this place offers soup & san as well as the ubiquitous donuts; none really worth writing home about but in a pinch, they'll do. The important thing here is the slice of genuine local colour it affords you; the sociological contribution it has made to the Exchange lifestyle. And what a lifestyle that is. Down King George Highway in the opposite direction, south, you'll come across a strange dichotomy. Beside the sad and darkened shell of a small, unassuming brown cement-brick edifice sits alarge, assuming grey cement-brick edifice. Tim Hor- ton's both, the former the original, the latter its new replacement erected a year and a half ago. "Visitournew location just north of here" exhort the signs shuttering the windows of the old Horton's. I never have, but well do I remember family outings to the original in the heyday of the Seventies. Back then the brown cement-brick building was new itself; shiny red vinyl- upholstered seats lining the harvest-gold countertop; red one- piece molded melamine chairs anchored to aluminum supports at the tables (count 'em, three); and two of those perpetually- filtered juice-dispensing machines which were a source of endless fascination for my tiny 11-year-old mind. Chocolate glaze was my favourite variety of doughnut, though I also went for double chocolate. Or, if I was feeling really disgusting, I'd indulge in one of those lemon- filled ones with icing sugar on top. The kind that leaves your mouth welded shut with sugar for the next hour. C-FUN in the days when they still played Led Zep was piped in over the sound system; this and the all-pervading cigarette smoke combining to provide Mum & Dad with lots ofgristforthebitchmill.Mum& Dad, who always, always, ordered coffee and Dutchies. Ah, those were the days. Why the relocation of this venerable in stitution? Who knows, although Fascist plots and the proximity of the old building to a deep ravine (erosion?) figure prominently as possibilities. Whatever; I always say if it ain't broke, don't fix it. But Surrey logic is weird. Non-existent, actually. Yet further down the highway, heading into the genuine, where-the-world-is-hung- shut-with-pancakes heart of Surrey, you'll hit the Hearty Boy. Ensconced in one of those long, low generic cement-block Newton malls, ano-holds-barred greasy-spoon diner where good solid working-class breakfasts and lunches are the order of the day. (Read: cholesterolcity.) All- day breakfasts; farmer sausage specials; great homemade soups; and classic smartass cooks and waitresses are but a few of the Barty Hoy's charms. Cheap, plentiful chow served up on the double. And there's always a copy or two of the morning's Province floating around for perusal, to make your trip to Surrey complete. Now we do a bit of a loop-the-loop back up north to Guildford, 108th and 148th to be precise. Here, in Riverside Shopping Centre, lurks Salty's. Best fish & chips available, bar none. After having ascertained its somewhat inconspicuous whereabouts, you descend three steps into the Stygian darkness which is feebly pierced through by yellowing fluorescent panels. On either side of the gangway, long dark varnished picnic tables are ranged, supplemented down near thecounterby acoupleof smaller tables with electronic soccer games in their tops. Tacky tourist tea-towels depicting various British counties grace the walls (a pretty fail-safe indicator of good fish & chips). The fare is unpretentious - you won't find sharks fins on the menu here - and truly amazing, tastebudwise. Better than the Only, better even than Olympia. The lightest, most melt-in-your-mouth batter; the biggest, most potatoey-tasting chips; and a unique coleslaw in clear vinegar dressing which complements the seafood splendidly. Cheaper than any comparable place in the city too. Aces. Also worthy of mention for fish & chips in Surrey is Newton Fish & Chips, in the Safeway mall beside the Wave Pool. Really good mushy pea; good batter and chips; most amicable service; and hey, it's even cheaper than Salty's. Absurdly generous portions too. Right across the way, buried in the inner recesses of another long, low, half-unten- anted mall, is a place which, though