SEPTEMBER 1991
/■*> "...she appeared in a skimpy
black skirt brandishing a
whip. She toned down her dress
later to try to escape the lunatic
^e#" The Province. 1991.
c
o
V
E
R
STARTS
A
U
G
U
s
T
1991
d
IF YOU MISSED TOE CHANCE TO ENJOY ^
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AUGUST 1991 - ISSUE #104...
IRREGULARS
WOMEN OF THE FOLK FEST
COWSHEAD
CHRONICLES
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DOING DRUGS IN PUBLIC
The How To (or not how to) 10
HELP!!!
Back Alley Fiction 11
MIND EXPANSION FOR THE WHY BOTHER GENERATION
Truly Heady Stuff 12
KING MISSILE
Homing Into You 13
GUMBALL
FISHBONE
Hardcore Fillet 15
GO TO THE BIG APPLE AND TAKE A BIT F
The Adventures of Rowena and Ricardo 17
SANTA CLAUS KILLED THE SHOEMAKER
Helen BecomesOneOf The Walking Wounded 18
REGULARS
AIRHEAD 5 REAL LIVE ACTION 30
MINIS 6 UNDER REVIEW 32
VANCOUVER SPECIAL 26 FUTURE RAP 33
FELICITY 27 DATEBOOK 35
SHINDIG 27 ON THE DIAL 36
SUBTEXT 28 CHARTS 29
COMICS
DUMMYHEDS, FOUND IN SUPPOSEDLY EMPTY EQUIPMENT
ATSEATTLE, WASHINGTON 5
THETROLLS byGaryWildeman 38
COVER
OFFICE USE ONLY
EDITORS Johanna Block, Chris "the Merry Prankster" Buchanan
ART DIRECTOR Deborah Bolingbroke-Price PRODUCTION MANAGER
Lydia Schymansky EDITORIAL PRODUCTION ASSISTANTS Mindy
Abramowitz. Deb. Judith Beeman. Leslie Elliott. Helen Godolphin.
Mike McClean. Tom Milne. CAPITALIZATION CONSULTANT Bill
Baker GRAPHICS Johanna. Deb. Rod McFarland. Larry MacDougall.
Janis Warren. Gary Wilderman PROGRAM GUIDE Adam Sloan SPINLIST
Robynn Iwata ADVERTISING Anthony Hempell LOCAL DISTRIBUTION Matt Steffich SUBSCRIPTIONS'MAIL DISTRIBUTION Lydia
Schymansky DATEBOOK 'DELIVERY FRIEND Randy Iwata TECHNICAL
SUPPORT Ted n' Sue PUBLISHER 'ACCOUN TS Linda Scholten SWEAT
Discorder Copyright • 1991 by The Student Radio Society of the
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#7 ALEXANDER STREET
GASTOWN 682-8550 fon. m
Afly7H'fJ&/:
KOMET Records Presents.
M fl j'/ PI i,
Girl Gangs... |V _\ f / [ r*1 T^J -_f _j ___ , ■ #
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A KOMET INTERNATIONAL RELEASE
Starring Ex Big Members of
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THE OUTRAGEOUS
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opened* fa TOUCH £111(1 GOS
Friday Sept. 27 at the Town Pump <Yo 6138 SUB Blvd.
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V6T 2A5
•-.iir-i_is.y-.Ti
CREATIVE WARNING NO.l
-Hey Ginger you suck! You're a non-moviestari
-Gilligan you jerk! What would you know about real talent
anyway?
-Well, well, well, I knowthat Mary-Anne can sure bite the big
one better than you could you old fish...
-Mary...that SLUT!
-Ohyeah?Well she's realtalented AND Mr. Howell thinks so
too and when we get rescued he's going to make her a big
star in his new super-duper 'High Road to Castaway Island'
production!
-Aaagh! We'll just see about that you little shit! I'm going to
write a letter to Discorder and drag all your names through
the mud 'cause I'm the moviestar here not you two-bit
twerps.
-Go ahead Ginger let 'em print it. What do they care? All It'll
do is show everybody what a vendictive, small-minded,
greedy person you are...
-I don't care!
-Oh yeah? Professor says that 93% of mail that media
publications such as Discorderget is stuff that people want
printed so they can slag their enemies. Pretty soon no one
will take Airhead or you, (same thing!) seriously!
-Well, there is my reputation...
-If you're gonna write Discorder a letter, make it constructive
so we can get off this fuckin' island!
Actually, Elspeth, as you may remember, the handmembers stated
that the next step for them would be
to adopt differnt personal names.
Thus, we'd like to think we merely
helped them, and in particular —
"Doug," along in their endeavours.
DOUBLE GLAZING IS
NICE BUT IN BRAZIL
TKEY HAVE SPACE
Rio de Janeiro 26-06-91
Dear friend of DISCORDER:
I want know your FANZINE, how I
do for it?... This is my international
Fanzine: "HALLUCINATION".
Send your opinion,
colaburation...etc...ANSWER
PLEASEI...THANKYOU!
Alberto
My adress is:
CX.Postal 95042
STA.Cruz Da Serra,
Duque De Caxias, CEP25241
RJ - Brasil
IRONIC BUTTERFLY
Dear Discorder
It seems to have become rather
common for people talking about or
reviewing hardcore bands to describe
them as generic. Now to suggest that
every group of people who decide to
play hardcore are going to be completely original is ludicrous and therefore some generic bands would be
expected.
However, a large number of
the people who most loudly disclaim
hardcore seem to be former fans
who have now latched on to some
other style of music. These people
will trumpet any band which plays
this new and improved flavour of
music while slagging off all new
hardcore bands as generic, not like
in the good old days when they listened to hardcore. The ironic thing is
that these poele make up the large
masses of unimaginative trend followers who made hardcore generic
A READER GETS TART
AND TINGLY
Dear One-Tenth of Kreviss: Re:
Your letter, August Discorder.
I don't understand why you
think lhat Bruno's review of your
band in the July Discorder was so
inept. If you did not want your
band's "musical performance" to
be rated by your three-tenths (does
it count as four-tenths if one of you
sleeps two members of stupid conductor?) sexual activities why name
the band Kreviss? Or was the name
"just a joke" that Bruno was too
dimwitted to understand? Perhaps
the joke is on you, my dear. If
Kreviss leam how to change chords
without staring blankly at their fingers most of the time maybe their
sexual activities will not be as interesting as their musical proficiency. But as Kreviss has displayed
little of the latter I guess they are
doomed to those nasty spiteful re-
Also, who cares if you know
who Bruno is? If you are so upset
why not save a tree and whine, or
screech, at him in. person? I know
you won't really shove a vibrator up
his ass because you don't dig butt
pom that's Octatraktor's scene. Or
maybe you should just spend more
time practising and we will all forget
about those sexual nintendos.
Love and Kisses,
Relic
KNIT ONE PEARL
TWO...WHATS IN A
NAME?
DcarEd(s):
Re: July article on G.L.M.
Not to knit pick — B UT—There is
no 'Doug' in God's Little Monkeys.
Nor has there ever been a 'Doug' in
the band. First crack at the whip and
you've already fucked up. Shame
on you and shame on Mr. De La
Good luck on future issues.
Sincerely cynical from
Elspeth Haughton
in the first place. Now these leeches
wull suck the life out of their latest
obsession burying the people with
interesting ideas in a shallow grave
of fashion and pretense. As far as
hardcore goes I can only say good
riddance but as someone who appreciates a lot of other different musical
styles, it seems too bad that these
people couldn't be slightly more
openminded instead of opting for
the flavour of the month. Oh well,
people are pathetic why should I
Il is not good enough to describe a band as generic hardcore
without comparing them to at least
one other band otherwisde how generic can they be? Someone who can
be no more specific than "generic
hardcore" when describing a band is
obviously too ignorant to know if
they are are or not should shut the
fuck up. If you are one of these
people who need to point out that
hardcore has a tendency to be generic (unlike any other form of music of
revelation, don' bother because nobody's interested.
Kevin Connor
P.S. To those to who it applies I
would like to extend my personal
thanks to you for deciding to suck
your identity from some other scene
because hardcore can only get better
without you.
PAINTING THE ROSES
VIOLET
To Whom It May Concern,
©Sflfip&twMatfQ.
r~-
GAP IN
E/MJIY
WATCH
IyovRstep I
0"
I would like to express my disapproval ofthe slagging comment on
page 26 of your magazine [Ed.—of
the August issue]. Unfortunately, I
was considering advertising with
you but seeing you feel the way you
do about my ads, you've just lost a
lot of money.
In one paragraph one of your
employees severely cut down my
store, my ads, and my staff ("KK
and the Sunshine Bang"?).
My ads do a fuck of a lot more
for the local music scene by featuring it in a positive light as opposed
to your miserable, pessimistic re-
The comments by our employee
(read volunteer columinist), "go
back to Glamland where you came
from and, for fucks sake, take Violet Addiction with you (nice ad
guys)....ImissedKX. and the Sunshine Bang for obvious reasons,"
opiniated, as they are suppose lo
be. We feel Discorder is supportive
of the local music scene, which
does not mean being uncritical.
Therefore, we let the opinions and
thoughts of our writers remain untouched by our hands, the hands of
the artists, and ouradvertisers. Fortunately, Discorder is in a position
where its advertisers, or supposedly potential advertisers, are not ina
position lo dictate the content of
Discorder, unlike many other publications.
fR-XMrOJM OWLD ALWAYS DEAL WiTH
V^IL,g/MNAiDSr4ouy ft/T-fiE. HADtf'T
0**u>JT£D ON ©ATAMTSciQ^AUSM.
Dear Discorder:
REVOLUTION BEGINS IN
YOUR HEART, IN YOUR RE-I
FUSAL TO COMPROMISE!
YOUR OWN BELIEFS.
Once again a reader has w
ten to Airhead and made state-"
ments to the effect that the
Gothic/death/industrial music scene is dead and there is
a sudden upsurging of beings
going about clad in black pretending, thatit's 1983 all over
The "Black" scene is just a
small micro-organism of
what makes up the Alternative scene,(a subculture within a larger subculture). Gladly, they share the ranks with
skaters, thrashers, punks, ska,
reggae, the new hippy movement, skinheads, any sort of
post-punk society that
emerged during the eighties
(and that "conventional society" disapproved of). In the
seventies the Sex Pistols/
Clash/David Bowie eta made
bold socially conscientious
and outrageous statements
through music, fashion, art,
etc.
A few issues back in the
Discorder survey, the question was asked, "Whal punk
is? Alifestyle.amusical style,
or a fashion statement". One
answer...it's a musical style
that created a lifestyle and a
fashion statement. To read a
letterfrom someone who said
CKf\
~ 5 IN J
LRE-|/
_iseB
they were a part of the "Scene" in
its formative years and believed it
had absolutely no meaning other
than to see who had the coolest
shoes is very offensive and I have
a strong feeling he or she is a poser
or a trendoid who is shaking his or
her bootie to the pseudo-disco of
the moment waiting for the next
happening thing to come along.
Is the "Scene" gone just because Bauhaus is? While Bauhaus
might not exist in lhat particular
entity, it's former members have
done numerous recordings in spinoff groups etc. The artists have
evolved past 1987, so why can't
the people they influence. I certainly am not living for the early
years but when I put on any of my
albums from that era I still hear the
emotions that are caught up in it.
To say "Goths" have no purpose is
untrue. Gothic/industrial/death
rock is still consciously shocking,
still confronting people to examine
themselves and their purpose in
life.
Let me ask you this: what is
the purpose of one who frequents
The Roxy, or Richard on Richards? I'd liketoknow the answerto
that question.
It is unfortunate that there also many misconceptions about
what the alternative scene is, but
this is caused by narrow-mindedness and people unwilling to expand their safe and secure worlds.
Or, of course, there's always the
trendies whohavenosense of commitment and flit from one thing to
another for the sake of looking
cool,(as compared to being cool).
The so-called "Goth" resurgence (Oh my God, they're bade)
is really a non-event. They were
always there. Perhaps just waiting
for someone to realize it, start playing the music again and make it
once more a visible part of the
"Scene." Even if it is 1991, the
sentiments and emotions of the past
don't disappear. They only evolve
and move forward and that's why
almost ten years later I still wear
black, still listen to music that's
considered to be on the cutting
edge and still believe in something
that is very difficult to define.
Society does not accept that
which is different from itself, and
therefor, that which is different
must struggle for acceptance for
what it is without compromising
for the sake of others.
Zanna Severin
For reasons of brevity we haved
ediledZanna Severin's letter: Normally all A irhead letters are print-
S_^£S_3© IJyijraJv
Pi
i kVi
1 i __. 1
n_-^
HENRY
KAISER
BY PETE
LUTWYCHE
Henry Kaiser, guitarist extraordinaire, veteran of over 75 albums (How about that, Billy
Childish?), was at the folk festival with his new east-meets-
west acoustic group. Discorder
spoke to him there.
Discorder: How didyou come
to put this band together?
Henry: We're just doing this
'cos we enjoy playing together. People keep calling us and
asking us to play, we don't pursue—if people call us, we'll
come play.
Discorder: You're very busy.
Do you get much time to practice guitar?
Henry: No, I never practice. I
never play unless I'm on stage
or recording.
Discorder: That's not going
to make people who admire
your playing feel any better.
Henry: Well, the guitar is a
very easy instrument. I think
it's all attitude. I worry about
music education in North
America. I think the reason that
I can do some things on the
guitar that may impress some
segment of the audience is really to do with attitude more
than any kind of practicing. I
think music education is designed really backwards, to
keep people from expressing
themselves. I think accidentally coming to music inspired by
_^ the great British and European
g free improvisers, coming from
_| thatphilosophicalpointofview
_j I started off thinking every-
| body should be really creative
2. and expressive. Classical mu-
w sic education is just crippling a
person's creativity. It's just horrible.
Discorder: I guess with classi -
cal training, you 're not taught to
make music, but be a technician, translating other people's
ideas as perfectly as possible.
Henry: And you 're taught to do
it in a way that destroys your
mind. It's all designed to support the exploitative system of
composer and performer, which
is a false distinction that's developed in classical music—
something that doesn't really
exist in true folk traditions. Classical music represents less than
1% of the music on the planet,
and to teach this way is just
stupid, it results in very little
music being made.
Discorder: When did you develop your eclectic music tastes?
Henry: In high school, 'cos I
listened to non-commercial radio stations, listener-supported
radio. Free-form radio we had
in the '60's in California, who
wouldplay Ah Akbar Khan right
next to Cecil Taylor right next to
Bob Wills rightnextto The Rolling Stones right next to aBartok
String Quartet, and say "Here's
a bunch of music". That's where
my aesthetic probably came
from.
Discorder: What about the
popular music culture in America right now?
Henry: Well popular music culture right now doesn't really
have anything to do with music,
it's just marketing, product commercial! ty and advertising. Music is gone from mainstream
culture now.
Discorder: Can anything be
done about this?
Henry: Probably not. Things
change over time, slowly, over
generations.
Discorder: But a festival like
this must give you hope.
Henry: This is a great festival
'cos of the range of artists from
different cultures and different
musical traditions. The organizers have really gone out and
found people. I'm so excited to
see Jean Emilien from Madagascar here, agiantheroof mine
who has never been to North
America. But festivals like this
don't happen in the States.
-*$
, m
kfS_. M, _;
MECCA
NORMAL
INTERVIEW
BY JANE
TILLEY
Described as anarcho-punks and
performance artists, Mecca Nor-
mal's Jean Smith and David
Lester have gone from a garage
on the East side, to tours with
other anti-authoritarians and
femininists— poets and musicians— and have released a
bunch of records, the latest being Water cuts my hands.
The duo combine Jean's naked,
cutting vocals and David's distorted, crashing guitar sounds in
a minimalist form of music that
kinda gets under your skin.
Discorder: How have you
changed musically since the beginnings?
Jean: Well, we're still a duo:
me doing the vocals and Dave
on guitar. I think we've just become really determined to stick
at that format. I think more people are hearing us and accepting
that we are going to keep doing
this.
Discorder: It's quite an unusual combination. You don't have
plans to expand— get a rhythm
section or something?
Jean: No. It is unusual and that
seems to work well for us to
present something a little bit different. I play a bit of guitar now,
so that fills things out a bit.
Discorder: How do audiences
react to you?
Jean: Some people really like
us either because they feel some
kind of empathy for the ideas
behind the songs or for the fact
that v
woman alone on stage, not as
boyfriend and girlfriend, but
working together, I feel that
alone is a political statement.
And then there are the people
who like that goddamn sound.
Discorder: You have a very
unusual vocal style and sound:
do you treat your voice in any
way? It comes out as very raw.
Jean:li just comes out that way.
There'snotusually anyreverb.I
like it pretty dry.
Discorder: Do you have an
ideal place to play?
Jean: I like playing greasy
nightclubs, myself. We've done
a lot of galleries, community
based cooperative spaces, poetry readings, those types of things.
I still prefer going on in the middle of a bill that's got a bunch of
loud bands on either side. I like
that kind of music— the real
hard rock aggressive stuff. I also
feel that that's why we do this, to
present something as a contrast,
as a potential to something different That's still very rigid that
you go out to a club and it's
mainly a lot of loud guys with
guitars and drums.
Discorder: You stress the importance of individuality in your
music. Do you find it hard to
preserve that individuality within the record industry?
Jean: If somebody is willing to
putourrecords out, there's something about us intrinsically that
they appreciate, so we're not really in the same battle ground a
some bands who are trying to
surface above a lot of similar
sounds. We also put out a lot of
records ourselves and through
friends and smaller lables who
appreciate the ideas. So it is very
much a personally based thing,
we 're involved in the whole process.
Discorder: Obviously you're
highly politicized, you talk about
alotof issues, particularly things
that affect women: do you feel
that you can actually "offer a
solution"?
Jean: WeU, in my life, doing
this has empowered me. I'm always amazed that to say cunt for
instance is completely outrageous and really offends people.
Like come on! I don't say anything outrageous. I'm a woman,
I'm loud, I'm aggressive and
I'm saying things that have happened to me: how men have affected me and how I feel that
there's an imbalance of power.
Sometimes it's angry, sometimes
it's analytical. Sometimes people see it as being very brash and
that to me is an indicator that we
still have a long way to go. The
"solution" would be less power
in the hands of governments and
white males and more women
speaking out, more people speaking out in that way.
Discorder: In one of your earlier songs "I walk alone", you
talk about having the right to go
out alone. Are you involved with
the "take back the night" thing,
or is this a personal statement?
Jean: Well, there was a song by
Go Four 3, where the woman
was saying "Don't walk alone".
I thought "come on", I walk
alone, it's my right, so it's sort of
my response to that and also that
sentiment that a very basic thing
has changed. My mum is really
appalled at that transition just
within her lifetime, thatyou can't
just go out and walk around and
feel safe. Everything is closely
watched— who's up ahead of
you, who's behind you, what
route should you take. Hopefully it expresses that sentiment and
reinforces that point that it is my
right to walk alone.
Discorder: Do you have any
particular influences as a vocalist or as a lyricist?
Jean: As far as writing goes, I
like to read things that are very
evocative of emotions not so
much of a story or a literal image, but more of a overall feel.
Things are going more in that
direction rather than a very dogmatic "this is how it is or this is
how it should be". As far as the
singing style, I guess when I
started singing, I was listening
to people like Poly Styrene, Leslie Woods of the Au pairs and
the Raincoats and that was where
I felt most comfortable to start
with those ideas.
Discorder: Tell me about
"Bright like Ice".
Jean: That's a group that Dave
and I are in. Dave plays bass, I
sing and play guitar and a couple
of friends—Cyndi, who's afilm
producer and Argon S teele who' s
a lobbyist for the Autobahn Society in Olympia. We all got
together and recorded this thing
on a four-track, just in one day—
Cyndi playing drums, Argon
playing guitar and we thought it
would be fun to put out. I think
it's got a lot of spirit to it— four
friends messing around.
Discorder: Any plans to do
any more?
Jean: Yeah, it's just hard to get
us all together at the same time
and place and nobody's got the
right equipment— Cyndi doesn' t
have drums, and Dave doesn't
have a bass. We'll do it again;
we play with other people now
and again so maybe there will be
other projects that happen.
Discorder: So where do you
see yourselves heading?
Jean: I'm happy to do more
tours. We've got another tour in
October back east to promote
"Water cuts my hands", then we
go over to Europe, probably in
the spring to do some shows
over there. It's all going really
well: a lot more has happened
than I ever imagined when we
started doing this.
^^mm&^m^'A t*\*>
LUNACHICKS
BY GREG
GARLICK
*• a '/'■'_•_**__•:
The Lunachicks are five females |
thathail from New York's Low-1
er East side who got together to'
play a wild brand ofj
Rawk'n'Roll. Oneevening afew'
years back the Lunachicks were
spotted performing at a club by I
the grunge lords Kim Gordon
and Thurston Moore from Sonic '
Youth. With their help, the Lunachicks were off and running with
a deal on Blast First also Sonic
Youth's label at the time.
Their first release was a
gatefold sleeve double 7", "Sugar Luv" which was named the
Single of the Week by England's
prestigious New Musical Express. The release also coincided with their first apperance in
the U.K. which won them rave
reviews in the British Music
Press. Also off of the Blast First
label the Lunachicks have their
first full length LP, Babysitters
on Acid.
Since then, the Lunachicks
have parted company with Blast
First and are now labelless, but
they are still touring stateside
with the Dictators and Spin Out.
Cindy took time, on her birthday, to speak with our own Greg
Garlick.
Discorder: Hi, how are you
doing?
Cindy: Fine, I 'm hav ing a great
time here in San Francisco.
Discorder:Let'sgetrightdown
to it. Could please tell our readers who the Lunachicks are?
Cindy'."I'm Cindy, I play guitar,
there's Gina, she plays guitar
too, Becky, the drummer. Squid,
who plays bass, and Theo, the
vocalist.
Discorder: And the line up has
been together for how long?
Cindy: Three years. We were
messing around for about a year
before we found a drummer but
that was kinda like learning
messing around and writing a
couple of songs and just getting
used to having a guitar on.
Discorder: Tell us about Thurston Moore and Kim Gordon
discovering you?
Cindy: Well we were playing at
a club, actually it was our third
show, and we were not so good
but there was something there.
We weren't even good technically but they saw the potential,
they got a hold of a real early
tape and brought it to Blast First
which was then their label. They
had a lot to do with our initial
success.
Discorder: So that's how the
first two singles came together
and your LPBabysitters on Acid.
Cindy: Right, and y'know for
our first thing they went into the
studio with us to produce it but it
didn't happen.
Discorder: Was the first single
released domestically or over in
Europe?
Cindy: Every thing was released
in England, nothing was released
domestically.
Discorder: You're no longer
on Blast First though, what happened? Was it because you were
on tour and they didn't help out
with support?
Cindy: It's because they didn't
really help us out with anything
ever, basically. No royalties, no
nothing.
Discorder: So its just been the
money you've been making on
the tour and stuff?
Cindy: Exactly, every time we
go on tour it has to pay for itself.
Discorder: Have you been approached by many labels, such
as SUB POP?
Cindy;No, SUB POP haven't
approached us yet. At this point
were considering anything. We
have two more albums worth of
material that are really good
that are just sitting there waiting to be recorded. So far we're
not happy with the sound and
productionof any of the records
we've already made because we
weren' t given enough money to
really finish them. So we want
to get this good material out and
sounding good so we can have
a record we are really proud of
and for people to buy.
Discorder: Maybe Kim and
Thurston could help you again? ■
C/nd/.-No, I don't think they 're
gonna do anything else for us.
We run into them in the street
every now and then but that's
Discorder: Ho w's the tour going with the Dictators?
Cindy:It's great, we're havin'
a great time, the shows are going really well. I love the Dictators, I love getting to see them
every night. All the originals
except for Richie Teeter are
playing, Frank from the Del-
Lords is drumming for them.
Discorder: What girl-bands
do you like? The Cycle Sluts?
Cindy: I think L7 are great and
I didn't hear much of Dickless
but the little bit I heard, I liked.
The Cycle Sluts is a completely
different story. I mean we have
absolutely nothing to do with
each other. Y'know people
bring them up when they talk to
us as though they are an all girl
band which y'know they're
not— they're four girl singers
in an allmalerockband.They 're
j metal, and we're not, and they
I know more of the right people
( than we do.
( Discorder: Were you influenced by a band like Girlschool?
j Cindy: Oh yeah, we're
* Girlschool fans, I don't know
I about influenced. We were
j probably more influenced by
| the Runaways than Girlschool.
I The Runaways were great.
I Discorder: Was that limited
edition Cookie Monster single,
with a fold out poster, something you really wanted to do?
Cindy: No, all that, the poster
and the booklet, was the idea of
the record label. We would've
much rather taken that nice
chunk of money that was spent
on a pretty package and put it
into making a good sounding
record. To be perfectly honest,
we think there were far too many
pictures of us on the record. We
| don't really wanna look at ourselves that much.
• • •
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The Vancouver Folk Festival provides an opportunity for the gathering of a wide range of musicians from all over the world, from the well-known to the damn
near unheard of— and, thanks to the organisers' "policy" of equality of representation, this year there was a large number of women artists at the Festval, all
doing very different things. I got to talk to three fairly diverse acts....
expose the underlife of society and the
reaUty of people's lives and aims to locate the power and the plenty.
Discorder: Do you think things have
changed for you as a woman in the music
industry now that you're more prominent?
Lillian: Well, in terms of the voice of
women in general, there's an incredible
amount of exclusion. It's incredible that
out of all the hundreds of albums that are
recorded you can't turn on your radio
and hear it played: there is no reason for
that. Li terms of structural barriers, what
the radio stations will play, what the
people who fund videos will fund, what
they will put on a stage... nothing has Sensible Footwear are three women who, for the past decade, have
•hanged really. been trying to' 'redress the balance" between the sexes— or, at least,
LILLIAN
ALLEN
V ^
..*/
SENSIBLE ff\W
FOOTWEAR j||7 .|fj
^*^^^%H
My most surreal memory of the Folk Festival was seeing Lillian
Allen on stage hosting a workshop, in a huge green raincape,
beneath the pouring icy rain, giving an ass-kicking rendition of
"Riddim an' Hardtimes" to an enthusiatic but soggy crowd. Jamaican bom, now living in Toronto, Lillian Allen is a poet and social
critic: together with the Revolutionary Tea Party, she puts out some
fine dub reggae.
order: ou read a poem y uise . of the inconsistencies in the ways men and women
Bennet, could you tell me about her? *^„ , , __, .
LiiUan:LouiseBennetiswhatIconsider «e supposed to behave. Through songs, skits and their own
one of the most significant figures of the particularly blunt humour, Alex Dallas, Alison Field and Wendy
20th century. She went ahead and burst Vousden mercilessly take the piss out of our "little foibles." Check
Discorder: How do you feel about the pressed. They think they can talk and open a few doors and made a whole new jj^ -ut at ^ Vancouver Fringe Festival in September—and be
race riots that took place in Halifax put people down and so on, but in terms space. She basically gave the Jamaican , f -__ __. _. . ., _
, „ ^ % *^. ... , ■ _ _ w .1 .• , .• • prepared for a few spunhome truths.
Ter-enrlv? r>f mnvinj ahead and makinp some and the West Indian norm atinnsnermis- r r r
of moving ahead and making some and the West Indian populations permis-
meaningful change, the government isn't sion to be themselves and to express
interested. They want to keep things the themselves in their cultural form. She Discorder: Sohowdid Sensible Footway they are— to have a strong labour wrote in the language of the Jamaican wear begin?
pool and a group ofpeople they can treat people even though she was formally Alison: We aren't theatrically or mu-
less than human and make a lot of mon- trained in England and had some big sically trained, we taught ourselves to
degrees behind her name. She travelled do it by doing it. We got together
around Jamaica and read her poetry— because we all answered ads in Tune
she's a household name in Jamaica. Yet Out magazine in London—someone
she had very little recognition: when was trying to put an act together for a
they do anthologies of Jamaican writing girl's festival—so it started as a hob-
or British writing she doesn't get men- by, a community project that grew,
tioned, or if she does, it's like a little Discorder: Do you get much feed-
unusual that you should have some kind sic industry. Yet in terms of any real aside. If you didn't have someone like back from your audiences?
power or money, Black musicians are Louise Bennet you wouldn't have had Alison: No two audiences respond in
;cently?
Lillian Alien: Well it's not a recent
thing, I think this has been going on and
on. People have always demanded a
certain amount of change, serious structural change. Basically very little has
happened. The positionof Black folks in
Halifax is one of the worst you can
imagine, in terms of the economic and
the power situation and in terms of the
opportunities that are open to Blackpeo-
ple. But the community remains vital
and vibrant and full of life, so it's not
ey off of.
Discorder: Have you met with much
racist opposition within the music industry?
Lillian: The music industry is built on
racism—and sexism too. Black music
is like the basis of the commercial mu-
of response. People get so bottled in and
so frustrated because of both the inaction of the Federal Government to even
acknowledge that racism exists in inner
cities and is strong in Canada and because of the other hokey little governments that basically buffer up their bu-
roeaucracy and their own pockets. It
was just a matter of time before some-
excluded—particularly in Canada. We someone like Bob Marley, or
the same way: here, for instance, the
see that in the way that music is played:
we know in the history of rock and roll
that when White folks started playing it
they were covering the hard-earned created tunes of Black folks. That tradition
carries on into what we call appropriation these days, where you have White
hke me, not in this century...she made it first audience were very politicised
possible for people like me to emerge, and enthusiastic and the second lot
Discorder: You'vehadpoetrypublished were a bit more gob-smacked by it.
yourself. Discorder: Have you ever had to play
Lillian: Yeah, my first book Riddim an' a working men's club or other allmale
Hard Times, came out in 1982. And out audience?
now, I have some poetry for young peo- Wendy: Yes, we've done our share of
thing was going to spill out on to the musicians playing "World Beat" or pie and the young of heart. One of the that. We've played Miners' Welfare,
streets. What's interesting about Halifax is that the police took the young
Black people into custody for their own
protection, instead of locking up the
thugs who I'm sure initiated it and who
will continue to beat up Black folks just
for a game.
Discorder: Do you think the government will actually take some action now
H that this has come to a head?
"World" music and not having a clue
about the culture from which this music
comes. If you look at those videos on
TV they uphold the American Dream:
right, bright, downright white, with the
idea that there are all kinds of material
things attainable if you're sexy.
