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 THAT MAGAZINE FROM CiTR fM 102
NOVEMBER 1990 FREE
GWAR * IKE FOX • SOUL HUNTERS • KHISNA CONSCIOUSNESS • FROSTY ALPINE PLEASURES • SUPERCONDUCTOR • NEW COLUMNS! • BUSIED! SPUR OF THE MOMENT EVENTS with CiTR md  £22
I ipreseats]/t
IHICML IHcCLM,
Legendary Beat Poet Performing
u„,    RAYMMARh
Also CRAZY FINGERS BANl
and the musical juggling antics of Clowns,
TXI WHIZZ & ROSS BARRETT
we
svnday DECEMBER 2, epm mo
*• COMMODORE
870 Granville St.
Tickets at Octopus, Proprioception,
Banyen & R2B2 Book Stores
Track, Highlife, Black Swan & Zulu
Records, and at the Door*
- Advance Tickets $15 CONTENTS
NOVEMBER • T990 Issue #94
THEFOXCOMF^ CLEAN
Th< Map Sherbe. goe:  "■► ng and gets out-FCXed    9
SOUL HUNTED
Uhana gets hi? underpants cleaned for less than two bucks 11
GWAR
Was it a death in the farrilv c promises o cola hard cash? Read and find out 12
SUPERCONDUCTOR
Gwar, Vancouver <uv'e          14
SHINDIG
That figure starting competition from CiTR  '7
CHRIS KOVACS
An arresting true siory  19
RAY OF TODAY AND KRISNA CONSCIOUSNESS
Spiritual hardcom cult recruitment officer or just another dumb bald guy9     20
MR DRESS-UP
Money HA HA... 23
FICTION
Frosty Alpine Pleasures    by David Carswell         38
||HIHB^lHHBC^iQ3IS__H__H_H_H_H_H_H_H
AIRHEAD
They hate us, th^. ;iate us, they hate us - So can you!         5
MINIS
Anthrax, Lung, and the Posies  6
THE BIJOUX
Anne Jew talks fifn   folks and fun 25
HELL'S KITCHEN
But when will Viola finally puke? 27
REAL LIVE ACTION
We go to'em, we write about'em, you read'em Simple 2P
UNDER REVIEW
We listen to 'em, we write about 'em, you read 'em. Simple 30
FELICITY DUNBAR'S SEVEN INCHERS
The most fun you can have with a dying art form 31
DISCORDER DATEBOOK
What's on, what's hot, what's hip and what isn't 35
ON THE DIAL
It's like TV Guide, but it's for radio 36
CHARTS
New names but it's the same product. Sort of 37
mam\\\\\\\\\\\\\\\\\\\\mma\m^
JUNKFLESH
Bryce Rasmussen 33
DANCING ON THE CLOUDS
Marc Yuill and uuiian Lawrence 34
■■■■■■■^■■■■QQ§3_-__-_-s____-_____-__H|i^HH
CASEY & FINNEGAN by David Hawkes captured backstage at the Centennial Theatre,
North Vancouve; Photographed with a Kodak Instamatic using ASA 100 colour film in
naturai indoor fluorescent iight enhanced by an internal flash.
FOR OFFICE USE ONLY
EDITRIX K. Lisa Marr AH I DIRECTOR Geoff Coates DiSCORDERLY ORDERLY Robynn Iwata EDITORIAL ASSISTANTS
Bill Baker, Paul Funk, Viola Funk, Randy Iwata PRODUCTION ASSISTANTS Randy Iwata, Kirk Jong, Dave Langllle,
Lisa Lutman, Lydia Schymansky WRITERS Gavin Brown, Lisa Christiansen, Catherine Dickson, Felicity Dunbar,
Angle Finley, Viola Funk, David Hawkes, Randy Iwata, Robynn Iwata, Anne Jew, Michael Klassen, Christopher
Kovacs. Michael Leduc, Caroline Longford, Tom Milne, June Scudeler, Tara Sloan, Soaky De Tete, Uoyd Uliana
PHOTOGRAPHERS Mike Coury, Greg Elsie, David Hawkes, Robynn Iwata, Keith Parry, Leonard Whistler PHOTOGRAPHIC
DEVELOPMENT TECHNICIAN Lydia Schymansky GRAPHICS Geoff Coates, Scott Fearnley, Kyle Menzles, Audra Nell
WORD PROCESSING Laurreen Ford, Trisha Festejo SPINLIST Randy Iwata & Lloyd Uliana ADVERTISING Greg Elsie
ADVERTISING PRODUCTION Bill Baker, Robynn Iwata LOCAL DISTRIBUTION Matt Steffkh SUBSCRIPTIONS/MAIL
DISTRIBUTION Lydia Schymansky PROGRAM GUIDE/DATEBOOK/DELIVERY FRIEND Randy Iwata ACCOUNTS Linda
Scholten TECHNICAL SUPPORT Ted Aussem PUBLISHER Barbara Elgood
DISCORDKK Copyngh: © 1W byThe StuiKi.t Radio Society of Ihc University of t
Magazine from CiTR DH 102, and ii published twelve times a year by The Student Radi
ia printed in Canada on paper manufactured in Canada. Discorder prints what it wants to, i
SpinListplaylist chart. Circulation is 17500copics distributed frecofchaigc toovcr 230
S15 (US) to the US, and $24 elsewhere. Please make cheques or money orders payable to
the way you tease' - Marc A.   Deadline for ads and submissions is the 15th of the monti
sh Columbia. All Rights Reserved. Disco
jc ,cty of the University of British Columbia
i■: ■ ig the CiTR On the Dial program guide ai
sa Jcr Magazine. "Don't touch me please. I c
,.sTha;
CITK101.¥rM_)800wan
Root (if you want it, you'll I
Mobile Sound Rental are Mo
stereophonic bliss on cable (M from UBC to Langley, Squan lis* to Point Roberts, but not on Shaw Cable in White
a way). CiTR _ now available on most clock radios and in .ars too. Office hours for Discorder, CiTR, and CiTR
i, 10am- 4pm (please avoid Friday afternoons). Call the CiTR/Discorder Office at 228-3017 for editorial, advertising,
Mcws+Sports at 222-2487. or the CiTR DJ line at 228-CiTR. Write to us at 613S SUB Blvd Vancouver BC V6T 2A5.
LUVAFAIR
TEL.SBS-3288       1275   SEYMOUR   AT  DRAKE
MONDAY
HIGHBALL HOI Mill DJ DAVID HAWK. AND STEVE THE TWISTED
TUESDAY
KIASSIX HELL.RELIVE THAT ANGST WITH DJ FIASHRACK AND MR.MEMORIES
WEDNESDAY
RADIO HELL WITH SUCK AND THE WICK
THURSDAY
INDUSTRIAL HELL, TIME TO if EDUCATED WITH DJ DAVID HAWS AND SIEVE
FRIDAY
TOtlRIST HELUOIN THE CURIOUS WITH DJ DAVID AND STEVE
SATURDAY
DUB HELL MTU DJ DUS MANIA AND JAH GROOVEMBSTER
SUNDAY
>r
DETOX HELL, LOTSA DRINK SPECIALS WITH YOUR NOT SO SOBER HOST DAVID
a~_«
NOVEMBER 1990 3 THAT LOCAL BAND COMPETITION FROM CITR
AT THE (
EVERY
MONDAY NIGHT
'TIL DECEMBER
10TH AT THE
RAILWAY CLUB
(579 DUNSMUIR)
SHINDIG
GRAND FINALS
DECEMBER 17TH
AT THE TOWN PUMP
(66 WATER)
A S^^S ™ES,?N™TI<_j?J
FIRST PRIZE
24 hours of 24-track recording time at MUSHROOM STUDIOS
20 hours of 24-track recording time at FLUID STUDIOS
An opening spot for an out-of-town band on a bill produced by PERRYSCOPE
SECOND PRIZE
24 hours of 24-track recording time at SIERRA STUDIOS
20 hours of 16-track recording time at BULLFROG STUDIOS
THIRD PRIZE
24 hours of 16-track recording time at RAD STUDIOS
24 hours of 8-track recording time at DEADBEAT STUDIOS
HP       ^
For more information call up Robynn at CiTR 228-3017 (10AM - 4PM weekdays).
THE NOM WW
mwmiL
MDMNm
00 IM?
POOR wimi
ADDSOMECOLOUR
TO THOSE DREARY
WINTER DAYS. GET
YOUR VERY OWN
NEW CiTR T-SHIRT
TODAY!!! CHOOSE
FROM: A VIBRANT
YELLOW-Y GOLDEN
LEMON SHADE OR
A PURPLE-Y LAVENDER MAUVE-ISH
HUE. ALWAYS EXTRA LARGE, ALWAYS
100% COTTON, ALWAYS COOL (YET
TOASTY) AND ONLY
$15($17 BYMAIL)!
DROP BY CiTR IN
SUB ROOM #233,
6138 SUB BLVD
(WEEKDAYS 10AM-
4PM)!
to   DiSCORDER
and  don't   get
stopped  at
the  border.
1 ST CLASS INTERNATIONAL $24
UNITED STATES $15 (US)
CANADA $15 (CDN)
DiSCORDER MAGAZINE, 6138 SUB BOULEVARD,
VANCOUVER, BC, CANADA V6T 2A5 <Yo 6138 SUB Blvd.
Vancouver, B.C.
V6T  2A5
lHil=fi
KISSES AND HUGS
D.D.A.
That means dear darling
airhead. I dream about you
every night. You have the cutest
ass did you know that? I Love
to watch you play football, I
Love to watch you play anything
as long as I get to stare at your
gorgeous face and bod. Well
that's all for now just remember I Love you. XXOO Till
next time my love,
from your
XXOO
But what about my mind?
FRANKLY   MY   DEAR   I
DON'T GIVE A—
My Dear Air-Head:
September's Discorder
(delightful cover, sir) more than
confirmed all my suspicions
regarding that appalling musical
group. The Led Zeppelin, yet
it is not the first time I've come
across this sort of hidden dissolution in song lyrics. One
need look no further than the
crooningsofonc Frank Sinatra.
His very name is a give-away.
Frank, Sin, forsooth, why not
wake up to those everyday
phrases "FRANK depictions
of..."or"FRANKly suggestive
scenes of..." This man is everywhere.
Mr. Sinatra's hit "All The
Way" received wide-spread
radio coverage. Even its title,
a well-known euphemism for
The Act, is a shockingly ex-
cense. It has been suggested
that Sinatra couldn't have
known the meaning of this
phrase. Ha! A swinger like
Frank would be fully aware of
such hipster slang, don't kidster
yourself! Don't force me to
remind you of his rendition of
"Let's Do It (Let's Fall In
Love)." "All The Way" is quite
sufficient to prove his perversion:
Taller than the tallest tree
That'show it's got to feel...
(A dreadful thought. And what
about the rainforests?)
Deeper than the deep blue
seas
That's how deep it goes
If it's real...
Good lord. Surely that's
too deep. How "Enterpainment
Tonight!" And notice the ref
erence to pornography in deep
BLUE seas? I thought you
would, you're not that stupid.
However, there IS the line
"If it's real."Come, that'smorc
like it! No sex toys, no marital
aids for Mr. Sinatra. Obviously
it's a case of "Will the real
membcrplcaserisc?"for Frank.
As I listened to the song, I
began to forgive him a little
until the final verse arrived with
its veiled threat, its declaration of evil intent:
Ifyou let me love you
It's for sure Tm gonna
love you
All the way.
Mr. Sinatra nearly deafens
us, over and over again, with
this frightening crescendo. Wc
must completely forget what
rock music is doing to teenagers. Millions of middle-aged,
middle-class people play this
song and others just like it a.s
after-dinner-wine-for-two-just-
you-and-me-by-candle-light-
fire-side-fuck-music on a daily
basis. What is il doing to
THEM?
Ominously,
T.D. Vladamira
Aha! And a Ho-Ho! An interesting and challenging letter
in which the reader offers several well-developed arguments,
although his/her examples
perhaps lack a bit of the relevance we have come to ex
pect. May we respectfully suggest you tune your radio receiverfrom 103 J to 101.9, add
a drop of Lamb's to your
evening tea, and forget the
' middle - ager s'. After all, perhaps we owe a debt of thanks
to Mr. Sinatra, for without his
'explicit encitements' many of
us may have remained mere
glimmers inour parents' eyes!
Cheers!
NEXT TIME  USE YOUR
REAL NAME
Dear Airhead:
RE: Jane's Addiction Review,
October Discorder
Yeah, BIG buzz on these
guys and oooh, some nasty artwork on their album jackets to
boot! Oooh! Still sounds like a
cross between Ian Anderson
on'ludcsandareallybadVHtfl
and VH#2-cra Van Halen lo
me.
CANADA'S LARGEST AND BEST KNOWN RECORD STORE
HOLLY COLE
LP
erson
Sunday INc
ike "HOLLY COLE TRIO- Lv
•  12:00 noon
ai SAM THE
RECORD MAN
nber XL al the Van Lasl Cullural Leulre
Sparky
Roses are Red
Violets are Blue
There's space in Reviews
For a Big Mouth like You
A MEETING OF THE MINDS
Airhead:
It was there when I saw
him alone I tore into his brain
and forever have eternal peace,
unknowing I march through the
red rivers of disillusionment
and upon reaching my final
destination I fell into the tunnel of shadows, above me a
great bright light and here I
was watching, waiting to recall what was once a time to be
but lost: there he stood before
me to be given a sign; the right
to rule over the fate of the ones
to be, not to face the fear of
prisoners which are; beneath
me the smell of dying souls
condemned.
Moving forward once
again being in a universal space
in time I face the light to see
the pain of those who were
placed there to continue their
work, again moving forward I
saw the lives of those who were
trapped in their devotion to a
cause that has long since been
dealt with by a powerful force
sustained by the pressure of
man, descending slowly onward I could hear the cries of
those who I had left behind.
Now as I lay awake only to
hear the chirping of birds in
their coming of springtime, I
am waiting to be found amongst
the devotion of those who
know.
King.
King, meet Michael...
Dear Airhead:
There's a consciousness
on campus and it involves the
people across the street, but it
emanates from YOU GUYS.
There's always a people in the
oddest spots and they're only
trying to fool me, bul I know;
I've been told. Your station
should try to deal wilh this kind
of thing.
Michael J. Hamilton
.. .and Michael meet King. We'll
talk to you again after your
date. Stay tuned; we'll be back
in two and two...
THE OCTOBER CRISIS:
ISSUmOMHELU
Yes, it's true.The October
issue of Discorder was truly
anerve-wracking, hair-
pulling, devil's-spawn of an
issue. And while it would be
easy, maybe even fun, to
place the blame elsewhere,
I'm afraid it must fall squarely
on my under-developed
shoulders. My humble
apologies to:
Greg Elsie.whoshould have
been credited for all photos
in the Chuck D. article;
BZ Jam, for writingXbe Chuck
D. article;
Len Whistler.for the photograph in the Nirvana piece;
and
David Carswell, who was
not credited for his short
story, "Chiro".
But my biggest apology
[read:whimpering plea for
forgiveness] must go to
Nicole Steen, the artist who
contributed the October
cover. It should be known
that the color overlay and
the gray tone overlay were
the sole responsibility of the
Art Director [that'd be me].
Nicole had given clear instructions as to how and
where she wanted any color
added to the illustration. For
whatever reason [I was unusually grumpy, evil Klingons
were controlling my brain], I
completely screwed the
overlays up. The result was
a cover that was not as good
as it could have been, had
the proper instructions been
followed. Once again, Nicole,
my apologies.
There, l...lfeelbetternow...
cleaner, somehow... nowthe
healing can begin...
Geoff Coates.
NOVEMBER 1990   5 On the eve of their Persistence of Time European     things that please
Tour, Nitzer Ebb piece of shit Uliana picks up the
receiver and talks music industry with Frank Bello,
bacillus anthracis of New York maestros of mosh,
Anthrax.
and the fans are smart.
A new column of sorts forthose of you who
like to finish something before it's time to
flush.
Getting Anti-
Antisocial
With Frank,
by Lloyd
Uliana
issMli
Realistically, Anthrax are at the peak of their
career. You've released your strongest album
yet. The affirmation of metal as a legitimate form
of popular music, a video budget, and the support
of the industry as a whole, including your record
company, all have a role in this. With that in mind,
there are a couple references made to time on the
LP...In the deepest darkest recesses of Frank
Bello's mind, is he at all concerned after nine
years and five albums that time itself may be
passing Anthrax by?
I used to worry about that when I was younger. That
was the whole concept
of the album. It's not a
concept album, but the
idea of the "persistence
of time"...the notion of
making your mark and
doing it now. That's really what it's all
about...Justdoit[TM].
Do what you want to
do and do it now. Don't
get me wrong, of course
it's always in the back
of my mind, but I think
our fans are smarter
than that. They know
the originals. There are
so many groups coming out now that try to
sound like an
Anthrax...the top two:
the Metallica/Anthrax-
thing. It's so boring already. I listen and Idon't
know whether I should laugh or take it as a compliment.
Both you and Metallica have taken years to get
where you are and these clone bands just get
right in there like a dirty shirt with more dollars
behind them and some gimmicky marketing campaign...
r don't worry about that. We'll always come out with
When Anthrax were last in town, opening for Kiss,
drummer Charlie Benante told me: "One thing
about us is that we're pretty honest about a lot of
things. We don't try and put ourselves in some
rock-star-type category. We're real people offstage and onstage, and I think the kids can tell."
With reference to what I said before about big
bucks being spent on creating almost mythical
images for many of your contemporaries, do you
think this philosophy has the potential of working
against Anthrax?
No. I think our fans appreciate us just being normal
guys. I was at a club last night in New York and these
kids just couldn't believe I was hanging out and talking
to them. They couldn't get over that. They appreciate
it that much more because we don't come across as
being  something  we're
i j___-__pr   not-- ^ut '■ '^'s way- ',rn
I    a big Madonna fan. If I
I     was to meet Madonna and
______ ____■    she just spoke naturally,
I wouldn't think less of
IL _____    I I     her. I'd think that would
be the best thing in the
world.
"In My World" ("I'd
rather be alone/In my
world/I'm not afraid/I am
not afraid/Nothing
touches me/I'm a walking razor blade") seems
to reveal some type of
personal turmoil. Care
to discuss it?
It's just about standing
up for yourself...being
proud of what you are
and just making sure you
do everything you want to do in life. Don't be afraid to
show what you're made of.
Anthrax return to North American shores in late
December and will show this continent what they're
made of early in the new year with Maiden headlining. DISCORDER has five cassettes of Persistence In Time to hand out to interested new subscribers to THAT MAGAZINE FROM CiTR. Don't
forget to add a buck for the post office.
Where did the name Lung come from? Are you the
bastard offspring of another band named Lungfish
which then separated and became Lung?
J: Not that I know...There was a movie done in New
York by Richard Kern who's a director and one of his
stars was this actress Lung Leg and she was on the
cover of Sonic Youth's Evo/album... That's not necessarily where it came from but that's one version. And
then the other thing is all this biblical reference stuff
too.
You've only played twice so far?
R: ...Cruel Elephant both times.
J: After our first gig we were likened to human feces,
and if we sound like that, so be it.
R: We had a couple of sound problems at the first
gig...the mix was really bad.
J; Not so bad...I think our sound epitomizes shit...
So how did shit manage to get a second gig?
6   DISCORDER
J: I guess people like shit...It's not a derogatory thing,
though. We played and we're proud of it...We thought it
was great; like Neil Young says: "That's my sound
man," well, that's OUR sound. Shit. Feces.
Have you tried getting gigs at any other venues and
found they're just not interested in local bands?
SHOOTING THE SHIT
Tom Milne talks to vocalist Jason
and drummer Richard of Lung
R: We've thought about it and we want to get a couple
gigs somewhere else but basically the Cruel Elephant
ones just fell into place without really trying hard...
Before the Cruel Elephant happened, there weren't very
many places apart from the Town Pump that had
decent gigs... I don't think SkinYard would have come
up if there wasn't a Cruel Elephant and I think it's a
good place to play for alternative bands.
I've noticed a lot of fairly big bands that aren't big
enough to draw Town Pump crowds playing there.
J: At the Town Pump they used to do that kind of stuff
but now it's getting to be out of town shows mostly and
they're mostly like—
Rock Stars?
J: Yeah.
You've recorded a single but haven't released it yet.
Do you foresee any release date?
J: We're kind of looking for someone to do it... They say
in Canada, or even in North America, Vancouver is kind
of a hot spot for music, but I can't see it because local
bands such as ourselves have doors slammed in their
face. There aren't really any local labels that will put out The Posies kaow a lot about urban myths. Hailing from the latest hottest record label
hunting ground in America and recently signed to DOC Records, they're especially
familiar with the ones about bands who become overnight success stories after getting
picked up by major labels. Cornering the band after their stint on the Nardwuar
Organized show, DISCORDER tried to get to the bottom of some of these nasty rumours.
MYTH 1: They must be rich!
"You have less money than ever before,"
confides Posies' singer and guitarist Ken
Stringfellow. "You think there are going
to be more things you can count on, but
it turns out there are even less because
you are everything you were before but
now there's another entity involved."
Other guitarist/singer Jon Auer adds:
"Now we're in debt, but we don't think
about that very much. People think you
get signed, and then people hand you a
lot of money and you go out and buy
and car."
MYTH 2: Wow, it's so cool to be a band
from Seattle!
According to Ken, "People tend to hype
it up outside of Seattle and people inside
tend to downplay it, 'cause they know
what it really is. There have always been
good bands in Seattle, it's just that now
Rolling Stone is writing about it" "For
the bands that are still around, it's
good," says Jon, "because basically whoever has a guitar is getting signed these
days. It's really weird."
MYTH 3? Because The Posies aren't on
Sub Pop, they don't have the "Seattle
Sound."
"When people say that there is a Seattle
sound, they obviously have something in
mind already, but it doesn't apply to
everyone,"   bass   player,   Rick   Roberts
points out. "It's like saying that every
band from Athens, Georgia sounded like
RJiJvl- and for a while people actually
thought that. But there are probably jazz
bands in Athens and heavy metal bands,
too. They just don't get written about
because they aren't part of the hype."
MYTH 4: The Posies play pop.
"We're getting to the point where calling
it rock music is the easiest because people
misconstrue what pop music is, they
associate it with something that's not
really us," Mike says. Explains Jon, "It's
just that we can't say we write pop songs
anymore because no one will accept our
definition of a pop song. If you say you
write pop songs it means you must like
the Raspberries or the Shoes. People want
a really easy way to pigeon hole something; it's the USA Today definition of
everything."
MYTH Si Their lives are perfect now.
Says Ken, "You have to work twice as
hard because there's a stigma that once
you get signed, you get lazy, and people
think it's less work." Jon adds, "But now
that it's here, there are no more excuses.
It's not like we don't have equipment or
the ability to tour with somebody. No
longer can we say we can't do this
because of this or that, we now have
every opportunity, and there's a lot of
work involved."
Despite their willingness to reveal the truth about themselves, there are still some
things the Posies are trying desperately to hide. Such as the name of the band they
will soon be touring America widi. But what self-respecting band would want to admit
a liason with Gene Loves Jezebel anyway?
any music,
nusic anyway
You managed to get a really cool live sound [on the
single]... You sound as harsh on the recording as
when I saw you live.
J: That could be due to our father figure producer, Don
Gordon from NUMB. It was really easy. We did all the
vocals live and all the instruments live at the same
I was surprised; it has a really live sound.
happy.
Are you heavily influenced by any band or any thing
in music right now?
J: No...Just feces. We're really into it. It permeates
everything; all of our music..That's why it was the
greatest when someone actually said hey, you guys
sounded like this; then we went "Yeah, now our cause
is set."
R: I recently read in a book just today something which
is very true, everything that lives shits and then it dies...
J: The whole human existence has something to do with
shit, I mean, if we're pissed off at someone we'll say
"You no good shit, you suck shit." Everything is shit, it's
all around. Countries are like that too, they'll shit on
each other and all that kind of shit. See, I just said it...
That's what we're all about.
What are your lyrics about?
J: I think what we're trying to put across is just, instead
of content and thought so much, it's more just like
emotion.
So you're trying to get across an emotion in the
music and the lyrics just complement that. Like
death.
J: Death and shit.
