The event issue 091 28 10 1998

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Who says there's no such thing as a free lunch?

Here at the Event we're out to prove them wrong.

By dint of long effort we have managed to acquire two sets of Spiritualised stuff to give away gratis .

The lucky winners will get their three studio albums. a Spiritualised t-shirt and a gigantic poster with which to deck their rooms .

As always. there's just one catch: you have to engage your brain for approximately one millisecond in order to answer the easy question .. .

en, Spiritualised's singer likes to be known as Jason Spaceman. What is his real name?

Answers in the competition box in the Hive or to the Concrete office by next Wednesday.

THE EVENT, WEDNESDAY, OCTOBER 28, 1998

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Ylln Ylln Ylln

Coacrete: PO BOX 410, NORWICH, NR4 4m 'I'EL: 01603 250558 FAX: 01603 506822

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~ [@.~~rv® ~ra erriQl]dQ ~~~ Q1Je~ H Guinness. This is the story of Arab Strap as unearthed by l'llom DWIII

ailing from darkest Scotland, Arab Strap, and in particular the two big cheeses Aiden (Hairy Arab) and Malcolm (Ginger Arab), are a nononsense band with a nononsense approach to life. 'We met through a cocktail of drugs, women and booze," explains Aiden. "We shared everything and grew to love each other through that."

Thus Arab Strap was born; effectively a student lifestyle but without the degree at the end. lt says something for Arab Strap's growing prowess that Belle and Sebastian lifted the group's name for their album The Boy With The Arab Strap.

"Stuart Murdoch (Belle and Sebastian's singer] heard the first single and came to watch us play," explains Aiden "He wanted to know what an Arab Strap was and then named his album after it. I take it as a compliment."

"Stuart's a cheeky wee c**t," interjects Malcolm.

Hard talk - so any chance of a juicy feud between the two bands? "No, no. I like some of them, but I won't say which ones."

However, this still leaves us baffled as to the definition of an Arab Strap. "it's a marital aid. Keeps your dick erect." explains Aiden subtly.

And do you ... ? "Yeah, I've got one."

Arab Strap's music has been described as poetic and sophisticated, though they remain candid about their influences: "There's a guy in Viz called 'The Man in the Pub - He Knows the Score' whose logic inspires me to a certain degree," explains Aiden helpfully.

Pub logic aside, Scotland's popular beat combo of the moment can be described as pretty dark.

In a recent interview Malcolm decided that his

funeral won't be much fun because he's "going to burn in Hell". His outlook is, in true Arab Strap spirit, essentially pragmatic: "You've just got to live through what you've done, and if you've done a few bad things then you're going to burn."

Hmm. cheery, although Aiden attempts to lift the gloom: "I always thought hell was for rapists, murderers and racists. I don't think you fall into any of those categories. Malcolm."

This typically matter-of-fact attitude extends to their commercial activities. Remember the Guinness ad? "They offered us money and we

though they said themselves they were hellbound.

Alright, what about £20 to play my mate's wedding? "Have you seen our video? Ooh dear, it's set at a wedding and if you see that you wouldn't want us playing." Aiden pauses, gazing wistfully into the mirror: ''If I ever get married I want Mogwai to play,'' he adds. · lt really is a shame that such nice blokes are doomed to an eternity of unimaginable pain and fiery torment. But still, if they keep their pecker up then they should be okay.

We'llbepplly take DIODey for

said yes; though they didn't give us very much and it was a terrible advert."

So are they bitter?

"No, we got drunk for three months,'' reminisces Malcolm.

So, no pretentious ideals of artistic morality then? "No, no: says Aiden, gulping swiftly from a can of Stella, "We'll happily take money for any reason whatsoever."

Even appearing on Live and Kicking with all those teenage girls asking mundane questions?

"Well probably, but only because I'd lie to them and make lewd suggestions and arrested at the end of the show." Okily dokily, Aiden,

geno.17 What's the big fuss then?

Often compared to groups such as My Bloody Valentine, Ride will be remembered for being pioneers of the indie shoegazing scene. The combination of unconventional guitar sounds, harmonic vocals and inescapable noise created beautiful soundscape!: that conveyed both emotion and power in a chaotic burst which became distinctive to Ride.

Who did/ does what?

The band comprised lead guitarist/vocalist Andy Bell, rhythm guitarist/vocalist Mark Gardener, succinctly named drummer Loz and

bassist Stave Queralt. At first, song-writing duties were evenly split between band members, but as time went on most of the material was written and sung by Bell. Gardener's diminishing role within the band led him to quit, and early in 1996 Ride decided not to continue without him.

Sold a few records?

Actually, no. Going Blank Again, Ride's second album sold a few, but their last two records hardly made any impact on the charts. The first album, Nowhere, didn't fare much better, and had to be re-released before eventually reaching gold status.

Compare this album with those of squadroople platinum mega stars Oasis and you'll be left wondering why.

Which is the best? ,----------~~---.,---..., The first two albums, Nowhere and Going Blank Again are prime examples of Ride at their best, and are regarded by many as classics of the shoegazing era. The third album, Carnival of Light and swan song Tarantula show Ride heading in a totally different direction, and while good in their own way are poor in comparison with their earlier efforts.

Did we mention aliens?

A music journalist once developed a theory on why the later albums were not up to the quality of the first two. He believed that during the making of the third album the band were abducted by aliens and replaced by humanoids that looked like Ride, but sounded nothing like them.

If only we'd had Mulder and Scully back then.

So what does the future hold?

Following the split, Andy Bell formed the decidedly dodgy Hurricane #1 , but there is still hope as Mark Gardener and drummer Loz have recently reunited to form Animal House, and are currently working on new material. In the meantime Creation records have just reissued Ride's back catalogue of albums.

In Retrospect...

Some fantasy you 've been, Pick up the pieces in my mind, I'm going home...

cean rnfle .J=aflt:e "A hundred thousand welcomes"

-..-.... FREEHOUSE

t-4t• • - - -

10 real ales always available Probably the largest selection of Irish Whiskeys in the country Great value meals - including our 'Tute of Ireland' menn Come and join 08 for good beer, a great atmosphere and mighty "craic"

l'lourlle hbuelf

92 POTTERGATE, NORWICH

01603 626627 THE EVENT, WEDNESDAY, OCTOBER 28, 1998

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When pop scallywags Ash played the LCR jsut over a week ago, tile Event was there. Nicllola Browue spoke to hung-over bassist Mark Bamnton about their new album and cutting down on drugs

W

ether you love them or hate hem, you can't ignore Ash. Open up any magazine, be it music paper or a teen mag, nd Ash will be in there. it's been two years since the release of the chart-topping 1977, and their new offering Nu-Clear Sounds looks set to match its success. ·sut the band, replete with new arrival Charlotte on guitar, are taking in their collective stride: ''The album went gold in the first week, which is good. We've only released one single and charted, so we knew it would sell."

Mark, often known as the cliched rock life-force of Ash, sits nervously, and apologises for being spaced out:

"I'm really hung-over."

He's f1dgety, and mumbles at the floor, occasionally throwing a smile in my direction, but swears that promoting his band "is great."

Despite looking as if he'd rather be anywhere than in this interview, he does his best to convince that he's "getting used to all this. The more promotion we do, the more returns we get." His strong Irish drawl trails off, and he giggles, obviously conscious of sounding like another massproduced tentacle of the PR machine. it's almost understandable that talking about the album isn't particularly thrilling for Mark.

After all, it took over a year to come up with the finished product. and the process wasn't an easy one.

Ash changed producers after early problems,

When we're on tour everyone ends up drinking every day, so we're all a mess returning to old friend and Oasis knob-twiddler Owen Morris; frontrnan Tim had alleged periods of writer's block, and there were rumours of creative power struggles within the band.

The strains are apparent throughout the new material. "lt IS a really schizophrenic album," says Mark, "the songs are a lot heavier. Tim wrote the lyrics ~ when he was tired and burnt-out after touring 1977. We hadn't had a break."

After a stint doing European summer festivals.

Ash are back on the road again; a prospect that does excite Mark.

"I love playing our own shows, it's cool to know that everyone who's here has come to see you!"

THE EVENT, WEDNESDAY, OCTOBER 28, 1998

Asked if he's seen the crowd of young teens already queuing outside the LCR, he laughs in disbelief, and winces at the mention of his sexsymbol status.

"I don't think about it. I only really look after myself!''

The press coverage of Ash tends to centre around drugs and alcohol abuse, but Mark claims that his 'bad boy' antics are presently confined to beers and ·'a bit of dope". · "I do get a hard time," he explains "but when we're on tour everyone ends up drinking every day, so we're all a bit of a mess. There are always people around wi th cameras. so we can't avoid the consequences.''

After only a week of the UK tour, all four members are looking worn out, and, behind the scenes, they are not the mischievous juvenile delinquents the world takes them for.

Perhaps the first week of post-gig partying is already taking a toll, or perhaps Ash have finally grown up.

Whatever the reason, Mark is certain that the tour has a lot to offer to new and old fans alike.

Gone are the Star Wars cutouts, and drunken party tricks. Instead, Ash have a new-found stage matunty. less banter, and a more professional sound.

Charlotte's presence has a lot to do with this, although Mark sees it as ··a natural progression."