Discorder: You'
video yourself.
things I'm learning, now I [that] have a a male prison, boys' schools-
daughter, is that young people are full Alex: Actually what's worse is play-
human beings. We have to make our ing to an all-female audience because
work and so on accessible to them, so all of those women want you to say
that they have an understanding of social precisely what they want to hear, so
reality, so that they can leam from an that can be much more frightening in
early age and take some kind of respon- a way.
done some work in sibility and in fact, realise that they have Alison: There's more of adisappoint-
obligation to work towards some kind ment factor—if you have an all-male
Lillian: I've made one small tape. A of positive change. audience, chances are they're expect-
gj Lillian: Basically, governments in this fiveminutetape,withtheNationalFilm Discorder: How was the children's con- ing not to like it and then they might
_j country don't do anything until some- Board, based on one ofmy poems called cert that you did here at the festval? find it's actually accessible and enter-
is thing happens to some building or some "Unnatural Causes." Lillian: Well, there were as many adults taming.
Discorder: Did it get much airplay? in the audience as children... but it went Discorder: Your humour is fairly well
Lillian: It got a little bit. Basically it really well, I had fun, and I think a good below the belt at times, how did that
challenges the status quo, it aims to time was had by all! come about? Did you decide that it
_ property: that's the only time you see
g- someaction.Thathasbeenthehistoryof
^? the States and wherever people are op-
was the most direct way to get to people?
Wendy: I think it's important when
you're looking at the kind of issues and
ideas that we look at to entertain people while you do it or people will just
switch off—they'll just say "Oh God,
it's just those women moaning on"
which is exactly what they want to
think. I think if you sort of shock them
into acknowledging that these other
ideas exist, you stand a chance of making an impression—we know we're
not going to change people's views in
half an hour, but we're presenting a
view-point that isn't often aired. We
want to try and even things out a bit and
entertain people at the same time.. J
think that making people laugh is one
of the best ways of getting through.
Discorder: What in particular do you
want to see changed within society and
do you think you can change it?
Alison: We want the ideas to be aired—
often people are unfamiliar with them.
We enjoy being filthy, because women
often aren't expected or encouraged or
allowed to talk in that way about sex or
about bodily functions and people do
find it shocking still. We don't want
any of this coyness or prissiness. And
we'd hate to be bland!
Discorder: You've sort of reversed
the traditional roles of male comics
dumping on women, was that a deliberate strategy?
Alex: When we started we were much
more insecure about performance, we used to say "Oh, we can't say x y z
about men because it might alienate
them and they mightnot like it," whereas now we go "Let's write that, they'll
really hate it" or "Yeah, that'll really
upset people" and we enjoy it—just
because we're so much more confident as performers.
Wendy: And we know that we can
justify these things. Ifyou know why
you 're doing something then it doesn' t
matter if people don't like it or take
exception to it. It's if you're uncertain
of what your line is or what you're
trying to say, that's when you're on
unsteady ground.
Discorder: You have songs about safe
sex and the tradition of pumping pills
into women: is women's health or
rather women's medicine something
which particularly bugs you?
Alison: We're all very aware of women's health issues—through our own
experiencegenerally. I think that"male
medicine," which is what it tends to be
evennow, tends to treat women's bodies and women's mental health in a
very flippant way—which does make
me very angry.
Wendy: Despite all the publicity about
safe sex, people still don't seem to
take it on boards—especially the heterosexual community. It seems like
the gay community has not made significant inroads into educating peo-
pie.
Discorder: How have you found touring with Attila the Stockbroker?
Wendy: He draws a crowd that we
wouldn't normally attract and vice
versa.
Alison: We've been described by journalists as a chalk and cheese combination. Obviously some of his audience
hates what we do and some of our
audience hates what he does, but mostly people are pleasantly surprised and
it's sort of nice to force yourself on an
audience.
KATHLEEN
YEARWOOD
tion?
Kathleen: I listen to music, but very
rarely. I sit out on my porch at night and
Usten to the coyotes and the crickets. I
Usten aU the time. For music, there are
my heroes thatllisten to for instruction,
Uke Ramnad Krishnan, Kiri Te Kana-
wa, singers mostly, and then music from
aU over the world. I don't ever put time
aside to Usten unless it's to learn something. I don't ever have music on in the
I first heard of Kathleen Yearwood when someone called and
requested something by her— which we didn't have.. .1 was pleased
to see she was coming to the festival so I could see what it was that
prompted someone to call CiTR on a wet Wednesday morning.
Well, she performed first in one ofthe workshops—unaccompanied
apart from her own clapping-and put her whole body into a song
about a friend who died in prison. Later, she did a concert backed
by her band, Cheval de Guerre, giving a hard-rocking edge to a
traditional French song. Her music ranges from the traditional—
with original arrangements—to her own songs of personal experience, injustice and pain, which are often downright experimental.
Yearwood and Cheval de Guerre will be performing at the Commodore on September 6, a Friday.
Discorder: You put a lot of emotion or bustling metropolis and unfortunately
anger into your singing, it must take a most of ^ women that play leave, so I
lot of guts to "bare your soul." e™**6 UP Paying with men.
Kathleen Yearwood: I just decided at Dicorder: Where do you find inspira-
a certain point that everybody was hiding too much. I've experienced a lot of
prejudice because of where I'm coming from—I Uve in poverty, I'm a sexual assault survivor and this is the reason I think the way I do. I think it was
with"Gynecologue"thatIthought"OK,
lets just talk about this." It was reaUy
frightening because whathappens when
you come out and talk about things that
no one else talks about is that there's
the possibility that people wiU just reject you. When I made the first record,
the guy who recorded it said "People
don't want to hear this stuff." I don't
think that's true, I think there's a whole
bunch of people like me who wiU sit
there, saying nothing, and then say "Finally someone has told it like it is."
Discorder: Have you met with much
opposition from audiences?
Kathleen: Never, but band members
sometimes flip out! They're all guys
and sometimes they don't want to stand
on stage with me saying those things. It
doesn't look good to their friends
(laughs)—they say "Hey why d'you
hang out with her, she's weird!"
Discorder: When did you meet up with
the band (Cheval de Guerre)?
Kathleen: They're all from Edmonton: they're just people who want to
play with me. We've been through a lot
of personnel changes and personnality
crises.
Discorder: You do some solo work as
weU, do you prefer one more than the
other?
Kathleen: No. There are some songs
I'dneverdo with the band. ThenI write
stuff specificaUy for the band, so they
can get their yaya s out. I wanted to
play with women, or at least have half
and half, but the closest city to where I
Uve is Edmonton, which isn't exactly a
background and I don't Usten to pop
music. I Usten to CBC for company and
it's kept my sanity at times, like when
I've been reaUy isolated. So I get my fill
of Canadian pop and that keeps me
writing too—sort of negative encouragement! It'sso unfair, youknow, when
people Usten to popmusic, whatdo they
have to choose from: there's some incredibly great stuff and then there's just
some pap. You have to give people a
choice, a wide choice.
Discorder: I found your song "Universal Incest" reaUy powerful, because the
vocals are so beautiful and the subject is
so harrowing, is that dehberate?
Kathleen: Absolutely. We have also a
traditional French song, aboutmarriage:
the vocals are really sweet and high and
it's done over a raunchy guitar-drum
thing. So you end up somewhere in
between the sweetness and a horrible
tirade. It "expands your mind" trying to
Usten to 2 things at once or entertain 2
thoughts at the same time. It's a good
Discorder: You talk about stepping out
of your class and rejecting the facade of
society. What prompted that?
Kathleen: I was trying to figure it out..It
was because I saw inconsistencies when
I was young and I'd go to people that I
thought would know and they'd either
tell me to shut up or they'd Ue to me. I
always had friends from other classes
and backgrounds: I never had anything
to say to the kids in the white, middle-
class neighbourhood where my parents
Uved. Other people always seemed a lot
more honest—they were aUowed to
complain about things rather than just
pretending things were alright...You
know, the thing about incest victims is
that they spend 24 hours a day of their
energy just trying to stay aUve. It's Uke
a psychic pain, like having aU your
limbs cut off and Uving with that pain
every day and never having anyone
notice it That's something that has to
come out pubUcly. Victims expect too
much of themselves and then otherpeo-
ple expect too much of them. You have
to deal with a world of people who are
not handicapped. You have to jump the
chasm and go across and talk about it
until there's a change and some form of
support. ..The welfare people gave me 6
months disabUity—somehow I don't
think I'm going to be over this in 6
months—I know it's a long time
(laughs).
Discorder: You also mentioned that
you'd done a lot of prison visiting...
Kathleen: Yeah, well my brother was
in jail so I was prison family and they
treated me Uke I was some kind of
criminal. I figured that if they didn't
respect me as a citizen then I had no
respect for the citizenship and the rights
it supposedly bequeaths me. I did advocacy, but it mainly consisted of telling
someone'smother"remember who you
are and that these prison people are your
employees and if they don't giveyou an
adequate answer, don't give in." So
then these 60-year old women would go
in there and just start kicking butt!
Discorder: So do you have plans for
another record?
Kathleen: Yeah, we're just starting recording it—going into debt. I'm doing
it at a place in Edmonton called the
Works, because I like the engineer. It's
hardto find menlcan work with. There's
not a recording studio that I know of
that's run by women. The first guy I
worked with was really difficult, he
wouldn't listen to me: it was like I had
to have a man repeat what I said for it to
be heard. It was like I was n
$msmQ Nowofcoursel'mnotadvocat-
ing that anyone should go out
of their way to do drugs. Heavens! However, many of you will
probably find yourselves in situations where (unlike the Uq-
uid courage aspect of alcohol)
you have unleashed the antisocial powers of chemicals into
your person and are now faced
with dealing with it in pubUc—
be it at a Skytrain station or the
PNE CoUseum. There is a fine
line between acquiring an emotional scar for the next five to
ten years and having one fine
evening. And the difference is
aU in how 'together' you appear to those around you.
STEP ONE:FORTITUDE
Yes, in today's fast paced lifestyle it is hard to teU where
you're going to be two hours
ahead of the present Drugs,
like clothing and money, must
suit theoccasionboth in amount
and style. You don't want to be
in a place of high congestion
when your prone to vomiting
and you also don't want to find
yourself alone in a dark place
when your suffering from a
paranoid delusion that bugs are
everywhere (unless you Uke and
feel comfortable with it, and
don't have more stuff that the
cops could find).
STEPTWO:COPS
Oh shit, you can barely grasp
what's going on outside during
your wild mental festival let
alone deal with the two blue
uniforms and regulation moustaches staring at you. What do
you do?
a) STAY COOL. Animals
can smell fear and they naturally understand the impulse to a
chaUenge situation. Stare back
and remember a smile never
hurt anybody.
b)MAKE TRACKS. Why
be obvious? Besides, you'll
probably find something else to
focus your entire attentions on
the minute you turn your head.
c) PRETEND TO KNOW
THEM. AU they really want is
a Uttle attention.
The correct answer is of
course "b", since the users of
this guide probably do not have
enough hands on savvy to handle "a" or "c". Plus you never
know when one of them wUl
sprout a second head and throw
you right off. Be Yourself. Run
Away, run away, run far
awayyyy.
STEP THREE: ENDURANCE
a! If the substance you're abusing
5 happens to be something you
_ need to replenish often, how,
£ when and where are you going
6 to do it is important. Some peo-
w pie get a better rush off of doing
©SK_3_S_Ji
drugs in public places, y'know
kind of old age homes. Ideal
situations are:
1) Language classes— the
prof usually has their back to
you because they are hovering
over an overhead projector and
the lights are down low. Just
prop your binder up and act
pensive.
2) PubUc Washrooms-
North America can always be
counted on for being too anal
retentive to disturb anyone taking a 15 minute shit. Just drop a
pebble or two in the toilet and
grunt if you think things are
getting suspicious.
3) 7-11 Parking Lots-
give me convenience or give
me death, just don't try and seU
anything here.
The back alleys along
Granville are a definite no-no,
we're talking 'the suicide mission.' Just ask anyone who went
to see the Fuck-Ups at the Cruel Elephant.
STEP FOUR: APPEARANCE
No, dark glasses and a tie-die
Ralph Steadman shirt are not
that good of an idea. But tattooing black X's on your fist is a
little extreme and the people
that are out to persecute you
won't understand it anyway.
We have already established
that you don't want to attract
too much attention to yourself,
unless you are starting a revolution. In which case FUCK
YOU! You should be totaUy
straight, this ain't the sixties, so
what are you trying to prove?!
FASHION TIPS
KIDS UNDERTWELVEEAT
FREE: have a couple of children, maybe even a dog, with
you. By goUy, it's foolproof,
and kids tend to behave themselves more in exchange for the
pleasure of hanging out with
someone who is "being bad."
EXOTIC PETS: a ferret, whistle pig, a monkey... only hermits on the Toronto subway
who desperately want people
to talk to them lug these funky
companions around with them.
If you have one, the general
public assumes that you have
an empty life and everyone
leaves you alone except for
teenage girls that are probably
taking the same things you are.
Expensive, inhumane, totaUy
simple.
"DRUGS FREE BODY" or
"REALLY ME" T-Shirts
And last, but not least,
avoid asking questions like
"Where is Lollapalooza?" or
doing other things that tend to
make one look lost and misguided. Have fun, stay sick
and remember' 'When in Doubt,
Eat It."
Doing Drugs in Public Places
By Redd McJann <aXt**t4C*HA
presents the newest R&B room in town
In the HOTEL CALIFORNIA
Sept. 2-4 Party Pigs
Sept. 5-7 Mud Bay
Blues Band
Sept. 9-14 The Mike
Jacobs Band
Sept.l6-217ne Terry
Edmonds Band
Sept.23-28 Richard King
1176 GRANVILLE 688-8701
CiTR
MOBILE
SOUND
228-3017
the cruel
elephant
[fully a month into the new year of
elephant and happy as
ie great hands
helped make aug. 2 a howl-
success (as i remember) like
[chri* hou*ton-Juperconductor-
Imary-gorilla gorila-the reiven-
bomb*hells-the smugglers-the thow business giants-
^acepuller-cnd je(. the cruel elephant loves you all. and now...
sepf I is a special all-ages
bfternoon show starting ©3:30:
LITTLE JOE-featuring ex-members
of euthanasia, curious george.
, snfu; also epita ph recording artists from Seattle COFFIN
BREAK, there will be the same line-
the evening shew for all you
adults., .doors @ 8. tues 3 those no-
cover artists are back JEF w/
MOTHER TRUCKER wed 4 an
ing of very high energy rock
RUSTY NAILS w/ CAT'S GAME thur»
5 PLANETOF SPIDERS w/ THE WORST
fri 6 back to school special featuring MICKEY CHRIST w/ PASTE w/
CLUSTER FUX (actual order un-
I) «at 7 which came first-
jesus or etvis? find out with CHRIS
AND HIS EVIL TWANG
featuring ex-DOA rhythm dudes
and a guest guitarist, alex varty?
art bergmann? randy bachman?
California comes
HEDGEHOG w/ spoken word-poetry performances wed 11 SHINE
w/THE INDECBIVES thure 12 a very-
groovy night of Seattle rock HIPPY
BIG BUCKLE w/ THE SAPIENS w/
LADYJUGSO PLENTY »at 14 power
pop punk 64 FUNNY CARS w/
Seattle s UKE RAIN un IS an almost open stage for a spoken [
word/poetry night at last, tue* 17
the fringe festival's volunteer appreciation night w/ live roots rock
bands wed 1« victoria's only SHOW
BUSINESS GIANTS w/ only in victoria
could come THE VINEGRETTS thur*
19 from san fran women that rock
OVARIAN TROLLEY w/ SUGAR
BOOM and also from Seattle is
SORE JACKSON fri 20 did you say
imelones grande? GORILLA GO-
jRILLA with special surprise guests
total insanity,
brass-border weirdness THE SARCASTIC MANNEQUINS w/ western
Lashingtons THE SQUIRRELS sun
B2 a very heavy night-first three
9 POUND HAMMER; and
>rd: TANKHOG. not for the
nish! wed 25 is a special
benefit show for the good old
highly-underrated environment;
details Ihurs 26 wee
have a surprise headline act w/
SISTER LOVERS fri 27 wow a killer
night of frenzy'd pop-punk expto-
THE SWEATERS w/ THE
TOUCH N GOS two bands that the
singing high praise of
but the Van press are ignoring'
guess they're not as good as
loverboy oh well but thats not all
from victoria B.U.M. tat 2» from
minneapolis the BONE CLUB w/
fran's HITTING BIRTH and on
29 political folk-rock that is
ut to sweep the nation from
san fran THE BEDLAM ROVERS H ELP! ! ! by Christopher Kovacs
He was in the alley behind the bar when I first saw him, wedged between a couple of grafittied dumpsters. The smell
was enough to turn the stomach, but I wondered later if most ofthe stink wasn't old pies left by college boys unable to
hold it until the next toilet. We were loading the gear into the back ofthe van, and I was stuck with a particularly heavy
amp. I'd put it down to rub the strap marks on my palms, and when I glanced to the left, there he was, ragged and dusty,
all stubble and red eyes. Those motionless eyes held me for a second, but the drummer came limping out with the rest
of his kit, and I broke away to heave the amp into the van. I circled around the far side afterwards, so that I wouldn't
pass in front ofthe dumpsters again. Inside, I told the guitarist about the bum, wondering prettily if we should try and
help him out somehow, but he came back in after a few seconds, saying, There's nobody out there, man."
We used to have arguments about passing out coin in the street. A few ofthe wits avowed that they'd flip a buck
to a beggar only if he swore it was for booze, not the perennial "coffee." Others refused only the punks with $200 leathers
or punkettes with impeccable make-up and hairdye. Some would give only to the panhandlers who did something, no
matter how sad and desperate, like the Old Guy With The Hat by the Royal Bank whose soft shoe routine consisted only
of a few almost indistinguishable, exhausted shuffles. I've always been inconsistent. It depends mostly on my mood —
happy or drunk or miserable, I'll shower coin like beads of sweat, most other times, forget it. My more socially concerned
acquaintances attack this behavior as indefensible. I agree, and refuse to attempt to defend it.
The next time we saw him, we were drunk, Sean and Larry and I, and for some reason I knew immediately that
it was the same guy. Same tattered clothing, same demonic and doe-like eyes. It was on one ofthe backs treets down
in the east end. He was sitting on a doorstep, leaning back into the jamb, ignoring the few people still scuttling from bar
to bar. I stopped in front of him, emboldened by the booze, and assumed me best generic-50's-actor voice. "Say, haven't
I seen you somewhere before?" He looked at me with this terrible dignity, closed his eyes and nodded twice, then opened
them and said "Yeah." And there it was again. I was rooted in front of this guy. It wasn't as dramatic as all that — I stood
there, smoking, feeling the fullness of my bladder, maybe even tapping my toe a bit, but I couldn't leave until something
more had passed between us. Larry and Sean were fidgeting in the fringes of my peripheral vision, smoking a joint or
something, but I stood and waited. The bum sat there motionless, looking at me. I could hear the streetlight buzzing
behind me, and a siren far off, wailing in rhythm with music from a bar down the street. The bastard wouldn't say
anything. He wouldn't ask me.
The last time I saw him was weeks later. I hadn't thought about the guy since the I
Morning After that night in the east end. Just another of those odd, drunken standoffs.
Random encounters on the street. In weak moments, hungover maybe, with the toxins in |
my bloodstream short-circuiting my ability to think rationally, I was prone to the feeling .
that there was some pattern to these encounters, some intricate
network of connections that I was tantalizingly close to grasping. If I
mentioned it to any of my friends, they'd assume I was talking about
God or determinism or something, and take the opportunity to harangue me with one of their pet theories. I was walking past an alleys
near the spot where I'd seen him last, weeks ago,
and saw a kid with a shaven head furiously kicking
at a bundle of rags. The ragpile seemed to be
bleeding. I ran with a shout into the passage, and
after one last swing of his
boot, the kid bounded away.
Even as I rushed up to the i
bloodied old man, I knew who ,
it would be. He looked up as I
bent over him, and even with '
the blood and pain I could tell |
that he recognized me. This ,
time there was no contest between us, and before I could
say anything, he asked. '
"Help," he said to me.
©E_^SK_S JULES KILLAM
If you stick a stock of liquor in
your locker,
It is slick to stick a lock upon
your stock.
Or some joker who is slicker's
going to trick you of your
liquor,
If you fail to lock your liquor
with a lock.
-Anonymous
I've had about nine coffees since I
woke up yesterday afternoon and my
hands are starting to betray me.
Holy shit, I can think clearly
though...
So let's talk about drugs. Drugs.
When you say it you've gotta vocally
underline it It sounds better with a
Mid-England accent too. So say it like
that Drugs.
The baby-boomers really fucked
up the drug experience. (Sex too. It's
getting harder to find cheap, easy sex
these days) They went about it all wrong.
They used it just as an escape from the
dull, useless lives they led. We're not
going to do that. We'll do it right
With what? There's always alcohol. The recompense previous generations left us because they fucked up. But
really, now. What good is it? One St
Patty's day in high school I polished off
just shy of a fifth of whisky on my own.
My friends who could give a better
account of it say I was standing straight
and could even pronounce my own
name. As I said not much good, eh?
That and Canadians, on the whole,
drink the worst stuff. All right there are
others out there fond of 100-proof vodka straight up. Nothing wrong with
that is there? But most people aren't.
By the time they 're old enough to drink
legally, people have acquired a taste
for beer or shit mixes. A couple years
later they' ve sworn off the "hard stuff
(excuse me but dribbles of alcohol
nicked from their parents and mixed
with Kool-aid does not count as "hard
stuff") so they're left with beer.
North American beer is probably
the most foul beverage on earth. Lite
beer with few calories, the colour and
consistency of bison piss, and all the
taste of watered-down turpentine. Hardly fabulous stuff. Maybe if it was that
black, poisonous, overproof European
type that melts furniture it would be
okay but it isn't so it's not.
If you are one of the aforementioned type of drinkers you could try
mixing drinks. I don't mean that shit
you dump in the blender with ice and
fruit I mean real drinks. Pick up a book
like Mr. Boston's Official Bartender's
Guide. A lot of people say the recipes
make strong drinks but they're just a
fine strength if you're not some poofter.
But there are much better way s to
blow your mind, I mean, um...uh, expand your horizons. Sex is a great way
of going about it but too often you
need a partner so it's a bit more
difficult to come by (pardon
the pun). Cigarettes work,
but for the price and the
huge volume necessary they're really not worth it.
Besides, there's a billion wankers sitting at the next table who whine and
cry and shit their shorts ifyou light up
so it just ain't worth it.
You could become a Trekkie/
Trekker. (I can't see the difference,
can you see the difference? No, there's
no difference!) Very amusing and mu-
cho-interesting, but to sit down and
watch both series without commercials and the movies too requires something like 5 days straight. Even I go a
bit queer in the head with that little
sleep. Plus, Vulcan ears look really
dumb on fully 99% of the population.
I suspect that throwing up in a punch
bowl is a better way to discover the
meaning of life.
School must be mentioned. As a
mind-expansion tool it's as futile as
the LSD your parents used to take. Per
semester at college, if I garner one
sole, wee snippet of useful information, it can be counted as time well-
spent
Not to say that school is utterly
useless. If any- thing it's almost
as effective
real work
as is ,/y^££SO\. pursu
ing a music career. But the best way tt
leam anything from school is to chat
with the teachers on coffee breaks.
Especially the ones who go outside for
a smoke. These people are fonts of the
most unusable information you
wouldn't dare voice in front of your
own parents. Plus they always have a
miraculous collection of jokes.
But at a few hundred dollars every four months is it quite worth the
price? Uh-uh, I think not. You can
achieve the same effect by taking a
bunch of friends to Bino's in the wee
small hours of the moming and drinking lots of coffee.
Every single popular drug from
the 60's through the 80's is useless. No
matter how fuckin-A that reefer is, it's
not going to do anything interesting to
your mind.
Cocaine. Now there's a real brilliant drug. I really wanna feel aggressive, paranoid and impotent.
Anything that you have to inject
into your body is pretty well a waste.
Of course the track marks on your arm
are a pretty accurate display of how far
your brain is melting.
But don'tgiveuphope. The intelligentsia of the technology industry is
hard at work on new, improved way to
get you high. All with the benefit of
federal grants, too. Yes, Virginia, I
am talking about those, pocket-
protected, calculator-carrying,
techno-dweebs of Silicon
Valley who like coining
catchphrases like
"multimedia".
The avant-garde
of high technology are the vanguard of
high flying. From digitized hallucinations to teledildonics, these Comp-
Phreaks are revolutionizing the way we
trip. Steve Jobs, one of the two Steves
who created the Apple computer is a
self-confessed erstwhile acidhead. Timothy Leary is one of the hottest tickets
on the lecture circuits these days giving
lectures on the melding of PC's and
mind expansion. Apple Computer buys
tickets for its employees to go see the
Grateful Dead.
So what do these info-nerds take
to achieve whatever wonderful effects?
Hydergine, U4ia, DMT, Ketamine,
MDMA. Real hallucinogens. So new
and so easily modified that legislation
against them is barely enacted before
they are strengthened and modified.
Talk about incredible stuff. Legal
(though just momentarily), with the
benefits of clearing all the cranial waste
of everyday life, and the ability to work
a day and half without rest These are
the people who program military computers for Star Wars and Stealth Bombers. Truly heady stuff. When can we,
the people, get in on this?
Oh, and on a final note, Teledildonics. As best I can tell the concept's
been around a couple years. It's the
ultimate in phone sex. A body suit with
motion sensors and vibratory patches.
Hook up with someone over the phone w
and enter a virtual reality sexual en- -g
counter. No diseases, no pregnancies, g
no-one has to sleep in the wet spot. §"
Any mind that can come up with ^
an idea like that should be plied with io
even more potent drugs... ptsdufii-Qfi
v
FROM CiTR RETURNS !
VERY MONDAY
AT THE RAILWAY CLUB 579 DUNSMUIR
See Vancouver's newest bands compete for these fabulous prizes:
ISt -24 hours on 2 4 tracks at Mushroom Studios: 20 hours on 24 tracks at Fluid Studios
THE FESTIVITIES BEGIN MONDAY, SEPTEMBER _L6
J^
_____■
Wtr- ■
■_-_-_-__■
*;&*%:: King Missile
by Michael Leduc
Rock and roll is a strange game. In it you can
find bands as diverse as Godflesh and Men
Without Hats, Iggy Pop and the Allman Brothers. Each of them could carry the banner of
rock'n'roll. They once said that rock'n'roll is
the sound of things falling apart. Figure that
one out. All I know is that because they're
both rock n'roll bands—King Missile, with
three albums out on New York-based Shimmy Disc and one new album entitled The Way
to Salvation on Atlantic, wound up opening
for a local G rateful Dead cover band at 86 SL
Music Hall on August 1st It's one of those
shows I'll always remember. I'll say, "You
know, I remember I saw King Missile, there
were only fourteen people there and most of
them were watching the Lions' game on the
big screen." It's things like this that make
rock n'roll great though.
DISCORDER: Whatexactly isShimmy Disc
and what is the idea behind it?
Dave Rick: Kramer suited it after first quitting Shockabilly Records. He was in the
Butthole Surfers for a short time but he wanted to get off the road. This studio came real
cheap. He wouldn't let anybody put out his
records so he decided to put them out himself.
The first two were Bong water and B.A.L.L.,
King Missile was actually the third Shimmy
Disc release. So Noise New York, which is
the studio, and Shimmy Disc, which is the
label, are all owned by Kramer. John approached him in his own fashion.
John S. Hall: I just wanted to record demo
tapes. I didn't know about Shimmy
Disc...There were no Shimmy Discs out at
that time. So Kramer said: "New label Shimmy Disc..If you give me the money, I'll put
it out on the label." So I gave him all the
money.
DISCORDER: Soyoupaidforthe recording
and he paid for the pressing.
John: No, I paid for everything, including the
tape.
Dave: In those days Kramer was trying to
make direct money from the studio. For the
most part, unless it direcdy involved him
playing on it, you have to pay for i_
DISCORDER: So what you get is what you
get.
Dave: Yeah, exacdy. For the most part the
situation has worked out becausemost records
sell 2 or 3000 copies. King Missile and Bong-
water have sold more than that, G war also. So
Gwar left the label. King Missile left the label
and, well, Bongwater is Kramer's band.
DISCORDER: So does everyone in all of
these bands know each other?
John: Not really. I don't know the Gwar
people.
Dave: I've met them once, I met John by
playing with Bongwater and I met Kramer
before that because he saw me play in a band
called Phantom Tollbooth. He needed a guitarist so he asked me to join Bongwater.
DISCORDER: How did the Adantic deal
happen? Did you pursue that or...?
John: Well, we were sending tapes to various
labels last year. There was an A&R person at
Adantic records who liked us so within in five
months we had a deal.
Dave: We had decided to leave Shimmy
Disc; we had sold a pile of records and had not
seen any money from them even though we
had been getting a lot of airplay.
John: Actually we hadn't sold that many
records, by Shimmy Disc standards we had,
but considering "Jesus was Way Cool" was
a number one college hit we weren't selling
that many records. It discouraged me that we
could make these popular records that weren 't
getting out to the people.
DISCORDER: Do you feel Adantic will
give you the push that will help you sell more
John: It wasn't even a matter of getting the
proper push, what I was looking for was
distribution.justgettingtherecordinto stores,
and they've been doing that
DISCORDER: What do you feel about all
these f ormally independent bands like Dinosaur Jr., Screaming Trees, Babes in Toyland,
etc., being signed to major labels?
Dave: Times are changing, a litde for the
better and a litde for the worse.
DISCORDER: Do you think that majors are
going to bother hanging onto bands that sell
less than 100,000 records?
John: I think that some labels will and some
won't. I don't think Adantic will quit, frankly. It's hard to say, I don't see that Eleventh
Day Dream is in any great trouble and they
haven't been selling nearly 100,000 records.
Their second record did about what their first
one did, and Atlantic seems satisfied with
that.
Dave: It's a matter of expectations; it's a
matter of what kind of profits people need;
it's a matter of what kind of money goes out
for it.
John: There was talk that major labels would
change. They would wait for four or five
years for an act to develop and just not pour
as much money in right away. Just wait
longer for the bigger pay off Just give it a few
years. I'm not sure if that's going to happen
Dave: They kept Eleventh Dream Day but
they dropped Redd Kross.
John: Yeah, but that's different. Redd Kross
is like that old style where you dump far too
much money in.