it changes its name of- tener than I change my underwear, continues to make the best damn pizza in Surrey. (Yes, this is a compliment.) Greek Tav- erna, is, I think, the name it currently goes by, but I could be behind the times. (Did I change my underwear this morning, or...?) Anyway, genuine butt- kicking pizza from before the days of generic 2-for-1. IT LIVES IN SURREY... And hey, if by some cruel fluke you happen to be stuck in this lovely municipality (the largest in Canada) at an hour when all of the above are locked up tight, don't forget. Two convenient Bino's locations, one on Scott Road, the other on 152nd in Guildford. SMITTY'S PANCAKE HOUSE 10097 Surrey Place Mall EVITA'S DONUTS 100 -10252 135th St TIM HORTON'S 9595 King George Hwy THE HEARTY BOY 201 - 7093 King George Hwy SALTY'S FISH & CHIPS Riverside Shopping Centre, 108th Ave & 148th St NEWTON FISH & CHIPS 209-7115 138th St GREEK TAVERNA 7244 King George Hwy BINO'S 8170 120th St 10194 152nd St Next month (in all likelihood): Some of the weirdest places on Earth (well, in the Lower Mainland) to eat/procure food. THE BOOKS come EMPORIUM 50% MOST COMIC ITEMS NOVEMBER 1 - NOVEMBER 8 BOTH LOCATIONS: 1247 GRANVILLE Phone 682-3019 3347 KINGSWAY Phone 430-3003 NOVF.MBI'R 1989 31 ffiBSA f^l B^. JjHk$^PS 9 |gy ■k a^IH BIG AUDIO DYNAMITE MEGATOP PHOENIX SOUNDGARDEN LOUDER THAN LOVE DOUGHBOYS HOME AGAIN YOUNG GODS RED WATER GRUESOME TWOSOME HALLUCINATION GENERATION 24-7 SPYZ HARDER THAN YOU CURIOUS GEORGE CHILDREN OF A COMMON MOTHER VARIOUS ARTISTS INDIE TOP 20 VOL VII MARY'S DANISH THERE GOES THE WONDER TRUCK VARIOUS ARTISTS THE NEW BEAT R/EVOLUTION VARIOUS ARTISTS IT CAME FROM CANADA VOL 5 FETCHIN BONES MONSTER ASEXUALS DISH NATIONAL VELVET 68 HOURS 12" BLACK BY DEMAND DEARLY BELOVED 12" DINOSAUR JR. JUST LIKE HEAVEN 12" SUGARCUBES REGINA 12" JELLO BIAFRA HIGH PRIEST OF HARMFUL MATTER FUGAZI MARGIN WALKER BOOGIE DOWN PRODUCTIONS GHETTO MUSIC BEAT FARMERS POOR AND FAMOUS STOMPIN' TOM CONNORS FIDDLE AND SONG SKID ROPER & THE WHIRLING... TRAILS PLOWED UNDER NIRVANA BLEACH POGUES PEACE AND LOVE POP WILL EAT ITSELF THIS IS THE DAY. THIS IS THE HOUR... STONE ROSES SHE BANGS THE DRUM DANCESPEAK NECESSARY ILLUSION 12" SHELLEYAN ORPHAN CENTURY FLOWER JOHN LEE HOOKER THE HEALER FASTER PUSSYCAT WAKE ME WHEN IT'S OVER SPACEMAN 3 SOUND OF CONFUSION JONATHAN RICHMAN JONATHAN RICHMAN SUNRA BLUE DELIGHT JEGSY DODD & SONS OF HARRY WINES BARS AND... VARIOUS ARTISTS THE BRIDGE CHRIS AND COSEY TRUST EPMD UNFINISHED BUSINESS PETER GABRIEL MUSIC FROM THE LAST TEMPTATIO... NURSE WITH WOUND AUTOMATING VOL 2 COFFIN BREAK PSYCHOSIS LES NEGRESSES VERTES LES NEGRESSES VERTES NURSE WITH WOUND COOLOORTAMOON MARY MY HOPE MUSEUM MALCOLM MCLAREN WALTZ DARLING FUZZBOX SELF ALPHA BLONDY THE PROPHETS YARNISTAN LORKE A.C. MARIAS ONE OF OUR GIRLS JOHNZORN SPY VS SPY VARIOUS ARTISTS THE SONG REMAINS THE SAME MATERIAL SEVEN SOUL ADRIAN BELEW MR. MUSIC HEAD SALIF KEfTA KO-YAN RENEGADE SOUNDWAVE THE PHANTOM 12" JANESIBERRY BOUIND BY THE BEAUTY PHRANC 1 ENJOY BEING A GIRL BOLD MEANS CANADIAN, DONCHA KNOW. ARE YOU SERIOUS? MUSIC 8:00AM-NOON Wake up to Schoenberg. Varese. Berio. Carter. Scelsl. Xenakis. Schafer. Cage. Webem - Artistic Evel Knievels all. Nou- veau post-modern Instrumentalcompo- THE ROCKERS SHOW 12:1S-3:00PM Reggae. Rock Steady and Ska w George Barrett. Dance Hall Music! BLUES AND SOUL SHC Every Sunday, join Lc I 3:0O-S:00PM of blues, rhythm THE CiTR NEWS MAGAZINE S:00-S:30PM CiTR's In-depth current affairs/news magazine show. Coverage and analysis of the days news and sports.dairy editorial commentary, entertainment reviews and reports on events here at UBC. all in a comprehensive and comprehensible magazine package. And we promise, no traffic reports. JUST LIKE WOMEN 6:00-8:00PM Feminist news and analysis and music made by women for everybody. Atter- E SIGNALS io de la Cueva. ELECTRONIC S 8:00PM Information, news, interviews, political analyis from the global cultures of resis- Alterncrtes Sundays with Just Lil ON ESTEP BEYOND/RADIO FREE AMERICA 10:00PM-MIDNIGHT Join host Dave Emory for some extraordinary political research guaranteed to make you think twice. Bring your tape