http://imprint.uwaterloo.ca/mambo/pdfarchive/1991-92_v14,n08B_Imprint by Imprint Publications

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,LOLLAPALOOZA people who were dancing, by putting on an uninspired set. Gibby looked a

Lollapalclo~ Feed: RoRinsBand Butthole Surfers IC!#!-T Nine Inch Nails Living Colour SiMe and the Banshees and Jane’s Addiction

Ice’s Body Double

Exhibition Stadum August 7,191

byChri8tupherWatm

InaprhtM

by storm. T dabbled in the qntroversial during the song “Cop Killer” when he-borrqwed the refrain of ‘Tuck Tha Police” from rappers WA. This refrain became an audience participatiori number as the crowd joined in to this contained act of defiance. Ice-T% set was the premature high point of Lollapalooza. Not even the headlining Jane’s Addiction affected the audience as much as did Ice-T. If there was to be an all-out hlk@dmm SUCC~ Sbf’Jf, it=: Tcomingintotheu&m&ar of a alternative rock show, where the consensus of the assembled masses were, if not anti-rap, then at least not terribly interested in the pxos of 9”’ perrY leyS~mdkickingass. Farrell can be credited with concep illdihg LdTdlapalooza a!3 an entity, Ice-TcanbecrediMwithownixtgthe T-to edition of the show. WoFd.

’

It was billed as “Woodstock for the Weird”; however, Lollapalozza was neither Woodstock nor weird.

Lkg

colwr

lay dawn same lidcam Photo by Chrfstophet

andinteilectualapproachtothe makrialwhirhcheyarebeing~nte& In aome ways, Itadh l4ihpalwza may have timatedall~oftheseelements.

Waters

Next up was Ice-T. It seemed to be a crime to place a performer the wE Of lce~ m early m he bill especidy since he was placed before the mediocre Nine Inch Nails. However, it seems that there was some method to this apparent madness because suaenly, it looked as though &e concept b&jnd Ltcapalwa might work WW reamds.MC Ice-T had the le%ir&audienceontheirfeetand

ideal for ovemk

ofthemuslcison

&sentiaUy, the festival concept of L~llapalozza failed to materialize itself at the Toronto show. Both performers and audience alike complained about the rigid secitritv measures which were upheld, These measures kept a strict rein on the seating arrangements which consequently denied the freedom of movement which the most of audience had been lead to expect. I mean this was sup posed to be Woodstock tight. Well no. It seems that the audience had the specific freedom to move, in thq most direct route possible, to the crafts tent, to the vending area, or to the other facilities. This left the crowd unable to roam throughout the stadium, or even to meander about their section in a friendly festivaLlike manner. Enslavement to a hard plastic chair for a duration of nine hours was not mentioned once in the pre-show hype which managed to nicely fill the grandstand at Inhibition Stadium. The festival aspect of the show failed on other counts as well. The &fts tent, which was supposed to halve added a whole new dimension to the show, was received as more of a freak-show carnival than the mind expanding, merry-making festival which was the tour’s raison d’etre. The best example of this was the&k@ Munipulations booth which was one ofthe most talked about &tractions of the show. Pew people looked upon the redefining practices of these individuals as anything other than weird spectacle. A

concept

show

such

Lollapalooza demands a lot from all people concerned. It demands a diverse and consistent group of acts whose music has mean&g and sigdfmnce, an adequate venue for tlii acts to perform-in, ,and ide*y, from its audience if demands an open,. ,

mantes. I doubt that 32 year okl Perry Farrell’s TAlapalooz.a tour would have carried much weigh among a generation who subscribed to Jerry Rubin’s never tmst anyone over 30 bromide. This festival did, however, succeed in another fashion. Akhoqh

Fch turned u after six o’clock, in $ to see the &al three acts of the ’

Surfers safari set-up and quick work of made the downtime lull of the acts as short as

his $astic cup into the 52nd row. Th& is a personal best for the seapping lad. They also placed high in the standings for smashing up, overly insured, or donated pieces of their uipment (Oh& those kooky TJe ti Is.. . ). Nice for idiotic antics; however, after the tenth cup even the guy with NW shaved into his liead had to admit that his idols were BORING. The backing tape suppIied adequate versions of the Lee Put-on Nails’ songs such as ‘Terrible Lie” and ‘Head Like A Hole,“but it realIy came to life during the band’s cover of “Get Down Make bve.” They must have been using a fresh out of the box disk on that on that number.

Exhibition Stadium into his own rock’n’roll neighbour%od. Ice-T basically performed two separate acts within his one set. The aforementioned set was done with Evil-E providing the music and beats from the wheels of steel. His second act began after the briefest of intermissions, with the introduction of Body Count. Body Count is a LA hard core unit with whom Ice-T colIaborates. They performed four songs, including “Body Count” from Ice-T’s latest, which took the crowd

Living &of

The festival itself kicked off promptly at 2 pm with The Henry Ro&s Band taking

the stage. Rollins

wa6

placed in the diffUt position of opening a show which would stretch on for a duration of nine hours. Judging by the sparse attendance at the onset of the show, only the die-hard took the advice of the ticket which exclaimed “take the whole day offI” Henry Rollins was a memhr of the tremendously influential Californian punk~~BlcJckFlag.

Hehasalwap

heenpunk’stypical artist% &istas he is that one person who despite middlhg popuk success has gained a wide 1amount of reqxct from his mus~al peers. Rollin’s set IiteraIIy shook the rat&rs as the press box high atop the

insulting. For the most Iwrt, the Surfers were a disappointment= The best song of their set was, ‘Revolution No.1” dlkhisthd.rsttrackoffoftheir latest release piougfd, their first. The of their

rest

set con&hid

of more

no&~ than melody. Their sound was IcharacteristicaIlytheir~however, the band lacked any life or creativity - _ we aat of mely -mptiu* a I Say k thk 9 gun In my paeke! spk&n of their rep&to$Pe*ps . . I bc I I . they were juSt mimqBng their‘ -- --: f@htib by ‘C;hrlstopher Weters audiellee, asw did thank the four ,__

. .

The direct antithesis of Nine Inch Nails was LMng Colour. Perhaps they were inspired by the spirit of James Brown as they covered Mr+ Soul’s ‘%lkin’ Loud . . . Sayin’ Nothing” in their set, or perhaps they were iIV@Edby~almostfUllG~ tand, whatever their inspiration Living Colour put on an energetic and excellent show. Corey Gbver, the band’s vocal&, rarely slowed down to catch his breath during a set which was comprld of many diverse styles of music. Combining the band% forte of heavy ro& with soulful covers of the aforementioned James Brown song and an Al Green aumder, a goape offering,andsomemptwists,~ Colour exe@& a. l+ster@ set which sounded great rilevet before ‘has an outdo& show sound* so loud,socrisp,so~e8r,anc4ove@4so

~u*tinud

page

?o@

Arts

I34 Imprint, Friday, August30, 1991

‘Cornin to Fed Hall, September 12th _

Steve and Edf iel’s -

Beed

Bathum

bda/m

bid

2Stmtt Theam,

August

Toronto

Schtick

-m-

Of late, they have expanded to a quintet, graced the cover of NOW magazine, appeared on a number of TVshows, and - most impressive of all - sold out their two-night showcase at the venerable Bathurst Street Theatre. We can be gratefut that the rapid success hasn’t over-in&&d their egos - their grandmothers were in the crowd for God’s sake. In fact, their recent success has become as on-going stage joke.

borough’s Barenaked Ladies. They have quickly risen from humble humble enough to beginnings-

9 & l&l991

byPaulDone Imprint staff

include a stop at 1990’s Waterloo Buskers’ Festival, when Barenaked If ever a group could be lab&d Ladies were still a duo d Steven edge “on a roll,” it would have to be Scar- , and Ed Robertson.

Barenaked

Ladies would

seem to

be a genuine phenomenon. They are one of the fk5t groups which has ground@ and defined themselves according to their suburban surroun-

dings. Their schtick, if you wilI, is the cukural void of. their lives. As if searching for a commercial metaphor for their (claimed) social failures, they attach themselves to such shopping malkdselsas~~ey Chocoktebars and fruit-flavoured Hostess potato chips. The Barenakeds’ musid pastiche mm the gamut from Public Enemy to The Smiths, from Tracy Chapman to tie Dream Warriors. With their expansion to a quintet, they’re topull off a wider range of tomfoolery. Though they’ve been pigeonholed ,as a novelty act, there’a a solid core of well-crafted songs which makes up their set list. Whether the dismissiveness of “Couldn’t Care Less” or the simple romanticism of their best-

known

Kraft Dinner spokesmodel

Ed Robertson.

Photo by Joanne Sandrin

song “Be My Yoke One,” Ed

and Steve (or is that Steve and Ed(ie)) have a natural and astute sense of song-construction

Nutty Buddy was a hero to most. . . Even pletely Having

when they’re being corndaffy, like “Steven Page is a Baby,” a song that they

debuted Barenaked enlightening mix.

the

Bathurst,

the

Ladies slide little profundities into the

Photo by Joanne

But let’s not make too much of it. At the heart of the matter, the Barenaked

Ladies They’re

are great lighth~ed,

tember

12.

entertainment. engaging, and

witty, to boot. Don’t miss them at Fed Hall, Sep-

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Arts

UniqueSucking L The Tape Beetles with sucking chest wound The Ridi Friday, August 18

by Dave Thomson

Imprint

staff

The one good thing about the size of Toronto is that it can offer a lot of different genres of entertainment. Inside of the sprawling housing and industrialization we call Metro, there are all sorts of little pockets of interest inside of which one can seclude themselves from the street cars and street bums outside. The Rivoli is one such place. Having never been to the Rivoli before, I was rather amazed at how small the room was where the band played. Nonetheless, we managed to find seats and while we were waiting for SCW to begin, none other than two-thirds of Colhteml Damage showed up and worked the small crowd, handing out flyers for their next show.

Although I have heard SCW before, I had no idea or preconcep, tion what a live show would be like. Turns out it was quite unique, from my limited experience. Four television screens, two people operating a computer/vcr set-up, and three people using three keyboards. Sampiemania - visual and aural.