Dave: Yeah, yeah. Anyway, we like
the people we deal with in the alternative department
John: It's just a matter of
whether the higher ups know how to deal
with it. If one label decides to drop its alternative marketing division chances are that
the others would follow suit But the success
of bands like REM and Sonic Youth make it
that much easier for us, and any alternative
band that sells over 1.00,000 copies help us
out.
DISCORDER: Do you feel that it restricts
you at all being on a major label with regards
to what you can or cannot put out?
John: I don't see any evidence of restriction
in REM or Sonic Youth or Screaming Trees.
I think the bands that make the mistake are
the ones that decide to change musically. If
you're not a commercial act you shouldn't
make commercial sellout music.
DISCORDER: I'd agree with you on that
point, but what I'm getting at is whether you
could put a song like "Double Fucked by
Two Black Studs" on an album at this stage
of the game.
John: I don't know if I could or not, I'm not
really inclined to try, but the real question is
if I'm really, really angry about Government
policies. Or if I want to make a blatant
statement about sexual politics would I be
able to get away with it? Would I get criticized? I don't know: but it also raises the
point of self-censorship where there's something in the back of my mind that might think
"Oh, I'm not going to get away with this" and
that is my problem and it's something I may
break out of and maybe I won't So far 1
haven't felt frustrated or castrated. I feel like
I'm able to do what I want. I am also aware
that I have the opportunity to go to indie
labels with stuff that is way out there. This
makes me feel less tempted to want to do it or
a major because there are other outlets for m<
to do so.
Discorder: Unlike other singers you speal
your lyrics rather than sing them. Are yoi
going to be doing more of that, or are yoi
trying to get away from that?
John: No, I won't be getting away from that.
That' s the easiest most natural thing for me to
do. I think I lack the patience to write songs,
you know, to write things that rhyme. I want
to say what I want to say and I don't want to
spend a lot of time figuring out how to make
it fit into a typical metrical rhyming structure.
If something like "Scodand," which is a
simple ditty, occurs to me I'm not going to
reject it just because it rhymes and is metrically even. I do prefer to do things that sound
more conversational.
Discorder: Do you find that the people who
come to your shows know what you're talking about? Is there something that is revealed
to them when they see you live as opposed to
listening to your records?
John: It seems to me that if there are some
thingsfthat] weren'thighlighted on the record
I can highlight them Uve. And also guitars
come through Uve the way they do on the
record. Live people are probably surprised at
what Dave Rick does on guitar...
Discorder: What I mean really is a song like
"Indians," which is quite poUtical. Do you
think that your average Ustener gets the message of that song or that they just say "Ha, ha,
funny guy that King Missile singer!"
John: Ui the States anyway, I don't know
how it is here in Canada, it is impossible to
bring up the Indians without being poUtical.
I mean that's just the way it is.
Discorder: What I mean is that the audience
will just think it's a funny song rather than
actually think about the meaning of it. A song
Uke "Jesus was Way Cool" for instance.
John: Some people have a spiritual relationship with that song. They wiU be Uke "wow,
that's how I feel about Jesus, he was probably
reaUy cool; it would be cool to hang out with
him," the whole Jesus Christ Superstar idea.
He was this human rather than what you are
taught in school that Jesus was this God that
you pray to: the idea of Jesus as a man, that
some Christians find blasphemous. From "Indians" you have this idea that...you know
sometimes just a simple statement of truth is
poUtical because governments tend to gloss
over the truth because it suits theirmeans. It's
just a matter of poUtics that you want to
accentuate your problem. In other words,
people could say, Indians killed white people
too. But it's not reaUy relevant to what I'm
talking about, which is the repression and
rape of a whole tribe of people, so it is a
poUtical statement. But then "Take Stuff
From Work" is a poUtical statement "Cheesecake Truck" can be perceived that way. For
me, the basic approach is how do I feel about
something today? So my opinion about the
Indians is that that was very bad of us.
For me there is no hedging about
that. I would just say no, it
was bad, it was evil, we should not have done
it. I was just thinking about the war—the
most recent one. A couple of people have
come out and said "necessary evil, necessary
evd" and my thought is that it was completely unnecessary, it was just evil!
DISCORDER: How would you approach
that idea within the context of a song?
John: I did write something about the war,
but it was too of the moment It was totaUy
ironic, Uke "how great that that war only
lasted a week and nobody was kiUed." Sort
of a rag on what the government told us, and
sort of pretending to beUeve it. I think what
hurts me the most is the acceptance that most
people had of it and the feeling of a lot of
people that it was over. I was actuaUy surprised by the cover of Time Magazine last
week, "The war, was it worth it?" That's
Time...they own Warner ...they own
Adantic. ..That's like the conservative grandfather saying "Hey, maybe we made a mistake." This is pretty fast revisionism and
maybe a sign of weakness on the part of the
presidency. There's that whole thing about
the CIA and the deal with the Iranians to hold
the hostages until after the Carter-Reagan
election. This is a big news story now and
some people are hoping that it may embarrass the President out of office. That may be
a pie-in-the-sky kind of dream. But these
days in the States, if you want to go on Uving
at aU, you have to dream about a better
poUtical situation.
DISCORDER: It seems Uke you consider
yourself more of a poUtical spokesperson or
a poet rather than a rock and roU frontman.
How does it aU fit together?
John: What I do is basically words. I'm in a
band because my words get out to more
people that way. The audience I want to
reach is young people—most of my friends
Usten to more records than they read. In
general, I think it is better to Usten to artists
rather than read them. There's more power
in the voice, of say Allen Ginsberg, Immamu
Baraka, Jack Kerouac...
DISCORDER: Burroughs?
John: Oh Burroughs! Forget it! What an
incredible voice, you're losing 80% of it by
only reading it. Anything you can get out of
Burroughs reading or reciting stuff is just
rrules away better than just reading it.
DISCORDER: So how much longer do you
think you wdl be doing this rock and roU
John: Even if our second record doesn't do
weU enough by Adantic standards that
wouldn't be until the middle of 1993. The
band would probably stick around for a year
after that to try to and get something else
going. So in a worse case scenario—another
three years at least hut let's hope not.
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PRODUCED BY F
Mili-VM*.-.***! Gumball is yet another fine colle
ction of New York grungemon-
gers who synthesize trippy guitar
noise and pop. Fronted by guitarist Don Fleming, who has also
played in Dinosaur Jr., Velevet
Monkeys (for over a decade),
B.A.L.L., and Half Japanese, is
suave and debonaire, without assuming the dreaded Car Salesmen's sliminess. He has also produced Sonic Youth (Thurston
Moore appears onGumbalTs new
release, Special Kiss), Teenage
Fan Club and Hole. Bassist Eric
Vermillion plays for The Stump
Wizards, while drummer Jay
Speigel has performed in
B.A.L.L., Dinosaur Jr., and the
Velvet Monkeys. Recently, Gum-
ball stumbled into CiTR's radio
station during, their North Amer-
some second hand record store
and pick up an Iggy and the
Stooges record for 50 cents, or
how did it all start?
Gumball: Well, I guess it's pretty rock, yeah. Like everything
we touch is rock. But to me, the
Gumball record is a little more
pop-y than a lot of the other stuff
we've done.
Discorder: Wasn't there a formative time in your adolescence
when you decided, "Hey man, I
don't want to work in a McDonald' s, I want to be a rock and
roll star."
Gumball: Back then...Well,
when I was in high school my
room looked like this room with
all these records in it. I had a lot
of records and I listened to a lot
of music, so there wasn't really
record it, don't worry about it.
Now it's really changed. A lot of
bands are going to go straight to
major labels. I think a lot o f them
that are getting picked up by
major labels, make a couple
records, and then, after spending
alot of money, the label just lets
them slip.
Discorder: What's the real Dinosaur Jr. story?
Gumball: Who?
Discorder: What happened?
What happened?
Gumball: We were in the band,
we were out of the band.
Discorder: So is this guy tough
to work with or what?
Gumball: He's no tougher to
work with than we are to work
with. Imean, we'vegone through
more people than he has. He'd
All these indies are playing in
the major market now, which is
good in a way. It's not like regular indies, it's creating something else—maybe just new-
style indies. A real indie is some
geek who gets enough money
together to get a single put out. I
think we should get back to that.
Discorder What do you think
about bootlegs?
Gumball: I'll always like bootlegs from the archivists' point of
view. I'll listen to a Hendrix
bootleg but not The Grateful
Dead. I think the people that are
buying the bootlegs are buying
the artists' legitimate records
anyway.
Discorder: I'm thinking more
about aband like Sonic Youth or
Mudhoney or bands that proba-
the most part. I went over to
Liverpool and did their new album.
Discorder: How does it feel to
be a darling of the British press?
Gumball: Yeah, but the backlash has already started. We had
backlash on the first tour with
people giving us crappy press.
Some posters that were put up
said that we had been in Dinosaur Jr., or played with people in
Sonic Youth, and these reviewers are getting on us. It just gets
a little aggravating when we get
bad press about it and, of course,
we had nothing to do with it in
the first place. How can you defend yourself? You can't You
just have to let it go through.
Discorder: How does a guy like
myself get into this scene man?
got it. This is the best way to meet
people, up close and personal.
We 're meeting people every day.
We love it. Then we're going
over to Europe to East Germany
to do our first East Berlin show.
That should be hot. Then back to
the U.K. and we'll check out the
backlash press this time. In fact,
there's some talk of us doing a
tour with EMF in October. I think
they have to be joking.
Discorder: What do you think of
all these British bands coming
over here and drinkin' our liquor,
screwin' our women...
Gumball: I hate it. I think we
should be able to shoot them all
as soon as they get through the
gate. Touring America is the
worst thing in the world for an
American band, but English
^^^~ 1 by Michael Leduc
ican tour, where they met up with
fellow-grunger Michael Leduc.
Discorder: I've heard rumours
of a legendary band called the
Velvet Monkeys. What was that
about?
Gumball: Oh yeah, that's still
going. We've had that together
for about ten years at this point,
with fifteen different line-ups and
encompassing seventy different
people. It's kinda like a party
band, with a lot of people, and
it's still going, although it's not
really feasible as a tc ing band
at this point. We do one show a
year, so it's stillhappening. We're
still in all those bands...Half Japanese...
Discorder So how can you start
dividing your loyalties between
all this stuff?
Gumball: Well, it's confusing to
everybody, butnot to us. We just
like to play with diff erent people.
I mean this is definitely our main
band, Gumball. We go on tour
for four months of the .ear and
then record with it, so . is definitely the main thing we're doing. The nature of it rolls quite
easily.
Discorder: When I listen to this
Gumball record, Special Kiss, I
think of just one thing: rock and
roll. What's the story behind your
musical roots? Did you go into
one band that started it all. The
Stooges were definitely one,
Roxy Music as well, however,
there were a lot of influences.
Discorder: When you guys started out in Washington there were
basically two camps: there was
the Go-Go scene with E.U. and
than there was Bad Brains and
Minor Threat. So where did you
guys fit into that picture?
Gumball: It's the same now as it
was then, a lot of people from
both scenes were into us but we
weren'tpartof either oneof them.
We did shows with Minor Threat
and we did shows with E.U., but
it was weird, it's kinda always
been that way. It's like we're not
part of a sound. To me the Gumball thing is more like the early
Velvet Monkeys sound. I don't
think we match too many other
bands coming out of New York
right now.
Discorder: What about points
in-between? What do you think
about the whole music scene at
the moment?
Gumball: It'skinda weird at the
moment, kinda bizarre sorta. I
mean when we were doing Velvet Monkey records, in the early
Eighties, we never thought about
talking to major labels. We didn't
even want to talk to indie labels.
We just wanted to rock. Maybe
get out a record, maybe not, just
been playing with the Velvet
Monkeys and it just seemed natural at the time to get in the band
with him and do it. Doing the
single was a lot of fun, but once
we started practicing we realized that it was going to be too
much work and we're not into
rehearsing that much. We just
basically like to go on and play.
We're not into a precision oriented thing, and that was hard
'cause we had two drummers
going.
Discorder: You had two guitarists as well.
Gumball: And no bass player,
so it was fun but it was just too
much like two bands playin' at
the same time.
Discorder: Back to the independent thing, what about the health
ofthe labels themselves? SUB-
POP has had some problems recently, and Rough Trade too, so
what does that mean to you guys?
Gumball: We feel bad and a lot
of bands are definitely getting
screwed by it. It means that no
independentis safe. Before, with
the independents, if a band could
sell a lot of records they could
get sorta big. Now it seems like
the biggest one has faltered two
years later, three years later, af-
terselling hundreds of thousands
of records, so I have to blame it
onmismanagementof some sort.
bly aren't makin' so much money.
Gumball: A lot of the bootlegging is because American labels
refuse to press records now, and
a lot of people who want that
product don't have a CD player
and don't want to deal with a
cassette. So someone's gotta
bootleg the record that they mastered off of a CD and it's the
same price as the CD. I mean,
what do you expect? Of course
some kid's going to buy it. It
doesn't help the band, I agree,
but that's something you got to
expect when you get on a major,
and you just gotta deal with it.
Discorder: So you're anti-CD
then?
Gumball: WelL.J'm not anti-
CD, I'm pro-record. We're pro-
8-track as well, and we brought
our 8-tracks with us again.
Discorder: What do you have in
your 8-track collection there?
Gumball: You name it, we've
got it: Alice Cooper, Sammy
Davis, Cheap Trick, Cheap Trick
Live, The Carpenters, you name
it.
Discorder: Don, you do things
on the side as well, like production work for Teenage Fan Club.
GumbaU: Yeah, I've been doing a little work on the side.
Being in the studio isn't more
fun than being on the road, for
There's no scene in Vancouver.
Gumball: I don't know, but
don't look to Seattle for a clue.
Let me tell ya, come to New
York. You just gotta pull up those
roo ts and head down the old trail,
the old trail of life. It seems to
me what starts the scene is a
couple of bands that somehow
get big either because they are
very good, they tour a lot, or they
get a lot of hype. You guys are
ripe for it. You got any good
bands here? The Smugglers...
Discorder: The Smugglers,
yeah, they're sorta very sixties.
There's some very good bands
in town, it just seems to be very
directionless at the moment
Gumball: WeU, is there a label
in town?
Discorder: There are a couple
sprouting up.
Gumball: Well there you go.
You have to make your own
fate, like in Terminator II. You
have to make your own fate, so
do it But anyhow, we're going
to California, we're goin' to Texas, then we're goin' to Grace-
land. We're not playin' there,
just distributing there.
Discorder: Is this that rock and
roll thing? Is this what it's all
about: in a band headed across
the country playin' tapes, playin' gigs?
GumbaU: You got it dude, you
bands just go crazy and people
here just think it's the greatest
thing. The thing there is that the
bands are the flavour of the week.
The Melody Maker can make or
break you, it's just a real different scene there.
Discorder: Proportionately,
would you say you sell more
records over there than here?
Gumball: Yes.
Discorder: Is it twice as many?
Gumball: Well, right now it's
been about equal, which has been
very surprising over here. We're
selling a lot more over here than
we thought we would, 'cause we
haven't toured that much. In the
last few years, we've done 6 or 7
tours in Europe and 2 in America. Both of those were set up
opening for Sonic Youth. Otherwise, we would never have gotten them. This is the first one
we're doing by ourselves.
Discorder: So, what is it with
this B eat Happening, man. There
are people that just love them and
there are people that just hate
them.
Gumball: You love them or you
hate them, there's no middle w
ground. They opened a few gigsS
for Fugazi and, like them, you're _■
either into their shtick or not. It's S"
sorta an acquired taste. I loveK
them'cause they know what rockto
and roll's all about SEX MAD
SONGS ABOUT LOVE,
DEATH, SEX AND BOB
NOW BOTH AVAILABLE
ON ONE CASSETTE & CD Scooter" Brooks and Mike "Mofo" McClean
The
took
let Fi
was giveifa'
Since their.
a major lab
band to what il
nate in thai
relationsi_pj^f^_naj<
samp tim»,
developing
and when you drop a lot _
project everyone wants to win."
uct turned out tobe The Reality of
,. __\T ,' w3— ,. . , But then how do'
jijshbdhe ^previous albums and pack*
; of philosophical irony on society.
jeept album for only their third full-
te%-? Why not would probably be^a
lesaon. Fishbone proved it could be done
repertoire of-songs that were con
s muckf^Ifl|^_»S|jta«*Just because ^*
somewhatser^^with their
foneanthey'vel
always useltsatire in our music?
'but* this time\e decided to eas6 bi
hear somgtltinj
unified thing wheye it was just an environment
whCT*A_^plecou^d-comfejp,tteace and jdam from
one anotiieprWheiKPerry asl^ed us_ (to join the
^_ Lollapalooza tour) tepk.in January we were still in
. the studio tearaig opt ha-TsOUU-TRe last thing we
wanted to do was>funk\bouf btppr. After a couple
of bands dropped out Perry sai^lley, you guys
play?*and we said;.'Yesih, weTJ do it' It
wds^kgreat idea and I'm gladSPerry had the juice
to putivt^ether "Xv - /X.
Thus, ThW^qn_j>_lo^ Festival couldn't have
been a more £e_hict vehicle for Fishbone to ride,
considering Blackl^sdip in the United States has
yet to wake up and acffftitthey are while owned.
The chances of hearing F_5irt>dne after Vanilla Ice
slim. Cultural dive*i^ty?/Well, with 7
Fishbone whom areVeryebservant of
role, in American culture, therrinfluences in
their music extend"much further thanS*l*.at they
grew up listening. to_
But then how do you define a typical band? Well, if you were ever burdened with this task, Fishbone
wouldn't even exist as an antonym.
If there was one band in this entire world that it would be a felony to pigeonhole, it would be Fishbone
for they would have been incarnated in the body of l!
So, the obvious question pursed 01
latest common dene
"I think wh#m£<lo is pigtail th3|(y£iffer_^lyl^basic_f(j^he sl|pe way we listen to them," sigi
toted because they s<
Jones,
little bltjon that and let
grates heejfralit_e.Ii
althoi 5J1 v/«,<
M.Mr^mtSi
rogrammed their m_Bj9
n want we give themwh*
k about it you have been
America is a big influence on FisMSooe. The
difference is we have respect for evetybrte's culture whereas very few people have /espect for
ours. We just want people^o know that whjen you
k and green that does not mean
:r everyone else's cijjture. It
and admire the dil erences
being proud in the| heritage
wear the red,
you steamn
means that you rl
f everyone else,
pur own.'
t recently,
taker, S]
^Mal<
this record befc
band..
ah ~iga0fnt party, months, in support of TheReali, m
ly) say, 'Party ifyfcs, jthey decided to hookup with the I*erry
rell's \(Jane's Addiction) art-vehicle brainchild,
1, vMtifch was witnessed The Lollapalooza Festival. Joining the ranks of
odor^andiheir appeSr- Siou\sie and the Banshees, Ice-T, Henry Rollins,
;d-tiyil. AuhoughFish- Violent Femmes and Jane's Addiction, Fishbone
[proceeds will be
leg of the tour where
,N^ils ana The ButdjfKSTurfers
gh FjshbonejMjBrtoured up
im Dallas to Seattle, they relished the opportunity to participate in Jfecord I
this musical mosaic. X^7relea_e<
James explains. "Peny just wanted a C_Jfl^_lly «^_u hardcore
me have collabors ted with
!, on Lee's new fil n on the
Although Fishbon j are no
igers to the silver screen, with a*
Back to the Beach and Tapeheads, Jhej do not
appear on screen this time: Howd|
doing work on a o
? the jproceec
Seat- ipge Ft Rowena 'rT Ricardo Wong Go To the BigAf
SITTING IN THEIR EASY
chairs placed side by
side on the verandah of
their house overlooking
the back yard of Mr.
Dolores' place are Rowena and Ricardo
Wong. Having Just spent several days
In the Big Apple taking In the New
Music Seminar and other sights, these
two worldwlse vacationers are eager to
tell me about their trip to New York.
OV^H^L ICARDO: "IF YOU ARE
^^^Zj^^k sitting in an exit row and
^^^^^^B you cannot read this card
^^^^X__F orcannotseewellenough
^^___^^ to follow these instructions, please tell a crew member. So said
the emergency procedures card sitting in
the pouch in front of us, Rowena 'n'
Ricardo, which I, Ricardo, noticed just as
we landed at La Guardia Airport on our way
to the annual New Music Seminar.
*^B)U. OWENA: HOOBOY, NEW
Jk^^^j^k\ York was hot n' humid.
^^^^^ The airfeit like thousands
^^^_H^ of hands pawing at you all
^^H_^^ over your body, grey and
sticky gooey fingers probing every pore
and creviss. Uck. Ricardo and I sought
refuge at the Paramount Hotel, a rather
ancient place recently renovated in Philli-
pe Starck's ultra chic'n'trendy but sort of
expensive Ikea way. Apparently they forgot to repair/replace one thing in the
process 'cause I almostspentmywhole
week in New York trapped in the company of towels, toothpaste, toilet paper and a stainless steel washbasin.
Yes, the rusty old wobbly doorknob on
the bathroom door. Maybe he wants us
to stay in the bathroom brushing our
teeth with his Philippe Starke-designed
multi-hue multklollar toothbrushes which
Ricardo and I had forgotten to bring with
i*w g
ICARDO: THAT WASN'T
the only thing we forgot,
was it Rowena? We, Rowena 'n' Ricardo, also forgot to bring our VCR
because there were some verrrry interesting things on the commercial/community
access cable channel after midnight Just
think. Wecould have brought home with us
vids that you would never see on Rogers
Cable 4. Imagine shows with names like
Beyond Fury: Psychic Blond Fury, Byrd's
Women for Women, the legendary Robin
Byrd Show, Hot Spots, Hot Talk, In & Out
With Dick, Interludes After Midnight, Men
& Films, Midnight Blue, and Voyeur Vision
— complete with commercials for New
York's various escort services including
the memorable Geisha Escorts.
And then there's this show called Larry
V. W. Rock Shop which just has this geeky
baseball-capped guy sitting on a chair
talking about all these reeeally bad metal
videos that look like they should be on
Real Power Hits on Rogers Cable 4. He
illy
pid
metal-guy voice which was bad enough,
but then you got to see what he actually
looked like and that seemed to make it
worse. And then there was the problem
with thisguy not likinggay people which he
kept on repeating.
•__L °
£_-»-
OWENA: I'LLREMEMBER
staying up late watching
the wonderful Patty Duke
Show on Nick at N ite every
night after going out and
seeing some nightlife. Hooboy, we saw
alot of nightlife!
One night we went to the Ritz which is a
Broadway theatre-tumed-rock-palace, to
see Einsturzende Neubauten with Cabaret
Voltaire and Front Line Assembly. Bill Leeb
and Co. opened the evening off with a
rather lengthy set for an opening act.
Foiget about what was said about the
Vancouver show at Graceland being a
major disappointment etc; I found nothing
reallydifferent performance-wise between
the two shows, save for the fact that FLA
was more or less jammed into the tiny
Graceland stage, offering Mr. Leeb little
room to maneuver, whereas the football
field-like Ritz stage actually made the group
look a tad miniscule.
Between bands, the club displayed several loooong industriaWance videos on
the triumvirate of video screens that descended from the ceiling. However, there
were no "I've fallen, and I can'tget up"
sequences between videos which my
seajndcousin-once^emoved Ansjel
Wong told me last year drew much
applause and cheeringfrom the parts
jg of the audience that were in the
»*"% know; it seemed that the videos by
Mr* German supergroup (ubergroup?) Lai-
J_P bach were the new in-thing to cheer at
in a mocking sort of way. Especially that
classic "Life Is Life" video. Ah, yes, the
audience's reaction to Laibach was something that you can only dream about read
ing in Spy, or in Details when it was cool.
Is this what being cool is?
Cabaret Voltaire followed, but being
rather short, I couldn't see them bopping
around on stage in their nice white Euro-
rapper duds. Rfcardo said they did dance
rather cutely, though. Alot of housey stuff,
which I honestly found more interesting in
this environment than I found FLA. They
also did a rather lengthy set, but maybe it
was the heat that was making me impatient Or maybe it was the very strong
smell of clove cigarettes being smoked
around me. Anyway, I was relieved when
they were finished, because then I could
see the band that we had come to see.
After an agonizingly long set of videos
including another one by Laibach, Einsturzende Neubauten took the stage and for
over an hour they kept the audience entranced with their dissonant violent, aggressive art Guitar and bass feedback
were layered with percussion involving
chains, pipes, a saw and even a wire
grocery cart in a very visual performance.
Hooboy, things were screechy and squacky
and noisy I Itwas wonderful! Except for Mr.
Curly Haired Percussion Man with the New
Wave Do who seemed to think he was Mr.
Universe, what with his flexing and preening on stage.
«|S ICARDO: HOW ABOUT
AX^r^m The Academy? It's anoth-
^^^^\^ er Broadway Theatre
9k s__r that s been basica|tygut"
* ^*W ted of its seats on the
lower level and injected with a muscular
rock sound system like the Ritz. The
Academy was the site for one stop of the
Buzzcocks reunion tour. Nova Mob opened,
and seemed to make the few hundred
there happy except me.
Playing stuff from their album (on
Rough Trade, so I don't know where
they hell it's from now) which in
itself does not incite one to hop up
and down, at least Mr. Hart and Co.
should have let us sit on chairs or
something. After a dreadful nigh-on-
an-hour delay in setting up on the
massive stage which seemed much
laiger than the Orpheum's in Vancouver (or were they just waiting for
the crowd to get bigger?), the
Buzzcocks took stage, and proceeded to do to the crowd what Coast
800 seems to be doing to Vancouver: making them very happy playing their
old punk-rock cum pop hits plus their
(some say) weaker stuff from their recent
EP. Everyone leftwith a smile and a slightly
wistful "remember when" kind of look on
their faces. Definitely a return to the good
old days of yore though oddly placed in the
midst of a new music convention.
*^^^k^i American touron the back,
^Bt^Jl^r a" twelve or so. I bought
^* ^^ one of 'em. I mean, what
the heck I forgot to buy one when I was ten.
It smelted like the subway... an exhausty
heavy oily reek... and Ricardo hadn't even
worn it yet.
•11^ ICARDO: THEN THERE
j^kWjmfo was the ni8ht that we saw
^^^^^ the Velvet Crush, the
v^gP 360's, Venus Beads, Yo
^_T La Tengo, Das Damen,
Urge Overkill and Unrest all in one night!
What a night of guitar-based rock 'n' roll!
We started things off at a very early hour at
the Marquee, a club on the Lower West
Side that is almost shaped like a huger
Luv-a-Fair, only this place had an airplane
a hard tine
Yoo-hoocnc
tie, cartel a
OWENA: T'SWERE$20
W^l*% and had the dates of the
r ^* o
H Rowena and Ricardo'* Top Phrases Heard In New York. » A man to Ricardo who's drinking through a straw a canned beverage that's hidden In a paper bag: "Can I have some of that? Oh, It's only s
%% a Chinese restaurant on Houston Street: "Can I sit down here?" "Yeah, slddown'dere." •» Child and parent In the United Nations lobby: "I don't wanna go on the tourl" "You have to go on the tour. That's why w<
H upon finding out Rlcardo's from Vancouver. "Gastown! They ran me out of Gastown." " Man outside a strip club on Broadway trying to drum up business: "Ladies on stage, guys and gals. Six overheated w
m oneendtotheotherendofthesubwaystatlonatLexlngtonand60th Street: "Man, it's a lousy world. It's hell. I can tell by the smell." ■* Man to Ricardo walking down Broadway by 43rd Street: "Yo, China. Yo, China. Ma*
■| «> Waiter to a tourist family at Howard Johnson's dining room on the comer of 46th and Broadway where they sell Travellin' Taffy by the boxload In both Ice cream and tropical fruit flavours and where they to
_ huge print "15% gratuity not Included": "You know Haagen-Daz don't you? You're from Holland, aren't you? Oh, y'know I think it's made in New Jersey." " Walking around New York, it seems no one looks at anti anybody It's a wonder why there are so many sidewalk salespeople/handbillers: "HI, my name Is Colleen and I'm with— Hey! You're not even listening! Be nice!" " Waiter to Ricardo at a restaurant where RiU
</) himself down at a booth: "Hey, let me do that. Wha', do you want my Job?" ■ Man walking along In Greenwich Village waving a fully-extended Swiss Army Knife In front of him like a flag, yelling, "Hey! Right -{m
©EK_2_KP r®_m
Dple and Take a Bite
h>y Ida J. Latfnam
na's Top Beverages
e Ricardo Only Drank
pel (How Boring)
range Juice with Extra Chunky Bits
gg Cream made wtth reel U-Bet
sticking its
nose into the
roof of the
building. Inside, the bright
early evening
sky shone into
the skylights
and made for a
very unclublike
atmosphere,
which was probably the reason
why so few people were on
hand to watch the Velvet Crush open the
night They played a short but enjoyable
set with a youthful quasi-innocent exuberance kind of like Love Battery had. After a
very short time — ie, only a few videos
later—the 360's came on before a much
larger crowd and sure made me want to go
out and buy their debut album. But then
the Venus Beads quickly followed and
made me very happy that I had bought
their album and had listened to it intently
beforehand, because of all three bands,
the Venus Beads were the most memorable. Their set included almost all the
songs off their album, and nothing was
lost in the translation from studio to live.
Very lively on stage, their guitarist caught
my eye the most; he was this cute fellow
like the guy in the Smugglers who ran and
jumped about like he was on a frying pan,
whether he was playing a solo or not.
We left right after the Venus Beads
finished their set and before Birdland took
the stage, 'cause we wanted to hightail it
to CBGB on the opposite side of town to
seethe Matador showcase night with Urge
Overkill, Unrest Unsane and Superchunk.
We got their just in time to see Urge
Overkill finish off their set before an appreciative, jampacked crowd that filled the
narrow, claustrophobic, extremely hot 'n'
humid club. Really, though, we were too
far away from the stage to see them
'cause I thought it would be best to sit
somewhere and breathe rather than to
stand and faint which is why I can'treally
say anything about the rest of the bands
either except to say that they sounded like
their records.
We left before Superchunk came on
and headed for Das Damen and Yo La
Tengo atthe Knitting Factory, which is just
around the corner from CBGB. The Knit
ting Factory is this really cod
with no rock 'n' roll lighting but
indirect display lighting illuminating
artwork on the walls. There's no stage to
speak of, and everybody stands on the
floor so Rowena, being the short person
she is, couldn't see much.