deck and two C-Ws. Originally broad- C(Los Al s.CA). IN THE GRIP OF INCOHERENCY 12:00- 4:00AM So what if Barry doesn't show up anymore? Who gives a shit? GuidoandTrini MONDAYS 3-5:30PM AIRA\ THEAI N SHOW 8:00-9:30PM THE MORNING SHOW 7:30-8:15AM See Monday for details. Wake up wr Kim and the Glenn Miller Orchestra. BLOOD ON THE SADDLE 1:15-3:0OPM Country music to scrape the cowsh'rt off your boots to. With yer host-poke. Jeff CONVER-RADIO 5:30-«:00PM Join Chris Brayshaw as he continues the search for interesting guests, interesting calers and inexpensive restaurantsabout town. Topicsthis month Include the proposed GST. UBC Board of Governors, and the Carmanah Valley. THE BETTY ft VERONICA SHOW 6:00- 7:00PM Join the Rrverdale Gang each week for funandfrtvolity! Popup! Tuneinl Turn to Betty's own column on page 18!! NEON MEATE DREAM 7:00-9:OOPM Likeyourworst nightmare and most erotic With Pete Lutwych. BEAT HEADS VERSUS WOLF AT THE DOOR m. Mike and Lupus on the rhythm VM^±UJ\'iM CONVER-RADIO 7:00-7:30AM Rebroadcast of Tuesday's 5:30 programme. THE MORNING SHOW 7:30-8.15AM See Monday for details. Wake up with WAKE UP AND SMELL THE COFFEE 10:30AM- 1:00PM "Te rry Sold Spin Grind" and he's on the air In the Kwa language of Yoruba, there are two words for radio: "Ghohun-ghohun" (snatcher of voices), and " A-s'oro ma gb'e reply). i" (that which speaks without pausing tor The newest additions to the CiTR playlist as well as the tortured ramblings of any musicians that fall into the tar pit. Facilitated by MD Chris Buchanan. The bg mouth is back, bigger and mouth- fair but hard-hitting style! we know about them? THIRTY THREE AND A THIRD 3:00-5:00PM The latest info on local bands and strictly Canadian tunes, along with the hottest playlist stuff and interviews! With Spike Stylus! THE MORNING SHOW 7.30-8:15AM From the famous siren t< mous BBC World Service, wake up with The CiTR Morning Show. Information to go: news, sports, weather and 'scenic view" (read: radar) reports, features, entertainment reviews and Alberta Hog THE AFTERNOON REPORT 1.00-M5PM Lunch goes down better with The Afternoon Report. Tune in for no frills news, sports, and weather. SOUND OF REALITY 3:00-S:OOPM Experimental Radio, with Vision! Featuring environmental sounds, found noises, information/propoganda and the worlds primitive and experimental musics from the auditory fringe. Live, too. Contribu- THE RETURN OF NECRO-NEOFILE 1:15- 8th Private Schools: Do they better prepare you for University life? 15th Duke's Cookies Revisited and other Alma Mater Society news 22nd Fraternities and Sororities: Are they on their way out? 29th What's you biggest beef about UBC? B.C. FOLK «:00-7:00PM THE CiTR NEWS MAGAZINE 5 See Sunday for details. Join host Ian Gunn here weekdays. SPORTS DIGEST 5:3O-6:0OPM Join the CiTR Sports Department for all the latest in Thundeibird varsity sports and sports everywhere else for that matter. Interviews tool »-8:00PM nt. women, the arts, corporate domination: If these topics interest your critical and active self, tune in to Larissa. Michael, and Andrew. Be aware. TOP OF THE BOPS 4:00-7:OOPM Trini Lopez. Ronnie Self, and The Phantom all love you. Marc Coulevln brings Rock W Roll to Its roots. Note the realty new time slot. Just for you. Claude. can sub-continent plus/minus afewoldie butgreatsandextras. Yourhost: Umerah Onukwulu. Welcome. MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY ill in I \i\] 7 N if 1 & J fl 1 A \ J) JUIlliftl KWl&HilWM SPORTS DIGEST CONVER-RADK JUST TALK ARTS CAFE n THE MORNING SHOW - BBC WORLD SERVICE AT 8:00 ii THE SATURDAY EDGE 9 10 ARE YOU SERIOUS? MUSIC BREAKFAST WITH THE BROWNS GARNET TIMOTHY HARRY \ 3 \ 3 COMMUNITY ADVENTURES PEST CONTROL HANFORD NUCLEAR... 