The band played mostly new material on this evening with the first few songs, and most of the ones after that, being anti-American. The music wasn’t exactly what I would call . industrial . . . maybe popindustrial.. or &ctronic-industrial-pop . . . god I hate categorizations! You get the idea. Anyway, to briefly describe one song: there was this music with sound bites from American leaders saying stuff like “.iust say no”and “war on drugs” while the television screens were showing visual clips relating to the war on drugs - FBI busts, Nancy Reagan, George Bush, etc. And these .tideo pieces were far from amateurish; they were mesmerizing. Someone had hooked up an Amiga or something to the footage and created some neat distortion

The Tape Beetles were the headlining act, but were about impressive as an itch on my ass. Apparently, there are somewhere between three and five members in this group, although we only saw one. They had a similar idea for a multimedia stage performance, but with a twist: one guy and one projection screen A couple of proi ectors were started up and t&o orthree separate images began merging together and weaving around with poor quality music. While all this is happening, that one guy I mentioned was operating reelto-reel machines and other equip ment in front of the screen, partially blocking our view and annoying us with the dual penlight apparatus strapped to his head The music seemed to always have

Samplemania - visrral and aural effects on the screen.

The one thing that SCW really has going for it is this television idea. The fact that we live in a TV culture makes their job of commanding audience interest all the more easier. Music and nifty TV footage with Technicolor distortion - you can’t go wrong. Although the band has been around+nce the early ‘BOs, they still haven’t managed to move beyond that obscure “you went to see .who?” status. Some of that might have to do with the dubious legality of showing all of that footage. - -

that beginning-of-the-song syndrome. That is, it doesn’t seem to progress nor vary a great deal. While SCW put a lot of effort into the visual and the aural, the Tape Beetles concentrated on the visual which wasn’t actually that great either. To finish off their show, the guy operating the equipment ran the tape from one of the reel to reel’s out into the audience, around people’s chairs, through their fingers, etc, until the damn thing was all the way around the room. U-mque.

Imprint, Friday, August 30, 1991 B5

VVOMAD BEAT The martbeats/Oyster

Hurbuu~nt, i%mltu

Band

August 9

bypaulDone

Imprint&ff

Once agGn, this year, North America’s only World Of Music And Dance (WOMAD) festival provided a panopoly of world musics and arts. Presented over the course of a weekend at various locations throughout Harbourfront. Only the insane and those with infinite energy could possibly catch the entire range of acts that were to be sampled on this weekend. From Indonesian dancers and Appalachian string bands, to British Rap bands, and even an ex-member of public Image Limited. This year’s WOMAD was notable in that there was a concerted &ffort on the part of the organizer% to increase the local content of the festival. Given Toronto’s multicultural riches, this did not lower the quality of performance at the event a jot. Among the notable performances was a wing-ding evening of folk music with The Heartbeats, a

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. . . and that, dear people, was just one of a plethora of great performan-

ces.

on it Banks

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Philadelphia-based all-woman string band, and The Oyster Band, a rockin’ British folk group who have worked with Billy Bragg among others. The Heartbeats received an ecstatic reception from the crowd in the packed Queen’s Quay tent, and responded with an hour’s worth of traditional(ish) Appalachian string music featuring tracks culled from their LPs released on Rounder records. The lineup consisted of banjo, guitar, standup bass, and fiddle, with the occasional substitution of an accordion for the banjo. One complaint which could be levelled at them was that their selection of material during their one-hour set was just a little on the sedate side. Though WOMAD audiences have never been renowned for their boogie quotient, a little more uptempo material might have coaxed a few white, middle-class feet onto the dancefloor. The Oyster Band’s set was remit&cent of our very own Spirit of the West: a bit of folk, a bit of electricity, and a lot of fun, They deftly manage to mix electric elements into their brew while maina folk&h authenticity. And best of all, they know how

by Derek Weiler Imprintstaff Outer Bunks, the new novel by southern US novelist Anne F&zrs Siddons, is something of a curiosity. The story concerns the reunion of four female college friends who are edging toward the wrong side of 50. Throughout the first 4OO-odd pages of the novel, Siddons invests a tremendous amount of care and work into strong characterizations and storylines. Given this, it is simply, shocking and appalling to see such a potentially wonderful book so totally betrayed by its ending. The book’s events revolve around its narrator, an interior , designer named Kate Abrams. While she is enjoying the fruits of a successful business with her husband, Kate is obsessed by the death of her young son, and by the possibility that the cancer which has wracked her uterus may return Nonetheless, Kate reluctantly accepts an invitation to a gathering at the home - located on North Carolina’s Outer Banks - of one of her old college fiends, Ginger Fox. Also in attendance will be the two other members of Rate’s close circle of friends: her beloved confidante Cecie and the pathetic young girl who worshipped Kate, “Fig” Newton. The story unfolds over two timelines. In the present, Kate deliberates over attending the reanion, before finally packing up and going. At the same the, her lengthy reminiscence of her college days forms the meat of the story. Siddons’ pacing and characterization here is impeccable. The four young women of 1960s Alabama become what every author wants her children to bet ‘living breathing characters? Equally strong is the book’s sense of &zce. Siddons’ feeling for the

Southern US, states and the moods they evoke (like the mixture of gentility and cruelty of the girls’ sorority) is obvious and intense. Every nuance, every action, is totally believable. The effect is spellbinding. Siddons’ prose is slightly less flawless. While she obviously spends just as much time on description as she does on character, her writing too often becomes cloying sentimentaL Sometimes it does work well, and it can be effective in portraying Kate’s bittersweet nostalgia. Sometimes, though, Siddons’ purple prose tastes of overkill. However, this occasional lapse is a minor problem. It doesn’t really impede the story, which proceeds believably. As the adult Kate meets her old friends, she must also come to terms with the Great Lost bve of Her Life: Brilliant Young Architect Paul Sibley, her fiance, had left her All Those Years Ago, in favour of Ginger Fox and Her Family’s Wealth. Siddons risks a lot by courting so many cliches at once, but with her wonderful characterization, she somehow pulls it off, dealing with the issue sensitively and carefully. Regrettably, the same cannot be said for Siddons’ treatment of the character of Fig Newton. The ugly and unpleasant Fig has blossomed into a fabulously wealthy, oversexed, beautif61 (thanks to years of plastic surgery) romance novelist.It is Fig that is the novel’s undoing. Fig becomes the crux for a crisis and resolution that is unredeemably cheap and trashy. For a novel that so thoughtfully considers themes like lost friendships and suicidal impulses (Kate’s, for fear of the cancer’s return) to suddenly become a thinly disguised paperback adventure is nothing short of disastrous.

There is much to admire and love in Outer Bunks; indeed, 90 per cent of the book is an excellent piece of work. However, Siddons’ denouement is SO inappropriate and ill-considered that the reader

cannot

help but feel bet-

rayed. As well done as most of the novel is, it simply cannot be called a great, or even good, book Not with a tacked-on finale that defeats everything the author had been trying to accomplish.

. B6

Imprint,

Friday,

August

30, 1991

It’s not unusual

whosh musical legaq spans four decades. A man who singlehandedly contradicts that old adage you can’t teach an old dog new tricks. A man who sweats more than the onions in my pantry. That man is none other than Thonias Jones (at least that’s what Tino Monte called him, or was that Nina Ricci? (or was that too ubscurre II reference for

any

of your

readers to pick up on? - ed)).

“_The evening took on a pregnant atmosphere of .cordiality. He&y of “excuse me’s,” “Howdyados,” a little dancin’ here, a little dancin there. Even the colour-coded balloons were beginning to match up (know what I mean?). At least that was until in and around that bewitching hour of ten. Buttons on the flashy computerized stage monitors were nonchalantly flicked to green. Burly technicians, complete with headsets and teenyweeny flashlights were the only indicators necessary to transform normalIy fine, upstanding citizens into an unbridled pack of rabid mindless pitbulls flurrying to the front, willing yea verily thirsting to destroy any and all who attempt to impede their goGiL We were promised a ‘best of,” and that is exactly what we got. Backed by a band whose combined ages rival his own, Tom bounded on stag? sporting a tight (oh so very tight) crimson T

Vm a little bit campy...l’m and black jeans, determined to prove that his trademark pelvic thrusts and hip gyrations had not suffered the

effects of time. We& he was wrong. It just seemed that the 501s were actually a denim constraining him from girdle seriously damaging his insured groin. They were all there ‘Delilah,” “Green, Green Grass of Home,” “What’s Up Pussycat?“, and “It’s Not Unusual” to name a few. By the time he broke into Prince’s ‘Kiss,” there was virtually a steady stream of sweat pouring from his elbow joints. of his contemporaries, -iomUnlike w mostLS not Jones content to merely l

_..

rehash old favorites. The thrust of the *tour is not to showcase his trophies, but to reconvert the converted. me Keeper of the Flmne is the new album of which four tracks are written and produced by Van Morrison. Tom accredited the Irish guru and in appreciation performed all four, including “canying the Torch” and the current single “(I’m Not) Feeling Anymore.” AdmittedIy about four songs elapsed before the first pair of silky knickers were tossed u on stage. A tradition since 1968, P e Welsh panty sniffer sifted through the assortment, shamelessly gunning for laughs.