Tengo really didn't need to
much as they needed to be
duo this time, they wen-
true saviours of the e<
kind of thing to end off an ni
rock 'n' roll action.jfej,
A^^ OWENA: HOW ABOUT1
_p|_^^ t Sub Pop ove^Sl^e we ex-
\^*%. _,_,perienced?Fbral§belthat
\^»s only two hourS^way
m*W from us, we sure got
alot of it thousands of miles away. Therev
were two major Sub Pop nights during our
stay. One entitled "Sub Pop and Friends
Presents" was atthe Marquee again where
Codeine, Reverend Horton Heat, Afghan
Whigs, Pearl Jam and Beasts of Bourbon
gave the very Sub Pop-crazy crowd
(Jonathan Poneman was the most loudly
applauded panelist at one of the indie
seminars) a hefty shot of The Seattle
Sound, even though more than a couple of
the bands aren't from Seattle. I've never
seen so many Sub Pop T-shirts in one
room in my entire life, and I don'tth ink they
were even selling any at the club. Plus they
were very liberal with the Sub Pop videos
on the video screen between sets.
Two nights later, we found ourselves
gingerly stepping aboard a boat called the
Frying Pan for the Sub Pop/Touch & Go/
Island party featuring Pegboy, Didjits, Reverend Horton Heat Codeine. Hinterland
and Urge Overkill. Moored next to an
r turned into a museum off of
i--- Rjver> where
> view of the
tot New Jersey, or an
. __ view of the browner,
_..i down the river with the
i all it's brown splendour. The
is a twice-sunken-once-con-
vessel (with bar-
>the inside walls to
<t the Frying Pan suf-(
went
.the boatload
silence.
up the ladder
another Jagerroeis-
ter and e%esc%p on industry execs ("A
the frozen meat indus-
(, too.")? Of course some
ilks took advantage of this lull in
to go wart in line to use the
perpetually plugged toilets. Ricardo overheard while in line: "Mind the smell in
there. I didn't cause that smell. I only
contributed to it." The toilets were equitably separated according to gender, but
some guys couldn't wait, and rather than
pee overboard like a sign invited, decided
to invade the "women's."
Rick from the Didjits came up to me.
" C an I ask you a question? I don't mean to
impose, but why are you here? I mean, you
could ask me the same question. I just
wanted td&now. I'm just trying to find
somebody yi»ho'II just say, "It's a party, I'm
just here.* Everybody here seems to be
with something." Apparently, the Didjits
arid Pegboy were supposed to be playing
the same night somewhere in Philadelphia, which meant that they were supposed to leave pronto after their sets on
the boat and truck it 90 over to Pennsylvania. Somehow it seems more appealing to
be playing on a sunken ship than it is to be
playing in Philadelphia. But before leaving,
with a beer in hand. Rick reached into his
furry coat-thing and
pulled out a single, saying," Do you want th is?
I don't know why I have
it Somebody came up
to me and gave it to me
I don't know what
JIPBto with it Here."
single now has a
iappy home at CiTR.
As we were leaving, a
woman followed us off
the boat and up the
dock to dry land and
the highway.
*_|^~ ICARDO: I THINK SHE
*^Ff * had too much Jagermeis-
•k <^^^ ter. cause she said, "Are
* T^F you going that way? I'm
•* trying to figure out if
I'm being stupid walking down this street
alone. Can I walk with you?"
OWENA: AND THEN
there's Bongwater at
CBGB. A show so inspiring, it moved me to write a
JS
The guitarist looked like J.f^Hohm.
The drummer looked liketinda Hunt.
Kramer looked like Hevn Smith.
Ann Magnussen drinked like a fish.
Q
^»W*^ H
• Potato knish with two kinds of mustard served
bya street vendor outside the United Nations.
• Moisha 's potato latkes served with a nice big
bowl of apple sauce. I personally prefer sour
cream, but it came with apple sauce and
Norma brought them out.
•Black bean soup as darkas chocolate puddin'
and served with oyster crackers as big as ping
pong balls and just as hard.
• Moisha s Chopped Liver and Bacon Sandwich
ICARDO: BUT WAIT!
Who's J.B. Hohm? Who's
Linda Hunt? Who's Kevin
Smith? Fish don't drink.
Hey! Who turned off the
water? I thought the Bongwater show was the
most memorable one of all. It started off with
Kramer setting up and then Ann Magnussen
came onstage with some pieces of paper and
started drinking. And then the band started
playirg VERY LOUDLY, so loudly that my
sweaty shorts vibrated.
In a manner kinda like
King Missile's John S.
Hall, Am Magnussen s
lyrics have that spontaneous air about them
that is sorta made transparent because it's being performed like it appears on record. Nonetheless, itwas trurymag-
ical to hearmaterial from
all their albums, plus
.,«,,***■■». their encore which they
dedicatBdtoACRJP.But
does Ann Magnussen ever drink! She must
have clowned five bottles in the set Plus she
changed her wigs and clothes several times,
sorta like keeping track of how much she was
drinking. Memorable moments? Actually
hearing live performances of "Chicken Pussy," "The Power of Pussy," and that one in a
Chinese language that is on the Double
Bummer CD, all while Ann Magnussen was
referring to and reading from various pieces
of paper and books that she had with her.
Needless to say, we left after they
finished because, well, we were finished
" Customer and waiter at
here." «* Man to Ricardo
»n." n Man walking from
rorwanna. Mayorwanna."
/er-so-dlscreetly scrawl In
toody and no one talks to
irdo had proceeded to sit
»re! Knives! Five dollars!"
Rowena and Rlcardo's Sundry Other Memories " Seeing Joey Ramone standing alone and looking very confused by the NMS Info booth. » Being almost run down by <£>
Professor X and his X Clan marching down Broadway, o Really seeing dog walkers at 6pm around Greenwich Village. ■> Being able to walk Into a clothing store In "g.
Greenwich Village at 2am and look at shirts and dresses, n Actually seeing people picking stuff at 3am from the comer store's fifty-Item steam tables/salad bars full of 3>
stainless steel trays of everything from makl-zushi and potato salad to fried chicken wings and lasagna, all served In 90-degree heat. " Buying my $0.99 glass jar of Ruff _-
that Ricardo so considerately proceeded to drop on the hotel room floor. My, does It swell up when exposed to air. I was cross with him for a while, but now I »
would like to make a percolating Ruff lamp complete with sparkly glass bits. New York certainly Is a catalyst for artistic inspiration. = Seeing men four or five to h»
the block selling gold watches out of attache cases. *> Having to ring the doorbell to get Into some shops because they don't want to leave the door {_"
unlocked. ■> Walking In Time Square at 2am with all the big neon signs turned off. <- Propina Es Parte Oes Nuestra Profito. Sea Generoso.
smsm® DJ SOUNDWAR
CHAPTER II
by ADAM SLOAN
AL MONDAYL
SepL 2nd OUUOTSKH DOSE PUMP. WVE JllBX (1AM ON (31AJ^
SepL 9di mm ne¥ yoftt mwjder amgamor stone iw
Sept 16tk SACl-UFKE aiMK ™^
SepL 23rd MAIflOLVK. WOMB SERVICE. PLUS GUESIS
Sept 30lk FAKEIT IKllMEFAI_SEWriiN^_raG^
ALTERNATIVE TUESDAYS
SepL 3rd JUKE MONKEYS, «MJA GORMA DOGHIIA IT
SepL lOtk DErVDSWi^aiMSEnci
SepL 17tk GpiU lWtLg Artisb THUNDER
SepL 24lk 1BA
1055 HOMER 681-8202
Uh, so you're wondering "what tha hell is a DJ Soundwar?" Well git this y'all. Let's
go way, way, way, way back before Shaft with a mic in the Mack, oops, I mean to the year
1990, A.D. around June, when things were starting to come together for the now
legendary DJ Soundwar, chapter one. It was the product of a few hard-workin' members
of this here radio station CiTR, who wanted to provide an outlet for local rappers, DJ's
rap crews, and dancers to work it out in front of an audience. It all culminated in two
frenzied days of activity, August 31 and September 1 with all the hippest hip-hop addicts
in Vancouver checkin' out what was goin' down in their own city. There were also a few
imports from Seattle and even farther down the American coast, doin' their dang for the
prizes and the fun. A good time was had by all, no doubt! Looking back, it wasn't really
important who won, as everybody that entered won by finding out that they weren't alone
and friendships were struck everywhere.
Chapter n should give us the opportunity to see some new Vancouver rap talent, as
well as being able to check out how last year's contestants have progressed. As well, this
year promises more prizes for contestants and the audience, a large video screen, and the
first-ever Graffiti Clash. There will also be a DJ equipment exhibition with tons of the
latest mixers, turntables, and a few demonstrations by MR. Control from MuchMusic
Extendamix.
So if you 're down with rap, you just gotta be at the SUB Ballroom out here at U.B .C,
6pm Saturday September 14 and Sunday, September 15 for CiTR DJ Soundwar Chapter
n, along with thousands of other people chillin' to da hip-hop beat. Awright, I'll see ya
there. I'm outta here y'all.
DJ SOUND WAI
I CHAPTER TWO
CiTR'S RAP AND DANCE COMPETITION
SAT. SEPT. 14 & SUN SEPT. 15
SUB BALLROOM, UBC
RULES
RULES FOR DANCERS
-dancer, may compete Individually or ki teams
dancers wUI supply a music track of a maximum of 5 minutes on cassette or
record
» will be juojged on technique, timing, originality, presentation and
eresponse
S FOR MCS
-MCs will compete individually in elimination rounds until a winner is declared
-contestants may use any rhythm or backing track they wish In the first round (up
to a max. of 5min.)
-In successive rounds, MCs will be required to perform to rhythm tracks of 60
to 90 seconds in duration decided by the Judges (each MC will have a choice of
hiphop. house or dance hall style backing tracks In each round)
-MCs will be Judged on delivery, .Tical content, originality and audience
response.
RULES FOR DJS
s will compete individually In elimination rounds until a winner ia
s will perform in rounds of 90 seconds to 3 minutes In length as decided by
>Judges
s must use the supplied turntables and mixer
-DJs may use tapes and other sound sources but must supply a list of equipment
to be used which will be approved or revised by the Judges as they see fit
-DJs will be Judged on technique, timing, originality and audience responsse
RULES FOR CREWS
-crew entries must comprise of at least two of the three other categories
-crews will perform one set of 7-10 minutes in duration
y and audience response CiTR'S RAP AND DANCE COMPETITION
SAT. SEPT. 14 & SUN. SEPT.15
SUB BALLROOM, UBC
HOSTED BY EARL THE PEARL
SHOW STARTS AT 6 PM COME EARLY & WIN PRIZES
OE EXHIBITION OPENS AT 2:00 PI ■ UL EQUIPMENT 10-40 I OFF
: MR CONTROL FROM MUCH MUSIC EXTENDAMIX W-30 RAP ftKD DANCE REMIX DEMO
I CLASH: NOON TO 6:00 PM
SPONSORED BY:
NATIONAL SOUND 01 & NIGHTCLUB
3:00, 4:00 & 5:00:
GRAFFITI
,[_3RBCORDS_TAPES <g|f SM
[UlRolancI -.„
lasses."- NumnrkSSK
«^
■*?*.*
x%>
m CiTR
101.9 fM &
COOP
PRESENT AN EVENING WITH TORONTO'S STREETNIK MASTERS OF BOP-RAP
With Special Guests ROOtS ROU ilCMLI P
THURSDAY SEPTEMBER 26TH
Doors 8pm
viaiis ana an me rei
The Fabulous
mm
ts or. charge by phone at 280-4444
870 Granville Mall f
<TSkC ^Ho^
•&\ H^pi'S\oVaFW\\i
WALKING WOUNDED are a five piece rock'n'roll band from
Hollywood. I was supposed to talk to them before the August 9th
show but they had the border guard blues and I had a baby migraine,
so after waiting an hour I went to White Spot with my beau and had
the Soup of the Day (broccoli and cheddar) and a side order of
coleslaw. Feeling somewhat revived, we headed over to the Commodore. Robynn had given me their new release. Hard Times, in the
hopes that I would interview them. After giving the tape a few listens
I had decided that they were pretty good, I liked the second side
better than the first, but I wasn't in love. It came as a surprise then,
that as we were going up the steps of the Commodore, I began to run,
dragging my boyfriend, because I could hear strains of "Sarah" and
didn't want to miss it They played a lively set, I danced and sang
along and finally chatted with them afterwards. We talked about
borders, Bob's Your Uncle and boxer shorts. Jerry has a great voice,
was very hospitable, and even gave me a beer. Maybe I do love them
after all.
voices:
Discorder (that's me)
Jerry Giddens (vocals, acoustic guitar)
Louis (new bass guitarist, didn't catch his last name)
Kent Earl Housman (electric guitar, vocals)
Tom Lillestol (percussion, vocals)
?—mystery man (new drummer)
Discorder: You had some problems at the border, I hear.
Jerry: Whoah, golly! Yeah, we
had a lot of problems. They
seized our equipment truck and
we had to pay to get it back—I
felt like I was in Mississippi, you
know where the guy goes, "Give
me a few dollars and I'll let you
cross." So uh, yeah it was—I
think there's some sort of war
going on between the United
States and Canada now [about]
letting musicians in and out.
DIS: What's it like in Hollywood? Are you overshadowed
by movie stars?
J: Uh yeah—I guess overshadowed might be the right word,
it's one of the strangest places
I've ever lived and I'm not sure
I will ever get over it. Actually,
I just kind of moved out in the
mountains—for the first time in
fifteen years [I'm] not living in
the city. I kinda feel like a country rural guy again.
DIS: Originally you're from
Louisiana?
/; Yeah—from the country. I
feel so at home when I drive
through these woods up here.
DIS: Is CiTR the first Canadian
radio station you've talked to?
J: Certainly on this tour. On the
last tour, for Raging Winds of
Time, we had—what's the big
station out in Victoria? Q102 or
something—I can't remember
who it was. They played a little
of our last record, and actually
we got some play around Canada but our record company kind
of dropped the ball and nothing
ever happened. But you're the
first one on the Hard Times tour.
Yes, ma'am.
DIS: Well, we'll give you lots
of airplay.
J: Good, good. Which song do
you like?
DIS:Iguessit'satiebetween—
J: Do you like "Sarah"?
DIS: "Sarah" and—what's the
last one?
J: "Saddled By Idiot"s?
DIS: Yes!
/; You like "Saddled By Idi-
DIS: Ilike"SaddledBy Idiots".
/: Oh, I thought no one would
like that. I almost didn't put it
on the record.
DIS: No, I liked it I liked having the pub sounds in the background.
/: Yeah. Those are sound effects—it's terrible—but we did
it. It wasn't really live but I've
played many shows where it
was equally as devastating.
But yeah, a lot of people mention that song—I thought no
one would really check it out.
(Actually, my favourite song is
"Broken Spirits," which provided the title for this article, but in
the stress and excitement of my
first interview, my memory
failed me.)
DIS: Have you ever heard of
your labelmates Bob's Your
Uncle?
/: Oh! Were they here tonight?
What's the lead singer's name?
DIS: Sook-Yin Lee.
J: We love her. When we were
doing this record, we were thinking about signing to Doctor
Dream and they had done this
billboard ad with her picture on
it. We hung the picture up in the
studio, and I'd go "Look at this
fine woman and play this song."
Don't tell her that. Actually, I
met her for like, five seconds.
They'd just done their show at
the Monterey—she's marvellous—and I walked up to her—
they were playing our record on
thePA,I'msureshedidn'tknow
who I was and I'm going "This
record is for you. The whole
band looked at your picture"—
and she's going (makes "who is
this guy?" face)
DIS: You wrote "Loneliest
Road" for the Beat Farmers.
Have you done anything else
with them?
J: I did a solo record a couple of
years ago, an acoustic kind of
thing and the BeatFarmers wanted Walking Wounded to open
some shows. Walking Wounded couldn't do it but Jerry Giddens could. So after about three
gigs, Country Dick goes "I
thought you had a fuckin' band"
and I go "No, no, no, that's the
point I don't have a band." So I
got to know them through that
and I just think they're some of
the best people in the business
and they are great musicians.
DIS: Yeah, they're a lot of fun.
I saw them a couple months ago
here.
J: Those are songwriters right
there—and Country Dick, he's
always on (in the background,
"Praise the Lord!").
DIS: Every single article I read
mentions Bob Dylan as an influence. Any extra comment required there?
/; I love Bob Dylan. I think he's
the best living American poet
and if I could write one song as
good as any of his, I'd feel like I
was a good songwriter. He's the
best I don't give a shit about his
personal life, I just like his songs.
I don't think they're prophetic
either, I just think they're great.
I love Bob Dylan.(laughs)
DIS: We love Bob! (choruses of
"Bob!" in background)
J: Of course, I'm not the only
one.
DIS: Your press release makes
some comment about you being
"quintessentially American
rock'n'roll". What makes you
so American and so quintessential? Do you actually feel American—do you feel very American, as opposed to me feeling
very Canadian?
J: No. No, no. I'm not very
much of a nationalist person. I
actually think that we all ought
to be one country. But it is a
source of pride. I really feel that
America bred rock'n'roll.
Rock'n'roll started there. The
problem is that we don't have
the best rock'n'roll bands any
more.Thebest rock'n'roll bands
are from Australia and Canada
and England. I really believe in
an arrogant sortof way that we're
oneof the great rock'n'roll bands
in America right now—because
therestof them are doing horse-
shit music. Bands like The Paladins, thank god for them and
Dave Alvin and these folks
'cause you know we don't do
the music for money and we
don't do it for the clothes, we
don't dress up—we play
rock'n'roll. And we do what
music is supposed to do for a
community, at least, we hope
we do. When people ask me, I
always say we're an American
band because I feel that groups
place [i.e. identify?] with American musicians but in a sense, I
pray that we 're auniversal band.
And I think that our songs are
kind of universal. As I was introducing the song that was in
Gallup, New Mexico I realized
how American my perspective
is, for better or for worse. But I
love Canada. God, I almost lived
here—almost ran away from
the draft and came and joined
you folks.
You know Jesse Winchester?
DIS: Yeah.
J: He was one of my original
influences and I would love to
meet Jesse Winchester one day.
I almost had to follow him up
here—but many years later.
DIS: (to the rest of the band)
Anything you guys want to say?
Tom: (Pee Wee Herman imitation)
/: No, don't do any Pee Wee
humour. This is Tom and Louis—Louis is one of the newest
members of Walking Wounded.
Louis: I just want to say that I
thank the Lord for beautiful
women like you.
DIS: (laugh) But they can't see
me on the radio.
J: Well, they can now. With that
description, god!
L: They don't need to.
J: And Tom, what do you want
to say?
DIS: I'm happy to be alive.
H: One last question. There was
a comment in one of the articles
I got that the Nineties [for us]
might be something like the Thirties were for your parents' generation. Do you really feel that
pessimistic?
J: I certainly did when I wrote
the songs [on Hard Times]. My
concern is that for eight out of
ten Americans Ufe is well and
they don' t feel like that. And I'm
one of those people, I'm very
blessed. Me and Louis were talking about this earlier. In fact no
matter what troubles we had
crossing the border—
L: Very minor, very, very minor.
/: We're still blessed—humans
first and musicians second. As
hard as this is sometimes, there
are tons of musicians who wish
they were in c : shoes. In this
country, two out every ten people are havin' hard times—
L: More th in that—
J: At lea .. Four out every ten
Americ- i children go to bed
hungry. American children! This
is insane! And I just feel that no
matter how good it gets for eight
out of us, if two of us aren't
doing well, than none of us are
doing well. We ought to be taking care of these children. You
all have a national health system
here, which is incredible. You
don't know how lucky you are!
In the United States—
DIS: You just pray you don't get
sick.
J: We pray we don't get sick! I
have two kids, I'm a grown man
and I worry—it's just incredible. It's just insane. The richest
country in the world and we can't
help the poorest among us stay
healthy, we can't feed the children in this country—this country? here we are in Canada!—
DIS: We've gothungry children
here in Canada, too. But the
health system does help a lot.
J: And don't let them bastards
take it away from you. You've
got to fight for that shit. We
could have had it in this country
fifteen years ago, and we all
backed down,—this country?
We could've had it in the United
States. See, I feel at home here—
DIS: Well, that's fine. I know
what you mean.
J: Yeah, but I don't want to be
some asshole American. That's
the last thing—
She'll probably put that, "We
don't want to be asshole Americans"
DIS: That can be the title of your
next song.
J: "Asshole American". After
that border guard I met, it may
be "Asshole Canadian". I'm
lookin' at this guy, goin' "You
must have learned your shit from
some American fuckhead." They
just treated us like shit. There
was no reason. We were totally
being up front a thousand percent—
T: I was wearing my boxer shorts.
J: I don't like to lie, y'know, so
I don't carry my pot across the
border. So I don't lie! I think it's
terrible that the United States is
hassling Canadian musicians too.
You know, there are Irish musicians who can't get here [like
Dick Gaughan]. We can't see
these bands! Bob's Your Uncle
had a little problem, but there
were a couple other bands from
Canada that had a lot of problems gettin' down there and I
can't remember who it was.
There shouldn't even be borders. I mean, Canada and the
UnitedStates, what the fuckfor?!
Why? Why's the border there?
We're the same, it's all the same
shit. I'm ready to just open the
borders from Chile all the way
up to Alaska. Just let people go.
You know there are Indian tribes
that lived in an area of the world
for thousands of years, and we
came and we built a fence across
it, and we said that's Mexico and
this is the United States.
You all have a huge Indian—
Native Canadian population.
What are the natives known as
here? Eskimos?
DIS: No. They're usually just
called Native Indians, the indigenous people [today, I would
say First Nations]. Further up
north, you have the Inuit.
L: How long have youbeenhere?
DIS: I've lived in Canada all my
Ufe. I was bom in Alberta—
/; You and Neil. We love NeU
Young. . . I love Bruce Cock-
bum. "If I Had a Rocket Launcher" is stUl one of my favourite
songs—I wish I had written that
song. But I didn't. But if I had a
rocket launcher today, baby!
We'd have blown up some custom houses!
L: This is Kent, our guitar play- _,
er. Kent, say a few words. t|
Kent, abbb bbbb aaaa bbbb abbb §
bbbb aaaa bbbb g"
And on that obscure note, we jg
said goodbye.
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That Kevin guy was supposed to
cover this gig so I thought it'd be
safe for me to drink my face off but
since he didn't show up I guess I'll
have to do the review. I arrived late,
partway through the Clusterfux set,
but I heard enough to be impressed:
fast, slow, fast, slow tight hardcore
with a raw edge. Paste was up next
and Holy Fuck were they good. As
far as I'm concerned, the Paste members' old band, Subverse, was one
of the most amazing Vancouverhard-
core bands, ever, and was seriously
underrated. And Paste completely
picks up where Subverse left off.
Totally intense face shredding hardcore, hopefully Vancouver audiences will be a little more receptive with
their style this time around. Unfortunately, afterthis point I staggered off
into the night and completely missed
Shutdown, so I'm going to let my
roommate comment on their show;
"Shutdown put on a solid, intense set of hardcore. Unlike the last
time I saw them when they were
consumed by their own semi-nakedness; the fact that all five members
of the band ended the gig in macho
shirtlessness didn't detract from their
music. Instead of focusing on each
others silky skin, Shutdown kept
churning out the kind of all encompassing hardcore that drunken legends are made of. Assuming they
can deal with their rock'n'roll stardom (no mean feat) they might actually transcend the incestuous local
So overall Iguess it was a great
gig, with the possible exception being that the audiences at all ages gig
tend to show a bit more wild abandon than the Cruel Elephant crowd.
Oh well, who the hell am I to talk? I
rarely jump around for any band so I
guess I just contribute to the general
lameness.
Speaking of lame, the cover of
the new Superconductor 7" is
obviously intended to turn a few
stomachs, but it is a little too blatantly exploitive to be all that interesting. Still, it does catch the eye. And
that's probably a good thing considering the music is quite cool: harsh,
heavily distorted screaming grunge.
It's very very heavy but I find the
amazing vocals are what really push
it over the top. To tell you the truth
though, I was a little disappointed
that you can'treally tell that's there's
7 guitarists.
The Lu ng 7" is finally out and
it has been well worth the wait. Both
songs are filled with raw edged
screaming distortion, but the brutal
pounding drums on "Consume"
make that one the real standout for
me. This i s too energetic to be called
'grunge,' and too downright catchy
(in a kind of harsh way) to be called
'noise,' so quit trying to make me 1
label it and go out and buy the stupid
thing. Very, very, pretty vinyl.
This has been a hell of a month
for Vancouver vinyl. Hot on the
heels of the Scratch releases comes
TheMintisaTerribleThingtoTaste,
from Mintrecords. It features Tankhog and Windwalker doing the
Ministry songs "So What" and
"Burning Inside" respectively. Ever
heard of the expression "this was a
cover that needed doing"? I'd say
that was the case for both of these
songs, the Tankhog one having the
slight edge of approval from me
over Windwalker. Tankhog's version of "So What" has to be heard to
be believed. Incredibly heavy, it is a
fairly faithful rendition ofthe original with enough variation to keep it
interesting. From a completely different stylistic camp, Windwalker
do a much faster, although a slightly
less harsh sounding, version of
"Burning Inside," with a little more
vocalmelody and a definite fast hardcore sound to the drums and guitar.
This release should be checked out
even if you have no real interest in
either band; I mean, I normally find
Tankhog's thud-metal sound to be a
bit boring but they really kick here.
I'd also like to men tion that the packaging is totally great, the Tankhog
side especially worth noting.
Well that's it, I guess the column's a bit short this month but
we've gotta have a life. Speaking of
a life, this will likely be the last
column I'll contribute to but Kevin
will be carrying on the banner so
keep that fan mail coming.
photo ol Paste by Kai Korinth Ooooh September's here! Time
to plant yerself back in that desk
scoured sparklingly clean of any
year-old Dubble Bubblicious
Yum and start chompin' on them
HBs, right? Not I. Nopesirree!
I'm gonna keep on sitting here
with my orange sequiimed velour Nardwuar recordplayer just
a-listening to all these 7"ers.
Now where shall we begin...
Let's start with a Supersuckers record, shall we? I just
got ahold of "Junk" (eMpTy
Records). Frankly I don't think
they sound like "generic, pneumatic, drill-sounding punk" as
one live reviewer described the
band as being a couple months
ago. Actually I don't know what
that means. One of them Vancouver Special guys told me that
the Supersuckers are like the Derelicts only a whole lot louder or a
lot rougher or tougher or whatev -
er... all ofthe above. Listening to
"Junk" kinda reminds me of having one of those dreams in which
all your teeth fall out, disintegrate, or otherwise go all gritty. I
like this, especially "Girl I Know"
on Side 2. It's grinding catchy
crunch. And I don't have to ponder as long over this record as I
did over that dream. By the way
did anyone see last month's Supersuckers' record review in
Hypel
That label from Bellingham
that starts with an E have put out
another three record box set Problem though is that when I opened
up the box much to my horror, I
found only two-thirds inside. So,
here you get only two-thirds of a
review. Anyway, this compilation is called HalfRack: The 12
Drunkest Bands in Showbiz, and
just like its predecessor thcLunch
Bucket that came with a set of
trading cards, th&HalfRackcom&s
with extra stuff that makes the
box rattle. A book of matches, a
coaster. A perfect gift for your
pyromaniac drunken vinyl-collecting cousin. Musically The
HalfRacktecks theLunch Bucket
and most of the other recent compilations right out the door and
down the street. A heckuva lot
more variety. A heckuva lot more
listenable. TheLunchBucket was
sort of difficult to listen to all in
one go, but this I could listen to
all day long if only I didn't have
to get up to change records. It's
kind of a silly idea —this drunken band thing— but the tunes
themselves (the eight that I've
heard) are cool regardless. The
Derelicts are their raw Derelict
selves tearing through a cover of
the Cosmic Psychos' "Lost
Cause." Seaweed once again
splendidly covers a Beat Happening song. This time it's "Foggy Eyes." Maybe next time
they'll do "Hot Chocolate Boy."
Wahoooo. There are a couple
low points on this gathering
though. Even a recent appearance on Entertainment Tonight
couldn't make me wanna listen
to the Untamed Youth's tune
more than a couple times. Pris-
onshake's song is a rocker, but
their own last release was a lot
more catchy. Missing from my
set was the "M" bunch: Mudhoney, the Mono Men, Marble
Orchard, the Mummies. Nardwuar who does have a complete
set says "The Mummies do Suzi
Quatro's "What a Way to Die".
It'sgrraaaaytt!"
You should probably buy
Is This Bob's record (Plumb) on
looks alone. The cover photo is
amazing and quite suitable for
framing. Inside you get three
tunes, one of which is a cover of
"Doin' It Our Way" (y'know
from Laveme & Shirley?). That
cover and THE cover are the
best things about this record. The
other two songs are not too special party rock that unfortunately pale in comparison, although
"Sally" seems to be a tune that'll
eventually grow on you. In the
meantime you can spend your
time absorbing the amazingness
of the covers.
The firstreleaseof the Parkland Pride Co-op is the Parkland Pride 7". This appears to be
one of thosebunch-of-band-bud-
dies-get-together-and-do-a-
record records. It's a party on
vinyl. How critical can ya be?
The only problem with a record
like this is that it can end up
being too much of an in-joke
leaving the listener out of the
fun. But oh well, if you wanna
crash the party, you can find it at
Meat Records in Tacoma, WA.
From Columbus, Ohio
(home of The Boys from Nowhere who put out many a 7"),
come the Red Devils. Although
this 4-song EP sounds at times
as if these guys were recording
while vacuuming their livingroom, this record deserves a
spot in every jukebox in town.
Good but not great, afunrock-a-
billy stomper. Oh and by the
way, "Button Nose" is also covered by the A-Bones. What's
this aBenny Joyrevival or something?
"Yo Mamafish'TTop Song
= Food" by The Dambullders
(Puppethead). If you've been
hankering for some unfancy un-
Another year, another Shindig.
Do we really need to go over all
this stuff? I mean, you must have
been submerged in one helluva
thick peat bog to be unaware of
the whys and whereabouts ofthe
Great Shindig Event Oh, come
on! Shindig is better than Christmas! It's an opportunity to see
old friends, have a few drinks,
Usten to some hot tunes and we
promise that you will never have
to kiss any of your relatives.
What Shindig involves, in
case you might still be wondering (and I will pause here for you
to clean the peat out of your
ears)... is the most loved and hated annual music event in Vancouver. It ain't sponsored by
some drug—pushing tobacco
company, nor is it related to this
"Music '91" shtick... no, no, no!
