The Event - Issue 142 - 16 October 2002

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Wednesday, October 16, 2002

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Editoria l 03

Conten s:

Event Editorial:

Inside:

Going Deeper Underground.

03

The Event Editoria l Fringe Benefits. Contents and Credits.

'm not really one to bang on about having soul and such. To be honest, I don't feel very in touch with my spiritual side, and wou ld far rather be entertained than 'deeply touched ' by a song , film or piece of art.

However, I couldn't help but notice the empty feel ing I was left with this fortnight when I heard about Robbie Williams ' new record contract . And before you get your backs up, this isn 't going to be some poxy rant about how a talentless non-entity like Robbie doesn 't deserve anywhere near that amount of money . We all know how it works: the record industry is huge, and when someone sits upon the top of its heirarchy with a cheeky grin and a high-pitched Stoke accent they stand to make shit loads of cash. There is nothing to suggest that Mr Will iams doesn 't deserve this, what disturbs me is what he is getting himself into.

EMI expect the cherubic poser to break America, something that British bands as huge as The Spice Girls and Oasis failed to do. So this is a mammoth task , and whether Robbie has what it takes to make the yanks notice him or not , this isn't going to be a walk in the park, even with all EMI have to offer firmly behind him . This is where my stomach takes a turn . Why would Robbie want to do this? Anyone who watched Nobody Someday would have seen what a cracked human being this man is. In the feature length TV programme the ex-Take That golden boy spoke of his self-hatred, and the simple fact he did not enjoy his life . They tried to gloss it over with some slightly rosier footage in the last few minutes of the show, but it did not make up for what we had seen.

And so th is recent news does nothing but accentuate my view that the record company is an evil , soulless machine that does nothing but suck in and ruin some of the brightest human beings this, and any other, country has to offer.

That said , I don't think that if something becomes mainstream then it should be sneered at. In this issue we consid· er why cult show The Office has become a prime t ime show , we suggest that we might all be the better for it. But where do you draw the line? Because when some raw unpolished talent gets drafted in from the margins it 's a breath of fresh air for the stagnant , over-produced mainstream. But then it 's not long before that talent gets lost in the great style over content face off. So should we over throw the mainstream and stop this vile process? Of course not. This is not the sixties, and besides the protesters of yesteryear are the executives of today. But we should at least be aware of where the talent comes from.

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~irh~hPse!~J£ie~~eS,~£~nder

way The Event uncovers why Ricky Gervais' comedy has gone from cult favourite to mainstream success

05 To Skank or Not to Skank The Event catches up with American ska kings The Mighty Mighty Bosstones after their sell-out Waterfront show

06 My Little Eye

The cast and Director of this new British movie talk about mixing Big Brother with murder

07 Return of the Mock

The Event catches up with comedian Lee Mack before his solo performance in Norwich next week

08 Livewire

The student radio station is relaunched this week but do students actually listen to radio at all?

09 Fabricating Art

Fabrics and clay - The Sainsbury Centre most recent exhibitions uncovered

10 Hell is for Heroes

Heavy indie rockers talk to The Event about music , life and go-karting

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Jet Plane Landing Underground music scenesters fill us in on running their own label, the rock 'n' roll revolution and other serious things

12 David Vs. Goliath

The Event talks to the director of Cinema City, David Litchfield about running an independent ci nema

Cinefile

xam ples in t his issue range from Cinema City, Norwich's only independent cinema, bravely fighting the big boys to bring East Anglia diversity on the sil· ver screen; to Jetplane Landing, the highly talented indie boys who after being dropped by Geffen flew in the face of adversity and set up their own label. We also feature Livewire, as UEA's own radio station prepares for relaunch we ask 'just wh at chance does the little guy have?'

And as for Robbie? Well, good luck to him. If he breaks America I hope he feel s happy at t he end of the day, because this is just entertainment, and if you take it too seriously it 's no fun .

E

13 Excess Hollywood

Reviews: 14 Albums

Feeder; Cabaret Voltaire; Brave Captain; Lamya

15 Singles

U2; The Pattern; Morcheeba; Whitney Houston; The High and Lonesome

Luke Wright, Editor

16 Film

Donnie Darko; Red Dragon; Crossroads; Ocean 's 11

Pictures: (Above, in descending order) The Mighty Mighty Bosstones; Ocean 's Eleven; Lee Mack; The Office

19 Arts

Boogie Nights; The Chill 'Em Jazz Cafe reviewed ; Wuthering Heights previewed; The God of Small Things re-viewed

Credi s:

20 N/Radio

Essential Soaps; What Jade Did Next; The League of Gentlemen; Radio 2 Funk factory

Editor-In-Chief · Katle Hind • Editor · Luke Wrlght • Editorial Assistant · Toby Lewls • Arts Editor · Kathryn Hlnchllff • Film Editor · Jlm Whalley • Assistant Film Editor · Phll Colvln • Music Editor · Mlscha Pearlman • Assistant Music Editor · Clalre Burwell • TV/ Radio Editors · Brltt Juste and Joe Mlnlhane • Picture Editor · Ed Webb-lngall • Listings complied by Nlcole Ouellette and Paul Wade • Text · Llz Adams · Emma Ap-Thomas · Gavln Bates · Sam Brooker · Katharlne Clemow · Clare Curtls · Nathan Dlxon · Jullet Fallowfleld · Llam Hartney · Edward Heard · Lucy Helller · Kate Herrlngton · VIctoria Holland · Llz Hutchlnson · Lucy Johnston · Rachael Mcdowell · Owen Morgan · Thomas Nelsh · Marc Peachey · Matt Sargeson · Andrew Seward · Ryan J. Stephens · Tom Sutton · Mark Wheeler · Corlnne Wrlght • Proof Reading · Toby Gethln · Richard Stoter · Charlotte Suttllng

The Event is published fortnightly by Concrete: Post : PO Box 410, Norwich, NR4 7TB Tel: 01603 250558 ·Fax: 01603 506822 · E-mail: su.co ncrete@uea.ac.uk Printed by: Archant Newspapers, St Andrew's Business Park, Norwich

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Wednesday, Oct o b e r 16, 2002

the event

04

Step Into My Office: Text: Joe Minihone

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"I just like how Ricky Gervais plays up to the camera and tries to look overly important, but still comes across as a complete prat" - MTH Student This style, whereby the audience are captivated by characters who are so similar to themselves and their colleagues, is arguably the reason why The Office has shifted from being a cult classic last year , to being one of The BBC's flagship shows attracting a wave of media attention this year. The fact is, The Office appeals to a wide range of people, from teenagers who are fearful of bei ng t he next David Brent, to grandparents who have seen it all a million t imes. This growth in st atu s was in no way inevitab le when t he show first aired. Ricky Gerva is ex pl ains: " I t houg ht it would be liked by a few people in a c ult sort of way ... but I didn't t hink it w ould be as popul ar or be as across t he board demographicall y.· What The Office has going fo r it is the fact that it isn't just basic comedy. Wh ile the wonderful 11 o'clock Show, where Ricky Gervais first surfaced as an infuriatingly crap TV reporter. remained a cult classic , The Office has grown and developed. The Tim and Dawn love interest is just one exam pl e. Gervais reckons that, • ... they [the audience] may have tuned in for the comedy but they stay and watch for Ti m and Dawn.· This thread means that peopl e are gri pped in t he sense th at t hey are gripped by East enders, and the comedy can the refore be a lot more subt le. he show is particu larly popul ar w ith st udent s at th e moment . Chris Hask ins (HIS 3) is a fan because it, "Show s normal peo ple like Tim in a ludicrous sit uati on and how t hey deal with tota l id iot s like David Brent ." Whi lst Tim seems to be popular, Ric hard Law son ( MTH 2) is keen to point out the import ance of how the show is shot and deli vered; " I just like how Ric ky Gerv ais plays up t o th e c am era and tries t o look ove rly import ant , but st ill comes ac ross as a com pl ete prat. " Differences in opini on simpl y serve t o show how The Offic e has a w i d ~ and varied appeal . it s diversity mean ing eac h person seems to have a different reason as to why they are a fan of the show.

What ever your reason for liking The Office, it 's im portant t o remembe r that it's an exercise in self-mockery. The public watches it, then go into their offices up and down the country spending the day laughi ng about a programme which is. to all intents and purposes, t aking the piss out of them. For students, it should real ly serve as a warning. Days of continua l boozing and waki ng at t hree in the afternoon will sadly not last forever. And when they do end. you can guarantee that t here's a desk at an office somewhere with your name on it. If you don't do anything about it. then you'll be going there very soon indeed!

T ost children have a Utopian vision of their career. Some want to become professional footba llers, some ballet dancers, some brain surgeons. Once University hits however, the sad truth is that the maj ority of us are destined to sit behind a desk for the next forty years or so, escaping once a year to the Costa del Sol for a family holiday. Our only reward is to be retired off and sent home with a crappy picture of a Spitfire under our arm as a leaving present. Such a grim inevitability is difficult to escape, as comedy of the moment The Office reminds us. Hav ing become a cult hit when it first came to the small screen in summer 2001, the cringeworthy show is now in the middle of a successful second series.

The show follows the lives of the workers in a Slough paper merchant, and focuses on the role of their boss, David Brent (played by writer and director Ricky Gervais) . Brent is desperate to be loved by his employees. and attempts to impress them (and his own bosses) at every turn. This is done through a mixture of cod philosophy and awful jokes. which serve simply to alienate those around him , and make him look like a complete tosser in the process. His 'team leader', a creepy TA officer named Gareth (Mackenzie Crook) is desperate to prove himself to the rest of the staff, whi lst other main characters Tim and Dawn provide the will they ; won't they office romance. As the show is shot as a docusoap, this makes it somewhat all too real for those who endure office life on a daily basis.

"The comedy is not found in hilarious jokes over which dodgy canned laughter is played. In fact, it is quite the opposite ." it is perhaps this incisiveness, therefore. which makes The Office so funny but at the same time so difficult to watch. The comedy is not found in hilarious jokes over which dodgy canned laughter is played. In fact, it is quite the opposite . Because the characters become parodies of normal office folk , the audience find it easier to relate to them. and are also able to relate them to their own workmates. Steve Tinkler (MGT 3), who worked at an accountancy firm over the summer reckons that The Office sums up everyday working life: "When I watch The Office, I find myself thinking of the people that I worked with and how similar they are to the people on the screen."

Ricky Gervais himself believes that it is all about setting up the situation rather than having side splitting gags every three mi nutes . If viewe rs have a situation that they can understand then they'll find it that bit funnier than something outlandish and impossible.

Probably the most telling insight into office life comes from Tim, once the spirit of insurrection. now Senior Sales Rep with an annual pay rise of five hundred quid. Having been tile figure which the audience could champion in the first series due to his ambition and wish to leave the office and pursue a career in psychology. Tim has become a shadow of his former self. Martin Freeman, who plays Tim , believes that. "He plays it safe and that's what people do." Initial episodes of the new series have seen Tim insist he 's going to pursue his goals, only to be told by David, "What's the point?," followed by a quote read from a sheet of pop philosophy on his desk . Similarly Dawn, the receptionist who plays Tim's unobtainable love interest, is stuck in a rut. She, like Tim, has ambitions of moving on. Lucy Davis. who plays Dawn . says she finds it , " ... quite frustrating to see someone young , who could have dreams and ambitions. and yet somehow doesn 't want to move on or up.

t e event

Wednesd a y, O c tober 16, 2002

"I thought it would be liked by a few people in a cult sort of way... but I didn't think it would be so popular" Ricky Gervais

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To Skank or not to Skank: Text: Matt Sargeson

ng

The M1gh sess the ska stars o

o here I am with the lead singer of Boston skapunk legends The Mighty Mighty Bosstones, the lizard-voiced Dickie Barrett, out the back of the Waterfront, he upon chair, myself on the cold, hard tarmac of the car park. Today, I am the very essence of amateurism; hurried questions, bungled arrangements and Grace Jones hair. I catch Dickie prior to the first show of the band's first full UK tour in two years, an event he and the band are looking forward to.

"I'm feeling good, I've been working out, I think I'm gonna win this one. We flew in two days ago, spent the day in London and just chilled out .. .l love playing the UK. I guess I enjoy being here. it 's not a very big room, but I think we can muster enough people to fill it out," Dickie says about our beloved Waterfront, a venue that becomes more a part of me with each evaporated sweat drop that ends up condensing on the impossibly low ceiling. 路we did the Warped Tour all summer and this is going to be a thrill, this is going to be fun for us. This is what we set out to do, intimate settings, small clubs, venues where you can see the kids go nuts.路 Tonight, from certain sources I learn that the venue is indeed a sell out, though Barrett remains modest over such news: "the opening bands are really good too, so I'm not taking full credit for this."

"To

call the Bosstones a ska band is unfair to ska music."- Dickie Barrett Dickie is also fairly humble about his band's live show ("it's dull, very boring ... like a Lostprophets show almost. We're just pretty young boys") and especially the band's latest album A Jackknife To A Swan. it's a pretty sweet effort all round, dropping ska and punk riffery with the signature good time Bosstones' Mafia vibe running throughout, music that leaps out on a summer barbecue and handily serves the drinks leaving you to chat up the cute blonde twins by the paddling pool, but Dickie is very modest about it all.

"When you finish the record, you're not done until the eight of us all say that we love it, and I hope that other people will like it and that it'll be successful. But you're talking to the father of this thing here, so I'm not gonna brag about my kids in front of you.路 A refreshing attraction of the Bosstones are their lyrics, more parables and fables than personal confessions - new single You

h y'r

m go a d after all What ver guys

" I' 11 look like 1'm in the Stones, I think, but that won't be anytime soon."

Gotta Go is about telling an oikish freeloader to get out of Barrett's house and Mr. Moran is a tale told from the eyes of a mob informant under the witness protection program.

"That's my Irish heritage; storytellers, bullshitters and boozers. I partake in all three."

However, as with every ska, punk or emo band under the sun these days, apparently none of them actually subscribe to such bourgeois notions as that of genre.

"To call the Bosstones a ska band is unfair to ska music,路 pouts Barrett as I notice how, close up, his face looks like it was lovingly chiselled from an irksome slab of granite. "We're a rock n' roll band with ska influences, with a love and admiration for ska. I think that we don't really box ourselves in or have any limitations, the sky's the limit. Whatever we feel like doing we'll do it and slap the Bosstones label on it and say 'this is what you get.'" onight , however, on charges of being shamelessly ska and trying to hide the pork-pie-hatted truth from our very eyes, you are found guilty, Mr. Barrett. The eight members of the Mighty Mighty Bosstones take the stage in matching suits and ties, proceed to back up the ska-riffic guitar po-going with a full compliment of trumpeters and trombonists and there's even a fully grown man skanking onstage throughout (tour manager and official band dancer Ben Carr). And as if this wasn't enough, there are kids skanking at the front, at the back, by the merchandise stand.

And the kids don't lie, baby.

Yes, indeed. What a show. Dickie may have had a point about the supporting acts- Consumed are (fairly) infamous for 'being one of few bands from Britain to get on to the American powerpunk institution Fat Wreck Chords (the record label run by NOFX's Fat Mike), releasing a delicious EP a couple of years back called Breakfast at Pappa's. Tonight they hit hard and fast, winning new fans and selling many at-shirt. Clearly, Consumed are destined for great things on the underground circuit but bollocks all on the charts. Such is life.

