REVIEWS Striking television associate pro- ducer Rick Hoogendoorn waves to passing motorists, and gets honks of support in return, on picket line at Vancouver's CKVU. The mem- bers of the CKVU Employees Association, a Confederation of Canadian Unions affiliate, face a particularly anti-labor employer in their fight for improved wages, reduced wage disparities and tenure increments: station manager Barry Dugan vowed last week to fire all 180 employees, a comment the station was subsequently forced to withdraw. Association president Chuck Shewfelt praised other labor groups, including B.C. Fed- eration of Labor affiliates, the National Association of Broadcast and Electronic Technicians, the Newspaper Guild, the Teamsters and Bakers Union for their support. “Flying pickets’’ have dogged scab camera crews hired by CKVU dur- ing the strike, while other unions have refused to deal with the scab crews. Employees are seeking an across-the-board nine-per cent wage hike, a 10-per cent increase for bottom salaried workers and yearly increases for employees with more than four years expe- rience. The company has refused to discuss the latter issues. Calendars abound at this time of year but before you even consider one of the others — or even a freebie from your credit union — make sure you save a space on your wall for the Centennial Labor History Calendar for 1986. It’s a first for Vancouver, a calendar with archival historical photographs and accompanying historical notes as well as smaller notes beside various dates indi- cating the year in which events of signifi- cance in the labor movement took place. Produced by the Centennial Labor History Project, established to mark the labor history of Vancouver’s centenary in 1986, it is beautifully designed and printed with large format photos and the days marked in big five cm (2 in.) squares. There are a few minor inaccuracies — the day in 1938 when the single unem- ployed occupied the post office and art gallery was May 20, not May 11, for example — but they don’t mar what isa 818868 Centennial Labour History Calendar 1986 Centennial Labour History Proje Calendar chronicles city’s labor history fascinating historical outline, arranged according to the main issues of each decade. It will be something to hang on to even beyond 1986. Best of all, it sells for a mere $6 — and there are bulk discounts available for trade unions and other organizations wanted to order a number of copies. The Labor History Project has also produced a series of historical postcards, carrying on the tradition of the 1930s when postcard photos of strikes and other events were sold to raise money. The eight cards, covering the period from the fight for the eight-hour day through the post office sitdown to the Solidarity events, sell for $2. A series of history highlights is also available from the committee for free. Orders can be sent to Centennial Labor History Project, 111 Victoria Drive, Vancouver, B.C. V5L 4C4. Mail- ing costs are $1.25 for the calendar and 80 cents for the postcards. 10 e PACIFIC TRIBUNE, NOVEMBER 27, 1985 Recording artists against apartheid SUN CITY — ARTISTS UNITED AGAINST APARTHEID. (1985 Man- hattan Records). You can’t buy me I don’t care what you pay Don’t ask me Sun City because I ain’t gonna play... Sun City is the Las Vegas of Africa, an international playground for the well- heeled tourist, a smorgasbord of gambling casinos, showgirls, ‘top’ entertainment, and all the pleasures money can buy. But hidden beneath the neon lights, the glitter and the gold is the brutal face of apartheid upon which the foundations of Sun City are laid. © Those who go to Sun City and those who entertain there are participating in the big lie that is Sun City. People like Sinatra, Rod Stewart, Linda Ronstadt. . have sold out to apartheid simply to line their pockets with cash. It’s time for some justice it’s time for the truth We've realized there’s only one thing we can do... The Sun City Project was initiated by Little Steven, former guitarist with Bruce Springsteen. After returning from a trip to South Africa, Little approached musicians to make a record in support of the anti- apartheid movement. The result is Sun City, an album in which over 50 artists have taken part with performers are diverse as Springsteen, Miles Davis, Linton Kwesi Johnson and Pat Benator. Most important is the music on the album. From the song “Sun City” with its clear message and infection music, to the African rhythms and chants of “No More Apartheid”, the record is an exotic pot- pourri of musical styles. One of the most effective songs is ““Revo- lutionary Situation” featuring news takes and taped speeches layered upon a driving beat. We hear the voices of Nelson and Winnie Mandela, Bishop Tutu, and P.W. Botha. In one passage Reagan tells how his “construc- tive engagement” policy is leading to a peaceful transformation in South Africa. In the background the sounds of barking police dogs and police shooting demonstra- tors is distinctly heard. Records Constructive Engagement is Ronald Reagan's — plan Meanwhile people are dying and giving up hope This quiet diplomacy ain't nothing but a jokexe In the 1930s prominent members of the American arts community united to show — their support for the Republican govern- ment and the Spanish people in their strug- — gle against fascism. These artists protested against the then American government’s policy of complicity with Franco, Hitler and Mussolini. Today the parallel is similar. Artists United Against Apartheid are supporting a people’s struggle against fas- cism. They are also protesting an American government’s compliant policies. The artists who took part in this project are reflective of the increasing world-wide condemnation of apartheid and the demand for effective actions against it. Unlike the Live-Aid project, Artists Uni- ted Against Apartheid take a determined stand, not only against an injustice but also against the political sytem that fosters it. They openly condemn the Reagan adminis- tration’s policies. Many radio stations have been hesitant to play the Sun City record. Claims that it doesn’t fit into “our programming” are becoming common. The real reason is likely political pressure and a fear of playing any- thing “too political”, i.e. critical of U.S. policy. Despite this, Sun City is rising up the charts. The artists have nade a tremendous contribution, not only for raising people’s awareness but for combining it with great music as well. When people of different politics, reli- gion, or race unite for a democratic-cause it can best be described as a true expression of — humanity — that is what this record is. — Paul Ogresko