They've also enlisted the help of friend and DJ, Dickie Kurtaine to add a further dimension to the Ash experience, enhancing the ambience which was missing from their original live shows.

Ash are not looking to recreate 1977, but are obviously excited by surpassing the expectations of both their fans and the music press.

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Mark is proud that Ash have gained the title of 'one of Northern lrelands finest musical exports', and fondly recalls the recent peace gig at the Belfast Waterfront as being "the best thing we've ever done," and an event which "made our parents dead proud!"

Although Ash feel comfortable with their Irish status, he has no hesitation in adding, that they do not consider themselves to be role models or "Irish gods."

When asked the classic hypothetical question 'what would you do if Ash fell apart tomorrow?', Mark appeared to be distinctly unconcerned, conceding that he'd probably return to Ireland, and would be happy to hang around with his mates and try for his pilot's licence.

Having said that, the band seem convinced that, for the foreseeable future at least, they are here to stay.

The recent changes in line-up, style and musical direction, reflect their commitment to Ash's place in pop history; one that they are not prepared to give up without a fight. 'We don't know what is going to happen," admits Mark "but Ash is my entire life, and I think we'll probably be around for the next five years."

Ash take their music more seriously than they've previously been given credit for, and for Mark, playing on stage remains the driving force behind the band's existence .

If he had his way, the promotional strategy would be simple: "lt's the music. That's the reason why we started, to create something that excites us, and excites other people.

If we succeed. then that's great."

A message that was soundly echoed by their storming performance in the LCR that night.

Photos by Seline Poole

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Bernard Butler has had quite a varied career, starting with Suede, and appearing with David McAimont and The Verve amongst others. Now he's moving on again, as Luke t'unaer found out

S

CENE: Suburban house, day. Right of

shot, BRETI ANDERSON is seated on sofa, archly smoking as he reads a book of romantic poetry for lyrical 'inspiration'.

Sound effect shot left, loud guitar.

Long brown hair can be seen flicking in and out of shot.

ANDERSON rises, pulls on fag , and walks to shot left.

BERNARD BUTLER comes into shot, really going for it with trademark big cherry red guitar.

ANDERSON speaks: "Sorry Bemard, it's no good.

Your epic guitar soundscapes are too much, they are detracting from my lyrics about wanton sexual ambiguity.

You've got to leave, and take all your stuff with you."

BUTLER looks at camera, contemplating his next move.

Exit shot right, fade to black.

Rest of series - numerous divorces of BERNARD from various other musicians, protracted accusations and counter accusations of heroin addiction, arrogance, and personality problems.

To many this is the story of Suede and the subsequent career of Bemard Butler, a soap opera of epic proportions living up to the rock n'roll hype of fragile egos and clashing personalities.

To many, Bemard Butler's debut solo album, People Move On is full of songs concerning the trials and tribulations of the turbulent times of his past few years in music.

To the man himself, however, this is most definitely not the case.

He indignantly takes a sip of Evian before stating: "The problem is that in England people want to believe stuff like that because they're so obsessed with the press' idea of Suede. "lt demeans me to think that I would even be so boring as to write a song about leaving Suede."

The press certainly created a lot of hype in the period after Bemard left Suede and split with David McAimont; vicious attacks were directed upon his integrity as a musician and suggestions made that he was nothing more than a guitar

obsessed muso.

However, Butler rose above all this petty squabbling, and tried to develop as a musician, beginning to think of music as a backing for his own lyrics rather than as his sole form of emotional expression.

His attitude towards lyrics has certainly changed, "They mean more to me now because before somebody else was writing the words. A personality writes the words, a character writes the words, a human being writes the words, so therefore it wasn't my deal. What Brett and David did

lyrically wasn't my cup of tea particularly, I like very different kinds of lyrics from the way they write."

Butler even feels that Brett Anderson's style of writing detracted from some of the music he was making, particularly on Dog Man Star, the last album he recorded with Suede.

"He knows he wrote a lot of bulls**t for that record.

I was really frustrated because I was writing something very heartfelt and very imaginative."

Bemard's nature is clearly very down to earth.

Even the interview situation is new to him: "Before I never got asked for interviews, and I never got quoted because Brett and David were bigmouths with a lot to say whereas I have no manifesto, no politics. I don't want to give you any kind of sexual agen~a because I am · what I am; I speak straight from the heart."

He speaks candidly about his guitar playing - "I think my stuff is pretty easy to play, I'm not a great technical player" and his lyrics.

While Brett Anderson began one Suede song with a quote from a Byron poem, Butler is less pretentious: "There's no intellectualism, I'm not a very literary person, I'm not well read. Reading is not something that I'm particularly fascinated about. I like watching

. . . -~·· ················,· · ·····-··· ··" ' '

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people and listening to their emotions."

The emotions that are contained within music have always been very important to Butler. During his formative years he listened to The Smiths, one of the most emotive band to have ever released a record .

"What I loved about The Smiths is that when I sat there listening to Morrissey's words I imagined them going on in my bedroom in my street in my town", he enthuses. "lt was totally my life that he was talking about, he may have been a nutcase or whatever, but The Smiths shaped my life; they're timeless records and they will always inspire me."

Butler's love of The Smiths has achieved a new

dimension recently due to his friendship with the band's former guitarist Johnny Marr, possibly one of the people who persuaded Bemard to release solo material.

Bemard never stopped writing songs after he left Suede, but initially had no intention of releasing anything.

"The writing I was doing went from being an unconscious thing to a very conscious thing, I started to get more and more into ir, he explains, "I played some stuff to a couple of people and they said, 'you should do this', and I thought, 'maybe I will'."

Marr was probably one of these people, though surprisingly the singer/ songwriter Edwyn Collins, who features on People Move On and Stay b-side Hotel

Splendide is also to be included. riends seem very important to Butler, and he is determined that in his solo career he will avoid all the tensions and ego squabbles that eventually tore Suede apart.

His backing group is formed from a variety of musicians ranging from Mojave 3's guitarist and vocalist (Mojave are supporting Butler on his current tour) , to keyboardist Terry who can normally be found playing weddings with his dad.

All this means that there's no artistic ego struggles within the band: "it's all very well set out, we all do what we want to do so there's no hint of irritation or squabble with this lot.

"We really do have a good time, they're all really sweet people. it's a lot easier now all the people around me aren't such a load of dickheads. I try to avoid dickheads."

And with that the dickhead avoiding, selfproclaimed party boy exits for a veggie curry and a stunning gig that prompts Wayne's World-style adulation from the crowd.

The final episode of the drama is over, and the Butler has most certainly done it.

Pictures by Jonsthsn Nlehsus

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the round up of this fortnight's music releases Moa

Spiritualized L1ve at the Royal Albert Hall, October I 0 1997

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Universal With a harmony struck somewhere between Morcheeba and Bj6rk, Moa has produced her first long-player, which , with its fresh and clear sound has a pleasant confidence to it.

Some of th e loops she employs are reminiscent of a calmer Roni Size but there's more to this record th an just fancy breakbeats. New jazz styles filter through the mix, adding a bluesy feel that is reminiscent of Eartha Kilt.

Al so refreshing is Moa's attempt to expand her lyrical base; these are songs rather than just the co llection of noises that are so common in this genre.

Unfortunately, her attempts are sometimes a lad cliched , and can let the whole experience down.

Th e ultra-poppy Can't Forget echoes early St Etienne, while Declaration is simply begging for a dance remix.

As background music, Universal is a gem, though not quite up to th e class leader, Morcheeba's Big Clam. But it does demonstrate that Moa has the potential to reach even great heights.

Emma Reynolds

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You can almost picture the scene: as th e music transcends into white noise , the stage fills with smoke and bright lights , turn ing th e band into silhouettes.

Overpowered by th e wall of sound, the audience stands transfixed. Th en the smoke clears, an d singer Jason Pierce emerges, eyes tightly shut as he surrenders himself to the music.

The noise peaks and the band slides into Shine a Light. it's not until halfway through this song that you even register what's just happened.

Spiritualized's Albert Hall show made a huge impact on everyone who saw it, and was loudly applauded for months afterwards. Spiritualized were in truly stunning form, as this recording demonstrates. The band accurately recreate many of their studio tri umphs, and take other songs in new directions more suited to the live environ ment, with superb results .

A compelling listening experience.

Phi/ Stephan

Ministry of Sound The Annual IV Ministry of Sound's The Annual IV is ~ the dance cong lomerate 's review of ~ th e year in clubland for 1998, consisting of two CD's, the first mixed by Judge Jules, and the second by Boy George. Boy George's 'mix' (a loose term at times) , contains more commercial dance tracks , featunng Fatboy Slim's recent hits and the seemmgly ever-present and ever unpleasant Horny.

Republica + Gel The Waterfront Tuesday, October 20 Proceedings started with support band Gel , who with baby faces , shiny shirts and school ties looked like they were on flf1h year work experience.

Although undoubtedly a tight band , they didn't really excite the crowd.

Republica, however, were a different matter.

They opened with Drop Dead Gorgeous. sending the aud1ence into a frenzy that lasted for the whole gig .

Saffron may be the only band member with charisma, but she proves quite ample. The audience can't help but watch as they play each of the songs with an energy

Thankfully, the compilers haven't lost it com pletely and put Dario G or Sash on the album, but they have concentrated on radio fri endly cheese.