Snuff are already pretty much at the top of their game. They get mad love wherever they turn up, either with their jumptastic kitchen-sink punk pop lovage, their cheeky comic turns or their finest, all round moment, Nick Northern.

But the Bosstones take it up a notch. There is a over a decade's worth of prime ska cuts in their back catalogue, all

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delivered with love, passion and a contagious sense of fun. Kids are onstage, kissing and duetting with Dickie, shooting crack into their eyeballs. it's a beautiful thing. Though ska gigs can sometimes get a bit samey, the Bosstones manage to make it an enjoyable enough evening with the odd special number such as You Gotta Go, Rascal King and, of course, Impression That I Get, spicing up the two-tone gumbo.

Despite being on the road for over a decade (a long time for any band, let alone the readily combustible nature of ska bands) and Barrett can still see this behaviour lingering on into his middle-ages. "I'll be real old and sore, I'll look like I'm in the Stones, I think, but that won't be anytime soon."

So, then, the Bosstones stand as kind of an institution. A fullyfledged ska machine in nearly every way, with just the right amount of reggae and brass-augmented bounce lacquered over the Rat-Pack mentality of an eight man crew to make things interesting.

And as much as Barrett might protest to being labelled as 'ska', there's no doubt that while other, once strongly underground, ska bands such as Reel Big Fish or Less Than Jake have actively turned their music into a hideous, inbred pop-punkjmetal aberration, the Bosstones have kept on keeping on with the same jaunty ska formula. And there's no shame in that at all, Dickie. I mean, just look at the kids skanking at the urinals.

That says it all.

Wednesday, October 16, 2002

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06

Digital Video Nasty Text: Nathan Dixon ~rom

the people who brought you Billy Elliot comes survival horror for the Big Brother generation. The director and cast speak about house building, test screenings and digital filming. magine Blair Witch meets B1g Brother in a sprawling .

Gothic, gingerbread house set deep in a forest. The director and a few of the cast of the critically acclaimed new British financed / scripted/ directed 'raw horror' movie My Little Eye gave a press conference, in Warwick, about their experiences while making just such a film. After a bit of backslapping and congratulations over how wonderful everyone and t he fi lm are, we got some interesting stuff.

Jennifer Sky (Charlie) is American, as are most of the other actors, and consequent ly "cannot pour tea"; but there are some advantages to employing actors from across the pond, rather than Britain. as rising star director Marc Evans explained: "On most films .. . you have to do a lot of rehearsal simply for the camera. I think it's true to say American actors do more films early in t heir caree r, so they know w hen the shot is the ir shot. Younger British actors are more used to the theatre, so aren't as ·camera literate'. One of the things that was different in this [film] is that they did n't really know, a lot of t he time, which camera was on. so they had to take control of the scene."

At this point the actors lapsed briefly into the mandatory period of calling each other and the production team 'crazy', before it was opened to the floor: QUESTION: " Talking about the difference between American and British actors: did you make a conscious decision when you began development that you were going to set it in America , as opposed to the UK? " JON FINN producer (Billy E/liot): .. " lt had to be in America because you can walk safely out of anywhere here. When you start thinking about where it could be set in the UK you think , "Hmm, Wales. Whereabouts in Wales would I set it?" And then you just start giggling ."

KRIS LEMCHE actor (Rex): "The other thing we decided early on was: if you watched Big Brother here - we're so obsessed with accent and class that it immediately became a sociological experiment. We decided that we didn't want anybody who had to 'decide who they were· . We wanted white kids who maybe had travelled everywhere on the web but had been nowhere in life; [kids] happy enough on one level, and on another level naive enough to go, "Yeah, I'll do that for a million dollars" . Those things were more possible with the backdrop mythology of the Ame rican wilderness; this vast country that could have these suburban kids turn up from nowhere and believe that this actually could ·turn their life around .· ..

QUESTION : " it was all shot as if for a webs ite , wasn 't it -just using digital cameras ; wall-mounted, hidden etc. How did you find working with these?"

MARC EVANS: "For some reason digital is just reinvigorating. it was what you would shoot a telev ision documentary on. Now it's possible to use those cameras and transfe r the images to a 35mm film.

That wasn't possible before. and that's exciting. I think what's happened with horror films is that they got stale- the genre gets tired. You get a scary movie and you get the 13th Halloween and you get the 15th Scream and you go , 'Well, you know. something new needs to happen'. And the thing about technology is that it does that.

"I agree that when the techno logy first crops up there's a lot of people getting infatuated. even 'fetishistic ·, you know . it all has to be shot in digital! Personally I think it's great because new tools encourage you to do new things. Having said that, what transforms it is the ex pensive bit - transferring digital footage to 35mm film. But unless you want something more romantic, or more landscape shots, or, like us, you wanted to build a house and go to America. you could shoot a film very cheaply on digital. and it could still be a beautifully cinematic thing ; after transferring and adding sound."

QUESTION : " You built a house?"

JON FINN: "Yeah. I still can't quite work out how we got to the point where we built the l1ouse. Normally you build separate sets each week for separate floors. But we built the house for real. lt was fully functioning. all the waterworks and electrics worked.

"So, with this house. there was the technical thing of making a

h

horror film while you weren't allowed to use the 'language· of horror. All of the 'grammar' that makes horror films horror films: we couldn't really do tracking shots; and we weren't allowed character POV; we weren 't allowed any of those things.

So we had to use all these new tools to try to make it scary ...

QUESTION : " I thought the camera work was excellent and the atmosphere was very voyeuristic , and relentlessly t ense. But how close do you think this kind of thing actually is to reality?"

MARC EVANS: " One thing that I think we both picked up on is; if you just take Big Brother for a start: each series is more cruel. I think. All this ' Kill the Pig', and Jade, and all that . Originally there was something quite cool about it, there was just a bunch of slackers on a sofa. you know , arguing and trying to get off with each other."

JENNIFER SKY [actress]: it's a more sophisticated film in this respect . As an American. I find the European audience is much more patient and are more likely to ·get it, ' you know? So I really have no idea how they'll deal with it over there .

JON FINN : The truth is over there it might make some money, it might not.

I'd be delighted if we did but I just don't believe it. The film's got a really weird history. We're not taking the possibility of full release in the States for granted , because we were supposed to test it there last year on September 11th. But we got up in the morning to go and test it and everything had gone nutty. We tested it four days later anyway, but there were a couple of lines left in that we had completely forgotten about! My favourite moment was, when they·re in the room looki ng at the TV screen; there was a line in it that Sean says: 'it's a snuff

event Wednesday, October 16, 2002

site' . The reply: 'What are they going to do. for Christ's sake?

Send in an army and kill us all? it's America!'

"Everybody starts booing for some reason. And this guy in an automatic electric wheelchair at the front of the cinema decided that was one remark too much for him. So he starts pressing it backwards and forwards. and his leg was out here in a big plaster that kept hitting people. So then he turns and shoots straight up the aisle and into a bin. Which then comes rolling down behind him ...

MARC EVANS : " And I turned to Jon and said. whispering. "How do you think it's going?""

JON FINN : " So needless to say it didn 't score very well! lt could do really well on the cult scene though, that 's big over there ...

MARC EVANS: "You never know. I mean. the big fact is that it has received critical acc laim over here, but the States has no idea. it's very much that ocean which creates a huge barrier. We 'll see on release day. But if people leave the cinema feeling deeply traumatised , then I guess we haven 't wasted our time! ..

My Little Eye is already out nation-wide, and sadly probably won't be around for long before the next blockbuster appears and boots it from the screens . lt has received excellent reviews across the media and is that rare thing in cinema these days: 'different'. Oh. and if you hear anybody moaning "why he didn't just get the gun and shoot everybody." or "w hy didn't they just smash the cameras? " Then ignore them. they're stupid. They're missing the point.

Pict ure: Sean Cw Johnson outside the specially built house

07

Return of the Mock Text: Katharine Clemow

His hatred of Robb1e W1lliams and F iends and h1s love of Ke1th Chegwin were all discussed when The Event caught up with Lee Mock, Star of ITV's he Sketch Show. omedy is a strange game, with a good script almost anyone can be funny but it's away from the writers and directors that you see who's really got the gift of the gab. Lee Mack, best known for his BAFTA winning The Sketch Show, falls into this group, as we chat he's enjoying some time out in a health farm before taking on the country in his first ever national tour and I find out what a genuinely funny man he is.

The first thing I ask him is why he became a comedian; it was less about a conscious career choice and more about having a talent and falling into it . His school report once said, 路sooner or later Lee will realise that messing around in class will get him nowhere in life. He adds, "I now have it framed on my waii".Lee began performing stand-up at the Edinburgh Fringe Festival and won his first award, the Channel 4 sponsored So You Think You're Funny, in 1995. He cites his comedy inspirations as Eric Morec ambe and Stan Laurel and seems to have a strange fixation with Keith Chegwin . He finds him "hilarious路 and wants to meet his "idol ". I am assured he is joking. Making a career out of 路messing around" has by no means resulted in Lee taking success or audiences for granted , comedy is a serious business,

"My school report once said, 'Sooner or later Lee will realise that messing around in class will get him nowhere in life.' I now have it framed on my wall" especially in television where there are lots of other people involved - he refers to it as a committee - and by the time you get to perform anything it has passed through about twenty processes including editing, rehearsals, costume and make-up.

With stand-up there isn 't any of that , " it' s more instant, you can think of something funny in the afternoon and you 're performing it that night " .The point of stand-up comedy is that it 's a one man show and as Lee says, " lt doesn't matter who you're working with , you 're always on your own with the microphone" but this tour will be the first time he has embarked on a series of shows entirely alone and I ask if he has any sort of rout ine or ritual to help him prepare for a gig . His answer went something like: "Always slaughter a virgin (if allowed , if not just tie up my shoe laces) ". When in doubt crack a joke. it 's the way of the comedian. or his forthcoming tour rather than staying exclusively in 5 star hotels Lee has booked into some inspirational and definitely different establishments, including a windmill. In fact this particular residence wil l be used for his Norwich performance as it falls in the middle of the triangle formed by three of the venues on the tour: Norwich, Loughborough and Hull.

Nothing about this guy is predictable and I'm looking forward to his observations on said structure available for hire, though we should be able to escape any wisecracks concerning East Anglian farming practices as he used to live near here. lt won 't all be picturesque countryside though, this year Lee has been invited to perform at the Royal Variety Performance and says he's trying to convince himself that it's just another gig, just another venue, and not that his tour finishes with a 3000 seat auditorium and an audience of the rich and famous, not to mention royals. He is clearly excited to be involved but says he won't inc lude anything too different from usual. "I'd better say no. If I said yes, I'm gonna get me cock out they wouldn't let me on the show . They'd ban me". But he has always wanted to own a photograph of himself shaking hands with the Queen, "I think I might put a little electric buzzer on my hand, you'd get a great shot of her with her eyes wide open! " This is not to say that he feels anything less than very British.

He says of his audiences worldwide that they are often made up of ex -pats and he much prefers British comedy to American comedy bewailing the fact that American sitcom just isn 't funny and that there are two things in life he 'll never understand: Robbie Williams and Friends. This anti-Robbie feeling is largely unexplained and there are lots of British performers he admires, confessing to being more excited about meeting Bob Monkhouse at the Royal Variety Performance than Kylie, another act on the star-studded list . The tour Lee Mack Live consists

F

of 43 dates and began on October 8th , it comes in the wake of stand-up performances all over the world including gigs in Hong Kong and South Africa and the brilliantly received and critically acclaimed The Sketch Show. The eagerly awaited second series of the ITVl show has just finished shooting and will be out in January of next year by which time Lee hopes to be travelling again, performing in South East Asia

'' One of his outstanding ambitions is to do a gig at a research laboratory in the Arctic Circle, which would mean he has performed in every continent in the world" and making an appearance at the Melbourne Comedy Festival.

He's looking ahead to an'Jther busy year but doesn 't overlook the possibility of embrc: c.ng other types of performance such as

returning to pantomime which he did last Christmas with Julian Clary and Paul Merton. "Panto is the best thing I've ever done in terms of having a laugh , some of the jokes are so terrible you just have to give up on theml" One of his outstanding ambitions is to do a gig at a research laboratory in the Arctic Circle, which would mean he has performed in every continent in the world. But he's in no hurry and jokes about beginning a tour of health farms first, mixing business w ith pleasure permanently.

He wants to be remembered modestly as someone who looks after his cat well. As far as awards go, Lee has enjoyed wide critical acclaim and when I ask if there is anything in particular he would like to win he tells me that Tim Vine (friend and fellow star of The Sketch Show) is joining him for one of their gambling sessions, "All I'm interested in winning in the next few hours is a cake won off Tim in tennis. That would mean more than any BA FTA.路 Following some time spent enjoying the (almost) sedentary pleasures of his health farm the tour begins and Lee will be returning to the Norwich Playhouse a venue he has graced in the past , and which is near his old home in Brundall , on October 19th. I ask if he has a favourite venue or group of people to perform to and straight off the mark , he says, "Without a shadow of a doubt it 's a place called Norwtch, they are m 1 favourite people, PLEASE BUY TICKETS! " Do buy tickets, go :md see the show , you 're guaranteed a laugh and as well as jof es about windmills, Lee has promised to mention UEA .

Wednesday, October 16, 2002

ee

08

Are You Listening?

Text: Britt Juste

With the beginning of a new year o n Campus, Livewire, UEA's student radio is hitting the airwaves again with a new timetable and fresh voices. But in a time where the listener is already spoilt for choice, does UEA really need its own radio station? t is not easy to live wi t hout radio. There·s something comfo rt ing about having the subtle noise of a familiar DJ's voice streaming through your room while you are doing your coursewo rk. reading or sim ply re laxing fo r t he day. If yo u are a reg ul ar radio list ener. chances are t11at yo ur radi o is tuned in t o eit her Rad io 1 or Vibe FM and t hat you didn' t even know that the UEA has its own radio station . Launch ed in 1991 . Livewire 1350 AM. has al ways been a popular choice for students who aspire to a career in radio. They have the unique chance to present and produce. provid ing t hemselves wit h a good, solid foundation for their futu re c areers.

But should a radio station exist for the presenters or the listeners? With audience figures at less than 500 a day the question remains whether Livewire ' s cab le should be cut all t ogether. With at least three major loca l stations. Norfolk does not lack behind on the airwaves . and the consumer is spoilt for choi ce. Add to that the "indispensable" TV . and the survival of a tiny student radio station that can only be heard on Campus and the immediate surrounding area. seems doubtful.

In a survey from August this year figures show th at Radio Norfolk is doing bet ter than ever. On average 220.000 tune in each week · an increase of 10,000 since last quarter. which means that almost a third of all adults in the county are list ening to the station. Clearly then. people do listen to radio. but on Campus the number one choice is certain ly not Livewire .

Wl1en asked. most st udents said that t he fact th at the shows are not mainstream enough was one of the major reasons for not listening.

"The question remains whether Livewire 's cable should be cut all together."

Dave Poll ic ut. EAS 3. was one of th e few stu dents w ho did tune in la st year but generally he is not impressed with the choice of shows. " Livewire is not catering for the masses. lt is too abstract. it has gone too far t he other way.