trophobic ghost bounced from ceiling to wall alternately screaming “I am the lizard king!” and “Wheeee!” Drummer drummed, guitarist strummed, violin’s in tune, away we went. “Keepsake” was the herald, invoked by Simon Bonney’s confident vocals. Then came “Stone,” whose rubbery bass line got many a’bobbin. The crowd was small, a very few hundred at most but the Solution make intimate music and the setting was close to ideal. It comes as no surprise that Bonney has the stage presence of a mike stand and does not attempt to “get the crowd going;” Photos by Bernard Kearney a little bit obbw3uW with between song banter: no, a mutNow that’s adult entertainment. Crime And The City Solution ter of thanks here, a song title there. A big criticism of the show can be Rivoli Eyes closed, hands around micdirected not at the man himself, but at August 11,199l rophone, he focused on the lyrics the six-piece back-up band, the while the rest jerked about merrily. by Trwor BKr keyboard/saxophonist in particular. With the magnificent weight of Imprint staff I’m sure he just doesn’t realize that Parudise Dimtheque upon his The doors of the Rivoli became the shoulders and the sound mix mud2,700 people each paid 20 big ones to see Tom Jones. Lf he walked out on gateway of the Paradise Discotheque dling the lyrics, Bonney managed stage singing along to a karaoke on the eleventh of August for tucked despite losing various stories and machine, we’d have all left equaIly away in the little Queen street alcove snippets. content. His attempt at stealin’ Tom’s were none other than Crime and the The set was pretty much an even City Solution. A six-piece out of sampling of their last two albums: last thunder was not appreciated. Tirelessly. redefining himself and England, the Solution generate a years Paradise Diswtkque and ’07s * his music, the evening cruised to a grand, ground, sacramental sound. 27te Bride Ship. Both albums feature reluctant close with a cover of CinSlipping in and out of T.O. like mega-song opuses which were aborderella’s ‘Shelter” a crowd pleaser thieves in the night, this imaginary ted live. “The Bride Ship” went &en to those’who still think Cinband played an evenings’ worth of straightaway into “New World” .dereUa is a storybook chafacter. music in anhour and a half. without “Free World” and ‘The bt Dictator” rolled only halfway, parts III and IV absent. That said, the show was nonetheless one of the best paced shows I’ve ever seen and the Solutions’ patented multi-crescendoed crescendos remain their most alhuing power. Bmney relaxed during the Afterlocalgroup~releftthestage, welcome three-song encore and, roadies fumigated and set it up: instrument by instrument, brick by negotiating further agreements between intonation and atmosphere, A word to the wise: Never try to brick The band ascending and cramthey crawled from under the farming themselves onto the small stage get in front of a blue-rinsed pantyreaching shadows of The Birthday wielding grandmother of 36 at a reminded me of a Cure video from a party and Nick Cave, stealing some few years back and I wondered if the Tom Jones concert. My voice is now light for themselves and earning hall would .fiU with water, happily very much like my review, neither more respect than dollars drowning us all. A bearded, claimare very deep.

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tracks for this The stronger uneducated reviewer are “Life After Diamond Head” and “Sideways.” The former is a “hair on the back of (ie. the neck stander-upper”

by Christopher Imprint staff

Waters

by Paul Stack special to the Imprint

This is the third and selfproclaimed last release by the constructed entity of This Mortal Coil. With the reIease of Blued, the circle is complete. Well at least, the cycle is complete. Ivo Watts-Russell, the mastermind who founded 4AD records in Britain company responsible for we introducing bands such as Coct4au Twins, Wolf9ang fiess, and Clan of Xymox to the world), began his brooding This Mortal Coil trilogy in the mid-‘80s with the release of the masterful It’ll End in iks. This recording was expanded upon with the double-length, and equally masterful, filg?~e and Shadow album released in 1986. This brings us to the present and the summer release of Blood which is the swan-song in&IIment of This Mortal Coil. The premise of 1~0’s This Mortal Coil has always been an attempt to unite artists who would not ordinarily work together in order to see what the sessions would produce. Consequently, these albums have engaged the likes of the Cocteau Twins’ Elizabeth Frazer with members of Throwing Muses, Howard Devote joining members of Clan of Xymox, and Tanya DonelIy singing a duet with the Pixies’ Kim Deal. The sombre yet sonorous products of these sessions are nothing short of brilliant.

The chosen materials for Bhd are a smattering of cover songs, from such diverse artists as Mary Margeret UHara and Syd Barrett, and numerous original pieces, written by Ivo along with John Fryer and occasionally Martin McCarrick. The material all centres around the refrain: ‘Dreams are like water, colourless, and dangerous.” The songs themselves are an interwoven web which &nnect to@her as each arrangement fade into, and becomes one with the next arrangement The

ennui

on BZ00d reviIes

(Wow, that sounds pain@!

music

ed,) The cover of the album, a picture of a woman staring listlessly out at the world, mirrors the material on the album as it is haunting and beautiful

at the same time. This woman is an apt poster-child for This Mortal Coil as her confrontational yet wide-eyed gaze captures the essence of the pr* ject. is a beautiful final verse to a chapter of contemporary music. This Mortal Coil’s body of work unite to contribute a significant volume filled with angst, and ennui,

Waters

lfthedanceclubsoftheworldwere churches then their holy sacrament would be the designer drug ecstasy and the music for the hymns would be supplied by 808 State. 808 State is the Manchester computer-generated dance band whose music transcends aJl musical boundaries. Excel is the band’s second domestic release and it contains the definitive versions of their latest singles “Ooops,” ‘ln yer face,” and “Cubk” These singles have been released in a steady stream &rice 808 State’s last full length offerityip. &&samorevariedofferingthan 90. Vocals and samples are used more often to add a layer of literacy to the band’s m&frame music. Guest starringincameoappearancesar43ernard Summer, of New Order fame, and Bjork, renown v&t of the sugarcubes* Berna&sor&‘Spa.nishHeart,“is an attempt at a Pet Shop Boys-esque tune which ulGmately fails because it lacks the witty edge of Neil Tennet

as wdl

as exuberance

and it forsakes which

constitute

the musical elements 808 State innova-

tion The marriage of Bjork’s Nordic rap and the bands music is more successful. She appears on one of the singks

“Ooops,”

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and genuine

affection. constitute extremes,

Just as the musicians tiho This Mortal Coil are united so is the music which they compose and execute. Together these extremes find a union which creates their own aestheticism. The beauty of This Mortal Coil is the universaI beauty of the diverse and disparate.

vocalists ekmitta

other. This concept works best on the secondsideasthesongsallcongealin one complete musical movement, a “rap city ‘n blues” if you will. The singles when added to the album tracks, ‘Zmre,” Uxnbrusco Cowboy,“and’TechnoBell,“cre;ateamul=

A conversation piece is Men Without Hats cover of the Beatles track, “I Am The Walrus!” If listened to obiectivelv, it is an admirable attemit, albeit an unnecessary addition io an already well rohndedalbum. The title track is wisely chosen as the first single from the album, and deserves a success to surpass Men Without Hats’ only international success, 1983s’The Safety Dance” which is a turkey by comparison. Sidewuys’ mixture of the intense and the sublime as delivered by this able-bodied party should give Me? Without Hats a recognition not yet enjoyed outside Canada and interspersed pockets of the US.

Bl&

ordinary dance band. But I digress. 808 State emerged at last yea& New Music Seminar in’New York chanting the slogan “Don’t fear the computer.” What could be better for the computer generation than corn uter-generated music? The ban B has added to their sound with a liberal use of samples which lend their music more diversity. Theguest

3-5

Fine guitar work gives Sidewqs a headstart on the majority of today’s mundane attempts at infiltrating the pop rock scene. This album kicks into gear with the title track, complete with superb guitar work, which somehow manages to scream melodically. Sidewq-vs. Men Without Hats’ fourth album, features select musicians from Montreal’s rock scene Michel Iangevin (Voivod), Felix Matte (Idees Noires), and John Kastner (Doughboys). As a result, the musicianship is always of a good quality. There is, however, sometime a unsavory juxtaposition of vo al quahty and guitar work The t IO appear to compete at times and me latter pcrill always be the victor. For the majority of the songs, thankfully, an agreeable compromise is reached.

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lend even more divergent to the band’s sound. However, the tit moments on Ike2 are the ones which feature the band at their CAM (computer assisted music) finest. Their form of music is both innovated and iTltell@ent, as well as being pretty damn danceable.

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as well as on the

aIblm track of “Qmalt.” “Ooops” sounds like a blend between the theme to “U&laws and Heroes” and the music for Atari’s “Asteroids.”

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Imprint,

Friday,

A&t

Record Reviews

30, 1991

Okay, not.

l%qxx

.. .’ *

okay;

Otis

Redding

During

he’s

Island

also displays some musical growth. It’s certainly the best sounding Hitchcock Lp in ages: it’s the bracing, confident and loud .-- most -,i..- lwptit tlu,ng cis+@g5&e sufi’Buys. “SO. Y$&@i& bveff

rock

out

f~~~~~ew&

byC~herWW ,p&iivdy

Bon

Jqvial

I$yav. The Egyptia& Z$rtcl~ding h,onTmember Peter’ Buck) are ixi”fine Las is Hitchcock’s voice.

Tmprint

sta.H

on, just about like everyone.”

Stuff tour,

Etvis wus a hero to must. a a

I never luved Elvis, and I never sung the blua Miles Hunt, Mksbn Drive.

Stylistically, the Wonder Stuff are pure pop. However, the fare which they offer is potent. Underneath the sugary upbeat melodies, Miles Hunt’s lyrics cut q&ally through the Nutrasweet. ‘The Size of a Cow’ was inspired by the same woman who was the motivation behind “Grotesque.” Young love becomes self-destructive and, more than a little bit, bitter - not in the sense of pining for the return of lost love, but more aptly for the return of ersonal possesions, g la “Well you’ B on’t ask

Right about now is a good time to catchup with the Wonder Stuff. Since the release of their second album, Hup, the Wonder Stuff have released three singles and their third,albtun, N&w Loved Elvis. Two of these singles, “Who Wants To Be The Disco King” and “Circlesquare” the club mix, are import singles only. On the domestic front, Polydor has just released the Stuff’s latest single, “The Size of a Cow”, and album, “Never Loved Elvis.”

trousers

the last Wonder

true to form, the band played a number of unreleased tracks within their set, and some of thee “mystery tracks” have now presented themselves on the new album. The tracks, “Play,” ‘%&&on Drive,” ‘r)onatioQ” and “Caught InMyShadow,“were all showcas& at th6 fabulous Toronto show at the Diamond club.

guL u u U-“UU*

me for much, / but I’m losing track of half my stuff.” This new album is also significant as it signals a line-up chance in the band. For those of you keeping score at home, at the position of bass, the Stuff have substituted rookie Paul Clifford for three year veteran Rob Jones. This album is truly fine pop: The ironic sensibilities of “Mission Drive,” “False Stati,” and “Size of a Cow,” and the cutting truth and witticism oF”Dunation~ %leep Alone,” “Caught in My Shadow,” and “Grotesque;” along with the other aIburntracksm&etheartofpop music respectable again

The CD single of “Size of a Cow” contains the single version of “Circlesquare” which also appeared on the great Jm Say Ya To Another Jkxss compilation. It also contains creditable live versions of “Radio Ass Kiss”and “Give Give Give Me More More More” recorded in LA. The selected single itself, “Size of a Cow,” presents itself in two versions. The single and the alternative version are extremely similar as it is really only the campy “Heartbreak Hotel” finish to the other version that provides the difference between the two. This tongue-in-cheek finish provides the point of reference which is mined on

Akver Loved Elvis.