NOVEMBER 1990   7 §£?5 presents
with
BEftT FACERS
and very special guests
The Hard Rock Miners
Friday & Saturday November 23 & 24
Doors open at 8p.m. Autumn is hiking season for me. The
mild weather is ideal, and a quiet
backwoods walk along the North Shore
mountain trails clears the mind after
a busy summer. I often hike with my
old friend Marcel, an ex-mercenary
with a lot of gung ho still left in him.
He turns up on my doorstep on Sunday mornings with a large buck knife
strapped to his hip, and a camouflage
bandana tied over his head. It wouldn't
matter to him if I was, for instance,
getting married that afternoon; Marcel
expects me to climb that mountain
peak with him regardless.
Wc arrived at the trail's base
earlier than most day-hikers—Marcel
drives one of those 4X4's that we
could drive to the top if we had to.
The wheels and suspension elevate
the cab so high, climbing out is
equivalent to making a 10-metre dive.
We began our ascent, whereupon
Marcel, as always, launched into descriptions of his close-calls during
various African coups d'etat. But
today these nasty tales of torture and
the martial arts bored me and I respectfully tuned my zealous friend
out, trying to enjoy the scenery instead.
Shortly, I knew this hike would
not be an opportunity for me to relax
and think. Marcel's pace up that
mountain was unrelenting. I pondered
important things like. When will we
rest? Do we have enough rations?
and. Should I have worn an extra pair
of socks? In any kind of macho endeavor with Marcel you had to give
150% without a whimper. I've never
been to boot camp, but I caught a
whiff of it now, downwind.
Sunday's outing had become an
odyssey. Two hours into the four hour
ascent I was racked by aches from my
ears down. We came upon a lovely
stream that cracked open the dense
forest we'd been journeying through;
the sky was visible again, the sun
glinted off the coursing water. I was
so weary they could have happily
buried me in this beautiful setting.
On the other hand. Marcel, in Spartan fashion, merely cupped his hands
for a brief slurp, splashed his face,
and resumed his march. He expected
me to fall in behind but I just sat
there, frozen and indifferent.
That creekside boulder I laid
upon was now home. The rushing
sound of the water lulled me away
from my pain. My spirit lifted from
my limp Sherbet mass, and sailed
along after Marcel to explain I
wouldn't make it to the top. Don't
bother with helicopters or rescue
teams, I thought, my remains will
make excellent fertilizer for some
little tree.
Suddenly, a splash broke my
peace. Downstream, the orange,
mangy-furred, puffy figure of a fox
lifted itself out of the creek. Lord,
that clumsy animal was the C-FOX
fox! Immediately spotting me splayed
on that sunny rock, the fox panicked
and dashed up an embankment into
the woods. Damn! I began a chase.
"Whoa, wait a second!" I beckoned.
The Fox stumbled over the fallen
trees and underbrush, branches
clawing its half-drenched fur. How
could you tell this was a city fox? It
was no match: the Fox was too out of
shape. Itdropped to its knees, huffing.
"Fuck," it cursed. "Aw, fuck, look,
do your worst, I don't care." This
was a despondent creature. "Hold
on, fella, I'm not going to hurt you,"
I assured it. The Fox nodded mistrustfully, then cursed some more.
The friendly thing to do, I
thought, was to let on I knew its
identity. "Say, haven't I seen you at
a shopping mall?" "Oh, shit, yeah,"
it retorted. "And at car lots, lots of
car lots. You might've seen me at car
stereo shops, or half-blasted in anight
club—you go to Dick's? Anyway, if
there was an opportunity for some
mindless station promo at a sewing
shop or a manure dump, I'd be the
handin' out stickers. Oh, shit, yeah."
I didn't know whether to laugh
at or pity this scruffy beast. Clearly,
the Fox was disaffected in its role as
mascot, representative and clown for
a radio station. We were alone; I
suggested we talk. "Pull up a log,
Fox." With that we sat, and things
relaxed between us considerably. All
I had to do was listen; this was a
predator with a lot on its mind.
"I really thought I was making a
good move leaving the wilderness
back in '79. There was this good
little FM station called CKLG that
was going to change its name to CFOX.
There was something about that station
then...I dunno, it felt homegrown.
There was something organically
correct about a station operated in
Vancouver by local people, y'know?
Hip to the city and what made it lick.
They had great morning talent—
Collins and Marshall: clever guys.
They had a hot night guy, "Shafc."
They even had Ellie O'Day: a woman
announcer with an IQ in the three
figure range. I wasn't going to argue.
They wanted a fox; I was a fox. I took
the gig.
"Then there was a rough period.
They put a lot of knobs on the air. I
figured 'They just need time,' eh. I
just went about my own job, showing
up at motorcycle shops for live
remotes, going to a bunch of grad
parties, getting stoned, and so on. I
got to do good stuff, it wasn't all
mindless; I'd visit the Children's
Hospital and work telethons and the
like. But I was so trashed after all-
night coke sessions I hardly cared
after a while. Shee-it! there was a lot
of blow around. Coke left some big
holes in radio peoples' lives, not to
mention mine. That's why I'm out
here, man. I had to get away.
"Back at the station, things got
worse. Ten years I was there, ten
fucking years! You think they'd put
3 good morning team together, or
even one good afternoon drive show.
Forget it. Fox announcers have had
the collective wit of a tire dump. One
way or another it's been the same
line: 'Let's party!' Trust me, all that
hedonism is not good for the soul.
Eventually someone's got to pay for
it all, right?"
The Fox captivated me; its passion for radio was evident, its own
feelings sharply real. It struck me
that within a few minutes, this animal,
complete with dry thistles stuck to its
matted fur, had engaged me more
thoroughly than the station had in a
decade. It continued, fidgeting as it
spoke, playing with a fungus that
protruded from the log on which he
s-at.
"Sure, they played the same shit
as everyone else on the continent,
they read all the trade publications,
programmed all the well-researched
songs. But that's part of the problem.
They never believed in their own
judgement. It's been years since
they broke any new acts. A song got
played at C-FOX only if it tested
well in Chicago or wherever, y'know?
"Then they tried being a yuppie
station for a couple of years: hired
yuppie staff, hung pictures of yuppies
around the station and pointed to
them, saying, 'Remember, this is
who's listening.' Well, the yuppies
didn't listen and the ratings died. So
it was back to the lowest common
denominator: the guys in baseball
caps, the 'partyers.' I swear, when I
came out of the woods in '79,"party"
wasn't a verb, am I right?
"It hurts me to be so candid.
Some people did good work at the
station. And everyone means well,
y'know? But there comes a point
when you can feed the public only so
much pablum. You put women on
the air with names like Jody, Dusty,
Candi or Sissy: mere boy toys. You
hire  announcers  from Butthole,
Saskatchewan and all they can do is
tell "Surrey*' |okcs. It's a goddamned
Vancouver station; the studio's on
Richards street lor crvin' oul loud!
WHY DOES IT SOUND UKE IT'S
FROM BACKWASH. ALBERTA?!"
"Hold on! Hold on!" I urged the
FOX. The shouting sent an owl flapping from its nest. "You keep that up
and they'll hear you at the station."
"It wouldn't matter," argued the
Fox. "Radio stations couldn't operate without smugness. They'll point
to the ratings books and say, 'Oh but,
we're number one in this demographic,
chum.' Blah, blah. It doesn't mean
ihe programming isn't forgctablccrap,
eh."
"So what finally made you get
out, Fox'.'" 1 asked. "I mean, you put
up with it all for a long time." Il
responded directly. "The fuckin'
contests. Half our audience, y'know,
was listening to win something. Why
else, huh? They came up wilh the
idea to get cheap advertising for the
station: get every drone oul there to
write "The Fox Rocks" where people
can see it. Some morons blocked a
bridge in rush hour with a banner.
Someone put "The Fox Rocks'
In
Morr
I TV
broadcasts get interrupted. One guy
slept outside with a gorilla mask on
holding a "Fox Rocks" placard. In
another contest, one fucker set himself on fire, and leapt off a roof
shouting. At the station, they of course
love it.
"Personally, I was indignant. For
mc, no more fuckin' contests, no
more parties, no more drugs and booze.
Back to the woods I went, back on all
fours. I'm dying for a burger, but
berries and squirrels will have to
do."
"Well, Fox, I salute you. For all
these years I thought you were an
ass, but clearly you're a fox with
dignity. Let me shake your paw."
And with that I reached out my hand.
Suddenly: "Don't move, Sure-bet!"
Marcel leapt up from the underbrush.
"Marcel, NO!" I shouted. Marcel
grabbed the startled-looking Fox from
behind, twisted its head back, and
drew his buck knife out and across its
throat. The Fox fell limp from Marcel's
arms. Marcel stood coldly, breathing
hard, blood dripping from his hands.
"I saved you, Sure-bet." "Marcel," I
cried, "you killed the C-FOX Fox!"
"Oh really?" Looking down at the
carcass, he chuckled. "Ey, Fox,
where's dat Terry an' Billy, uhn?"
I sat up shuddering on my sunny
creekside rock. I'd fallen asleep.
Marcel walked toward me. "Hey, Sure-
bet, I 'ope you 'ad a good sleep, uhn.
Come on, you're going to the top
with me, writer." With that. Marcel
turned back on to the trail for the top.
I stood up, surprised it had all been a
dream. I started after him, but noticed a tree fungus, obviously torn
from where it grew, lying on the rock
beside me. I lifted it up. On the smooth
beige underside, carved in little brown
letters it read "The Fox Rocks." Not
really,I decided, tossing it in the creek.
NOVEMBER 1990  9 MANDATORY    C0UR8B    REQUIREMENT    POR    PALL     1990
Tribalwares 101:" Lessons in Style"
classes In session monday thru friday 11:00 - 5:30 / Saturdays:  12:00 - 6:00
<___■___■
LEATHER BIKER JACKETS
$190
DEDICATED TO POPULAR
BLACK-AMERICAN
DANCE MUSIC
871 BEATTY STREET
tribalwares
#318 - 825 granville St.
phone: 684-5479
FULL ENTRANCE
SECURITY
WED    10PM - 2AM
THURS - SAT   9PM - 2AM
cruel fucking elephant
COOL AS FUCK
FUCKING DIG IT
SAVES YOUR FUCKING SOUL
paying homage to some
ntinued with bands like
Shovlhed, Mary, Steel Pole Bath Tub, God Bullies, Unrest, The Amazing Superconductor Nell Diamond on a
Hot August Night Show, England's Snuff, Sam I Am,
Scrawl, Skin Yard, Chris Houston, Art Bergmann, Brian
Goble, John Card (his Evil Twang), The Wongs, The
Marshmellow Overcoat, X-Tal, Condltlonz, Dark Globe,
Tar, Sister Double Happiness, The Nervous Fellas, Gorilla, Tankhog, Junior Gone Wild, Mr. T Experience, Lady
Jugs o' Plenty, Dogzilla, Wheat Chiefs, Death Sentence,
Screaming Trees, Forbidden Dimension, The Klansmen,
The Stoaters. Circle of III Health, Urge Overkill et al (*
many more). Not bad for three months of operation,
eh? Not been yet? Nof seen the |ukebox? Not even
had a mystery meal? Dont know where It Is? Got yer
head up yer ass? That must be a mighty big rock your
hiding under. Any questions? Just write to The Cruel
Elephant 1 176 Granville St, Vancouver, BC, Canada to
get on the mailing list for free stuff or phone 688-8748 or
come down to Davie _ Granville In the Hotel California.
J Good for one dollar off Thursday's cheap-
admission price which still includes a'
free mystery meal or $2.00 off any menu'
item over $4.00. New bigger, better
menu with more vegetarian stuff.
Ji 1 _. GRANYLLL _. STREETj
DON'T FORGET THE SUPERCONDUCTOR BREAKUP SHOW.
SATURDAY NOVEMBER 3. Ferragamo. Gucci. The UffiziGallery.
Dante Alighieri. Cellini. Wildcat
strikes by Black Plague-era
gravediggers. Pankow. Yeah, we're
talking Firenze, Italia here, folks;
cradle of intellectual freedom and
trousseau linens, true, but more importantly home to the 1900 lire Due
Fontane Hotel laundered schluepfer
extravaganza. Imagine your most
stain-laden unterhosen professionally disinfected and returned to your
happy little lovehandles before a night
out on the town, for less than two
bucks! This applies to both cotton
and silk mutandine. Do they know
how to pamper tourists in Firenze? I
should say so. Firenze also serves as
home to the Soul Hunters, a young
psychedelic quintet whom you
probably won't be reading about in
the British press, even though their
records are sold in stores as far away
as New York and Tokyo. Even we
just sorta stumbled onto them, actually, but with an Italian/English dictionary just begging for affection,
proceeded to do our first interview in
a language other than English. Chief
Soul Hunter Nicola Vannini does the
parlez-vousing. Uliana holds the mic
and spends a weekend translating.
Well, I guess some kind of basic
history of the band, some of your
background, is in order....
Ten years ago, I began singing in a
group called Diaframma, who are
still around. The music was 'dark'
like Joy Division, but I sang in Italian. In 1983,1 left Diaframma to sing
on my own, and a year later I formed
a group that calls itself the Soul
Hunters. We've released three records
since 1984, two EPs Cain's Sign and
Maelstrom, the most recent LP Just
in the Nick of Time, and a recording
NIGHT
OF THE
1 HUNTER
BY
LLOYD
ULIANA
light and poppy, dirge,
or 'trippy.' It's very underground.
There's a style of psychedelia, English psychedelia like The House of
Love, The Smiths, Primal Scream:
psychedelic, yes, but more pop.
American psychedelic is different,
grimier, a little darker. Italians consider there to  be a big difference
which might seem a little strange,
with English guitarist Bevis Frond,
entitled Nick and Nick and the Psychotic Drivers. Nick (Saloman a/k/a
Bevis Frond) was on vacation here in
1988. We jammed for four hours
with the other Soul Hunters and put it
down onto tape, mixed these completely improvisational sessions in
the studio a bit and released it.
Is Bevis Frond popular in Italy?
In Italy, yes. This style of psychedelia
with 70s/Hendrix influences is very
popular. Bevis Frond was more of a
cult figure at one time because his
limited run records were much more
difficult to find than they are now.
Is there anyone else you'd like to
work with in the future?
I suppose there's really only one:
Julian Cope, whom I very much admire. I really like everything he's
done. Perhaps on the last record. Just
in the Nick of Time, there are many
influences, one being Julian Cope.
As far as experimental music(ians)
are concerned, it would be Frank
Zappa.
I take it that he's pretty popular in
Italy as well.
Yes, he is popular. He's an extraordinary musician. He's broken a lot of
ground. He's honest. He's always
been honest in what he's done and
what he's told his public. He's al- in the past ten years. I mean, it's all
ways remained very integral in his new. Some songs were written three
numerous outings. years ago and rearranged.
Frank Zappa is also a big proponent of anti-censorship in America.
He put out the Mothers of Prevention LP with clips of Senate hearings on censorship interspersed
among musical tracks.
Yes, I remember reading how he was
telling his fans to write to their elected
representatives. On the new LP, there
are references to Zappa. We even do
a cover of his: 'The Torture Never
Stops."
For someone like myself who has
never heard your music, how would
you compare your earlier releases
to the Just in the Nick of Time LP?
There's many differences, mostly in
experiences gained over time. For
instance, when I was singing in
Diaframma, I used to sing in Italian
which I wasn't too fond of. I always
listened to British or American music which I felt allowed for greater
emotion even though I'm quite limited in my understanding of the English language. However (laughs), I
still like it. I never liked Italian music. It's too melodic, too ethereal. I
don't support it and I never will. In a
group setting, others bring in their
experiences. This last LP is a summary of everything that has happened
Yes, but if I pick up Cain's Sign and
Just in the Nick of Time and make
a comparison....
It's always us, I suppose, although
there are changes also in the way you
compose music. In Italy, it's very
difficult to work well. Recording
studios, proficient technical assistance are hard to come by. A lot of
the differences between the two discs
are of a technical nature.
Does radio play your stuff?
Yes, independent radio. Corporate,
state-owned stations like RAI don't
stick behind this sort of thing. There
are late night shows, but during the
day forget it. The only medium is
independent radio and not even there
because money is the bottom line.
Now it's house, acid house, acid jazz,
because that's what sells ads for them.
Then, there are other independent
local stations in every city and every
region. For instance, in Firenze, there's
a station called Controradio (translation: against radio) (laughs) which is
the only station that transmits indie
material from morning to night.
Is psychedelia accepted in Italy?
No, it's more underground. It also
depends what kind of psychedelia,
between   P
psychedelia
and   Bri
If you decided to take two weeks
off from your comfy job, could you
pull off a successful tour?
No; in Italy, there exists neither the
place nor clubs where you can play
peacefully. It's a different situation
than America or than any other European country like Germany, France,
or England. Clubs don'texist. It's all
because they don't believe in young
Italian groups. This is a large problem. Thus, many groups have short
lives. You certainly can't make a
living at it. Even if there were many
locations, say, one hundred places
throughout Italy, they pay little. I'm
sure you could do it for the promotion, to move your LP, but it doesn't
exist. This is not good.
Is there nothing happening in
Firenze?
Yes, there are other groups, but they're
scarce. The better groups came out
ten years ago: Pankow, Litfiba,
Diaframma, and the ones that replaced them didn' t have any substance.
And CCCP, where do they come
from?
Bologna. I don't like them all. They
make me sick!
Contact:
Contempo Records, Via De'Neri
15/R, 50122 Firenze, Italia
NOVEMBER 1990  11 iltfjil
MM *4 mmWm\\E' Jfe ____F'^/.IIIm^'-
_^P
BY UNCLE WIGGLY
GWAR is from Antarctica. GWAR is the heir apparent to KISS. GWAR
is the most incredible stage spectacle in the world except for an Andrew
Lloyd Weber production. GWAR is actually a bunch of guys from art
school in Virginia. These statements may or may not be true, but legions
of GWAR fans seeking answers were disappointed when the show
scheduled for October 17 was cancelled. Due to my lucky experience,
at last the truth can be told about this group, once the most underground
of underground metal bands. This is the story of how GWAR sold their
guts to Hollywood and sold out the fans they despise in the same
transaction.
K^ii^i^adgrpe/it 2rii?7f^l
The guys from Tankhog walk in, talking about an
open casting call for extras for a movie being
shot down at Graceland. Supposedly there's a
concert scene featuring GWAR. Everything is
coming together at 6:00.
5(ne3fo^^(MM*W:(0ft\-
The producers round up all of the sheep—pardon me, EXTRAS, and put them into their
places around the stage. There is a massive drum kit with the heavy metal standard
double kick drum. On the front head of each drum is what looks like a huge mutant
pizza with a bloodshot 12 inch eyeball peering from the center. Surrounding the
eyeball is a rosette of rubber goat horns ranging form about 6 inches to 18 inches in
length. There is a huge GWAR banner behind this kit and three towering Marshall amp
stacks just in front of this. The gaffers or best boys or whatever you call them are
bringing out huge rubber axes, maces, swords and dishes full of blood packets.
Meanwhile two women walk through the extras, handing out GWAR T-shirts to any one
who's wearing a Misfits or Husker Du or Agnostic Front shirt. Everyone who gets a T-
shirt has to give his name: if they swipe the shirt, they forfeit their pay. It probably isn't
too far off base to assume they will be washed and sold on tour after the shoot.
A guy with a megaphone whom I assume is the director of this screen gem hops
up on stage. "Alright everybody, listen up, we're going to bring GWAR out here in just
a few minutes, but first I'm going to explain the scene to you. Imagine that two kids
from the suburbs are in the big city for the evening, they decide to walk into Club
Voltaire and what do the they see? Yep, they see all you guys freaking out and then
they see GWAR, now what do ya think of that?!"
S^nga.:*K^^3j^4cttos*^*g^c^^ fc:o2j$M~
A movie dude is handing out release forms to all who enter: "Please write your agent's name at
the top! If you don't give your social insurance number, you won't get paid!". The room is chock
full of mohawks, leather, and tattoos. I feel decidedly out of place in my royal blue windbreaker
and my beloved Washington Senators baseball cap. I sit down, feeling miserable until I see Karl
and Keith from Superconductor. I walk over to them. "My God, it looks like the punk scene from
Qulncy in here!" says Karl. He's right. I realize that no matter what happens, a precedent has
been set: this will suck. I close my eyes and click my heels together, wishing that I was home
in bed. It doesn't work, I'm still here. I soon learn that on a rainy day, an enclosed rubber tent
filled with 300 bodies tends to smell. Bad. 5cetsel+:lke Arrival ef -\^ehMc\{^fs^7Mf'H
"GWAR! GWAR! GWAR!" is the chant that rises as the crowd sees them get on stage. The biggest cheer is for lead singer
Oderus Urungerous who magnificently resembles one of the characters from the Cantina in Star Wars. One of the guitarists
sports a massive set of testicles that hangs half way to his knees and a face that closely resembles a bear trap from a
Roadrunner cartoon. The bass player, dressed like a Trojan warrior, has a bass the shape of a giant t-bone steak. Everyone
in the group is splattered with copious amounts of blood. Most conspicuously bloody is a woman who plays the slave master;
she has a huge rust-coloured smear between her legs.
"When are you guys going to fuckin' play?" one punk spits viciously after the band has been standing up on stage for
about five or six minutes without doing anything. They look even more out ol place than I do. "We're not playing live, this
is going to be on tape," grunts Oderus. "What kind of shit is this? A fuckin' New Kids on the Block fuckin' airband?" retorts
one guy. Someone behind me says, "I guess we'll have to wait until the show to see them actually play!" When I tell him
that the show has been cancelled, the fire really starts to spread through the first six or seven rows of people. "You guys
are such a bunch of sell-outs...what are you doin'on WEA records man?!" "Do you guys even play your instruments at all?"
The abuse flies for a good five or ten minutes and the band is getting visibly uncomfortable. Oderus looks over at his guitarist
and says in his Scandinavian accent, "Why the fuck did we take this cheesy gig?!" One guy in the front is going insane calling
them posers and sellouts. Oderus regains his composure, walks over and squirts blood from his mouth into the heckler's
face.
\sc^s^r\T^^^ip^\T
The tape rolls "The Horror of Yid" from the Scumdogs ofthe Universe
album; the crowd goes nuts crushing up against the stage. Blood flows
like a river from Oderus' mouth as he holds a huge rubber axe over his
head. A skinhead wearing an "Oi!" T-shirt is led onto the stage. A GWAR
character grabs a scimitar and lops off his head. The headless body flails
its arms uselessly as it gambols about, squirting blood in a twelve foot arc
into the crowd staining everything in the way. The song climaxes with the
blood-splattered slavedriver running two lighted torches up and down her
nearly-naked body. "Okay guys, that one's a keeper," says the director.
S^^Pir^^^A-/,
"Okay, People, one donut per person please, there is coffee and water in the containers
I by the bar." All of the good chocolate long Johns are taken so I'm eating a powdered jelly
donut with a filling that looks a bit like the red food coloring that covers my shirt and cap.
GWAR couldn't get off the stage soon enough either. All of them have a telltale ring of
white powder surrounding their mouths, although Oderus' is understandably tinted a bit
pink. Ms. Slavedriver, chatting amiably with one of the extras, looks surprisingly at ease
for someone in a leather g-string and metal bra. By this time word has gone around that
the shoot will be going on until five o'clock in the morning. Having heard "The Horror of
Yid" ten times in a row already, I decide I've had enough of the movie business and
enough of GWAR. I ducked outside into the pouring rain. It is cold enough to see my
breath and my feet are soaking wet, but I still feel warmer than I'd felt inside.
I Explanations and theories regarding the
I GWAR cancellation abound, including one
I involving a disgruntled guitarist quitting, re-
I placed by one who wasn't able to play G WAR'S
I songs but was capable of airbanding in a
J film. Some claimed the movie shoot was part
I of the GWAR itinerary all along. DISCORDER
I went straight to the horse's mouth and was
I told by a promoter that this part of the tour
I was scrapped due to a severe illness in the
1 family of guitarist Balsak, "The Jaws of Death."