Stations like Radio One and Vi be FM are popul ar fo r a reason. it must be possible to produce shows like they do. but with a student slant on it ...

With new specialist shows such as Hip Hop, Punk . Reggae and House he may have a point but Livewire presenter Thomas Sutton disagrees.

"Stu dents wa nt diversity. So many radio st ations cater for main taste; that has already been done. Livewire is a great opportunit y for students to do radio ; many different people get involved whi c h leads to a wide range of shows."

There is. of course. no pleasing everyone . but with the new programme schedule Livewire might

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just achieve that. Indeed. according to Livewire Programme Controller Ally Barnard t he main issue fo r them this year is to increase the number of listeners.

"We want Livewire to become a vital way of learning of what goes on at UEA on a day to day basis." With news going out six times a day, the launch of a new sports team and music news team this does not appear to be an impossible task . However.

Livewire's main problem seems to be that not enough students know that it exists. A few posters around Campus displaying the new logo, a lightn ing flash. simply does not cut it in today ·s society where the con· sumer is bombarded with images of one product after the other. Like it or not . PR is essential.

Station Manager Tom Buckham and Colly Wolinski. eo-Head of Music agree. "There has been a significant increase in list eners contacting the station this year. and hopefully with increased publicity and promotions these figures will continue to grow. " The station has recent ly engaged in a promotions team , designed to raise the station's profile. They are confident that freebies and wee kl y compet it ions w il l hel p get more students list ening. In addit ion. each student li ving in halls w ill receive a timetable , and flyers will be distribut ed throughout.

Han nah Garrard . EAS 1 , agrees that if she knew more about Livewire. she would make an effort to

"We want Livewire to become a vital way of learning of what goes on at UEA on a day to day basis ." - Ally Barnard, Programme Controller tune in. but the information since she started this year. 11as been lim1ted. And on top of this. maybe it is easier to tune into the comforting voices of the DJs already familiar to us.

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o will more mainstream programmes and a higher profile ra1 se Livewire to unprec edented heights? Probably not. but let us not forget that this IS a student radio. made by student s for students. The shows are not hosted by the likes of Sarah Cox and Chris Moyles. and neither should they be. This is the students c hance t o try their hands at radio broadcasting. and it is your chance to learn more about contemporary music. (contemporary by the way does stretch beyond S Club 7) and what goes on at the UEA. With cutting edge new shows. a brand new and improved programme schedule. there really is no excuse not to tune into Livewire. UEA does need its own radio . lt is an important tool for aspinng DJs . and even more so for us as it provides all the latest music and news. And if you don't like what they are doing. we ll , you could always get involved ...

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event

We dnesday, Octob er 16, 2002

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路Fabricat路ng Art:

09

Text: Juliet Fallowfield

he Sainsbury centre has opened two new exhibitions featuring innovative techniques in ceramics and fabric, The Event went along to the opening night lip is the title given to the new temporary exhibition at the Sainsbury Centre (close 8th December). In the lakeside end of the exhibition space sit twenty or so ceramic sculptures created by many different artists all of whom have undertaken a period of residency at the European Ceramic Work Centre (EKWC). The centres focus on how artists can expand their ideas by using modern technology and research into different materials, is clearly evident in this current show.

The ceramics themselves vary greatly, not only in size and colour but subject matter and display. lt is an interesting space to walk around; each piece can be seen from all the angles. I

"This is certainly not to everyone's taste but a must see for anyone who has ever picked up a knitting needlel/ am not a great fan of sculpture but two of these works stood out, Ted Noten decided to line up average white cups merely so he could embellish their handles and distort the process of how clay ends up as a drinking vessel. His Tragedy of a Young Dog has an interesting life story; it starts as a plastic toy, gets covered in clay which then gets little balls of clay chucked at it until the kiln sets it in its now present form . The other sculptures, although interesting to look at, do seem slightly random sitting next to each other. The exhibition as a whole is definitely worth a visit because even if you do not enjoy it - it's free .

The second new exhibition, Fabrications shows Kathleen McFarlane's works. McFarlane, who enjoyed tuition from Victor Pasmore, is still a practising artist in her eighties. The blurb refers to her work as having a "power to seduce and to repel" the viewer, which is a very good description for my reaction.

The expressions on people's faces were ones of bemusement and 'is that what I think it is, and if so should I really be looking at it?' My simplest reaction was to question where she got her inspiration from.

fter a Cascade down the Crescent wing (the bit you all slide down on the outside of the Sainsbury Centre) you are confronted with very large woven references to nature and the body; (to put it bluntly). lt is quite daunting standing beneath these vast dark hairy 'tapestries'. This is certainly not to everyone's taste but a must see for anyone who has ever picked up a knitting needle (or worn a woolly jumper). The complexities McFarlane must have overcome to reach these results are outstanding . In the last few decades the making of art has become more of a focus than just the end result. I've found modern art a lot more interesting and impressive if I've learnt about how it is made with all its 'journeys and deviations' and this exhibition provides an insight into McFarlane's methods. Even if you do not like the end result the works are still fascinating to observe .

The opening night of the exhibitions was an eye opener. My flatmate and I tried to look vaguely smart but standing next to these fascinating artists as well as councillors and some of the faculty we did feel like typical students (especially as we made a beeline for the bar and nibbles) . The cafe in the Sainsbury Centre acted as host to masses of people discussing the art and the space. If you are an avid people watcher an eavesdropper or even mildly interested in art then get yourself an invitation for the next opening. In the opening speech Marjorie Althorpe-Gayton, Director of Visual Art, Arts Council of England, talked among other things about "gloopy sensuality" . Her descriptions conjured up all sorts of ideas of what to expect in the exhibitions but as her words were so vividly descriptive I may have been slightly disappointed by the actual works. I don 't think the clay or wool is particularly sexy in these pieces but they do make you think; and that, after all, is why we are here.

Students at UEA can stroll into the Sainsbury Centre (free admission) and wander around the collection to their heart's content. These types of display are not ones you necessarily have to like to enjoy . Part of the pleasure of looking at other people's artwork is the peace you normally encounter (also the loud comments some old dear decides to broadcast over the pottery). With the Sainsbury Centre doubling its visiting figures it must be doing something right especially with it opening two

A

new exhibitions at once. If you have a spare hour or even five minutes, you can view the whole collection in WAM, take in as much as you desire, and leave feeling that next time Mum phones you can say you have done something cultural. The cafe and restaurant also act as a good lure to 'that' end of campus.

Sainsbury Centre open Tuesday to Sunday 11.00-17.00 Slip and Fabrications opened Tuesday 1st October closes Sunday 8th December 2002 Admission free with student identity There are a number of talks, lectures and master classes on in connection with these exhibitions - see inside the Sainsbury Centre for details.

Pictures: (Clockwise right to left) Cragg Shiver; Gormley view ; Jacob's Sheep; Baboon

10

AI m 0 s t F amous Loo kin

beyond the Top 40 ...

NO. 3

From Hell

• •

Text: Mischa Pearlman

Hell is For Heroes are midway through a European tour with Papa Roach. One of their fina l sto ps in Engla nd wa s Norwich Arts Centre . The Event met up w ith them for a friendly chat ...

Munkster' s superb debut EP, A Thousand, has just been released on Toast Records.

The Event asked the band a few questions .. .

Why did you form?

Leo (guitar): Kris (drums and vocals), Tom (bass) and I have alway s played in band s since the age of 14 for fun , but neve r found the right front person. With Seb (voc als and g uitar) j oini ng in 2000 we had the right combination and wanted to take it further .

Tom: We had been playing in various bands for years and eventually found the right vibe when Seb joined us. lt seemed to be too good an opportunity to miss.

Who are your main influences?

All: Bands we all listen to and like are The Red Hot Chili Peppers, The Pi xies. Foo Fight ers and Police, but we all listen to a wide variety of stuff which brings a lot of different ideas into the music.

What 's more important - the music or the lyrics?

Seb: Equally. you can't have one with out the other. Bad lyri cs equals a bad song .

Leo: Both! Good lyrics with bad music sucks and so does good music with bad lyrics!

Krls : We place a lot of importance on both. Personal ly, if I hear a song and the music 's great but the lyrics are predictable and corny I get mad and starting hurting people.

Tom: Both are really important to us. The lyrics and the music are written in pretty much the same way- a collective of ideas. Any one member might write a riff or a lyric , if it works we ll then we 'll build a who le song around a particular idea. The basic structure comes together quickly , but the finished product takes ages.

Do you think music important in this day and age?

Seb: Very important , it has been and always will be. it 's a co nstant thing that you can rely on . it ' s a bit disappointing that the sales thing is so im portant these days but I am sure that there are enough people with good taste out there that it will never wholly become about sales.

Leo: Yes, because it 's something to live for!

Kris : I hope so or what are we wasting our time doi ng all this for?

Where would you like to be in 5 years time?

Seb: In the same position as Dave Grohl (joke), but just to keep doing what we are doing now but on a bigger scale.

Although the new Gareth Gates would be nice.

Kris : I'd like to be sitting between Elvis Costello and David Bowie at the opening of Stephen Spielberg 's critically acclaimed adaptation of Tony Parsons ' biography , · Munkster: The Music ,The Magic, The Legend. ' Tom: I guess we 'd like to be in the thi ck of it all, mak ing music , playing gigs, doing what we love to do. If not, I'll probably live as a recluse in a hut somew here.

Munkster release a single, Everyone Knows Your Name. on November 25. For more information, c heck out www.munkster.co.uk

Mischa Pear/man and Liam Hartney

the event

itting with Hell is for Heroes - a name " nicked , lock stock and barrel" from a Steve McQueen film - around a table in the Norwich Arts Centre bar it is hard to imagine the sheer ferocity and intense power that the five band members will later demonstrate on stage . All five of them are quiet. polite and rather softly spoken , not least singer Justin, wh o only joi ns the interview towards the end and wh ose eyes and smi le intimate a shy and timid personality. He looks. as he sits down and joins his bandmates, almost like a sc ared teenager, unsure, uncomfo rt able and unconfident. He isn't. of course, and his incendiary, ene rgetic performance on stage just a co uple of hours later cert ainly belies this diffident appearance . but this is the point - offstage , they are normal , down-to earth people ; onstage they are anything but.

Having travelled down from Sheffield that morning. Justin and his bandmates - guitarists Tom and Will , bassist Fin and drummer Joe - are in Norwich for one of their last UK gigs before they start a small European tour with Papa Roach . " We're ex c ited ," says Fin of the prospect. "We can 't wait.

Obviously, we 'll be up first, so we 'll be playing short set s to new crowds, but it 's ni ce playing to people who don't k now yo u. "

"If had the money, I'd probably smash guitars up at will."

The band talk about where they want to go most. which is pretty much everywhere, though Sweden is particularly high on the list for all four, because they'll get a chance to hook up with the producer of their forthcoming debut album, Th e Neon Handshake, whi c h they recorded in LA. There were good reasons for this, as Joe explains.

"The studio there was where Nevermind was recorded, and the first Rage against the Machine album as well. Apparent ly it's got the best drum room in the world. The drums sound really really good in there . So I said, 'we're going there. then .' it 's all about me. you see." The band laugh at this. knowing that. though it isn't , this co uld easily be true - Joe . along with Will, were founding members of Symposium - but their previous involvement with the successful indie-roc kers is downplayed and all connections to them severed. But surely it has helped the band slightly? " I think ," says Wi ll, " that it 's actually a bit of a hindrance. I feel real ly terrible for Justin, Tom and Fin that it gets brought up, that the band gets label led as ex-Symposium , because that's got nothing to do with this. lt was something me and Joe were in when we were kids. lt was a long t ime ago and it ' s irrelevant." lt is clear from this that each member has utmost respect and admiration for the other four, not just as friends, but as people involved in what they ' re doing now. And rightly so. Hell is for Heroes have everything goi ng for them - the current tour with Papa Roach ; their new single, Night Vision; the forthcoming album; and a record deal with EMI. They played at the Reading and Leeds festivals th is year, and have performed with some of the most prominent British and Ameri ca n rock bands of the moment . inc luding Alien Ant Farm, Hundred Reasons, Biffy Clyro, Ame rican Hi-Fi and t he lcarus Line.

"They were nice guys, " they say of the latter, one of the most explosive and controversial bands in America at the moment during a gig at a Hard Roc k Cafe in Austin , Texas, for this year's South by Southwest music conference, guitarist Aaron North broke a case that contained a guitar belonging to the late Stevie Ray Vaughan and tried to plug it in and play it . "They were actually pretty quiet. Nice guys. Some of them smoked a lot of pot, so they were quite mellow. Maybe they 're not normally like that. · So have Hell is for Heroes done anything quite as rock and roll as that? " Not really ," laughs Tom . "We're bu ilding up to it . slowly but surely . But I kind a like my guitar too much to destroy it. " "If I had the money ," adds Will . " I think I would probably smash guitars up at will , because I don't feel any huge emotional attachment to them . Apart from Tom's, which is a really old one . The one I use you can still get in any shop."

And what about the drink and drugs side of things? Are they

Wednesday, October 16, 2002

usually drunk when playing live? " No, " says Will. " We're always sober on stage, never drunk.

We've made that mistake a co uple of times and learned from it."

"Though I gotta say: interjects Tom from across the table. "t hat I've been consistently half-pissed and half-stoned every time we've played. But there is a balance, and you definitely need to be careful. " They prefer, instead, to get drunk after the show, and watching it later, it is easy to see why . Their set is tight, energeti c and thoroughly compelling, their stage presence commanding and awe-inspiring. The sheer energy of the band , and Just in in particular , is unbelievable, all visceral emotion and vitriolic rage.

They are perhaps slightly too shouty at t imes - much more so than on record - but this is them live , raw, rea l, and they burn with a passion and honesty that is sorely lacking in Brit ish music today. Previous single I Can Climb Mountains is a definite highlight of the show, as is the aptly-titled Slow Song, their self-confessed " rock ballad, " whi ch builds and builds and builds and builds until it reaches breaking point and then just explodes in an amazing wall of extreme noise and heartbroken. heartwrenching sc reams.

Towa rds the very end, Justin . as if possessed, climbs onto t he to p of a speaker st ack and dives down into and onto t he crowd who stand a good few metres below. it's amazing to think that th is is t he same person who. at the interview (and after the show). was so quiet, polite and calm. But then , this is the point - Hell is for Heroes are just five normal guys who believe in what they're doing, and whose music not only sets the crowd on fire but also infuses the band members themselves with an uncontrollable energy and passion . When they play their music they let it take control , let it flow through their veins and infect t hem with unsupressable energy. let it do all the talking and the shouting. But when Wil l, Tom , Joe . Fin and Justin do the talking they 're just like anybody else, no better, no worse . When the interview is officially over, the conversation contin ues for a litt le longer. lt transpires that they like go-karting and that if they'd have had time before the gig they'd have gone. As it was, they didn 't. But there 'll be plenty of free days in Europe and they plan to do a lot of sight-seeing. " You know ." says Will. "we never get tired of doing this. We get tired, sure, but never get bored with what we do. " it 's easy to see why.

/

11

Sonic Boom

• •

Burn Out, Fade Away

Text: Mischa Pearlman

whatever happened to...