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Thomson

Imprint staff

Funny, feminist, w&y, sarcastic. . . these are just a few of the words that come to mind when listening to this recording.

Angel Fmd

For Thought

is jam-

packed with no Iess than 20 different tracks and includes most of the material from her first effort that was released on a cassette.

Cadell’s rhythm method She utilizes an effective mix of spoken word and music to make people laugh at some attitudes she has encountered through personal experiences, as well as criticizing religion, the pope and fashion, to name just a few. Rather than bringing her message across in the shout-in-your-face sixnplistic manner that performers like Consolidated use, Meryn draws on her experiences to tell stories in an uncommon way that people can interpret as they wish. She also imparts a unique sense of rhythm (I know there’s a better word, but I can’t think of it) to her spoken word pieces that makes the extra difference. Take for example, the song entitled ‘The Pope”: ‘Well, I iove that man, I love him, probabIy more than he deserves. Okay, so he persecutes homosexuals, does not believe in abortion, visits with Kurt Waldeim and tells us not to take the Pill, there’s still a certain je ne sais quoi . . . Some peace, some love, some goodwill.” But the lyrics do not alone make music. You have to hear her voice and, as I mentioned, her sense of rhythm. As an upcoming Canadian performer, she has recently been opening up for bands such as Blue Rodeo, &renaked Ladies, the Cowboy Junkies, and others. So keep your eyes peeled, and go see her if you have the chance.

Arts

Hey Stoopid . Operation

Rock ‘N’ Roll

AIL. cooper, Judas Pried Dangerous

Toys, Metal Church

CNE Stadium August 19

by Rich Nichol and pder Brown xmpriirtstaff Once again, like in years past,at the annual Canadian National Exhibition there was that one day when the smell of leather, denim,and barbiturates overpowered the usual carnival titillations of caramel corn and candy floss, And tattoo-clad hard rock music lovers from 16 to 61 drove in hoards to come and pay homage to the gods of destruction. This was Operation Rock ‘N’ Roll. Originally on the palette were Alice Cooper, Judas Priest, M&&head, Dangerous Toys, and Metal Church, five bands whichhad toured together throughout North America all summer long But at a concert previous to the Toronto date, M&&head lead vocalist Lemmy fell off the stage and so Mlitsrhead was scratched from the lineup. And the concert promoters would not be so stupid as to announce that Miitiirhead wasn’t coming, remembering the onstage announcement of the last minute cancellation of Alice Co-at a CNE concert in 1985 which sparked a major riot.

grandstand, we could see behind &e stage and Halford was holding his head&d ribs. Fortunately, the injuries were only minor and Halford - who by the way must bepushingWandhas+tuallynohairleft-came out for the second song with his list in the air to a thunderous ovation. Rest put on a great show’, but it was evident that they are no longer as big as in their early ’80s era which peaked wi@e release of the 1983 album “Defenders of the Faith.“Still~ it was great to see Halford on&&rate his colleagues like a master conductor, pounding out hit after hit, and never letting the crowd settle into their seats. They continued with “Electric Eye,” “Some Heads Are Gonna Roll,” and old favourites like “Rippin” from the Sad Wags of Lkst.iny album, ending each with surprising and blin~glightingeff&s.‘ToughandEvil~was chased by ‘TainkiUer,” with continuous strobe lights and hard core drums to me merize an otherwise untameable crowd. The set ended with “Green Weshee,” an old Fleetwood Mac tune, joined by deafening cannon-Iike bangs. The true classics were of course reserved for the encore: ‘%eaking The Law/ ‘Xiving After Midnight,” and “You’ve Got Another Thing Coming”.

The opening act, Metal Church, stuck to their usual hard-core style with little invention. Of coupe, the heavier metal fans were pumping their fists an8 swinging their waistlong hair in unison, despite the fact they couldn’t understand a bloody word the lead vocalist was saying. Nonetheless, Church did most of the material from their new release 77~ Human Factor including “Date,,,)Wh Poverty” and the title track, with “Metal Church” as their finale. Then one hour later, Dangerous Toys came on and perked up the majority of the halffilled stadium crowd with a rousing collection of party tunes, This was a band that really seemed to enjoy their live performances.

The

lead vocalist, who sounds a lot like Vince Neil of Motley Crue, sang until he was red in the face. Even more entertaining were the fad expressions of the drummer, who was either comfortably numb or well lit long before they stepped on stage. After their opening number and new hit single “Sticks ‘N’ Stones,” the lead vocalist greeted the crowd and then proceeded to mock the people who were bungie-cord jumping just outside of the stadium. “Hey you! The dumb fuck who paid $85 to hang from a rope once, wave to us man”1 guess you had to be there. But this band really got the crowd pumped up for the headline bands which would appear after sunset, Toys concentrated mainly on tracks from their much hyped new LP Hellacious Acres, including “Gimme No Lip, ” “Sugar And The Nail,” and “Angel N U.” They also included a fantastic live version of “Real Life” from their first Lr.

Judas Priest

nearly

became

the second

band to be scratched from the card. The lights dimmed, the curtains opened revealing a black and silver steel stage, a rumbling came from within, the instrumentalists appeared,

and finally, lead vocalist Rob Halford up his Harley Davidson backstage

started

for his patented entrance. The mouth of the stage opened and out came Halford. However, due to the dusty, slippery stage, when Halford went to apply the brakes at centerstage, his bike slid right out from under him and he landed heavily on his right side. Rinda brings new meaning to the Judas Priest classic

“Some Heads Are Gonna Roll.” Two roadies rushed out immediately help him but he could

barely

move.

tually

behiwj

the

Priest’s

they

carried

opening

him

number

“Hell

to Even-

set

and

Bent

For

Leather” became an instrumental. At first we thought this was all part of the show, but from our birds-eye view of the venue in the press box on the roof of the CNE

Halford’s

Full

Metal

Jacket. Photo

Dave Thomson

Unlike Priest, Alice Cooper is undergoing a weird resurgence in popularity. He has always put on a great show musically with his endless anthology. But he also converts his stage into one big magical horror show, and with each tour comes some new tricks from his sleeve. 1 As with Halford, though, one gets a sense that a man in his forties shouldn’t be prancing about the stage with a huge nail covered in fake blood. Snakes, sure. But fake blood? But unlike Halford, Alice has never been accused of taking himself too seriously

Imprint,

Friday,

August

30, 1991

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this fun-loving style shines through in a live performance. He even had enough irony to prop himself up with a crutch made of bones for “18.” Cruising through crowd favourites like ‘Trash,” “No More Mr. Nice Guy,” and “‘Bed of Nails,“Alice kept one and all pumped with his infectious adolescence. One thing Cooper can do excellently is special effects. “You Can Go to HeB” featured a large projection screen at mid-stage which showed a surrealistic video with Alice being chaised around by all sorts of beasties. Cooper would jump through a slit on the screen at appropriate moments, apparently entering and leaving the video (and even once bringing a couple of beasties out with him). But there were moments when the music outdid the baubles, such as the guitar work in “Only When You Meet.” His opus set finally ended with the requisite “School’s Out for Summer” and his current hit “Hey Stoopid,” a song telling . young people not to take drugs or commit suicide. This from a man who looks 20 years his own senior and features lots of sadomasochism in his live shows.

Ah, but this is not a time for cynicism - it is time for celebration of the spirit of rock and roll, a spirit freely expressed during this fourband extravaganza. ’

Have a Qreat year!

’

I I I

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Imprint,

Friday,

August

30, 1991

U&b

11set Torn British punks turned popsters liouxsie and the Banshees. Appareny, Sioux& has not been feeling up tc I par and, consequently, has backed 0 ut of several of the ‘palooza stops. Siouxsie’s placement so high upon the rooste: r, or among the ranks of these alter native bands at all, surprisedasn nany people. It seems that Perry Farm the NHL’s sek AlIStar Game mith of the Minn chosen to4 veteran’s ca

Primus / TAD Leek Palace, Tumntu August 6,1491

by Paul

Done

Imprintstaff Right off the bat, ok? l’rimus ked, TAD were great. Whew! vith.

-Lb

)Y-L.

C&VW

UYCYLIU

V-D-.

"'J

Far&I emerged in a Jack-Nicholsonas-the-Joker fashion wearing a natty, oversized suit. Jane’s played an extremely theatrical set which enhanced their musical scores. Songs such as “Three Days,” “Classic GirI,“and ‘“Ted. . . Just Admit It” were given a new lease on life via their muitimedia presentations, which included film footage and computer generated graphics projecbehind the band, or via staging and burlesque acts, performed during the songs themselves. Farrell, once again, can be faulted for overestimating his audiences intelligence in the case of the burlesque scene. During the song “Ted.. . Just Admit ted

suc-

Glad that’s over and done

Since Primus were the headline wt, 111review them. first, d -- th?ugh they -. Mere about as enjoyable as spending VI * hour _ at a VD clinic having a catheter inserted up your . , . (sorry, W’s too scatologicai, I can’t bear to zomplete the image).

TAD-jiggle

bell(y)

rock

It’s petty hard to see why Spin would have named Primus’ last T- B sailing theSeasof Chew (great me, thou@) their ‘?%tter du jour” a few 1nme.hs back. It lacks even the modjcum of stomp that is contained in their live shows.

If one were to combine the annoying self-importance of Frank Zappa with the epic self-indulgence of Rush, and wrap it up in an ersatz Red Hot Chili Peppers package - Hey! Presto! - those three San Francisco wankers known as pn’mus.

TAD, on the other hand, rocked ‘til noses bled, ‘til eardrums were pun-We& ‘til bowels were evacuated.

Their musical style consists of alternating short bursts of face-punching riffing - generating mad mosh and crowd-surfing action - and long, drawn out demonstrations of their “virhx&y.” Spell it b-o-r-ed-a-m.