I Missed dates will be reschduled. SUPER
•M _
DUCTOR
ROCK AND ROLL TOOK ITS
TOLL:
THE STORY OF A CANADIAN]
BAND
BY MARY REGEHR
The hedonistic excesses of the rock
'n' roll lifestyle
have claimed many
  a promising young
band on the verge of the big-
time; now Vancouver has its
own addition to the casualty
list. Yes, those rumours arc
true: Superconductor have
broken up.
Just what WAS this "Superconductor"? you ask. Simply
nine of the skinniest, whitest,
longest-haired hoscr-boys ever
to lay hands on axes: six guitarists, two bass players and a
drummer. This musical monstrosity stalked the earth for a
brief year and a half, from
July of '89 to October '90,
only to be torn apart by gill
trouble, bruised egos, drug
abuse and the alleged mishandling of band funds. In the
course of their illustrious career, they managed to set up
and perform on some of the
smallest stages in town, they
packed regular & all-ages
venues alike, garnered rave
reviews in the local music press,
and, on the eve of their demise, had even begun to attract the interest of certain U.S.
independent labels. Their fame
also took them to Calgary,
where they played two well-
received shows only to have
the tour (and the band itself)
disintegrate immediately after amidst a flurry of inter-
band back-biting and "girlfriend appropriation."
DISCORDER spoke with Karl
Newman, (ex-)lead singer/
guitarist of Superconductor,
to unearth the reasons behind
the supernova-like split. Scan
Elliot, (ex) guitarist, was
present in body if not in spirit;
since the announcement of the
band's break-up he has done
nothing but sit and gaze at his
new 21-inch Sony Triniton
television and utter the occasional expletive.
Tell us about Superconduc-
NEWMAN: We're a bunch
of friends—
ELLIOT: We WERE a bunch
of friends—
N: —Yeah, well, we WERE a
bunch of friends. We had a
bunch of guitars. We just
wanted to be in a rock V roll
band...well, maybe that's not
what we wanted...well,Idunno
WHAT we wanted to do, but
we DID it, and that's what
was important. We had a
dream...We were in a band—
Dammit! We had something,
and you don't like to see
something like that go away...It
was me; I started it all—
F: You did not!
N: —It was mc with a lone
guitar. I put an ad in the Georgia
Straight and one in the Buy &
Sell saying—
E: Saying, "Liar, looking to
start a band—"
\: It did not! Well, I don't
remember what it said, but
anyway, Warren was the first
person to call me up. It was
kind of funny, 'cause Warren
is a good friend of mine, and
he didn't even know it was me
at the time. So we started a
band. The first time we
played—it was at the Town
Pump in January—everybody
loved us; they thought we
were, like, the best fucking
band Vancouver'dever seen...
What then was at the root of
the break-up?
N: Well, let's see. People m
the band just started growing
apart, I guess. Jason Clark, for
one, slowly grew away from
the band. He had Lung
going...he didn't care about
us lhat much...Len Morgan,
who I must say is one of the
main reasons we existed, and
who's one of the few Superconductor people—it's just
mainly him and Keith that I'm
still on good terms with. And
Scott, he was kind of dragging
us down a little bit. I don't like
to say it, but it's that hair; he
looked kinda Mexican. It's not
a racial thing though: it's that
hair of his, man. Hejustdidn'l
fit in with the image. It seemed
to me that Superconductor
needed some kind of image,
they needed some kind of unity,
and I kind of stepped in there
and said, "I've got this vision
of what we should be." I guess
I was kind of brave; I came out
and said, "Why don't we do it
this way? Scott, why don't you
stop cutting your hair every
month?"
Are you pinning the breakup ofthe band on Scott then?
N: No, no, it didn't have anything to do with Scott, he was
a symptom, a very small
symptom... I guess it was ar-'
tistic differences. It was basically me and Keith against the
band, in the last days. You
know Mike Kerley, y'know
how Keith and him were in
SilentGathering together; they
were really good friends, but
then there was Mike's girlfriend Sheila, who Keith kind
of appropriated—maybe that's
not a nice word—
Probably nicer than any of
the others.
N: Well, Mike was kind of
pissed off at Keith about that,
and y'know how sometimes
when good friends suddenly
become like enemies; it s worse
lhan if they 'd never met at all.
Well, so lhat's what happened
ihere...Gee, whal else broke
up ihe band?
E: Warren's acid.
Warren's acid?.'
N: Well, Warren's acid is kind
of part of it, but after the Neil
Diamond show I mean, we
PACKED the Cruel Elephant,
you know, and everybody
thought wc were hot shit. We
stopped practicing; we thought
you could just be good by EXISTING. But it wasn't like
that at all, and we started
drinkin' a lot; and y'know, we
made quite a lot of money off
of that show, what, fifteen,
sixteen hundred bucks, and then
a lot of people [in the band]
wanted to know, "Where's the
money goin', are we gonna
record wilh it?" and then they
started accusing Keith of
spending it on beer or women.
Somewhere along the line
Keith got this reputation for
being some kind of pimp,
y'know—
E: A reputation well earned.
N: A reputation well-earned.
But wait a minute,that doesn't
follow. If he spent the money
on women, that'd be prostitution, not pimping.
E: Capital! Y'needCAPITAL
for pimping.
N: We'd be on stage, and after
the show it'd be like, "Keith, I
want that one, and that one,
and that one," and he'd kind
of invite them, and ihen everyone [in the band] was like,
"Ah, it's just always you and
Keith, you're getting all this
and it's just the two of you,"
and Keith, I mean, he was our
drummer and he was our manager; he was our roadie too. I
don't know what ihe problem
was with Keith; I thought he
was doing an aMAZing
job...and y'know, of course
Warren started doing, y'know,
drugs. I shouldn't even be
talking about this, but I guess
he's not that ashamed of it;
he's probably so zonked on
Quaaludes right now, he
probably wouldn' t even be able
to read...all the words on this
page'd be spinning around in
circles and dancing off into
space—
E: Shut up, Doogie Howser's
N: So Warren had the drug
thing...Me and Warren and
Keith were kind of the big
creative nucleus in the band;
and when Warren was suddenly, y'know, zoned-out, he'd
do these endless fucking guitar solos with the wahwah
pedal, like he wanted to be
Jimi Hendrix or, like. Straw
berry Alarm Clock; it was just
really lame. Il wasn't like a
Stooges, y'know, WUH-UH-
WUH-UH-WUH-UH; it was
just like wap-wap-wap-wap-
wap, like some cross between
some bad disco record and
Tommy James and the
Shondclls, and he'd always
wanna sing and put his voice
through the microphone and
then he'd put the tremolo on
and sing "Crimson and Clover" with that really wavery
voice. Wow, we'd just be like,
"Shut the—" It was the
DRUGS, though, I'm not
puttin' him down, it was the
drugs. Don't get the wrong
idea. From what I'm sayin' it
sounds like Superconductor
was just one big fight and I
don't wanna concentrate on
lhat at all. There were some
really fun limes, a lot of brotherhood. They WERE my
brothers, for a while there; but
that's rock'n'roll. It doesn't
last forever. But damn...it
could've lasted a little longer
than 14 months.
E: Sixteen.
N: God, I haven't even
STARTED talking about the
splinter groups of Superconductor, have I? It's kind of
weird... Sean had this rap thing
going, I just totally laughed
■Id me about it; and
he sho wed me these pictures—
y'know, it's like him kind of,
grabbing his crotch, and some
girl with a whip y'know,
holding this guy by the hair or
something like that, whipping
some guy on the floor. They're
called M.C. Meat and DJ
Dominatrix. I really thought it
was laughable, y'know; but
he started playing me some
tapes o f s 111 ff he' d done at home
on his irack, and it was
pretty good. Kind of like, oh,
I dunno, De La Soul stuff;
kind ( :ht, but he's a pretty
goo c! . er, and he has some
good samples too, y'know that
James Brown, "I Feel Good"?
Well, he samples that, and it's
pretty cool—
E: — I was TRYING to be,
like, NWA and 2 Live Crew!
N: I wish him all the best of
luck; maybe he could get big
in a Beastie Boys kind of way,
or like the Red Hots. Well, I
might as well talk about
Newman. It's just mainly me
and a guitar, and well y'know,
it's a SONGWRITING kind
of thing, getting rid of all the
noise and just getting it down
to a bare-bones thing. What
does a song NEED? It just
needs a voice and a guitar;
maybe some drums, some piano or mething... There's...
God... I; Cal and Pat and
Scott actually, all of who are
just—I don't wanna say any-
14  DISCORDER ihing about them...Well, Blair
from Numb is in this band too,
it's called Semiconductor,
which I guess is trying to get
some more mileage out of the
Superconductor name. Bul I
dunno, I ihink they' re just doing
the straight-ahead rock'n'roll
thing, like the Del Fuegos or
something. Oh yeah, Keidi:
Keith and the Conductors—
E: Him and those cheap sluts.
N:No.no.thcy'rcnotCHEAP
sluts. It just adds to his reputation as this big, y'know,
WOMAN kind of guy in the
band, 'cause it's like him and
five women. I dunno who the
hell they are; they just sit there
and try and look sexy behind
him, but, God, I dunno if any
of them can even play. ..In terms
of music, I think it's probably
a Robert Palmer-type thing. I
think they all just sit there
and, like, slick their hair back
and, he wears Italian suits;
God, I shouldn't even be saying this, Keith's probably
gonna hate me now, and he's
about the only friend I got left
in the band, the only friend
left who's in his right mind,
not zonked out in one way or
another. Oh yeah, did I men-
lion the Warren Westling Experience? Basically Warren
doing his drugged out sucky
wah-wah solos endlessly. And
Jesus, is that all of them? Oh
(laughs), perhaps the lamest
of all the bands—no, no, no,
no, I shouldn't say it's "lame,"
I just don't see how it can
work; the two Mikes, they've
got this band called "Mike 'n'
Mike"; I guess it's supposed
to be like, a David & David
thing,"Welcome lo the
Boomtown"or something, but
y'know, they're two bass
players, and what the hell you
can do with two bass players?
It's supposed to be ihem with
two basses and a drum machine, maybe some sampling
or something... I guess it's
kind of cool, we're all doing
what we want to do; I mean,
now Superconductor's kind of
gone...But we're not gone yet.
We'redoingour farewellshow
at the Cruel Elephant November 3rd with Forbidden Dimension.
For the record, what WERE
Superconductor's influences?
N: Influences. Man. God.
That's so hard when you've
got a band with so many
people, with so many diverging tastes. I mean, Warren's
really into the power-trio ihing
like Cream or uh. Traffic and
Sean's kinda got ihe rap thing
going...I can't say that rap's
been any kind of any influence, really, but we do have
this one thing that's kind of
got a disco beat, and Sean really pushed for that...Not lo
say he's really into the dance
ihing so much, he's kind of
into industrial dance...like...uh,
early Ministry, and Skinny
Puppy...God, and mc, I like
the folk-rock thing. I'm really
into the Seekers, and Simon &
Garfunkle...
E: (jokingly) Burt Bacharach.
N: Actually, I'd completely
forgotten about thai; he IS an
influence on me. He was a
great pop-song writer. Not just
Burt Bacharach; I'm a big fan
of all the Brill Building
songwriters, like King &
Goffen and Liebcr & Stoller;
they just churned out amazing
songs. And along the same
lines, Neil Diamond, one of
their contemporaries who just
wrole amazing songs. That's
why we paid tribute to him ihe
way we did. He wrote great,
simple melodies; he was based
on melody. I guess that's what
broke me apart from Superconductor: I wanted more
melody in there. Maybe Neil
Diamond had a hand in breaking us up. God(laughs), what's
Keith into?
E: Bill Bruford. (all-round
hilarity)
N: Keith's really into Bill
Bruford, and the solo Robert
Fripp albums and stuff...Brand
X...Scott Gubbels's really into
U2 and Simple minds; Cal's
kind of into hardcore, like, I
dunno, Misfits, Exploited. Pat's
kind of into the really boring
kind of college-rock sluff like
Del Amitri...
E: Change my influence to
Betty Boo.
N:  (laughs) Change Sean's
influence to—no, no, that's
not very realistic—
E: (pouting) I LOVE Betty
Boo!
N: It's too new.
E: Neneh Cherry and Betty
Boo!
N: Early Ministry and Skinny
Puppy.
E: House music changed my
life.
N: Why don't you ask how
our reputation as a live band
will translate to recorded vinyl?
How is that relevant?
E: Because it's aquestion that
we've got a good answer for.
N: Yeah. Recorded vinyl. I
think Superconductor in the
recording studio and Superconductor live is a totally different thing—
E: Let the people decide.
N: Yeah, yeah; We cut some
iracks down atMushroom with,
uh, the guy, Tom Cochrane
twiddlin' the knobs...It's gonna
be a posthumous release on
Scratch Records. It's basically
me and Keith who OWN the
rights to Superconductor now.
We're not gonna continue il,
but we're gonna put out the
single. Maybe we'll make a
few bucks off it, maybe we
won't, but that's cool. Anyway, we figure Tom Cochrane
is really gonna get us an extra,
maybe...two thousand... Did
you know Kevin Kane came to
see us, from the Grapes of
Wrath? We're critical darlings!
Did I mention—have I seemed
very pompous during this in-
Yes.
N: Yeah, well, everybody
seems to think I've got kind of
a swelled head, but I don't think
that's the case at all. I mean,
have I LIED about anything?
What did I ever say about myself
lhat was false? These people: I
CARED aboul them. That
doesn't make my head too big.
It makes your HEART too big!
N: It makes me a FOOL! "Love
until your arms break..." and
they'll treat you like a fool...I
guess I did care too much.
Maybe I did. Is that a crime, to
care too much? Am I babbling?
Soooooooperconductoooor...
You know how you spell that?
E: I know how to spell Superconductor: KARL.
N: Well, I don't think that's
particularly funny. A lot of
people said that, and a lot of
people started saying how I
was like, the genius behind the
band or whatever—
Show-stealer.
N: I didn't say anything against
it; I just said, "Stop calling me
a show-stealer." I guess 'cause
I didn't deny it with all my
heart and soul, people thought
I was kind of a big-headed
person.
Well,you should have stamped
out those rumours right when
they reared their ugly heads;
then maybe today you wouldn't
be where you are.
N: Maybe today we wouldn't
all be in a bunch of different
pieces...
Any hope for a Superconductor reunion?
N: A reunion?
E: Oh no, don't even THINK
about talking about a reunion...
N: We haven't even finished
our last show yet.We're not
even gonna think about a reunion. Maybe, I dunno, five or
ten years down the line, if we're
all... y'know... still on good
terms... yeah,maybe we'll open
for Spunk, maybe do a whole
bunch of old New Wave covers; something really progres-
Two Bits' Worth: Ex-
Superconductorites   Comment   on|
 The  Breakup	
WARREN WESTLING
WelL.uh. I've been working
on these things I call SOUND
SCULPTURES. You see,
I ...uh.. take. ..like Rock and
kind of chip away and work
at it and uh...What was the
question again?
MIKEKERLEY
That girltriend-fucker fucked Hp
my girlfriend
KEITH PARRY
I don't see what the problem is.
I thought I did an amazing job
of managing this band. All I
know is I did what it took to
keep Karl satisfied and,
well...Karl's got a very healthy
appetite. If anyone's got a
problem with that, well, I know
a hundred other skinny longhaired guitar players who'd kill
to be in Superconductor It's a
damn shame this had to happen now. I was going to take
this band over the top.
SCOTT GUBBEL
Men are men, and women are
women. This thing with the
hair has gone way too far. I'm
no sissy. And Keith, man...I'd
say to him "Hey, I want some
bitches too," and he would
just laugh in my face. And
another thing: Bamff got a raw
deal.
CAL (last name unknown)
All I know is that it's over,
and that makes me sad
SEAN ELLIOT
n tired of the muthafuckin'
MIKEROHALY
Isn't that fitting? Karl
gets all the glory and all
the attention but does
none of the work. That
was Superconductor for
PATHOGUE
What always made me the
maddest was that they would
cancel practices and they
wouldn't tell me. And wher^
there WAS a practice, the• A
tell me it was cancelled.
NOVEMBER 1990   15 THE   SUPERCONDUCTOR
16  DISCORDER 8M%
There is a competition in our midst. A competition very different than most because the rules, usually ingrained in the minds
of the competitors, are completely invisible. What is the position of an artist in an artistic competition? If art is self-expression then a competition becomes a judgement of personalities.
Now, if SHINDIG were a figure skating contest, we might
have a better idea of how it should be judged. That is, the
standards for the artistic expression, though unspoken, have
become quite rigid in the art of figure skating. But for modern
music, a label which envelopes Rock and Roll (the contemporary bastion of the free spirit), although the standard is more
disguised, it definitely exists, as any musician who attempts to
enter the music business can verify. That is, the invisible guide
lines for modern music are created day in
and day out by the various radio stations,
promoters and recording industry types. They
pick and choose who will be played and who
will be paid. Il's like an enormous SHINDIG
contest the world over. Just substitute the
panel of amateur judges with a group of
young juniors from a major label. They judge
the music according to their own bias, and
decide if they want to promote any of the
bands. Only we won't hear their opinions at the end ofthe night.
We might not hear them for another year, but if they like an
artist, they will eventually help him or her crawl out of the
woodwork. What they base their opinions on is a mystery, but if
new music really is as free form as it is touted to be, so it should
be. Who can say why they like the Pistols? You just do; it's a
personality thing.
Back to SHINDIG. The whole question of compromising
Greg Elsie Pholo
some sort of artistic integrity for the sake of competition is a bit
unwarranted given the state of the industry. Believe mc, it's a
question that goes through many a mind each SHINDIG
Monday (I've found more than one debate). The few audience
members who leave disappointed with the judges' decision, or
ihc musicians weeping after the announcement, should be taken
with a grain of salt as these decisions are being made all the time.
Feel enlightened that this time it is being made public. For the
losers this may seem a bit like the enlightenment lhat came with
the exposure of Watergate or Iranscam, but at least we know
what is going on!
As forthespiritofSHINDIG.it is an 'alive and well' free-
form music competition, probably the least preconception-
Greg Elsie Photo
hampered A any 'battle of the bands' competition in town.
Three bands play each Monday night with an added spectacular,
Jokes For Beer, somewhere in between. A little inside info for
anyone who wants free drinks: What do you get when you drop
a piano down a mine shaft—A flat minor is a "one beer" joke, i f
you're lucky.
The friendly pub atmosphere lasts right up until the judges'
decision-insert the point of this article here-and then again
about five minutes later. So far the first semi-finalists are Bent-
a dark hard edge crew. Here's what to expect over the coming
November 5th: Second Round Semi-
Finals
November 12th: Mind the Gap,
Oktatrackter, TBA
November 19th: Blue Law, Medusa's
Raft, Water Poets
November 26th: Bucknakeds, The
Session, Za Za and the Angels
December 3rd: Third Round Semi-
Finals
December 10th: SHINDIG Special
December 17th: SHINDIG Grand Fi-
' nals at the Town Pump
1
| THE BEAT ASSASINATOR'S
TOP TEN TUNES
1. MC 900 Ft. Jesus with OJ Zero *
Truth is Out of Style
2. The Afros • Better Luck Next Time
3. Happy Mondays • Step On It
4. Soup Dragons »I'm Free
5. X-Clan • A Day of Outrage,
Operation Payback
6. Consolidated • Dysfunctional
Relationship
7. Depeche Mode • Policy of Truth
8. Sound of Reality * Kedamine
9. The Clash • The Guns of Brixton
Revisited
10) Various Artists* The New Beat
R/evolution
VELVIS EYEBROW'S
THURSDAY 10
1) Meat Beat Manifesto* Radio
Babylon
2) Shinehead * Real Rock
3) Loop* Burning World
4) Lead into Gold • Age of Reason
5) Beats International * Beats
International Theme
6) Stone Roses • One Love
7) Laibach • Sympathy for the Devil
8) ten Butcher • The Better Way
9) Misa • Shake the House
10) Age of Chance • Take It!
DARREN R'S
ALTERNATE TRACKS
I 1) Soup Dragons * I'm Free
2) Faith No More • Epic
I 3) Jane's Addiction * Been Caught
I Steeling
4) The Charlatans • Then
I 5) The Cure • Never Enough
I 6) Hilt • Stoneman
I 7) Happy Mondays • Step On
I) Urban Dance Squad • Deeper
I Shade of Soul
I 9) The Farm • Groovy Train
10) 808 State • Cubik
NOVEMBER 1990 17 ■^STJJJ
PAUL BLflHEY QUARTET
- nprn - The Class Slipper Sleeping on pillows of boozy
comfort, with a goofy grin,
and maybeathin lineof drool,
trailing from the corner of my
mouth. Two a.m. slow
slipslide into the Black Velvet sleepcave. Then! One two
crash, like snare drum and backbeat, and
both doors are smashed from their hinges.
Shaking and dehydrated, without my
glasses I see two big dark blurs rushing at
me, silhouetted in the hallway light. One
pulls me from my warm bed, one holds a
gun distressingly close to my head. Shaking from fear and adrenaline, I feel panic
like a knee to the groin, I smell dope, I've
got to piss.
Let's go back a few weeks. I'd been
here several weeks already, and had gotten
accustomed to the perpetual reek of dope
and unwashed bodies, to the 3 a.m.
shouting sessions, to the constant flow of
people past the door, and to the vitriolic
tirades the landlady directed daily at our
neighbors. The three next door—I'll call
them Curly, Larry and Moe-shared with
my roommate and me a basement toilet
and shower. They lived, with a rotating
agenda of guests, in a tiny stinking mattress-strewn room next door. When the
radio grew boring, I'd switch it off and sit
listening to the arguments and disconnected ramblings that came clearly through
our kitchen wall. One morning, as Larry
was shoveling the shit from the corners of
their little hovel, he found the diary of a
friend who'd lived there. Whetherthis friend
was dead, merely absent, or had been
knocked down that last rung that inevitably landed him back on the Hastings Strip
was uncertain. But there was a wavering
in Larry's whiny, wheedling voice through
the wall as he took a hit on his morning
joint. "I know it's his," he said, "but I can't
read books, ya know? I've tried, but I just
can't." Curly and Moe expressed incredulity but sounded almost pleased to find
something else to hold against Larry. "I
don't know...I was in foster homes when I
was growing up, all over the place. I never
learned stuff...I can read some little stuff
here and there, like this part: 'I feel like I'm
going crazy,'" Larry trailed off, mumbling
apologetically, "but there's too many big
words..."
I'm standing spreadeagled, face to
the wall in the hallway, and these two guys
in street clothes are putting cuffs on me,
none too gently. "What's going on?" I
mumble, though after about 15 seconds of
whirlwind confusion, I'm starting to get it.
"Shut up," says the shorter one. He frisks
me, asks me if I'm carrying a rig, and at my
blank look says "Needle. We have to ask
that." Then, after a few seconds: "I'm going to read you your rights. Do you understand?" "Yes," say I, relaxing just a little. I
tune him out-l know my rights from a
childhood of television addiction-and hear
the crashing next door as the police tear
the place apart. I hear Larry crying. Now
that my testicles have descended from my
pelvic cavity, it's all beginning to be a bit
fun. I remain docile and obsequious though,
still unsure if I'm going to spend the night
in a cell. The shakes are starting to wear
off.
The very first morning in my new home,
I awakened to shouts, screams of pain.
Larry and Curly were beating the shit out
of Moe, Larry's brother. "You want him to
hit you again, Moe?" said Larry. "Fuck
you!" screamed Moe and there was a thud
and a cry of pain. "My fuckin' nose! I'll
fuckin'kill you [""You're fuckin'crazy, Moe!"
shouted Larry. "That shit you're doing is
making you crazy! Nobody likes you anymore! You're a goof!" Apparently this use
of the dreaded g-word incensed Moe. There
were more incoherent shouts, thuds and
crashes, and somehow Moe broke free
from Curly's clutches. I heard him chase
Larry down the hallway past my door,
swinging a chain. Larry ran scared, his
voice floating back: "Hide the shit, Curly,
I'm gonna go call the cops." The police
arrived in minutes and took Moe away,
chain and all. A week later he was back
and the routing was re-established.
One of the other cops comes up as
mine is getting my name and birthdate.
"Looks like it's the room over there," he
says. "Check this guy for priors and uncuff
him if he's clear." "Should we search this
place?" asks my cop. The other pokes his
head in, utilizes some psychic faculty unique
to police, says, "Nah. Just take him inside,
check him out." Into the bedroom we go,
the cop cautioning me to move slowly, and
to stand in the centre of the room. He tells
me to turn my head while he calls me in.