Jetplane Landing are a band at the forefront of what could well be a rock and roll revolution . The Event caught up with voluble and verbose frontman Andrew Ferris to find out more ... e're so emo, it hurts. I could just cryl" Such are the words, simultaneously honest and tongue-in-cheek, of Andrew Ferris, frontman of underground indie-rock outfit Jetplane Landing, as he attempts to explain about his band, their sound and their ideologies. But emo is a term that is used far too freely · too many bands are termed emo without anybody actually knowing what emo is or what it sounds like. it's just a bad, abstract, non-specific label, isn't it?

"Emo to me...immedlately makes me think of an angular guitar sound and a punky vitriolic resonance, and it also has a sort of socio-political kind of thing, an aiHnclusiveness. That to me is what emo is. Of course, if you're to categorize all music as it is, all art is emotional and that's the standard response, so therefore all bands are emo·. David Gray is an emo artist, Suede are, but I think that in my sense, in my viewpoint, we are thoroughly emo, because that's where we come from, that's where our roots are...the Laps, Bitchmagnet, Shellac, Big Black, Fugazi, Embrace [the US band). Rites of Spring, all these bands are big influences on how we sound and also big influences on how we think. •

"We try not to please anyone but ourselves."

And that's that. And despite my convictions to the contrary, it makes sense. But then, everything that Andrew says makes sense · he is articulate and intelligent and he knows exactly what he is talking about, especially when it comes to music.

While still a teenager doing A-levels in his hometown of Derry, Northern Ireland, his band Cuckoo were signed to Geffen. "lt was, • Andrew admits, "like a too-good-to-be-true kind of thing. • But Cuckoo split up and were dropped from the label.

Andrew moved to London with Cuckoo' s bass player, Jamie, where they continued to write songs, and were joined by Jamie's brother Raife on drums. Before they knew what was happening, they had built a studio, started recording an album, and had toured with the likes of Seafood and Hundred Reasons.

They set up their own label, Smalltown America, self-released their brilliant debut album Zero for Conduct, gained a fourth member, additional guitarist Cahir, and have continued to grow in popularity on the underground circuit, all the while maintaining complete control over everything they do. So is this, in a way, the beginning of an underground revolution and rebellion in the way music is made?

"Totally. Not even in a way. We're DIY as fuck. We do everything ourselves · we drive ourselves, we set up our own shit, we run our own label, we press our own t-shirts, we run our own website, we print our own posters. We've got a huge team ...you need people to help make your dream come true. Smalltown America has twelve part-time staff who all volunteer their services and that 's what allows us to do it. So it's not just about us, and, yes, there is a change and we've seen a change in atti· tude and that's really encouraging.· Was this a reaction to what happened with Geffen? Did they put you off major labels?

"Good question. Possibly. I'd like to think that I always felt like that. But it was great and I loved it. I met lots of really intelligent people who were really influential over what I do now. But,

in the end, I didn't like faxes telling me which single was coming out when. I wanted those choices myself and so that's what the label allows us to do.• Clearly, freedom and control are important concepts for Andrew, central not only his music, but to his life as well. " Philosophically,· he explains, "we wanted complete control over what we want to do. Every band says that, but it's the way we live our entire lives • we do everything to suit us and try not to please anyone but ourselves. · lt is impossible not to respect this ethos. Yes, Jetplane Landing have to work hard, especi ally without the financial backing of a major label, but they have an incredible connection with their increasing number of loyal fans, spending time to talk with them both before and after the show, and inviting them onstage during the gig. If anything, the band seems to revere the fans more than the fans revere the band, something that probably wouldn't happen if the band were signed to a major label. The band need the fans as much as the fans need the band and there is a wonderful sense of mutual respect.

"The thing that propels us is our fans. They are incredible and it blows you away. lt would be fantastic if we had a bit more support monetarily, for reasons that we could bring our message and what we're doing to more people, but only for that reason, so we could tour in Europe and America when we'd like to.

Thirtgs unfortunately take Jetplane Landing twice as long as they take Bitty Clyro or Hell is for Heroes, although it's a struggle for those bands as well. But things take us six months instead of three, and that's a frustration. But the rewards more than make up for that. • The fans are rewarded heavily as well. Both live and on record, Jetplane La!1ding are a force to be reckoned with. Loud, emotive, hard-hitting, inspiring and damn good, they've certainly hit the right target with regards to their music. As for the rebellion, it's going to. take a little longer, because th~re's a long way to go. But if there is a revolution in the way the music industry is run · and there certainly needs to be • it is guaranteed that Jetplane Landing will be at the forefront of it, because, both with their music and their lifestyle, they can certainly affect a change, and inspire others to do the same, "If there's one message we have,· concludes Andrew, " it's not do-it-yourself, because that's so cliched. it's do it now. If anyone draws any inspiration from what we do, it's that I was lost in the wilderness, an ambling songwriter for about four years, and I had no tucking clue what I was doing. But all of a sudden, one day it clicked, and I was filled with this sense of 'I've got to do this now. ' And so whenever something feels right, no matter what the cost, don't even question it, just do it. That's the path to being really happy, because I am, and we are, and it's real ly cool."

Who can argue with that?

MNMNMN~NMNMN~NMN The Event has one, fully-signed copy of Jetplane Landing's brand new EP, Els Ouatre Gats, to give away. The first person

Bros?

Who? Specifically, brothers Matt and Luke Goss and long-time friend Craig Logan. The three met while studying at Collingwood Comprehensive School in Camberley, Surrey and played music together for several years before being signed by Massive Management, the Pet Shop Boys' label at that time. Though Cralg left the band in 1989, amidst rumours of being HIV positive and having mental breakdowns · though in fact he had simply had enough of the limelight · the two brothers continued without him. The band finally split up in 1991.

What?

Their first single, I Owe You Nothing, was released in August 1987 and was met with indifference to the disappointment of the neophyte boy band. Their next two singles, When Will I Be Famous? and Drop The Boy were far more successful, both charting at number two. They followed this accomplishment with their debut album, Push, and a world tour which made them a household name. Due to a complicated legal battle with their manager over royalties, they only released one more album, Changing Faces, in 1991.

Why? Though the influence of their music is negligible, Bros were one of the earliest boy bands, something that is easily forgotten at the moment as the market is flooded with them.

Their innocent good looks and catchy pop melodies made them the object of many teen girls' adolescent fantasies.

Considering that they were only in the spotlight for a relatively short amount of time, they made a significant impact · if you were really vindictive, you could easily blame themfor Take That or The Backstreet Boys.

to correctly answer the following question wins the CD: What was the first single to be released from Zero for Conduct?

So where are they now?

Email your answers to su.concrete@uea.ac.uk

After leaving the band, Craig helped his then-girlfriend, Kim Appleby (of Mel and Kim fame) , to produce and write an album. In 1999 he surfaced as an executive at EMI Records before leaving to pursue an Independent career in music management. He was most recently seen dating Danni Minogue. Since leaving Bros. Matt released a solo album in 1995 called The Key and is currently working on a second which will be released sometime this year. Matt also recorded a song called Lucky Day for the soundtrack to the Stuart Little film. Of the three, Luke has seen the most success. He wrote a tell-all book cleverly titled, I Owe You Nothing, before performing In a number of musicals such as Grease and What a Feeling! Most recently, he had a starring role in last March's blockbuster film, Blade 11, as evil super-vampire Jared Nomak. Next he's appearing in Simon Vause's post-modern gore-test Nine Tenths. The film, about a child born for human sacrifice who grows up to be a murdering psychopath, will apparently "put the shits up your slasher favourites. • Looks like a classy production.

From left t o right: Raife, Andrew, Jamie (Cahir not pictured)

Ryan J Stephens

Wednesday, October 16, 2002

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13

12

Cinefile:

V

no. 19

Caligula

•

FAN Preview

•

Text: Ryan J. Stephe ns

Each year, FilmArtsNorwich present the best of international animation What can we look forward to this year?

Cinema City has only one of the 26 cinema screens in Norwich.lts manager David Litchfield tells how he hopes to prosper in the future as the little guy.

I have looked at the luvvy cast list and the running time.

Why are you t rying to recommend a boring Roman epic?

This is not BBC 2 bank holiday afternoon fare but a romping, gruesome, porn epic about one of Rome's crazier emperors, Caligula (Malcolm McDowell). Historically, amongst other horrifying things, Callgula slept with his sister and his horse.

The horse was made a general and there is a glorious 70's camp scene with McDowell acting inappropriately while lying alongside his contented horse.

Ugh. I don't want to see any best iality Involving horses.

Don't worry. The film in its original format did involve some bestiality but you c an't get hold of that in this country legal· ly, as it is strictly banned. But there is a re-edited version made by Channel Four. This has tried to make the film legally watchable while also restoring disturbing director Tinto Brass's "vision• .

Hang on. Why would 1t be closer to the director's "vision" re-edited?

Some of the most notorious pieces of studio inserts of all time appear in the original version of Ca/igula. Penthouse' s Bob Guccione funded the $17 million epic but decided to make the film more racy by shooting six minutes of grotesque hardcore footage and inserting them at random points in the movie. This essentially led to a loss of continuity in a film that was already hugely gruesome in its sexual and violent content.

Give me a few examples from the re-edited film.

McDowell rapes a virgin, and her husband (anally with his fist), on their wedding day. Tlberius (Peter O'Toole) orders a guard to be forced to drink wine with his penis tied with a sandal lace, so his stomach becomes abnormally bloated.

He is then stabbed and wine and blood flows out of his wound.

This doesn't sound very enjoyable viewing, at least In my mate Dave's sense of the word.

The majority of the film is hugely anti-erotic, so if attraction is what you are looking for, you should steer well clear.

Much of the enjoyment comes from the hugely stylized kitsch: every extra has very little clothes on; the over acting is hysterical; the six foot prop golden penises are pure Carry On camp and the script by Gore Vidal redefines pomposity.

Its greatest plus is that it is the only Roman epic I know without the sentimentalist strings and weeping women, who we are meant to empathise with, and instead opts for a stark and twisted grandeur.

TobyLewls

the

event

fa cinema is alread~ established as an area's premiere venue for art·house film, then why make radical changes?

This was the questicn I needed to ask Cinema City manager David Litchfieldwhen I met him at his office.

Cinema City has become a partner of City Screen, a chain of 18 independent exhibitors. But will this lead to restrictions to Its independence? Traditionally the cinema has been associated with such quality fare as the recent Akira Kurosawa season - next month could it be an Arnold Schwarzenegger retrospective? The friendly manager was keen to allay my fears, explainin~ what the new partnership means for Cinema City, its custorrers and other recent events and future happenings. · we regard ourselves as the best independent cinema in East Anglia,· David began. "The purpose of the cinema is to provide a place for reflection and inspiration. In terms of the types of films we'll show, you can e~PE!ct first·run independent - whether British, American or European films - classic Hollywood or European films, as well as archive films and we even have an animation festival coming up soon [see column on right-hand 'page]. We also show short films, and put special emphasis on first-time filmmakers whether local or national. • When asked to explain further the animation festival and the reasons for it, he continued-enthusiastically, ·one of the reasons we're doing the animation festival is that people have a fixed idea about what animation is, be that, perhaps, something that is just watched by children, or just manga cartoons.

Actually animation as a genre is enormously broad. lt has the same sort of thematic concerns as most short films but is wedded to this marvellous technique which provides a completely different way of looking at the world. What we want to do is popularise it and allow people to realise that there are amazing

"When Cinema City get on the phone as an individual cinema and ask for a film, they'll say 'of course you can have it, but only after UCI and UGC have shown it."' artists working In all areas of animation. There will be a manga retrospective but also new work from the former Czechoslovakia where there is a huge animation industry. it draws heavily on Czech mythological tales, .,.hich are quite dark, deeply surreal, and contain images that are simply astounding. We'll also show contemporary British and American animation. • This festival may tempt art house fans to part with some of their loan money, but like many films shown at the cinema, it doesn't have the same appeal as the Hollywood blockbusters shown at Norwich's multiplexes. I asked David how he'd coped against the large mainstream cinemas, and his answer was ma~ed by frustration rather than enthusiasm. "it's been incredibly difficult. There's :>een a major structural shift in the market place over the last :wo years in Norwich, as indeed there has been in most cities in the UK. The problem that small cinemas like ours encounter is that the multiplexes have such tremendous bargaining power with distributors. They'll work col· lectively so what will happen is a film will come out on twenty to thirty prints, and those 2re the only copies of the film available in the country, so if the UCI and the UGC phone up and say 'we want that fi lm and we've got fifteen cinemas each that can show it', then all the prints are taken up. When Cinema City get on the phone as an Individual cinema and ask for the film, they'll say 'of course you can have it, but only after UCI and UGC have shown it.' The other problem with the multiplexes is that they have so many screens they will take any film that they can get their hands on. • This left me in a perfect position to ask about the recent changes at the cinema. I asked about their new marketing and PR man Steve Forster and why he had been hired. "We've just looked more keenly at exactly what we need in terms of marketing and PR, • replied Da\id. "In terms of the audience here, it

Wednesday, October 16, 2002

is curious because there are probably a lot of people who don't know·we're here, but that' s contrasted by those who actually do know what we do and who absolutely love the place. They almost treat it like a second home.· I asked him to elaborate on the demographic that the cinema attracts. •As far as age goes, at our last festival, there was a 65-year-old woman at one of the screenings. We thought that perhaps she'd wondered in by mistake. But she hadn't at all. She just thought she'd really enjoy it and she was getting so much out of the films. Film is such a powerful medium that it can cut across all barriers, which is how we recognise film at Cinema City - as a creative and expressive form. Geographically, half the audience are locals, and that includes the student population. The other fifty percent is comprised of people who drive for up to an hour to see a film because there is nowhere else to see it in East Anglia, and sometimes even in the country.• The second big change is increased screenings at the cinema.

The reasoning behind this was simple: "We wanted to put more fi lms on during the day. So now if anyone wants to see a film in the afternoon - that's before five thirty - the ticket will only cost two pounds fifty. We have also just started a series of double bills on Sunday afternoons. So every Sunday at three o'clock, you can see some Laurel and Hardy, some Marx Brothers, we'll try to get some Buster Keaton, and a couple of horror double bills at some point too. That'll be two films for the price of one.· he biggest news for the cinema, though, is the partnership that had caused me to worry before the interview. I asked David to give an explanation of this alliance, one that soon put my fears to rest. "City Screen is the leading chain of independent exhibitors in the country," said Davld with a broad smile. "They have cinemas in Brighton, Oxford, Exeter, Cambridge, and critically, they have a three-screen art house cinema in Soho, arguably London's best. Because many consider it the best, it does excellent business and is the one venue where all the distributors want to open their films- not their blockbusters, they'll go to the Odeon Westend in Leicester Square · but anything that's specialist fi lm, anything just a little bit edgy or different, wi ll be shown to a cine-llterate audience. This means that City Screen have a large amount of clout in the market place because when the distributor wants to open their film in their Soho branch, they reach a deal where it will also be shown in Brighton, Oxford, Exeter, Cambridge - and now, added to that list , Norwich. We won't be forced to play films, we can choose t hem to enhance what we already do.• With the interview almost at an end, the worry I'd felt on arrivIng had been replaced with the anticipation of the new films that the cinema would now bring to Norwich. Excited at this

T

"Film is such a powerful medium that it can cut across all barriers, which is how we recognise film at Cinema City as a creative and expressive form." new prospect and desperate for some sort of exclusive, I asked David if he could give me a preview of what to look forward to.