It’s not just hyperbole to say that TAD are the hardest-rocking band in the world. Led by monster mainman Tad Doyle, the kings of West coast jackhammer rock packed a lifetime’s hxth of adrenaline into their allotted 45-minute opening slot.

r Photo by Christopher WatWS its end. Siouxsie p Though mostly playing material i:w,,t VP&C rP-H+!hl~ .Gnt/r TAn -h-m-n - - -- _ Ifhic_- JW‘” Y u-“Hy uw,ICU, LAau I mixed in enough tracks from the first . two albums to satisfy. Sadly, they didn’t play either “Loser” or “Behem&,” despite repeated calls from the crowd. Oddly enough, TAD chose to bypass the more melodic moments from B- Way Sum in favour still are functibshould the Jays of increased savagery. decide to return, the Stadium lights were turned on. This brought every possible fIying insect in the greater They have a unique sound which Golden Horseshoe area down into combines the primal funk tribalism of the Stadium to mingle with the waitGang of Four circa 1979, with the blising crowd Great idea. tering power chording of the Stooges or MC5. Above this maelstrom Tad Doyle hurls out psychotic throatsplintering indistinct vocals which hint at unfathomable levels of _.psy- I chosis and violence. But the Ii&s went out, the hues A soothing tonic. to be sure. went away, &! Jan&Add&ion t;k ”

rovided

a tremen-

rumours of the band’s impending demise at the end of Lollapalooza are true, then Toronto could not have asked for a better last dance with Jane. The hype, pomp, and circumstance surrounding the Festival placed Farrell in a situation in which he could dazzle and delight the masses with his showmanship. It will be this selfsame showmanship which will be tested to come up with snmeg to top tollap~loaZa for .the ban&s tiunion tour - 1 reaUY do not think Peaple will buy Lollapalooza II.

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Bl I

Be6fcwd’s~the natural Tinton of

Athens

by U4tliam Shakespeare directed by Michael Langham stam’ng Bnbn Bedford Stratford

Festival

until

September

13 by Christopher

Imprintstaff

Waters

Tour de force. Three words which get bandied about by reviewers of all str$as and genres with va@ng degrees of legitimacy. Like “the boy who cried wolf,” or the deconstructionists who make the supposed obscene words a mar&a within their work, repetition of a phrase such as “tour de force” ad nausearn belittks both its credibility, and its power. However, there is always one incident, action, or event which reconstructs both meaning and power for such a tired turn of hrase such as tour de force. Emon oP Athens at this year’s Stratford Festival is such an event, nmon is a turgid, problematic play. It recounts a tale of self-destructive altruism involving the weahhy-born and noble-bred Timon. Timon is generous to a fault which leads him to dispersing the sum value, and then some, of his estate. He squanders his estate by being the first of the famous, international playboys giving lavish banquets and extravagant gifts to his supposed friends. When Timon falls upon financial hard times, hisfiends deny him any aid as they have no interest in a sugarless sugar daddy. ’ Thus denied, Timon rages, at the world and all of its human inhabitants, then dies.

Timon in the land of Chalk Board Drawings The staging of Emon is such that it implicates the audience in the events upon the stage. Using the smaller Scale and set-up of the theatre, the stage events draw the crowd into the fray as active participants instead of innocent bystanders. To be critical, the audience members must strive to remain detached from this inclusive style of blocking. Detachment is also ideal for saving face, since inclusion into the rogues gallery of Timon’s Athens is far from a great place to be. -

Michael Langham and his excellent potential that his role offered to him and played it to the hilt. Turning cast have produced the finest of strucTimon’s faiPWeath43 friend, tures in the shape of an excellent I.uculIus, into such a fawning patitheatrical performance. &an was a masterstroke. His eMed Just as the play revolves around the infections, as well as a steamy hut tub tribulations of one individual the scene, gave a whole new level to his performance and success of Stratdialogue. ford’s 7Jmon of Athens revohzs Brian Bedford. Bedford’s Stratford Festival’s gamble of plac- _ around excellence was the motivating force ing Emon of Athens in their lineup which drove Timon from turgid to a paid off huge dividends. From a Director tumultuous tour de force. lbrooding Gamework,

balcony

during the early festive segthe play evoked the image and temperament of Statler from J&n Henson’s Muppet Show. In this jovial world, Apemantus had no pIace nor did he have the companionship of a Waldorf to share his repartee. By the end of the play, Timon would prove to be more of a,mc than Apemantus and thus would deny him a companion. Tom Wood grasped all of the

mentof

Consequently, the play, not a candidate for the feel-good phy of the century, is rarely performed. Such a brooding drama demands much from the director and cast. Namely it demands a brilliant performer to take the complex Tiion and make him believable. Brian Bedford is such a performer. He brings Tinton to life by using every last fibre of his existence. His rage and hurled abuses resounded through every last molecuIe of the intimate Tom Patterson Theatre. Timon is a diverse character who changes from anticabie toastmaster to voracious misanthropist within the scope of the drama. Bedford is more than at home with all of the faces of Timon as he inhabits the role and dominates the stage.

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~vmwmumww RAM, I Floppy hgham’s version of Timon is set ik the jazz era where the super&&&y d clothes, etiquette, and mateMism ran rampant. The costuming displayed the elements of ’20s ++J with double-breasti suits wit natty tMinch cuffed trousers, and wing-tips. The play had a soundtrack which rang4 from Duke Ellingtos to unsettling white noise humming to the sounds of aerial combat. The soundtrack, lighting, and effects aU’ served in updating Shakespeare into more of a modem context. Basking in Bedfbrd’s glow, John Frank+Robbins and Tom Wood also turned in outstanding performances. Robbins, as the cynical Apemanb, sitting aloof in the

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Record Reviews

30, 1991

R’ecord Roundlup~, ’ Sam and Dave - l%e &IX Years ‘This is, in every respect, a flawless compilation: the liner notes, from the pen of Rob Bowman, are exhaustive and insightfu& the remastering and track selection is excellent, and the music is as s&ring and unquenchably passionate as has ever been put onto vinyt A 2karat solid gold soul won. der.” - Paul Done

Aldo Nova - BIiwd On T3ce Bticks “Any narrow-minded fool who thinks that there is no creativity and variety in hard rock should give it a whirl.” - Rich Nichol The IE;eelies - Timefor “~lhkly irre$tible” Weiler

a ti&ess -

Derek

Happy

record culled might pretty

- Loose Fit EP

groove

is unrelenw

the

trance is ever present, and Bez (the Mondays’ singular sensation Deny Terrio on drugs impersonator) must be, although you obviously cannot see him or even hear his maracas, in full effect. In both lyrical content and musical accompaniment, this is as close to vintage Barry White that anyone has come, including Barry himself, in this decade.” - Chris Waters

REM ‘If,

WaterJo Jewish Students Association

Mondays

‘The

Bungwater - ?Yw Ibw of Amy “Heavily subve&ve and plenty funforallthe t-illiterate out there inmusiclan& !r e&werofhsyisthe feel-gd Ubum of the summer.” - f H%FY md

Zeppelin - 5,01ao,m “One sitting through 5,ooO,&XF will induce cacophonous guffaws, the next will have you karaokeing your way along trying out your best Elvis

impersonation. Once the initial phase of amusement has subsided, you can * sit back and enjoy it for what it is, a - Out of Time like KISS, REM decided to damn fine musical effort by six damn four solo albums, and then fine musicians.” Bernard the best tracks onto one, it Kearney sound like this. Actually, that’s silly.” - Trevor Blair (

Lifers Group - fi#ii Group ‘The fact that these guys aren’t rappers by trade hurts the LP, but it also gives it an aura of legitimacy - it’s a reminder that this has a wpose other than financing the pure R se of a new Benz. Despite, the fact that the Gang&a groove is a little worn, Lifers Group manages to scare and scare again. The purpose isn’t to scare a wimpy middle-class white kid like me, though, is it?” - Chank Nolan Ikt Shop Boys - whew me Sm Have No Name ‘The song is a sheer delight; waft after waft of uplifting keyboards, ’ soaring vocals, and mirthful ‘a-ha ha” accompaniment all whip together to secure our saccharine trust.” Trevor

General Meeting

Orchestral Manoeuvres - SugarTa

In The Dark

‘me Kitchens are sounding epic and almost symphonic and make you want to listen to them in bright oaken pad~urs, sipping boilermakers while wearing well-made natural fibre clothes.” - Paul Kowalski CF

“After waiting almost five years for a new album from OMD, the patience of synth-pop fanatics has been rewarded.” - Rich Nichol

(Yep, it’s time again)

took the human race thousands of years to create a Richard Thompson and a Rtimour And Sigh. “It

- Mig& Like A Rose ” Rose, though not one of Elvis’ most cohesive projects, is packed with good songs, gems, the occasional throwaway, and und&puted classics.” - Trevor Blair

Elvis Costello

Surfem - piouhgd “The Butt-hole Surfers progress with this album rather than regress. The band continues to reveal their talents rather than cover them up.” Chris Waters

Thursday, Sept. 12,lBBl at 4:30 p,m. in MC 4040 We are going to have a great semester. You should be part of it!

The Rhinos.mundane

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‘It’s the tension between the various V&n Morrisons - the Huesy gM3grOCk+h~UMbaShdpop ster, and the introsp&ive artiat wJli&makes~&mg~~ uniqw”--PaulDune

‘The Violent Femmes have lifted themselves off of tie canvass; hopefully unlike the champ, they won’tsnapand~it”--J&L Hymens Esq.