Shindig is sponsored by CiTR,
as well as our prize-donating
friends. Therefore, it is not some
vehicle for crafty music—industry schmooze-heads to hit on "the
next big thang" and whack each
other on the back while paying
lip-service to "supporting local
music." Shindig is an opportunity for inexperienced and original groups of musicians to play
in front of real people on a real
stage and feel the thrills and excitement of a live performance.
Shindig also throws in an element of competition and completely arbitrary subjectivity with
its "battle of the bands" format.
But that's the kinda dog-eat-dog
world we Uve in, so y a better get
used to it before ya drown in yer
idealism.
But what about you — the
original local music aficionado?
What does Shindig offer to you?
And what if you've never been
to Shindig? (gasp) What should
you do? say? wear??? These are
all excellent questions, and to
assist you, the novice Shindig-
goer, we have compiled:
The Beginner's Guide to
Shindig Etiquette:
or how to be a local music
know-it-all in six easy steps
1. First of all make sure it's a
Monday night. Shindig happens
on a Monday, not Tuesday (go
see a movie), not Friday (don't
you have anything better to do
on a Friday night?). It's Monday, got it?
2. Round up some friends, the
more the merrier. If you don't
have any, dial 911 and scream as
loudly as you can. At least you' 11
feel better.
3. Arrive early. Shindig is much
more enjoyable ifyou can find a
table and down a pint before the
show begins. Relax! It's been a
long day, you've earned it. The
music you will be experiencing
at your typical Shindig round is
challenging, different, energetic, and creative. It isn't background music, so be at-
tentive!
Moving
one's body
parts in
time with
the music is
optional,
but encouraged.
5. Shindig
is a competition and,
alas, this
does require the
execution
of some
painfully
subjective
decisionmaking by
your friends, theShindig judges.
The judges are really very kind
people, and make every effort to
be as fair and as open-minded as
possible. Sometime, though, you
just gotta separate the meat from
the fat, the diamonds from the
gravel, the poop from the porcelain. This is the challenging yet
rewarding jobofaShindig judge.
Look in your yellow pages under "recruiting."
6. After the evening is finished,
you have the opportunity to ar-
complicated pop music wrapped
up in a confusing black, blue and
white sleeve, check out "Yo
Mamafish'TTop Song = Food"
by The Dambuilders. I don't
know why, but for some reason
when I opened up this record it
smelled kind of peppery or lico-
rice-y like a spice shop. Maybe
The Dambuilders are chefs or
bakers by day. Maybe that explains the title of the B-side of
their 7". Hmmmmm. Maybe it's
lunch time.
Sleepyhead is a trio: Chris
O'Rourke, Rachael McNally and
Michael Gallinsky. On their single "Play" b/w 'Too Much Fun"
(Picture Book Artifact), they
credit Gene, Jamie, Snake and
Tae for concept, spiritual reference, choreography and sleeve
design respectively. It was recorded by Kramer at Noise NY.
It is brilliant. Brilliant in every
single way. Sleepyhead played
in Olympia at the International
Pop Underground Convention.
No doubt they were brilliant there
too. I wasn't there, I was at home
playing their brilliant record over
andover andover again. So there.
Yep, that' s all for this month.
If you've got a 7" out, pleeeez
send it my way! Plus for more
news on 7"ers local-style, flip to
Vancouver Special. Beware of
the evil plastic 7" centre thief.
gue and bicker with your friends
and new acquaintances ftboutthc
evening's events, in eager anticipation of next week's thrilling
installment. And you can follow
the exciting play-by-play right
here in your handy copy of Discorder magazine.
[Ed.—Rory Tait will be providing a blow-by-blow description
of the Shindig event for those
unable to get down to the Railway Club on Monday evenings.
Shindig starts onSeptember 16.]
m&m® SECRETS ENTRUSTED
TO A FEW
S
U
B
T
E
X
T
BY JUDITH BEEMAN
Science Fiction fans were out in force
at UBC for the big Westercon 44/V-
-Con 19 bash (July4-7). The cream
of the SF crop was present, over
2,000 people. Between the author's
readings, movies, art shows, Star Trek
weddings, and panels galore, it was
go go go. A rather wide-eyed subtext
was there too!
So SF culture is on deck this
month, including a look at Westercon, bookstores in town, vital texts
and local writers. And, oh yeah, readers of this column will know "people
are reading" (bottom o' page) is
where I get folks to share their book
lists... William Gibson ... for example. Happy Reading!
Perhaps the most informative
panel I attended at the Con was Neglected Authors, with Spider Robinson, Cliff Bums and David Brat-
man. Spider and Cliff are writers and
David is editor of Mylhprint, a SF
journal from San Jose. The three
brought up many names of writers
somewhat "neglected" today. Their
testimony was truly impassioned;
whatfun to see experts in "fan"mode.
The following list is from this panel,
writers whose style is timeless and
worthy of perusal.
Neglected Authors
JG Ballard
Terry Carr ~>'-'x:^'^ '**
John Varley
David Gerrold
Henry Kuttner
■.>/.a
Cyril Kornbluth , <> ;A
Gardner Dozois (y-*-(> "; >
Edgar Pangborn ~\,;■;'•: A'
Karen Joy Fowler "v$£
Keri Hulme Bone People
Theodore Sturgeon Godbody
John Bellairs Face in the Frost
William Fairchild No Man's Land
Norman Spinrad Radio Talkshow
Hosl
Terry Bisson Talking Man, Wyrld-
John D. McDonald (wrote SF before
mysteries)
Charles Beaumont DarkHeart (collection of SF)
Diana Wynne-Jones Fire and Hemlock (for the kiddies)
Robin McKindley Outlaw of Sherwood (redoing the classics)
Judith Merril (they raved about her,
a prolific writer, also an editor)
Local SF Media
Tune your dial into the other keen
radio station in town, Co-op 102.7
fm, each Thursday night for Ether
Control, a SF extravaganza, 9:30-
10:00 pm. The BC Science Fiction
Association wants you! A social club
for over 20 years, promoting SF/fan-
tasy the group has weekly raves at the
Burrard Motor Inn (Fridays), monthly mlgs and lots of affiliates such as
the Time Meddlers (Dr Who fans)
and Star Trek clubs (lots of 'em). For
more info on the BCSFA, write box
35577, Sm E, Vancouver V6M 4G9
or call 582-9983 or 738-8356.
Westercon? V-Con? Whaa?
West Coast Science Fantasy Conference (Westercon) is an annual
event held in a location west of the
104th meridian, or Hawaii. It's a big
deal to sponsor this event; Phoeniz,
Arizona gets the honour next year
(always held in July) while Vancouver once before hosted Westercon,
14 years ago in 1977. This year V-
Con (Vancouver Science Fiction
Convention) was tied in with
Westercon. Put this on your calen-
darfornextyear...V-Con 20 "Sex 'n
Science Fiction and Fantasy'"-..very
educational, I'm sure! It is being
held at the Sheraton hotel in Burnaby, May 23 - 25, guests of honour
include Michael Kube-McDowell
and Elisabeth Vonarburg. Topics will
include gender roles, relationships
and all the usual con-stuff.. Jove that
chain-mail wear.
SF booksearch
Hands down best store in town is
white dwarf @4368 W.lOth (228-
8223). They've just moved one door
over and the "old" store will now be
stocking mystery books. Everything
you could want, nice staff, one old
Worthy of honorable mention
is the Granville Book Company
@850 Granville (687-2213). Great
selection of SF related books and
smack dab downtown. Open till mid-
Somewhere in between is the
Comicshop @2089 W.4th (738-
8122). Head to the basement for the
SF, both new and used.
The biggest selection of used
books would be at the Book and
Comic Emporium @1247 Granville (682-3019). Best bookstore cats
in town! Alsofor secondhand SF (in
a more genteel setting) is Michael
Thompson Bookseller @445 W.
Pender (682-6885). These are just a
few shops...most bookstores have a
SF section, so seek 'em out. By the
way, if 'n you like a good mystery
once in a while, check out Mystery
Merchant @1952 W. 4th (739-
4311), this town's newest specialty
bookshop.
• Cybertext *
Is cyberpunk dead? Six years after
Neuromancer the question has been
raised. Originally an attitude and a
genre, it's become a heck of a marketing tool, these days. The following are some authors, books and
mags (both pre and post "cyber"
anything, lets just say they have "spir
it") you may enjoy searching out:
JG Ballard Atrocity Exhibition, Crash : This Englishman has
written lots of SF and "shocking"
stuff. These beauties are just two.
This Fall will also see the sequel to
Empire ofthe Sun. SF includes The
Drowned World, Vermilion Sands.
Rudy Rucker Software, Wet-
ware (sequel), Transreal! (brand
new, out soon, collection of fiction),
The 4th Dimension: Toward a geometry of Higher Reality. Rucker is
young and most famous for his
mind...he's smart! His booksinclude
both SF and studies of information/
theories.
William Burroughs You bet!
The writing is wayout. There is more
to him than Junkie or Naked Lunch
(soon on big screen dir. by Canada's
own Dave Cronenberg). Try The
Wild Boys or Interzone (collection
of stories/thoughts).
I®* Gurps Cyberpunk is one of
many Steve Jackson Games publications. The cover states this is a
"High-Tech Low-Life Roleplaying
Sourcebook". It sure is. Tired of
Dungeons and Dragon ?
George Alec Effinger When
Gravity Falls, A Fire in the Sun
(sequel) Worldbeat cyber stuff set in
21st century Tangiers.
KW Jeter Dr. Adder ...wicked! Surgical techniques prosper.
Tom De Haven's Freak's
Amour is simply amazing. Read it.
An early work by this noted SF author.
K5* Locus is really an "industry"
mag, keeping people up to date with
whats happening in the writing field:
feature articles, tons of reviews, this
is an all round excellent guide to "the
B3S* Mirrorshades (ed. Bruce Sterling) Thee cyberpunk anthology.
Spider Robinson Mindkiller,
Time Pressure. And coming soon,
Star seed, (the sequel toStardance) a
collaboration with Jeanne, his wife.
They read a passage from this @
Westercon.
The Re/Search series These
books are vital! Reasonably priced,
nicely bound, the kind of subject
matteryou don't see every day. Past
books include/G_l_//_r<i overview,
Incredibly Strange Films and the
Industrial Culture Handbook. Due
out later this year is Angry Women, a
look at thoroughly modem babes.
Semilotextfe} SF A collection of
hard-edged SF. Many of the names
mentioned here. It's a keeper!
B3* Mondo 2000 is a marvel. Published quarterly on very slick paper,
issue 4 includes Vancouver's own
Skinny Puppy, high-tech computer
info, The Lizard King's poetry, music reviews, fashion andR. Rucker's
review of The Difference Engine.
Rather studied with its glossily anarchistic manner (a journal for the
disaffected wealthy?) Mondo nonetheless kicks bum.
RT ON SPEC is "the Canadian
Magazine of Speculative Writing",
published by The Copper Pig Writers ' Society in Edmonton. Now in its
third year, the mag presents all sorts
of fiction I can only describe as "un-
stuffy". Words and pictures. The
Spring issue has lOstories, the Winter 91 issue will be focused on "humour". Contact ON SPEC at P.O.
Box 4727, Edmonton, AB, T6E 5G6.
William Gibson started it all
v//Neuromancer which introduced
us to the cyber-cowboy, Case (middle name antihero). Other books include Count Zero, Burning Chrome
(10 short stories) and Mona Lisa
Overdrive.
Bruce Sterling Schismatrix
and Islands in the Net are two places
to begin. Bonus points for Islands
having a female protaganisL
Gibson/Sterling Their duet
The Difference Engine came out this
year. It explores the cyberpast of
Victorian England. Now, when is
that paperback edition due?
1ET Science Fiction Eye Published
3 times a year with issue #8 (Winter
91) now out. This is great! Printed in
Washington, DC (PO box 43244,
20010-9244 — one year $15 US).
112 pages with articles by Sterling;
Elizabeth Hand; EileenGunn's "Difference Dictionary," a helpful guide
to terms/people circa the England of
past; not yer typical music reviews;
JG Ballard interview and
review...and so much more! Nicely
laid out, too. Beg your local shop to
get this baby in.
B3r* Va£u_isUKpoK_ca]/anarchis-
tic fodder, but unlike so much of this
type of writing, is presented in a way
that allows one to truly give it a
chance and enjoy. This poor-man's
Re/Search is no longer published(?).
I own #20 "Televisionairies" and
#16/17 the "Psychic Terrorism Annual". A compelling mish-mash of
clipped articles, collage, articles. Yo,
if anyone has #21 the "Cyber-punk
Handbook", can I borrow it?
Stephen King. Just kidding!
Actually, The Stand is a work of art,
but c'mon Steve, more Castle Rock
due this Fall? Bor-ing.
"S" Technoculture. Communica-
tions.technology and culture—that's
the 90's, in a "nutshell." This book
of essays range from Cyborgs to Rap
music to the lessons of Cyberpunk
and Japanese comix. Univ. of Minnesota press, ed. Penley/Ross.
B3* Horizons SF 's the magazine
published by the UBC SF Society
(also the oldest English language SF
mag in Canada). Fiction, interviews
and columns. Get this, membership
to the Society is nine bucks a year for
students, $9.01 for non-students.
Cool. For info write, box 75, 6138
SUB Boulevard, UBC, V6T 1Z1.
Joe R. Lansdale By Bizarre
Hands (short stories), the newest
Batman! and an "Authors choice
montlhy" for the very cool Pulp-
house press (on which I may do a
profile...neat books). Joe writes a
combo of horror and SF, which
means, as far as I'm concerned, double the fun. Definately an author "on
his way up."
"S" ForcedExposure 'shipperthan
you orl could everbe. And we'll just
let'em believe that. Primarily a music mag but the book reviews favour
the weird. The last issue had a very
thorough profile on Rudy Rucker.
Buy Canadian!
Eileen Kemaghan knows books. She
helped subtext compile a list of local writers who specialize in SF/
Fantasy. VisitNevilleBooks@ 7793
Royal Oak Ave, Burnaby, you '11 find
either Eileen or husband Patrick behind the counter. A given: these writers deserve many more words than
what I've plunked down, consider
this fist an "overview."
Rhea Rose writes cyberstyle, had
stories in past Tesseracts.
Lisa Cohen has sold a few stories to
Fantasy and SF the latest "Rain-
bone" is not yet published.
Mary Choo writes poetry, also had
a story in Sword and Sorcerers #6.
Don DeBrandt recendy sold his first
Crawford Killian teaches English,
his books include Gryphon, and
Empire of Time.
Eileen Kernaghan is quite modest
Three award-winning novels, poetry and fiction published in various
mags.
Sean Russell The Initiate Brother is
set in the mystical Orient, SF artist
Michael Whelan did the cover! Bo-
The Robinson's & William Gib-
■ -.■ i
""4-, .-_ ' IJJ
»:>, a'A'.'V
[w-'-vi.i1.-.' - ,-"■■, m
^.pa :'*ta^
%^-va-a^ r u * * ~
Ever wonder what people are reading? I do. William Gibson, recently seen in People mag, took time to write and tell subtext.
V'fc_3a ''v.y*':
CITY OF QUARTZ by Mike Davis (Verso, 1990, hardcover, mine cost $24.95 U.S. at Book Soup on Sunset).
Subtitled "Excavating the Future in Los Angeles," this is an inspired rant on the nature and meaning of the world's
first 21st-century city. Davis is a native Southern Californian, a leftist, and writes about LA. the way JG Ballard
wrote about automobile accidents. In spite of a few tedious lapses into ideological shrillness, this is the sharpest
book available on the topic. One chapter, "Fortress LA," is worth the price of admission alone, dealing as it does
with the privatization of public space (i.e. the park-into-mall syndrome and private armed-response security
forces). Make no mistake, Davis loves the place passionately; you have to, to write about it this intensely, this
darkly.
SUTTREE by Conmac McCarthy (Vintage Contemporaries, 1986, trade paper, $6.95 U.S., and probably out of
print). This book is so fine, so funny, and so unbearably sad that I really can't think of much to say about it
McCarthy is a brilliant, amazingly neglected Southern writer, a consummate stylist with one of the largest active
vocabularies in the English -speaking world. Set in the early 50's in Knoxville, Tennessee. A man named
Hazelwood declines a drink of moonshine: "The last time I drank some of that shil I like to died. I stunk from the
inside out. I laid in a tub of hot water all day and climbed out and dried and you could still smell it I had to burn my
clothes. Ihad the dry heaves, the drizzlin shits, the cold shakes and the jakeleg. I can think about itnow and feel bad."
MONKEY BRAIN SUSHI edited by Alfred Bimbaum (Kodansha, 1991, hardcover, $18.95 U.S.) Cutting-edge
anthology of contemporary and decidedly weird-ass Japanese fiction. Everything from "TV People," by super-star
novelist Haruki Murakami (author of the wonderful A WILD SHEEP CHASE, also from Kodansha) to Amy
Yamada's seamlessly claustro S&M fable "Kneel Down and Lick My Feet."
CYBERPUNK: OUTLAWS AND HACKERS ON THE COMPUTER FRONTIER by Katie Hafner and John
Markoff (Simon & Schuster, 1991, hardcover, $22.95 U.S.) Hafner and Markoff didn't want the publisher to call
this book CYBERPUNK, but what can you do? This is an extremely intelligent examination of thehackersubculture,
and I particularly recommend it to anyone who imagines that real hackers are anything remotely like the leather-
jeaned consoled jockeys of cyberpunk fiction. Hafner and Markoff capture the essence of a small group of people
who get along better with telephone systems than they do wilh other people. This should sell like hotcakes when the
paperback comes out.
©E_^s5S_3 son, bom Americans, now proud to
call Vancouver their home. Lucky
Leona Corn's "The Y Chromosome" can be found in Tesseracts 3.
Michael Coney Eves in Sidney. Orig
from the UK, he's written 16novels,
recent work includes comic Arthurian tale Fang, the Gnome.
Robert Charles Wilson is from
Nanaimo, work includes Gypsies.
Teresa Plowright wrote Dreams of
an Unseen Planet.
Donna Farley writes short stories
and had a story in the anthology,
Catsmagic.
Have you read Tesseracts ? There's
three of 'em to choose from. Volumes of short SF stories written by
Canadians. The latest one 3 has lots
of speculative fiction from over 30
writers. Edited by Candas Jane Dors-
ey and Gerry Truscott.
^"M_____Z_:'"
shows Kay, as she goes on a fateful
"medicine run".
So you're in trigued,you'dlike
to read Cliff's book. Well,
er..um...you can't. Atleast you can't
until the book is reprinted. And that'll
be either when Cliff scrapes together
the bucks or some publisher wakes
up and grabs the chance to print the
most innovative young writer
around. I doubt we'll be waiting
long.
-JW,
.„^-___r.
Who the hell is Cliff Burns? Cliff
Bums was an invited guest at Westercon 44, the recent Science Fiction
gala at UBC. His psychological horror stories knocked me on my butt. I
don't think of him as an SF writer,
but at times there's a thin line between horror and science fiction and
heck, if it's gonna pay the
bills...Cliff s one SF story, The Invisible Boy can be seen in Tesseracts
3 the latest collection of hot Canadian SF.
Cliff isn't exactly a household
name; amere 14 people came to hear
his reading @ Westercon (mind you,
computer guru Steve Jackson was
speaking at exactly the same time).
Go figure. An impassioned reading
from this modest young Canadian
deserved a larger crowd. I doubt
Cliff lost any sleep over the situa-
Check it out: 60 short stories
published in greats pulps such as
Grue,Iniquities (excellentnewpublication). Gauntlet and Midnight
Graffiti (theSpring 90/Stephen King
special). Then a recent self-published
collection of 19 short stories, Sex &
Other Acts ofthe Imagination sells
all 500 copies lickety-split, as they
say. Mark Ziesing, publisher and
purveyor of cool gives the book a
solid boost with these succinct words
"Great short stories by a new favorite of mine."
The stories? From the wickedness of Watt Disney in Hell (I can
see the lawyers approaching now!)
to the emotional disgust of a young
kid realizing that his mom's crazy
(very sad) in the The Strange Music,
Cliff keeps his reader locked onto
every word. Does that sound hokey?
S'only the truth. In Carl we view a
bizarre family photo album. Sex tet:
A Horrific Medley of Old Favour Ues
is grimly fascinating and disturbing:
No matter how you feel about the
topics —I was a lil' queasy, actually—the writing is stunning.
Four of the stories in Imagination deal with Nuclear War and it's
aftermath. The Cattletruck lets us
hear a conversation between a little
girl and a maimed "survivor" of an
atomic blast. In The End we meet a
man so shocked at his impending
demise he continues to go about business, bill-collecting from the neighbours. The final story The H'tbakusha
CLIFF BURNS
Walt Disney in Hell—A Trilogy
"I'll see you in Disneyland."
—Richard Ramirez ("The Night Stalker", a serial killer) to spectators as he is led away after
receiving the death sentence.
I
Walt Disney is building amusement parks
in Hell. Rollercoasters cascade into loop-de-
loops lined with glistening razor blades that
eviscerate the riders. Patrons wait patiently to
enter haunted houses boasting real ghouls, flesh
eaters and blood suckers and vivisectionists that
giggle and caper through the corridors, slicing
and dicing with insane abandon. Ferris wheels
constructed without the benefit of safety bars
upend suddenly, flinging screaming people to
the ground. Conscientious employees sweep up
the mess, hose down the rides, prepare for the
next horde of sinners.
II
Walt Disney has taken a male lover, a
young boy who hung himself with shoelaces
while awaiting trial for killing his parents with
an ax. The kid gives great head. Walt likes it
when he goes down on him while he's working
on his desk, poring over blueprints for sadistic
new rides. After Walt comes the kid has to put on
a set of mouse ears and in falsetto squeaks tell
Walt what a wonderful, big cock he has.
in
Walt Disney and P.T. Barnum talk shop
while drinking a concoction known as "Old
Nick". Walt thinks the Devil thinks too small
and Barnum agrees. They bicker on conditions
for the merger, finally conclude negotiations
with a handshake. The Devil will be deposed and
a massive amusement park complex built that
encompasses all of the regions of Hell. It will
take eons to accomplish but, as Walt looks at it,
when he was living he started out with a skinny
fucking mouse and a dream and forged an empire, Why shouldn't history repeat itself?
Hey you! On Tuesday, September 24th go to SMASH gallery .pay a measly
5 bucks to hear POETRY (Gerry Gilbert/DCD/David Bromige and waaay
more) and see the film GANG OF SOULS (avec Richard Hell, M. Faithfull,
Bill Burroughs et al). The festivities begin at 7:30. A double-whammy of
fun...After you recover from that event, on Thursday, September 26 you
can see/hear the wonderful Susan Musgravc (very cool!) and Robin
Skclton (who's a Witch! Equally cool in a different sorta way) read together
at the Art Gallery (3rd fir annex) 7:30 pm, or separately She (Britannia
library 1:30), He (Joe Forte branch, also 1:30)
THE MINT IS A TERRIBLE
THING TO TASTE:
A TRIBUTE TO MINISTRY FEATURING:
AND ~
WIN©!WALR£ft
Now available at Scratch, Track and Zulu records, or
by mail ($4 PPD) from Mint Records, Inc., #699-810
West Broadway, Vancouver, BC, CANADA V5Z 4C9 Elvis Love Child
Loose
The Smalls
Welfare Bash
The Cruel Elephant
Wednesday 24 July
If this gig was indeed held for welfare patrons, then they all must rot on
ICHIBAN, budgeting towards PVC
pants and crashed velvet bustiers.
Yeah, the mystery meal was rice n'
peas. Okay I got the mandatory catty
Discorder shit out of the way...the 3
bands were, on the whole, good. A
lot better than I expected since some
of the gig posters boasted it would be
"better than fucking." The Smalls
opened up with their own metha-
done-injected brand of Zeppelin
homage and bastardized Black Sab
bath songs. Loose was on second.
They possessed tight spiraling guitars and a Jack Ednino sounding lead,
who forced the attentions of would-
be sceptics and insincere fashion
plates by swinging his black hair in
their faces, coming as far as mid-
piano bar to touch the souls of would-
be fans and proving his sincerity by
ending the set in a pair of tiny leop-
ardskin panties. If this was the first
gig Loose played, they proved to be
excellent stage personalities and
worth checking out. The headliners,
Elvis Love Child are definitely worth
checking out They started out on the
club circuit playing heavy psychedelic grungy loudness and they've
gotten to the point now where they
never sound like 'just noise' but have
a continual upbeat approach. And
they' re cover of "In N' Outta Grace"
was cool, a Mudhoney tribute might
be almost taboo for some bands but
Elvis Love Child carried it off well. I
wonder if their 60's-movie-hypno-
tizer sets will return, it looked something like the inside of a cave...and
all three are local bands too.
Anonymous
Front Line Assembly
U-Go-ln-Sekt
Graceland
Thursday 25 July
Vancouver's general lackadaisical-
ness strikes again. I think it has a lot
to do with the fact that people don't
know how to deal with an aggressive
industrial band, we're used to Skinny
Puppy's performance art, which is
not really interactive.
Opening act U-Go-In-Sekt is
comprised of Mike Victory, who is
on Spiral Records under the name of
Sect, and Steve Rosen. An intriguing
blend of rhythm, noise, and distorted
guitar and bass, this, unfortunately,
was a one-shot collaboration. But
Sect will be playing Vancouver in
the Fall as part of the Spiral Records
showcase.
Front Line Assembly disproved
those who think they're a Puppy rip-
off; in fact, I wondered ho w Bill Leeb
stayed hidden as a Puppy keyboardist as long as he did. The nickname
'Bouncing Bill Leeb' is totally appropriate—he careens around the
stage, flailing his arms, looking like
a boxer without a partner. Rhys Ful-
ber did most of the keyboard duties
and also some truly amazing percussive work, including banging on
sheets of metal. The duo were joined
by drammerChris Peterson who added a fuller feel to the music and also
showed that electronic bands do not
just flick on a switch and get
instant music. The bulk of material was from their latest album, Caustic Grip, which included a strange, guitarless
"Provision" and my fave
"Iceolate," with all the songs
were 'live' sounding—very
little was pre-programmed.
There seemed lo be a small
core of people going crazy,
but most people just seemed
to nod their heads—maybe
stupefied in the face of such
aggression.
Yes, Front Line didn't do
an encore, but apparently
sometimes they don't do encores (which makes them a
promoter's nightmare). People assured me they thought
Front line was great Hopefully they'll show it more
physically next time Front
Line Assembly plays here,
which should be, oh, about
two to five years. As well.
Front Line should give the
audience more time to react,
the momentum was cut by
the shortness of the set.
June Scudeler
Meat Beat Manifesto
Consolidated
Commodore
Wednesday 31 July
So, like, I'm on the bus trying to figure out whether or
not I'm gonnalikethis whole
crusading rap stuff Consolidated is gonna pump out tonight. I am a fan of their
music and behind what they stand
for, but I am thinking that the show
is basically preaching to the converted, since most of the culprits
involved in the bullshit which is
sending us down the toilet probably
won't be there tonight I am also
anticipating their way of hammering their messages home are going
to cause a backlash-type reaction
among the more complacent members of the crowd, basically voiding
their whole efforts. Personally, I feel
Billy Bragg has more of an effect on
a crowd's consciousness, with his
common sense approach, than Consolidated will with their scattergun-
you're-aU-guilty style. But they had
their effect.
Natch the bus got me there
late, so I got in after the show started. I glanced around and noted the
crowd was in solid groove mode,
jackin' their bodies while Consolidated hammered their words home
with a sonic mallet. Unexpectedly,
the drums were Uve and wordmon-
ger Adam Sherbourne abused a guitar and bass for most of the set. The
bass heavy mix made the words
tougher to make out than it should
have been, but the crowd got the
messages. The video montage they
played during their set was heavy,
driving home theirpoint. It was hard
to discern the crowd's sincerity in
their agreement with Sherboume's
introductions to the songs, since
many of the people were raising a
fist with one hand and holding a
Labatt's orMolson's with the other.
About halfway through, the conscious party stopped fora well made,
but disturbing, anti-meat video,
which intercut MacDonald's ads
with slaughterhouse film. After the
show, the collective had their now
famous Q & A session.
This is where I realized
how fucked up a lot of
people in our scene are.
While many pertinent
points wereputforth (usually by women), there
were so many assholes
(usually men, surprise,
surprise) grabbing the microphone and spewing out
nonsensical, redundant responses our governments
have been handing out for
decades. Maybe some
over their heads. The pamphlet table was a great
idea, and the group knew
about the local problems,
which gave their whole
concept less of an Ameri-
Meat Beat Manifesto was obviously the Fuck
Issue, "Let's Dance" part
of the show. And they
sucked. It was like hearing remixes at a disco. No
charisma at all, not enough
life for a Uve show. The
dancer was good, however, and it would have been
cool to see their older
shows, which had a more
theatric bent. Perhaps I
was just overloaded from
theintenseness of theCon-
soUdated set.
I came out of the
show wiser, of course it's
hard for none of the facts
to sink in. I beheve ifyou
can focus on one of any of the
screwed-up things going on in the
world, and set about fixing it, you
will get much further than trying to
do everything at once but you must
be aware of all that is wrong. This is
what Consolidated is about: Consciousness, not Propaganda.
Mike Mofo McClean
Superconductor
Lung
Cruel Elephant
Saturday 3 August
Perhaps I'll be wasting everyone's
time with this...but I've got a theory
that will put this entire show into
perspective. Briefly, the problem
with pop music is that the artists,
having reaUzed that their songs
shouldn't run more than 2 mins and
50 sees, that stealing ideas is fine,
and that you should be able to sing or
hum the chorus of a song, have left it
at that. The unfortunate result is aU
too often 'Have You Ever Been
Mellow.'
Conversly, Rock, having
drunkenly stumbled over the ideas
that guitars sound better louder, and
playing with aggression and excitement are good things, nodded,
belched and left it there. The result
here is something Uke Joan Jett's
last four or five releases.
The Answer is to combine the
two (for example Dinosaur Jr.' s cover
of the Cure's "Just Like Heaven").
Perhaps get a band with a drummer,
two bass players, a back up singer
and 6 guitars and see what happens.
Theoretically speaking then,
this show was a success for me before anyone even bothered to set up
the fake palm trees, neo-classical
columns, or smoke machine. Soeven
if they thought they were kidding by
taking on one and half hour's worth
of songs by your favorite 'pop artist,' I say they're not. Whether by
accident, or bigger accident, the pre -
sentation, scale, volume, and level
of distortion which they employed
served to nicely illustrate my theory.