"We'll be showing Bowling for Columbine, which is the new Michael Moore film, in early December. Moore is an American documentary maker, I suppose the Mark Thomas of the American corporate world. He exposes scandalous malpractices in major corporations. So he's not particularly popular. He showed his new film this year at Cannes. it's the first documentary to be shown there in 20 years; it's an incredibly important

film . What he's done is look at the Columbine Nassacre and say, 'OK, we have a gun culture here in America, so let's begin to understand that. Let's ask ourselves why we are so obsessed with guns in this country.' So he made a documentary where he travels the length and breadth of America, exploring what the answer to this question is. it's an absolutely un·ivalled insight into the America psyche. lt will be playing exciLsively in Cinema City as a result of the new partnership. • While Cinema City doesn't play films that will appeal to the great, unwashed masses, everyone should still respect the service it provides. The cinema has been struggling against the corporate might of the Norwich's multiplexes fo· the last two years, and thanks to the new City Screen deal has now fortified itself to compete on a more equal footing . We can only hope that the cinema will continue to please its niche audience, and that the new changes could even expand it.

Pictures: (clockwise from top left) inside Cinema City; outside Cinema City; Michael Moore,maker of Bowling for Columbine; a shot from Seven Samurai, part of Cinema City's recent Akira Kurosawa season.

You've seen Lilo and Stitch and you can't wait for Shreck 2.

So that just about covers animation, right? Wrong. But don't worry, the people behind Film Arts Norwich are here again on their annual mission to correct your appalling ignorance of animated cinema. This year, the festival has had to be scaled down for funding reasons, though the three shows that remain still represent the pinnacle of international animation. All three will be shown in a single day at Cinema City on October 26th.

First, at 2pm, there's a retrospective of Czech animator Jiri Barta's work. Since the.1920s Czechoslovakia has been at the forefront of handcrafted puppetry. Their tradition of 'Black Theatre' uses puppets to produce magical, surreal sequences. Barta was one of the first graduates of the film school of the Prague Academy of Arts. Beginning in the mld·1970s his early work, Disk Jockey and The Design, employed traditional techniques in dark new ways. For example, his 1982 short The Extinct World of Gloves may be the most terrifying use of gloves you'll ever see. The retrospective concludes with Barta's most ambitious project, the as yet unfinished The Golum. Cinema City will show a section completed in the early 1990s.

Next, at 6.30, the mood shifts from retrospection to all out destruction. If after watching The Uttle Mermaid you wished the sea creatures had experienced more pain, then the short films of Don Hertzfeldt is for you. Hertzfeldt was nominated for Best Animated Short at the 2001 Oscars for Rejected, which will be shown at FAN along with Genre, Bflly's Balloon and Lily and Jim. His work is distinguished by a back-to-basics approach and a love for cruel, twisted humour. Stick figures are subjected to extremely unpleasant experiences. The animator admits that he thinks Rejected may be "the first time in the history of the Oscars that a film featuring a screaming fish stick bleeding out of Its rear end had ever been nominated for anything•.

The final showing, at 11.15pm, comes from onedotzero, the world's largest festival dedicated to digital film. J·star 02 is a 75-minute compilation of the best of Japanese animation over a range of media. Websites, computer games and more frequently recognised arts such as anime are edited together in a constant stream, a technique that will be familiar to viewers of onedottv on Channel 4. Madonna tried, without much success, a similar trick during her recent Drowned World tour.

The FAN festival will be back to full strength in 2003 and promises to feature Don Hertzfeldt in person as one of the judges. Best to see his stuff now then, so you can congratulate him when he arrives.

Wednesday, October 16, 2002

.,he event

14 Albums

Feeder Comfort in Sound Seven years ago Feeder were three young men clad in bright orange boiler suits, Taka's strange alien-like antennas dancing manically to the sound of a band that promised much. A lot has changed since then. The energy may still be there but Feeder have grown up - in the last year they have had no choice but to. The loss of drummer and close friend Jon lee was not only an unexpected tragedy but also came at a time when the band seemed to be flourishing and finally reaping the rewards that they so richly deserved. Such misfortune would have destroyed some groups but there is something at the heart of Feeder that refuses to give in. So once again, thankfully, they have 'come back around'.

Comfort in Sound is the next chapter for the band but it is also a testament and dedication to t he friendship and talent of a man whose loss leaves a great void and for whom we should all give our respects. There is no doubt that·the events of the last year have greatly influenced this album, yet lead singer Grant Nicholas is adamant that people still respond positively to it, and it is impossible not to.

After forty-eight minutes, when Moonshine fades out and the eerie silence begins to take hold, you will realise that something amazing has just happened and you will somehow be irresistibly drawn to the play button again and again. You may well be left with a tear in your eye and a lump in your throat, but it is ultimately a feeling of hope that pervades over this album.

From the opening song, Just The Way I'm Feeling, with its hauntingly glorious verses and a chorus that will explode around you, the band's intent for the rest of the album becomes clear and you can't help but believe, even only after four minutes, that it will be epic. There is everything here that you would expect from a great album -from the twisting, stomping riff-laden-rock of Helium and Godzilla to the orchestral beauty of Forget About Tomorrow and Love Pollution. Every song here is perfect and, if Feeder really wanted to, they could release twelve singles. That said, they really are too epic for today's charts and deserve something much better.

Those of you expecting Echo Park will be sadly disappointed, but this is a good thing. Although Echo Park was a great album, it was almost too contrived. Comfort in Sound is far more reflective, far more thoughtful; pure Feeder at its best, full of raw emotion and energy, Grant's voice more free than ever before. At a time when the music scene is in such a desperate state, this album seems so refreshing. lt may not break any new ground but then it does not need to- it is simply perfect, beautiful. There are not enough superlatives to describe it. ·comfort in sound/ lt's all around/ Ease back the strain/ Come heal your pain. • As the lyrics of the title song suggest, Feeder have comforted themselves in glorious sonic melodies and epjc rock. They are not the only ones.

Gavln Bates

9/10

Cabaret Voltaire:

Lamya:

Brave Captain:

Original Sound of Sheffield '78 -' 82 Learning from Fa!ling

Advertisements for Myself

The name alone of Cabaret Voltaire·s new 'best of album evokes images of a full-scale symphony orchestra, or, at the very least, a big band. However, anyone who has had even the merest brush with the band in the past would know that the Cabs actually have a basic, stripped-down sound. lt was these steely resonant tones of the Cabs which made them pioneers of the UK Electronic Movement of the late 1970s and brought them to the forefront of that genre. However, unlike many of their more well-known contemporaries (Human League, for example) the Cabs had a more explicit political agenda, which is immediately evident by the album's brash opener Do The Mussolini (Headkick).

Baader Meinhofcombines German and English language spoken word over strained synths - an intense combination which is not for the faint-hearted. Immediately following is the 'electro-punk classic' Nag Nag Nag- a typically-titled song for a punk band of that era, such as The Damned or The Clash.

There are many highlights on this album, including the catchy Spread The Virus with its persistent force of brass throughout, and the exciting, though somewhat haunting, Wait and Shuffling, with percussion and slap-bass coming to the fore.

Silent Command has a definite reggae influence, Obsession is a more funky number and the final track, Loosen The Clamp brings the album to a close with the track combining the best bits of The Cabs and some fine chirpy keys.

This album merges together well as a whole piece of work and is surprisingly cohesive, bearing in mind that the assembled tracks are from a variety of singles and albums released between 1978 and 1982, arguably the Cabs' best period.

The Original Sound of Sheffield is certainly a worthy purchase for those with a casual interest in electronic music and also for fans of the band from back-in-the-day, who may wish to pay a little more respect to a truly innovative group.

Debut or not, from the outset it is clear that we are dealing with an artist that knows exactly what she is doing. The first track, Empires, grabs your attention with both hands. it's a loud, brash, eccentric effort, with full orchestral backing and big bass drums that sounds more at home as the centrepiece of a west-end musical than the first single from your average pop record. But we are clearly not dealing with an average pop record here. Lamya is out to make her mark.

In track two, East of Anywhere, the album genre-shifts into a far more laid-back r'n'b style, improving on the All Saints' work in this area (clearly the influence of producer/mixer Nellee Hooper, who also produced the All Saints' debut) and complimenting it with fine orchestral backing; lamya, it seems, knows the value of a good string section.

Black Mona Lisa (tipped to be the next single) is original and stunning, telling the story of her journey from troubled childhood to debut album. The song skilfully epitomizes the general sentiment of the album - "I've been through enough shit. This is me, take it or leave it.· One cannot help but be moved by its deeply emotive lyrics.

The album continues to be diverse, from the formulaic, mainstream pop of Never's Such a Long Time to an interesting reworking of Nick Dral<e' s Pink Moon. lamya's diversity, however, seems to be her undoing in places; in Never Enough she takes on the well-harvested style of Alanis Morrisette with a song that rivals one of Shania Twain's more self-righteous numbers. With an artist of such obvious raw talent, it's disheartening to ·see her experimenting with music styles that are, frankly, beneath her.

This is the album of an artist finding her feet, experimenting with a wide range of styles and genres, she falls short in many places, but where she succeeds, she does it in a big way. Keep an eye on her, she's here to stay.

I have recently been compiling a list; a High Fidelity-style 'top ten most underwhelming announcements to come from the world of pop music over the past few months.' And now, ladies and gentlemen, I have a number one: Martin Carr, formerly of the Boo Radleys, has a new album out under the pen name Brave Captain. Hip Hip Hooray!

My guess is that most people may be wondering who Carr actually is. The Boos were never fantastic and Carr was never the musical genius he liked to make out. Yet if we were to believe his record company, he has been rallying against the music industry for the past thirteen years! Indeed, his new album is a self confessed •political record!"

What we actually have is a nineteen-track collection of ideas, some quite good, some not so good and some utter gash. We are told that Carr has been "inspired by the likes of Aphex Twin", which is a wanky way of saying that he has been messing around with his drum machine and his Casio keyboard. If a song is crap, for example (which it often is). that can always be covered up with a few samples and some weird noises.

The 'political' parts of the album verge on self-parody with songs like Stand Up and Fight and I was a Teenage Death Squad. The lyrics are so shamelessly earnest, they would make a Socialist Worker cringe. "Kicked around the planet for five or six years," Carr warbles, "we partied with the locals and filled them full of holes.· Bob Dylan? This ain't even worthy of Bono!

That said, Betsi's Beads and My Mind Pictures are pretty good songs. lt 's not that the album is completely terrible; it's just bland, which is somehow worse. As a wise old man once said: some men are born mediocre, some men achieve mediocrity, and some men have mediocrity thrust upon them. For Martin Carr, it is all three.

Thomas Nelsh

Andrew Seward

Tom Sutton

7/10

the event

7!10 Wednesday, October 16, 2002

4/10

Singles 15

U2: Electrical Storm it's hard to know where to begin reviewing a single so mlnd-numbingly inoffensive as U2's latest effort. That's not to say it's bad by any means, it's just that sometimes you wish they would write a song that would cause a bit of controversy, something your grandma might not actually like, something more than a pretty song with a sing-along chorus. Maybe if they took a brief excursion into death metal...

Electrical Storm begins dreamily with pretty plinky plonky glockenspiel sounds over a gently throbbing synthesized background. Bono's unique and powerful voice really stands out above this quiet accompaniment, as he demonstrates his remarkable ability to make lines like "coffee, it is cold but it'll get you through" sound both intense and profound. In the second verse an acoustic guitar is added to the song and the resulting sound envelops you like a warm, cosy blanket, reminding you that however much you try to resist, and however much of a pretentious arsehole you think Bono is, U2 simply write good songs.

Saying that, Electrical Storm hardly reeks of originality and the hideously predictable chorus line ("electrical stoooooooorm") is bound to be sung in dodgy falsetto by hundreds of inebriated people across the land who think the Velvet Underground is a pom club. But when it comes down to it, who cares? U2 haven't lost their Edge (see what I've done there?) and this song won't disappoint their many fans. Another surefire hit for the international superband.

Lucy Helller

Pictures (clockwise from top): U2; The Pattern; Morcheeba

Morcheeba:

Way Beyond

Morcheeba are currently on their UK tour, which ends in late November. Along the way, a few live performances of this credible tune should work wonders for the trio. Although its not a particularly exciting track , ultimately, it fits snugly into a number of genres, giving it a wide audience scope.

The radio edit is strong, but even so, expect to hear some remixes of this tune which may well make it a dancefloor anthem. Way Beyond is a good follow up to Otherwise, and could feasibly hit the top 20 on its release .

Overall , this is a nice vocal number, which is suitably complimented by its melody , though I think you can draw the line at 'nice'. lt 's not really something to make your ears prick up, but when has that ever been the case with Morcheeba? Well worth a listen , but head for the album rather than the single.

Mark Wheeler

The High and Lonesome : Breaking Down The Walls I've heard good things about the High and Lonesome. Whenever I hear their name mentioned, be it on Xfm or in NME, there seems to follow a string of glowing references, names like Tim Buckley, Tom Waits and even the almighty Bob Dylan himself. Therefore, when told to review the single Breaking Down the Walls, I was understandably excited. Actually listening to the single was another matter, however. David Blayze, the striving force behind the High and Lonesome, has undoubtedly been influenced vocally by Tom Waits and, more noticeably, by Nick Drake, yet despite all this the single remains nothing more than good background music . Nice, but nothing special. The forceful , folky instrumental sound does set your foot tapping and Blayze 's compelling vocals could win you over, but, however hard I try to like this single, its predictable chorus and empty lyrics could leave you , like me, unconvinced.

Lucy Johnston

The Pattern:

Nothing of Value

lt seems the live performances and debut LP that Oakland-based The Pattern served up for the British public this summer were only appetizers. The main course, single Nothing of Value, is a tasty and deliciously short number (under three minutes- true to form). Although simple, Nothing of Value retains an aroma of the blues-driven punk rock that connoisseurs of The Pattern feed on .

This digestible package reeks of Rancid in the verses with a scent of angst-fuelled vocals worthy of Nirvana blended into the choruses. Mature production means the edge has gone slightly, but the song itself retains a raw quality, al dente perhaps. it 's a shame this juicy helping of guitarbased rock had to come from across the pond while British bands are still indulging in dull, overcomplicated wallpaper, but bands like The Pattern, however, allow hope for the future (or should I say dessert?!).

Owen Morgan

Whitney Houston:

Whatchulookinat

The original lady with the quivering lips is back. Her latest offering, watchulookinat, is taken from her forthcoming album Just Whitney, which will be released in early November. This is Whitney continuing to build on her trendy image, and, as a result, focusing more on hip-hop beats rather than the vocal gymnastics she is so capable of achieving. Still, the chorus is infuriating enough to stick in your head, and yes, the title really does shoot out fast enough not to merit any spaces between the words. I can clearly imagine the club remixes proving popular on the dance floor at Liquid on a Friday night. However, the whole thing is just a little too bland for my taste. If you like J-Lo this is right up your street, but otherwise I advise you to steer well clear. Think My Love Don 't Cost a Thing, but with less panache.