11 WAKE UP AND SMELL THE COFFEE MOVING... <* *'* « A THE VENUS FLYTRAP SHOW JIGGLE ROCKERS SHOW POWER CHORD 1 2 \ ^ BLOOD ON THE SADDLE NEO- NECRO- NEOPHILEII % 8 NOUVEAU POOPE 3 THE ABSOLUTE... BLUES AND SOUL SHOW SOUND OF REALITY THE UNHEARD MUSIC THIRTY THREE AND A THIRD FLEX YOUR HEAD EFFECT NARDWUAR 4 ...VALUE OF NOISE 5 THE CiT ? NEWS MA GAZINE 6 ARTS CAFE JUST LIKE WOMEN/ ELECTRONIC SMOKE SIGNALS TOP OF THE BOPS BETTY AND VERONICA B.C. FOLK t ** A B EVERYTHING YOU KNOW IS WRONG 7 8 9 HOME TAPING I.N.T.E.R.N.A. T.I.O.N.A.L . AIR AWARE NEON MEATE DREAM SPIKE STYLUS PLAYLOUD (THIS IS NOT A TEST) THE AFRICAN SHOW HOOTENANNY SATURDAY NIGHT BRADY'S DATELESS SATURDAY NIGHT BEAT HEADS VERSUS WOLF AT THE DOOR THE JAZZ SHOW WITH GAVIN WALKER STOMP ON THAT BOPPA- TRON 10 11 12 THE JAZZ IS THE PITS ONE STEP BEYOND/ RADIO FREE AMERICA LIVE FROM THUNDERBIRD RADIO HELL RADIO FREE IN THE GRIP OF INCOHERENCY AURAL TENTACLES PERMANENT CULTURE SHOCK EATING VOMIT 1 2 3 4 ENVIRONMENTAL SCATOLGY SOUP STOCK FROM THE BONES OF THE ELEPHANT MAN MEGA BLAST i; 9 10 11 12 1 2 3 4 5 32 DISCORDER THE JAZZ SHOW 9:00PM-MIDNIGHT Now at a new time! Vancouver's bng- estrunnhg primetimejazzprogram. Features at 11 :00. Hosted by the ever-suave 1st The Great King Curtis is featured in a Jazz context with Nat Addertey. Wynton Kelty and others. 8th Mingut at Monterey, an Intense, once in a lifetime performance by Chal- res Mingus and Company at the Monterey Jazz Festival in 1964. 15th Freedom Now Suite by Max Roach. This muslco-sociologicaldocument is one of Roach's strongest recordings. Recorded in 1960. it's a mixture of Jazz and African music still fresh today. 22nd Native Dancer, an unjustty neglected album by Wayne Shorter who plays both soprano and tenor saxophone in combination with the great voice of Brazilian Milton Nasclmento. Greatcom- posltions by Shorter. Nascimentoand Her- 29th Presenting Cannon ball was the title of the first record date by Julian 'Can- nonball" Addertey. one of the truly great modem alto saxophonists. Addertey and his brother Nat took NY by storm; this album was the centre of that storm. nnrs JJEEJSH WHITE NOISE 6:00-7:O0AM Nova Express Mark II. 70's progressive meets 80s electronic. Anderson. Glass. Eno. Burroughs, prose, poetry and more. ITS JUSTTALK WITH R.J. MOORHOUSE 7:00- THE MORNING SHOW 7:30-8:15AM See Monday for details. Wake up with Kim and Chris. HANFORD NUCLEAR PIZZA PIE 10:00- West (you define). Note new time. THE AFTERNOON REPORT 1:00-1:15PM See Monday for details. FLEX YOUR HEAD 3:00-S:00PM —ERIC— —JINX- ARTS CAFE 5:30-6:00 PM In-depth arts analysis and general miscellany of commentary on the local arts HOOTENANNY SATURDAY NIGHT! 8:00- 10:00PM Hootenanny Saturday Night onThursday night. Get it? If not. we wouldn'a want ye listenin' anyhoo. Listen for Backwards Song to win prizes, and Lef s Ask Valerie. Listener's Choice. The 50e Record Hour COMMUNITY ADVENTURES 8:15-10:00AM JolnCiTRTraffic Director Ms Tania Alekson for all the lowdown In activities in you MOVING IMAGES 10:30-11:00AM Join host Ken Macintyre as he takes you on a tour thro ugh the silver screen'sback lot of life with film news, reviews, interviews and soundtracks. THE VENUS FLYTRAP SHOW 11:00AM- 1:00PM Hi I'm Greg Elsie! ABSOLUTE VALUE OF NOISE - PART ONE 2:30-3:30PM AND PART TWO 4:00-5:00PM Found sounds, tape loops, compositions of organized and unorganized aurality. power electricians and sound collage. Live experimental music. 100% Cana- NARDWUAR THE HUMAN SERVIETTE PRESENTS.... 3:3O-4:00PM i flavoured Clam Chowder- 3 Von Fluffebtein! OUTLINES 5:30-6:OOPM In-depth focus on a different issue each week. Interviews with community members. UBC professors and others. If you want us to cover a specific issue, let us 3rd Peace and as 10th Nuclear weapons: nuclear-free Vancouver? 17th The future of BC kelp farming HOME TAPING I.N.T.E.R.N.A.T.I.O.N.A.L 6:30-9:00PM Radio to record over. Tapein.tumon.no dropouts. STOMP ON THAT BOPPA-TRON 9:00-MID- NIGHT The latest & greatest in dance floor grooves. DJ Micky Hard brings you the big beat. SOUP STOCK FROM THE BONES OF THE ELEPHANT MAN 12:30-3:30AM Independent music from around the world ranging from the latest in club tunes to hardcore and industrial grunge. Live and pre-recorded interviews plus experimental accordion sessions. With Lloyd Uliana. SATURDAYS iY EDGE 8:00AM-NOON Steve Edge hosts Vancouver's biggest and best acoustic/roots/rogue folk music radio show. Now in its fifth year on CiTR! UK Soccer Report at 11:30. POWERCHORD 12:15-3:00PM Vancouver's only true metal show with the underground speed to mainstream metal; local