The sound of Superconductor doing
aU those half familiar tunes gave
them more than a gUttering appear-
ence of Mr. Neil "forever in blue
jeans" Diamond himself could have
lent to the proceedings.
Opening act Lung (who billed
themselves as their Smiths' tribute
band 'Wall to Wall Shag') also fit
into my theory (but then I'm writing
this review and if I can't get it to
make sense I'm in serious trouble).
Lung's attempts at the Smiths were
competent but lent nothing new to
the songs. Perhaps they sensed this
because they abandoned theirattempt
to fuse genres and launched into a
spirited set of their own material. If
I'd never seen Sonic Youth I'd think
Lung were Godhead, as it is, they're
at least God's left knee cap.
Does fame, fortune, recognition of latent genius, and an apper-
ance on the Arsenio HaU show await
these groups? I have no idea, I just
come up with the theories, it's up to
them to Uve up to them.
Pat Carroll
Beowulf
Asian Centre U.B.C
Saturday 3 August
Metal clad warriors, blood swilling
monsters, cold, gut-stained swords,
lusty maids and iron-hearted Danish
princes? The latest on-stage antics
of GWAR?
Hardly. These spectacles all
belong to the oldest "EngUsh" language musical/Uterary work wehave
it for s( in extant form—the saga of Beowulf
Benjamin Bagby, an early-Anglo-
Saxon musical specialist, was
brought to Vancouver last month to
spin this heroic Nordic tale of brave
combatants, savage grey landscapes,
popping tendons, gnashing teeth,
joyless fens, flying gobbets of flesh
(what the heck is a gobbet? Do I
want to know?), and blood lusting
"shepherds of sin" (i.e. monsters).
Singing, talking, crying, and
shouting in the ancient Anglo-Saxon tongue, Mr. Bagby put on an
electrifying performance. I could not
understand a single word of the
haunting language despite it being
the direct ancestor of the strangely
successful English language (I did
recognize two words though,
"blewd"—"Blood," and "god,"both
used weU). However, Mr. Bagby's
wild gestures, emotions and characterizations brought the old story to
vibrant Ufe. He accompanied himself on a primitive six string lyre (of
which no originals exist intact) and
managed to coax a wide variety of
mood setting musical textures, stopping to animate a particular scene, or
to address the audience directly as
the ancient bards, who were both
entertainers as weU as musicians,
must have done.
Over a thousand years ago
when Beowulf was top of the bops,
e horrible,
smelly, and cruel. (ActuaUy a lot
Uke the men and women come to
think of it!) Beowulf, studUest of
them aU, is moved closer and closer
to his brutal encounter with the nasty
Grendel, an ill-tempered creature,
who, because of his resentment of
humans for not liking him, would
sneak out of his swamp hovel at
night and slaughter the soldiers sleeping in the great wooden haU in the
nearby town. When the two rivals
finaUy meet, the saga of Beowulf
also features another first in the history of the EngUsh language—the
first documented reference to an all-
star wrestling move. Beowulf even-
tuaUy defeated Grendel by putting
him into a weU-managed arm-lock
which the woeful monster only escapes from by ripping its own ann
oul of its socket. One, two, three,
you're outta there!!
The fuU Beowulf saga would
take between four to seven hours to
perform— the famous Grendel section is only part of the story. The
ancients were highly tuned to the
lyrical and poetic nuances of the
original, and thus could probably
hear and envision things we cannot.
However, the mystic tongue of the
Anglo-Saxons and the age old tale of
ible. GWAR could leam a few things
James Boldt
THE LEGENDARY PINK
DOTS
Graceland
Tuesday 6 August
Trying to describe the Legendary
Pink Dots is pretty near impossible
— "uh, they're kind of psychedeUc,
Pink Floydish, kinda trippy...weU,
you just have to experience it yourself."
The show was an experience,
but I have the feeling the audience
was expecting something different.
What I don't know. People seem to
want bands to keep them amused by
laser shows and videos; the whole
idea of the Dots is the exact opposite, use it as a time for introspec-
Front man Edward Ka-Spel
looked like a gnome from heU. He
pounded his keyboards like a crazed
organist accompanying a silent horror movie. His vocals lulled people
into safety, then he screamed like a
banshee. His sense of humour did
come through though as he held up
a doU caUed 'Princess Coldheart'
and told the crowd not to make her
mad because she kiUed. Here, he
reeled off some ridiculous number
of victims, and that was just since
Seattle.
Musically, sometimes it did
drag, but the Dots require an open
mind and patience. The Uve saxophone was an intriguing angle, as
was the guitar. Maybe what would
have made the show better was a
more intimate setting— the Zoviet
France show at the EcUpse springs
to mind...maybe next time.
June Scudeler
Big Drill Car
Olive Lawn
Rocktopus
Paste
Arcadian Hall
Sunday 18 August
Let's cut to the chase. I missed the
first three bands because it was too
fucking hot that night and the last
place I wanted to spend it was in the
Arcadian haU, which, when packed
with 300 or so sweaty pop-core-
heads, is Uke walking through a
drive-in car wash when the wax
roUers are on. If that's too difficult
to comprehend, then read this while
standing under your Waterpik with
aU of your clothes on and the hot
knob amped. Either you get the picture or your issue of Discorder is Ulegible.
So, I know it's not
fair to the 3 bands that I
missed, but had they been
playing in the vicinity of a
Wet Banana I would have
been there with beUs on.
Sorry guys.
Big Drill Car, on the
other hand, I did see. This
event, a gig, so much as it
was a night of miracles.
During BDC's first song
some dude lost a contact in
the carnal commotion of
the mosh pit So you figure, that's it, it's gone,
right? Wrong. The kid
comes up with it after groping around on the floor for
a while. Pops the contact
in his eye and he's at it
again.
Big Drill Car tested
the water with tracks from
their new CD, Batch, and
most couldn't teU the difference between those and
their older songs. This is
good. When you have a
formula that has Uttle boys
and girls going "Goo" and
also has them scraping out
truckloadsofcashforyour
product , be happy. A
healthy dose of past classics and a stirring, SCUD
missile attack version of
Cheap Trick's"Surrender"
proved that Big DriU Car
was indeed nitrous-oxide
A Moodyville Moo-Moo
Nardwar presentation featuring:
Fugazi
The Fastbacks
Me, Mom & Morgentaler
The Smugglers
10 Feet Tall
North Van. Rec. Centre
Tuesday 20 August
It's reassuring that even after 16
Nardwuar presentations he's managed to keep the momentum up and
continuaUy blows the doon off the
respective venues. And that is saying a lot when the venue is a hockey
rink and listening to the bands is like
hearing your best friend's mom fart
in the bathroom over the telephone.
BeUeve it or don't, but the sound at
the North Van. Rec. Centre was
worse than (cringe) 86th St 5 bands,
6 bucks, lots of whiny kids, one
ambulance, 3 arrogant quincy-punks,
put in a hockey rink until warm and
slightly damp.
If you missed 10 Feet Tall you
were lucky. This band has nothing
new to offer. A bunch of longhair
poseurs playing guitars like they were
hockey sticks, striking their best
Warrant demi-metal-god stances and
swinging their hair in unison. This
either made bile rise in your stomach
or, in some demonic way, made you
want to play ringette.
The Smugglers, on the other
hand, were a humble gang of musicians. These guys were neither good
nor bad but who would've thought
that the Beachcomber cast was this
hard up for work. Toques, toques,
toques! Thank them for at least having the decency of playing a very
Me, Mom and Morgentaler
were next and the first of the bigwigs. A pleasant blend of ska-core
that had all skanking up a storm. One
unfortunate gent spht open his head
during these guys and he alone was
a Gwar show. Blood everywhere.
But the St. John's people were on
hand to administer tourniquets and
various other pseudo-bondage type
devices and before you knew it, they
had the kid walking again. It was a
miracle worthy of televangeUst recognition. It's scary what they can do
with a roU of hockey tape and a
flashlight Morgentaler plowed on
the while and were as catchy and
pleasing as their name would suggest.
The Fastbacks took the stage.
I've seen these guys before and then
they did nothing for me. This night I
missed them because I was busy not
listening to them. So, because I
didn't hear them, I can't really judge
their performance, but I'll bet they
sounded the same as before.
Fugazi! I must make it absolutely clear that there is no way that
I can do justice to a Fugazi gig. First,
because I don't think my writing is
worthy of capturing what Fugazi is
about. Second, my opinion would be
biased as I have a shrine built to
Fugazi at home.
So what can I say? Fugazi!
PoUti-core. Not the kind of politi-
core that hits you in the face like a
Braun iron but the kind that makes
you go, "Yeah, I dig what they're
saying." Those who could accept
Fugazi for being something other
than a slam band got more than 6
bucks worth of concert that's for
sure. The want is there. The need is
there. Straight-edge! Fugazi! Heaven! Take a bow Nardwuar.
Scooter.
UPDATE:
^VDoog Flutie^ ^Mike Zeck^
W^'W Disn8>_™es > X
HAW
'B.C. Lions OB -m____| «■■■—_- ■ .
^jiilVanHor^
Punisher Mini Series
Captain America
Master of Kung Fu
Deathstroke (covers)
Death ol Kraven
$1,000 In DOOR PRIZES
including Full Run of McFarfane Amazing Spiderman
Hotel Vancouver > BC Ballroom ~ 900 West Georgia
10:30 - 5pm. Admission: $3 . 12 & under: $2.
Forinfonnation&dealertablereservations.call:
(604) 682-3019
Dealer Tables: $35/40/45
Proceeds from Artint. .utographt to B.C. Childrrn.' Ho.plt-lt
SUNDAY SEPT 1ST, 1991
I NEED IT
ON ROBSON
Now serving coffee and salads too.
1175 Robson
681-1233
1937 Cornwall
732-8840
i_a&5_G_p© The Grapes of Wrath
These Days
Capitol/Nettwerk
The Grapes of Wrath sound a bit
more like Led Zepplin than the By rds
or Simon & Garfunkel on These
Days. The jangly guitars of Tree-
house are in little evidence and the
lush sound of Now and Again has
been expanded into a fuller sounding album of nifty riffs and well-
defined guitars.
Most of these developments
are to the credit of producer John
Leckie, whose previous work with
the Posies, and to a lesser extent
XTC's psychedelic incarnation The
Dukes ofthe Stratospheare, has carried over to the Grape' s latest project.
The blending of their melodic, acoustic-orientated songwriting
with a heavier, guitar-orientated
sound works well. Good examples
of this are "Days" and the album's
closer, "Miracle." The Beatles influenced melodies and harmonies are
captivating and haunting, yet those
qualities are only magnified by a full
mix of acoustic guitars, piano, organ, and layers of electric guitars.
Even when the amps are cranked
full-up, as on "A Fishing Tale," the
trademark Grapes of Wrath song-
craft stands out over the hard-driving, pulsing rhythm (and the accordion is a nice touch).
If anything. The Grapes of
Wrath are sounding more mature on
These Days, as their talents, in both
writing and performing, are exposed
in greater detail than in the past.
More focused and energetic than any
of their previous efforts, this is the
finest showing of one of our best
Cameron Riches
Coil
Love's Secret Domain
Cargo/Wax Trax
Well, I can unequivocally say this is
dead brillianl. Love's Secret Domain
is an intoxicating mix of the f amihar
l and the unexpected, Spanish guitars
i pop out of nowhere. The whole CD
has a feeling of warmth to it — the
I sun of such climates as Spain, the
| Australian Outback, or the Far East.
L Love's Secret Domain with
I two short bits of whimsy, "Disco
Hospital" and "Teenage Lightening
1," then goes into "Things Happen,"
an unusual tip of the hat to French
cabaret songs. Next up are a quartet
of instrument-Is—"The Snow" is
house music that is beautiful in its
sparseness, "Where Even the Darkness is Something to See" and "Dark
River" are both highlighted by
didgeridoos, and "Teenage Lightening 2" is an indescribable weirded
out hip hop/dance mutant experience. The single, "Window Pane," is
here in all its my s Li cal magnificence,
as well as "Chaostrophy," an experimental ditty with oboes, violins, violas and radio snippets. Ex Soft-Cell
alumnus, Marc Almond, sings on the
album's weakest track, 'Titan Arch,"
which is too sickly sweet But the
album's title track is last and is a
paean to the madness of love—
you're not sure if the singer is in pain
or is experiencing supreme pleasure. Love's Secret Domainis a must-
June Scudeler
The Jazz Passengers
Live at the Knitting Factory
Knitting Factory
TheJazz Passengers' areaNew York
jazz group co-founded by Roy
Nathanson & Curtis Fowlkes. They,
and the other members of the Passengers, have been part ofthe Lounge
Lizards for many years.
The Jazz Passengers music is
much different than the Lizards, being closer to improvisational jazz,
with lots of smooth but crazy solo
breaks liberally scattered throughout their tunes. They are really great
showmen Uve (I had the pleasure of
seeing them at the Clutch in' 89) and
this CD captures their performance
from three live shows at the Knitting
Factory in New York.
This CD has a really smooth
flow to it but, as I already mentioned, it has a lot of chaotic improvisation in it, so it will probably only
appeal to you if you like jazz music
in general.
I really like it myself, but for
you really serious audiophiles, be
warned, there's some distortion on
one of the homs that pops up throughout the whole CD, something most
people will be able to see past.
A Voice of Dissent
The Fall
Shift Work
Sinister/Polygram
The Fall' s newest release is a lot like
their last one—it grows on you. Mark
E. Smith's vocals are still in fine
form (which means he still can't
"sing"), and the lyrics are the usual
inventive Fall quality. But the music
lacks a bit of the raw simplicity and,
to use a highly overrated word in the
music biz, urgency. On their last
album. Extricate, the band deliberately tried some new sounds, and
after climatizing myself to them, I
felt the album was a success, especially with songs like "Chicago
Now," "The Littlest Rebel," and
Coldcut's "Telephone Thing." On
the new album a few songs stand out,
notably the delightful "Alot of the
Wind" about all those artsy, pony-
tailed types out there (Mr. Smith has
a thing about pony-tails as on one of
his albums he lists the recording
technicians as "a bunch of guys with
pony-tails"). However, overall, this
release is not as biting as The Frenz
Experiment, for example. But Shift
Work is still Fall quality and Mark E.
Smith is still the coolest guy to ever
dress in department store actionwear
and sing off key and get a way with it.
J. Boldt
Lustmord
Lustmordand Paradise Disowned
Dark Vinyl
These two releases are the aural
equivalent of Clive Barker's Books
ofBlood.
The first of the two, a self-
titled CD with tracks recorded Uve
during '80-'81, has an, uh, interesting note on it— "all recordings were
made at excessive noise thresholds,
indeed it should be noted N. Duster's ears bled through the EMS sessions." And thanks go to such luminaries as Chris and Cosey and SPK's
Graeme Revell. Paradise Disowned
was recorded in '84 in such appropriately austere locales as Chartres
Cathedral and a cave.
Both of these CD's are truly
evil sounding, not the bang your
head variety, but a subtle, creeping
unease. A good example of this is
"Sibling" from the Lustmord CD,
which features such uplifting samples as "Sometimes I'm scared to
live/ Dying is what's easy," and
sounds of children and saws, which
takes on decidedly ominous overtones: an ominousness that somehow never becomes cliched as there
are enough twists and turns to keep
the listener in its net, Lustmord is
almost 74 minutes long, so all the
oppression can be hard to swallow
in one big gulp unless you're in a
particularly murderous mood.
Paradise Disowned is similar in feel to Lustmord, but has more
atmospherics, such as chanting, and
is quieter, not as blatantly wicked
sounding. It's certainly not the feel
good record of the year. The standout track is "Comahon Q.Q. Coma-
hon" which bludgeons you into submission with its relentless thudding
beat and short bursts of static, percussion, distorted Vocals and Native
Indian chants.
These two CD's are not recommended for the faint-hearted to
Usten to late at night, but if you' re of
sterner stuff, enjoy!
June Scudeler
Siouxsie and the Banshees
Suspicion
Geffen
There's a soft spot in my heart
(brain?) when it comes to Siouxsie
Sioux. Its roots Ue deeply and can be
traced back to one of those inexpU-
cable early pubescent crushes, now
nearly two decades old and still lingering in my sub-conscious.
Siouxsie's new single "Kiss
Them For Me" has gotten me excited aU over again. Siouxsie and her
Banshees got themselves all hip-
hopped up on this fun Uttle ditty,
they've even thrown in some decent
doses of dulcimer and tabula to make
this a happenin' Uttle pop bon-bon,
even the "Johnny-come-lately" stations have caught on to it.
Suspicion, the album foUow
up, is...weU...err...uhmm..I'm sorry
to say... mediocre at best. Is it the
switch from Polydorto Geffen? Is it
merely old age? Do they have kids
now? ...and so close on the heels of
theexceUent/'eepr/ioH'andtheCrea-
ture's Boomerang...pity.
Only half this album is acceptable. "Kiss Them For Me" is by
far the best track. "Fear of the Unknown" is vintage Siouxsie, circa
Kaleidoscope, and is a welcome regression. "Silly Thing" is quite
catchy. "Got to Get Up" has a...goUy
gee... it's a wonderful lifc.kind of
spunk that's easy to get carried away
by. Another decent track is "Silver
WaterfaUs." As for the rest, weU...
they're not good at aU. They suffer
from a lack of lyrical as weU as
musical finesse and inspiration. The
melodies sound Uke I've heard them
in a previous incarnation. The lyrics
are sadly limp and sodden, even
Siouxsie's cool vocalizations can't
make up for their deficiencies. There
is also a certain absence of the musical detailing and productional em-
belUshment that I've come
to expect from Siouxsie and
her charges.
The songs "Drifter" (boring), "Little Sister," "Shadow Time" (thrash that Lib-
eracepianobit), "Softly" (the
worst tune by far)and "Ghost
in You" (stinky title, but
some lyrics that deserve better than this), are just not up
to scratch by any measure.
Suspicion smells, feels,
tastes, and sounds suspiciously Uke a contractual ob-
Ugation fulfilled (heUo there
Mr. Geffen). A killer single
for sure, but only an EP's
worth of okay material. The
rest should have ben left on the editing floor. After having said all this
I feel sUghtly guilty..J'm sorry...but
reaUy.-.bleah.
Peter Sickert
G. W. McLennan
Watershed
Beggar's Banquet
No one could have asked for a more
unpretentious prolific pop band than
the Go-Betweens. 16 Lover's Lane,
a sweeping album that would mark
the group's curtain, was their finest
accompUshment. But just as these
Australians matured into a band of
great character and class, after ten
years, the Go-Betweens were no
Fortunately, the group's main
frontman, Grant McLennan, has remained productive. In an odd musical hybrid, he collaborated with The
Church's Steve Kilbey earher this
year for a project called Jack Frost
(the two produced some brilliant,
though subdued, material together),
and now comes G.W. McLennan's
first solo album, Watershed.
A lot of the ingredients here
are reminiscent of the Go-Betweens:
soulful melodies fueled by a bouncy
acoustic guitar, lyrics that are intimate, introspective, and sometimes
surprisingly twisted ("He hung
around her like a baby sitter/ She
rubbed his face in kitty Utter"). And,
of course, there's McLennan's, um,
distinctive voice. Actually, he sings
as weU as writes and performs, with
such sincerity that it makes his quirky
voice that much more affectionate.
However, the Go-Betweens
worked so weU as a group that he
seems to have lost some fine backing. A few ofthe cuts on Watershed,
Uke "Haven't I Been a Fool,"
"Haunted House," and "Dream
About Tomorrow," sound Uke great
leftovers from 16 Lover's Lane. But
largely, the album plays Uke Grant
McLennan with An Anonymous
Backing Band (one reason "Putting
the Wheels Back" on sounds so hor-
rendously cheap). For diversity,
there's the country-tinged "Just Get
That Straight," "Broadway Bride,"
and "Stones For You" are as haunting as his Jack Frost contributions.
For the most part, Watershed
is a wonderful album. It's just that
it's only a great work from someone
who could be exceUent. Unfortunately, we may not see that part of
McLennan again until he finds some
coUabora tors, like the Go-Betweens
or Steve Kilbey, who can complement his striking talents.
Cameron Riches
Heathen
Victims of Deception
The first six songs on this record
involve the willingness ofthe greater populous to accept reUgious practices without scrutiny— kind of an
overdone theme. But the music that
is incorporated inlo the dehvery of
the message is worth Ustening to for
its own sake. A lot of catchy riffs,
played through a lethal guitar sound,
and great vocals help this release to
be the one I would suggest for any
fan of aggressive music. How can
you go wrong with a band who shows
so much technical skill, musical diversity and integrity? Answer you
Braden Zrno
Fela Anikulapo Kuti
Original Sufferhead
Schanachle
This man and his exceUent band put
on an exceUent Uve show here last
month. Although many may have
found his dialogue between sets uncomfortably sexist and long-winded, it was a great show fuU of great
Original Sufferhead is a re-
release of material from '81 -'84, and
two of the tracks, "Sorrow, Tears
and Blood" and "ITT," have a very
similar feel to two other Fela songs:
"Unnecessary Begging" and "No
Burredi," (sorry, I don't know the
name of the album that these are off
of). Fela songs are always very long,
rarely ever less than 10 minutes and
sometimes more than 20, but that's
definitely a good thing with the irresistible grooves this man lays down.
And the message is as strong as the
groove: to resist the abuses of authority, to treat the poor and oppressed with respect and compassion, and to fight the corruption of
money and poUtics with our voices
and our understanding. Deep throated proselytizing amidst the swirl of
an Afrobeat/jazz/funk, guitar and
hom lines entwining about each oth-
A Voice of Dissent
Anacrusis
Manic Impressions
Metal Blade Records
A new wave in heavy metal thrash...
Anacrusis consists of four talented
musicians (Kenn Nardi/vocals and
left guitar, John Emery/bass, Kevin
Hiedbreader/right guitar, Chad
Smith/drums) who create a very
heavy death metal sound. Ken Nar-
di's exceptional voice, with which
he sings intelhgent, thoughtful lyrics, gives the band a hardcore effect.
Their riffs can only be explained as
ranging from very speedy to a more
slowed down grinding sound. Although Anacrusis is a thrash band it
does not neglect the meUo aspects of
thrash, with a lot of acoustic guitar,
heavy bass, and a good drum beat.
The music is great. Comparing Anacrusis to other bands, I would have
to say it's a cross between Death
Angel and Slayer. Anacrusis—definitely to be a contender very soon.
Jayson Prefontaine
Xentrix
Dilute To Taste
Road Racer
This release consists of two studio
tracks and four recorded Uve. The
two done in the studio reflect a musically talented band with a lot of
flowing tempo changes and weU-
structured solos. Between the two
tracks are modifications done to both
the guitar and drum sounds to fit the
atmosphere of the two songs. The
other side contains some excited,
and very vocal, fans along with a
cover of "Ghostbusters." The guitars harmonize in an Iron Maiden
fashion, but there's a rawness here
that Maiden has never had. The mediocrity of the recording is the only
dimension that didn't appeal to me
about Dilute To Taste. Do you Uke
British Metal dehvered with fury?
Welcome home.
Braden Zrno < FUTURE
BY TARA SLOAN
Here is the latest edition of Future Rap. With the release of the
kickin' film Boyz'n the Hood
came the slammin' compilation
with some real dope stuff! Sure
there are the few tracks for those
R&B fans, such as: "Me and
You," by Tony! Toni! Tone!, and
"Just Ask Me Too," by Tevin
CampbeU, but then comes the
REAL tunes by such brothers as
Ice Cube, Compton's Most
Wanted, 2 Live Crew, Kam, and
Main Source. The production is
definitely on the up-and-up, and
fly ballistics are being dropped.
Even the ladies, Yo-Yo speakin'
on the issue of her Down-Ass
Mama, and Monie Love urgin'
all to "Work it Out," the vibes
are generatin' and evidently per-
petratin' the soul. If you are looking for a great compilation with
all "the latest," (and there are 14
tracks), bustin' their rhymes, then
this is a pick-up not to drop!
Boyz'n the Hood paints a picture of the rough conditions that
those less fortunate must face in
certain areas. It reconfirms the
issues raised in the movie which,
then, one should get a chance to
check out and absorb.
DJ Quik... thenamesound
vaguely familiar? Quik is the
Name, is the title of this brother's album. This 1991 release
contains 13 hits and is on Profile
Records. The lyrical expression
isflowin', there is a wide variety
in styles, the tracks are all produced well, with lots of breaks
and changes in speed and rhythm,
and the man's got it goin' on!
Several of the songs are already
boomin' in the dance halls, these
being: "Sweet Black Pussy,"
"Tonite," "Bom and Raised in
Compton," and a popular hit not
found in the release, "Bitch Better Have My Money!" Quik also
throws in a reggae tune called,
"ThaBombudd," which talks of
his addiction to smokin' da joint.
Gettin' a little nastier is Quik's
explicit love ballad, "I Got That
Feeling." But my personal is,
"Loked Out Hood." This album
is far from disappointing. Quik
is obviously a very talented man
who actually produced all his
tracks, with a bit of additional
help only on "8 Ball." Talk of
dope-dealin', free wheelin',
booze-consumin', and drug
abusin', is what the majority of
this gangsta's lyrics involve. The
words are thrown together
smooth and quick, or fast, though
sometimes slow'n'flowin, and
the pace is always just
right...QUIK IS THE NAME.
While we're on the topic of
gangsters, on RAP-A-LOT
records the Geto Boys have
come out with their newest CD,
We Can't be Stopped. I guess to
put it lightly some of the songs
are rather controversial as far as
lyrical content is concerned. But
then again this is the Geto Boys
we are talking about, and this is
simply to be expected. The cover of this release shows Bush-
wick Bill looking less than attractive. Apparently, in Houston, it was said, that after downing 190% proof Everclear, Bush-
wick, feeling extremely suicidal, tried to have his girlfriend
shoot him, and in the struggle
the trigger, accidently pulled,
went BANG! straight into Bush-
wick' s right eye. This is the lovely sight we get to see; Bushwick,
talking on his cellular, with his
gauze patch hanging down, and
his eye almost hanging out! Sick!
Maybe this is cool to some... but
I don't know about that! Anyways other than the attention-
grabbing sleeve, the CD is pretty
good. Somehow though Grip It
On That Other Level had more...
flavour? The beginning of the
CD starts off with a tune called,
"We Can't be Stopped" which
tells of the trouble the Geto Boys
went through while trying to release their album. Obstacles such
as lawyers trying to take them to
court, manufacturers not wanting to press the discs, promoters
taking away tour dates, radio,
talk shows and magazines banning the crew, and further events
took place but did not stop this
album from coming out.. .strong!
One song tides, "Chuckie," is a
gruesome song with plenty of
violent description in it. It is
cleverly written and is obviously directed towards the PMRC,
showing the effect that "Child's
Play" and other such horror
movies has on the public. PMRC
is always so busy try ing to clamp
down on rap acts, but the fact is
that a lot of these horror films are
ten times as vicious, and disgusting, and influential towards
its viewers. "1/2 my body is
Chuckie, the other 1/2 Bushwick," states that the movie has
caused Bushwick to become 1/2
insane due to the overpowering
influence the movie has had on
his brain. Samples from "Child's
Play", are in the song, and eerie
music also runs through the track.
"Mind Playing Tricks On Me,"
seems to be one of the better
tracks, or maybe this is just one
of the more air-playable pieces.
"F— War," isn't bad either. The
message being portrayed is that
it is a waste of time and lives to
fight for 2 people's mistakes.
The Godfather of Soul, James
Brown, in his song Funky President, had said the same thing
around the time of the Vietnam
War. Now it's Iraq, but it's still
pointless to go to war. Geto Boys
say, "I ain't going to war for a
shit talking President!" In one of
the songs we discover the true
personality of the members. I
believe it's titled "I'm Not A
Gentleman." The track starts off
with a sample from "Ladies
First," then Willie Dee cuts in,
stating that that's a load of crap.
He's from the ghetto, and is not
a motherfucking gentleman. Of
course he says that he treats a
lady like a lady (a bitch like a
bitch, etc.). This explicit CD also
has its rude and crude tracks too,
but I won't get into that. If you
dig the Geto Boys, based on their
previous album, then chances
are you will somewhat dig We
Can't be Stopped. It's awright.
Hah! Hah! Hah! Who's
next to step up and get reviewed?
Here's a Uttle something I can
guarantee you is not worth your
while to purchase. Giant Records
recording artists...Icy Blu! This
young female is not correct.
Upon first listening to this performer who has had all her production, mixing and lyrical contents arranged by someone else!
The production fits into the formula of be-boppish teen bubblegum tunes. The music is polished to the point of commercial
syndrome overdose! To recite
the lyrics written takes no talent
at all and there is absolutely nothing being said. Some particularly
irritating songs are, "It's Your
Birthday," and "He's Got It Going On." If you're into rap music,
you'll find this release to be an
insult. There are nine songs in
total, which are nine songs too
many! (Wack!)
The Ruler's Back... Slick
Rick's back on the scene with his
12 track release. Slick Rick raps
along in his famous rollin' style.
His first 12", "I Shouldn't Have
Done It," appears on the album.
In "Bond," Rick goes on an adventures as though he were James
Bond. Flavour samples are
thrown in, as well as homs and
some scratching. "Moses," is a
hit where he tries to school his
listeners about Moses in a rap
style that is easy to comprehend.
With sample from "Indian Girl,"
off his previous album comes the
tune, 'Tonto." On a more serious
tip, Rick changes styles and falls
into a depressed voice telling of
the "Mistakes of a Woman in
Love with Other Men." Another
sad-toned rap is displayed in,
"Run Away" where he talks of
knowing that his girl is gonna run
away to another man. He asks
"How can he Uve to serve this
next day?..." Slick Rick flows in
his same old style not needing to
pause for air anytime that I could
tell. To conclude his release a
housed-up version of "The Ruler," is tossed on the end. He talks
through a speaker and lets the
bass line and thumpin' bass drum
take its toU. Go Slick Rick!!!
Sway and King Tech
From Houston, Texas on
RAP-A-LOT Records, is
Choice, with The Big Payback.
This female MC takes no shorts!
In the first track she manages to
diss and dismiss such rappers as
Eazy-E, Ice Cube, Dre and Yel-
la, Willie Dee andtheothermem-
bers of the Geto Boys, and as a
finale, saves Too Short for last.
Throughout the next tracks we
find out that she is not some
materialistic bitch and is down
with her man 100%, "Back Seat
Betty," is a song discussing the
problem of girls who start young,
messin' around with players and
drugs. Rumors fly and self-respect seems to leave with it. It is
sad how these girls get played,
turn to drugs, and keep on in the
game where they are always the
loser. No joke. Choice explains,
"I talk nasty but I'm no whore!"