Corinne Wright Corlnne Wrlght

Wednesday; October 16, 2002

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16 Film

Donnie Darko: Directed by Richard Kelly Starring: Joke GyllenhooL Drew Barrymore, Potrick Swayze 1ma~11

1ury rouu.11S, 1me ravel o 1u ~r u are JU~' "1ree of the subjects addressed in Richard Kelly's new catagory defying, unbelievably cool film.

'¡

" I'm making a film about a kid who sees an imaginary, six -foot tall rabbit . â&#x20AC;˘ "What, like Harvey?"

Who knows how many times writer/ director Richard Kelly will have been involved in this exchange about his feature debut, Donnie Darko. For more t han 50 years, Harvey's popularity has rendered any at tem pt to make a movie involving gi ant , invisible rabbits unthinkable and, many would argue, unnecessary . But Kelly 's film takes the concept in ingenious and , as the title suggests. darker directions; by the time the c losing credits roll , all thoughts of the Jimmy Stew art classic are forgotten.

The title also, and more directly, refe rs to the film's troubled ce ntra l c haracter. Donnie Darko (" What k ind of name is t hat ?" someone asks, "it 's like you' re a superhero or something ¡. " What makes you think I 'm not?' Donnie replies) is t he middle ch ild of an affluent , American family . His ol der sist er is going to Harvard; his younger sister is captain of the school dance team .

Donnie got held back a year for burning down a house and, recently, has begun waking up in strange places with no idea how he got t here. During one of these nocturnal journeys he meets Frank, a humanoid , evil-looking rabbit who tells him that the end of the world is only 28 days, six hours, 42 minutes and 12 seconds away. Later, in conversation with his psychologist , Donnie dismisses the suggestion as absurd . Yet in the four weeks leading up to the date set for Armageddon, he finds himself deali ng with a series of inexplicable events, like where did t he jet eng ine that fe ll through his bedroom cei ling come from?

Why did Frank make him flood the school? And do the spears of light he 's begun to see emerging from people's chests really predict the future?

Donnie Darko's great strength is its refusal to settle on any one tone. Set in October of 1988, the film begins as a sharp satire of eighties middle-class values. The Darkos are liberal Republicans (if such a thing exists) and make every effort to

event

understand their possibly psychotic son. Donnie 's school attempts to be equally forward thinking, employing a creepily earnest self-improvement guru (hilariously pl ayed by Patrick Swayze , dripping in fake tan) to combat the pupils ' growing apathy. At the same time we get a burgeoning romance between Donnie (Jake Gy llenhaal in a ro le t hat cou ld make him a star if enough people see it) and new c lassmate Gret a (an equally impressive Jena Malone). As the pair become closer, their experiences get increasingly more intense and disturbing , right up to an unexpected, fatalist conclusion that David Lynch himself would be proud of.

Indeed the who le enterprise might have turned out a bit of a mess, were it not for the consist ent brillian ce of Kelly's presentation and his absolu te belief in his material . lt isn't enough for him to successfully define the social order of the school in a single, immaculately choreographed tracking shot; he also runs it at various speeds of slow and fast motion, all perfectly in time to the sounds of Joy Division. When you consi der he had neither written nor di rected a feat ure fil m befo re (he only graduated from fi lm school in 1997) t he fina l product is even more remarkable. Donnie Darko has both style and content. lt is, in turns, hysterically funny and deadly serious, balancing jokes about the sex lives of Smurfs with complex musings on the possibilities of time travel. There are characters you care about. innovative special effects and it was all done on a budget of just $4 million. When stars do appear in small ro les, such as Drew Barrymore, who also produced, and Noah Wy le from E.R, they enhance the movie rat her than merely providing a selling point. Some may find the resolution less than satisfying, but that's an inevitable consequence of a narrative so rich in ideas.

When the film was released in America last September it was essent ially buried, its distributor, and the public , repelled by the plane-c rash story line. A year later, it is t o be hoped that it will receive a warmer reception in Britain. And then. who knows, it

Wednesday, October 16, 2002

could be that in anot her half century when a promising young filmmaker announces, " I'm making a film about a kid who sees an imaginary , six -foot tall rabbit ", the reply will be, "What, like Donnie Darko?"

Jlm Whalley

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Film 17

Red Dragon:

Directed by Brett Ratner Starring: Anthony Hopkins, Edward Norton The man who brought us Rush Hour finally finds a source of true comic genius: a man who rips off people's faces and eats their internal organs. another of those pesky serial killer types who seem to pop up all over the place. That agent is Edward Norton, the man responsible for incarcerating Lecter and who has been called out of early retirement to hunt the eponymous Red Dragon.

"Have you seen the blood in the moonlight, Will? lt appears quite ~lack ... â&#x20AC;˘ And so on and so forth. Yes, the world's favourite serial killer slash pop psychologist is back for another two hours of leering and smirking. Only this time Hannibal Lecter is back behind bars and another English acting stalwart is off biting the flesh from peoples' faces. Red Dragon acts as a prequel to the events of The Silence of the Lambs in which Lecter's assistance is being sought by another FBI agent trying to catch

Thus begins a familiar and yet always engaging thriller exploring the murky depths of a serial killer's mind, the success of which lies mainly with the script by Silence of the Lambs adapter, Ted Tally . He's done here exactly what he did eleven years ago; di$tilling the events of author Thomas Harris' first novel almost reverently but always with an eye to the cinematic. To that end, Tally has made effective alterations both at the film 's beginning and end, allowing us both a glimpse into Lecter's life pre-incarceration and reworking the closing scenes to give a much tighter conclusion to the film than exists in Harris' novel.

The result is that, as in the novel , Lecter exists mainly in the background of the film, passing out morsels of information on the case along with his usual sparkling repartee and looking more and more like the resident poet in his gothic cell rather than an inmate. Certainly Hopkins plays the role with greater malevolence than we've seen before, but with little influence on events besides his wit and 'oh so evil' staring, it has to be said Lecter possesses about as much villainy as Widow Twanky .

That leaves the weight of the conflict to be carried by Norton and Ralph Fiennes as the serial killer Franc is Dolihyde. Both already great actors, neither has any trouble finding the nuances of the material. Fiennes especially excels as the calculating yet often childlike Dolihyde, presenting to us a vision of evil at least as frightening , if less cerebral, as Hopkins did back in Lambs. Norton is always watchable but he lacks the inherent. darkness which should exist with the character of Will Graham , and which was so wonderfully explored when the novel was first adapted in Michael M ann's Manhunter fifteen years ago.

For a film so capable, though, Red Dragon 's attempt at excellence is stilted by a lack of purpose. it 's well constructed, acted and edited but in the end comes off feeling like a piece of workmanship rather than art. it doesn't have its own individual mark to put against the dark psychology of The Silence of the Lambs or the artistic extravagance of Hannibal. it 's an exercise both in making money and plugging the gaps in the series which would otherwise lead cinema goers to experience Manhunter, which is a pity since Michael Mann's film is a fine movie and still arguably the most gritty realisation of either Thomas Harris' books or, indeed, of Lecter himself. Since Silence of the Lambs, Lecter has become a sympathetic antihero with a dazzling array of one liners. it must surely undermine any film 's claim of presenting an image of evil when the comic relief is provided by a man who kills and eats people. But then, maybe my sense of humour just isn't refined enough-.

Phi/ Colvln

8/10

Win various -film prizes:

If you like the Madchester music scene, werewolves or extreme splatter-gore ( we think that covers just about everyone), then The Event has a competition for you.

24 Hour Party People.

Selected for official competion at this year's Cannes Film Festival, Michael Winterbottom 's film recreates the rise and fall of Factory Records in the 1980s music scene.

Steve Coogan stars as Tony Wilson, Factory Record's owner, as he blunders around helping and hindering the careers of Joy Division , New Order and The Happy Mondays among others. Don't mention how similar he seems to Alan Partridge. 24 Hour Party People is out to rent on video and DVD now. Pathe Distribution Ltd. have very kindly provided three VHS copies to give away. To win one, simply answer th is question : How many hours are there In a day? answers ro su.concrete@uea.ac .uk

Dog Soldiers Although it wasn 't selected for official competition at Cannes, Dog Soldiers has two things that 24 Hour Party People lacks, namely werewolves and guns. Sean Pertwee plays the Sergeant of a squad of British soldiers out training on a Scottish island. Matters get interesting when they discover the partially chewed remains of the last team who were sent there. Before long it's all¡out war between humans and werewolves.

Dog Soldiers is out to rent on October 21st on Video and DVD and we have three VHS copies to give away , once again thanks to Pathe Distribution Ltd. To win one, send us the answer to this elementary question:

What kind of moon do werewolves like? answers to su.concrete@uea.ac.uk

UCI LateNight DoubleBills Peter Jackson, director of the Lord of the Rings trilogy, didn 't start his career making Oscar-nominated epics. First came Bad Taste and Brain Dead, two of the most hilariously extreme horror movies ever made . Bad Taste features by far the best 'killing a sheep with a bazooka' joke in the history of cinema and you really haven 't seen dozens of zombies being liquidated with a lawnmower until you 've seen how it 's done in Brain Dead. The two films are the first of UCI Norwich's planned series of cult movie double-bills and will be shown on Friday October 25th and Saturday October 26th (times to be confirmed) . To win one of two pairs of tickets for either night just answer th is question: How many Lord of the Rings movies will there be? answers to su.concrete@uea.ac .uk before October 25th

Wednesday, October 16, 2002

the event

18 Video/DVD

Crossroads: In the debut movie of pop candyfloss Britney Spears, three friends embark on a road trip that, surprise surprise, operates as a clumsy metaphor for their own journey through adolescence to adulthood. Along the way they get into some wacky scrapes, bare their souls and, yes, sing. A lot. lt is extremely hard to judge a fi lm when you are quite plainly not the ta rget audience, and, as a twenty year old male, I think I can claim to be well out of the target range. On one hand, Crossroads is slick and pol ished. Boom mikes stay out of shot, came ra movements are executed with a smooth, if not studied, precision and the whole thing slips down as smoothly as oiled Swede.

Long attractive t racking shots and picturesque photography of the deserts of America from DOP Eric Edwards and Director Tamra Davis are impressive, and Davis' ex perience mak ing videos for husband Mike D of Beastie Boys fame pays off in her handling of the music segments . On the other hand, there's the artificiality of the film's construction; even the cost umes are sterilised and tied off in a corset of a movie that leaves little for the artists to do but go through the motions, strangled by thei r own inflexible cha racters and chunky, clumsy narrative.

While this would be acceptable in a film simply in tended- as the raunchy opening implies - to appeal to the eyes of preteens and the groins of old men in raincoats, it is completely unacceptable when the film attempts to tackle "issues". Abortion, rape and ambition are all lightly skimmed, but consequence has been drained away. That as much emphasis is placed on the extended dance sequence 1n a bar as on the rape of a major character makes this the cinematic equivalent of a knob Joke at a funeral - tactless and entirely inappropriate to the context.

At the point of the movies conception, Britney was attempting to break from the constraints of manufactured pop, churning her way through power-ballads and replactng plodding synths with self-conscious guitars. Equally, the film attempts to eschew the tradition of the sterile, wholesome star vehicle 1n favour of a rawer movie but, like Britney, it fails in the face of

stern marketing. Stock characters from a million other movies begin to surface- the mysterious guy who turns out to be apple pie good, seen in Breakfast Club, among others, is a prime example. The ostensible lead character is by far the least dramatically interesting, progressing through tedious stock life experiences that are carefully sculpted to avoid sullying the singer's as white as Polo's image. The original working title, What Are Friends for?, asks a question with only one answer : friends are there to further your career and clap happily as you take the limelight.

Ocean's 11

â&#x20AC;˘ â&#x20AC;˘

Film: As someone said to me the other day. films with a number in their title are generally bad- think 101 Dalmatians, 40 days and 40 nights ... 102 Dalmatians. There are always exceptions to the rule, however, and , like Se7en, Ocean 's Eleven more than disproves this theory.

Admittedly, this has a lot to do with Brad Pitt, but even more to do with an award-winning director and an excellent cast, boasting the best in old and young Hollywood stars.

A remake of the 1960 Rat Pack flick of the same name, Ocean's Eleven follows wry con man Danny Ocean (George Clooney) orchestratmg his post-prison plan to pull off the most daring heist in the history of Vegas. His target is the three most popular casinos there, which 'happen' to be owned by Terry Benedict (Andy Garcia) a smooth talking and even smoother-haired millionaire who also 'happens' to be shacked up with Oceans ex-wife, Tess. Cue Julia Roberts. Quite why she with the disproportionate mouth and whinnying nostrils (and long legs) was picked for this ultra-cool role is beyond me. Fortunately for fellow Julia-haters, she doesn't grace our screens for too long, allowing room for more blink and you 'll miss 'em stars- like Joshua Jackson, for example.

In order to pul l off the heist, Ocean handpicks a crack team of ten fellow crims and here ts where the cast list shines. The eleven ts illuminated with cooler than cool performances by Brad Pitt, Matt Damon and old-timer Elliot Gould. Another performance to look out for is Don Cheadle as munitions man Basher, whose cockney accent really has to be heard to be believed.

As the pace quickens and the plan gets under way, tt becomes more obvious that the success of the film is due to inspired directing by Steven Soderbergh and a razor sharp script. The speed of the script is mimicked in the workings of the camera and the swift acting of trio Clooney, Pitt and Garcia. This film may lack depth but the surface is more than impressive and the film glides to its conclusion.

Extras:

Whtlst naked shots of the eleven were sadly missing from the extras, several conversations and commentaries more than suffice ... (well, nearly). The first, a commentary by director Steven Soderbergh and screen writer Ted Griffin, gives a real tnstght tnto the decisions behind the making of Ocean's Eleven and the unique relationship between writer and director: as Soderbergh puts it, "it's like throwmg a rave and tnvitmg your Mom and Dad." In fact, the commentary shows that it is not the rave style, showy scenes that make this film work but the understated details- people getting dressed , eattng etc. that really give this film a slick edge.

There is also a conversation between Matt Damon, Andy Garcta and Brad Pitt. who guffaw wildly about how cool they look. This gets quite frantic as if the three have embarked on some strange 'lets show them that we actors can be witty as well as look pretty ,' misston. In his absence, they also big up George Clooney. All the time. And in an intense arse-lick-arama sort of way , which cloys after the sixth drawl of 'yeah , y'k now, George ts great'.The behtnd the scenes footage is fairly disappomtmg and contams mostly scenes of Julia Roberts laughtng tnanely with that big gob of hers, nostrils flaring wildly in the wind. I hate her.

Liz Hutchinson

ee

Wednesday, October 16, 2002

Ironically, in a film with so slim a narrative, it feels as if it should be longer, the character development is so rushed and flawed. The laugh-out-loud poor, Rodin inspired sex scene emphasises this tragically inept handling of character.

Appropriately, the film is like the star- a triumph of artifice over art, sheen over substance, economy of material made up for by giving the audience what it so tragically wants- Britney by the bucketful.