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Imprint,

Friday,

August

30, 1991

B13

H)IP. HAPPENlNGS

Now that you’ve either championed your way through registration or fallen meekly !o the freshly paved Ring road, Fresh or not, you deserve a respite. Wednesday, Sept. 4, don your &d’s tuxedo and catch the Hopping I+qpina at Fed Hall, the largest oncampus pub in the land.

can, look north of the “rink” and on Friday the 6th, Fed Hall has an air band contest that will rival the Sister

If you can truthfully admit that have absolutely no idea how to “Smoke on the Water” on guitar you can sure make it look Iike

you play yet

you

of Mercy ‘s last visit to Canada’s Largest Student smoke ring. Think Marty F&E, think Fed Hall, think Saturday, think sold out, think get there early: In your tenure here at UW, here’s a wori you’+e probably never had the opportunity to use in conversation. FREE. If you haven’t heard of the Barewed Ladies, then. you don’t

deserve to hear about Fed Hall’s FREE (till 9 PM, 5 loons after) soiree avec TO’s hottest indie band on Thursday, Sept. 12. Still hying to track down profs to be signed in? Me too, but we all need to eat and we all need to drink Let’s meet at the Bomber on Friday the 13th, trade really bad Jason jokes, quaff down a few chilled libations, gnaw a crusty burger or two, and if we gear the rendezvous around noon, we’ll be able to catch M&e Something and enter the comptitition to give him a last name. So you passed out in the Campus Centre after Rock and Roll night on Wednesday. It’s Thursday afternoon, September 19. You’ve just risen from the dead, your mouth is a forest of wild animals, your hair matches your tussled clothes. No sense in going home now. Trudge back down the familiar stairs to the Shelter, and indulge in some more of the same. If you do, be prepared to work yourself into a sweat-inducing funk frenzy, with Newfoundland% most valuable

largeststudent

amusement park to catch The Bourbon Tabekacle Choir on their vocal roIIercoaster. If you haven’t dropped out of school in s&ok&c dismay by October sth, as a special et before

gift to the Canadian music scene, Thomas Trio and the Red Albino. Ya, Ya, so you think youxan sing. Prove it. Bomber. Friday the 20th. I dare you Eo sing ‘MacArthur Rd.” D’ya remember that word FREE? Look it up in your pocket Webstem, and on the 26th (that’s a Thursday) if you make your way up to Fed hall before 9, give the +orperson the proper definition and youll be able to pass through the gates into Canada’s

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Imprint,

Features

Friday, August 30, 1991

IMPRINT:

Your official student newspapei by Dave Thomson Imprint staff

help produce Imprint. Anyone can volunteer; no previous experience is necessary. Veteran Imprinters are always around to assist you with problems or help you learn about a different area of the newspaper. While the staff does attempt to cover events and subjects that they

What is Imprint? How did it get here? What qualifications do you need to help? The answers to the above questions and many others are located in the Campus Centre, room 140 (beneath the Federation of Student’s offices). Imprint is the official student newspaper of the University of Waterloo as a result of a referendum held on March 21,1979. Imprint was started in late 1978, due to the administration shutting down the feel are important, that is an arbitrary previous student newspaper, the decision on our part. If you think Chevron, which had alienated most there is some important subject that students after ten years of propagatshould be covered more regularly in ing an extreme Marxist-Leninist the paper, we invite you to come on perspective in the paper. down and let us know. At that time, the students also We can’t possibly cover every voted to submit a fee each term to .event that happens on campus since support the operation of the paper, most writers are volunteers, and thus which now amounts to $4.10 (includcannot be forced to report on events ing GST). It appears on your fee they are not interested in. A writer statements along with all the other who happened to be pro&oice, for incidenti and tuition fees. example, could not be forced to As a student newspaper, Imprint is report on a pro-lifer’s protest. written, produced, and run almost What this boils down to is an ackwholly by student volunteers. The nowledgement that Imprint cannot only full-time staff ;)re the General be representative of all students. Production Manager, However, the paper becomes more Manager, Advertising Representative, and the representative as more people work Editor-in-Chief. Nearly all of the staff, for it. To use a cliche, lfvau ‘re ntlt p~rf editorial board, and the Board of uf the solution, you k part of the pruIXrectors are student volunteers. blern. According to Imprint’s policies There are plenty of opportunities and procedures, ‘Imprint is democfor you to become part of the solution. ratically run by, students and Currently, the paper is divided into dedicated to serving students. The five different sections which can staff of the paper, accountable to stun always writers and use new dent opinion, determines the policy photographers. The News section of the paper.” attempts to cover most major onWithout the student volunteers, campus events, and some off-campus there would be no newspaper. That is events that involve UW students or other student-oriented issues, such as

“if you’re not purt of; the solution, you ‘re part of the problem ”

“imprint is dedicated to -serving stu&?m”: why we’ make every attempt to encourage students to volunteer whenever they have the time. You do. not need to submit a portfolio or resume to volunteer to

underfunding PlUk

prbests

The Sports section concentrates mostly on the popular varsity sports (basketball, volleyball, football, and hockey) but does include other, sports such as rowing, cross-country running rugby, soccer, and many

others. The final part of the paper is the Arts section, which contains reviews of plays, albums, movies, book, and concerts as well as the infamous rating @de. The musical tastes of regular arts writers tend to be toward alternative music, but don’t be afraid to come.down to the office in search of top-40 records to review, Writing or taking pictures for any of the aforementioned arts of the paper is a great help, but 3: ere are also valuable contributions to be made in less-visible areas of the newspaper. People are also needed to help with the actual “pasting-up” of typeset articles, proofreading, and assisting with the business side of the paper. There is no definite time commitment riquired; if you volunteer for somewe simply ask that you do

%cmtinud to page 17.

Above: Joanne posing for this photo, pretending copy on a light table. Below: Trevor is exhibiting that morniryl-and-we’re-natleve~~~-to~~i~~ne” production night.

to layout I

Ws-almost-Z-in-thegaze on Photoa by Dave Thomson

at Queen’s

Recently a Science dr Technology page has been added to reflect the importance of new research in this field at IJW and elsewhere+ The Features section.is usually a one or two page piece of opinion/analysis of various issues which in the past have ranged from abortion to SDI to military ,flights over native lands in Newfoundland.

CKMS : no an~noying commercials by Terry Walters, CKMS-FM Music

co-ordinator

It comes from a cornfield

on the north camwatts of power. It’s u can find it a 94.5 on

thoughts and ideas of the on-air programmers as they make their own musical sel&tions. The commercial-free nature of the station allows us to program for the listener instead of programming for corporate sponsors. This leavers a question of funding. While some

programs are sponsored by local businesses and community members generously donate funds, most of the money comes from students and community mimbers. Undergraduate students are asked’to pay a

$&(I0 fee toward the station (a measly sum for the variety the station provides). Most of the budget is used to keep the station and it’s equipment operation and to pay the skeleton crew of part-time staff. The vast majority of

Joel is the first person on the air each we@c at 6 a.m. Monday mornings. The searly hours occasionally have an effect. Photo by Dave Thomson

the programming that you hear is produced by volunteers. It takes about 200 volunteers to keep the station running smoothly. and there &e a variety of ways for you to get involved. The news dep&ent needs people to write, pro-

with requests or just t Comments, criticisms (yes, we can take it) and ideas are appreciated. If you dint to get involved, or just want more information, you can call 886-2567 or attend an orientatidn meeting Tuesday, September 10 at 830 pm. in the$mpus centie. Liberate your earn!

Features

Imprint,

Friday,

August

30, 1991

B17

is hereto servethe students it One should be warned, however, the Imprint is an addictive organization Why? Because it can be a lot of fun! Aside from just putting out a newspaper, the staff often socialize together, and the office is two steps from the Bombshelter. But the social aspects are not the only benefits. There’s pizza on production nights, doughnuts at meetings, an infinite supply of coffee, and of course great satisfaction derived from see% your efforts published. If you are shy or for some other reason don’t want to come down to the office, you can mail us your art&s through on-campus mail, Canada Post, or by electronic mail to imprint!%Wservl. If you know about a scandal or have a good scoop about the Just remember: we are not 0 mniscient. Feds or administration, etc, it helps to give Imprint a calI at 888-4048.

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Features

August 30, 1991

Friday,

The .Student Life Centre: by Peter Brawn Imprint !9taff This fall, the issue of student recreational and athletic space will be back on the Federation of Students’ political agenda. This year’s executive have begun the processof planning a student life centre. Those new to the university or arrivingbackafterbeingawaymaybe surprised at the ferocity of debate on this topic once politicking t@ns in earnest; but, you size, we went through all of this last year. This feature will serve to acquaint you (or refresh your memory) about the infamous Student Life Building referendum led by 1990-91 executive members Tess S&n&i and John Vellinga. The $12 million proposal wasdefeatedbyatw&cmnemargin in the November 1990 vote amidst accusations of m~proper campaign-

ing for the official YES side by VeIlinga and Sliwinski John Leddy, Ml-92 President of the Meration of Students believes that he and the whole Pederation have learned from lastyear’s debacle and plans to leave out no student groups when looking for input on this edition of the student life building Oopsl That’s the first thing bddy

l-k largest student expenditure in the ’ history of VW would correct; it’s not “the &de& life buil&qM - at least not the capitalbed variety of 1990-91, -but a Stxdent life centre or just student cenbe. Here’s a look back at the Student life Building referendum of last year:

THJXUN:

Vellinga and Sliwinski continued a process began by Dave Readman, Federation president in 198940, who examined student surveys taken by previous Fed administrations and compiled these into parameters for the architecture firm B&bin Brook Beynon. when the firm returned a prelidnary design in September, 1990, it bmme clear that students would be deliberating on the largest student expendihw in the history of the University of .Waterloo. The design had three plans of different size and cost The s+called Scheme A was projected to cost $12 million and would in&de a 200metre indoor track with infield activity area and 3,OOO-seat viewing gallery, along with additional meetingand actMy rooms, squash courts, and an athletic injury clinic.

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Accord@ to the F&‘referendum guidelines, campaign@ must not occur before the official start of the -Pa@* Sliwinski defended VeIlinga to Imprint saying that the executive were merely expressing an opinion in endorsing the SLB. However, she refused to consider this endorsement to be campaigning. She admitted that the Vellinga and herself would be speaking for the Yes side, but only because they were the people most familiar with the architects’ design.

The other two were add-ons to this basic design, but could notbe built on later. Scheme B included a 5&metre swimming indoor swimming pooland seating gallery built in a floor below the track and ha;d a projected cost of $15 million. Scheme C contained all of the perks of A and B plus another section joining the PAC to the C&~pus Centre. This Student Life Centre would be an enlarged version of the CC with space for the Federation offices, CKMS (Radid Waterloci),JmpriM, meeting rooms, lounges, and retail space. This granddaddyofaprojectweighedinat $21 million Wanting to appear the reasonable potiticjans, Velhnga and S&vinski of course chose the most modest of the proposals: the bargain-basement $12 million version The location for the project - the large green space between the PAC and the Central Services Complex (thebuikbgwithtfiesmok@ack) was chosen because of its vicinity to existing recreational facilities, placing it “functionally at the heart of the campus.” The architects’ report also cited the high pedestrian traffic in the area. The remaining grassy area between the SLB and Central Services would be landscaped and named Alumni Green to create a “more formal ceremonial open space here which would. . . serve as the centre for graduation alumni pxercises, gatherings, and other large ceremonial @kiip.” (Aside: the majestic and ceremoniaI smokestack - it’s pretty b& you can’t miss it was mysteriously a&t from the architects’model. “Daddy, what’s that large phallic symbol beside you in your graduation photos?“) _I.