Funky horns end this track. The
second side of The Big Payback
is a lot nastier than the first. On
the first side some intelligent
lyrics are kickin', but on the other side sex, sex, sex, is all you
hear. From "Mr. Big Stuff," to
"Pipe Dreams,: to "Cat got your
Tongue," it's plain to see this is
one homy bitch. Most rhymes,
overall, are well-written, with
the exception of a few instances
where it seems ad lib has saved
Choice fromdoing are-take. She
actually sounds like a female
Bushwick, if that is possible,
and has a good voice for rappin'.
This woman knows ho w to throw
down, so beware... and when
you're out at the record store
ask in' yourself what to buy,
make this your CHOICE.
A single just received at
CiTR is that of Missy Mist. The
release is called, "Let the Good
Times Roll," and has several
mixes on it. The song is very
basic, and until further tracks
have been released, no review is
in check.
Two other recent recordings have also not reaUy interested me but seeing that they are
here, I have no choice but to
mention them. Sway & King
Tech, with Concrete Jungle has
hit, The majority of the songs
feature King Tech, not as
rapper but producer, mixer, etc.
The raps lack originality, something that is becoming a real
bonus nowadays. It separates the
real artists from those out only to
hit the charts and make a quick
buck or two. I'm not saying that
this is what these boys are up to,
but it is quite noticeable that
King Tech dominates the tracks.
The production is clear and concise and there are plenty of samples in the mixes. "Concrete Jungle," has samples from Grandmaster Flash's "TheMess age"...
"It's like a jungle sometimes"
and another weU known sample
from the Eagles.
Downtown Science has
also come out with a full release,
but I have not had a chance to
Usten to all of it. It is also very
high in production quality and
sounds rather sterile in many
areas. The style seems more suited for commercial radio airplay.
As for the rapper this
month...Quik is the name.
a-:. g
utmsm® _t_..____»- ■ _■kMv«Mi __■•% nrw _nisMi;_i nr_/«/\nr> ernoce
CANADA'S LARGEST AND BEST KNOWN RECORD STORES
RICHARD THOMPSON
"Rumor and Sigh"
RICHARD THOMPSON
Rumor And Sigh
14 sterling new songs, and
teems with types dear to
its author's pen: drunks,
lovers, and lunatics.
.#
DAVE SHARP
'Hard Travellin'"
Guitarist from the
alarm.. .music with a grassroots approach. A bluesy,
folk journey you'll not soon
forget.
^ TIMBUK 3
^ "Big Shot in the Dark"
"It's the first one we produced entirely ourselves
plus, it's a bigger production and with a new band'
-Pat McDonald.
BARBIE BONES
"Brake for Nobody"
This Norwegian band is a
cross between the Cult,
Jesus Jones, heavy metal
and almost everything else
you can think of.
SCHOOL OF FISH
"School of Fish"
m SCHOOL OF FISH
School Of Fish
3 Strange Days • King Ol The DoHar • Speechless
An intriguing album of
songs both idealistic and
sardonic, all about innocence, guilt, dependency,
messed-up relationships,
and turtles.
GOLDEN THROATS
"More Celebrity Rock Oddities"
Hear Bing Crosby sing "Hey
Jude", Jack Jones sing
"Dixie Chicken", Phyllis
Diller sing "Satisfaction",
and more.
DOWNTOWN EATON CENTRE RICHMOND SURREY
568 SEYMOUR ST. METROTOWN CENTRE PLACE 30 FRI CITR PRESENTS ME, MOM*
MORGENTALER WITH PALEFACE AT
THE COMMODORE... CiTR PRESENTS
THE MINT IS A TERRIBLE THING TO
TASTE WITH WINDWALKER. TANKHOG AND FACEPULLER ATTHE CRUEL
ELEPHANT... Prairie Oyster at 86
Street... Na|ma Akhtar at the Vancouver East Cultural Centre... Tempest at
the WISE Hall... Original Sinners at the
Yale... Utlt Ellis EnsembleattheGiass
Slipper... Ellen Mcllwaine Band at trie
Railway... Glen Stace and One Big
Union at the Town Pump... Amy Grant
at the Coliseum... Aaron Van Dyke's
exhibition Greek Sculpture Fragments
and Laurel Woodcock's exhibition Interval at Artspeak (until the 21st)...
Michael Letzring's exhibition Western
Vistas at the Community Arts Council
Gallery (until the 7th)... Bant on the
Beach atVanlerPark... Patrick Mahon's
exhibition Show Home: Thutrum
Mundi at the Vancouver East Cultural
Centre (until the 23rd)... 23rd Annual
Toumee of Animation opens at the
Starlight Cinema (until the 9th, 7pm &
9pm)... The Comfort of Strangers
(7:30pm) and Betrayal (9:35pm) atthe
Ridge...Viridlana(7:30pm)annE1Topo
(9:15pm) at the Cinematheque...
31 SAT CITR PRESENTS HOOOOO
GURUS ATTHE COMMODORE... Original Sinners at the Yale... Ellen
Mcllwaine Band at the Railway... Inside Outside at the.Glass Slipper.-
Glen Stace and One Big Union atthe
Town Pump... Skahoom at 86 Street..
Bard on the Beach at Vanier Park...
23rd Annual Toumee of Animation at
the Starlight Cinema (7pm & 9pm)..,
The Comfort of Strangers (7:30pm)
and Betrayal (9:35pm) at the Ridge..
Virldiana (7:30pm) and El Topo
(9:15pm) at the Cinematheque...
1SUN Coffin Break with Little Joe
at the Cruel Elephant (all-ages show at
3:30pm)... Ths Unknown at the Railway... Crowded House at the Orpheum... 23rd Annual Toumee of Animation at the Starlight Cinema (7pm &
9pm)... Tha Comfort of Strangers
(7:30pm) and Betrayal (9:35pm) atthe
Ridge...
2 MON Cm* ALTERNATIVE NIGHT
ATTHE PIT PUB... Celebrity Skin. Dose
Pump, Love Junction and Charles on
Charges atClub Soda.. Harpdog Brown
at the Yale... Party Pigs at Maximum
Blues Pub... 23rd Annual Toumee et
AnimationattheStarlightCinema(7prn
& 9pm)... Dances with Wolves (8pm)
atthe Ridge...
3 TUE School startsll... CITR FUNK
NIGHT ATTHEPITPUB... Last Corvairs
at the UBC SUB Plaza (12:30pm)... Jef
with Mother Trucker at the Cruel 8-
ephant.. Juice Monkeys, Gorilla Go-
rilla, Dogzilla and It at Club Soda...
Moris Tepperfrom LA at the Railway...
Party Pigs at Maximum Blues Pub...
Harpdog Brown atthe Yale... Julie H oy's
landscape exhibition Back to Nature at
A Walk Is... (until the 30th)... 23rd
Starlight Cinema (7pm & 9pm)...
Dances with Wolves (8pm) at the
Ridge... Poetry Reading by Ernesto
Cardenal atthe Unitarian Church...
4 WED CITR HOT WEDNESDAYS
ATTHE PIT PUB... Soul Survivorat the
UBC SUB Plaza (12:30pm)... Cat's
Game with Rusty Nails at the Cruel
Elephant... Moris Tapper at the Railway... Locos atthe Town Pump... Jimmy
Cliff at the Commodore... Carmen
Rogues, The Explorers, and Elbore
James and the Hlpshakers at 86
Street.. Acoustic Folks at the WISE
Hall... Harpdog Brown at the Yale-
Party Pigs at Maximum Blues Pub...
23rd Annual Toumee ot Animation at
the Starlight Cinema (7pm & 9pm)...
The Vanishing (7:30pm) and The Man
Who Knew Too Much (9:30pm) at the
Ridge...
5 THU CiTR PRESENTS PAPA WEMBA
AT SATURNO SUPPER CLUB... CiTR
ROCK THURSDAYS AT THE PIT PUB...
Rumplesteelsktn at the UBC SUB Plaza
(12:30pm)... The Tailgate rs atthe Town
Pump... Dose Pump at the Cruel Elephant.. Sacred Hearts at the Railway... The Hhjhtops wtth Gary Floyd at
86 Street.. Jim Byrnes at the Yale-
Mud Bay Blues Band at M axtm um Blues
Pub... A Coat ot Many Colours: Two
Centuries ot Jewish life in Canada
opens at the Museum of Anthropology
(until November 17th)... The 7U» Annual Fringe Festival opens in Mount
Pleasant(untJI the 15th)... 23rd Annual
Toumee of Animation at the Starlight
Cinema (7pm & 9pm)... The Vanishing
(7:30pm) and The Man Who Knew Too
Much (9:30pm) at the Ridge...
6 FRI CtTRPRESENTSPAPA WEMBA
ATSATURNO SUPPER CLUB... Ouster
Flux with Paste and Mickey Christ at
the Cruel Elephant.. UBC AMS Welcome Back Barbecue with Roots
Roundup (noon). Spin Doctors (1:30
pm), Memory Day (3pm), Hard Rock
Miners (4:30pm), and Sarcastic Mannequins (6pm) at Mclnnis Field (noon-
8pm)..Sacred Hearts at the Railway...
Roots Roundup with Spin Doctors,
Atlantis Bus, Kathleen Yearwood and
ChevalDe Guerre attheCommodore...
Hard Rock Miners at the Town Pump...
Ron Kaimakoff at the Vancouver East
Cultural Centre.. Mod Bay Blues Band
at Maximum Blues Pub... Sheri-0 Wilson at the Grunt Gallery... Open Stage/
Jam Session at the UBC Grad Centre
Fireside Lounge... Trooperat86 Street..
Jim Byrnes at the Yale.. The 7th Annual Fringe Festival continues in Mount
Pleasant. 23rdAnnualToumeeofAnimation at the Starlight Cinema(7pm _
9pm)... Thelma & Louise (7pm) and
Atlantic City (9:30pm) at the Ridge...
Once Around (7pm) and Backdraft
(9:30pm) at UBC SUB Auditorium...
7 SAT Hard Rock Miners at the Town
Pump... Chris Houston and His Evil
Twang at the Cruel Elephant.. Oh Yeah
at the Railway... One Riddim at the
Commodore... Trooper at 86 Street.
Jim Byrnes at the Yale... Leon & Eric
Blhh atthe Orpheum... Ron Kaimakoff
atthe Vancouver East Cultu ral Cen tre...
Mud Bay Blues Band at Maximum Blues
Pub... Madeleine Morris at the Grunt
Gallery... Third Annual Brazilian Independence Fiesta at the Maritime Hall...
Country Dance with Marian Rose _
Cousin Gizmo atthe WISE Hall... Western Vistasexhibirjon closes at the Community Arts Council Gallery... The 7th
Annual Fringe Festival continues In
MountPleasant..23rdAnnualToumee
of Animation at the Starlight Cinema
(7pm & 9pm)...Thelma & Louise (7pm)
and Atlantic City (9:30pm) at the Ridge...
Once Around (7pm) and Backdraft
(9:30pm) at UBC SUB Auditorium...
8 SUN Hedgehog at the Cruel Elephant.. The Strangers at the Railway... Tom Cora & Catherine Jauni aux
at the Western Front.. Diane Wood at
the Grunt Gallery.. The 7th Annual
Fringe Festival continues in Mount
Pleasant.. 23rd Annual Taunts* af
Animation attbeStartlght Cinema (7pm
& 9pm)... Thelma & Louise (7pm) and
Atlantio City (9:30pm) at the Ridge...
VancouverRecord Collectors Association Record . CD Sals at the Kitsilano
Community Centre... British S European Car Meet at the Museum of Flight
& Transportation... 10th Annual Indian
Summer All-Pony Roundup at Spanish
Banks Beach.. Once Around (7pm) and
Backdraft (9:30pm) at UBC SUB Audi-
tori um...
9 MON CiTR ALTERNATIVE NIGHT
AT THE PIT PUB... Oliver and the Elements at the Yale... Intruder, Aragathor
and Stone the Crow at Club Soda.. The
Mike Jacobs Band at the Maximum
Blues Pub... JasmllalsmailattneGrunt
Gallery... The 7th Annual Fringe Festival continues inMount Pleasant... 23rd
Annual Toumee of Animation at the
Starlight Cinema (7pm & 9pm)... UBC
Fresh Week Begins (until the 13th)„.
10 TUE CiTR FUNK NIGHT AT THE
PIT PUB... Ziggy Marley & tha Melody
Makers with Crystal Waters at the Orpheum... Kathleen Yearwood at the
Railway... Dead Surf Kiss, Culture
Shock, Dr Unknown and Sycotic
Jamnation atCiubSoda... David Raven
at the Yale... The Mike Jacobs Band at
the Maximum Blues Pub... Travis Tritt
at 86 Street.. Yvonne Parent at the
Grunt Gallery... The 7th Annual Fringe
Festival continues in Mount Pleasant..
Thelma & Louis* (7pm) and Atlantic
City (9:30pm) at the fodge... 23rd Annua I Toumee of Animation at the S tar-
t!ghtCinema(7pm&9pm)...U8CFrosh
Week continues...
11 WED CiTR HOT WEDNESDAYS
AT THE PIT PUB... Shine with The
Indecishres at the Cruel Elephant..
Acoustic Folks at the WISE Hall...
Kathleen Yearwood at the Railway...
David Raven at the Yale... The Mike
Jacobs Band at the Maximum Blues
Pub... Maxine Gadd atthe Grunt Gallery... William GR Hind's exhibition The
Pictou Sketchbook opens at the Vancouver ArtGallery (until Nov 4th)... The
7th Annual Fringe Festival continues
In Mount Pleasant.. The Cook, The
Thief, His Wife and Her Lover (7pm)
and PaperMa*k(9:25pm)atthe Ridge...
23rd Annual Toumee of Animation a;
the Starlight Cinema (7pm & 9pm)...
Heat & Sunlight wift Deaf lo the City at
the UBC SUB Auditorium... UBC Frosh
Week continues....
12 THU CiTRROCKTHURSDAYSAT
THE PIT PUT... Hippy Big Buckle, The
Sapiens and Lady Jugs-o-Plent at the
Cruel Elephant.. David Raven at the
Yale... Green House at the Railway...
The Mike Jacobs Band at the Maximum
Blues Pub... Margaret Dragu at the
Grunt Gallery... The 7th Annual Fringe
Festival continues in Mount Pleasant..
The Cook, The Thief, His Wife and Her
Lover (7pm) and Paper Mask (9:25pm)
at the Ridge... 23rd Annual Toumee of
Animation atthe Starlight Cinema (7pm
& 9pm)... Heat 4 Sunlight with Deal to
the City at the U8C SUB Auditorium...
UBC Frosh Week continues...
13 FRI David Gogo 4 the Persuaders
at the Commodore... David Raven at
the Yale... David Essig at the WISE
Halt... Green House at the Railway...
Skahoom at 86 Street.. Stoaters and
the Nervous Fellas at the UBC Grad
Centre Banquet Room... The Mike
Jacobs Band at the Maximum Blues
Pub... Sandra Lockwood at the Grunt
Gallery..The 7th Annual Fringe Festival continues In Mount Pleasant-
Jungle Fever (7pm) and Do the Right
Thing (9:35pm) at the Ridge... Truth or
Dare (7pm) and The Doors (9:30pm) at
UBCSUBAuditOrium.UBCFroshWeek
Closing Ceremonial Fireworks (midnight).., -< I &M^E3f j_i -
14 SAT CiTR PRESENTS OJ SOUND
WAYCHAPTERTWOATTHESUBBAU-
ROOM (6PM)... 64 Funny Cars with
Like Rain at theCruel Elephant.. Green
House at the Railway... David Raven at
the Yale... Vince Gill at the Commodore... Greenpeace 20th Anniversary at
the Orpheum with Billy Bragg, Ferron,
Ann MortUee, Chilliwack, Bourne &
MacLeod, Garnet Rogers and African
Heritage... The Mike Jacobs Band at
the Maximum Blues Pub... EHaheth
Flsherat the Grunt Gallery... Roya) City
Youth Bailers Cinderella at the Queen
Elizabeth Playhouse... The 7th Annual
Fringe Festival continues inM ount Pleasant Jungle Fever (7pm) and Do the
Right Thing (&35pm) at the Ridge...
Truth or Dare (7pm) and The Doors
(9:30pm) at UBC SUB Auditorium...
World Flower Btrlb Week begins (until
the 21st)...
15 SUN CiTR PRESENTS OJ SOUND
WAR CHAPTER TWO ATTHESUB BALLROOM (6PM)... Spoken World/Poetry
NlgbtattheCruelElephanL..RockStock
'91 with Strawberry Alarm Clock, 5
Man Electrical Band, Sugartoaf, Kelly
Jay & Crowbar, Spencer Davis Group,
War, Mark Famer with Grand Funk
Railroad at Plaza of Nations (noon)...
Alice Tepexcuiatie at the Grunt Gallery... The 7th Annua! Fringe Festival
continues In Mount Pleasant... Jungle
Fever (7pm) and Oo die Right Thing
(9:35pm) at the Ridge... Truth or Oare
(7pm) and The Doors (9:30pm) at UBC
SU8 Auditorium... World Flower Bulb
Weak continues...
16 MON CiTR PRESENTS ROUND
OWE OF SHINDIG '91 THAT LOCAL
BAND COMPETITION FROM CiTR AT
THE RAILWAY... CiTR ALTERNATIVE
NIGHT AT THE PIT PUB... Sacrifice,
Caustic Thought, Th* Axis and Know
Idea at Club Soda... Oliver and the
Elements at the Yale.. The Terry
Edmonds Band at the Maximum Blues
Band... Beyond the Fringe opens at the
Vancouver East Cultural Centre (until
the 21st)... Paris Trout (7:30pm) and
Badlands (9:25pm) atthe Ridge... World
Flower Bulb Week continues...
17 TUE CITR FUNK NIGHT AT THE
PIT PUB... Fringe Festival Volunteer
Appreciated Night at the Cruel Elephant.. Groove Ranch with Symme
try at the Railway... The Bodeansat86
Street.. Thunder at Club Soda... Oliver
and the Elements at the Yale... The
Terry Edmonds Band at the Maximum
Biues Band... Beyond the Fringe at the
Vancouver East Cultural Centre... Paris
Trout(7:30pm) and Badlands(9:25pm)
atthe Ridge... World FlowerBulb Week
continues...
18 WED CITR HOT WEDNESDAYS
AT THE PIT PUB... Slip Shodsat me
Railway.. Show Business Giants with
Only In Victoria at the Cruel Elephant...
Don Reid with Time & Rhythm at the
Glass Slipper... 01 fcerand the Elements
atthe Yale... The Terry Edmonds Band
atthe Maximum Biues Band... Clarence
Gatemouth Brown at the Backstage
(Seattle)... 5th of July opens at the
Frederic Wood Theatre (until the 28th)...
Beyond Ore Fringe at the Vancouver
East Cultural Centre... Open Doors
(7:15pm) and Cinema Paradiso
(9:25pm) at the Ridge... World Flower
Bulb Week continues...
19 THU CITRROCKTHURSDAYSAT
THE PIT PUB... Ovarian Trolly with
Sugar Boom at the Cruel Elephant...
The Heretics al the Railway... Al Walker
Blues Band at the Yale... Blair Lewis
Group at the Glass Slipper... The Terry
Edmonds Band at the Maximum Blues
Band... Judith Marcuse Dance Company at the Vancouver Playhouse... 5th
of Jury continues at the Frederic Wood
Theatre... Beyond the Fringeat (he Vancouver East Cultural Centre... Open
Doors (7:15pm) and Cinema Paradiso
(9:25pm) at the Ridge... 5th of July
opens at the Frederic Wood Theatre
(until the 28th)... World Flower Bulb
Week continues...
20 FRI Gorilla Gorilla at the Cruel
Elephant.. The Heretics at the Railway... Al Walker Blues Band at the
Yale. The Terry Edmonds Band at the
MaximumBIues Band... Judith Marcuse
Dance Company at the Vancouver Playhouse... 5th of July continues at the
Frederic Wood Theatre... Beyond the
Fringe at the Vancouver East Cultural
Centre... Defending Your Life (7pm)
and New Jack City (9:30pm) at the U8C
SUB Auditorium... World Flower Bulb
Week continues...
21 SAT The Squimils with Sarcastic
Mannequins at the Cruel Elephant..
The Heretics at the Railway... Garnet
Rogers at the WISE Hall... Roger
Whi (taker attheOrpheum... RogerBaird
and Real Time at the Glass Slipper... Al
Walker Blues Band at the Yale... The
Terry Edmonds Band at the Maximum
Blues Band... Greek Sculpture Fragments exhibition and interval exhibition cosesat Artspeak... Judith Marcuse
Dance Company at the Vancouver Playhouse... 5th of July continues at the
Frederic Wood Theatre.. Beyond tha
Fringe doses at the Vancouver East
Cultural Centre... Defending Your Lite
(7pm) and New Jack City (9:30pm) at
the UBC SUB Auditorium... World
Flower Bulb Week ends...
22 SUN 9 Pound Hammer with
Tankhog at the Cruel Elephant.. Frank
Frink 5 at the Railway... Garnet Rogers
at the WISE Hall... Roger Whittaker at
the Orpheum... 5th of July continues at
the Frederic Wood Theatre... Defending Your Ufe (7pm) and New Jack City
(9:30pm) atthe UBC SUB Auditorium...
23 MON CiTR PRESENTS ROUND
ONE OF SHINDIG '91 AT THE RAILWAY... CiTR ALTERNATIVE NIGHT at
the Pit Pub... Malhavocwith Womb
Service at Club Soda... Clarence
Gatemouth Brown at the Yale... 5th of
July continues at the Frederic Wood
24 TUE CiTR FUNK NIGHT AT THE
PIT PUB... Rootebeggasat the Railway... 5th of July continues at the
Frederic Wood Theatre...
25 WED CiTR HOT WEDNESDAYS
ATTHE PIT PUB... Rootebeggasat the
Railway... Environment Benefit at the
Cruel Elephant.. Papa Wemba at the
Backstage (Seattle)... A Change for the
Different at the Vancouver Little Theatre... 5th of July continues at the
Frederic Wood Theatre... Without You,
I'm Nothing with Water ft Paper at the
UBC SUB Auditorium...
26 THU CiTR PRESENTS THE
SHUFFLE DEMONS WITH ROOTS
ROUNDUP AT THE COMMODORE...
CiTR ROCK THURSDAYS AT THE PIT
PUB... Sister Lovers at the Cruel Elephant.. Jazz from Sweden with Arm
Domnerus Trio, Putts Wicfcman Quartet and Milder & Jansson Quartet at
the Glass Slipper... A Change for the
Different at the Vancouver Little Theatre... The Razzle Dazzle Comedy Cluh
opens at Hendry Hall (until Oct 12th)...
• 5th ol July continues at the Frederic
Wood Theatre...
27 FRI The Sweaters with Touch V
I Gos and BUM at the Cruel Elephant...
, Condition from Montreal at the Railway... Jazz from Sweden with Ame
Domnerus Trio, Putte Wicfcman Quartet, and Milder & Jansson Quartet at
theGlassSlipper...TheValentinos,The
Braineaters, Kiss Kiss _ Bang and
Touch _ Gos at the Town Pump... A
Change for the Differentat the Vancou-
I ver Uttle Theatre... 5th of July contin-
I ues at the Frederic Wood Theatre...
Hudson Hawk (7pm) and Silence of the
I .Larnbs^-OpmJattheUBCSUBAudi-
28 SAT Bone Club with Hitting Birth
I .at the Cruel Elephant.. Bedlam Rovers
''with Wanna Be Texans from San Francisco at the Railway... Electric Bonsai
Band at the WISE Hall... Bill Smith &
Bill Uttle at the Western Front.. Jazz
Irom Sweden with Ame Domnerus
trio, Putte Wickman Quartet, and
Milder & Jansson Quartet at the Glass
Slipper... A Change for the Different at
the Vancouver Little Theatre... 5th of
Ally continues at the Frederic Wood
Theatre... Hudson Hawk (7pm) and Silence of the Lambs (9:30pm) at the
UBC SUB Auditorium...
29 SUN The Bedlam Rovers at the
Cruel Elephant... Frank Frink 5 at the
Railway... David Alan Grier and Mark
":, Curry at the WWU Carver Gymnasium
(Bellingham)...HudsonHawk(7pm)and
Silence of the Lambs (9:30pm) at the
UBC SUB Auditorium... Walk for AIDS
■91...
30 MON CITR PRESENTS ROUND
ONE OF SHINDIG '91 AT THE RAILWAY... CiTR Alternative Night at the
Pit Pub... Fake It Big Timewith False
Witness at Club Soda... Back to Nature
exhbition closes at A Walk Is
NIOHTCLUBS/Qn VENUES
Glass Slipper 185 E 11th 877.0066
CLUB SODA 1055 HOMER 681.8202
Commodore Ballroom 870 Granville 681.7838
CRUaELEPHANT 1176GRANVILLE 688.8748
88 Street Music Hall Plaza of Nations 683.8687
Graceland 1250 Richards 688.2848
Hogans Alley 730 Main 689.8645
LaQuena Uncommercial 251.6626
LUNATIC FRINGE 315 BROADWAY 876.7003
Maritime Hall 111 Victoria 254.1692
MAXIMUM BLUES PUB 1176GRANVILLE 688.6571
PIT PUB BASEMENT UBC SUB 822.6511
Railway Cluh 579 Dunsmuir 681.1625
The Roxy 932 Granville 684.7699
TWILIGHT ZONE 7 ALEXANDER 682.8550
UBC Grad Centra 6371 Crescent 733.1303
UBC School of Music 6361 Memorial 822.3113
Vancouver East Cultural Centra 1895 Venables
254.9578
UBC FineArts Gallery UBC Main Library 922.2759 Waterfront Theatre Granville Island 685.6217
UBCM
OALL£RIES/EXHWIT10N SPACES
A Walk Is... 976 Denman 682.0060
Artspeak Gallery 311 W Hastings 688.0051
Burnaby Village Museum 6501 Deer Lake (Burnaby)
293.6500
Community Arts Council 837 Davie 683.4358
Emily CarrSch. of Art & Design Granville Is! 844.3811
58 Gallery 56 Powell 684.7387
Found Art Gallery 528 Powell 253.1033
Grunt Gallery 209 E 6th 875.9516
lories 36 Powell 681.6740
Gallery 333 Chesterfield (N
Van) 986.1351
Smash Gallery 160 W Cordova 662.7200
UBC AMS Fine Arts Gallery UBC SUB
Teck Gallery SFU Harbour Centre 291.5126
UBC Asian Centre 1871 West Mall 822.2746
822.5087
Vancouver Art Gallery 750 Hornby 682.5621
VECC Gallery 1895 Venables 254.9578
Vancouver MaritimeMussum 19050gden 737.2212
Western Front 303 East 8th 876.9343
THEATRES
Arts Club Backstage Granville Island 687.1644
Arts Cluh Granville Island Granville Island 687.1644
Back Alley Theatre 751 Thurlow 688.7013
Dorothy Somerset Studio basement 6354 Crescent
822.2678
Firehall Arts Centre 280 E Cordova 689.0926
Frederic Wood Theatre 6354 Crescent 822.2678
Hendry Hall 815 E 11th (N Van) 983.2633
Presentation House 333 Chesterfield (N Van)
986.1351
Studio 58 Langara Campus VCC 324.5227
Dolphin Cinema 4555 E Hastings (Burnaby)
293.0321
Dunbar 4555 Dunbar 228.9912
Hollywood 3123 W Broadway 738.3211
The Lux 57 E Hastings 687.7589
Pacific Cinematheque 1131 Howe 688.3456
PARADISE CINEMA 919 GRANVILLE 681.1732
Ridge Theatre 3131 Arbutus 738.6311
Starlight Cinema 935 Denman 689.0096
Stanley 2750 Granville 733.2622
SUB Auditorium UBC SUB 822.3697
Varsity 4375 W 10th 222.2235
OTHER SPACES
Kitsilano Community Centre 2690 Larch 324-1229
Science World 1455 Quebec 687.8414
UBC Gallery Lounge UBC SUB 822.4508
UBC AMS GAMES ROOM BASEMENT UBC SUB
822.3692
UBC Student Union Building 6138 SUB Blvd
UBCThunderBar 6066Thunderbird Blvd 822.6121
Unitarian Church 949 West 49th 879-7216
ANZA CLUB 3 W 9TH © ONTARIO • ARCADIAN
HALL MAIN FLOOR 2214 MAIN @ 6TH • CAMBRIAN HALL 215 E17TH® MAIN'CINDERELLA
BALLROOM 185 E 11 TH © MAIN • FRINGE CLUB
3RD FLOOR MT PLEASANT LEGION • GRUNT GAL- w
LERY 209 E6TH9 MAIN* HERITAGE HALL 3102 ®
MAIN015TH«HOTJA_ZCLUB 2120MAINQ6TH ~
• LUNATIC FRINGE 315 E BROADWAY @ SCOTIA 3
• MAIN DANCE PLACE BASEMENT 2214 MAIN & g"
6TH-MT PLEASANT COMMUNITY CENTRE 3161 "_
ONTARIO @ 16TH • MT PLEASANT LEGION 2655 £
MAIN @ 10TH • VANCOUVER LITTLE THEATRE <£
BACK ALLEY 3102 MAIN © 15TH
GS&ssasa© ON THE DIAL
©
SUNDAYS
AREYOUSERIOUS? MUSIC 8:00AM-
12:00PM The newest new music
and information on concerts,
recordings, and composers with
host lan Crutchley.
THE BRUNCH REPORT 12:00-12:15PM
News .sports, weather and more
with the CiTR News, Sports and
Weather Departments.
THE ROCKERS SHOW 12:15-3:0OPM
Hosts: George Barrett and Mike
Cherry. Reggae inna all styles
and fashion. Dancehall, Dub,
Roots, Lovers-rock. Rocksteady,
Ska and beyond!
THE SUNDAY MAGAZINE 5:00-
5:30PM All the day's news,
weather and sports. Plus an In-
depth interview, movie reviews
and more. Hosted by Luc
Dinsdale.
HEARSAY 5:3O-6:00PM CiTR's literary arts program needs YOU to
submit your works for on-air performance or reading.
ELECTRONICSMOKESIGNALS6:00-
8:00PM From the global cultures of resistance hosted by
Horace de la Cueva, alternating Sundays.