Sam Brooker

Arts 19

Theatre Preview:

Those fond of the LCR retro nights may be tempted to venture outside UEA's concrete boundaries this October, to be part of the audience of Boogie Nights, showing at Norwich's Theatre Royal. The show 's focus is specifically on the seventies, celebrating the era of glam, funk and disco. lt has been reworked for 2002, after it's debut in 1998 at the West End's Savoy Theatre, with Shane Richie amongst the original cast. Boogie Nights has a following similar to The Rocky Horror Show, with fans arriving in full theme costume, big platforms, wide flares, and afro's. The new show will no doubt be full of energy, featuring bright and extravagant seventies clothes and plenty of danc· ing. An impressive number of classic

Boogie Nights

seventies favourites are packed into the evening, including Boogie Wonderland, Celebration, Disco Inferno, Enough is Enough, I Will Survive, Play that Funky Music, and, of course, YMCA. As well as promising more comedy the show boasts a new cast, including Sam Kane and Sophie Lawrence. Kane appeared in Brook side for three years, and since then has been favourably reviewed in stage musicals Carousel and Seven Brides for Seven Brothers (he also appeared in a brief Coronation Street lnternetscare story as 'Gary' , a middle aged perv after teenage character Sara-Louise). Sophie Lawrence appearing in Boogie Nights as Debs also starred in The Rocky Horror Show but is probably

Books Re-Viewed: Event Review: Student's favourite novels The God of Small Things, Arundhati Roy Arundhati Roy is not short of learned and illustrious advocates: John Updike and Gore Vidal are but two of her peers to have singled her out for praise. The God of Small Things, her debut, and to date only, novel, is by no means short of acclaim: having been unanimously hailed by the British, American, and Indian media, it won the Booker Prize in 1997 and has since sold some 6 million copies worldwide. Every ounce of accolade is deserved. Set in Roy's native Kerala in southwest India, The God of Small Things focuses upon twins Estha and Rahal and their upbringing in a multi-ethnic multi-generational family. The novel examines the ramifications of the tragic drowning of a visiting English cousin, unravelling the chain of consequence among a close-knit fami· ly, prejudiced community, and developing nation. Though providing a lesson in the all-pervading power of a strict caste system, and charting the corrupted political bigotry of localised Indian life, Roy is keen to divorce her work from her homeland: "lt isn't a book about India; it is a book about human nature."

Indeed, the fragile and fleeting essence of humanity is ea~ tured in almost every sentence of The God of Small Things.

Beautifully rendering the overlap between adult and child worlds, and forcefully underlining the hypocrisy of the former towards the latter, Roy's writing possesses an inimitable naivett!! and eloquence. At times she employs language of her own construction; often conflating two or three words at a time to develop an achingly ingenuous vocabulary, and in doing so decoding the often cryptic, often irrational, thought processes of childhood.

Here is a story of alarming power, captured in a language of consummate grace.

Marc Peachy

Theatre Royal

Poetry I Jazz Cafe UEA

better known for her role as Diane Butcher in EastEnders. Both actors have appeared at Norwich's Theatre Royal previously, Lawrence having played the title role of Cinderella in the theatre's pantomime.

Well recieved musical comedy performers ~ev Orkian and Stephanie Charles also join the Boogie Nights team.

So get your UEA dress up box out. Even if you think you can't possibly feel any more nostalgia for a decade you didn't take part in, the likelihood is that non-threatening feel good entertainment will make a welcome contrast to your degree course commitments. Boogie Nights is showing now.

Clare Curtls

Theatre Preview: Wuthering Heights Theatre Royal

For someone who was unsure of The Northern Ballet Theatre (NBT), renowned for its innovative blend of what to expect from the monthly Chill 'em out session down at the classical dance and drama, presents Hive, the Jazz Caft!! proved to be a us with a new version of Emily great alternative for poetry lovers, Bronte's classic novel Wuthering comedy lovers, or just a fantastic Heights. The ballet, based on a won· derfully dramatic plot involving place to meet like-minded people and socialise. A small, smoky Heathcliff, Cathy, Edgar and lsabella stage, an open mike and bar, the is being choreographed by NBT's new performers were versatile, energy Artistic Director David Nixon. With Ali charged and quick witted. Compere Alien 's scenery capturing the bleak, Luke Wright, and open-miker Joel Stickley, who recently cruised unrelenting Yorkshire Moors and music by the celebrated cornthe Edinburgh fringe and Glastonbury music festivals with the poser Claude-Michel Schonberg, the ballet focuses on the powaisle16 collective, provided an array of fast talking performance erful bond that grows between the headstrong Cathy and the brooding foundling Heathcliff. Schonberg is known throughout poetry that was fresh, thought provoking, challenging and con· ceptual. Luke aspired to take on the fickle heroes that dominate the musical-theatre world for his West End and Broadway hits tabloid print. His poem devoted to Sven Goran-Erikinson proved Les Miserables and Miss Saigon. Principal dancers Jonathan Ollivier (Heathcliff) and Charlotte Talbot (Cathy) have be~n popular with the pint drinking audience.

Another attention grabbing act was Paul Joyce's aggressive delivering their heart-rending dance action since the ballet prepoem inspired by the Sex Pistols, whilst Tom Sutton's letters of miered in Bradford earlier this month . The two also appeared complaint to McDonalds made me cry with laughter. After telling together in The NBT's A Streetcar Named Desire. A famously dramatic tale of complex relationships, Wuthering Heights will the fast food chain to "fuck off" just for the hell of it, he later applied for a job there and was surprisingly unsuccessful. lt was be showing at Norwich 's Theatre Royal as part of NBT's Halifax a great lead into the main act of the night, Brooklyn-born New National Tour.

The story relates how Cathy and Heathcliff were unseparable as Yorker, Ainsley Burrows.

Burrows performed poems from his new collection, The Woman children, running together wild and free over the moors around Who Isn't Was. His words are beautiful, soulful, and contain a their home, Wuthering Heights. As they grow up their childish musical quality; they ask to be read out loud. Tapping into raw affection deepens into a passionate love. Their romance is human emotion, 'Uneven Dreams' was spellbinding and had the spoiled when Cathy takes a liking to the local aristocrat Edgar audience gripped with awe.

Linton of Thrushcross Grange and marries him . The heartbroken Perhaps the greatest aspect of the Jazz Caft!! is that it puts poet- Heathcliff leaves to make his own fortune . He returns a wealthy ry under the spot light, the performers make it accessible and rei· man , determined to reclaim his true love at any cost, and their wildly passionate love for each other proves to be a devastating evant to a modern audience. I was entertained, inspired and moved. Get yourselves down there! force which even death cannot destroy . Wuthering Heights runs · from the 22-26 October.

Edward Heard Llz Adams

Wednesday, October 16, 2002

the event

20 TV/Radio

Essential Soaps: Has anyone ever played that cruel trick on you whereby they manage to convince you that you may be two sandwiches and a pork pie short of a picnic? What about the classic whereby your so-called mates come out with supposedly innocent statements like "Did you know Samantha Janus has a brother called Hugh?" and see how long it takes for the clock to tick by before you realise the tomfoolery's on you? Some of us can be victims of it at the best of times, but just imagine what might happen when someone who's so dappy she could happily be persuaded into thinking pigs could fly, falls prey to somebody more devious than Dick Darstedly and Mutley put together. A whole lotta shit, that's what. Which is precisely what's in store for Eastenders' Little Mo. This week sees things hotting up on the previously dormant Mo and Trevor front, when that sly old con artist tells Mo he's heading back to bonny Scotland for good. Cue na"ive Little Mo like a lamb to the slaughter, but at least this time she's clever enough to wonder whether Trevor might pull a stunt like nicking off without signing the divorce papers. Yet it's no surprise to hear that Trevor 's still up to his wily ways , threatening poor Mo (and spitting over her so much that she needs windscreen wipers) in the Queen Vie one minute, then telling everyone she got the wrong end of the stick the next. He's made to look even more of a cherubic choirboy when Sam goes home booing her eyes out to Peggy after giving him a smack round the chops during a swanky dinner for two. Thinking it's the other way round, the pint-sized Peggy bullets across the Square, bouffant hair and iron in tow. all set to challenge Mr. Sly himself to a bare knuckle fight, when Trev puts the record straight. leaving Peggy to tuck into a nice large piece of humble pie. By the end of the week, the divorce papers are signed, but - lo and behold! - as soon as the pen's put down, the train ticket is conveniently not picked up.

Cue gormless Mo again, as she trundles off to the B & B. to kindly give her old husband his pass out of Walford forever.

Let ' s just hope there's a heavy telephone handy nearby.

And while one character ' s about to disappear. one in Hollyoaks is about to return. This week, Luke muscles back into Chester thinking he's the Queen of Sheba, generally doing annoying things like stealing his own brother's girlfriend without even realising it and making him feel insecure and worthless .

And in Neighbours, it looks like love is on the rocks for Karl and Susan. it seems as though only yesterday they were sitting starry-eyed sharing strawberry smoothies at the Coffee Shop, but now she 's filing for divorce. Can Dr. Karl work his magic and stop Susan flushing the chain on him for good?

Kate Herrington

Essential Radio:

The second in a series of programmes reflecting on the Cuban Missile Crisis, this broadcast offers an insight into the Russian and Cuban perspectives during the crisis that some believe is the nearest the world has ever been to nuclear war.

Using declassified documents from the KGB, and interviews with key Soviet and Cuban insiders, Allan Little (the BBC's former Moscow correspondent) pieces together the "untold story."

Although much has been said about the tension and emotional upheaval in the White House, there has been far less documentation about the Russian and Cuban perspective. Former US Secretary of State, Dean Rusk says, rather predictably: .. We came eye to eye with the Russians and they blinked." Whilst heavy on the melodrama it's a view that Little doesn 't disagree with. Basically, the Russians intended to deter an American invasion of Cuba using tactical nuclear weapons. This plan's crucial flaw was that the US had no idea that the Russian's even had nuclear weapons in Cuba, making them a useless deterrent. Little identifies some of the reasons for Khrushchev's decision to put the missi les on Cuba in the first place. including his gross underestimation of Kennedy's ability to stand him down. Little is also keen to point out the personal anecdotes of ordinary people . The Cubans sent to the seaport to greet the Russian ships were told that the people on board were farmers. In the reporter's words. "it's nuclear holocaust meets rural comedy at certain points." Of course The Cuban Missile Crisis is of particular interest to those studying history , and at the same time Little has an incredibly wide knowledge of the subject. He ' s an expert at understanding and then defining simply. the fundamental differences between the three countries that led the standoff. it's an interesting topic and well worth a listen. especially if you have an essay to write ...

Essential TV:

Miss This:

ITVL Sat October 19, 7.30pm

1Nl , Wed October 16, 8.30pm

Prepare to forget Saturday nights out as Popstars: The Rivals reaches its closing stages. Although thi s is a guaranteed must see, the bad news is that the auditions are over, so there are no more hilariously bad singers or inappropriately dressed dancers.

The good news is that the live studio shows give us the chance to vote off the pop hopefuls who are the most annoying. And if the finals of Pop Idol were anything to go by the chances of being treated to plenty of fashion disasters and cheesy songs are very high indeed. With the contestants living together in a house in London there should be no shortage of catfights and romance to keep the gossip pages happy.

This should keep the ratings high and leave the show living up to its name.

The shows will alternate between the two sets of contestants. with the ten remaining girls getting their first chance to impress this week. After singing, they still have to face the potentially soul-destroying comments of the judges. Predictions are that Pete and Louis will disagree whether contestants will be the next Gareth Gates or simply another tragic wannabe. In the meantime Geri will try to provide inspiration with one of her philosophical sayings picked up during her years of "life experience" in the Spice Girls.

Don't forget to tune into the results show, possibly the cruellest , and therefore most amusing , part of the evening. Who will be first to suffer a permanent blow to their confidence by getting less than 1% of the public vote? Will the knowledge that the majority of people vote for the person they fancy the most be comforting , or will it just convince them that they are not only talentless. they ' re also a minger? For the answers. cancel all your social plans and book the sofa for every Saturday night until Christmas!

"Who would have thought that a chea po lunchtime filler about the life and loves of a rural farming community would last 30 years and become one of our highest-profile shows?" ponders this week's edition of TV Quick. Well , nobody with a pulse and a sane state of mind, that's for sure. But much to our disdain, Emmerd ale, that programme which shares the same golden slot with other highly saluted TV beauties such as You've Been Framed and Cruise Ship, has reached the big 3-0, and in order to celebrate ITV1 has kindly decided to treat us to a nostalgic, one hour twenty minute long look down memory lane. This of course allows us to re-live some of those intense and gripping storylines that have exploded onto our screens, such as the infamous plane crash of 1993 which killed off more cast members than a gangster movie, the ravaging barn fire that killed Sarah Sugden and- well, that ' s about it really, except perhaps on a couple of occasions when a few stray sheep might have meandered past the window of the Woolpack , or a flock of chickens laid some eggs. Astonishingly, for something that's three decades old, there 's not a lot for the cast and creators to talk about since not much has ever really hap.. pened. lt must be a bit like trying to squeeze orange juice out of a pineapple. it's hardly the "Dallas of the Dales" that TV Quick makes it out to be , since for starters it's more baa baa than bling-bling, and the only shit going down doesn't originate from bitch fights and pistols but from a farm animal's arse. I mean , let's face it, it hasn't exactly made a dent or even a pin prick at any soap awards lately, has it? Quite frankly , there's more fun to be had sitting in a field in Devon counting crusty cow pats. Be advised, if you find yourself watching this. it might be time to reconsider your degree and start thinking about subscribing to Stanna Stair Lift Weekly.

Emma Ap-Thomas

th

event

Wednesday, October 16, 2002

Rachael McDowe/1

Kate Herrington

Web 21

Essential Web 0 1:

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The Big Rag is a student lifestyle website to which anyone can contribute . In fact, the site is run by recent graduates so it is very much in touch with the student llfetstyle and their needs. Students are encouraged to send in whatever articles they like and are even paid for their cont ributions. These payments range from 50p to £2 per article, depending on the quality. Lesser awards of 10 to 50 pence are paid for jokes, quotes and jpegs.

There are several different categories of articles, including Sport and Recreation, Careers and Study, Travel , and Sound and Vision.

This is arguably the best feature of the site, with so many categories to choose from you are not only kept well informed but there is bound to be something you can contribute to. On the plus side is the easy navigation and the fact that it is updated every day.

As for the bad points, the site is quite commercial, and when you register to become a member, your details are passed on to the sponsors who help fund the site. This means of course that you will soon be receiving loads of marketing e-mails clogging up your inbox.

Also, you have to put in quite a lot of work in order to earn a reasonable amount of money. it may take about an hour to write a "gold standard" article, for which you would earn £2. This said, however, the payment does seem to be a token getsure. Most budding journalists will appreciate the opportunity to have their work in print, and if there is a pint to be handed out, all the better.

Overall, this site is good for people who enjoy writing non-fiction and would look good on the CV of anyone who wants a career in the media, particularly journalism.

Essential Web 02: This is your average comedy site but seeing as it is nice to navigate and did crack me up on occasion I feel that it deserves to be mentioned. it's got a selection of jokes and is updated every day. What is always good for a laugh though is 'mutate a celebrity.' Yes, I know it"s purile but there's something about giving Britney Spears an enourmous nose that tickles me every time.