FINANCING

The SLB lan called for students to contribute l 9 million of the total $12 million construction cost. The &mining $3 dlion had been committed by the university adrninistration. This $9 million mortgage would be paid off by raising the $10 athletic facilities fee by $10 increments until it stood at $40 in 1993. T% nonrefundable fee was put in place in 1982 to finance the construction of the Columbia Icefield. Although the mortgage for that building was paid off early in 1990, the Federation, bough the Universitty, continued to collect the fee from undergraduate students. The terms of the 1982 fee referendum bound the Feds to use any excess of money, $377,000 by the fall of 1990, only for future recreation or athletic projects. The Brisbin Brook Beynon feasibility study sapped about ~$10,000 from this money. M&r the defeat of the proposal, the Peds stopped collecting the fee (starting in the winter term, 1991). /

The referendum had announced before a students began to raise the Meration’s handling

barely been handful

objections to of the affair.

The first objection came after the Heration placed an adver&ement in’ its annual student handbook contaming quotes from VeIlinga that encouraged students to’lrote YES for the Student tife Building!” At about the same time (early Sep tember), the Campus Recreation handbook was released containing a similar ad.

THE C@W!NGN Tuesday; Oct. 30 marked the opening of the campaign for the November 21-22 refe=ndum. It was then the pitching began in earnest. “There are so many reasons why we need this build@” said Michele Hahn of the YES committee. “Studies have shown that we have one of the most active student bodies, but one of the lowest amounts of recreational space per student in the province.” Other justifications of the need for the expansion was that the Physical Activities Complex is occupied onethird of the year with nonrecreational activities such as exams, career days, and conwcation.

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Imprint, Friday, August 30, 1991 I#19

an+l future A brand new-plan

PteSeilt,

This year’s executive - President Vice-President IOh hddy, (Operations and Finance) Steve Millard, and Vice-President (University Affairs) Lisa Brice -feel that they can learn a lot from last year’s carnpaign in the planning of a new effort. And it shows. Their preliminary plan, on the surface at least, shows that they have incorporated corrections to most if not all of the criticisms of last year’s referendum.

THE S BCOMMITTEES Subcommittee 1consult

fees, external sponsorship or corporations, and administration

There will be no shortage of input from university administration and staff, student groups, and other

sort.

The main floor of last years SLB, featuring activity area. , The committee members, all involved with varsity athletics or campus recreation as players or administrators, stressed that the facility will also provide a venue for the UW varsity Indoor Track team, which now has to practice with the Kitchener-Waterloo Track Club. But the track team would not need exclusive use of more than a couple of tracks at a time, so the facility could provide a balance of individual recreation, competitive team sports, and varsity athletics. Other YES Committee members stressed how this facility would relieve overcrowding of club space and campus ret activities. Also, any student who paid into the building (25 years worth of them) would automatically be given a lifetime membership to the facility. On top of this, the 3,500 seat@ gallery for the track could be used for other events, according to the YES Committee, though

they were not sure if the track be designed for such

surface would multi-use.

DISSENT The details of the proposal were far from the only things being discussed during this campaign. Some students were upset that the Federation had gone to an outside architecture firm first without seeking design input from on-campus departments such as Environment and Resource Studies, Urban and Regional Planning, and the School of Architecture, one of only a handful in Canada. “It seems that the expertise we have here on campus has not been used well,” said ERS Professor John Kay. “(The process) leaves me scratching my head and wondering whether this is just a glorified sports complex” Sliwinski responded by saying that the referendum proposal just contained the parameters of the complex, not a solid design, &d that input from other sources could be incorporated into the design phase that would have followed a YES result on the referendum.

the track and

will

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and shrinkwrapping

It wasn’t even close. of an unfair

campaign, student opinion flew against the proposal, defeating it by a two to one margin. In a near-record timout, 27.8 per cent of eligible undergraduates voted, of which 65.6 per cent said no and 33.9 per cent said yes. The most lopsided results and the highest turnout (44.8 per cent) came in the engineering faculty where 83.5 per cent voted no, Only the Applied Health Studies / Optometry poll voted in favour of the project, 63.8 per cent yes to 36.1 per cent no. “I was surprised by the lopsidedness of the results,” Velhnga, once Engineering Society president, told Imprint. “From the feedback I was getting I expected something closer to 60 to 40 voting no.” Vellinga left future administrations with sotie questions, though. ‘What message did the students send? What do the students want?” Sliwins~ began the process of answering these questions by developing a preliminary survey about student wants and needs with regards to recreation and athletics.

The referendum is structured SOthat the maximum number of students can be on cumpus

-2

‘z 1i

20%OFF

THE RESULTS

Fuelled by perceptions

Associate Provost (Student Aff&) Peter Hopkins and will contain a veritable who’s who of campus government including two more Associate Provosts; the Fed executive; Graduate Student Association President; Campus Centre Manager; representatives from the Campus Centre Board, Plant Operations, Alumni Affairs, Food Services, Athletics, Campus Recreation; society presidents, and reps from the church colleges and villages.

of the

with student

STtJDENTcENTRECO-EE

related options. A Student Centre Ad Hoc Committee will be struck to look into the feasibility of building a student centre of some

ment or corporations. and fundine from the u&ersity administrations: The Design/Menu Subcommittee will design a floor plan for the proposed student life centre which details a menu of the components of the building which would be based upon the report of the needs subcom-

DON’T GET q CAUGHT WITH 23 “FROSH WALLS”. .

Starting on the week of October 28, the Committee will set up information booths to present their ideas for a fxiliy to students and to gather SW dent opinion. tised upon feedback from students, the Committee dl decide by November 3 whether to go ahead with a two-phase referendum ~tnrctk116d so that the maximum number of students can be on campus for forums and information sessions. Normally, students on work terms must base their choices on brief dout sheets describiig each side’s position. If the Cqmmittee

decide

to go

ahead, the Phase I referendum will takeplace on November 26 and 27 on .the same ballot with a resolution about the University of Waterloo withdrawing from the Ontario Federation of Students. The Phase u vote br the students who did not vote in Phase 1 vvill take place on January 27 and 28,1992. If students approve the project, a building committee will be struck to begin phming the building

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B2U Imprint, Friday, August 30, 1991

Features

WPIRG:, For all off your public by Waterloo

Public Interest

c&up staff

Research

WPIRG fS A SALOIV No, we don’t do hair. Sal&s are usuaIIv associated tith the turn of the. cent&y and d&s Iike New York, Paris, Zurich, and Berlin. [n those days, artists and intellectuals would assemble regularly in someone’s parlor or apartment to discuss the rapid changes taking pIace in the arts, the sciences, and the balance of world power. Today, here ,on our campus, the WtierIoo PubIic Interest Research Group (WPIRG) would like to revive

the lost art of conversation. Not preachy, self-indulgent, self-centred &ning offat the mouth; but a thoughtful forum for dtiovering many paths leading toward improving the state of the world.

“No, we don’t do hair”

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AND SAVE BY PHONE WE DELIVER

There is a lot of good thinking going on out there, but sometimes it just gets trapped. Trapped in 21single discip&ne, in the workplace, in a small and exclusive. circle of friends. What we need to dq is become acquainted, share impressions, and information, so that our ideas can intersect and be more useful to ourselves and thereby, society as a whole. Conversation first, information

The risk in this process is that we open ourselves up to being persuaded by those we thought to persuade. But then, that’s participatory democracy - extending the circle of debate as widely as possible so each of us can articuhte our views, put our views at risk, and cuhivate clarity of thought and expression, and sound judgment.

SecOnd.

Just imagine what the by-products could be.

It is only through conversation we can come to know

that

Interested in partitipathg? Come to one of our h&-ho& intr&luctory salons, all beginning at 4:30 pm in Davis Centre room 1304: Wed, Sept mm, sept WTed, Sept Tht& sept

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better. By explaining our ideas we can better shape and define them,. articulate them, and come to understand what we know and what we stillneed to know.

‘Never doubt that a smaII group of thoughtful, committed citjzens can change the world. Indeed, it’s the only thing that ever has.” - Margaret Mead

PARTICIPATE

IN WPIRG

WPIRG WorkGroups are comprised of undergraduate and graduate students, and community members who share common concerns and the need to explore, define, and express their concern through research, education, and action

I ’ ’

Active WorkGroups:

Education Outwach Workthup .. . . is networking local high school &vironmentaI groups and coordinating joint projects.

Elerttic Green WorkGroup. ,. . . . is producing our radio show that airs every Monday at 11:3Cl am on CKWR (98.7 FM) and every Tuesday at 5:OO pm on CKMS (94.5). &cent shows have dealt with rain forests, cornposting pesticides, vegetarianism, and Brazil.

“Rteverdoubt that Q small group. changethe-world . .

Jams Bay WorkGroup. . . . . . is opposing completion of Hydra Quebec’s mega-hydroelectric project and participates in the investigation of alternatives in energy and lifestyle.

a vl. ‘.. PiI@ hJ

Junk Mail WorkGroup , I . . .. is working with thk business community to develop methods to reduce the amount of waste generated by mass IIdngs. SuperMarket ibur WorkGmup . . . is orchestrating an exploration of &al supermarkets and the impacts our buy-iii& habits have On people and the environment.

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Mk?ls WorkGroup. . . . will explore men’s movement reverse the cycle characterizes behaviour today. a

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WPIRG Undergraduate students who do not wish to SUDEKM WPIRG maw -rr - ---, obtain a refund of their $3.28 fee during the first three weeks of re@stration. Btig your student card aid fee statement to the WPIRG office.

-coverage and reporting

E NTERTAINMENT

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140

I \

Features

U W disseminates

knowledge

by Bob Whitton for WW News Bureau

If one of the major missions of a university is research the discovery of new knowledge - an important correlative function involves disseminating such knowledge. Much +ssemination takes place through the teaching function; students receive new knowledge as they proceed to their degrees, and take it out into the world with them when hey leave. Knowledge also spreads when researchers publish reports in scholarly journals or books. The latter - dissemination through books is the main concern of the University of Waterloo Press, a service universities the world over provide for campus researchers. The UW Press consists of a small office area on the third floor of the Dana Porter Library. The staff comprisesGloria Smith, coordinator, and a part-time assistant. Smith’s job is to serve faculty seeking to publish books that embody the fruits of their scholarship. Often a single book summarizes years of activity. The UW Press is in no sense a major Canadian publishing operation; still, 102 books now bear its imprint, more than 60 of which have been published since Smith began coordinating the program in 1985. “Many faculty members make their own arrangements with commerrial publishers,” she says. “We are here for those who want a closer involvement with the actual production of a book. We offer a variety of services - editing, liasing with our own graphic services department tihose members do the layout, cover, specify type-styles and so forth, and computer software staff members who help automate the typesetting. Their efforts make it possible for manuscripts tq be typeset directIy from authors’ or editors’ diskettes.