MAURY'S GOT THE NIGHT OFF 6:00-
10:00PM ALTERNATINGSUNDAYS
Kooky antics, current irrelevant
Issues. Joe Jackson. Pankow,
Ice-T. Hellbastard, and yourcool
requests. Hosted by Karen
Toddington and Lloyd Uliana.
RADIO FREE AMERICA 10:00PM-
12:00AM Join host Dave Emory
and colleague Nip Tuck for
some extraodinary political research guaranteed to makeyou
think twice. Bring your tape deck
and twoC-90s. Originally broadcast on KFJC (Los Altos, Califor-
MONDAYS
THEMORNINGSHOW 7:30-8:15AM
Wake up with the CiTR Morning
Show. All the news, sports and
weather you need to start your
day. Pius whats happening at
UBC each day with UBC Digest,
a feature interview and more.
Topped off with the BBC World
Service News at 8:00AM, live
from London, England. Hosted
by lan Gunn and Antje
Rauwerda.
BREAKFAST WITH THE BROWNS 8:15-
11:00AM Your favourite brown-
sters James and Peter offer a
savoury blend of thefamiliar and
exotic in an excitingly luscious
EKeSCKP
blend of aural delightsl Tune in
and enjoy each weekly brown
plate special.
DON AND GOURD'S STUPID RADIO
SHOW 11:00 AM-1:00 PM Noon
feature : Crucifix in your ear.
THE AFTERNOON REPORT 1:00-
1:15PM News, sports and
weather.
MEKANIKAL OBJEKT NOIZE 1:15-
3:00PM CiTR's only all industrial/
technical/electronicshowwith
different feature albums every
week. With your dj pal, June. Bill
Leeb loves you all.
LOOK I IT S BONUS GIFT TIME AGAIN,
HOWARD I 3:00- 5:00 PM New
records and new CDs smell a
special way. Tune in and have a
whiff. Rowena has hay fever.
She can't smell.
THE CITR DINNER REPORT 5:00-
5:30PM All the latest on campus: news, sports, an in-depth
interview, theatre or film review,
editorial commentary and
more. Weekdays with host lan
Gunn.
SPORTS DIGEST 5:30-6:00PM Campus, amateur and professional
sports with Keith Watson.
BOXER SHORT BOYZ 7:00-9:00PM
Just a couple of guys who like to
walk around in their boxershorts
with their big fat guts hanging
out. Jerome Broadway and
Garnet Timothy Harry alternate
THE JAZZ SHOW 9:00PM-12:00AM
Vancouver's longest running
prime time jazz program. Hosted
by the ever-suave Gavin Walker.
Features at 11.
2nd A "classic' tonight: "Sonny
Rollins Plus Four" is in reality
the final studio recording of
the Max Roach-Clifford
Brown Quintet before the
tragic auto accident that
killed Clifford and the band's
pianist Ritchie Powell. Hear
why Brown was the most brilliant trumpeter of his
generation...he was only 26
when he died. Lasting Jazz.
9th "Extensions" is a spiritual and
moving document by McCoy
Tyner...agreatinnovatfve pianist and an all-star band that
includes Gary Bartz (alto),
Wayne Shorter (tenor), Ron
Carter (bass), Alice Coltrane
(harp), and Elvin Jones
(drums). Tyner's concepts
and compositions will take
you to places you may never
have been...tonight!
16th *What Is Jazz?*, an educational, analytical and often
humorous and very entertaining look at what Jazz is and
Isn't. Narrated by the late
great Leonard Bernstein. A
great way to begin a new
schoolyear...learn about
23rd John Coltrane was born on
this date in 1926...he would
have been 65 today...we'll
celebrate Coltrane's birthday by playing one of his
most influential
recordings..."Giant Steps".
This record was a summing
up of Coltrane's music and a
breakthrough to his next
phase. We will also be featuring Coltrane's music for the
whole show tonight.
30th Thelonious Monk "Live in
Tokyo* (1963). Monk's first visit
to Japan with his working
quartet with Charlie Rouse
on tenor saxophone. Monk
andthegroupinbrilliantform
dazzling the Japanese.
PHENOMENON ONE 12:00-4:00AM
Now hear this! Roughneck
dance hall Reggae, dub plates
and live DJ selections that are
ruling Jamaica and abroad,
with whitey at the controls.
TUESDAYS
THEMORNINGSHOW 7:30-8:15AM
Hosted by Antje Rauwerda and
lan Gunn.
DOG'S BREAKFAST 11:00AM -
1:00PM dog's breakfast. 1.
A rness:low Glasgow (-1934) 2.
Confusion; turmoil: Australian:
since ca. 1935. Tune in for Inept
pandemonium, hilarity and fairy
tales - with your exquisite hostess Helen G. Yes, there is life
beyond news.
3rd The Youth Who Could Not
Shiver and Shake - Grimms
Brothers
10th The Lonesome, Lost Rebellion of Mom's Cafe - Helen
Potrebenko
17th Goblin Market - Christina
Rossetti
24th The Dancing Palm Tree - A
Nigerian Folktale
BLOOD ON THE SADDLE 1:15-
3:00PM Country music toscrape
the cowshit off your boots to.
With yer host-poke Jeff Gray.
THE REAL DEAL 6:00-7:00PM *lf it
ain't rap then you know It's
crap."-Eazy-E. Hardcore rap with
your host Terror T.
THE UNHEARD MUSIC 7:00-9:00PM
Demo Director Dale Sawyer provides some insight into the best
and the worst of the newest
Canadian music.
AVANT-PIG 9:00PM-12:00AM Alternating Tuesdays with Wolf at
the Door. Now three hours of
funky ambient noise piggery
with Pete Lutwyche.
WOLF AT THE DOOR 9:00PM-
12:00AM Alternating Tuesdays
with Avant-Pig. The latest in
dance music and interesting
drama every second week. With
Lupus Yonderboy.
AURAL TENTACLES MIDNITE UNTIL
THE MOON DROPS Fun for the
whole family to enjoy! Weird
chunks of news, odd pieces of
tuneage, Pierre and the 2AM
WWOD.
WEDNESDAYS
THEMORNINGSHOW 7:30-8:15AM
Hosted by lan Gunn and Antje
Rauwerda.
UVE FROM VENUS 10:00-11:00AM
Getthis! Women Music Women
Stories Women Articles Women
Poetry Women Music Women
Got it?
CONTENTS UNDER PRESSURE 1:15-
3:00PM Spinning the best (and
sometimes the worst) playlist
material, bringing a variety of
music styles from places you'll
not hear on any other radio station... seriously. I appreciate all
requests. I work best under pressure and the gods have seen to
it that I am supplied well with
sonic bliss... hence the title.
NORMAN'S KITCHEN 3:00-5:00PM
The apocrypha of CiTR. We like
God. We like 70's Rock N Roll.
NO INTERMISSION 5:30-6:OOPM Addressing thedrama, theatre.film
and arts communities. With
Antje Rauwerda.
HANFORD NUCLEAR PIZZA PIE 6:00-
7:00PM LaConner: weather
freak-out zone of the Pacific
Northwest.
JIGGLE 7:00-9:OOPM Just because
you're fat, doesn't mean you're
alternative. Mikey "girly hair'and
Gov "Bristle-head." joined by
their adoring groupie, serve up
breakfast all day from their
porta-kitchen. Jiggle Jiggle
Jiggle! Lose all sphincter control.
THURSDAYS
THEMORNINGSHOW 7:30-8:15AM
Hosted by Antje Rauwerda and
lan Gunn.,
A VOICE OF DISSENT 1:00-3:00PM
There I was, minding my own
business, listening to the CiTR
Lunch report, when this smooth,
rhythmic tune crept up behind
me and bound me in its sinuous
grip. I was hypnotized, spaced
out, swaying with the pulse.
Zombied. I was defenceless
against the Beefheart assault
when it hit, raping my ears with
torturous screaming saxophones. 'Oh God, please, fuck
my mindforgood I' Icrled.Send
me a tape of your poetry, spoken word, or sound collage.
FLEX YOUR HEAD 3:00-5:00F*M
—HARD -JINX-
-ERIC-
--CORE-
OUT FOR KICKS 6:00-8:00PM Explore the pleasures of plastic
with your faithful native bearers
Pat, Lisa, and sometimes Chris.
RED HOT AND BLUE 8:00- 9:00PM
Roots music, rhythm and blues,
rock 'n roil, and who knows what,
hosted by Eddie J.
UVE FROM THUNDERBIRD RADIO
HELL 9:00-11:00PM Local music
from 9. Live bands from 10.
ABSOLUTE VALUE OF NOISE
11:00PM-1:00AM 100% Canadian industrialism. Noise with
four-dimensional psycho-
acoustic Interactivity. Practitioner: Peter Courtemanche.
GIGABLAST! 1 AM-COMPLETE EXHAUSTION Late night spontaneous aural combustion. Easy listening for the truly weird. Live
mixes, sonic loop-dHoops, projectile poetry, microphone molestation, and impromptu noise
FRIDAYS
THEMORNINGSHOW 7:30-8:15AM
Hosted by lan Gunn and Antje
Rauwerda.
TOP OF THE BOPS 10:00-11:00AM
Musical chef Marc Coulevin
boils up a tasty pot of gumbo
THE INTERNATIONAL VENUS FLYTRAP
NETWORK OF LOVE 11:00AM-
1:00PM Don't tune in cause
you'll hate it anyway,
well...maybe not. Bye.
THE NOIZ SHOW 2:30-3:30, 4:00-
5:00PM Adam Noizi Sloan brings
the noiz.
NARDWUARTHE HUMAN SERVIETTE
PRESENTS... 3:30-4:00PM Join
Nardwuar and his war cat Cleo
von Fluffelstein for half an hour
of stimulating Manhattan clam
chowder entertainment.
THE CITR DINNER REPORT 5:00-
5:30PM With The Voice of Reason.* our weekly took back at
the week in the news, tongues
firmly in cheek.
THE DARYL AND SUZI SHOW 6:00-
9:00PM Undergroundsoundsys-
tem-style mastermix radio.
FOR THE RECORD 6:30-6:45PM Ex
cerpts from Dave Emory's Radio
Free America Series.
HOMEBASS 9:00PM-12: 30AM
Dope jams and fresh beats fora
groovy evening with DJ Noah
on the wheels of steel.
SATURDAYS
THE SATURDAY EDGE 8:00AM-
12:00PM Vancouver's biggest
and best acoustic/roots/rogue
radio show. Now in Its 6th year
on CiTR! Roots music from
around the world.
June 1: 6th birthday special I
POWERCHORD 12:15-3:00PM
Vancouver's only true metal
show; local demo tapes, imports
and other rarities. Gerald
Ratttehead and Metal Ron do
the damage.
IN EFFECT 3:00-5:00PM The Hip
Hop Beat and nuttln' butt. With
hosts RSJ and BZ Jam.
THE SATURDAY MAGAZNE 5:00-
5:30PM UBC's weekend news.
All the latest news, sports,
weather, a movie review, feature reportand more. News with
Luc Dinsdale; Doug Richards has
sports.
THE AFRICAN SHOW 8:00-10:00PM
It's a music thing from all "Africa." Ifs an awareness thing of
self and others. It's an African
house party. Stories, music,
dance fun. Welcome! Your host:
Umerah.
GROOVE JUMPING 10:00PM-
1:00AM There are those who
are never happy with the status
quo. Those who must have the
new, those who define themselves by what others are
not... uh, this is more to the point.
Out of beer, out of tune, and
out of control...music to peel
paint by. Hosted by Terry Hoi-
WHOM & HOW
ARTS JEROME PRINGLE
BOARD CHAIR SONIA FRASER
CURRENT AFFAIRS
ANTJE RAUWERDA
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT LUC DINSDALE
MOBILESOUND DARREN REITER
MUSIC ROBYNN IWATA
NEWS IAN GUNN
NEWS FEATURES TRACY DOLAN
PRESIDENT DARREN REITER
PRODUCTION JOELFRANSEN
PROGRAMMING ADAM SLOAN
PROMOTIONS MIKHELRANNISTE
SECRETARY HELEN GINTER
SPORTS CHRIS UREN
STATION MANAGER
UNDA SCHOLTEN
VICE PRESIDENT
MINDY ABRAMOWIITZ
VOLUNTEER COORDINATOR
JOHN RUSKIN
ARE YOU
SERIOUS
MUSIC
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ROCKERS
SHOW
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MEDIA
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IHING The stuff in these charts has been
compiled from playsheets filled out by
all djs/programmers who had shows
over the past month. The charts are
organised in order of airplay. If you need
or want any further information just
give music director Robynn a call.
She can most often be reached at CiTR
Monday to Friday noon to 4pm (PST).
SEPTEMBER fll SHORT fiROOVFS RQ
1 Fudge Tunnel.. "Sunshine of Your Love" CD-5" (Relativity)
2 Various Artists Blobs Volume One: 4 Vic toria Bands 7" (WayOut!)
• Various Artists Estrus HalfRack 7" Box Set (Estrus)
4N-Joi "Malfunction" 12" (BMG=RCA)
• The Orb "Perpetual Dawn" 12" (Mercury)
• Facepuller "Immorallzar" 7" (Temple North)
7 Mudhoney Let It Slide CD-5" (SubPop)
• Is This Bob 3-Song7"EP(Plumb)
• KodelV "Scratch Attack" 12" (Cargo=KK)
io Sleepyhead "Play" 7" (Picture Book Artifact)
11 Pates Planet of Sound 12" EP(Polygram=4AD)
llSeam Days of Thunder 7" (Homestead)
UTreepeople/HouseofLargeSlzes Split 7" (Toxic Shock)
>-Yo "AInl Nobody Better" 12" (East West)
l»ChemLab lOTon Pressure 12" EP(Chemlab)
=0 "We Are Back" 12" (Tommy Boy)
17 Octatrackter "Kiddle Fist" 7" (Kll Tel)
MTestDept NewWorid Order CD-5" (Jungle)
l» Fastbacks Doubter*(SubPop)
20 Gary Clail&OrvU Sound System "Human Nature" CD-5" (BMG-US)
21 Blake Babies Rosy Jack World 12" EP (Mammoth)
22 Terminator X "Juvenile Dellnquintz" CD-5" (Sony= Def J:
l Pegboy Field of Darkness 7" EP (Touch _Go=l/4 Stick)
(Antoinette "Never Good Enough" 12" (Round the Globe=Next Plateau)
25 Shabba Ranks "Housecall" CD-5" (Sony=Eplc)
2« Black Tambourine 4-Song7"EP(Slumberland)
17 Ignatius "Swoetflsh"7" (Silence)
2« Buzzcocks Alive Tonight CD-5" EP (Planet Pacific)
2» 808 State "Ooops" 12" (Tommy Boy)
••Stereotaxic Device "Lostland"12"(Cargo=KK)
a Datura Seeds "S*P'69"7"(Tox(cShock)
>2 lowaBeef Experience Traitor Court 7" (No) Seville)
M Anger Means Not Human Anymore 7"EP (Skene!)
M Naughty By Nature "O.P.P." 12" (Tommy Boy)
as Stumpy Joe "Love PlumUn'" 7" (Popllama)
osslcon Memorial 7" (Vermin Scum)
*7 Gnome "13 Family" 7" (Blossom)
••Dolomite Venus 7" (Fiasco)
M Missy Mist "Let the Good Times Rod" 12" (Round theGlobe=BMG=RCA)
4»BoneClub "Six Feet Under 7" (Rocket Sound)
41 Burning Heads "Hey You" 7™ (Black & Noir)
42 Red Devils "Queen Bee" 7" EP (Cast Ing Couch)
4«M99 "Drunk* Alone" 7" (Audio Addict)
44 Youth Gone Mad Yesterday's Innocence... 7"EP(Smilin' Ear)
4C Lilys "February Fourteenth" 7" (Slumberland)
44 Slushpuppies The "Blacklisted" Double 7" Set(Meat=Parkland Coop)
47 Manic Toys "WhattoDo"7"EP(TrashCan)
4a Dambuilders "YoMamaflsh"7"(Puppethead)
irlousArtlsts Metal Ribbons 7" (Meat)
— Rena&HerMen "CaH Me" 7" (Rena)
1911 ONfi fiRO.HXX.VFS 101,
l Seaweed Despised (SubPop)
2Me,Mom&Morgantaler Clown Heaven* Heil (Chooch)
• NoMeansNo Uve* Cuddly (Alternative Tentacles)
4 VarlousArtists Till the Bars Break (Cargo=lrreslstable)
• Mudhoney EveryGood Boy Deserves Fudge (SubPop)
• My Life with the Thrill Kill Kurt Sexplosion (Cargo=WaxTrax)
7 De La Soul De La Soul I* Dead (Poly_ram=Tommy Boy)
a Stephen Fearing Blue Une(Sony=Hlgh Romance)
• Hilt Orange Pony (Nettwerk)
10 Soundtrack BoyzlnthoHood(Warner=Qwest)
UVasilisk Liberation and Ecstacy (Musica Maxima Magnetique)
12 Einsturzende Neubauten.. Strategies Against Architecture II (Warner=Mute)
l» Smashing Pumpkins Glsh (Caroline)
14 VarlousArtists Cold Front (A&M=Attlc)
is Cat Rapes Dog..
15 Anthrax Attack of the WltorB's (lsland=Megaforce)
l« Delerium
M Zoviet France....
2iSoulSide....
StoneTower (Dossier)
•/.Thief of the Sun (DOVentertalnment)
»=Happy (Dischord)
22 Cyberaktif. Tenebrae Vision (WaxTrax)
IS Spirit of the West Go Figure (Warner)
MN.WA Nttaz4Ufe (Round theGlobe=Priority=Ruth less)
2S FelaAnlkulapoKutl Original Sufferhead (Shanachie)
7* Alice Donut Revenge Fantasies of the Impotent (Alternative Tentacles)
17 The Ex Dead Fish (Nine Mile)
MBIackUhuru Iron Storm (Mesa=BlueMoon)
2* Headfirst The Enemy (Car_o=Workshed)
••And One Anguteh (Machinery)
M Did/its Full Nelson ReHly (Touch* Go)
•2 Mecca Normal Water Cuts My Hands (Matador-K)
M Eek-a-Mouse U-Neek(lsland4JS)
•4 No Use for a Name Incognito (New Red Archives)
M SisterCarol Mother Culture (Ras)
*• Lustmord Paradise Disowned (Side Effects)
XI Railroad Jerk Railroad Jerk (Matador)
M VarlousArtists Indie Cantflndfe Cant)
••Billingsgate No Apologies (Cargo=Nemesis)
42 VarlousArtists 20 Ex pi os ive Dynamic Super Smash Hit. ..(Pravda)
4»ThinkTree Eight/Thirteen (SlneAppleSap)
44 Kirsty MacColl Electric Landlady (A&M=Vlrgin)
45 Fastbacks Never Works Never Falls (Revolver=Blaster)
4eChrls&Cosey Pagan Tango (Cargo=WaxTrax)
47 Grapesof Wrath These Days (Capitol)
4aPereUbu Worlds in Collision (Polygram=Polydor)
4» Swamp Terrorists Grim-Stroke-Disease (Machinery)
so Gumball SpecialKlss(Caroline=PrimoScree)
•1 VarlousArtists Sometimes I Wish I Was Famous (Energy)
•2 KlngMisslle The Way to Salvation (Warner=Atlant!c)
ss Walkabouts Where the Deep WaterGoes(SubPop)
•4 VarlousArtists Eye ofthe Needle (Vagrant)
H Jello Biafra I Blow Minds fora Living (Alternative Tentacles)
M Mikey Dread Profile (Ras)
«T Definition of Sound Love and Ufe (Virgin)
M VenusBeads Incision (Car_o=Roadrunner)
M Bone Club Bless This (Rocket Sound)
••Lustmord DV 04 (Dark Vinyl)
•l Slawterhaus "Uve" (SRI)
•2 Nausea Crime Against Humanity (Cargo=Nuc!ear Blast)
•• Skin Yard 1000 Smiling Knuckles (Cruz)
•4 VarlousArtists First Family of Reggae (Splnner=Shanachie)
••Coil Love's Secret Domain (Cargo=WaxTrax)
ss LosFolkloristas Mexico! (Festival=FlylngFish)
•7 A-Bones The Ufe of Riley (Norton)
VarlousArtists On Another Planet(Black_Nolr)
Dorothy Masuka PataPata(island=Mango)
7» Threshold Within the Expanse (Cargo)
71 VarlousArtists Indie Can 1991 (Intrepid)
72 Salif Keita Amen (Mango)
7» Minutemen What Makes a Man Start Fires? (SST)
74 Aster Aweke Aster(Sony=Columbia)
7« Daniel Johnston Continued Story (Homestead)
7« Big Audio Dynamite II TheGlobe(Sony=Columbia)
77ManoNegra King of Bongo (Virgin)
7» Baaba Maal Baayo (Island)
7» Choice The Big Payback (Round the Globe=Prlortty)
•o Ned's Atomic Dustbin GodFodder(Sony=Columbia)
aiMeshuggah Contradictions Collapse (Cargo=Nuclear Blast)
%2 Pennywise Pennywise (Epitaph)
•S Armand Schaubroeck People Would Uke... Armand... Dead (Mirror)
•4 Iron Prostate Loud, Fast,and Aging Rapidly (Skreaming Skull)
M Slick Rick The Ruter's Back (Sony-Columbia=Def Jam)
M Jawbox Grippe (Dischord)
Les Shaking Dolls God Is God (Black & Noir)
Dinosaur* Fossils (SST)
I Holly Arntzen HoHy Arntzen (Wamer)
• VarlousArtists Golden Throate2(Capitol=Rhino)
I Jazz Passengers Uve at the KnlttlngFactory (Knitting Factory)
I Burning Spear Jah Kingdom (Arista=Mango)
• ChrlsSpedding Cafe Days (Polygram=Hypnotic)
i LigMnin'Hopkins Ughtnln'Hopklns(Fest'ivaNFolkways)
iDefunkt Uve atthe Knitting Factory (Knitting Factory)
• Phantom Surfers 18 Deadly On eel (Norton)
r Kool Moe Dee Funke Funke Wisdom (BMG=Jive=Zomba)
• Jlmmte Dale Gilmore After AwhHe(Wamen=Elektra)
• Mikey Dread African Anthem Revisited (Ras)
...Intra In Caelum (SOV)
lTerrorT
"Shouts Out"
2 Show Business Giants. .
• Windwalker
"World Is Too Crowded"
"Chains"
4 Shining Path
"FaHlr«"
• Perfume Tree
"Dreaming"
• Hollowheads
"Strange Town"
7 Jellyfish Babies
"Wanted Mm"
• TenFeetTall
"Beat ofthe Sun"
• Fridge Magnets
"WhoStote My Socks"
10 Skin Bam
"Black"
llWheatChiefs
"Redeem"
11 Surfdusters
l»Rumbleflsh
"StrangerTMngs"
14 Show Business Giants....
"Let's Get Together
M PaleFace
"In a Semi-Mortal Mood"
is Sand Dooms
"66 Valiant on the Haunted Highway"
17Dogztlla
"TV or Net TV"
laHoofarump
"Relapse"
is Sister Lovers
"Love Graffiti"
10 Gloria Blizzard
"Let There Be Cockroaches"
21 Jack Feels Fine
"Somebody Died on TV Again"
U Pasties
"KnYoM-ma"
is The Brave & Foolish
"A Place Down Here"
14 Ten Feet Tall
"1 Used to be Crazy"
ic Garden of Earthly Delights..
"Wlldflower"
l«Mary
"Police Hunt"
17 Partial Patsy
"Female Sex Organs"
MWetSpots
"1 Wanna Know"
se Hollowheads
"Why Did You Come Here?"
•2 Hitting Birth
"Love Me"
M Citrus Park
"Engle'sBay"
•4 Green House
SB Sludge
"Victim of Circumstance"
"Have You Died Yet?"
OTSadHappy
"Accidental Family"
*»8MilesHigh
"Animal"
••Groove Ranch
"CoidWar"
4«60CycleHum
"Race is the Place"
41 Jane Hawley
"As We Walk on Thin Ice"
42 Evaporators
"Vampire Blues"
44StfckFarm
"I'm Confused/Scrum"
4« Low Noise
"Wisdom Without Knowledge"
4« Glitch
"Krypton"
4» The Worst
"She's Wrong"
si The Suns
"RunntegFree"
•2 Ngoma
"Need"
M Solid States
"Training for the Grim Reaper's Job"
••Amy Den io
"1 Wear Guns When I'm Dancing"
54 Smokin' Rhythm Prawns....
"BlgShrimp"
87 Sludge
"Bamboo Torture"
••Action Buddie
"AmlWastlngTIme?"
••No Fun
"The Pink Crypt
••Twitch
"Melt Down"
•iThelndecisives
"Good Intentions"
•2 Chris Meloche
"Serious Distraction"
••Pee Wee Manson
"Do What You Do"
•4 Masochistic Religion
"MadJullanne"
••Bluchunks
"Hey Sam my"
••Eye on You
"SkunklnTown"
•7 Rhino Humpers
"FamBy"
••Unearth
"Chicken Man"
••ClubDD
"Welcome to the DrugWar"
71 Third Stone
"CallMeaCab"
72 Death Among Friends
"Bad God"
7»Thei4tnWray
"The Man Who Uves Next Door"
74 Ron Vader & Paul Ames....
"My Princess"
7« Wingnuts
"HI Honey"
7« NoFun
"EnteringBlklnlArea"
77 John Oswald
"Plunderphonlc Example #8"
7« Uneven Steps
"World WarThree"
••The Worst
"Creepy Thing"
•lLikDirt
"Sweet Ecstacy"
•2 Dose Pump
'Kiss Me (with My Clothes on)"
••Hollowheads
"1 Haven't Got AnythlngYet"
•SCryptones
"Lollta"
M Sebadoh's Sentridoh
"WlnStow"
■•WckrSpgt
"A Thousand HaD Marys"
•7 Screaming Daisies
"Caught within Your Game"
••Scarlet Drops
"Early In the Moming"
M Digital Poodle
"Raw"
M Intoxicators
"Alley Cat"
•4 Picture Paintings
"The Man Who Would be King"
if)
MJho Nek Bone
"Judge and Jury"
*fl
••Eden'sEnd
"Things WIN Change"
ro
3
•• That Melancholy Dream....
"Model Image"
.
M Busker's Soundcheck
"Diamond"
10
M Big Kitchen
"Flesh and Blood and Huge Chunk* of Meat"
►*
a_^__35_3f BY G. WILVSMN AND 7. BODNER
[HEYJ UHATAYA )
Becmstw
\JflCKCrSTOo
s
J) A/EW AND I
[VOHTWWT
-^PEOPLE TO
W\zJMGH
hHk
I ^tW/nr
w
l Ax AFFORDABLE
ALL TICKETS $8 OR LESS.
RUSH TICKETS $4.
THE FRINGE-OFFERING
WORLD CLASS THEATRE AT A
PRICE THATS AFFORDABLE
FOR ALL
**
ACCESSIBLE
BIKE, HIKE, BUS OR DRIVE.
FESTIVAL SITE IN THE HEART
OF HISTORIC MT. PLEASANT
AT THE CROSS ROADS OF
MAIN AND BROADWAY. NO
DRESS CODE.
ADVENTUROUS
DRAMA, COMEDY, DANCE,
CABARET, MUSIC.
INNOVATIVE NEW WORKS,
RESPECTED CLASSICS. ITS
ALL AT THE FRINGE. OVER
575 PERFORMANCES OF
OVER 100 DIFFERENT
PRODUCTIONS IN 10 VENUES.
PICK UP YOUR PROGRAM GUIDE FROM KEY LOCATIONS
THROUGHOUT THE CITY OR ON SITE AT THE FRINGE CLUB (2655
MAIN ST., 3RD FL.) AND AT ALL FRINGE FESTIVAL VENUES.
FOR INFORMATION CALL 873-3646 Z Monday to Wednesday 10:30-7:00
LU Thursday and Friday 10:30-9:00
Li Saturday 10:30-6:30
0 Sunday 12:00-6:00
1869 W4th Avenue, Vancouver BC
604-738-3232
NEW SOUNDS
OLDENGLAND
These are some of our favorite new imports from UK artists, all on
sale until September 15th. (If you don't know them already, come
on down to Zulu and listen to them, or any other cd in stock, on
one of our in-store cd listening booths.)
GaryClail ® Emotional Hooligan
Northside ® Chicken Rhythms (available Sept. 5th)
\ Chapterhouse ® Whirlpool
Mock Turtles ®TurtleSoup
The Orb ® Adventures Beyond...
Ned's Atomic Dustbin ® God Fodder
Primal Scream ® Come Together EP (6.98-cd only)
® Higher Than the Sun EP (6.98 - cd only)
Not UK bands,
but great
releases
nonethless!
Meat Puppets
® Forbidden Places
This great American band
has been around a number of
years, and have now jumped
ship to a major label. Hear
their debut Polygram release.
Michael says it rips ! !
Miriam Makeba
® Eyes on Tomorrow
Her first recording since she
returned to South Africa
features Dizzy Gillespie,
Nina Simone and Hugh
Masakela. Grant says it
swings bigtime.
"Tell your bands to write some real music." - Paul Barker, Ministry
Did you ever wonder what you get when you cross the 700 lbs. of heavenly joy called TANKH06, the hot and
sweaty song stylings of WINDWALKER, and the hyper-agro-industrial chainsaw massacre that is
MINISTRY? Probably not, but Rand did... Next thing you know, there's Mint Records' debut release, The
MintlsA Terrible Thing To Taste. Featuring Windwalker performing "Burning Inside" and Tankhog with "So
What", this fabulous 7" single is pressed on gimmicky mint coloured vinyl, and is available for the month
of September at the zany ultra-low price of... ^ AOI
__i_*70i
are they?
many a moon ago, Vancouver's SLOW broke up.
The rhythm section formed TANKHOG and released a
cd/cass on Zulu Records a few months back.
SLOW vocalist Tom Anselmi and guitarist Christian
Thorvaldson now return with their much anticipated
release in the form of circle c . They have signed
a worldwide deal with Geffen Records and Zulu will
have initial import releases of circle c in the
store on September 5th and offer it to you at the
remarkable price of...
14.98cd / 8.98cass
for the whole month of September.
We've uncovered a hondfull of sealed copies of the coveted SLOW "Against the Glass" EP.
With any purchase of a circle c cd/cass or Tankhog cd/coss during the month of
September, we'll enter your name in a draw for these remaining copies. Don't miss out!
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 1991-09-01
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