As well as the usual array of written jokes, which I have to admit weren·t too often to my liking, there are a good selection of comedy images. Amongst the new additons is 'fat Liz Hurley,' what is possibly most humourous about this is that people have sat down and taken the time on Photoshop to create these pictures. Still, it's worth a look.

Pictures: From .ummagumma.co.uk (from left to right) A simple example of their quick wit; a fat Liz Hurley

Try www.jumptheshark.com. The theory is this: in Happy Days there is a very famous scene when The Fonze is waterskiing and a shark jumps out of the water, instead of being eaten he jumps the shark. it is said that Happy Days went down hill after this scene. This website invites users to mail in their suggestions for when a particular show 'jumped the shark.'

Luke Wrlght

BUSINESS MANAGEMENT IN SALES AND MARKETING Are you a competitive and highly self motivated team player, looking to progress as quickly as your talents and personality will let you?

If you answered Yes to this question, then a graduate career with Enterprise Rent-A-Car could be just what you are looking for. We are looking to recruit highly energetic, sales orientated individuals who are willing to work hard, and have the same commitment to customer service that Enterprise has established over the years. We are looking for the Managers of our future. We offer a fast track into Management working for a privately held, multi-billion pound corporation; our need is to find individuals capable of continuing our phenomenal growth in the UK, repeating the success stories of North America and Canada. Your job will be to learn all aspects of our business from the ground floor up, dealing with all functions of running your own small business in the decentralised structure we operate. One of the great things about Enterprise is that its up to you how quickly you get to the top.

If you are a graduate, who thinks they can make the most of these opportunities, please send your CV with a covering letter to: Miss ]oss Rutherford, Enterprise Rent-A-Car, HR Dept U71, Beechwood House, Depot Road, Newmarket, Suffolk, CBB OAL. Email jrutherford@erac.com Recruiting for locations across the East England area. www.erac.com.

. ~_.ii

____________

~r~e~n~t-~a~-~c~a~r

We are an equal opportunity employer.

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Film: Campus All films start at 8.30 pm and are shown in Lecture Theatre One unless otherwise stated.

Tickets £2.75 The Panic Roorr.

Thursday 17/10

Van Wilder UCI all week Ster Century - 14.15. 18.30, 21.00 Heaven Cinema City - Fri, Sat, Mon, Tue and Thu - 6.30 - Sun 8.45- Wed- 4 .00, 8.45 Red Dragon UCI all week Ster Century - 14.45. 18.00, 20.45

Blade 2 Friday 18/ 10 Black History Month: Cry Freedom Monday 21/10

Sweet Sixteen Cinema City- Fri - 16.00 - Sat -20.45- Sun- 18.00- M on 18.30 - Tue - 20.45 - Wed 16.00, 20.45 - Thu - 13.45, 20.45 The Importance of Being Earnest Cinema City - Fri - 18.30, 20.45- Sat- 16.00 - Sun20.45- M on, Thu - 16.00, 18.30 - Tues- 14.30, 18.30 Wed- 18.30

Fruity Flavas

Marvel

DJs Miss Behaviour & Eass-ay-em 17th October

The Loft Hip hop & funk £3 b4 11 pm, £4 after

1 Gas

Station

Kosheen Breakbeat and drum 'n' bass with stylistic influences of electro, techno, hip hop & Jazz 21st October £12 adv

Skool Rules Disco

DJ Shadow

Saturdays

Scratching, mixing, no explanation necessary get your ticket now before the show sells out 22nd October 8pm - lam £16 adv

Waterfront Classic Pop Hits 18th October £4.50 or £3 in uniform

Skool Rules Disco

Thursdays

Dance Anthems

Now That 's What I Call the 90s UEA / LCR 19th October 9 .30 pm - 1.30 am £4 adv

24th October High Crimes UCI all week Ster Century all week SimONE UCI all week Ster Century all week

The Count of Monte Cristo Thursday 24/10 About A Boy Friday 25/10

Halloween: Resurrection UCI all week Ster Century all week

Red Dragon Dog Soldiers Tuesday 29/10 Seven Samurai Cinema City - Sun - 2.00

C ity I 0

The Rookie UCI all week Boat Trip UCI all week Ster Century - 1 5 .30 , 17 .45, 20. 1 5

The Hidden Fortress Cinema Ci t y - Sat- 2.00

From the 18/l 0 Sweet Sixteen Cin ema City - Fri , Sat , M on , Wed - 16 .00, 18.30, 20.45 Sun - 18.00, 20 .30 - Tue 14.30, 18.30, 20.45 - Thu 13.45, 16.00 18.30 , 20 .45 Fri - 16.00 - Sat - 20.45

Minor Shapes Cinema Cit y - Fri - 4 .00, 8.45 Sat - 4. 30, 8.45- Sun , Tue , Sons of the Desert/ Helpmates Wed and Thu - 6.30- MonCinema Cit y - Sun - 14.00 & 4 .00, 8 .45 Wed - 14.00

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Brighton Rock C1nema City - Sun- 15.00 Wed- 13.45

Possession UCI all week

Gosford Park Tuesday 22/10

From the

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Lilo And Stich UC I al l week Ster Century - 15. 1 5 , 17 .15, 19.30, 21.30 My Little Eye UC I all week Ster Cen t ury- 14.30, 16.45, 19.00, 21.15 My Big Fat Greek Wedd ing UC I al l week Ster Cent ury - 13.45, 16.00, 18.15, 20 .30 Super Troopers UC I all week Ster Century all week

XXX Previews UCI and Ster Century on 17 / 10 then all week St er Centu ry all week

Donnie Darko UCI all week Ster Century all week

Music: Gigs WATERFRONT Meltdown: Britpoppin' 19th Oct ober 10 pm £ 3 .50 adv

Chumbawamba 20th October £ 10 adv

The Tuxedo Ster Cent ury all week

Goldrush , Longview, & The Black Family Band

The Powerpuff Girls UCi all week Ster Centu ry all week

24t h October £6 adv

Slap Her Sh e's French Ster Century all week Asterix and Obelix: M ission Cleopat ra UC I all week St er Century all week

Clockstoppers UCI all week Ster Century all week

r-rom thA

Road to Perdit ion UC I all week Ster Century - 14.40. 17 .40.

20.20

Fan Internat ional An imat ion Fest ival Cinema City - Sat - 14.00, 18.30, 23.15

Signs UCI all week Ster Century - 15.00, 17 .30, 20.00

Late Night Double Bill - Bad Taste and Braindead UC I - Fri, Sat- t imes t o be arranged.

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K-19 Widowmaker UCI all week Ster Century all week

10

Isotonic

Refresh

Jools Holland's Rhythmn & Blues Orchestra

Kafe Da Progressive trance & house Free

Ikon £5 b4 11 pm 9.30 pm until 2.00 am

25th & 26th October £18 (£13.50 NUS) adv

Bassment

Saturday Rewind

Hundred Reasons

Bar Metro R&B and hip hop

Bar Metro Chart , dance , garage

There are more than one-hundred reasons to see this intense performance blending hardcore, metal, and rock 28th Oc t ober £10 adv

ARTS Top Cats Ska , rock steady and R& B 25th October 8 .30 pm £7

Ministry of Cheese Live up to the student st ereotype and danc e like a fool to the c heesey stylings of Chris Alexander Liquid 9.30 pm until 2.00 am £ 2 students

Sunday Service Manhattans £ 2.50

Hot2Trot Liquid 9.30 pm until 2.00 am £ 2 student s

Mondays

The Asleep

Funky Jam Carwash

Roc k & Grunge 29t h October 8 .30 pm £2 .50

Fridays

Liquid 9 .30 pm until 2.00 am £2 student s

Delirium

Play

The Concept House, garage and R& B

Po Na Na Di sco & funk Free

Clubs Wednesdays

Goth, Rock, Met al & Cybe r 26th October £4.50/£3.50 NUS

Lock Stock Funk and hip hop £3

Most ly Autumn

Jitterbug

Beth Orton & Ed Harcourt

Comercial Pop and Chart Time £2 b4 11.00 £3 after

Charty Handbaggy

CENTRE

Sundays

Girl s and Boys

The Loft Gay night

Superfly

LCR

LCR £3

NORWICH

Wraith

27th October £10 adv

The LCR disco

I

Jam

Po Na Na Funky drum ·n· bass & house Free b4 10 pm. £2 after

Classic Hits Ikon £2 b4 11 pm 10 pm until 2 am

Local gi rl t ops the folk pop charts with 'Daybreaker' 16th October 7.30 pm £15 adv DJ Shadow

Charts and Dance Liquid 9.30 unt il 2.00 £2 students

Tuesdays

Chart Hits & Classsic Anthems

Life

Ikon 9.30 til 2.00 £4 b411 pm

Time Commercial dance £2 NUS

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Arts:

Madder Norwich Market Arts Centre

I Have Been Here Before

24th October until 31st October Monday ·Thursday 7.30 pm £6 concessions

Comic Art Lecture with Dean Chapman 17th October 12 · 1 pm £2 This enjoyable and inform& tive session offers guidance and inspiration to future artists who wish to write, draw , and publish their own comics.

Los de Abajo 17th October 8 .30 pm £8 I £7 concessions The performance features a mixture of salsa, cumbia, ska, rock , funk, hip hop, and traditional Mexican folklore rhythms.

Foundation Sounds 18th October 8 .00 pm £5

Mooncoln + Bop 19th October 8 .00 pm £6 adv With blends of European and Celtic music, the evening is sure to be one with a diverse range of sound and lots of entertain· ment .

Kafe Da Faso Fund & Entertainment A night of charity and entertain· ment organised by two secondyear students of Developmental Studies at UEA to raise money for a community project in Burkina Faso. The event features the poetry group Aisle16 and the guitar band Oracle.

20th October 5 pm until close £3.50 available at the door

Norwich Playhouse Charles Llnehan Company - Red Dragon 17th October 7.30 pm £10/£8 concessions

Lee Mack Live 19th October 8.00 pm £10

Kit and the Widow In the Fat Lady Sings 25th October 7.30 pm £12/ £10 concessions

John Hegley presents Sketch Books

Llnda Smith LIVE

22nd October 8.00 pm £12/£10 concessions

26th October 8.00 pm £12

These sketch books reflect Hegley's travels through France. The Guardian calls it ·Delightfully Inventive."

Jesting With Art 27th October 7.30 pm £14/£12 concessions

Top Cats

An Evening with Roy

25th October 8 .30 pm £8/£7 concessi ons

Hattersley

Big Bill Morganfleld 26th October 8.30 pm £6 adv

The Arlenes + Usa Redford 28th October 8 .30 pm £6 adv

28th October 7.30 pm £12/£10

The Arlenes

TRUST STA LUXURY 6 SEATERS AIRPORTS

USUAL STUDENT DISCOUNT

UEA, Hive Jazz Cafe

01603

UEA Student Slam Come watch and be impressed or participate by signing up at the door for a chance to win £100 cash prize.

29th October 7.30 pm Hive Bar

Lisa Redford

Local Friendl Service

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Final Into: 1SSOAIP

Schedule:

Monday 8-10: Fresh OJ 10-12: Armed & Dangerous 12-2: Magic al Mystery Tour 2-4: Vanish ing Point 4-6: Far From Home & Far From Talented 6-8: B.E.A.T.S. 8-10: Daydream Nation 10-12: Drop tha Bomb! I Hip Hop Trax

Tuesday 8-10: Sound Adv ice 10-12: That Show 12-2: 路 Look , a Squirrel! " 2-3 : After Lunch with Miss Nicki 3-4: Culture Shoc k I S.E .E.D. 4-5: Matt Brown 5-6: Kill an Hour 6-8: Danci ng Round the Borders of the Curfew 8-9: Contemporary Music Soc iety 9-10: Evening Pl ease 10-12: We the Funky Foo

Wed nesday 8-10: Eastern Exposure 10-12: Th e Grapevine 12-2: The Tom & Joe Show 2-4: Frontier Psyc hiatry 4-6: Mad Man Dan & His Musical Monkeys 6-8: The Mental Institute 8-9: The Untitled Show 9-10: Sports Report 10-12: T with the Vicar

Thursday 8-10: Trans-Atlant ic Express 10-12: Tasti 12-2: The Undecided 2-4: The Vanessa B Show 4-6: Mark Boutros 6-8: The Reverends ' Revival 8-10: Rebel Lion Roots 10-12: The Funk Connection

Friday 8-10: Where the Wild Things Are 10-12: Illegally Blonde 12-2 : Essential Selection 2-4: Simonson & Nickelback 4-6: You Don 't Know You 're Born 6-8: SKILL and Superfly 8-10: Progressive Minds 10-12: Rebel Soldier

Saturday 9-U: The Hook U -1: Alternat ive Session 1-3 : No More Barbie P* rn 3-5: The Groove Bu s 5-7: Sports Fren zy 7-9 : Underground Sessi on 9-12: TSN 1 Digital Night mares

Sunday 9-U: Thin k!

U-1: Soundtrack to the Revolution 1-3: Sunday Review 3-5: The Incident Room 5-7: SBN Chart Show 7-9: Livewi re Chart Show 9-12: Albi onarts Community Trust

The Directory: ABC Taxis All Star Taxis Beeline Taxis Bettacar Taxis Five Star Taxis Loyal Taxis

01603 01603 01603 01603 01603 01603

Canary Cue Club Cinema City Ikon Liq uid Mad dermarket Theatre The Light Bar Lock Stoc k Norwich A rts Ce ntre Norwich Playhouse Po No No's Ster Century Theatre Royal The Loft The Waterfront To urist Information Time UEA Studio UCI UEA Union Ents

01603 627478 01603 622047 01603 621541 01603 611113 01603 620917 0 1603 622533 01603 629060 01603 660352 01603 598598 01603 619961 01603 221900 0 1603 630000 01603 623559 01603 632717 01603 666071 08 70 6078463 01603 592272 0870 0102030 01603 508050

666333 744444 767676 747474 455555 619619

SOCIETY

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Thurs Oct 17th: The Panic Room Friday Oct 18th: Bladell Mon Oct 21st : Cry Freedom Tues Oct 22nd: Gosford Partl Thurs Oct 24th: The Count of Monte Cristo Friday Oct 25th: About a Boy Tues Oct 29th: Dog Soldiers Thurs Oct 31st: 40 Days and 40 Nights Fri Nov 1st : The Scorpion King Tu es Nov 5t h: Crossroads Thu rs Nov 7th: Resident Evil Fri Nov 8th: And your mother too Tues Nov 12th: Oh Brother Where Art Thou ?

Thurs Nov 14th: Austin Powers 3:Goldmember Fri Nov 15th: Mur der by Num bers Tues Nov 19th: Read My Lips

Thurs Nov 21st: Scooby Doo Fri Nov 22nd:

Monsters Bell Tues Nov 26th: Behind the Sun Thurs Nov 28th: Minority Report Fri Nov 29th: Unfaithful Tues Dec 3rd: Italian for beginners Thurs Dec5th: Star Wars Episode Two Fri Dec 6th: Sunshine State Tues Dec 10th: Mulholland Drive Wed Dec 11th The Grinch Thurs Dec 12th MIB

A te rm fi lm pass is only 拢12 .50 and covers all the films showing this term .

That's less than 35p per film, making us the cheapest cinema in Norwich by far! All fi lms start at 8.30pm and are in LT1 unless otherw ise stated.