demo tapes. Imports and other rarities. Gerald Rattlehead and Metal Ron do the damage. IN EFFECT 3:00-5:00PM The Hip Hop Beat brought to you by Niel Scobie-straight from the Island. EVERYTHING YOU KNOW IS WRONG 6:00- Brought to you by your friends from Ecrt- LIVE FROM THUNDERBIRD RADIO HELL 10:00PM-MIDNIGHT Join Ed. Peter, and John for a real live band in your livingroom. automobile or WalkPerson. Examine page 27 for the Tape-a-Manta cassette covert EATING VOMIT MIDNIGHT-5AM Hours of regurgitated rock 'n' roll snipped and glued by your favourite artists. You must team. DJs: Darren Reiter. Pat Mul- MEGABLAST! MIDNIGHT-3:00 AM Improvisation in many forms. Mixes that don't work but had to be tried. Requests that never get played. Welcome to late night radio. With Adam Sloaa ETCETERA.. POOPE 1:15-2:30PM UBC DIGEST Four times each day. hear the rundown on the latest events, lectures, gigs, and fun things occuring here on that campus next door to that world famous skin cancer site. All in an entertaining package of fun! CITYSCAPE Several times a day. listings are read out for all the hip happenings here in the city of rain. Concerts and clubs, theatre, film and cinema: everything you could possibly want and more. Just listen. And if youoryourgroup wants to publicise your event, please do drop off the details here at CiTR! COMMUNITY ACCESS CiTRprovidesfreeairtimeforCommunity Access by groups and individuals. If you or your group would like to say something to someone somewhere, please call the Program Director at 228-3017. LIVE SPORTS ON CiTR Join the crack CiTR Sports Unit for play- by-play coverage of a mess o' varsity sports both on the campus and off. from soccer to football to ice hockey to basketball. Find out the reason why the TR" is in CiTR. Upcoming games carried by CiTR which will pre-empt regular CiTR programming: BALL VS U OF SASKATCHEWAN. SATURDAY THE 2ND. 1:00PM: BC HIGH SCHOOL BOYS BASKETBALL CHAMPIONSHIPS. SATURDAY THE 9TH. 1:00PM: BC HIGH SCHOOL GIRLS BASKETBALL CHAMPIONSHIPS. JANUARY SATURDAY THE 6TH. 8:00PM: MEN'S BASKETBALL VS U OF SASKATCHEWAN. SATURDAY THE 13TH. 7:30PM: MENS ICE HOCKEY VS U OF REGINA FRIDAY THE 19TH. 8:00PM: MEN'S BASKETBALL VS U OF VICTORIA. SATURDAY THE 20TH. 8:00PM: MEN'S BASKETBALL VS U OF VICTORIA. FRIDAY THE 26TH. 7:30PM: MEN'S ICE HOCKEY VS U OF MANITOBA. SATURDAY THE 27TH, 8:00PM: MEN'S BASKETBALL VS U OF LETHBRIDGE. HOCKEY VS U OF BRANDON. SATURDAY THE 17TH. 7:45PM: MEN'S BASKETBALL VS U OF CALGARY. VOLUNTEER OPPORTUNITIES CiTRwantsyouto become involved with your friendly UBC Radio Station which broadcasts to the campus and beyond. Opportunities abound! Wheeee! Programming, producing, editing, writing, engineering, operating, announcing, hosting, etc etc etc. Come by the stu- diosduringnormaloffice hours. We're located in Room #233 on the second floor of the Student Union Building. Or phone us at 228-3017. WHOM TO CONTACT THE FOLLOWING FOLKS ARE THE ONES YOU SHOULD GET AHOLD OF 'CAUSE THEY'RE THE ONES YOU SHOULD GET AHOLD OF. PRESIDENT LANE DUNLOP VICE PRESIDENT ROBYNN IWATA BUSINESS MANAGER BARBARA WILSON MUSIC DIRECTOR CHRIS BUCHANAN PRODUCTION MANAGER ADAM SLOAN PROGRAM DIRECTOR RANDY IWATA TRAFFIC DIRECTOR TANIA ALEKSON SPORTS DIRECTOR JEFF PATERSON NEWS DIRECTOR STEFAN ELLIS SECRETARY JOHANNA BLOCK DEVELOPMENT COORDINATOR LINDA SCHOLTEN VOLUNTEER COORDINATOR BILL BAKER DEMO DIRECTOR DALE SAWYER RECORD LIBRARIAN JEROME PRINGLE MOBILE SOUND LANE DUNLOP HOW TO CONTACT BUSINESS UNE 228-3017 DJ UNE 228-2487 (228-CiTR) NEWS UNE 224-4320 FAX UNE 228HJ093 THE SURVEY.... Don't forget to till out a Great CiTR Listen- ers'Survey! Blank surveys are in the September and October 89 issues of this here publication. Get yer hands on a copy. If you submit a survey by the 10th ol November, you could win one ol CiTR's tunky new t-shirts, some funky new CiTR buttons, or tome recent record releases. Seriously. Drop off surveys at Zulu Records (1869 W4th), Scratch Records (31 7A Cambie), Odyssey Imports (534 Seymour) and here at CiTR (6138 SUB Blvd). Results will be In the December 89 issue. African Superstar Virgin Recording Artist "the Lion" YOUSSOUN'DOUR WITH HIS AFRICAN DANCE BAND