The phone's busy so he uses his walkietalkie
and in a moment word comes back: "Clear
both ways." Now the table have turned,
and the cop is in servant-of-the-people
mode, and apologetic as hell. He uncuffs
me. He offers me a cigarette and we
stand, me smoking, him not, and exchange
pleasantries amongst the shattered remnants of the bedroom door. The other
officer comes in and explains to me why
the smash and grab commando tactics,
why the gun, and so on. He was on that
raid a few years ago where an officer was
shot. I'm understanding, mostly because I
have an overwhelming need to urinate.
The dealers are being questioned outside, concocting desperate lies in an attempt
to raise a smokescreen. The police are
having none of it.
Skip back a month or so this time. I
was taking an urgently necessary morning beer shit and thinking that perhaps I
should give the dealers a chance. Sure, I
thought, they're polysubstance abusers
but I had been out boozing the night before,
and though I may have refused a toke or
a snort if offered, it would have been out of
personal preference alone. Then our
amazing lowtech sound amplifying walls
kicked in again, and let me relapse into
sickened, smug superiority. Larry yelled
over Deep Purple: "I provide for you guys;
look, smokes and beers." Muted assent,
unenthusiastic, from the other two. "I know!"
shouted Larry. "We'll get a whore Friday-
yeah! We'll all fuck her, and while one
guy's fucking her, we'll all be getting
hardons, and we'll say 'Hurry up, man, it's
my turn!' We can even slap her around if
you want!" Curly mumbled "Have a fuckin'
toke, man." Thinking black thoughts, I
finished my bowel movement, wiped, stood
up, flushed, and immediately kneeled,
gripped with the urge to vomit.
The cop who was on the raid where
his buddy was shot comes to put closure
on our time together as they lead Curly,
Larry and Moe out to the wagon. He tells
me they've had their eye on the place for
a month (since Moe's beating?) and that
the three have been selling to 15 year olds
from the local school, among others. "I
don't really object to somebody having a
toke now and then," he tells me earnestly,
"but dealing to 15 and 16-year-olds is
what gets to me." I hastily agree, visions
of my bladder bursting dancing before my
eyes. But he's not finished yet. It's The
Citizens' Responsibility Hour. Call in if I'm
ever in a similar situation, he advises me.
As I eye the wreckage that's been made of
our room, I make noises of assent. Then
with comradely handshakes, the police
are gone, and I'm on the phone to my
roommate who was, thank god, staying
upstairs. The circus is over.
Eight hours after their arrest, our
stooges were back, in fine spirits, in their
little room.
NOVEMBER 1990  19 £
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they speak of the corruption throughoi
salesman from India?) was obviously
a bunch of chanting societal dropout
Unfortunately, the Prabhupada bit
infighting over leadership and asse
movement's popularity. So where
good old hard-drinking, hard-lovi
movement from its inception: the I
Hagen, Chrissie Hynde, Poly Str
rock world. When the Krishnas io
saw a natural in for their organiz;
edge scene.
You've heard of straight-edge, i
DYS, and the legions of copyc
the rejection of one's peers' i
drugs, animal products and ra
vidualistic; what a concept! 1
wear basketball shoes, hocka
hats and cute hair, and lank
straight-edge kid. The Krisfu
over this: another legion of
the answer but this time t
some of the Krishnas' fin
needed now was a way to in
inlo the little tykes' lives. I
such a vehicle: new devoi
Ray of Today, ex-vocalist
edgers Youth of Today,
fiakcy. His shitty singin'
he's well-known for )
straight-edge,
than a musical one. Ju«
WWttffffff ffww*
20 DISCORDER it the sect. Somebody (perhaps an ex-drug
profiting horrendously from the deeds of
the dirt in 1977. From lhat point on,
ts signalled the downward slide of the
to turn? Hardcore punk! Yeah, sure,
ing hardcore. Music was part of the
Jeatles had dabbled in it; so had Nina
yrene and other lesser beings of the
oked around for new members, they
ation through the hardcore straight-
ight? Minor Threat, SSD Control,
ats they spawned. Straight-edge:
attitudes by giving up drinking,
eanmgless sex. Wow, how indi-
Vell, not really 'cause now you
s.jt jerseys, big shorts, baseball
like every other mysogynistic
\m must have sprung a woodie
dumb white kids looking for
hey were already practicing
er points. All the Krishnas
iject this spirituality directly
_nd thus from the ashes rose
ee, Ray of Today.
:for the legendary straight-
has always been a little
• ability notwithstanding,
lis radical approach to
it as more of a life-style
;t check out YOT lyrics
one. After the recent
d dedicated to spread-
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24 HR. SHOW INFO: 681-1732 Vtf
a**'-
By David Hawkes
Prt^^^e
r
^
i
t's a rainy day
North Vancouv
and up in the C(
tcnnial Theatre
Lonsdali
ppearing li
Mr.
Dres
stage with Casey & Finncga
and his "Tickle Trunk".
The show itself runs about
one hour and ten minutes with
a lot of audience participation
and even a guest singer, Jon
Parker, doing "Rockin'
Robin"! It's evident from the
start that the kids are not the
only ones having fun, the moms
and dads are going nuts. Mr.
Dressup is even forced to quell
their excitement exclaiming,
"We'll have to hand out sedatives soon..." Great, Mr.
Dressup is a pusher!!
Afterwards, creeping
backstage, I find the "Tickle
Trunk" and take some pictures.
I know Casey & Finnegan are
around somewhere. Behind the
curtain...and there...lying in
state...resting as it were...
CASEY & FINNEGAN. I
reach out and touch them on
the noses: no response. I shoot
a roll of film, feeling somewhat high despite the fact
they're only cloth and plaster.
Now I want to chat with the
man himself...First, though,
there's much screwing around
with the microphone jack on
the mini-recorder...
DISCORDER: Maybe I
should just give you the mic.
MR. DRESSUP: Test! Test!
(mic cuts out) It's the jack...
Yeah, wouldn't you know it.
The university cuts back on
everything.
It's just like the CBC! HA
HA!
OK, speak into it... I see—(Hecutsmeoff again;
Test, testing,OK,you're—(mic      I'm losing patience...)
is totally shitty)
Try it again.
Mmhmm...(lie's obviously
annoyed, but at last
everything's working.) HA
HA!
So what brings you on the
road, anyway?
Money, HA HA! (My whole
concept of this gentle guy
immediately changes.)
You can't say that! Money
and what else?
We just like to do it, that's one
reason, and the other reason is
people want us to...I've been
doing it for, I guess about 20
years.
I know, I saw every show. (He
knows I'm lying.)
What we try to do is come
back to every place in a 2 year
span or so; over a period of
time  we  cover  the  whole
country.
Do you ever tour the States?
Just a little bit down into
Michigan, we have quite a
following...
'Cause of cable and satellite—
(Mr. Dressup cuts me off.)
Yeah, and satellite (gesturing
upwards)!
about that because it's very Canadian, The
Mr. Dressup Show.
Well, we think so and yet I've
been to a lot of places and
people come back stage and
say, "Oh we thought that
you...were an American, so we
thought you were from Hollywood or something like that,"
HA HA!
Which is surprising 'cause you
know wc mention, "This is
our flag, the maple leaf and—
(/ cut him off: he knows the
game happening here.)
Are   you   originally from
Canada yourself.'
No, I'm originally from the
States.
You are?! (What about the
Hag being his flag??)
Yeah! Like a lot of Canadian
artists, HA HA!
Where abouts in the States?
I was born in the state of Maine!
Maine?
Yup!
Are you not going to say what
year?
1927!
Really? You look very young.
(I'm lying.)
Yup!
Well, you look good for your
age.
Thank you, it's the makeup.
Do you take care of yourself;
are you feeling healthy?
Yeah...I have a low choles-
Oh good, like no dairy—
This afternoon I had a huge
piece of minced pie with ice
cream, but I didn't eat any
lunch!!! HA HA!
Just rub it into your arteries.
Yeah, I suddenly gained ten
pounds and can't get rid of it!
I'm old so...
You're not old!...So how long
can you keep doing this
[show]?
I don't know. Not another
twenly-six years, that's lor
sure, but I Still enjoy it, that's
the main thing, and as long as
our rating's good...
Do you have a family your-
self?
Yup, I've gol two k.ds.Uh,
Chrisis...25; Cathy is...uh...28!
And they're not really kids...
And they're not really kids.
Is there going to be a third
generation of people coming
to see you?
(in an old, ralchety voice)
Ohhh...I'll be awfully old, HA
HA!
People would still come and
Well, I don't know about that!
(Of course they would, he's
kidding.)
When did you fir
the air?
1964.
start o
'64! That's the year after I
was born. Shit! (I didn't mean
to swear in front of him,
honest! Gulp!)
Oh yeah.
/  was brought up on  The
Friendly Giant, Chez Helen
and Mr. Dressup.
Yeah, HA HA HA HA! (He
loses it; something about his
"Tickle Trunk." )
I wasn't even very Sesame
Street; I was with you and the
b'S guy with the recorder... I
want to know if your "Tickle
Trunk" isan extension of some
of the things you wanted to
be, or are you a clown at heart?
I wanted to be a commercial
artist! But I got into theatre,
painting scenery...I was always
a ham, but I didn't know it.
'Course, when I was a kid there
wasn't television either, so I
didn't know I was going to be
on television. I just enjoyed it
and I used to do bit parts; usually, in theatre, the little parts
are the juicy, you know, funny
Did you discover the "Tickle
Trunk" by accident halfway
through an episode or—
No, it came to me...I can remember it now. I was on the
corner of Bayswater Avenue
and something in Toronto,
waiting for a traffic light and
all of a sudden..."TICKLE
TRUNK"! Wow! It's got alliteration and "tickle" is funny,
and the trunk could hold all
my clothes, so I went out and
got an old second hand trunk
and we used that, then I built
the one that we're using on
stage now, and we had a replica made for the TV show.
// was very weird for me to
walk in and see you in colour,
'cause I was used to seeing
you on a black and white TV
set, and I thought, "Like, wow,
he's got a skin tone!"
Yeah, right.
For Casey & Finnegan, how
many dolls have you gone
through?
Uh, actually, two Finnegans,
and when the old Finnegan
was replaced by the second
one, he was toonew and fluffy-
looking, he hadn't worn into
Judith's hand shape, and I
couldn't relate to him for a
long time. [Now retired, puppeteer Judith was the mind
behindCasey & Finnegan. For
the tour, Casey's voice is taped,
and Finnegan, of course, never
says anything louder than a
"whisper." As for Mr. Dressup...]
And Casey's just touched up,
is that right?
Yeah, paintjob! I wish I could...
New hair, HA HA!
You used to have somebody
down the block from you on
your sho W, used to live there...
Well, we had a lot of people.
Uh, Suzy?
Susan, yup!
What happened to Susan?
She's still around, she's still
on the show occasionally; she
writes for the show as well.
What about merchandizing
"Mr. Dressup"? Why don't
we ever see Casey & Finnegans everywhere?
It's coming, it's coming! We
had a Finnegan out for a while!
Will you get a piece of it?
Well, the CBC owns my name
Well, all I can say is, from all
of us growing up in Canada,
thank you very much.
Yup!
No doubt about it: Mr.
Dressup is getting on. He's a
guy who's probably been
through a few fights at the
hands of CBC corporate executives, yet he's true to his
word: he loves kids and performing almost as much as he
loves MONEY, HA HA! But
having lived much of bis adult
)f a ratty
- and a
a gfal-
:., Ernie
lowed
nd of
to ev-
if
one's a five-year-old glued to
the set.
NOVEMBER 1990   23 present the
official TANKHOG
RECORD RELEASE PARTY
PIG OUT!
TUESDAY OCTOBER 30
THE COMMODORE BALLROOM
With Tankhog's special guests:
Chris Houston's Evil Twang • She • The Evaporators
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available at scratch, track and zulu
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doors open 8pm
show starts 9pm
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•Broadcloth
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•Terry Towelling The Bijoux will screen film and video artists whose works are
not in the mainstream but rather attempt diversity, enlightenment
and change.
New York City native Jennifer Baum is a 27 year-old filmmaker
in her third year of SFU's film program. The film Houses, co-
directed with fellow student Ken Andrelini, appeared in the
recent Vancouver Film Festival as a part of the BC Student
Program. Her first effort, Mothers in Labour, won Best Short
Video Documentary at the NYU Film Festival. She is currently
working on an optically printed film based on memories of
growing up in New York City, and will be shooting a thesis film
for an NYU film student in Tacoma about a young boy struggling
with Catholicism. We joined Anne and Jenny in the latter's
unheated East Vancouver home.
Jenny, what piqued your interest in filmmaking?
At first I wanted to make films
because I wanted to be politically
active and I wanted to make documentaries. I thought that film would
be a good way of reaching people
because it has such a huge audience. I also liked film because it§.
was a way of being creative an#"
intellectual at the same time.
So you did start with a documentary.
Yeah .Mothers in Labour was a tape
I made in response lo all the at«a-
tion in the media that was put<J8t'
single teenage mothers 1 he media
kept on talking about how singte
teenage mothers were a drain on the
welfare system and how they were I
ruining the fabric of our society.
They never concentrated on any
ways in which single mothers could
leam to be independent or productive, so I wanted to make a lape that
would demonstrate that these
women weren't choosing to be in
these situations. If they had an opportunity, they would be able to be
independent people on their own.
I read about this program in
the New York Times that trains
single teenage mothers to do manual
labour jobs. I went to the director of
the program and asked her if I could
make the tape and at first she was
really reluctant and didn't want me
to do it and said, "You white bitch,
what do you know about these
women? Why should I let you do
this?" I tried to explain to her that
even though I was coming from a
very different background, I was
struggling with my own ability to
become an independent person.
Al so I had had an abortion so I felt
a real affinity with these women
who had gone through the process
of giving birth. And whereas I decided not to have a child, I felt like
I could relate to them anyway.
1 told the director that and she
seemed to back down and not be so
defensive about the women and said
that I could go and sil in on a class
and if the women weren't too uncomfortable I could go ahead and
make the film. This woman Lizzie
(in the class) just sort of befriended
me and made me feel really comfortable; she became the main subject of the documentary.
Lizzie was the only Hispanic
woman. The rest were black. That
doesn'tieflectthemake-upof single
teenage mothers in the United
States. It just reflects the make up of
single teenage mothers in Brooklyn, New York. There is a larger
amount of single teenage mothers
that are white in the United States.
People don't realize that
You made th is while you were
at NYU.
I wasn't actually in the film school
at NYU. I was just in the liberal arts
school, but I took this documentary
class with George Stoney, who's a
really wonderful  documentary
How's the SFU film program
going?
Pretty well, but [it) leaves a lot to be
desired. I guess the best thing about
the program is that there' s freedom
to do whatever you want. And that
there's other talented students you
can learn from. I feel as though I've
learned more from my co students
than I have from my teachers [A]
good thing is lhat it's small. Inc
teachers know us fairly intimately;
Ihey know our names and they recognize us 1 ney smile at us and say
hello and that's not somelhing lhal
happens in New York very often. I
wish thai the program was much
more organized and lhal there was
more attention paid lo the aesthetics of filmmaking in production
classes rather than just in theory
classes. But then I guess the thing
aboul lilmrnaking is lhat you don'l
ever real ly leam until you do il. The
greal thing about SFU is that, for
me, lasl year I had the opportunity
to work on this major major film
This was the film that was in
the Vancouver Film Festival.
Yeah, Houses. It's about two
women who help each other overcome their self-destructive
behaviours. Andit'salsoabouthow
a feeling of inner security and home
have nothing to do wilh geographical location, but with an inner sense
of strength. That came directly out
of my experiences of being away
from home and having to leam 10
make a home in Vancouver.
How was it working with a co-
director?
it was extraordinarily difficult. The
writ! ng process was really wonderful actually. We really fed off of
each other's ideas quite well and I
would feel challenged to produce
something that I felt waa good; I
think he felt challenged by me as
well. It also kept us disciplined because we bad to come up with
something {together! rather than
having to do it completely on our
own. Plus I think my co-director is
really talented and I feel like I've
teamed a lot from him. Our film
was much bigger than we could
really handle in the time span. The
actual production was really hell
and I never want to be on a set like
that one ever again in my life.
What did you think of the other
films in the BC Student Program?
I really loved the Emily Carr animated piece. It would have been
more effective if it had been cut, but
really it wasquite araazmg.l wasn't
as happy with the program as I
thought I would be.
Houses has been shown in
other festivals, it was shown
at the SFU student screening
last spring.
Yeah, at the Ridge. It showed at the
Vancouver Gay and Lesbian Film
Festival over the summer. And it's
showing ata place called Millenium
Film Workshop m New York City
on November 16 in a group show.
We've sent itaroundtootherplaces,
but we haven't heard yet.
It's garnering a lot of attention.
Yeah, and it's gotten Canadian distribution from Canadian Filmmakers Distribution West, so that's ex-
Have you gotten a lot of feed
back on the film?
Yeah, very  mixed  feedback,  bul
basically people love it. With crili-
ln your film, there's male frontal nudity and you didn't really show his face.
Right. It was a direct response to
the way men photograph women
on film all ihc lime Wc wanted to
reverse it and have ihe male be the
object. Wc wanted to fragment his
body by cutting off his face and
making him be Anyman USA or
Anyman Canada or Anyman West-
em Civilization: as the object of a
woman's desire.
In your films a main theme is
women: women and their relationship to society, to each
other, to men.
I"hc point of thai is to break down
ihis myth in our patriarchal culture
that women arc only complete and
happy if they have a man. I wanted
to show women being able to find
love and strength from Other worn en
and feel like they could grow and
become healthy and happy in an
environment like that. And of
course, it's always nice lo have a
lover, if it's a good relationship.
But it's not the end all and be all of
life. I think women need to have
that reinforced over and over and
over and aver and over and over
and over and over again and that's
why we made the film like that
Are there any other women
filmmakers thatyou admire or
like?
I really li ked the film A Question of
Silence by Manon Gorris. It'sabout
three women who simultaneously
kill a shopkeeper. They ail enter
thi s clothing store for dt f f erent rea -
sons and the man treats one of them
miserably. And all three of them
spontaneously beat him to death.
Then they have a trial and the witnesses and the women all sort of
bond. You go back and you see the
lives of these three women that
killed the man and how horrible
their lives are and bow completely
oppressed they are, in their situa-
tionsas women and you understand
why they were led to ki 11 this shopkeeper. It's a great film. I really
loved Born in Flames by Lizzie
Borden and I just saw a brilliant
film last night at the Vancouver
Film Festival; Maty Daniel's Connecting Lines.
Did you ever see Calling the
Shots about women direc-
tors?They interviewed Sherry
Lansing who was the presi-
dent of Twentieth Century Fox
and they asked her what she
thought the role of women as
filmmakers in Hollywood. She
said it's no problem at all. I'm
a woman and I made it to the
top and there's more and more
women making films.
I think lhat's all bullshit. It's really
difficult for a woman to direct and
that there's a tremendous macho
attitude in the film world. And
there's this tremendous hierarchy
in the film world too that's just
absolute bullshit, where the director becomes a godlike figure that is
superior to everyone around him or
her and it takes on this huge mystique, bin it's a group endeavour.
One of my mistakes when 1
was directing was lhat I expressed
sell doubt, which is.sort of my style
in general, in my life, whether it's
irue or not And ihese men would
immediately jump on mc and take
over because I expressed self doubt
vocally. Whereas my partner, I
could tell, was experiencing internal doubt, but he just didn't voice it
ami no one bothered him. Il seems
like that pretty much sums up the
way women and men, maybe on a
very superficial level, relate in the
world. Men are much less inclined
to discuss their feelings and women
are much more inclined\>.
You have to give ofl theap
pearancc of a self-assured person
who has a vision and who doesn't
rect a film. But everybody needs
help and has doubts and it doesn't
have to be in a very macho sort of
setting. I think that's been mybig-
gesl problem trying to direct. I feci
aid more comfortable beingaround
women. I think I'd feel more comfortable being around an all womanf
crew allhough I've never done it. I
haven't hail the opportunity to do it.
You havetobe really ruthless
to direct. Well, you don't have w
be, but that seems to I* the general
nomi and I don't want to bve my
bfe like that. Is being rttthless a
male behaviour? Wp   %
What do you think Of the film
scene in Canada in comparison to the States?
I'm constantly trying to ask myself
that question in terms of my own
life because I'm trying to decide if,
as an independent filmmaker, it
would be better tobe in the Stales or
in Canada. I think,clearly, as someone interested in making I lolly wixxl
type films it would be definitely
more advantageous to be in the
Slates. Butldon't see myself making films like that so I don't know.
In \
r, for ii
thqie'sCinework s, a film co-op thai
provides equipment for very cheap
prices. Then there's the NFB (National Film Boardjwhich is very
supportive of filmmakers. It gave
ten thousand dollars to seventeen
different women to make a five
minute film about feminism.'Ihal's
incredibly generous. Our film was
about twenty-five minutes long and
il cost us nine thousand dollars. It
blows my mind to think that an
institution like the NFB exists in
Canada. And people have criticised
the NFB because they say that the
creation of the NFB has inhibited
the growth of the commercial film
industry in Canada, but I think it's
really great that the NFB has funded
the films that it's funded because
they're unique and unusual films
and it's wonderful that the Canadian government supports film si ike
that.
It seems like there are a lot of
independent films that come out of
the States. I don't know where the
hell these people get their money
from. New York State gives out a
lot of money to filmmakers. God
knows what' s going to happen with
the NEA [National Endowment for
the Arts] now, but it's not something to count on anymore at all. I
know lhat Film Video Arts -an an -
dependent lilm and video ccntre
wherc I worked over ihewimmer in
New York   has lost aboiil twenty
percent ol its funding from NEA.
Not because what Film Video Arts
iliK-s is controversial, but just because Ihc Reagan administration had
CUt the NFA's budget. Others stales
like California are very generous
in their lunding lo the arts. Washington state is generous m funding
arts, but not necessarily film. And
then there's private investors lhat
you have lo get. I think that'sprob-
ably how a lot people get lundingin
the States
How did you get money for
this film?
The school gave us a budget, between one to two thousand dollars
and then the rest came out of Ken's
and my pockets. Irom student loan
money basically. And it still costs
money every time wc send il off to
another festival. It just keeps on
costing money.
And how about the different
independent film scenes?
Actually whal got mc really excited
about goingto film sch(X>l in Canada
was when I saw I've Heard the
Mermaids Singing. A iol of independent films made in Canada are
really great like Top of My Head.
Mainstream Canadian films, like
My American Cousin, are just as
bad as mainstream American films.
It was well done, but it just didn't
One thing about America is
that it's more exciting and the issues are hotter there. At least forme
they are.
There's something very
American about Henry: Portrait of
A Serial Killer. Not that there aren't
serial killers in Canada, but there's
something so desperate and so life-
threatening about the United Stales
these days. The United Stales is a
very violent society getting more
and more violent and conflicts arise
oul of that that make for interesting
film subjects like Spike Lee's stuff.
I have a lot of problems with Spike
Lee, but the issues he deals with are
really really important to me. Canadian culture isn't that important to
me. A lot of that is because I'm new
to Canada, but just being here it
doesn't feel like it's as dynamic a
society. If independent film reflects
the cultures in which they come
from then I think that US independent films are more dynamic than
Canadian independent films.
I noticed your company is
called Eggplant Productions.
I hold a special place for eggplants
in my heart. When I was little my
mother brought home an eggplant
and I fell in love wilh it. I was about
ten and I thought it was the most
beautiful thing in the world. I just
wanted to hold and love it and take
care of it. I brought it into my room
and I would lie in bed with it and
caress it. Then she took it away
from me to cook it and I was absolutely devestated and I cried and I
cried. I went on to make my
first 16mm film about re-enacting
the eggplant story, this loss of innocence. It was the first time I loved
something and I lost it.
NOVEMBER 1990 25 NOVEMBER CONCERTS
FRIDAY 2
SATURDAY 3 |
SUNDAY 4
MONDAY 5
TUESDAY 6 |
WEDNESDAY 7
THURSDAYS
MONDAY 12
TUESDAY 13
WEDNESDAYS
ito, Enigma Recording Artists THE SKYDIGGERS
il guests STATE OF MIND
) THE HOPPING PENGUINS
GRAMES BROTHERS with guests PEPE'S BANNED
, THE TAILGATORS with THE LAST
Timeless Productions presents SACRIFICIAL REICH.