However, it would be unfair to dismiss The Annual IV out of hand .

Judge Jules' CD is less commercial and better mixed, with highlights including David Morales Needin ' U, Energy 52's Cafe Del Mar 98 and Agnelli and Nelson's El Nino.

For those into house music who don't already own most of the tracks, this is one of the best compilations that the industry has churned out this James Brown year.

that you just can 't get from the records.

Even though Saffron is only about 4 ft 10", you were left / feeling that the Waterfront just wasn 't a b1g enough venue for her.

Perhaps , though , this was really just a gig for the fans ; to the sceptical outsider the mosh-pit was essentially four hundred randy dwarves drooling over Saffron in a big horny bubble.

Maybe that 's Republica's problem : with a band comprising of your mates' dads and tunes that verge on the repetitive , they are forced to market themselves solely on the activities of one hyperactive, if slightly short front-woman. With funny hair. it's all good fun though , and "Let's go, Norwich!" always raises a giggle.

Rebecca Barrett & Thorn Dunn

Various Artists Streetwise This three CD compilation aii;Jum released to raise money for projects aiming to end youth homelessness in the UK - IS a mesmerising tour de force of dance music.

Artists such as Fatboy Slim , St. Etienne , the Lo-Fi All-Stars, and , er, Texas , have contributed to a remarkable and expansive collection . Streetwise effortlessly weaves its way through the chem1cal beats of Keoik and Vietnam Inc. , the haunting , ambient sounds of Kapta. the house and techno of BT and DJ Silver, and , bizzarely , the Culture Club reminiscing of Boy George.

Alth ough a charity album, Streetwise doesn't fall into the cliched realm of Band Aid-style efforts, with standout tracks from Moby, Meat Beat Manifesto. Love to Infinity and most of all the cathartic tidal wave of Howie B's You Alone With Your Tight Eyes Shut .

Arguably the bes~ charity compilation since 1995's Help for Warchild, Streetwise is h1ghly recommended .

Gareth L/ewellyn

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Paul Weller's first single from his forthcoming Modern Classics collection seems reminiscent of the easy listening displayed by Clapton on his Unplugged rather than the powerful chords Weller displayed on singles like the Changing Man. However, a tidy violin backing and Weller's distinctive voice and guitar create a tuneful and rather sweet ballad that will whet your appetite for Marcus Alexander more.

This track stands out as one of the most simplistic and lyrically least pretentious songs from Mansun's stunningly experimental second album, Six. They've ditched the string section making it a lot more radiofriendly, but as a coy sideswipe at shoegazing students with the bedsit blues. lt's uplifting but ultimately uninspiring.

A/ex Pollock

Three Colours Red Paralyse EP "Lies, Paralysli' howls singer Pete Vuckovic as innocent instruments are hammered in the background.

Yes, Three Colours Red are back! Still high on shouting and low on tunes, originality or anything interesting to speak of.

However, as they've oh-so-rebelliously put four tracks on this EP instead of the regulation three, Paralyse won't be allowed in the charts.

Darcy Hurford Shame...

James Sit Down This unnecessary re- release of one of the classics of the early 90s comes backed with two remixes, neither of which , sadly, are remotely worth listening to. The first, by Apollo 440, has a dodgy house/i ndie beat that simply fails to work.

While the second mix has only a slight different beat to the James original, and so is otherwise Owen Thomas exactly the same. Avoid this.

Faithless Take the Long Way Home Classic dance fodder from clubland's 路latest darlings, who look set to repeat the success of their previous hits, with a heady blend of atmospherics and an infectious pace. lt lacks any real backbone, though, although their current popularity means that despite covering old ground, they can James Pollock do little wrong.

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Snakeyes Dlr: Brfan de Palma I Opens November 6 Nicolas Cage is proving to be pretty good value for money these days, and his latest offering, Snake Eyes, is no exception.

Director Brain de Palma sets the film at a frenetic pace. The first 20 minutes blurs into one long non-stop action sequence as corrupt Atlantic City cop Rick Santoro's (Cage) trip to a boxing match goes horribly wrong. He is at the fight with friend and Security Chief Kevin Dunne (Gary Sinise), but he is also there to protect the Secretary of Defence, a fact that seems to slip his mind as he gets drawn into the fight.

When shots ring out across the arena Santoro discovers the Secretary dead, and with 14,000 possible suspects, he has the task of trying to track down the killer and find the mysterious women last seen talking to the late statesman.

The film develops into a gripping suspense thriller with Santoro having to protect the mysterious woman (Car1a Gugino) from an increasingly suspicious Dunne. · lt can all get a bit confusing at times, especially as De Palma keeps using flashback sequences to explain what happened at the fight through the eyes of each of the key characters. lt also means it becomes a little tedious as you end up watching the opening fight scene about ten times, although at least you get the consolation of watching from a ring-side seat.

After the adrenalin rush of the first hour, the finale comes as a bit of a disappointment.

Even so, this film is good entertainment, but with so much going on, you might want to take a couple of paracetamol afterwards to help your carol/ne Jester brain recover.

THE EVENT, WEDNESDAY, OCTOBER 2B, 1998

Spiritualized""

Also available Ladies and gentlemen we are floating in space, Pure phase and Lazer guided melodies

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As tbe dark c:loads of evil gathel- for Balloweea. Jlebeec:a Barrel finds oat tlaat evea glaoals aeecl to laaow tbeil' IIBCs•••

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A • llrgeato. Darlo Italian horrorllhriller director of Deep Red and The Bird With the CrystsJ Plumage.

Responsible for such unforgettable celluloid sequences as someone being boiled to death In a bath and someone getting their head crushed under the wheels of a lorry. Lovely

The original horror legend has taken many forms • including that of Gary Oldman. Pretty scary if you ask me.

E • Exo..c:ist Unda Blair shows us what a ftexible

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neck she

1990s horror revival began with this slasher flick.

has, and what she had for dinner.

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F. Fear

Used to great effect in Stephen King's The Shining when gallons of the stuff comes

cascading towards the young disturbed Oanny during a hallucination.

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If you happen upon one In the cellar of a big old scary castle, for God's sake don't open it unless you have a stake handy.

Marky Mark demonstrates that what we suspected about him all along was In

Horror·meister extraordnaire, creator of the infamous Freddy Kruger, The Hills Have Eyes, the Scream series etc.

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fact true.

These films are not for children, although they

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Lots of dead people, lots of blood, a scary psycho • what more could you ask for?

frequently star in them. See The Exorcist, Poltergeist, The People Under the Stairs etc.

Blood, guts, brains, eyes, green stuff, black stuff and a few dead rats and poodles. Essential ingredients for any weD-balanced horror llick.

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Y • ftle Follllfl Olaes That hair! Those clothes! The association with

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Where you go when you die. Or, altematively, a group who wrote that song out of Trainspotting.

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Cliff Rk:hardl Aaaargh.

Haw& bed breath, long tlngemalls, don1 like gartlc,

crucifixes or sunlight.

The beet zombies for ages now appear In The Playsation game Resident Evil.

For one ot the scariest see the Amtyville Horror series, blood dripping from wala, lots of tllea, llghta 11at tum themealve8 on and oft, and al ao11s Cif olher weird siUif. The 1n1t am was baled on an allegecly lrUe IIDiy.

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The 'Scraam Queen' with a flna pair of lUngs ha featured In the HaJiorMJBn time (Including H20, out this month), Temx Ttai'J, The Fog and more.

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11119 they looked at the city in a completely new YeJ, and that's fantastic."

GIDiam's desire to make his audiences see things differently Is not limited to them viewing the wor1d in the W8J1 he does; his films are meant to get people's brains firing, but once that has been achieved he leaves them to make up their fNin

fter what seems like a lfatlme of waiting he finally appears.

Escorted by a posse ri PR Terry Gilllam, tie man hiDOirHiitlllll for some d the most surreal and mind-blowing cartoons 3nd films ever made, enters complete with ta:tered leather jacket and familiar oowbc:rf hat. He passes through the buffet lounge In which we were all gathered and is ushered irto the press room.

The lounge is filled with starstruck silence, and before it is broken he returns. Having escaped his retinue he Sfleaks back into the room, snatches a few of the

( THE EVENT, WEDNESDAY, OCTOBER 28, 1998

minds.

sandwiches left over from our lunch: and with a high-pitched giggle and manic grin makes his way back into the interview

WfNI. We have eaten.sandwiches off the same plate as Teny Gilliam. Our lives are complete. ' And then, once we are safely seated In the press room, he has to spoil it aA by launcNng into a nonsensical rant about a popular item of fast food.

•lt's like a Big Mac. A Big Mac Is neither excellent. nor is it shit - it's somewhere In the middle. Ifs a safe W8J1 of eating. A safe W8J1 of living." Hmm. Even leaving aside his dubious conclusions concerning the nutritional value of soggy hamburgers, it seems that our esteemed Mr Gilllam has lost the plot. Our hero, our Idol is talking complete jibberish. What the hell does this have to do with • films?

And then everything becomes clear.