PLUS SPECIAL GUESTS —■ '-vi"uuucai& THE COMMODORE THURSDAY NOVEMBER 23 AND FRIDAY NOVEMBER 24 10 PM . DOORS 8:30 HighMeRecords. CHAFIGE BY PHONE: 280-4444. STUDENTS - WELCOME TO JPflRflf)ISf^ VANCOUVER'S BEST SHOW VALUE! ENJOY THE BEST IN MOVIE ENTERTAINMENT AT THE LOWEST TICKET PRICE IN TOWN ALL SEATS ALL DAY ONLY $2.50! BUT THAT'S NOT ALL... THE PARADISE • FINEST PROJECTION AND SOUND • BEAUTIFULLY APPOINTED DECOR • BALCONY ALWAYS OPEN • CONVENIENT "PUSH-BACK" SEATING • FRIENDLY, COURTEOUS STAFF • BUDGET PRICED REFRESHMENTS - Fresh Popcorn, Real Butter WHY PAY OUR COMPETITOR'S INFLATED TICKET PRICES? WHY STAY AT HOME AND ACCEPT INFERIOR VIDEO QUALITY? SAVE BIG & SEE MOVIES THE WAY THEY WERE MEANT TO BE SEEN... ON OUR GIANT SCREEN!! VISIT US SOON!... You'll Be Back! 24 HR. SHOW INFO: 681-1732 NOVEMBER 1989 33 •\.#*r X&H&HA AFTER HOURS FRI/SAT 13-5 684-3322 1108 kaMittftii bitui 1 WED Ian Coleman's Jazz Quartet at The Classical Joint...Savoy Brown at the Town Pump...Shroooooms (Sex, Drugs, Rock 'n Roll...and Murder) continues at the Firehall Arts Centre (11:00pm. $6 general, $5 students)... Garnet Rogers at the WISE Hall (8:30pm, ($12)...David Cronenberg series with Rabid (7pm & 930pm) at Cinema 16... Mapantsula at the Vancouver East i Cinema (7:30 & 9:35pm)... Hot Wednesdays in the Pit Pub... Winston Kam's Letter to Wu atthe Firehall Arts Centre (matinee at 100)... 2 THU Gavin Walker's Jazz Quniiet at The Classical Joint... Shrooooomj at the Firehall Arts Centre (11:00pm, $6 general. $5 students)... Headlines Theatre presents the return of Sanctuary at the Vancouver East Cultural Centre (8pm, $8 general, $6 students)...Cool Thursdays in the Pit Pub...Yolacamba Ita at the Vancouver East Cultural Centre (8pm, $12)...Mapantsula at the Vancouver East Cinema (7:30 & 3 FRI f hroooooms at the Firehall Arts Centre (11:00pm, $6 general. $5 students)...Sons of Freedom, Caterwaul and Walking Wounded at 86 Street... Kevin Elashuk's Jazz Quartet at The Classical Joint... Don Druickin concert in the Contemporary Art Gallery (8pm)...Peter Mauler's The Top of This Head at the Van East Cinema (7:15 4 9:30)... Letter to Wu at the 4 SAT Pro-Choice benefit for the erywoman's Health Centre featurinr etry, music, and dance at the Western Froi (lor inlo, call 732-5087)...The Alarm at 8 Street... Kevin Elashuk's Jazz Quartet I TheClassical Joint... Sanctuary at the Vai couver East Cultural Centre (8pm, $8 get eral, $6students)...Shrooooomsatthe Fin hall Arts Centre (11:00pm, $6 general, $ students)... Painters and Dockers at th Town Pump...Orford String Quartet in th UBC Recital Hall (8pm, $10)...Peter Mettler The Top of This Head at the Van Ea: Cinema (7:154 9:30)... Letter to Wu at th Firehall Arts Centre (2lor 1 matinee at 2:00) 5 SUN RCA recording artists Hoodo Ev- Pump... Centre (2:00pm matinee. $4 general in the Pit Pub...Glenn Gould on Fil with The Terminal Man & i the Record (7:30pm) at Pacific Cinematheque... Peter Mettler's The Top ol This Head al the Van East Cinema (7:15 & 9:30)... Letter to Wu at the Firehall Arts Centre... ...The i & Glenn Id-Offlh ord(730pm)atPacificCinematheque...Kate Hammet Vaughn at The Classical Joint... Lavendar Hill Mob at SUB Theatre (7pm 4 9:30pm)...Discover Dance continues at the Vancouver Playhousewith Susanne Linke... Kinoshita's The Outcast and Miyogi leki's Half Brothers at the Vancouver East Cinema (7:00 & 9:00)... 7 TUE The Mazeltones at the Vancouver East Cultural Centre (8pm, $12)... Saul Berson's Jazz at The Classical Joint... Discover Dance continues at the Vancouver Playhousewith Susanne Linke...Kinoshita's The Outcastand Miyogi leki's Hall Brothers at the Van East Cinema (7:00 & 9:00)... 8 WED lanColem The Classical Joint...T bration with Oliver Lake Quartet from New Yorkwith Lunar Adventures at the Vancou- Rogers and Phil Cunningham at the WISE HALL... Bergman on Relationships series with From the Life of the Marionettes (7pm in the Pit Pub...Peter Mettler's The Top of This Head at the Van East Cinema (7:15 & 9:30)... innyGoliaandRob Frayne Quintet with the Richard Under- hill/Tom Walsh Duo at the Vancouver East Cultural Centre (8pm)... Phil Cunningham and Ad Vielle Que Pourra al the WISE Hall (8:30pm, $9)...Big Bad Wolf and Shy Thunder at the Commodore... Cool Thursdays in the Pit Pub...Peter Mettler's The Top of This Head at the Van East Cinema (7:154 9:30)... 