ATROPHY and THE BITTER END
THURSDAY 15
Perryscope presents THE LEMONHEADS
FRIDAY 16
THE PERSUADERS
SATURDAY 17
SKABOOM with THE RIVER CITY PEOPLE
SUNDAY 18
From Ottawa, FURNACE FACE with special guests
TUESDAY 20
The fabulous surfin' stomp of THE MUMMIES with special
guests THE SMUGGLERS and THE PHANTOM SURFERS
WEDNESDAY 21
SHE
THURSDAY 22
CATHERINE WHEEL
FRIDAY 23
THE BEAUTIFUL plus THE LESLIE SPIT TREE-0
SATURDAY 24
ROOTS ROUNDUP plus THE LESLIE SPIT TREE-0
SUNDAY 25
JERRY JERRY AND THE SONS OF RHYTHM ORCHESTRA
plus NELLIE'S ROOM
MONDAY 26
From Calgary THE BIG BANG THEORY
WEDNESDAY 28
GBH with guests
THURSDAY 29
CLUB OF ROME plus A DAY IN PARIS
FRIDAY 30
) BOB'S YOUR UNCLE
T <
o vir_i>r
]^
EaT JVT JF>
(SO    W<l
3-t>&&5/&& I -2Z222!
VANCOUVER'S HOTTEST BLUES NIGHTCLUB
NOV.  1 - 3
Nov. 6- 10
Nov. 12 - 14
Nov. 15- 17
Nov. 19 - 21
Nov. 22 - 24
Luther Johnson
Bel-Airs
Chubby Carriere
Curtis Salgado
Eddie Shaw
Jim Byrnes
Nov. 27    30      The Pontiax
DON'T MISS JACK LA VIN'S JAMS:
SAT. 3-8 PM / SUNDAY BLUES MARATHON JAM SUN. 3 PM-MIDNITE
OPEN EACH NIGHT FROM 9:30 pm -1:30 am OPEN WEEKDAYS FROM 11:30 am
LICK    ME
BITE    ME
CHEW   ME
ON ROBSON
Now serving coffee and salads too.
1175 Robson
681-1233
1937 Cornwall
732-8840 BY VIOLA FUNK
I dunno what it is, but the West
End seems to breed great fish
'n' chips shops. For one, Bud's.
I can think of few better ways to
pass a wet Vancouver evening
this time of year than sitting in
this unassuming little eatery on
Denman, nursing a cold Hi-Test
and anticipating the consummate
fixin's that emerge from the
kitchen. Said kitchen occupies
the back half of the place and is
open to the eating area so's you
can witness the bandanna'd
cooks doing their thing and
among the familial staff. For
that matter, the whole place has
the atmosphere of a
neighbourhood watering-hole,
but one frequented by families
with small (though invariably
unoffensivc, well-behaved)
children. There's always a table
or two of old regulars sitting
around downing pints and looking suspiciously at any patrons
they don't recognize, just to authenticate the pub feeling about
it I guess. Hey, that's cool by
me. Myself, I sit and watch the
pedestrian traffic go by on
Denman, an occupation never
withoutintrigue. Last time I was
there a little girl, obviously an
old hand at the Bud's thang,
upon entering with her dad
reached over my table lo flip the
sign on the windowsill around
from "closed" to "open", which
the staff had neglected to do.
That's the kind of place it is.
In terms of grub, I highly
recommend both the halibut and
chips and the fishcake dinner.
FishCAKE, not fishsticks: two
patties of a spicy fish/mashed-
potato stuffing-like substance
deep-fried to golden-brown
perfection. The chips arc dang
tasty themselves, and the oyster
dinner is definitely worth a try,
though I don't know that I could
eat a whole one on my own. I
think they're an acquired taste I
haven't acquired yet.
Anyways, yet another cool
thing about Bud's, they serve
tea the proper way, leaving you
to put the tcabag in yourself. I
like that. A heapin' platter of
food, a beer and a pot of this
libation will set you back 10 or
11 bucks and be worth ev*ry
last red cent. You can also takeaway (besides the other offerings on the menu) "Fish Bits,"
which sound kooky enough to
appeal: one buck for a half-or-
3 for a full o
I've said it before and I'll
say it again: Olympia Oyster
and Fish Company rules This
little gem, tucked away amongst
the materialistic carnage of
Robson St between Burrard and
Thurlow, malccs damn nigh the
finest fish 'n' chips in the city
and doesn't charge an arm and a
leg to do it either: $5.45 for two
pieces of cod 'n' chips, a dollar
more for halibut 'n' chips. It's
essentially a take-out joint, purveying everything from lox to
Knorr Soup mixes, but there're
narrow stool-lined counters on
two walls where you're wel-
come to perch and chow down.
The cold drinks case offers Dad's
Root Beer, among other delicacies, and every day there's a
special from the kitchen on offer: shark, or orange roughy, or
squid, or some such exotic fare.
I stick to the basic cod or halibut
and chips, and have never been
disappointed. (Nor have dining
companions who've tried the
specials, don't get me wrong.)
These guys's expert melding of
the lightest, goldencst batter with
the flakiest, mclt-in-your-mouth
fish rivals lhat of the Sally's in
Surrey, God rest its soul; we're
talkin' seafood manna here. And
the vinaigrette-anointed coleslaw
is to be reckoned with as well.
Nor is this place short on atmosphere; lots of customers are
greeted by name and long
neighbourly discussions often
ensue. As for the two (Italian?)
proprietors, if they're not actual
brothers, they sure seem like it.
Camaraderie city, Olympia must
be the last holdout against pretension on the length of what
used to be "Robsonstrasse".
Remember?
Ah, well, you can sit and
mourn for the pre-car-stereo days
and tackle a steaming platter of
real comfort food, and end up
feeling not half bad after all. If
several degrees greasier.
BUD'S HALIBUT & CHIPS
1007 Denman at Nelson    683-
0661
OLYMPIA OYSTER & FISH
CO. 1094 Robson at Thurlow
685-0716
The Death of Vinyl Sale
Vfc*>*
Record Sale
Thursday,Friday & Saturday
November 15, 16 & 17
10 am - 9 pm • Festival Records 3271 Main Street between 16th & 17th
Whatwith bighunks of black vinyl about to go the way
of first-growth forests, and just in time for the gift-
giving frenzy, we are organizing a big, huge, enormous
record sale at Festival Records
There will be lots of death-of-vinyl special discounts, used stuff, overstock at ridiculously low
prices and major markdowns on our selection of
thousands of cassettes, records, and compact discs.
And as usual our helpful and knowledgeable
staff will be around to help you find exactly what you
are looking for in audio nourishment.
NOVEMBER 1990   27 URBAN DANCE SQUAD
Graceland
Tuesday 25 September
UDS have this weird theory that
since you paid a whole $6.99 for
the show, you should be able to do
what you damn well please. The
audience definitely took advan
tagc of this and joined them on
stage. Although sometimes as many
as ten people were up there, everything was kept under control
by UDS's rapper, Rude Hoy.
Lacking those annoying macho
posturings of most male rappers,
he was instead extremely energetic, having a great lime and good-
naturedly dancing with the fans.
Similarly, the guitar player re
mained unperturbed while people
played air-guitar behind him.
The music lived up lo the
mass adulation. Hailing from
Holland, UDS gets a fresh perspective on North American musical trends and returns it in a
stimulatingly fast and heavy blend
of rap, funk and metal—just like
the posters promised! June
Scudeler
MARIANNE FAITHFUL.
Commodore Ballroom
Sunday 7 October
People of all ages, shapes, and
sizes crammed into the Commodore to sec the legendary Marianne
Faithful, and judging by the roars
28  DISCORDER
dwuar the Human Serviette : Len Whistler
of the crowd, the show was a success. Cigarette wielding Marianne
looked fantastic and seemed lo be
quite happy with herself. A talented crew of two provided worthy back up loan excellent show.
Several Stones songs quenched
ihc thirsty m
cly of KMlgl from Faithfull's career a la the Blazing A way album.
Some yaluxis scattered in the
tudience were so psyched they
wouldn't lei hei lake ■> breath
without assuming the song was
over This lead lo wild and premature clapping, stamping, and yip
yip yipping. I can't say I recall
having heard such loud & enthusiastic appeals for encores in my
life. She played four in two separate
sets, saving "As Tears Go By" for
very lasl. One thing is for certain:
Marianne Faithful has a friend in
Vancouver. Caroline Lengford
DANZIG/TROUBLE
Commodore Ballroom
Monday 8 October
Upon entering the Commodore, I
expected to leave wilh ears ringing; seeing the earplugs being sold
at the bar instead of alcohol warned
mc that I would probably be deaf
by the end of this all-ages gig. The
Marshalls were stacked high on
stage and the Commodore was
doing ils usual trick of playing
their version of "hard rock"—
The Scorpions, Lee Aaron and
other shitty bands—at the loudest
possible volume.
The opening band, Trouble,
was a fast, loud, obnoxious melally
thrash band. They didn't impress
the audience much despite their
slight Black Sabbath feel; I was
surprised to sec them doing a show
with Danzig as their music styles
are so different.
After a seemingly endless
interval, Danzig finally showed
up. They opened right inlo the
first three songs of thcirnew album.
In fact, during the course of their
show they played every song from
Danzig II—Lucifuge, as well as
the main ones  from their first
While cx-DOA drummer,
Chuck Biscuits, loomed over the
stage on his raised drum kit, the
guitarist continually threw his
specially-embossed guitar picks
io the audience, Glenn Danzig
thrashed and screamed his way
around slage, and the bassist ignored everyone, playing with his
back to the audience most of the
lime. The band played true to their
distinct, polished sound in the loud
and fast way that the audience
expected and wanted.
I was particularly impressed
by John Christ's excellent guitar
playing. Wilh a kind of wild intensity, he kept up the fast-paced
energy so central to die band, while
simultaneously manipulating the
actions and reactions of the audience. Glenn Danzig was obviously
the head dude, though, giving the
impression of being a tad on the
self-centred side. However, it
cannot be denied that he has a
powerful voice and an intriguing
way of presenting his lyrics and
Although I enjoyed the gig
in its loud and abrasive way, next
time it might be a wise idea to
Angle Finley
MAJEK FASHEK
Town Pump
Tuesday 9 October
The crowd al ihe Town Pump was
small on Tuesday mainly due to
North America' s unfamiliarity wilh
Majek Fashek, however the lack
of people did nol prevent Fashek
and his twelve piece band. The
; of Conscience, from
giving an energetic performance.
They began with a musical introduction, "Let the Righteousness
Cover the Harth." Fashek made a
grand entrance, dressed in a long
red robe and a tall black leather
hat, tolling a bell and urging the
audience to "repent." 'Die red robe
was then discarded, revealing army
fatigues underneath.
'Hie band played two long
sets separated by a short break.
Fashek and his band have created
their own unique sound, mixing
traditional African rhythms with
Reggae, and highlighting ihe mix
with Fashek's clear and intense
vocals and the distinctly Nigerian
accent provided by two talking
drums. Fashek lead the band
through material from the new
album, including a fantastic version of Bob Marlcy's "Redemp- tion Song." They e
chorusof Billy Robe rts'"Hey Joe,"
Jimmy Hendrix style, inlo "I've
Got the Feeling." Fashek also did
a song called "Majek Fashek in
New York,"
ment at finding homeless people
and beggars in the United States;
he said he expected this in Nigeria
:r imagined he would find
e situation in America,
ie of the evening was
definitely upbeat, though, with
Fashek dancing wildly about the
stage, his dreadlocks down. When
he stopped to ask "Are you happy?"
he got a quick and enthusiastic
response from the crowd, who had
long since occupied the dance floor.
Fashek saved "Send Down the
Rain," the song which made him a
national hero and s
the very end of the show. Majek
Fashek is on his way up, and we
can be guaranteed of more great
thingsfromthisman. If you missed
this show, be sure to get ihe album. Then wait impatiently for
1. Catherine Dickson
CLEGG & SAVUKA
Commodore Ballroom
Thursday 11 October
contrary, the opening band was
The Samples wilh their all too
familiar Reggae beats and Slinglike vocals. They managed to stir
the crowd's interest slightly but
left much lo be desired.
Johnny Clegg and Savuka
opened wilh "Bombs Away," one
of the more overtly political songs
from iheir latest release. Cruel,
Crazy, Beautiful World. They
played for almost two hours
straight, drawing material from
their three albums. The traditional
Zulu dances performed by Clegg,
Zulu and Dlanga drew the greatest responses from the sell-out yet
rather quiet Thirtysomethingl
/ersity crowd; with much
coaxing by Clegg, they sang along
to songs such as "Siyayilanda"
and "Dela." Between songs such
as "Asimbonanga," and "One
'(Hu)' Man One Vote," Clegg
paused to explain Zulu lyncs or
ORGANIZED!
S.U.B. Ballroom
Friday 12 October
Seattle's Hammerbox appeared as
part of this six band West Coast
extravaganza. DISCORDER asked
the tasly Carrie Akre (vocalist)
and oh-so-tender Dave Bosch to
the bands thai joined them
stage for a truly inspirational
■ tribute to Hands Across
NOVEMBER 1990   29 AFRO'S
Kickin' A fro I Is tics
CBS/RAL
'I"he names of this group and iheir
record should give away their
theme even before you listen to
such cuts as "Afro Like A Mutha,"
"Coolin' wilh the Fros," "On the
Fro Farm," "Afro's in the House,"
and others. Totally original, the
Afro's have picked up on a new,
not to mention hilarious, concept
sure to attract some attention. The
excellent singles "Why Do I Wear
My Fro" and the hit 12" "Feel It"
harken back lo that early 70s disco
sound. At one point they mimic
PE's "Megablast" ("Oh please, Oh
please, Oh please, just give me
jusl one more hit!...") but replace
the lyrics with their own crazy
rhymes ("Oh please, Oh please,
Oh please, just let me just use
your pick..."). Their style? Funky
rhythms with lots of horns, high
hats, disco riffs and groovin'
sounds thai keep the listener busy.
Ona
is tip is
Penial" and "Federal
Offense" which deals
with self-defense and
how the law treats the
situation. Produced by
JamMasierJayofRUN
DMC, this album is
SLAMMIN! But you
ask, "Do ihese guys
REALLY have afros or
is that just their name?"
Well, there's only c
> find c
, isn't
there? Terror T
BLOODSTAR
Bloodstar
Red Decibel/Desert
Engine
Platzpromenade Park on
magnetic tape. Sikorsky
drum programming,
comic book mythology,
hypnotic synth lines,
and guitars lhat oulmean
Killdozer, Zurich trio
Bloodstar have iheir former #5
SpinList LP (May 1990) import
re-released to an (otherwise) unsuspecting North American market. New age from the sewers of
Zurich. Windham Hell, indeed!
Highlights: "Dawn," "World Is
30  DISCORDER
Thousand   Ycai
CELTIC FROST
Vanity/Nemesis
BMG/Nolse
Mid-tempo underground metal
breakthrough. Restrained and too
clean considering Roli Mosimann
(Young Gods, Wiseblood, Swans)
produces, at the same time driving and full bodied. Geddy Lee
fans take note: the big guy does
back-up vocals on "Restless Seas"
and "Wings of Solitude." Wanky,
(see Suicidal's Rocky George) ill-
placed solos abound as well—
"Name of My Bride," Bowie's
"Heroes," "Third from the Sun,"
"The Heart Beneath." Lots of cool
tempo change-initialed 'ughs' included. Uliana
CHINA CRISIS
Collection
A&M/Vlrgln
No one ever made any
sense of the fake jazz
and honky soul of
China Crisis in these
pans, so this Collection
isbeyondme. Hinlsof
Style Council and late
Roxy Music with the
dude from Ripples is a
reference point. Includes "African &
White," the mid-80s
Soundproof favorite
"Working With Fire
and Steel," the jewellery commercial jingle-
inspired "Wishful
Thinking," and the
exquisite "You Did Cut
Me." Uliana
CHRIS AND COSEY
Reflection
Cargo/Wax Trax
Someone's got some
big plans for techno
wizzes Chris Carter
andCosey FanniTutti,
what wilh ihe re-releasing of some
of their earlier import LPs-Songs
of Love and Lust, Heartbeat,
Trance, and Techno Primitiv
(which actually was available in
Canada), plus Reflection, a
summary of these LPs unto itself.
DIOXIN
demo tape
Dloxln
A  five total,
s of Swiss military drafting procedures ("It's a tin soldier
army. Suppressed. Subdued. Recruitment 17 weeks. Swiss Army
fuck off."-from "Swiss Army");
Credit Suissc's investment programs in South Africa ("Apartheid State"); the ever-present and
growing right-wing clement ("The
Next Hitler"); environmental
decimation ("The price for a
healthy environment is less comfort and less money. But as long
as the multinational corporations
strive for profit, Ihc destruction
will continue. Soon we will die in
masses like a swarm of wretched
grasshoppers." - from "Holocaust"); and post-apocalyptic visions in "Atomic Death"
("Worldwide 400,000 scientisls-
that is nearly half of the academical
[ sic] intelligence of mankind - arc
work ing on the preparation of and
production of atomic and chemical mass-annihilating methods.")
courtesy of one very angry German-Swiss hardcore band, Dioxm.
Intelligent interpretation and discussion of issues and, while the
drumming requires some work,
their energy lyrically and musically makes them a welcome addition to our airwaves and well
worth the 78 cents to write lo the
band for more information on the
availability of this cassette. (Contact: Dioxin c/o Marcel Reich,
Visura 224, 70 14 Trin, Switzerland) Uliana
THE FALL
A Sides 19841989
PolyGram/Beggars Banquet
Why pester your loaded ex-inlaws
when you can release a hits package like this and juice up your
bank account on your own? Brix
is gone and the enigmatic, prolific, comic, and anything-else-
you-want-to-call-him (mumbleris
another one), Mark E. Smith is
relying on the 400 pathetic souls
who showed uplothe Fall's Commodore show in 1988 to pick this
collection of singles up. And tell
two friends. Seventeen iracks
highlighted by "L.A." and
"Cruiser's Creek" from This
Nation's Saving Grace LP, "Mr.
Pharmacist," and a remixed version of "Jerusalem" minus the "I
was walking down the street when
I tripped up on a discarded banana
skin" episode, from the soundtrack
to the Michael Clark Dance
Company's production / Am Curious Orange. Uliana
THE FASTBACKS
Very Very Powerful Motor
Popllama
Geez, I/wc've been waitin' sooo
long for it. To finally have it in my
sweaty mitts brings tears to my eyes.
Okay enough gushing! I love this
band, I do, bul I truly believe that
even if I'd never ever ever heard of
The Fastbacks. I'd slill love this
album as I do. Kurt, Kim, Nate and
even guest appearances by Lulu!
Sigh. Maybe il's just nostalgia and
sad old highschool memories (yikes,
they really have been around a long
lime). I've heard folks say "it's the
same old mint mellics" but damn
they do them old mint mclties good!
Pcrhapsloogood? "In The Summer"
a tunc already well known by CiTR
listeners, kicks off the LP. Had I
only heard this version I'd no doubt
think "Wow" bul I've heard at least
two olher renditions and this one
seems as though they just wanted to
fix one more thing. Il's like writing
an essay and not having it due for
three years. Each time you read il,
you just want to change one more
word to make it excellent to the
point lhat sure it'll be an A paper
technically bul it might just pass
inicrcst-wisc. in olher words, it
comes off a bit too slick. However
the second track is an oh-so-cool
cover of The Pointed Slicks'
"Apologies." This album alsocon-
tains a few oddities: handclapping
sounds on "Apologies," a funny car
soundon "What to Expect," acoustic
guitar (?) on "I Won't Regret," and
whal seems to be a Fastbacks in
Space song called " Last Night I Had
a Dream ITial I Could Fly." A few
of these songs (eg, "Always Tomorrow" and "Better I'han Before")
did appear on the Bike Toy Clock
Gift live cassette which kept Fast-
backs' fans happy for a little whdc
but this here is a slab of Fastbacks'
VINYL, a format now very near
extinction, yet the next best thing to
seeing them LIVE. As all who witnessed Nardwuar's Organized gig
on October 12 can attest, The Fast-
backs kick! The lasl lime I saw
ihem (and the lasl time I think they
played in town) was atthe Venue. A
club now extinct, a fate many feared
for The Fastbacks, bullhey 're back.
Miss Blnn Blnn
HUMAN LEAGUE
Roman tic?
A&M/Vlrgln
Recaptures ihe magic of 1982
techno cornerstone LP, Dare ? Nah.
Posl-menopausal love ills wilh
lyrics lhat touch on the pathetic
vocabularies of Trent "Tell ya whal,
you say how innovative and crucial a performer I am and you put
my face on your cover, and my
record company will lake out a
full colour back cover ad" Reznor
and Barney Summer, wilh an
electronic pulse. Mind you, I always liked the vocal interplay
between Oakey, Miss Sulley, and
Miss Catherall. "A Doorway" ("I
respect your territory/Hope there's
room in your world forme/Is there
room in your m ind lo see/A Doorway?") and the pseudo-current
affairs number a la "The Lebanon," "Heart Like a Wheel" ("You
can't keep the wheels turning
anymore/With anger, blood, and
fear/Or make any friends with an
M-16/When you blast your way
through here") are lender. Uliana
JESUS AND MARY CHAIN
Rollercoster
WEA/Blanco Y Negro
Tom Petty with a Husqvama.
"Rollercoaster" combines "Mr.
Tambourine Man" wilh Dinosaur
Jr.'s "In a Jar." Trademark feedback doses in "Lowlife." "Hit"—
like plodding in their cover of
Cohen's "Tower of Song." Caution: CBC friendly. Uliana
Well, this doesn't sound a whole
hell of a lot different lhan their
lasl release Automatic-ami who
says that's such a bad thing? It's
the same droning feed back, bul
with more melody than previous
releases such as Psychocandy. The
lyrics arc nol really important with
J AMC, they take a back seal to the
barrage of guitar. There's really
no new ground being broken here
except for the cover of Leonard
Cohen's "Tower of Song," which
I think manages lo capture some
of Cohen's poetics in a weird kinda
way. If you're in the mood for a
quick fix of the Jesus and Mary
Chain, this FP is certainly the thing
for it: quick, loud and fast. June
Scudeler
MINISTRY
In Case You Didn t Feel Uke
Showing Up
WEA/Sire
More lhan a souvenir of last year's
North American tour, this six song
HP serves as a reminder lo the
doughhead promoters who didn't
jump at the opportunity of bringing into town one of the mosl
crucial acts on college radio
playlists of recent years, Ministry, and their Mutants of Rock
colleagues Thrill Kill Kull and
Berlin's KFMDM. Abrasive speed
metal disco selections from the
lasl two LPs—Land of Rape and
Honey and The Mind is a Terrible Thing To Taste released in
conjunction with a full length video
concert of the same name available at the retail level. Uliana
MINISTRY
In Case You Dldn 't Feel Like
Showing Up [video]
WEA/Sire
SKINNY PUPPY
Ain't It Dead Yet [video]
Nettwerk Productions
Chicago's Ministry and
Vancouver's Skinny Puppy form
the creme of the industrial crop.
Despite being friends and colleagues (Al Jourgensen played on
and mixed some of the tracks on
Rabies and Nivek Ogre loured
wilh Ministry, as well as having
helped write iwo songs for A Mind
is a Terrible Thing to Taste), the
bands manage to keep musically
separate as evinced in their latest
In Case You Didn't... was
filmed during Ministry's 89-90 US
tour and shows raw power; subtlety
stripped to the bone. The stage
swarms with musicians including
Chris Connelly on keyboards,
William Kiefiin on drums, Paul
Barker on bass and Nivek Ogre on
keyboard, guitar and vocals. Al
Jourgensen, the slightly obnoxious leader, is ihe maniacal focus
of all this activity. The high point
is ihe pull-out-the-stops version
of Land of Rape and Honey. Jello
Biafra precedes the song with a
suitably inflammatory address
which begins "I pledge defiance
to the flag of the United Snakes of
Captivity'' and goes on to urge the
crowd to let the " Yan kee Swastika
bum, baby, bum." Land of Rape
and Honey then crashes into all
its visual and musical glory scenes
of the Depression and Nazi
Germany are interspliced with the
inspired delerium chaos oi
In   I
Ufe   (
stage.
n't  It
Dead Yet consists of just Ogre,
Cevin Key and D. Rudolf Guellel,
lending a sense of intimacy lhal
In Case You Didn'/... lacks because
of the latter's sheer size and slage
set-up. There are no barriers here
whereas the Ministry set-up consists of a wire mesh fence at the
front of the stage, leaving enough
space for audience members lo
dance and dive back into die crowd.