Gloria Smith amongst

some of UW Press’ publications=

“As well, we work with commercial bookbinders or printers, whatever is needed to get a book in print. All’ books are printed in Ontario, including those that feature highquality colour illusti~tions and photographs. Fhall~~ once a book is off the p&es, Ge &fer marketing se&es the world over, both directly and through stores, agents, and library serViCeS.”

Marketing Smith says, covers everything from arrarigins authors’ appearances on television and radio interview shows (including such national network programs as Good Morning America on US television and Peter Gzowski’s Morningside on CBC radio) to coaxing book&or= to stock a book while she would not claim her efforts are always as high-powered as major publishers,

Photo by Chris Hughes books that can be targeted at smalI special- . interest audiences often receive better attention from the Uw Press, Smith ins&. ~Most books bearing the UW Press imprint are scholarly or technical; alI have a UW connection - acampus person was the author or editor. Publishing costs are usualry met through granting agencies or sponsors. The budget does not permit it to finance publications. This is not unique - commercial publishers aIso rely on public support when they agree to bring out a new book. The UW Press operates on a cost recovery basis. AH expenses including part of Smith’s salary are met through book sales of journal subscriptions (the Press is -into’ journal publishing as well). It wiIl not publish a “vanity” book, where the cost is paid by the

dadto ,&eYOUX

author. When Smith gets such a request she will suggest that the author self-publish. “The other side of the self-publishing coin is that it has worked very well for some faculty members who have elected to do so,” she admits, ‘But we have to be careful. If the university imprint: is to go on a book it has to meet certain standards. Though we do not operate with an editorial board, manuscripts are subject to peer review and are referred by both internal and external expert%” The system works; last year 14 current UW Press titles got highly favourable reviews in 40 international journals. Some books are proceedings of conferences held on campus, edited by an involved faculty member; others are co-authored or coedited with experts from other universities. “As long as a book is judged academically sound and funding is there, we will work with authors or editors to publish it,” Smith promises. WW Press books include both paperbacks and hard cover volumes. They sell for as Iow as $15 and as high as $60 each. Some have had press runs of as few as 500 copies and others, as many as 5,000. Some of the more successful have been reprinted several times. “Generally, we prefer as small an initial press run as possible,“says Smith. “We have a concern not to be stuck with thousands of road. unsold copied five years down the But if a book sells well and we have to reprint, it’s not all that expensive; we have the typesetting, layout, photographs, arhvork, even the printing plates.” Smith says one of the first books she was involved with was The Art of Alice Munm, edited by Prof. Judith MiIler of Renison College. Renison is the Anglican church college affiliated with LJW. ‘7’he university had hosted a conference on Munro and her work,” says Miller, “and I was concerned thatif anyone was to publish the proceedings of the conference it should be the UW Press. The,university has a very strong arts faculty and publishing the book on carn-

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Features

Imprint,

Friday,

Aug

t 30, 1991

823

shared bv camr>us researchers . pus seemed a way to stimulate recognition for its members.” She says the book sold well wherever Munro’s writings are popular, including Europe and Australia. ’ Another major success has been theAf/aof the Breeding Birafs ofOntario,sponsored by the Federation

of Ontario

Naturalists

and

the

Long Point Bird Observatory. It has become a “must” for persons interested in birds and the natural history of Ontario; it is so highly regarded some avid birdwatchers have purchased as many as three copies - one to keep at home, one for the cottage, and one to carry along with them in their car.

Michael Cadman was a senior editor along with Paul 3kgles and Fred Helleiner, professors at UW and Trent, respectively. More than 1000 volunteer naturalists contribyted to the project. One of the most heart warming UW Press stories involves Sanctuary, edited by Prof. Donald MacKay of UW’s school of archikcture. It’s publication was sponsored by the Alzheimer

Society. Sanctuary tells how to plan a facility for the

care of Alzheimer

victims. There are scores of

books about the disease itself and on how to treat patients, but nothing previously on the physical design of a treatment centre to meet their needs. This book has been much ’

in demand all ouer the world and has enjoyed strong sales in the Utited States (particularly in California), as well as in Canada. According to.Smith, 60 per cent of all UW Press sales are outside the coy&y. some faculty members bring books to the UW Press because it enables them to keep in close touch with every stage of production; for example, Kit Kovacs, UW biology professor and co-author with David Lavigne of Guelph of Harps and&&: Lw-br&itig Seah of zhe Northwest Atlantic. ‘The university has talented artists and design&s and by using them we were able to participate in decisions as to photographs, colour-separation problm, and so on. 1t became an. interactive process/ Koya? _

recalls. Prof. Hildi Tiessen, dean of Conrad Grebel College, the Mennonite church college on

campus, had a similar experience with Liars and Rascals, a collection of Mennonite short stories. Though she and her husband Paul, a professor at Wilfrid Laurier University (WLU), operate their Own publishing company (Sand HilIs Books), she brought Liars and Rascal to Smith. “Sand Hills is in a diie?ent publishing area so we didn’t do it ours&&’ she explains. “Yet I wanted to keep in close touch with the hook through all stages and it’s difficult to do that if your publisher is miles away; fur in&an&n one occasion we noticed ascratch on the printing plate and got the pressman to send it back for a remake. This we couldn’t have done with a more distant publisher.” Tiessen feels the Uw Press, because of ik smallness, may be more venturesome, more creative long-established than la%e, pubIishers. ‘These days, when technology is chan@nE our approach to publishing s&dramatic& we need new attitudes within the industry,” she contends. Two new, top-notch bo&s have just been published by the UW Press: Constm’ng Carolinian Canada deals with the flora and fauna of the hardwood forests that spread from the Carolinas in the United States to the southern regions of Ontario. . . forests said to contain more endangered species than any of the other forest and wilderness aieas on the continent. Its sponsors include the World Wildlife Fund. The second is Canada and NA?‘D, sponsored by NATO in association with the WVWLU ‘Centre on &reign Policy and kiemlism. It is an important coIlectlon of essays by major scholars and foreign-policy experts; its editors are Margaret MacMillan, of Ryerson, and David Sorenson of Denison

uniuersityA source of considerable a+ the y,f+,$ the

pride to Smith

scholarly * _’jo-1,.

Johnal of Applied R4ureatim Rewmrh, edited by Prof. &ran Smale of uw’s recreation department (an academic department). “We’ve doubled our subscription list since we moved it to the UW Press,” says Smaie. T’he Juumal has also been typographically upgraded; it was published earlier under the title Rtvreatiun Rmarch Review. We’re even getting better missions.”

quality

manuscript

sub-

TheJournal is funded by Ontario’s Ministry of Tourism and Recreation; it disseminates research findings

both to academics

and those

in the recreation and leisure field. “Just keeping track of subscribers had been a wor&ome job,” Smale notes. ‘Turning this over to the UW Press has been very helpful; we have more subscribers and they receive better se&&

Losing Sport & Leisure . was a blow’ ’ Smith regrets deeply that anqther lour&, Spcrrt and L&w, had to stop due to f&n&l cutbacks in UW’s Faculty of Appliti Health Sciences. “We would very much like to add another journal to our list,” she says, “thotigh publishing them involves a greart deal of work. Still, losing S~H and L&we was a blow.” A book by David Winter,, kinesiology professor, Bbmechani~ and Mu& Control of Human Gait, has found a wide market among orthopedic surgeons, physiotherapists and others involved in the healing professions. It is in its-third printing with a revised edition in preparation. ‘Ym sure there is one in every Shriner’s hospital on the continent,” Smith SW* “I published an earlier book on biomechanics wi@ a commercial publisher,” Winter recalls. “It was a textbook for undergraduate students, whereas the UW Press book is for a much more limited audience ._ . ** - lab researchers, essentially.

“Nonetheless, I’ve been very favourably impressed with the way the Press has gone abotit marketing it. They followed through on my suggestions as to where marketsmight be found. To the commercial publisher, my . earlier book was at the bottom of the totem pole - a very long totem pole. The flyer they produced for it was dull, and even they failed to circulate it to places where I knew there would be interest. I was disappointed.” A large book by Dr. William Lyle, optometry professor emeritus, had also had tide acceptance among members of the health care professions. It is entitled Gemtic Risks and deals with genetically-related health problems that can be diagnosed during an eye examination - diabetes, for example. It is currently in use as a textbook in optometry

schools.

A number of titles published by the UW Press including the Winter book are in use as texts. One such & &~.vY& and Problems in Risk Communicath, one of the most popular books ever prepared by UW’s Institute for Risk Research. fiurs and Rascals is yet *another. Over the years, G&h has be&me a knowledgeable first-hand observer of the publishing industry and as well, something of a wellspring of anecdotes. She is fascinated by the f&t that a book entitled FcrelAir Explosiuns, put out 1by UW’s Sotid Mechanics Group several years ago, undergoes new waves of popularity every time a space disas#er or an -aborted shuttle mission occurs. Immediately thereafter Smith gets a rash of requests for additional copies. Unfortunately, the book is out of print. After six years on tie job she still feels her situation is an “ideal” one. She is continually anticipating a best seller or at least another “captivating project” just around the comer. We think the Press is very successfut” &e says* “Salesare good, reviewers have been great, andfacultymembersseemtoenjoy~~gparc of the production team.”

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, I324

Imprint,

Friday,

August

Features

30, 1991

UW campus provides from UW News

‘While

Bureau

visitors

of reasons,

The University of Waterloo is, in itself, a tourist destination with museums, art galleries, gardens, and placid picnic areas where visitors can &et back to r@ure and enjoy the antics of the ducks and Canada geese beside Laurel Creek and Columbia Lake.

come for a variety

many

come

simply

The

enjoy the surroundings,” says Marlene Miles, UW’s community relations co-ordinator. “The university is a pleasant place to come and visit and there are many things for People to see and do here - and most of it is free,” she says. JLIII~US maps and self-guided walking tour brochures make it easy for first-time visitors to get around, she adds.

and Games