10 FRI Roberto and Mara Ballarin at The Classical Joint... Time Flies Jazz Celebration continues with The Vinny Golia Orchestra at the Vancouver East Cultural Centre (8pm) and Unity at TheGlass Slipper 11 SAT Roberto and Mara Ballarin at The Classical Joint... Time Flies Jazz Celebration continues with Joanne Brackeen Trio at the Vancouver East Cultural Centre (8pm) and Chief Feature at The Glass Slipper (11 :00)... Judy Mowatt & the Calabash Band and Farafinaallhe Commodore...The Scramblers al the Town P ump...The Grapes of Wrath with Sarah McLachlan at the Or- ,'zCe!e The Glas: Mr (9:00)... Mike t The Classical Joint...Morris Tepper at the Town Pump...Glenn Gould on FilmSeries with The Wars 4 Spheres (7:30pm) al Pacific Cinematheque...Music in the Pit Pub... 1 3 MON Shindig '89 at the Railway... at the Vancouver East Cutti 4 10:00)... Kate Hammet College (1:00)...The Wa (7:30pm) at Pacilic Cine African Queen at SUB _ 9:30pm)...Boyfriends* Gi Fillette at the Van East I 9:30)... 8 9:30pm. $2.50)... Boyfriends & Girlfriends and 36 Fillette at Ihe Vancouver East Cinema (7:30 & 9:30)... 15 WED The Oyster Band at the Commodore...Ian Coleman's Jazz Quartet at The Classical Joint...Continuing the Kurosawa Epics Series. Cinema 16 presents Sanjuro (7:30 & 9:30pm, $2.50) in Ihe UBC SUB Theatre.. In Visible Colours " eoFestiva atSFUHc cu.'Con Cenfe Nakami I The Wife of Seishu Hanaoko al Ihe Van East Cinema (7:00 & 10:00)... at the Freddy Wood Thealre (8pm. $1 Oadulls. $7 students)... 16 THU Gavin Walker's Jazz Quartet at The Classical Joint... Sun Rhythm Sec- 1 7 FRI Sun Rhythm Section with The at the Town Pump...Murray McLauchlanat the Vancouver East Cultural Centre (8pm, $12)...Jennifer Scott al TheClassical Joint... In Visible Colours conlinues at SFU Har- bourside with Celebrating Our Cinema (10.00am), The Risks of Self-Definition (1:30pm) and Voices and N (3:30pm)... She Stoops to Conquer a Freddy Wood (8pm, $10 adults, $7 stu 18 SAT Connie Kaldor at the Centennial Theatre (8:30pm. $12)...Koko Taylor & Lonnie Brooks at the Commodore...Bob's Your Uncle at the Town Pump...Murray McLauchlan at the Vancouver East Cultural Centre (8pm. $12)...Jenniter Scott at The Classical Joint... In Visible Colours continues at SF U Harbourside with Structure and Politics of Film and Video Industries/ Getting Started: Access and Training/ Production and Co-Productions (10:00am), and Distribution: Existing Structures and Alternative Models/Censorship/Women's Production Co-ops (1:30pm)... She Stoops to Conquer at Freddy Wood (8pm, $10 adults, $7 stu- 19 SUN Koko Taylor at the Town Pump.Ian Coleman's Jazz Quartet at The Classical Joint...In Visible Colours continues at SFU Harbourside with Creating New Aesthetics/Beyond the Exotic and Erotic/ Cinema and Community Development (10:00am). and Plenary Session (2:00pm).. She Stoops to Conquer at Freddy Wood (8pm, $10 adults. $7 students)... 20 MON Shindig '89 Round Two at SUB Theatre... Teshigahara's The Face of Another (7:00) and Tomu Uchida's The Straits of Hunger (9:15) at the Van East " Cinema...SheStoopstoConqueratFreddy Wood (8pm, $10 adults, $7 students)... 21 TUE Taj Mahal and The Jack Lavin Band at the Commodore...Saul Berson's Jazz at The Classical Joint... Teshigahara's The Face of Another (10:10) and Tomu Uchida's The Straits ol Hunger (7:00) at the Van East Cinema)... She Stoops to Conquer at Freddy Wood (8pm, $10 adults, $7 stu- 22 WED Ian Coleman's Jazz Quartet at The Classical Joint...Continuing the Stanley Kubrick series. Cinema 16 presents Barry Lyndon at the SUB Theatre (8:00, $2.50)... A Rusting of Leaves: Inside the Revolution (7:00) and Perfurmed Nightmare (9:15) at the Van East Cinema... CiTR it Pub...S ■ Stoops to Conquer a 23 THU Youssou N'Dour and the Super Stars Band trom Dakar at the Commodore... Gavin Walker's Jazz Quartet at The Classical Joint... A Rusting of Leaves: Inside the Revolution (7:00) and Perfurmed Nightmare (9:15) at the Van East Cinema ... CiTR provides the music on Cool Thursdays in the Pit Pub...She Stoops to atFreddy Wood (8pm.