This
( of
detachmeni as if the whole concert was staged merely for a video
shoot. At the end of the concert.
Ogre abruptly jumps into the crowd.
He is pulled oul by roadies sans
shirt and looking quite pleased
wilh himself, apparendy unscathed.
"Firsl Aid" with its growly safe-
sex lesson and "Deep Down
Trauma Hounds" are the stand-
II is surprising how different
the music is from what was expected. Rather than being carbon
copies of their albums. Skinny
Puppy utilises a lol of improvisation and newly added sampling.
Ministry, on the other hand, sounds
amazingly close to their records,
only harder and meaner. Both
videos are recommended, In Case
You Didn't... for ils overpowering music and visuals, and Ain't
It Dead Yet for it's intimate portrayal of an often misunderstood
band. The latter can only be acquired through Nellwerk as il has
never been officially released. June
Scudeler
PIECES OF LISA
Great Idaho Potato Famine
Plump
"The biggest thing happening right
now is sort of the funk-thrash
thing—Primus, Psychefunkapus,
the Red Hots," admits Tom Pierce
of San Francisco's Pieces of Lisa.
"There's been a lot of movements
toward lhat and a lot of labels are
paying attention to these bands."
While his band doesn't fall under
the 'funk-thrash thing' category.
Pieces of Lisa do share a level of
aggression and humour ("Wilbur
Meets Me," "Skinny Jesus," "Get
Out of My Yard") that these bands
are reknowned for. Asked if the
college radio suck-up for the Pieces
of Lisa debut LP Great Idaho
Potato Famine has been excruciatingly painful. Pierce responds,
"No, actually. We've been pleasantly surprised. We expected little.
You do music for a while and you
leam not to expect too much. We
put ihe record oul and all sorts of
stations have really liked it." Pierce
and cohorts Pomme Frille and Troy
Sulton appear at the Town Pump
on the 12th. Uliana
REDD KROSS
Third Eye
WEA/Atlantlc
These guys used to be cool in a
sort of psychedelic Led-Zeppe-
lin-meels-Black-Flag-meets-Mott-
the-Hoople kind of way but them
some bigwig got ihe hots for'em
and decided they were cute enough
to play schmaltzy poop music.
Redd Kross is fixated on the late
70s, singing aboul girls wilh long
greasy hair and halter lops in a
musical style strangely reminis- cent of my grade eight garage
band; even songs with promising
lilies like "Elephant Hares" and
"Shonen Knife" end up sounding
like Bad Company covers done
by the band that played at Greg
Brady's prom. The fact that they
wear elevator boots and highly
flammable outfits doesn't even
begin lo make up for this crap
they bothered to record. Gav
REPLACEMENTS
All Shook Down
WEA/Sire
Outlakes from Jon Bon Jovi' s Blaze
of Glory Soundtrack. The first
single "Merry Go Round" is a
decent simple pop song, allhough
il bears a remarkable resemblance
to "I'll Be You" from their previous LP Don 'I Tell a Soul. Uliana
THE WILD SWANS
Space Flower
WEA
When one talks aboul music that
is easy to digest, one is probably
talking about the WildSwans; widi
dessert and song lilies such as
"Chocolate Bubblegum" and
"Vanilla Melange," Space
Flower seems geared toward the
hungry record buyer. This is the
epitome of a record without substance. Al I the cuts arc nice, happy
tunes that say nothing except
"songs for Muzak covers are still
being made."
Actually, ihe band could be
worse. At least they don't try lo
pretend they're deep. I mean how
can you take anyone seriously when
they sing a song called "I'm a
Lighthouse." They didn't even
bother lo include a lyrics sheet
because they wouldn't lake up
any space, the words arc repeated
I guess the whole point of
the album is to have fun, but they
remind mc loo much of the Mighty
Lemon Drops, whose sound is
based around one or two simple
ideas repealed over and over again.
I also got the feeling that
psychedelia was added as an afterthought calculated to make
people wanl to listen more to the
album. It didn't work. I find Space
Flower \usl a little too much of an
OK thing. Angle Finley
YOUNG GODS
Young Gods
Cargo/Wax Trax
Taking their cue from Ministry,
even though Di'scorc/errcaders will
be quick to point out lhat Frank
Bagnoud, Cesare Pizzi, and Frank
Treicher were in fact delivering
their evil synth-punk brew while
Jourgensen was still getting coiffed
like Howard Jones, Zurich's Young
Gods release their follow-up to
last year's L'EtUl Rouge LP and
"Longue Route" 12".
Real drums, sampled strings,
and a singer lhat gargles sodium
hydrochloride prior lo laying down
the vocal iracks, the Young Gods
are less static than either Ministry
or Laibach, and less pretentious
than Wiseblood, even though
comparisons can be made to all
three. Still, ihe Gods remain one
of the more intriguing performers
on the extensive Wax Trax roster.
Uliana
Do you dig singles?! do too. Smell the rubber here every month!
0nce called "Scandinavia's finest moderators of scuzz" by Forced
Exposure, Finland's Bad Vugum is one of the more interesting
labels to touch this station in the past little while. CMX's Raivo
EP is in a vein similar to iheir Kolmikarki LP lhat was reviewed
in the September Discorder: Finnish hardcore. Obviously
mono-anglophones can't understand a bloody word since ihey
sing in Finnish, but most of the music is pretty damn good. Lot's
of fasl-slow lempo changes; the faster bits remind me of Terveet
Kadet. Unfortunately though, il's not consistently good
throughout. Radiopuhelimct's Sinappia Ja Ketsuppia EP is
more Finnish hardcore that rips along in the tradition of early
uropean hardcore such as Rattus or a slower Terveet Kadet. Great
vocals thai sound very familiar but I can't seem lo place them. Wilh
Mengele, we're not getting more hardcore, but speedcore metal. At first
listen, this super harsh thrash is quite appealing bul the endless
wanking guitar solos and the predictable style of fast-mosh-solo-
fast gets tedious. Also what's with many metal bands' infantile
obsessions with cheezy horror-movie style death lyrics? Were
ihe lyrics meant lo conform or glorify Dr. Mengele?
Finally, there's Paska, a crazy goofy Finnish guy who
apparently once opened for Deja Voodoo. His Super
Double Mega Maxi Hits! EP is spoken word/scat/rap
along the lines of Montreal's EJ Brule. Memorable tracks
include his wonderfully crazy cover of Motorhead's "Ace of
Spades" and that CiTR wonderhit "I'm Shit!" If you need more
Finnish hardcore, check out Valse Triste's EP (Trash Can).
They're similar to the Partisans or Riot Squad with their alternating 1-
2, 1-2 military drumbeat and harsh gutteral vocals and raw guitars. Not
bad, but it does sound dated and this style has been done much betler by
other bands.
California's Vinyl Communications meanwhile have put out a couple
of things of note as well. Amenity was a hardcore band that I'd heard alol
about bul never heard anything from until now. In their This is Our
Struggle EP, I found iheir anti-racist stand-and-unite lyrics okay but the
heavy, grinding guitars and hoarse vocals bored me. No nasty edge. Nice
glossy fold-out insert though. And then there's Titwrench's Go Back lo
Europe EP. Right on. Lol's of stuff to read here, too, with a great insert
in the DK collage style. The music? Difficult-lo-describe; how about
hardcore-version-of-the-Beatnigs? Clips from news reports
interspersed with a frantic drumbeat and distorted Big Black
style vocals: interesting and quite cool.
Guess who's the big influence wilh The Blitzkrieg
Boys? If you like ihe Ramones' first two albums, you'll
love The Blitzkrieg Boys' five-song EP (Teenage
Rebel). They've got ihe style right, from the vocals to
Ihe drumming lo the guitar playing. Almost like having the
old Ramones back but not as versatile as ihe Richies. Hot shit
bul not boring, unlike the Werefrogs whose limited edition "It's
Real" b/w "Tin the World" (Trance) single has acoustic guitars,
mellow horns and an annoyingly dreamy voice that put me to sleep
almost instantly. Cool name, though. For raw, nasty, hard-edged, kick-ass
punk rock, check oul the Derelicts' "Misery Maker" b/w "Wash" single
(Sub Pop) or Time to Fuck Up EP (Empty). Both were produced by Jack
Endino of Skin Yard but I do Eke the Sub Pop single alot better. This is
what the Dwarves would be if they wrote songs this good. For raw,
unpolished, catchy guitar pop, try Fertile Virgin's EP (Harriet). Surface
simplicity hides some interesting noises in the background, especially on
"Mashima." Ultra cool, it grows on you. Hammerbox's "After All" b/w
"Kept House" (Big Flaming Ego) is also guitar pop but wilh an everslight
touch of those dark Seattle heavies. Primo track "Kept
House" wilh its cool percussive industrial guitar intro takes a look al wife
beating and one is forced to think aboul the oppositions suggested by its
title (ie, "Kept House" vs "Housekeeper"). Seattle wondcrgods Young
Fresh Fellows' "Divorce #9" b/w "Halloween 247" (Popllama) thing is not
your typical YFF fare despite its being still the product of Scott
McCaughcy's songwriting skill. "Hallowe'en 247" is harder and more
grunged-oul, and ihc vocals seem as though they have been run through a
pepper mill a la Billy Childish. Also, they arc no longer explicitly happy
and poppy and arc downright scary; check oul "Divorce #9": "for way too
many long years I've been married lo my friends sharing every single- inch
of our lives and more. Is lhat what friends arc for?" and "wc don'l long for
yesterday but we're not loo fond of today." Also think aboul the centre label
which says lhal "Divorce H9" is from their soon-to-ncvcr-bc-rclcased breakup album. And by the way, whal docs "Folgcrcd" mean? Sockeyc's That
Cheezy Sensation EP (Family Fest) is on (oooooh) limited edition bluish-
grey splashed vinyl which I guess was the only way they could sell this
totally boring and unnecessary disc of lame funnypunk. Almost as uninteresting is 'The Cattle's Cattle Call HP (Dionysus), a mixture of distorted
country cowpoke music, country rock and yodelling. Kind of weird but not
really very interesting. Mooo. Fuck this. "Discontent" b/w "Jailhouse
Stomp" (American Leather) is typical Poison Idea blasting their way
through two classic songs which manage lo combine all ihe besl elements of
hardcore and heavy metal. How can one band be so consistent? 'The anti-
nazi scntimcnls arc always a welcome listen. Die Krcuzen do a cover of
Wire's "Pink Flag" and ihe Germ's "Land of Treason" in their latest release
(Touch & Go). I'm not really lhal familiar wilh the originals so I can't say
how similar these versions arc, bul "Pink Flag" is a really cool song, good
pounding drumbeat, raw wiry guitar and laid back Pink Floydish vocals.
"Land of Treason," on the other hand, races wildly along with the vocalist
sounding like a hyperactive, screaming Darby Crash. TTiis is a hot single;
it's hard to imaging how the originals could be any belter lhan llus
Pleasure Head (Cubist) do a fairly faithful rendition of Lou Reed's "Foggy
Notion" (yawn). "Catholic Guilt" is much more interesting. Mellow, laid
back music with cool female vocals lhal suddenly burst into a wild
Dickless-stylc primal scream in the chorus. Similarly, Laughing Hyenas
feature a major screamer in "Here We Go Again" b/w "Candy" (Touch &
Go). Pretty standard, slow heavy grunge but the vocals make this quile
memorable.
1 always approach live recordings with a lilllc trepidation, wondering
if I'm about to hear a great raw live sound or ten ions of shii. Side one of
Marshmallow Overcoat's Alive EP is a "live" sludio recording lhat sounds
pretty good but the songs arc fairly average. Side iwo is a live concert, and
il suffers from more average songs and muffled vocals. The only thing
really interesting on this record is the tinny organ sound. The Overcoat arc
capable of much better psychedelia lhan this so skip il unless you're a
huge fan. For Japanese hardcore recorded live, check out the S.O.IJ./
Napalm Death UK European Tour '89 split EP (MCR Company). 'These were recorded live while the bands were louring
in Europe. Raw, insane, ripping thrash lhal sounds like it's
been recorded underwater with a tin can and a string.
Actually, the sound is nol quite that bad, bul it definitely
leaves a bil to be desired. Still, if you like Napalm Death,
you'd probably like S.O.B. The Sore Throle, Ded Goat EP
(No Threes) is the farewell release for Seattle's Pure Joy, a
band thai has been defunct for some lime now after pulling out
their their critically acclaimed Carnivore album. Allhough the EP is a
live recording, the sound quality is surprisingly hot. I'd say these songs
are almost as good as their single "Now I Know" b/w "All the Stupid
Things." Catchy pop/rock with a pop edge. What with Mr. Pure Joy Rusty
Willoughby now in Flop, il comes as no surprise that their four-song EP
(Lucky) carries along in the same pop/punk tradition bul with a slightly
harder edge. One exception is "Somehow" which rips along al a truly frantic
pace, reminding me somewhat of the llard-Ons.
Finally, on the Pacific Rim front, Osaka's Alchemy label distributed by
Public Bath is giving Steve-I.argcnt-town a run for its money. For funcorc
from Japan, check oul the Garlic Boys' four-song EP. Don'l know whal
they're on about but with titles like "Yokozuna," Mad Asshole," The Way
of the Fat Boy," and "Smegmania," they don't sound all lhal politically
inclined lo moi. Kitschy, juvenile Suicidal Tendencies circa their firsl
album, skate-punk in Japanese. "Yokozuna" is the Garlic Boys'
tribute to the highest rank of sumo wrestling, and among ihe
silly Iron Maiden riffs, you'll be able lo shout out
"Uchari!", "Monozashi!", "Yorikiri!" some Garlic Boys'
recommended sumo holds. "Mad Asshole" is probably
aboul prc-jog bran flakes and skim milk (hold the
bananas) binges, and boy, is il mad. Steaming, even. Greal
Michael Gerald "Hi there" question-response segment in "'The
Way of the Fat \i(.>y" Japan Bashing Volume Two is a split EP
featuring hard psychedelic grunge from Subvert Blaze ("Butterfly,"
"Reprisc")-wonderful tinny gong, too!-and the real gem in this Alchemy
assortment-Playmate ("Upside Down," "Life Is Never'Too Short") an all-
onna combo who write melodic pop songs that slill bear the pockmarks of
garagcland. Judging from the discipline-starved straight male DJs' responses to L7, Lunachicks, Dickless and the Breeders in the past, I figure
this single should 'move well' on the CiTR SpinList. As for Omoidc
Hatoba, apparently Alchcmy's got a full length CD of ihese guys available
in Japan and their three song Surfin' in UFO EP is but a sampler. Lislcn-
ablc, experimental use of conventional instruments, unlike iheir paisano Mr.
Merzbow. Freeform Jazz bits and improv wilh hints of the Butthole Surfers,
particularly on the title track.
NOVEMBER 1990  31 Open Five Nights A Week For
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DiSCORDER DATEBOOK
THURSDAY 1 Lick Dirt with TT Racer at the Cruel Elephant... Skydiggirs with
State ot Mind at the Town Pump Slryper with Triiter at 86 Street... Luther "Guitar Jr"
Johnson atthe Yale CiTR Cool Thursdays at the Pit Pub Artropolis 90 continues at the
Roundhouse...PholoSoc8howcontinuesattheAMSArlGallery...TheLitlleThiel (7:15pm)
& Grand Highway (9:30pm) at the Starlight Festival ol Animation (7pm, 9:30pm) at the
Ridge...
FRIDAY 2 Forbidden Dimension with TT Racer at the Cruel Elephant Bad
Manners at the Town Pump Hugo Torres at the Chilean Social Club... Luther "Guitar Jr"
Johnson at the Yale The Jitters at 86 Street University Chamber Singers (12:30pm)
atthe Recital Hall... Artropolis SO continues at the Roundhouse... Art Vancouver '90 opens
at the Robson Sguare Conference Centre Pelle the Conqueror (7pm) & Longtime
Companion (1 Opm) at the Starlight... Tune in Tomorrow (7:15pm, 9:30pm) at the Park...
Festival ot Animation (7pm, 9:30pm) at the Ridge...
SATURDAY 3 Superconductor & Forbidden Dimension at the Cruel Elephant...
The Headbenders atthe WISE Club... The Hopping Penguins at the Town Pump... Luther
Guitar Jr" Johnson at the Yaie PholoSoc Show closes at the AMS Art Gallery... Artropolis
90 continues at the Roundhouse... Art Vancouver '90 continues at the Robson Sq Con!
Centre... Pelle the Conqueror (7pm) & Longtime Companion (10pm) at the Starlight
Tune in Tomorrow (7:15pm, 9:30pm) at the Park... Festival ol Animation (7pm, 9:30pm)
SUNDAY 4 The Belairs at the Yale Ma Wing Shlng Eihibition opens at the AMS
Art Gallery... Art Vancouver '90 concludes at the Robson Sq Conl Centre... Artropolis 90
continues at the Roundhouse... Pelle the Conqueror (7pm) & Longtime Companion (10pm)
atthe Starlight... Tune in Tomorrow (7:15pm, 9:30pm) at the Park... Festival ol Animation
(7pm, 9:30pm) at the Ridge...
MONDAY 5 CiTR presents Shindig '90 al lha Railway Club. ..Sallireat the Vancouver
East Cultural Centre Lost SFoundat the ANZA Club. The Be lairsat the Yale. UBC Chamber
Wind Ensembles (12:30pm) at the Recital Hall... CiTR Classics Night at the Pit Pub... Ma
Wing Shing Exhibilion continues at the AMS Art Gallery... Artropolis 90 continues at the
Roundhouse... Mo' Better Blues (7pm) & Do the Right Thing (9:30pm) atthe Starlight
Tune in Tomorrow (7:15pm, 9:30pm) atthe Park... Festival ol Animation (7pm, 9:30pm)
atthe Ridge...
TUESDAY 6 Kronos Quartet at the Centennial Theatre.. John Renbourn & Bert
Jansch at the Vancouver East Cultural Centre... Major Handy & the Woll Couchons at the
Backstage Lounge   The Belairs at the Yale   CiTR World Beat Night at the Pit Pub... Mo'
Belter Blues (7pm) & Do H
(7:15pm. 9 30pm) at the P
WEDNESDAY 7   Mary with MC Terror T at the Cruel Elephant    The Belairs at
the Yale Wednesday Noon-Hour Series with Eric Wilson (viohncello) at the Recital Hall.
CiTR Hot Wednesdays at the Pit Pub Artropolis 90 continues at the Roundhouse.
Roma (7pm) & Satyricon (9 30pm) at the Starlight. Tune in Tomorrow (7 15pm, 9 30pm)
at the Park    Festival ol Animation (7pm, 9:30pm) at the Ridge
THURSDAY 8 CITR presents the opening ol Time Flies wilh Bill Frisell & Wayne
Horvitz plus Garbo's Hal (8pm, Vancouver East Cullural Centre) & Roger Baird's Sirius
Ensemble (11pm, Glass Slipper)... The Stoatersat the Cruel Elephant    The Tailgalors
with Last Wild Sons at the Town Pump The Belairs at the Yale UBC Mixed Chamber
Ensembles (12:30pm) at theRecital Hall.. CiTR Cool Thursdays at the Pit Pub Artropolis
90 continues at the Roundhouse . Roma (7pm) 4 Satyricon (9 30pm) at the Starlight...
Festival ol Animation (7pm, 9:30pm) at the Ridge
FRIDAY 9 CiTR presents Bob Mould al the New York Thealre (all ages)... CiTR
presents Time Flies with Marilyn Crispell Trio plus Tom Walsh S N.O.M.A. (8pm,
Vancouver East Cullural Centre) & Paul Blaney Quartet (11pm. Glass Slipper)... The
Sloaters at Ihe Cruel Elephant... Andy M. Stewart 4 Manus Lunny at the WISE Club...
Victor Borge at the Orpheum... The Belairs at the Yale Viclor Borge at the Orpheum...
Paul Hyde with Memory Day at the Town Pump Artropolis 90 continues at the
Roundhouse The Navigator (7:30pm) & Wings ol Desire (9 30pm) at the Starlight..
Feslival ol Animation (7pm, 9:30pm) atthe Ridge.
SATURDAY 10 CiTR presents Time Flies wilh Peter Brotzmann wilh Kane/
Taylor Explosion (8pm, Vancouver East Cultural Centra) f. Tom Walsh & N.O.M.A.
(11pm) at the Glass Slipper... The Stoalersat the Cruel Elephant The Belairs at the
Yale Paul Hyde with Memory Day atthe Town Pump Ma Wing Shing Eihibition closes
at the AMS Art Gallery. . Artropolis 90 continues at the Roundhouse The Navigator (7:30pm)
4 Wings ol Desire (9:30pm) at the Starlight... Feslival ol Animation (7pm, 9:30pm) at
the Ridge...
SUNDAY 11 CiTR presents Time Flies wilh Direct Sound (S:30pm, Western
Front) & Jade Orchestra (8pm, Vancouver Easl Cullural Centre) 4 Bill Clark Sextet
(11pm. Glass Slipper)... Steve Forbertatthe Town Pump AMS Collection Exhibilion
opens at the AMS Art Gallery featuring new acquisition Rodney Graham's Sculptural Piece...
Artropolis 90 continues at the Roundhouse... The Navigator (7 30pm) & Wings ol Desire
(9:30pm) at the Starlight... Festival ol Animation (7pm, 9:30pm) at the Ridge...
MONDAY 12 CiTR presents Shindig '90 al lha Railway... Pieces ol Lisaat the
Town Pump. . Holly Cole Trio at the Vancouver East Cultural Centre. . Chubby Carriere
at the Yale... UBC String Chamber Ensembles (12:30pm) at the Recital Hall.. CiTR
Classics night at the Pit Pub...AMS Collection Exhibilion continues at the AMS Art Gallery
featuring new acquisition Rodney Graham's Sculptural Piece Artropolis 90 continues
at the Roundhouse... Modern Times (7:15pm) 4 The Great Dictator (9pm) at the Starlight... Feslival ol Animation (7pm, 9:30pm) atthe Ridge...
TUESDAY 13 Steal Pole Bath Tub with God Bullies at the Cruel Elephant... Alan
Dobb 4 Dumela at the Town Pump. . Chubby Carriere at the Yale CiTR World Beat Night
at the Pit Pub... Artropolis 90 continues at the Roundhouse.. Modern Times (7:15pm) &
The Great Dictator (9pm) at the Starlight.. Festival ol Animation (7pm, 9:30pm) at the
Ridge...
WEDNESDAY 14 Steel Pole Balh Tub with God Bullies at the Cruel Elephant
Living Colour atthe Commodore... Sacred Reich, Atrophy, Biller End at the Town Pump...
Steven Ley at the VECC... Chubby Carriere at the Yale... Wednesday Noon-Hour Concert
Series with Geollrey Michaels (violin) & Douglas Finch (piano) (12:30pm) at the Recital
Hall... CiTR Hoi Wednesdays at the Pit Pub Artropolis 90 continues at the Roundhouse.. Dersu Usala (6:45pm) & Ran (9:15pm) at the Starlight Feslival ol Animation
(7pm, 9:30pm) at the Ridge...
THURSDAY 15 Furnaceface at the Cruel Elephant... Lemonheads at the Town
Pump... Living Colur at the Commodore.. Curtis Salgado at the Yale. . UBC Contemporary Players (12:30pm) at the Recital Halt... CiTR Cool Thursdays at the Pit Pub...
Bcontinues at the Roundhouse... Dersu Usala (6:45pm) & Ran (9:15pm) atthe Starlight...
Feslival ol Animation (7pm, 9:30pm) atthe Ridge...
FRIDAY 16 Death Sentence at the Cruel Elephant... Persuaders at the Town Pump.