With films these days you're getting something that's taking the extremes away, taking the edges off experiences, the tops and the bottoms, so you're safe In the middle. And things are getting more constricting in that sense." lt is clear that Gilliam Is not a fan of the mainstream Hollywood output.

"They're looking for the lowest common denominator. They're looking for the biggest audience. You find individual film-makers within that who get aW8JI with more or less, but that's what you're always fighting"agalnst. lt's like a factorythey produce things in large numbers for a large number of people.

"That's okay but it means pushing everything else out of the way - all the competition. And when you find that American films are 85% of the market In other countries, you realise hfNI bad it Is because you want local cultures to be alive • local stories, local ideas, local perceptions. They're not offering choice. They're offering more of the same and just

pushing out the other views of the wor1d, and I hatethae Evidently GiHiam feels strongly about the essential worthlessnes of the numerous ' Big Macs' or, as he calls them, 'Prozac' films that he sees around him today. But he also has no problem identifying what it Is in these films that attract the audiences, even If he can't stand them himself.

•1 find that lhe problem nfNI is that people tend to be very frightened, very timid. They don't want any argument, they want consensus. We're all meant to agree and these films give them simple answers.

-rile dill9rence between 21J01 and ao.

Encounters has always amazed me. At the end of 2001 the guy's in this strange room and it leaves you with lots of unanswered questions floating around in your head. In Close Encounters it's Uttle green people in latex suits, and that's dumb; that gives you an answer."

So what's wrong with an answer?

"I think art, if I can use that awful three letter word, is supposed to be encouraging you to look at things in different ways. Thet'e is no simple answer.

We Hve in a time When we're constantly barraged by what the world is -by politicians and statesmen • and there's so much more that doesn't seem to get dealt with. lt's usually the madmen, the holy fools, the drug addicts; the creative people who get out there on the edge. I could be making films that give you a nice, straightforward answer, but it doesn't interest me because everybody else is doing that.• Instead, this self confessed loonie (well, he did say that it was the madmen who •get out there") has spent his career making films that do offer something a bit different.

"In my movies I try to raise questions and make you think about them.

I suppose I'm trying to encourage

discussion."

And so far it seems as though he has been pretty successful...

-one of my most pleasurable moments was watching The Fisher King in New York with an audience of New Yorkers who had lived there all their lives. They came out of that cinema and it was

"I hope everybody comes aN8!f from my films with their fNin versions of them, to be quite honest• Alhough having said that, when asked whether he sees his films as positive or negative he has no doubts as to where he stands.

"I think they are optimistic, all of them. Even Brazil. In fact when I set out to make that film people asked me whether a film in which the main character goes Insane could have a happy ending. But I don't see why not. In the end the fact that he could stay alive and well in his imagination In spite of his situation seems to me more optimistic than not." lt's a similar story when it comes to Twelve Monkeys. "t2 biiHon people die at the end of that film. Is that pessimistic? No, because In the long term the future Is 88Y8d."

But, with a typical mischievous giggle, Gilliam does concede that it is a close run thing. "'fs not by nu:h. lt's all very stight. I don't want things to be In black and white. lt's up to each one of you to decide what you make of it."

Glliam's emphasis on the viewer's personal interpretation is thoroughly refreshing considering the egocentricity of so many bigwig directors. His most recent film, opening next month, is Fear and Loathing in Las Vegas, based on Hunter S. Thompson's cult 1971 book of the same name. lt was a project of particular importance to its director.

"I loved the book. When I read it it seemed to be on the same wavelength that I was on; the madness of America, the sense of frustration, of disappointment that one felt about the country at that time. By the 70s it was really getting ugly and Thompson's book is a reaction to that. Our generation really did believe we could change it all for the better; silly us!"

In fact, with his long, straggly hair, his jeans and his leather jacket Gilliam looks as though he never really left that troublesome decade behind.

But why decide to make the film now? After all, the book was written nearly thirty years ago. The inaccurate (according to Gilliam) representation of the period is cited as one reason.

"The 60s and 70s have been so poopooed of late; a bunch of flower-power druggies getting high, and that was not what was going on.• Instead people were hitting the streets to protest about the war in Vtetnam. "The impact was huge • 1OOOs of people getting involved and doing things. That was the way it was, and we don't see images like that now. I really wanted to remind people of that and at least right the balance somewhat."

Serious stuff, but was it just that, or did Gilliam notice some parallels between the 60s and 90s that also encouraged the timing of the . production?

"There is a connection. That is part of the reason

Johnny Depp m Fear and Loathing tn Las Vegas

why I did it. I do think it's an important thing to throw out there as part of the world we live In. Ifs a reminder of a time." But thafs not all. "I'm not sure that we're giving people a sense of what they should be doing with their energy • but now there's · one more choice available."

In spite of these serious Issues. there 18 no danger of Gllllam's trademark surrealism taking a back seat in his latest film; the amount of

rendition of the manic chuckle nweals that we're not going to get any more out of Mr GIIHam on that one. But what about drugs In general? He must have some thoughts on the subject considering his film is all about them.

"The WV1f we talk about drugs 18 crazy. lt tends to be the bureaucrats who decide which drugs are legal and which drugs are Illegal. Some drugs support Swiss multinationals; other drugs support Columblan peasants. Thafs the difference."

Fair enough, but whafs next?

Well Gltllarn 18 a bit cagev llbout lhe am he plans to make after the Fear and Loathing In LBs \.tJgas

responsibilities have been dealt with.

Apparently if he talked about it, it would never get made. Shame, but you can bet that when it does hit the big screen it will be a corker.

And thafs it from the Duke of the deranged, because moments later a psychadellc hot-air balloon complete with the venerable Baron and aD his fairytale friends swoops down and lands in the middle of the room. One last cackle as he clambers into the basket and he's away, leaving on a fantastical journey to the land of the loonles.

Well it could have happened...

drug-taking that occurs makes sure of that.

But this has caused predictable problems.

"In the States we were getting a lot of stick for being pro-drug, but I don't think it is a pro-drug film. The whole movie has ended up being a strange kind Of drug trip. lt starts off and ifs great, it's fun. And then things start shifting on you and it gets really ugly. At the end you've seen all these different things and you decide. I just thin~ the drugs in the film are a bit more interesting than Prozac."

Finally we get down to question that everybody wants to ask. What drugs has Teny Gilliam taken himself? GUIIam lets out a, by now, familiar deranged, high-pitched giggle.

"The truth of the matter is that 1flaven't taken any of the drugs In the film. My drug intake is limited to coke, twice, hash, a few times, and Amyl Nitrate once. That's it.• A likely story. But what about in the film?

Johnny Depp, who plays the main character, Duke Raoul, In Fear and Loathing is renowned for immersing himself entirely in the worlds of his characters.

Does the same go for this film? Apparently not.

'We weren't considering Johnny using drugs. What he sl'\jffs up his nose throughout the film is lactose. He's snorting powdered milk the whole time, which sticks in your lungs. By the end of the film he was capable of breest-feeding the entire crew." Another

THE EVENT, WEDNESDAY, OCTOBER 28, 1998

[event)

Small Sodiers

Dir : Joe Dante 1998 Now Showing

oe Dante has it in for ¡suburbia. In Gremlins the problem was vicious furballs, in the Burbs it was murderous neighbours and in Matinee it was impending nuclear apocalypse.

Dante seems to revel in watching Middle America under attack, and Small Soldiers is no exception.

Globotech, an international conglomerate run by hard-nosed Gil Mars {played by the vociferous Denis Leary), decides to diversify from military manufacture into the toy market. The result is two lines of action figure - the 'Commando Elite, a erack team of American soldiers, and their enemies, the alien Gorgonites.

The problem is they've been equipped with a deadly chip used in military warfare. So when some of the toys find their way into the hands of teenager Alan (Gregory Smith) and his object of desire, Christy (Kirsten Dunst), the kids and their families find themselves in the midst of a fully fledged war, with the Commandos set on destroying the peaceful Gorgonites.

Considering Small Soldiers was conceived as a means of selling a range of toys, you might be expecting a soulless piece of fix-driven product placement. In Dante's hands, however, it becomes a vicious and hilarious satirical swipe at everything from gung-ho militarism to the Spice Girls (sacrilege!).

Nevertheless, the barrage of self-referential jokes can't disguise the fact that the merchandise is what it's all about. The toyrelated effects are flashy and fantastic. In a stand-out sequence, Dunst tussles with her Gwendy dolls who the Commandos have turned into a crack fighting force armed with nail files and high school slogans. As Leary comes to survey the destruction caused by his new product, he comments: 'This would make a great commercial.' He's right, of course, but that doesn't mean you won't have enjoyed it.

Stuart Henders on

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The Coen Brothers

Starting Out___ _ _ Joel Coen emerged into the world on November 29, 1954, and Ethan followed on September 21, 1957. They were both born in Minneapolis, Maine, and grew up in the Jewish suburb of St. Louis Park.

Joel attended New York University Film School and began his career as an assistant editor on low budget horror films. Ethan majored in philosophy at Princeton, then worked as a statistical typist at Macy's department store, whilst collaborating with his brother on ideas and screenplays for various films.

.Makin,g the Break One of these was to become the Coen Brothers' first film. Blood Simple came out in 1984, and was a great success, earning them several plaudits including the Grand Jury Prize at the 1985 Sundance Film Festival. Since then their unusual and often controversial movies have collected a host of awards and a devout critical following.