$10adults, $7 SI 24 FRI Youssou N'Dour and theSuper Stars Band at the Commodore...54-40 and Ultima Thule at the Orpheum... Freedom Force Trio al The Classical Joint...Cane Toads: An Unnatural History and Feathers atthe Vancouver East Cinema (7:304 9:30)... She Stoops to Conquer at Freddy Wood (8pm. $10 adults, $7 students)... 25 SAT Washington's Unda Allen at the WISE Hall (8:30pm)... Freedom Force Trio at The Classical Joint...Cane Toads: An Unnatural History and Feathers at the Vancouver East Cinema (7:30& 9:30)... She Stoops to Conquer at Freddy Wood (8pm. $10 ac s, $7 St. 26 SUN Judy Small at the Vancouver East Cultural Centre... Isaac Guillory from the USA at the Railway Club (8:30pm)... Budge Schatche's Jazz Trio at The Classical Joint... Cane Toads: An Unnatural History and Feathers at the Van East Cinema (7:30 4 930)... D CARD 27 MON SHINDIG '89 V, ROUND at the Railway with the runners-up trom the two Semi-Final rounds competing to advance to the finals... Kate Hammet Vaughn at The Classical Joint...Monty Python and the Holy Grail at SUB Theatre... Kurohara's Thirst for Love (7:00) and Ic- hikawa's I am a Cat (9:00) at the Vancouver East Cinema... 28 TUE Saul Berson's Jazz at The Classical Joint... The Purcell String Quartet at Hycroft Manor (8:00)... Kurohara's Thirst for Love (7:00) and Ichikawa's I am a Cat Scanners at the SUB Theatre (7:00 4 9:30pm, $2.50)... Beirut: The Last Home Movie at the Vancouver East Cinema (7:00 4 9:30)... CiTR provides the music for Hot Wednesdays in the Pit Pub... 30 THU Gavin Walkers Jazz Quartet at The Classical Joint... Pianist Roger Smal- leyintheUBC Recital Hall(8:00pm)... Beirut: Home Movie at the Vancouver ia (7:00 4 9:30)... CiTR provides ol Thursdays in thePit Pub... The Last SITES/VENUES/PLACES ARTS CLUB 1181 Seymour Street 683- 0151 CAPILANO COLLEGE 2055 Purcell Way 984-4951 CENTENNIALTHEATRE23rdandLonsdale CLASSICAL JOINT 231 Carrall Street, Gastown 689-0667 CLUBSODA 1055 Homer Street 681-6202 COMMODORE BALLROOM 870 Granville Mall 6 '■7838 CONTEMPORARY ART GALLERY 555 Hamilton Street 86 STREET MUSIC HALL in the god forsaken Socred Centre. Expo Site 683-8687 FIREHALL ARTS CENTRE 280 Carrall Street FREDDY WOOD THEATRE 6454 Crescent GALLERY LOUNGE Main Floor, Student Union Building, 6138 SUB Boulevard, UBC GLASS SUPPER 185 East 11th Avenue GRUNTGALLERY 209East6th 875-9516 LA QUENA COFFEE HOUSE 1111 Commercial Drive 251-6626 PACIFIC CINEMATHEQUE 1131 Howe Street 688-3456 PIT PUB Basement of the Student Union Building. 6138 SUB Boulevard. UBC RAILWAY CLUB 579 Dunsmuir Street at Seymour 681-1625 RECITAL HALL UBC School of Music, 6361 Memorial Road, UBC 228-3113 RIDGE THEATRE 3131 Arbutus Street at 16th 738-6311 RJ CHRISTIE'S 315 East Broadway 876- 6777 SFU HARBOUR CENTRE 515 West Hastings 291-3111 STATION STREET ARTS CENTRE 930 Station Street 688-3312 Floor ot SUB 228- N PUMP e fjr Street. Gastown VAN-"' ' Vf R EAST CINEMA 2290 Com- me. 1 253-5455 VANC'jjVtHEASTCULTURALCENTRE 1895 Variables Street 254-9578 W.I.S.E. CLUB HALL 1882Adanac 736- 3022 THE YALE 1300 Granville at Drake 681- 9253 The listings in Discorder Datebook do not cost a single stinking dime. Listings are printed based on available space. II you would like your listings included in this here page, just submit any and all details to Discorder Date- book, C/O Discorder Magazine, 6138 SUB Blvd, Vancouver, BC V6T2A5. Oh, by the way, if you would like your announcement aired on CiTR, send your stufl to the above address too. 34 DISCORDER EVERY MONDAY AT THE RAILWAY \ s SEMI FINALS ROUND TWO NOVEMBER 20 ROUND THREE NOVEMBER 27 prizes courtesy of: 36 hours studio time - 24 hours studio time 24 hours studio time another fine CiTR production
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1989-11-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1989-11-01 |
Extent | 36 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1989_11 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 271d3557-0503-4e07-afc9-405add3c98fe |
DOI | 10.14288/1.0050313 |
AggregatedSourceRepository | CONTENTdm |
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