Queen Ida 4 the Bon Temps Zydeco Band at the Commodore... Curtis Salgado at the Yale.
University Singers (12:30pm) at the Recital Hall... UBC Opera Workshop (8pm) at the Old
Auditorium... Artropolis 90 continues at the Roundhouse... Black Rain (7pm, 9:30pm) at
the Starlight... Festival ol Animation (7pm, 9:30pm) at the Ridge...
SATURDAY 17 Death Sentence with Furnacelace at the Cruel Elephant River
City People 4 Skaboom at the Town Pump Curtis Salgado at the Yale Sweet at 86
Street The Furys 4 Davey Arthur at the Orpheum UBC Opera Workshop (8pm) at the
Old Auditorium AMS Collection Exhibition closes at the AMS Art Gallery featuring new
acquisition Rodney Graham's Sculptural Piece Artropolis 90 continues at the Roundhouse . BlackRain(7pm,9 30pm)attheStarlight FeslivalolAnimation(7pm,9 30pm)
at the Ridge. .
SUNDAY 18 Furnacelace at the Town Pump The Rippingtons at the Commodore The University Singets(8pm)at the Recital Hall AMS Collection Exhibilion opens
at the AMS Art Gallery leaturing Canadian progressive art Artropolis 90 closes at the
Roundhouse Black Rain (7pm. 9:30pm) at the Starlight Festival ol Animation (7pm,
9.30pm) at the Ridge
MONDAY 19 CiTR presents Shindig '90 al the Railway... Eddy Shawat the Yale
CiTR Classics nighl at the Pit Pub AMS Collection Exhibilion continues at the AMS Art
Gallery featuring Canadian progressive art... Black Rain (7pm, 9:30pm) at the Starlight...
Festival ol Animalion (7pm, 9 30pm) atthe Ridge
TUESDAY 20 The Mummies with The Smugglers 4 The Phantom Sutlers at the
Town Pump. . Eddy Shaw at the Yale Faculty Recital with Kathleen Randolph (llute) &
John Rudolph (percussion) (12:30pm) at the Recital Hall... CiTR World Beat Night at the
Pit Pub...Black Rain (/pm, 9:30pm) at the Starlight... Feslival ol Animation (7pm. 9:30pm)
at the Ridge .
WEDNESDAY 21 SheattheTownPump Eddy Shaw at the Yale Wednesday
Noon-Hour Concert Series with Vladimir Levlov (piano) at the Recital Hall UBC Choral
Union (8pm) at the Recital Hall. CiTR Hoi Wednesdays at the Pit Pub Black Rain (7pm.
9:30pm) at the Starlight . Feslival ol Animalion (7pm, 9:30pm) at the Ridge.
THURSDAY 22 Calherine Wheel at the Town Pump The Mighty Diamonds
with Messenjah at the Commodore... Jim Byrnes atthe Yale UBC Choral Union (12:30pm)
atthe Recital Hall CiTR Cool Thursdays atthe Pit Pub. Black Rain (7pm, 9:30pm) at
the Starlight... Feslival ol Animation (7pm, 9:30pm) at the Ridge
FRIDAY 23 CiTR presents Beal Farmers it the Hardrock Miners al the Commodore...
Screaming Trees at the Cruel Elephant The Beautilul with The Leslie Spit Tree-o at the
Town Pump. Jim Byrnes atthe Yale UBC Slage Band (12:30pm) at the Recital Hall...
The Handmaid's Tale (7 15pm) 4 Clockwork Orange (9:30pm) atthe Starlight...
SATURDAY 24 CiTR presents Beat Farmers & Ihe Hardrock Miners al the
Commodore... Screaming Treesatthe Cruel Elephant Roots Roundup & The Leslie Spit
Tree-o at the Town Pump Jim Byrnes at the Yale. . The Handmaid's Tale (7 15pm) &
Clockwork Orange (9 30pm) at the Starlight...
SUNDAY 25 Holly Near 4 Judy Small at the VECC Katharina Orlner's The
Waler in My House (sculpture, prints, paintings) opens at the AMS Art Gallery... The
Handmaid's Tale (/:15pm) 4 Clockwork Orange (9 30pm) atthe Starlight.
MONDAY 26 CiTR presents Shindig '90 al the Railway. ..UBC Studenl Composers Concert (12:30pm) at the Recital Hall... Collegium Musicum (3pm) at the Recital
Hall. . CiTR Classics night at the Pit Pub Katharine Orlner's The Water in My House
(sculpture, prints, paintings) continues at the AMS Art Gallery Tie Me Up! Tie Me Down!
(7:30pm) 4 Mama, There's a Man in Your Bed (9:30pm) at the Starlight...
TUESDAY 27 LuisEnriqueMejaGodoyattheVECC. Ponliaxatthe Yale Collegium
Musicum (12:30pm) atthe Recital Hall... CiTR World Baal Night at the Pit Pub... Tie Me
Up! Tie Me Down! (7:30pm) 4 Mama, There's a Man in Your Bed (9:30pm) at the
Starlight...
WEDNESDAY 28 Loreena McKennit at the VECC Club ol Rome with A Day
in Paris at the Town Pump Pontiax at the Yale... Wednesday Noon-Hour Concert Series
with Wendy Neilsen (soprano) 4 Mark Morash (piano) (12:30pm) at the Recital Hall...
CiTR Hoi Wednesdays atthe Pit Pub The Oraughlman'sContract (7:15pm) 4 The Cook,
the Thiet, his Wile A her Lover (9:30pm) at the Starlight...
THURSDAY 29 LoreenaMcKennilattheVECC Pontiax at the Yale UBCSymphony
Orchestra (12:30pm) atthe Old Auditorium Distinguished Artists'Series with Joseph
Shore (baritone) 4 Rena Sharon (piano) at the Old Auditorium CiTR Cool Thursdays at
the Pit Pub The Draughtman'sConlracI (7:15pm) 4 The Cook. Ihe Thiol, his Wile & her
Lover (9:30pm) at the Starlight...
FRIDAY 30 Bob'sYourUncleatthe Town Pump LoreenaMcKennilattheVECC
Ponliaxatthe Yale UBC Symphony Orchestra (8pm)atthe Old Auditorium... Katharina
Orlner's The Waler in My House (sculpture, prints, paintings) continues at the AMS Art
Gallery... My Sweel Little Village (7:15pm, 9 30pm) at the Starlight..
1990 FESTIVAL OF ANIMATION!
VANCOUVER: OCTOBER 26-31, NOVEMBER 1-22
THE RIDGE THEATRE - 3131 ARBUTUS
I: 16041738-6311   Admltslon: Advance Outlets, S6.50 At Tl
1^   \
Albion Books   523 Richards St. Vancouver 662-3113
for quality used books and records
NOVEMBER 1990   35 **%%%* \l\;\'l.Ytmmmm
ARE YOU SERIOUS? MUSIC 8:00AM-
12:00PM Tho newest new music:
Llgetl. Dhomont. Schittke. Lu-
takowski. Birtwistle. Information
on concerts, recordings, compos-
•rt wirh kin Crutchley.
THE BRUNCH REPORT 12:00-I2:ISPM
News, sports, weather ond more
with the CiTR News. Sports and
Weather Department* •
THE ROCKERS SHOW I2:I5-3:00PM
Reggoe. Rock Steady and Ska with
George Barrett
THE SUNDAY NEWS MAG 5:00-
5:30PM Coverage and analysis ot
UBC News pkjs news and sports,
daily editorial commentary, entertainment reviews and reports
on events here at UBC. aH in a
comprehensive and comprehen-
siblemagazine package. And we
promise, no traffic reports
HEARSAY 5:30-6:00PM CiTR's literary arts program needs YOU to
submit your works for on-air performance or reading (by you or us.
your choice)
ELECTRONIC SMOKE SIGNALS/DECOMPOSITIONS 6:008:00PM In
formation, news, interviews, political analysis from the global cultures of resistance hosted by
Horacio de la Cueva, alternating
Sundays with De-Compositions
RADIO FREE AMERICA 10:00PM-
12:00AM Join host Dave Emory
and colleague Nip Tuck for some
extraodinary political research
guaranteed to make you think
twice Bring your tape deck and
two C-90s Originally broadcast
on KFJC (L°s Altos. California).
■HB,', [ • ] _ I • 7: V* ___■■
THE MORNING SHOW 7:30-8:15AM
From the famous siren to th© not-
so-famous BBC Radio News Reel.
wake up with the CiTR Morning
reports, features, entt
reviews and Alberta hog prices.
BREAKFAST WITH THE BROWNS 8:15-
II :00AM Are you blue? Get
Brownl Your favourite brownsters
James and Peter offer a savoury
blend of the familiar and exotic in
on excitingly luscious blend of aural delghtsl Tune in and enjoy
each weekly brown plate special.
THE AFTERNOON REPORT 1:00-
1:15PM News.sportsandweather.
THE CITR DINNER REPORT 5:00-
5:30PM See Sunday for details
FACING THE MUSIC 6:00-8:00PM A
music/informational hour with an
emphasis on awareness and sanity with Wayne Davis.
BOXER SHORT BOYZ    7:00-9:00PM
confidence. Jerome Broadway
and Garnet Timothy Harry alter-
THE JAZZ SHOW 9:00PM-12:00AM
Vancouver's longest running prime
time jazz program. Hosted by the
ever-suave Gavin Walker    Fea-
5th Looking Aheodone of pianist/
composer Cecil Taylor's important
early recordings. Cecil was still
using the rhythm section in the
playing and that of the late Earl
Griffith on vibraphone (his only
recording) were anything but
13t> CreaeenfaclassicbyTheJohn
Coltrane Quartet: Mr Cottane on
tenor. McCoy Tyner on piana.
JlmmyGarrison on bass. EMn Jones
on drums. The 4:et had reached
one of their peaks when this was
recorded in 1963.
20th Composer Gary McFarland's
masterpiece: Am»rica th* Beau-
tihJ (an Account ot It* Ditappecr-
one*) Composed in 1968 and
featuring an all-star orchestra, this
sad. funny and satirical suite offers
the composers feelings on the
deterioration on his country.
26th: One of the finest small groups
of all times, the Benny Goodman
Trio (Goodman clarinet. Teddy
Wilson piano. Gene Krupe drums)
and Quartet with fhe only surviving member Lionel Hampton (vibraphone) in 'live' performances
recorded in 1937 and 1938.
__■_■ 111 4-i >l\^m*m*m
THE MORNING SHOW 7:30-8:15AM
See Monday for details
36 DISCORDER
THE  AFTERNOON   REPORT      1:00-
1: 15PM See Monday for defails
BLOOD ON THE SADDLE 1:15 3:00PM
host-poke Jeff Gray
AVANT PIG 3:00-5fl0PM Avant
garde thuggery with Pete
Lutwyche First Tuesday each
month   World Music Exploration
THE CITR DINNER REPORT 5:00-
5:30PM See Monday for details
B.C. FOLK S:30-7:00PM The thoughts
THE UNHEARD MUSIC 7:00-9:00PM
Demo Director Dale Sawyer provides some insight into the best
and the worst of the newest Canadian muse
WOLF AT THE DOOR 9:00PM-12:00AM
Into alternate universes? Historic ol
events which might have
happened and didn t? The latest
____kV.^:i*1»7:V*--___i
THE MORNING SHOW  7:30-8:15AM
See Monday tor details
MY   HEADS   THROBBING   8:15-
will be recordings from the UBC
School of Music on the firsf
Wednesday of the month Coming up in the next months: Contemporary Players and the UBC
Orchestra.
THE AFTERNOON REPORT 1:00-
1:15PM See Monday for derairs
PAULVSMUG 3:00-5:O0PM Theonty
alternative to KLYN
THE CITR DINNER REPORT 5:00-
5:30PM   See Monday for de-tails.
HANFORD NUCLEAR PIZZA PIE 6:00-
7:00PM It s Rowena s AK-to- OR
show. Only problem is there ain't
been no AK So all youse musical
AK folks (BC. OR & WA folks too)
send yer stuff this-a-way.
JIGGLE 7:0O-9:OOPM Hare Mikey Hare
Mikey. Mikey Hare Mikey Hare Hare
Gav Hare Gav. Gav Hare Gav
Hare. Hare Hare Gav Gav. Hare
Hare Mikey Mikey.
PERMANENT CULTURE SHOCK 9:00-
12:00AM Permanent (per-mS-
ndnt): lasting, intented to last, indefinitely. Culture CkSI-chdr): (1)
the civilisation of a given race or
nation at a gfven time or over all
time: (2)theraisingofmicroorgan-
isms in specially prepared media
for scientific study. Shock (shak):
(1) violent collision, concussions;
(2) sudden and disturbing mental
and physical impressions.
■■H;ilJ;W»7:V^__B_i
THE MORNING SHOW 7:30-8:15AM
See Monday for details.
an host Ken Maclntyre as he takes
xj on a tour through the silver
reen's back lot of live with film
soundtracks
VENUS FLYTRAP 11:00AM-1:00PM
Greg s gonna play lots o hip
hoppy. rappy stuff And hes
gonna say lots o dumb things
THE AFTERNOON REPORTI:00-
1:15PM See Monday for details
IT'S NOT EASY BEING GREEN 1:15-
2:30PM The greenest of the CiTR
DJcr
root o
lha a
to. :•••'•
Burroughs Specials: Material.
Gabriel (C-90 recommended) and
Hawkwind With Chris Brayshaw.
NOW YOU HAS JAZZ 10:00AM-
12:30PM Jazz with Tommy Paley:
special feature at noon
RJ. MOORHOUSE 12:30-1:30PM The
big fat mouth is back, bigger and
better than ever. This year broadcast LIVE from the Conversation
Pit in the Student Union Building.
THE AFTERNOON REPORT 1:00-
1:15PM See Monday for details
FLEX YOUR HEAD 3:00-5:00PM
 HARD JINX—
 ERIC CORE—
THE CITR DINNER REPORT 5:00-
5:30PM See Monday for details.
ARTS CAFE    5:30-6:00PM    Be up-
other cultural event happening
TOP OF THE BOPS 6:00-7:OOPM rV
sical chef Marc Coulevin boils i
a tasty pot of gumbo stew.
1 c rockabHry fools
2 tbsp. wild western swingers
2 tbsp. rompin' R8cBers
4 tsp. jumpin bluesmen
3 tsp. country swingers
a pinch of doo wop
a zest of cajun and zydeco
and a dash of surfin intros
Bon appetrt!
OUT   FOR   KICKS      7:00-9:00PM
Wildbeat protest youth with Pat
and Lisa.
UVE FROM THUNDERBIRD  RADIO
HELL 9:00-11:00PM   Local music
played by Adam. Ed. Tom. Janis
and Andy from 9 to 10 Livebands
from 10 to 11. Shindig1"1
15th Pee Wee Manson
22nd Medusas Raft
29th Fat Americans
SOUND OF REALITY 11 00PM-1:00AM
Experimental Radio, with Vision!
Featuring environmental sounds,
found noises, information/propaganda and the world's ethnic and
experimental musics from the auditory fringe Live! Contributions
welcome. Practitioner: Anthony
Roberts
MEGABLAST! I:00-4:00AM liftin
weights Tl make ya bigga. but lift
nigga": Bushwick Bill. Geto Boys...
'don't need no air. no sex. no
food'X Clan, feed-backgammon... "my man Cool Spliff is in the
house":The Afros
_■■_■_;, I >7:Y_-:_-_-_-_-i
THE MORNING SHOW 7:30-8:l5AM
See Monday for details
SCRAMBLED EGGS 8:15-10:30AM A
virtual potpourri of sounds from
the smooth to the crunchy. Music
to help you get your toast down.
MOVING IMAGES    10:30-11:00AM
ARE YOU
SERIOUS
MUSIC
ELECTRONIC
SMOKED/DECOMPOSITIONS
ONE STEP
BEYOND/RADIO
FREE AMERICA
INCOHERENCY
It'iM.L-.
BREAKFAST
WITH THE
BROWNS
SOULCHURCH
___________
)K'U'M:l:.j>]:ii»;ii
SPORT. DIGEST
FACING THE MUSIC
■ !'-■■■   \     '
l*MUM:II.MJ:I»JMfmi3S
CONFESSIONS
OF A COFFEE
ADDICT
»*M:.*waH-»reS
THE CYCLING SHOW
LM-HBtllH
UH H_M_[_______:
HANFORD NUCLEAR
PERMANENT
CULTURE
SHOCK
OPEN
COUNTRY
JOY/OPEN
SEASON
im.»l;iIJ-H,U
TOP O'DA BOPS
UVE FROM
THUNDERBIRD
RADIO HELL
■ _-;■
ESE3
MOVING IMAGES
___n____ii
ITS NOT EASY
NOISE ONE/
NARDWUAR/
NOISE TWO
ENVIROSHOW
HOME VIDEO
INTERNATIONAL
9
10
11
12
1
3
EFFECT ■*■
W
18
P
no
pi
m
]i
P
|3
KERENTAFFEHRZ
THE NEW
AFRICAN
SHOW
RADIO
FREE
PARKING
and anything else that occurs to
them Hosted by Antje Rauwerda
RADIO FREE PARKING 10:00PM-
1:00AM A radio show with a
lifeforce an its own Mixes come
from seem ingty nowhere much like
the radio signals you pick up An
aural parking lot for the muses No
1 in CiTR programming opportunities, call the Program Director at 228-3017
ABSOLUTE VALUE OF NOISE   2:30-
3:30, 4:O0-5:00PM  Found sounds.
orgonised and unorganised
aurality. power electricians and
sound collage: 100 % Canodian
industrialism.
NARDWUAR THE HUMAN SERVIETTE
PRESENTS...     3:30-4:00PM    Star-
THE CITR DINNER REPORT 5:00-
5:30PM See Monday for details
HOME VIDEO INTERNATIONAL 6:00-
9:00PM Movies remixed for radio
Taping this program is strictly pro-
FOR THE RECORD 6:30-6:45PM Ex
cerpts from Dave Emory's Rado
Free America Series
HOMEBASS   9:00PM-12:30AM   Get
out your flared pants, put on your
dancing shoes and prepare yourself for 3 1/2 hours of house, new
beat and a little disco and rap.
Dope jams and fresh beats for a
groovy evening with DJ Noah on
the wheels of steel
H^»--f:\iH:^7:V*.-_____i
THE SATURDAY EDGE 8:00AM-
12:00PM Steve Edge hosts
Vancouver's biggest and best
acoustic/roots/rogue folk music
radio show. Now in its sixth year on
CiTR! Roots music from around the
world, new releases, studioguesfs.
and the World Cup Football Report at 11:30.
THE BRUNCH REPORT 12:00-12:I5PM
News, sports, weather and an appropriate amount of more.
POWERCHORD 12:15-3:00PM
Vancouver' s on fy true metal show:
local demo tapes, imports and
other rarities. Gerald Rattlehead
and Metal Ron do the damage
IN EFFECT 3:00-5:00PM The Hip Hop
Beat brought to you by DJ's
Somethin' Smooth. BZ Jam and
ChazzyB
THE SATURDAY MAG 5:00-5:30PM
See Monday for details.
THE YAP GAP 5:30-6:00PM Hearfia-
THE ELECTRIC ENEMA   l:00-4:OOAM
Try it. It'll keep you regular Check
rock show, old and new   Fuck
mmW*li;t:lM>];*r-mmW
Once again, the crack CiTR Sports   ;
Team will be covering the UBC   ;
Thunderbird in action in selected varsity games in ice hockey, football
and basketball. Play-by-play action   '
pre-empts regular CiTR.
FOOTBALL
Saturday November 3rdat I 00pm   :
vs. University of Calgary
ICE HOCKEY
Sunday November 4th at I 30pm   ■
vs. University of Manitoba
Friday November 23rd at 7:30pm
vs. University of Brandon
Friday January 18th at 7 30pm vs
Saturday February 2nd at 7:30pm   ,
vs Unfversityof Lethbridge
Friday February 8lh at 7:30pm vs
University of Saskatchewan
Friday February 22nd at 7 30pm vs
University of Calgary
BASKETBALL
Friday November 2nd at 7:30pm
vs. Simon Fraser University
Saturday  November   17th  at
8:00pm vs.  University of Sas-
Friday November 30th (time TBA)
vs. University of Victoria
Saturday December l st (time TBA)
vs. University of Victoria
Saturday January 12th at 8:00pm
vs. University of Lethbridge
Saturday January 26th at 8:00pm
vs. University of Alberta
Saturday February 9th at 8:00pm
vs. University of Calgary
B.C. High School BasketboH Final
Saturday March I6th, lime to be
CWUAA playoff schedules to foi-
ARTS ANTJE RAUWERDA
BUSINESS MANAGER CHACK U
CURRENT AFFAIRS KIM TRAINOR
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT LUC DINSDALE
EXECUTIVE ENGINEER ADAM SLOAN
LIBRARIAN JFROMF PRINCE F
MOBILE SOUND LINDA SCHOLTEN
MUSIC LLOYD ULIANA/RANDY IWATA
NEWS KIM TRAINOR
NEWS FEATURES TRACY DOLAN
PRESIDENT ROBYNN IWATA
PRODUCTION MIKE LYSENG
PROGRAMMING RANDY IWATA
SECRETARY JOEL FRANSEN
SPORTS JEFF PATERSON
STATION MANAGER LINDASCHOLTEN
VICE PRESIDENT BARBARA ELGOOD
VOLUNTEER COORD'R        BILL BAKER
BUSINESS LINE 604/228-3017
DJ UNE 604/228-2487 (228-CiTR)
NEWS UNE 604/222-2487 (222-CiTR)
FAX LINE 604/228-6093
ENVOY ID CITR.FM
STAND IN LINE ROOM 233,
EAST SIDE. SECOND FLOOR OF THE
STUDENT UNION BUILDING. 6138 SUB
BOULEVARD. UNIVERSITY OF BRITISH
COLUMBIA, VANCOUVER. BC.
CANADA V6T 2A5
mmmmf-TlllSI'JWI'Mm
That local band competition s back.