1991's Barton Fink brought them ther Palme D'Or at that year's Cannes Film Festival, while their biggest success, Fargo, won both Best Director at the 1996 Cannes Film Festival and Best Original Screenplay at the 1997 Academy Awards.

Last year's The Big Lebowski has also garnered much critical applause and is

expected to do well at upcoming festivals.

The}! sa y~ "ln the early days we didn't really understand the most basic concepts of film-making. We didn't know that you could physically edit film, so we'd run around with the camera, editing it all in the camera." Joel Coen

EilmOQ!8PQY_ _ _ _ _ _ _~ Having worked with Sam Raimi on Raising Arizona (1987), they made Blood Simple (1991), and went on to produce (Ethan) and direct (Joel) their eo-written projects of Crimewave {1985}, Miller's Crossing {1990), Barton Fink {1991}, The Hudsucker Proxy (1994), Fargo {1996}, and most recently The Big Lebowski (1997). Several new projects are underway, so expect more zaniness in the near future! Andrew Goodson

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Out Now o there's some great treasure hidden away in a cursed temple and in 1932 someone named Horace Armstrong Green tries to recover it.

He fails, and is apparently driven mad by the experience. Now, many years later, the descendant of the Emperor Montezuma who hid away the treasure decides to pack his bags and go look for it. After all, it belongs to him. But then there's that scary curse ....

You crash land into the temple and are immediately confronted by a puzzling formation of rocks leading to an exit and a strange looking green man doing impersonations of Jim Carrey.

No problem, one might think: just shoot him with your standard pistol, then walk along the rock formation to get to that exit and find yourself a shotgun.

Doh! That's the initial problem with this game. 11 uses the 'first person perspective' a la Quake, but most other games that do are of the '!'m-going-to kil-you-all-with-my-chain-gun-you-demon-scum ilk'.

So there's a sense of something missing when you play the game, as there are no guns.

You can, however, kick and punch your opponents, which is absolutely no good against giant rats with huge teeth nor Jim Carrey clones with hatchets. it's the only time the game can be described as being fun, though: you get to punch Jim Carrey across the floor and watch stars appear round his head. But this gets boring very quickly.

Making a platformer with a 'first person' perspective just doesn't work; it's too difficult to determine where your character is in relation to the surroundings.

The graphics are slick but uninteresting, and the gameplay isn't rewarding enough for the amount of effort you go through.

Any fun? In a word, no. Spend your money on Tomb Raider Ill or Turok 2 this Christmas instead for the real deal. At least your surname won't be silly.

Kelvin Gsn

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with bar bookings· Two pool tables Pub Quiz on Sunday Evenings ·starts 18th October

•

a series of essays of such brilliance that he is now acknowledged by many to be the fi nest living political writer. So the question has to be put: who 'out there' is actually listening?

Dumbing down began , Vidal says , in the 1950's, when the war machine became a permanent 'indisposable' feature of US politics: "One percent of the people own the country, 20 percent are doing quite well working for them , and the rest are in trouble . If you owned such a place, would you want to educate them , would you want them to know history, would you want them to know anything beyond how to be docile workers and loyal consumers? The result is a population of total ignorance." Vidal 's own survival in a country where radicals are closely monitored and may be targeted by readers of Catcher in the Rye, may be due to his apparent inability to move the masses . lt is hard to see how Vidal's erudition in describing the robber barons at work in the US might reach a , population glued to 'My Girlfriend's ... a Guy! ' on Jerry Springer.

Vidal says that the shift in emphasis from literary to visual culture has left serious writers wi thout a serious audience - good readers are rare and getting rarer. "11 gets harder and harder with each passing year. I had a marvellous pulpit with television from the 1950s on , but I am really not allowed on anymore. Dissident voices, even intelligent voices are no longer to be heard."

He notes how that other major Am erican dissident Noam Chomsky fiercely defended his one major accolade, saying that when Vidal had people chasing after him with handguns he would know what being the most hated man in America was really like!

But Vidal 's political frustration is what generates the bitter fruit of his essays, which find him shining a mercilessly bright

Although Vidal regrets seeing each generation staring into the fl ickering idiot box in the corner, he is a huge movie buff. In addition to writing and acting (you may have seen him as a Senator in Bob Roberts) he seems never happier than watching a film. When asked if he thought movies could be high art, he said: "I don't think art involving words is possible without an artist: the writer. The movies are a sort of collective art form - like Chartres Cathedral in the case of a good one - and so, by definition, artless , mindless . Doubtless the French will find a semantic critical way out. But the Chartres we've ended up with is tremendous - like the movie Airplane!"

When asked what suggestions he might have for young radicals , given his view that no good person running for office could rein in corporate and military influence , Vidal suggests we thtnk at the global level: "This is the essential political 'challenge' of the next century. I speak in quotes because the subject will never be broadly debated or even acknowledged.

Multi-national cartels often pay no tax at all in countries where they earn huge profits. Alas , this is legal since they have, legally, bought legislatures and so on.

Like Louis XIV, they are the state. The solution is to let them simply take over the world for profit. At least, for all their love of weaponry, they won 't permit wars." From a radical hero, this is depressing advice, but there is worse to come: "Continue not to vote until the dullest oligarch gets the point that their 'administration' is illegitimate.

Time for a change."

Though Vidal claims to have populist sympathies, his is a minority audience composed in large part by what still passes for the intelligentsia, a beleaguered band of left-wingers, liberal-thinkers and that most endangered species: fans of serious

I don't think art involving words is p o ssible without an

artist: the writer

D

D In his 70s Gore Vidal is still the radical who's prepared to let his principles rule his heart.

Ben Farr ington spoke to the author and e ssayist about his life, his work and the USA

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•

n Thursday, October 22 , the world's finest political essayist came to UEA. For those of you unaware who this august person might be, here is a brief primer: For most of the second half of this century, the American writer Gore Vidal has promoted political awareness and championed the few , hard-won civil liberties given to the populace. Yet, during this period , he has seen the American public sink into a mire of ignorance and emotional immaturity, the vast bulk of its people stupefied , their precious liberties removed one by one right in front of their glazed eyes.

Vidal was born in 1925 in West Point, the son of the founder of what became TWA, and grandson of Senator T. P. Gore. Vidal was educated in Washington DC and , as a friend of John F. Kennedy and relation of Jackie, seemed destined for high office. Politics is still the family business (cousin AI' is now Vice President). Vidal fought in WWII, but whi le serving wrote his first novel, Williwaw, which was published in 1946. But the publication of The City and the Pillar, the first major US novel to featu re homosexuality as a major element, and his support for federal education programs eventually destroyed all hopes of high office. Vidal would, in any case, have been disqualified sooner or later due his growing affection for truth and justice. For any member of Congress to possess both intelligence and honesty would be recklessly immodest.

America (and much of the western world) , Vidal

says , is now run by multi-national corporations-if a politician cannot be bought, they can and will be broken .

Many US presidents , Vidal observes, were serial adulterers, but Clinton 's treatment has been very different : "He was destroyed by corporate America ... in 1993 when he proposed a national health service-which every civi lised country has but us-the insurance companies , pharmaceuticals companies and the doctors union , the AMA-decided to destroy him.

Corporate America , which owns the country and controls the media, has sent a message to every politician: 'Don't you dare touch our wealth, because this will happen to you ''" Vidal now observes sadly: "Ciinton will finish his term, barring divine intervention. He will have his presidential library but , unlike his predecessors, will have read many of the books in it."

Gore Vidal 's career can be seen as a noble campaign to wake the sleeping giant of American opinion : screenplays (including Ben Hur, to which Vidal deftly added a homosexual sub-text. .. without telling the male lead, Charlton Heston); television and theatre plays (including The Best Man, a brutally frank examination of a US election race , a part for which Ronald Reagan auditioned but did not get because he could not pass muster as the politician); 24 historical and satirical novels (including Williwaw, Julian, Myra Breckenridge, Burr, Lincoln, Washington DC and his latest 'invention' The Smithsonian Institution) ; Palimpsest (his deliciously waspish memoir) , and

THE EVENT, WEDNESDAY, OCTOBER 28, 1998

light on the idiocy and venality demonstrated by politicians, historians, even other authors. (In one of the pieces in his most recent collection , Virgin Islands, Vidal helpfully explains the career of John Updike as being based on little more than dimbulb conservatism and bad skin.) Any student of history, politics or literature who fails to read Vidal's essays should consider their education (and entertainment) woefully incomplete. To read him is to be in the presence of a mind of divine intelligence and razor sharp wit ; small wonder that his collection , United States - Essays 1952-1992, won the US National Book Award .

In his new novel , The Smithsonian Institution, Vidal bewails the appalling human cost in both human lives and in the way in which the endless preparation for warfare has left the US with multitrillion debts, a government at war with its own citizens and hated around the world. The book's hero, 'T', a boy very like the young Gore Vidal, visits the Smithsonian museum in Washington DC and discovers how to travel through time. But he also discovers he is to die in WW II. 'T' decides to prevent the wa r by altering the conditions which will cause it: the humiliation and bankrupting of Germany following WWI ; this means preventing Woodrow Wilson from running for the Presidency in which he will bring America into the war.

Naturally, this is easier said than done . Along the way, 'T' meets several US Presidents and their excitable first ladies and is encou raged to consider what makes history tick. The answers are both funny and frightening. War happens very often because great men are idiots, cowards or egomaniacs , but also because people forget their own history and buy into dangerous mythologies. American citizens all too easily forget that the US was designed to be a new start, free from the carnage, corruption and bigotry of the Old World . The Smithsonian Institution does have a painful personal origin : Vidal 's true love, Private Jimmie Trimble, died in the Pacific during WWII.

literature. Put crudely, Vidal is a writer's writer.

His influence is often felt across time through the work of others who have, perhaps even unwittingly, borrowed his ideas. A good illustration of this is his play Visit to a Small Planet which was shown live on US television in 1955. The play featured the then new concept of an alien arriving in America, finding human beings odd and declaring the only thing they do well is wage war. Since then , the idea of the alien bemused by violent, backward humans has found many forms on television and in film , including My Favourite Martian, Mark & Mindy, and the latest Third Rock From the Sun. lt now seems strange to think that one man could be responsible for this miniindustry of extra-terrestrial humanists. Yet this is the way social G,hange can often happen: opinion formers who take the long view do not work doorto-door.

The Smithsonian Institution (ÂŁ16.99) and Virgin Islands: Essays 1992-7 (ÂŁ7.99) are published this week by Little, Brown.

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he last time Robert Lindsay was in the public eye, he was playing an ineffectual father in Jake's Progress on Channel

Four.

However, it's an altogether different Lindsay who stands hunched in the midst of a snow storm at the explosive opening of the RSC's

Richard Ill. In a positively thrilling production, Lindsay holds the limelight with his funny-man take on the title role.

He's still evil, and he's still hated too, but thanks to Lindsay Richard Ill is now the masterjoker.

The 'winter of our discontent' soliloquy which opens the play bursts forth from a crushing silence into a rant full of self-reflexive irony that sets the tone for much of the play.

Only in battle, where theatre and jest are futile, does Richard capitulate as his body and spirit crash into weakness.

David Yelland also deserves a mention as Richard's charismatic first minister and spin doctor Buckingham.

With Rob Howell's inventive yet minimal set providing a perfect platform for the actors, and the first half of the play characterised by gloomy darkness and uniformly drab costumes

the scene is well set for the contrasts of the later acts.

The change beginins with the coronation, when Richard is marked out with scarlet splendour and prophetic blood red, not the royal Burgundy livery of his attendants.

From this point onwards, the tension constantly mounts to the absolutely breathtaking final battle. ·- With the RSC touring across the country before Christmas, if you can get there, see this playl Emlly Hunks & Sam Glazer

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~@0(} lt seems after the success in America of pocketsize books; volumes of the mini variety have reached our shores in the form of the publication of small sized chunks of the books of the Bible, with introductions by contemporary writers, who were asked to comment on the text.

Revelation in the series, features an introduction by the controversial novelist Will Self, and the Book of Job, introduced by the man of the moment Louis de Bemieres, a recent visitor to the University.

If the introductions were conceived as a way of offering new insight or interpretation, to a unique a text as the Bible, then they have failed. If they were however written as controversial headline grabbing media event, then they have succeeded. That is the only way to make sense of these books. In the intro to Revelation, Will Self manages to blabber on for five pages, without actually mentioning the text he is supposed to be commenting on. He instead tells the story of a friend, who had suffered from depression (and later died), and had become fixated on the book of Revelation.

To say that his writing js wordy and pretentious is being too kind.

He seems intent on causing the reader to launch for the dictionary at every sentence. His is not an easy read.

Ironically his most lucid passages are those about his friend, as soon as he lurches for the subject at hand he begins to ramble.

De Bemieres is clearer, providing more of an interpretation, but is equally outrageous.

He says in his intro, that after surveying the Bible he can only conclude "that either... God is a mad, bloodthirsty, and capricious despot, or that all this time we have been worshipping the Devil", now if that isn't going to upset a few people, then nothing will.

Mr self similarly informs the reader that "I read the Book of Revelation once- I never wanted to read it again. I found it a sick text.• Shock tactics seems to be the aim of these books and provide no real insights. Not even Ayode/e Mansaray worth the quid.

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A e to av 250 cop es of t 1r wo o d 1n th mp W t tone Four qu d a throw get em wh e they're st there.

Elsewhere. author Penny Junor has entered the runn ng for most unpopu ar person In Britian. Her crime? She's only gone and bad mouthed the Queen of Hearts, the People's Pnncess and all round Candle 1n the Wind, Diana.

In her new biography of Prince Charles, Charles: Victim or Villisn? she alleges, among other things. that Diana was the first to be unfaithful back in 1985 with her protection officer, and that the modem day saint also sent Camilla Parker-Bowles hate mail.

Of course, as Diana's dead she must be in the right.

Finally, another saintly figure- WEill at least in his own eyes - is also the target of a book.

Tom Bower's unauthorised biography of Mohamed ai-Fayed, out this week, alleges that the Harrods boss is a complete and utter crook. The phoney Pharoh will strike back with his own book which will be relased later this year. We've had cash for questions, cash for quotes anybody?

Nlcole Russet/ and Matt Ray

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There comes a time in every s tudent's Ufe when cooking and w ashing up just gets too much. Feli:K HaJianzy checks out a possible refuge • Baglevs and Barnev's

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ituated on Pottergate in the centre of Norwich, just round the corner from Tesco's, Bagleys is a friendly, intimate restaurant which can nonetheless cater for larger groups.The restaurant is divided into two; Bamey's upstairs, which is more suitable for those on a tight budget, and the newly refurbished Bagley's Bistro downstairs, for those who want to push the boat out [or whose parents are paying!].

Upstairs in Bameys, the menu is less complex than in the bistro, but is nonetheless enjoyable.

Since the owners of Bagley's, Linda and Alan Dennis have targeted students as one of their primary markets, the menu consists of such tried and tested classics as prawn cocktails or soups for starters, curries, burgers and filled pancakes for mains, and such decadent desserts as death by chocolate and mud pie to finish with . One of Bagley's innovations is that all the courses come in at the same price, starters at £2.45, mains at £4.65 and sweets at £2.85. Alternatively you can have three courses for £8.95, which avoids the undignified haggling over the bill at the end of the night.

Unusually, there is a wide choice of vegetarian food ; enough selection to warrant a separate menu! Upstairs can cater for tables up to 50 people, so it's great for that end of term party.

However, the life of a food reviewer being a hard one, we ate in the downstairs bistro, which offers a slightly more adventurous approach . On first impressions, the refurbishment has certainly seemed to work; the atmosphere is intimate without being claustrophobic, simple but with a touch of class. The menu seems to reflect what is going

on in the world of cooking today-classic food , but given a modern twist with the introduction of different tastes and ingredients from around the world.

For starters, I had satay, which consisted of a skewer of chicken and a skewer of steak marinaded and grilled in peanut sauce. This was a periect appetiser. The chicken was just cooked enough to be tender, while the steak skewer was pink inside. The satay sauce was just right too so often it is sweetened up until you're not sure if

companion ate a Cajun tuna steak. This was a hunk of fish , covered in a special blend of spices, grilled, and served on a bed of ratatouille. His verdict? While the steak would have been too much on its own, the ratatouille blended periectly with it, pointing out flavours he would otherwise have missed. it's always nice to have space for dessert, and while Bagley's portions are not huge. you will have enough to .eat. However, given a few minutes rest, we were raring to go once more. We had lemon tarte, which came glazed, with a raspberry puree,

a great mix of tart citrus and sweet berry flavours , and orange sorbet, which came attractively presented in a hollowed out fruit.

Since Bagley's mission is to satisfy you. not stuff you, it is the pertect place to go on from you'll feel fed, but not stuffed. And. since the atmosphere is one of quiet intimacy, it's worth checking for that post LCR special date.

Starters in the bistro from around £3.50, mains between £6.50-£8.95, and desserts from £3--4

We didn't even play a gig before we got signed you 're not having a dessert! My companion for the evening ate spicy scrambled eggs. We were surprised to see it on the menu, but we agreed that although unusual , it was a great way to start.

The lightness of the scrambled eggs, complemented with ginger, coriander and garlic did just enough to awaken the appetite.

On finishing, we looked around and when we looked back, found our plated had been taken away. The service is friendly without being obtrusive or annoymg-a difficult trick to pull off.

Shortly after. our mains arrived. I had gone for an unusual combination of the classic and the ethnic; chicken marinaded in honey and lemon sauce with dauphinoise (cooked with cream, garlic and cheese) potatoes. Again; this was executed with considerable aplomb-the sweetness of the sauce balancing the garlicky potatoes to a nicety, the marinaded chicken still tasting of chicken. My

September 1998

PAY

Don't forget to use your Freshers' Pack vouchers by October 31st!

£1 .00 Exrmy date 31st October 1998.

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The Fresher

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The most comprehensive guide to what's on around Norwich this fortnight Tommy Lee Jones voices the chief commando in the effects extravaganza from Gremlins creator Joe Dante. 4/5 ANTZ More CGI-antics, this time revolving around cute animated insects.