Shindig is held each and every
Monday night at the Railway Club
(579 Dunsmuir). Come on down and
see three new and way ultra coolo
bands each night vying to join first-
round winners Bent in the grand finals
on December  17th at the Town
XmmmWLW: Wtf **-_■___■
CiTR provides free airtime for Community Access by groups and indi-
olease call the PD. _-_-_■__■ *•] l [ti m ■_•_•_•_•_•_,»_ 4--* <•:•_-_■_■_■
Various Artists  Dock and Cover (Cargo/SST)
Bless Fame and Fossils (Bad Taste)
Sebadoh Weed Forestln (Dutch East/Homestead)
Various Artists Mutic on Hebrew Themes (SRI/Chandos)
Solomon Grundy Solomon Grundy (New Alliance)
Muslimgauze Intifaxa (Extreme)
Slayer Seasons In Abyss (WEA/Geffen/Def American)
Shirim Klezmer Orch  ol Angels and Horseradish (Northeastern)
The Posies  Dear 23 (WEA/DGC)
Various Artists 0_f»W4(Ladd-Frith)
Replacements  All Shook Down (WEA/Sire)
Harry Partch The Music ot Harry Partch (CRI)
Pieces of Lisa  The Greal Idaho Potato Famine (Plump)
Salem 66 Down the Primrose Path (Dutch East/Homestead)
Chumbawamba Slapl (Touch & Go/Southern)
W.O.O  Telescope (Vital Music)
Various Artists Celebrate Ihe Sonic Arts (Ima Hitt)
Scott B Sympathy Nell Yonge Street (Smokeshow)
Cocteau Twins  Heaven or Lat Vegas (PolyGram/4AD)
Sleep C hamber Sleep Or Forever Hold Your Peace (Inner-X)
Jr. Gone Wild  Too Dumb lo Quit (WEA/Stony Plain)
PdulSchutze  Deus Ex Machina: The Soundtrack (Extreme)
EckartSeeber Piano and Organ (ConFuoco)
Clock DVA  Burled Dreams (Cargo/Wax Trax)
Various Artists  Nettwerk Sound Sampler (Nettwerk)
Matt "Guitar" Murphy Way Down South (Antones)
Klamydia Alpee (Free Animals)
Various Artists Sound Generator (Spiral)
Bo Diddley  The Chess Set (MCA/Chess)
Various Artists From Across This Gray Land No. 2 (Projekt)
Boogie Down Productions Edutainment (BMG/Jive/Zomba)
Uzume Taiko Chlrashl (Aural Tradition)
Dwarves  Blood Guts and Pussy (Sub Pop)
Chumbawamba  Stop.'(Touch & Go)
Dread Zeppelin  Un-Led-ed (Capitol/IRS)
Jane's Addiction  Ritual de lo Habitual (WEA)
24-7 Spyz   Gumbo Millenium (CBS/ln-Effect)
All Allroy Saves (Cargo/Cruz)
Chris and Cosey  Reflection (Cargo/Wax Trax)
Ass Ponys Mr Superlove (Okra)
L7  Smell Ihe Magic (Sub Pop)
The Outback Baka (Denon/Hannibal)
Afros Kickin' Atrollstlcs (CBS/RAL)
Kid Frost   Hispanic Causing Panic (A&M/Virgin)
Celtic Frost Vanity/Nemesis (BMG/RCA/Noise)
Waterwalk Thlngamajlg (Nettwerk)
Various Artists Taste Test # I - Live from KXLU-FM (Splatco)
Borrowed Men  Media Whores Must Die (Fiction OD)
Lemonheads  Lovey (WEA/Atlantic)
Gwar Scumdogs ot Ihe Universe (WEA/Metal Blade)
Moev Head/Down (Nettwerk)
Shuffle Demons  What Do You Want? (WEA/Stony Plain)
Various Artists  Roadklll (Denon/Rampant Music)
Bob's Your Uncle Tale ot Two Legs (Dr. Dream)
Majek Fashek Prisoner ot Conscience (MCA/lsland/Mango)
Wazzo Ghoti Gone Ghotlng! (Skank)
Various Artists Frequency (Mammoth)
Artillery By Inheritance (Cargo/Roadrunner)
Rest in Pieces Under My Skin (Roadrunner)
The Underthings  The Underthlngs (Rotundi)
Mantronix This Should Move Ya (Capitol)
Wreck  Soul Train (Cargo/Play It Again Sam)
Young Gods Young Gods (Cargo/Wax Trax)
Various Artists Disappearing World (SRI/Saydisc)
John Waterman Warmth Is the Fifth Room (Nightshift)
Happy Flowers Lasterday I Was Been Bad (Dutch East)
X Clan To the East, Blackwards (MCA/4th & B'way)
Lee "Scratch" Perry From Ihe Secret Labratory (MCA/Island)
Various Artists The Belgian Garagemanla Volume4 (Boom!)
John Waterman The Dead Calm of Bashing... (Nightshift)
LLCool J Mama Said Knock You Out (CBS/Def Jam)
Various Artists Sound Biles from the Counter Culture (Atlantic)
Nervous Fellas Bom to be Wild (Nervous)
Leslie Spit Tree-o , Don't Cry Too Hard (Capitol)
Ravi Shankar and Philip Glass Passages (Private)
Skinner Box The Playhouse (To*ic Shock)
Heart Throbs  Cleopatra Grip (WEA/Elektra)
The Underthings The Underthlngs (Rotundi)
Stereo MCs Stereo MCs (MCA/4th & Bway/Gee St)
Ravi Shankar and Philip Glass Passages (Private)
Hibridos I  Zazhll (Discos Pentragrama)
Annihilator Never, Neverland (MCA/Roadracer)
The Fall A Sides (PolyGram/Beggars Banquet)
Deee-lite World Clique (WEA/Elektra)
Carl Stalling Carl Stalling Project (WEA)
Patrick Street  Irish Times (Festival/Green Linnet)
Danzig Danzig II - Luclfuge (WEA/Def American)
Anthrax Persistence ot Time (MCA/lsland/Megaforce)
Slappin' Mammies  Blackface In Bondage (Performance/Bizarro)
Jack Brewer Band Rockin' Ethereal (New Alliance)
Sally Barker.... This Rhythm Is Mine (Denon/Hannibal)
Untamed Youth More Real Gone Gassers (Norton)
Indian Rope Burn Indian Rope Burn (GGE)
Merzbow b/w S.B.O.T.H.I  split LP (Extreme)
Living Colour Times Up (CBS/Epic)
Heretics  Omnlvore (Skyclad/Get Hip)
Circle of III Health A Rhyme In Four Parts (Subliminal Link)
The Pink Flowers The Pink Flowers (Boom!)
Warratahs Too Hot tor Sleep... (Pagan)
Not for anger and despair, but for peace and a kind of home
- suicide note of Lewis Hill, founder of KPFA Berkeley, 1957
■■■■■_■___■ imm■-*_■;.* .•___________■■
Melvins Fuck Melvins - Louder than Soundgarden T-shirt
DVC  Detcendent Upheaval (Manufacture Sound Output)
Black Sabbath  Paranoid (WEA)
Bino's on Broadway  Banana Pancakes
Suicidal Tendencies Lights... Camera... Revolution (CBS/Epic)
Dickless "I'm a Man"/"Saddle Tramp" (Sub Pop)
Coffin Break  Rupture(C/Z)
Urban Dance Squad Mental Flots tor Ihe Globe (BMG/Arista)
Steei Pole Bath Tub  Lurch (Boner)
Sockeye "20000 More Lawn*" (Family Fest)
Complied by Mikey and Gav
■■■■_■_■ AI <*!:] f_W i ft [•] *9 •: • ftftftftftftft
MC 900 FT Jesus with DJ Zero  Hell with the Ud Off (Nettwerk)
Merzbow/S.B.O.T.H.I  Collaborative (Extreme)
Boogie Down Productions Edutainment (BMG/Jive/Zomba)
XCIan  To the Eatt, fltockword» (MCA/4th & B way)
Various Artists  Ob/ekt No 4 (Ladd-Frith)
Pigs + Battleships  Quando Quango (Factory)
Paul Schutze  Deus Ex Machina: The Soundtrack (Extreme)
Bo Diddley  The Chett Box (MCA/Chess)
Lee "Scratch" Perry From the Secret Laboratory (MCA/Island)
Afros Klckl* Afrollttrct (CBS/JML/KAV)
Complied by Adam Sloan
.ftft-ftftftftftftftY V/l: I i J[1ft (•] _*(>_■_-_-_-_-_-_■
Naked City A Shot In the Dark (Elektra)
Zoviet France  Votceprlnt Identification (Red Rhino)
Marc Almond  The Sea Slill Sings In Her Heart (Capitol)
Meaf Beat Manifesto  "Hetler SkeUer" 12" (Cargo/Wax Trax)
PorkQueen   "Beaconsend" from The Cane Toad Sessions (.cass)
Uwybr Llaethog  Be? (Concrete/Pinpoint)
Paul Shutze  Deut ex Machina (Extreme)
Sadus Illusions (Cargo/Sadus)
Can  Future Days (Capitol/Enigma/Mute)
Harry Partch  Castor and Pollux (CRI)
Compiled by Pete Lutwyche
■___»ftftft^ m^ i an. a i aafti •:-»'>■___■___■
Junior Reid  One Blood (JR Sounds)
Pixies  Bossanova (PolyGram/4AD)
Cynics "Gel My Way"/"Goln' Away" (Skyclad/Get Hip)
Cordelias Dad  Cordelias Dad (Okra)
A.P.P.L.E  A Sensitive Fascist Is Very Rare (Vinyl Communications)
Bob Mould Black Sheets of Rain (A&M)
Lubricated Goat "Mealing My Head"/"201h Century..." (Sub Pop)
Ministry  In Cate You Didnt Feel Like Showing Up (WEA/Sire)
Doom Police Battard (Profane Existence)
Burning Spear Mek Ew Dweet (MCA/lsland/Mango)
Compiled by Tom Milne and Darren Molder
■ftftftftftftfti: m : i_w ti •]_ hh n *! ■ • <>■_-_-_-_-_■
Fastbacks Very, Very Powerful Motor (Popllama)
Hammerbox "Kept Hou*e"/"Alter All" (Big Flaming Ego)
Various Artists Puget Power Volume Two (Regal Select)
Food Giant "Death Row"/"Doubtlng Thomas" (Chestnut)
Various Artists Little Boy Goes lo Hell (Popllama)
Treepeople "Making the D"/"PG" (Battery)
Stagnant Water Whats Up Your Butt? (cassette)
Crypt Kicker Five "4th Hole"/"Bedouln Stomp" (C/Z)
Dharma Bums  Bliss (Frontier)
Girl Trouble  Stomp Shout and Work It On Out (Dionysus)
Compiled by Rowena
_-_-_-_H_-___ft:1; [•] :« CM •_•_•_,»_ 4-*."[• __■_■_■
DieKreuzen     "Pink Fk_g"/"Land of Treason" 7" (Touch & Go)
Hiit  "Stoneman" 12" (Nettwerk)
Derelicts "Misery Maker"/"Wash" 7" (Sub Pop)
Garlic Boys  Garlic Boyt 7" EP (Public Bath/Alchemy)
Amenity       "This Is Our Struggle" 7" (Vinyl Communications)
Hammerbox  "Kepi House"/"Atter AH" 7" (Big Flaming Ego)
Skeptical Confidence  "Colors In My Mind" 7" (Teenage Rebel)
Various Artists      Japan Bashing Vol. 2 7" EP (Public Bath/Alchemy)
The Mummies "That Glrr/"l'm Bigger Than You" 7" (Pre-B.S.)
Frontline Assembly  "Iceolate" 12" (Cargo/Wax Trax)
Dickless "I'm a Man"/"Saddle Tramp" 7" (Sub Pop)
Cyberaktif  "Temper" 12" (Cargo/Wax Trax)
Poison Idea "Just to Get Away" 7" (American Leather)
Charlatans "The Only One I Know" 12" (PolyGram/Sltuation 2)
Living Colour  "Final Solu1lon"/"Sallln' On" 12" (CBS/Epic)
Inspiral Carpets  "Commercial Rain" (WEA/Elektra/Mute)
White Boy Worry  "Survive" 12" (Axis)
Joined at the Head "Consecrations Will" 12" (Cargo/Wax Trax)
Artless  Beer Is Better Than Girls Are 7" EP (Vinyl Comm s)
Karen Black  "Ataska"/"Nelborachle" 7" (Vital Music)
Tit Wrench  "Go Back to Europe" 7" (Vinyl Communications)
Legendary Pink Dots .... "Princess Coldheart" 12" (Cargo/Wax Trax)
Rise Above "Beat lt!7"What It Is (Unity)" 7" (Punk Etc)
The Blitzkrieg Boys The Blitzkrieg Boys 7" EP (Teenage Rebel)
Omoide Hatoba  "Surfin' In UFO" 7" (Public Bath/Alchemy)
Crumblowers "Cok>ssus"12" (Headstun)
Dream Warriors  "Wash Your Face In My Sink" 12" (MCA/Island)
X-Tal  "An Old Colonials Hard Luck Story" 7" (Alias)
Humidifier "Louder Than Your Mom" 7" (Lubricated)
Napalm Death b/wS.OB split 7" (MCR Company)
Springhouse ,..,   "Menagerie Keeper"/"Soul Astray" 7" (Dutch East)
Boogie Down Productions "Love's Gonna Get'cha" 12" (BMG)
ValseTriste Valse Trisle 7" EP Crash Can)
Stetsasonic  "Anytime Anyplace" 12" (Tommy Boy)
James "Come Home" 12" (PolyGram/Fontana)
Luxuria  "Jezebel" 12" (PolyGram/Beggars Banquet)
Meat Beat Manfesto  "Helter Skelter" 12" (Cargo/Wax Trax)
Buffalo Soldiers "Penny" 12" (Luke/Effect)
High Performance "Do You Really Wanna Party?" 12" (Nastymix)
Smack Tan Blue "Jenni Lee'V'Heroln for Breakfast" 7" (Arf Art)
Reserved Rights  "Herself/"Ty-D-Bowl" 7" (Family Fest)
Positive Approach  Jusf Hang On 7" EP (Conversion)
Soup Dragons  "I'm Free" 12" (PolyGram/Big Life)
Beat Happening  "Red Head Walking" 7" (Sub Pop)
Suicide Kings  "Fist Flt"/"Bad Boy" 7" (Adult Negro)
Misa "Shake the House" 12" (Motown)
Face Value  Coming of Age 7" EP (Conversion)
Enemy Mind Feel  Haltllfe ot 10,000 Years 7' EP (Raging)
Yes No Maybe  "Anubodhl" 12" (Reptile-West)
_H I. [M *\ =1 A MM_ I =* i [*Jl\:\ _ttti *01. I *_MU
Me, Mom & Morgenrhaler "Heloulse" (from demo cassette)
Tankhog "Tears" (from 2-track demo cassette)
Charlie Roby "Architecture" (from demo cassette)
Baron Von Fokker "Beads ol Cholesterol" (live on CiTR)
Mary  "Heaven's Gate" (from 3-track demo cassette)
Toxic Jimmy "Shark Attack" (from Assault with a Funky Weapon)
Fat Americans "Yoursell" (from Food, Folks and Fun)
Glee "Vancouver" (from 1-track demo cassette)
Bacteria  "Your Tomorrow" (from domo cassette)
Batter Heads  "Dirty World" (from d. mo cassette)
Excited First Daughter "Open Pores" (from do,no cassette)
Vasectomoids  "Men" (from demo cassette)
Puke Theatre  "I Love You,..." (from 20-track demo cassette)
Bent "One Man Killing Machine" (from 3-track dor
Excited First Daughter  "Sandrlngs" (from demo cassette)
Crash Dummies  "Exercising the Demons" (from Greatest Hits)
Helen Gone  "Walk at the Edge" (from 4-track demo cassette)
Jazzmanian Devils "One Scotch, One..." (from Happy Hour)
VoxPopuli  "Don't Know Why" (from On Beyond Zebra)
Noise Floor  "Too Much Negativity" (from Sideways)
Sun Dog Sun... "Tomorrow's Good Old Days" (from demo cassette)
MC Terror T  "PMRC" (from The Ufe and Times)
Waltons  "In the Meantime" (from demo cassette)
Sound Butchers  "Passing Glory" (from 4-track demo cassette)
Small Man Syndrome  "Silence" (from 4-track demo cassette)
Tankhog "Reptlllon" (from 2-track demo cassette)
Rattled Roosters  "'57 Cadillac" (from Get Wild!)
Pork Queen  "Beaconsend"    (from The Cain Toad Sessions)
Bruce Todd "Give It Back" (from demo cassette)
Weehuggum  "Bleed Me" (from demo cassette)
Video Bar-B-Que  "Subway 5AM" (from 6-track demo cassette)
Trembling Mimsies  "Get Well" (from George Jetton's Karma)
Land "Tarnished Gold" (from demo cassette)
New Beatles "Centre ol the Universe" (from demo cassette)
Lung  "Mother" (from demo cassette)
Anhrefn  "Y Fiord Ymlaen" (from Rhedeg I Paris)
Dead Head Cool  "Waiting" (from 3-track demo cassette)
@#*&! "Long Face" (Irom Bright Red Paint)
Foreign Factor "Thanx 4 the Ride" (from 1 -track demo cassette)
Video Bar-B-Que ... "The Stegasaurus Stomp" (from demo cassette)
12 Midnite  "Suicide Ride" (from 5-track demo cassette)
Common Language "Dead White Horse" (from demo cassette)
Wongs "Haven't Felt" (from demo cassette)
Blackpearl Yosef  "Super Love Feeling" (from Sherbo Sherbo)
Darkling Thrushes  "Hall ol Souls" (from 4-track demo cassette)
Big As Life "Welcome" (from demo cassette)
Tin God "Hazy Moon" (from 6-track demo cassette)
Falling Spikes  "Take" (from demo cassette)
Valentinos  "Gimme Some Action" (from demo cassette)
NOVEMBER 1990 37 I here once was a snowy bear named Jeremy. He wandered the hills foraging
for goodies like berries and nuts. One day, by the lake, he noticed a large cow
looking lonesome.
"Are you ali alone?" said Jeremy.
"Yes, I am," said the lonesome cow. "Moo. I lost my friend while traversing
a frosty alpine glen."
The snowy bear continued on his path, pondering the most horrible
situation of the single solitary cow.
Then he stumbled across a little girl named Frauline who looked almost as
lonely as the cow but not quite.
"What makes you not so lonely?" asked Jeremy.
"Because now you are here," she said as she walked towards him.
"Have you been drinking?"
"Yes." She started to stroke his fur.
"Then I need forage no longer."
The snowy bear named Jeremy ate Frauline and then laid back on the
frosty alpine glen to contemplate how stupid that cow had been. If it had been
more like the girl, it would have realized you only need a friend and a flask of
brandy to be happy.
He would remember her for a long time.
by David
chum"
kCarswoe||
*   e
^r**-*J*
38 DISCORDER  ARTROPOLIS 90 is the fourth
in a series of large scale
exhibitions ot contemporary B C
art to be held in Vancouver
Like its predecessors, this
exhibition developed out of the
expressed need within the
community to once' again
demonstrate   the   energy   and
diversity of the local art scene
The month long exhibition will
feature work by over 200 B C
artists These shows have now
developed a three year cycle,
and offer the rare chance to see
the wealth of our regional talent
side by side in one location
The     unifying     theme    of
ARTROPOLIS 90 is LINEAGES
AND LINKAGES, an affirmation
of the important inter-
generational networks of
influence, style, and media that
exist among the artists of Bntish
Columbia Artists     cluster
together voluntanry for many
reasons;  and they are  linked
involuntarily, by cntics, scholars
and curators through location,
academic studies, philosophies,
and networks "ARTROPOLIS
90 is intended to be a controller-
random sample of BC. artists
and current concerns" notes
head curator Ann Rosenberg
ARTIST CURATOR
MINI-SHOWS
0
A large scale exhibition of contemporary B.C. art featuring over 175
artists. Works in many media Including video and performance.
October 19 to November 18,1990
Hours: 10 AM until 8PM, Tuesday to Sunday
Opening Night on Friday, October 19, 8 pm
Admission: $2 — Thursday 5 pm to 8 pm Free
• Paint-In, October 13, Noon to 3 pm, V.A.G. Robson Street side
• Artropolis 90 / In Transit, October 22 to November 18, B C Transit
stations — Granville, Burrard and Waterfront / Seabus
• Living Art Beneath The Stars, three different shows —
November 1,2 and 3, 8 pm, Big Top Performance Tent, The Roundhouse
Tickets $5: Blackswan Records, Highlife Records, Artropolis 90,
Tamahnous Theatre
• Artist Talks, Sundays at Noon, the Roundhouse
• Group tours available: call 684-9099
The Roundhouse, 1200 Pacific Blvd. at Davie, Vancouver, B.C.
OPENING NIGHT SOIREE
At the Roundhouse,
1200 Pacific Blvd. at Davie
Friday, Oct. 19, 8 p.m.
All are invited to attend the art
event of the year, the Opening
Night Soirr_e reception. This is a
celebration about and for the
visual artists in B.C. Get your
festive dress out!
ARTROPOLIS 90 gratefully acknowledges the generous support of our sponsors: - _^un n .*■
® QHemlock       ^£9!$.       M!P£U*.      4|»      mSL
pg   Air Canada    ^_ * ■
m j^ CE£2 M
CokXlFK      Primi'Resources Group Inc. Cantor Corporation        *3_r Pacific Place H.irlock Williams Lemon Ltd.
Canada Council, City of Vancouver, Department of Communications Employment and Immigration Canada, Government of British
Columbia, Ministry of Municipal Affairs, Recreation and Culture, Action Reprographics, City Centre, VCC - Building Services
Worker Program, echo Acrylics, G.I.C. Awnings By Design, Jet Set Sam, Leon and Thea Koerner Foundation, LithoTech Canada
Ltd., Neville's Coffee, Northwest Digital, Opus Framing Ltd., Roland D.G. Canada, Seaboard Advertising, Shaftebury Brewery,
Telequip Services Inc., The Chameleon Papers, Verster Office Systems Inc., Whistler Brewing Company, WordPerfect Corp.
Ann Kipling
Georgians Chappell
Jackie Frioud
Allan Switzer
Erin O'Brien
Bill Featherston
Angela Grossmann
Monique Mees
Michele Searle
Fiona Mowat
Ladislav Guderna
Ted Kingan
David e Pan
Gregg Simpson
Lori-Ann Latremouille
Jan Wade
Roy Kiyooka
Sandra Semen uk
Richard Turner
Trudi Rubenfeld
Rhoda Rosenfeld
Michael de Courcy
Sally Michener
Sandra Storey
Luke Blackstone
Persimmon Blackbridge
Laura Wee Lay-Laq
Gordon Payne
Tom Burrows
Vaughn Neville
Michael Hornsby
Tom Knott
Sylvia Tait
Pat O'Hara
Andre Petterson
Carole Itter
Gordon Caruso
Audrey Doray
12 Midnite
Ken Gerberick
Jim Cummins
Katarina Thorsen
David Steele
MenWoman
Jan Koot Westendorp
Don Gill
Carol Williams
Anne Ramsden
Mike MacDonald
Carl Chaplin
Kun Musgrove
Mary Longman
Art Wilson
Judith Morgan
Curatonal Invites
Todd Davis
Lionel Doucette
Graham Gillmore
Al Neil
Derek Root
Bob Sherrin
Ed Varney
JackS
David Ostrem
Terry Ewasiuk
Neil Wedman
Carel Moiseiwitsch
Alan Wood
Attila Richard Lukacs
Laurie Papou
Bruce Woycik
Jill Manahan
Joe Menabney
Paul Ewert
Clint Atkinson
Mark Gaskin
Patrick Hughes
Shawn WestJaken
Ian Forsythe
Vicky Marshall
Robert Van Der Mey
Philippe Raphanel
Charles Rea
Gordon Smith
David Walker
Gloria Masse
Gathie Falk
Wendy Hamlin
John Clair Watts
Michelle Normoyle
Wendy Dobereiner
Kelly Wood
Chick Rice
Diane Evans
Mary Hogan Camp
Anthony Martin
Patsi McMurchy
Nhan Nguyen
Haruko Okano
Carrol Pantages
James Pickard
Bill Rennie
David Roberts
Roman Pijanka Schorer
D. Blaire Scon
Jack Scrivener
Steven Shearer
Cynthia Smith
Todd Spicer
Teresa Steel
Barrie Szekely
Kent Tate
Doug Taylor
John Thompson
Barbara Vanier
John Whistler
Robert Alan Wse
Chris Woods
PERFORMANCE
Hank Bull
Elizabeth Vander Zaag
Sara Diamond
Jennifer Babcock
Mary Alice /
Claire Maxwell-
Montgomery
Nancy Shaw
Loretta Todd
Barb Cramer
Mona Hatoum
Zachary Longboy
Cornelia Wyngaarden*
Kim Blain
Lorna Boschman
Vanessa Lowe
ArtMcP
' Tape screens with
Hank Bull's section.
OPEN SUBMISSIONS
Librado Anonuevo
Terryl Atkins
Mary Balomenos
Mike Banwell
Jeffrey Birkin
Gwen Boyle
Melanie Fei-Lin Boyle
Neil Burns
Sveva Caetani
Anna-Marie Cobbold
Mary Downe
Robert Dyson
Victoria English
Monique Fouquet
Lynda Gammon
Frank Gaudet
Roy Green
Lome Greenberg
Lenna Greer
Joseph Haag
Lucy Hogg
Heidi Hueniken
Kim Huynh
Oliver Kellhammer
Jean Kempinsky
Donald Lawrence
Kaaaly Levan
Launi Lucas
Neil Maclnnis
Patrick Mahon
David Bouvier
Trevor Cardan
Chris Creightorv Kelly
Joseph Danza
Margaret Drague
Pam Flamming
Annie Frasier
Monique Giard
Gerry Gilbert
Katya Gorrie and
Friends
Elly Harvie
Terry Hunter
Jane Kalmakoff
Marvin Kaye
Sook-Yin-Lee (tent.)
Billy Little and Friends
Sandra Lockwood
Ahasiw Kitotbgan
Maskegon-iskwew
(Donald Ghoskeeper)
Shawn McDonald
Joey Meyer
Jim Munroe
Anthony Roberts and
Group 49
Katherine Schlemmer
Paul Serret
Uzume Taiko
Scon Tate
Russell Wallace and
Warren Arcand
Sheri-D Wilson
Za Za and the Angels

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