EVER AFTER Modern re-telling of Cinderella with angel-faced Drew Barrymoe as the fairy tale heroine. A Lavish swashbuckling costume drama set in 16th century France.

THE TRUMAN SHOW A deeply disturbing film, and not because it stars Jim Carrey. This film will make you go home and check your house for cameras. 3/5 SMALL SOLDIERS Toy soldiers come to life and proceed to fight it out in a suburban house.

PRIMARY COLOURS John Travolta as the US President in this timely controversial release of the controversial novel based around Clinton's election campaign . lt also sheds light on many of his extrapresidential activities.

SAVING PRIVATE RYAN Tom Hanks, Matt Damon and several gallons of fake blood are all crafted together by Spielberg into this definitive World War 11 movie. 5/5 THE LAND GIRLS An everyday story of country folk , two of whom just happen to be Anna Friel and Rachel Weiz.

This love story set around WWII evacuees is a hot

tip for a BAFTA. 3/5 OR DOLITTLE Eddie Murphy's career descent continues with this pointless Hollywood version of a favourite children's classic. Not even a talking guinea pig can save this film .

LOCK, STOCK & TWO SMOKING BARRELS Vinny Jones is on-side in this British gansta film 4/5

HALLOWEEN H20 Jamie Lee Curtis returns to this, the seventh of the series, under the flimsy plot device of having faked her own death .

MULAN The latest Disney marketing device, sorry film is a sweeping historical epic set in ancient China. it's lead female character is a politically correct brave warrior chick. Unfortunately it still has talking animals.

ELIZABETH Epic costume drama about the life of Elizabeth I, last of the Tudors. Starring Gate Blanchett, Joseph Fiennes and rather scarily, Eric Cantona, who hopefully does not resort to poetry.

THERE'S SOMETHING ABOUT MARY Ben Stiller and Matt Damon pursue Cameron Diaz in this still-popular comedy from the makers of kingpin and Dumb and Dumber. 4/5 PAULIE Fun and skulduggery with a parrot. The Play School concept rides again .

THE MAGIC SWORD: QUEST FOR CAIVIELOT Yet another retailing of Arthurian legend in a cartoon format.

A CITY TOUCH Tuesday, October 27 till Thursday; October 29 at 5.45pm Thursday, October 29 at 2.30pm Story of a young monk whose touch can heal.

Based on the novel by Elmore Leonard. Stars Skeet Ulich, Christopher Walken ana Bridg~t Fonda.

METROLAND Monday, November 2 at 8.15pm; Tuesday, November 3 at 2.30pm; Thursday, November 5 at 5.45 70's middle class comedy about a photographer who finds his domesticated life and marriage disrupted by the re-appearance of his old poet friend.

THE FULL MONTY Sunday, November 1 at 7.30pm Thankfully there's more to this film than Robert Carlyle's buttocks. Last summer's blockbuster comedy hit may have been cheated at the Oscar's, but it's sure to entertain .

A sizable proportion of this film's audience are there for one reason only, and it's not the French period dress. This is a real shame as there's much more to this film than Leo's smouldering visage.

Most enjoyable are the excellent performances from Jeremy Irons, John Malkovich, and Gerard Depardieu as the aging Musketeers trying to prove they've still got what it takes. The action really takes off in the second half of the film, with enough plot twists to keep you entertained.

GREASE Friday, November 6 at 11 .15pm 20 years on and this musical still manages to entertain with songs we all know far too well. If you missed this summer's re-issue don't miss this chance to see the great feel-good movie.

KARAKTER Friday, November 6; Saturday, November 7; Monday, November 9 at 5.30pm \

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Tuesday, November 10 till Thursday, November 12 at 8.15 Thursday, November 12 at 2.30pm An aspiring young lawyer finds his career hampered by debt and the shadow of his bailiff father. The film follows the struggle between them both and the consequences of their conflict.

Winner of the Best Foreign Film Oscar 1998.

Subtitled .

LA GRANDE ILLUSION Friday, November 6; Saturday, November 7; Monday, November 9 at 5.45pm; Tuesday, November 10 till Thursday, November 12 at 8.15pm Thursday, November 12 at 2.30pm A world cinema classic about class divides, war and friendship. Two WWI French airmen are shot down and have to face divided loyalties as they plan their escape.

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WHEN THE CAT'S AWAY Tuesday, October 27, 9pm Modelling assistant in cat loss shock. Stylish French film.

MAN IN THE IRON MASK Thursday, October 29, ?pm Leo smoulders as teenage girls everywhere faint.

How does he do it??

THE ADVENTURES OF ROBIN HOOD Friday, October 30, 9pm No wimpy Kevin Costner antics here, this is the original Errol Flynn spectacular.

Thousands of extras, most of them in tights and some superb set pieces make this classic unmissable.

BOOGIE NIGHTS Thursday, November 3, 9pm Julliane Moore and Burt Reynolds head this superb story of the sex industry's '70's boom, and its subsequent 80's slide.

THE BIG LEBOWSKI Thursday, November 5, ?pm The Coen brother's latest film is just as slick and off-beat as Fargo. Starring Jeff Bridges as 'The Dude'. Also involves bowling .

LOUT A Friday, November 6, 9pm Remake of the original controversial story of the forbidden lust between a forty-somthing professor and a teenage girl. Stars Jeremy Irons.

THE LOST BOYS/ FROM DUSK TILL DAWN Sunday, November 8, 7pm/8.45pm Double bill of blood for the Halloween season.

Vampire flicks from two decades are here for your viewing pleasure.

No garlic or crucifixes allowed.

FALLEN Tuesday, November 10, 9pm Tough luck for Denzel Washington who nails a killer only to have his spirit return and haunt him.

This doesn't happen on the Bill.

US MARSHALL'S Thursday, November 12, ?pm Tommy Lee Jones in the unnecessary but entertaining sequel to The Fugitive.

KOLYA Monday, November 2, 6pm A touching and funny film about a musician who is forced to adopt a boy.

Won best Oscar for foreign film.

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original tickets are still valid .

7.30pm, £6.50adv CHAINS ON VELVET WATERFRONT, CLUB Metal, Grunge , Goth and Alternative in the studio, courtesy of UEA Deviant Soc. £2 before 11pm/ £2.50 after STUDENT NIGHT LIQU ID, CLUB Cheap, increasingly popular student night from Norwich's latest club.

Free before 11 pm with UEA card

BOB MOULD + MERCURY REV WATERFRONT, GIG Last ever electric tour from the former Sugar mainman .

7.30pm , £9 adv.

CHAINS ON VEL VET WATERFRONT, CLUB Industrial , goth and grunge in the studio 1Opm , £2 B4 11 pm/£2.50 after MORTIMERS MISCELLANY THEATRE ROYAL, TALK John Mortimer, the creator of Rumpole entertains and amuses.

7.30pm £10/ £8/ £6/ £3 HANIF KUREISHI LECTURE THEATRE 1, TALK Famous author of Buddah of Suburbia, My Beautiful Launderette, Sunny and Rose get Laid, and Intimacy speaks as part of the International Literary festival. ?pm , £3 .50 /£2 A video link may be set up in Lecture Theatre 2 if upstairs sells out .

STEREOPHONIC$ UEA LCR, GIG Wales seems to be producing no end of bands these days. Makes a nice change from Tom Jones.

7.30pm , SOLD OUT

CLUB FLINT RICK'S PLACE, CLUB 11 pm £2 before GORGEOUS MANHATTANS, CLUB Happy House club night.

9pm-4am £5

SUPERFLY MOJO'S, CLUB Feisty funk & ballistic beats .

10pm-2am £3 THE CONCEPT COMEDY CLUB Lon don circ uit comics. All drinks £1 .50.

Tables can be reserved in advance with the club £4 , Doors 8.30pm

SHED SEVEN UEA LCR, GIG Rick Witter returns to shake his maracas - Hooray!

7.30pm, £11

A NIGHT FOR DISCER NING ADULTS RICK'S PLACE , CLUB £ 3 with flyers before 11 pm DANCE CLUB MANHATTAN S, CLUB 9pm-4am £5

LCR DISCO UEA LCR, CLUB As if you've forgotten. £2.50 CLUB CLASSICS FROM THE 70s, 80s & 90s RICK'S PLACE , CLUB FREE all night with Stud. ID/ £1 with flyers before

THE EVENT, WEDNESDAY, OCTOBER 28, 1998

ROYHARPER WATERFRONT, GIG A whole night's worth of songs from the prolific singer-songwriter who is responsible for over 30 albums. Not bad really.

7.30pm, £10adv.

IAN MCNABB ASSEMBLY HOUSE, GIG A solo electric show from the former leader of Icicle Works who can tum himself into 'a human jukebox' . Does that include neon lights and a Spice girls CD? £9/£7.30 PURE SWING MANHATTANS, CLUB Uplifting swing for the people of Norwich.

9pm-2am FREE

MELTDOWN WATERFRON T, CLU B In the Studio, IN THE BAG 9pm, £4/£ 3.50 /£3

THE BRIGHT AND BOLD DESIGN MADDERMARKET THEATRE , PLAY Set in the 1930's this stylish production focuses on the lives and work of a small firm of traditional potters, challenged by a new art director with visions of the future .

Run s till Satu rday, November 7 £4/ £6.50 7.30pm

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SANCTUARY IKON , CLUB Old favourite Student night. Chart downstairs, indie/ Britpop upstairs.

9pm-2am £1 stud . before 11 / £2 stud . after

UNDERGROUND MOJO'S, CLUB Lo- Fi and indie night.

10pm-2am £3

CWFS@ZOOM ZOOM, CLUB Uplifting house & garage.

10pm-3am £5

HANK MARVIN TH EATRE ROYAL, GIG Songs by the guitar maestro. Runs ti ll Friday, October 30 £17.50/ £15.50/ £3.00 7.30pm

PRINCIPAL SKINNER 'S NIGHT CLASS WATERFRONT, CLUB The freshest student night in town. Cheap dri nks. £1 Stud ./ others £1 before 11pm/ £2.50 after

CARWASH LIQUID, CLUB Funky 70s disco night.

Wear your flares and get in for free . Otherwise £3

LEE HIRST THEATRE ROYAL, COMEDY Bald funny man whose stand-up is even better than his TV appearances.

7. 30pm £12/£ 10/£8/£3

ESTEEM MAN HATTANS, CLUB Gay night.

9pm-2am £2

Nov 4

MINISTRY OF SOUND WATER FRONT, CLUB The Ministry returns , largin' it for the weekend, with Erick Morillo, Problem Kids and Shades of Rhy1hm.

1Opm , £12.50 adv/ MOR E ON THE DOOR

BRINK JOHN INNES CENTR E, EXHIBITION Exhibition of contemporary art at the Conference centre's foyer 6pm-8pm FR EE PURE SWING MANHATTANS, CLUB Uplifting swing for the people of Norwich.

9pm-2am FREE

SUNDAY SERVICE MANHATTANS, CLUB House night.

8pm-2am FREE

SUPERNATURALS WATERFRONT, GIG Bright, breezy pop, despite the date change

SUPERFLY MOJO'S CLUB Feisty funk & ballistic beats.

10pm-2am £3

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7pm, £3.50/£2 A video link may be set up in Lecture Theatre 2 1f upstairs sells out

LCR DISCO UEA LCR, CLUB Student night of drunkeness 10pm, £2.50 MARGE PIERCY LECTURE THEATRE 1, TALK Author of Going Down Fast, Women On The Edge of Time and Summer People talks as part of the International Uterary festivaL 7pm, £3.50/£2 MORCHEEBA +BEVERLV KNIGHT WATERFRONT, GIG laid-back trip-hop band promote the1r album Big Calm.

7 30pm, £9adv OR DIDG + GUESTS WATERFRONT, GIG Cutting edge contemporary mus1c from Dr Graham Wiggins and h1s crew.

7.30pm, £6adv ANDREW ZONLINSKY KING OF HEARTS THEATRE, CONCERT Lunchtime solo piano recital featuring Beethoven and Rachmamnov 1pm, £1 50 at the door

MELTDOWN WATERFRONT, CLUB lnd1e, Newpop and Alternative dance. In the studio: ALL OUR YESTERDAYS, 60's soul and R'n B. 9.30pm £41 £3.50/ £3

Wear your flares and get in for free, otherw1se £3 UNDERGROUND MOJO'S, CLUB Lo-Ft and lnd1e mght.

10pm-2am £3

CWFS@ZOOM ZOOM, CLUB Up!ift1ng house & garage.

10pm-3am

£5 A NIGHT FOR DISCERNING ADULTS RICK'S PLACE, CLUB £ 3 with flyers before 11 pm DANCE CLUB MANHATTANS, CLUB 9pm-4am £5

629060 621541 Ikon 611113 Liquid 632717 The Waterfront Mojos 622533 -----630760 Zoom Concept 767671 660288 Rick's Place Canary Cue Club 627478 624677 ABCCinema Cinema City 622047 621903 Odeon 620917 Maddermarket Norwich Arts Centre 660352 Norwich Playhouse 766466 Theatre Royal 630000 UEA Studio 592272 Norwich Puppet Theatre 629921 King Of Hearts 766129 UEA Union EDts 505401 Norwich Castle Museum 223624 Scoot 0800 192192 Talldng Pages 0800 600900

COMEDY NIGHT UEA LCR , COMEDY A mght of stand-up in the LCR featuring the c1rcuit talent of Mitch Benn, Valentine Flyguy, and George Egg. £1 CHAINS ON VELVET WATERFRONT, CLUB Rock, metal & alternative. £2 before 11 pm/ £2.50 after STUDENT NIGHT LIQUID, CLUB New cheap student mght from NorwiCh's latest club Free before 11 pm w1th UEA card ' ESTEEM MANHATTANS. CLUB Gay mght.

9pm-2am £2

ExuiJerant new musical set in 1950s Soutlt Africa

MAGIC THEATRE ROYAL, GIG The sp1rit of Queen rocks on at the Playhouse.

Sold out twice already, so Freddy fa'ls should book early 8pm £12/£10 /£3

THE THATCHER YEARS WATERFRONT, CLUB Return of the worryingly popular 80s nostalg1a night, In the Stud1o:Funky Groove Shack £4/£3.50/£3

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CLUB CLASSICS FROM THE 70s, 80s & 90s RICK'S PLACE, CLUB FREE all night with Stud ID/ £1 with flyers before

DELAMITIRI UEA LCR, GIG The sound behmd Scotland's World Cup song has had over ten years of hits, reflected here in the1r new stage show 7 30pm, £13.50 adv.

621155

Manhattan&

PAMELA MARRE KING OF HEARTS THEATRE, TALK Jewtsh traditional story-telling of wit, wisdom and wonder.

8pm £6/£5 CLUB DRUM & BASS UEA LCR, CLUB A change of scene as Groovemasters returns to the LCR. With Grooverider.

9pm 9.95adv.

Bys The Loft

AUSTRALIAN PINK FLOYD UEA LCR, GIG Pink Floyd's favourite Pink Royd tnbute band, if that 1sn't too confusing a concept They even manage to recreate the light show 7 30pm , £8.50 SUNDAV SERVICE MANHATTANS, CLUB House night 8pm-2am FREE

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PRINCIPAL SKINNER'S NIGHT CLASS WATERFRONT. CLUB A different kind of student mght at Norw1ch's altemat1ve club.

10pm £1/£2.50

SIR PETER USTINOV LECTURE THEATRE 1 TALK The actor, traveller, and famous w1t 1s bound to amuse any audience Promises to be very entertaining

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SANCTUARY IKON, CLUB Old favounte Student mght Chart downstrurs, lnd1e/ Britpop upstairs.

9pm-2am £1 stud before 11/ £2 stud. after CARWASH LIQUID, CLUB Funky 70s disco mght

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OCTOBER Tue 27 Oasisn't ·Quids In £1 Sat 31 Shed Seven £11

SPECIAL BUS FROM UEA

ON ALL BO"S NI GHTS & EVERY SAT LEAVE TlO. 10.45+11.30. SOP FARE REDEEMABL AGAINST ADMISSION.INCLUDES RETURN

NOVEMBER WED 28 OCT £9 .00

Fri 6 Del Amitri £13.50 Sat 7 club Drum & Bass

djs Fabio, Grooverider + Ray Keith

Tue 10 COMEDY NIGHT Mitch Benn, Valentine Flyguy & George Egg

Sun 14 Australian Pink Floyd £8.5 0 Sat 14 Jools Holland £12.50

INISTRY OF SOUND FRI 30 OCT £12 . 50 ADV

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MSATE31 TD OWN•INTH EHAG NOV £3+UEA ID DOOR SUPERN TURAlS +THECROCKETTS TUE 3 NOV £6

Wed 18 Dr J ohn £9.50 Fri 20 The Stranglers £9.50 Sat 21 lan Brown £11 Sun 29 Henry Rollins spoken w o rd £8 Wed 25 Fashio n Sh ow £2.50 Thur 26 Fashion Show & Dis co £5 Sat 28 The Royal Family tribute t o Queen £1

DECEMBER Wed 2 Bjorn Again £5 • special s tudent concession Sat 12 club Miss Moneypennys • t bc

SOLD OUT: Ash (Oct 8), Strereophonics (Oct 30), Reef (Nov 23)

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TICKETS FROM UNION FINANCE OFFICE OPEN 11.30 • 3.30

TEL: 01603 505401

INTHESTUDI D DR DID G THUR 5 NOV £6 .00 5 NOV

MORtHEEBA SOLD OUT

THATCHER YEARS 80'S NOSTAlGIA WiTH NO SHAME FRI 6 NOV £3+UEA ID DOOR

ElSATTD7 OWN•ALLDURYESTERDA NOV £3+UEA ID DOOR WORLD OF CHEESE Al l YOUR FAVE CHEESY SOUNDS

FREE BUSES FROM UEA WED 11 NOV £1 +SU ID DOOR

IN THE STUDIO

CHAINS ON VELVET

ME TAl/GRUNGE/INDUSTRIAl EVERY TUE £2 84 11 DOOR

PLANNING APARTY?

THE WATERFRONT STUDIO (WITH 2AM BAR) CAN BE HIRED MON. WED & THUR AT VERY SPECIAL RATES TO UEA STUDEN TS. PHONE FOR DETAIL