Gwynne Dyer faces Globalization shuffle

arts editor: JE1Hic11 Danylchuk

ABTS

THE CASCADE 9

INTERVIEW WITH JOHN LENNON

Introduction by Beckett

I was fortunate enough .. . a long time, it took a long long time. Arrangements complex. Court orders, popers. Still, luck was there with me. Queen Luck in Manhattan. Eventually got through.

He reminded me because l had for• gotten: he had come to visit my cottage in 1967. Then I recalled him from that time: alone, without introduction, with the tense voice and the soft skin. I recalled .,his introducing himself to me at which rny innards knotted in suspicion and black awkwardness. I suspected that he was looking to collect my famous name, for dropping purposes, as if I were a knock·off Rodin or a Pitcairn postage stamp. 'Kid-snot poised to drip', I had thought, 'maw mush aspiring to puke: rat-chewed rag-pile of hair so unlike my own carefully shingled head; arrogant slit of a mouth below the curiously tear-pregnant eyes'. My fear of him was clear, yet the boy was oddly touching. Nevertheless, it was my apprehension that won out.

The brick wall I built in front of the young man was protestant enough. Just passing noon, I offered tea and biscuits. Refused. A dram. Also refused. Asked of his Immediate travels to the cottage. Asked of his music, his fame. Listened little because he spoke little. Asked him why he never went to university. Embarrassed him. Ushered him out with my feigned appointments else• where.

I have always wondered why I had kicked him in the sweets like that. Always regretted it. Happy, now, for the opportunity for these amends, worked out in a tavern just off 3rd Avenue a block below St. Mark's.

Introduction by Lennon

First oft, it was Sam's idea, this dou• ble introduction thing, along with the whole roundtable bit. Makes me nervous. I'll try to contribute, but though I still like Sam • and now I can even admit to admiring him without my being misunderstood • though I still like Sam, any burning questions I had for him have long since expired.

Sam broke my little sycophant heart back then, though I doubt he SUS· peeled I even had one. So, I was reluctant to do this interview gig, before I remembered all the unfortunates who'd endured my own penchant for shiteheadedness. I mean, his snub of me was at least a polite one. I wasn't always so nice when I wanted people to leave for whatever reason. People's tinny insecurities more often make them show off their fecking egos and they try to belittle you in the course of a rejection. Sam just did the "have a nice day" bit and went back Into his envelope - to wizen some more, I suppose.

The meeting he proposed at McSorley's hit me as odd and I fig· ured maybe Beckett was striking at common ground since some of me own people were exiled micks as well • except they weren't as smart or frenchy•fied as Sam, and , what's the word? Erudite. I went. I don't know how, but I went. We sat down under a crusty, smoke-stained picture of John L. Sullivan with his bare fists held up like they did. Awesome. Grubby place • no table service. Beckett did all the walking back and forth to the bar. I'd been away longer than he. Funny.

Beckett: Glad you could make it, John. Lannon: Sam, this bloody fecklng amazes mel Beckett: It takes some getting used to. But your public faithfully adores you. You'll be all right! Lennon: I've often admired your work, Sam, but I never ever dreamt you might interview me. Especially not now. Beckett: Try to relax ... Lennon: Aightl Breathe In, breathe out. I'm a little out of practice. Beckett: Now, John, we've agreed to discuss the major characters or icons in each other's work? Lennon: We did, yes. Beckett: And we agreed to talk about our similar but differing use of various sorts of simple symbols. Lennon: I'm actually looking for· ward to that. Beckett: And we also agreed that I could tell a knock-knock joke. Lennon: Well ... Beckett: Just one - for only you, me and the tape recorder. Lennon: Yes, one, no more. You did promise, Sam. Beckett: Yes, Yes. I did. Only one. I swear! Lennon: Can we begin with that, then, and have done with it? Beckett: The joke? Sure, why not? Here we go. You start it. Lennon: Me? Oh, all right! ... um ... Knock! Knockl Beckett: Who's there? Lennon: What? Beckett: Who's there? Lennon: You can be such a silly fecking twit, Beckett. Beckett: To most, your most startling imagery was found in the song "I am the Walrus." People have claimed it stood for some sort of universal spirituality which you were attempting to share with the world. I have even seen intralineal "translations" of this piece arguing such. Can you tell me about the walrus? Lennon: Okay. Are you going to find a little photo of a walrus or some· thing to put with this part? Beckett: I'm sure we'll do something. The walrus? Lennon: Hello, there, little picture of a walrus! Okay. Walrus spelt backwards is surlaw , sur .. . law. Above the law. Beckett: So it meant you had· felt yourself a bit backwards but above the law? Lennon: No, I just noticed that trick just now. Beckett: So, what did it mean? What was the walrus? Lennon: A 200-stone sea mammal that lives in the arctic. Still is, I think. Beckett: With tusks! Those huge, silly, pointy tusks! Lennon: And blubber! Lots of blubber! Rolls and rolls! Practically no legs, you know, so on land, it moves just by heaving Its blubber around! Beckett: Hah, hah hah! Ah, wonderful blubber! The sight of it! Lennon: Jesus yesl Great isn't it? My first wife was into blubber. Not my second wife, though! Beckett: There can never be enough blubber! Lennon: You learn that about life: Like the Duchess of Windsor said: Your legs can never be too short nor your blubber rolls too wide! Beckett: So true! And I'm looking forward to getting still longer in the tooth I Lennon: Hah hah hahl That's a good one, Sam. Longer in the tooth! You're really good sometimes. Beckett: Knock! Knock! Lennon: Who's there? Hah, haha! Actually, the walrus was Paul. I said so in another song called "Glass Onion". Beckett: Why Paul? How did he get that label? Lennon: From his mum, Indirectly. Growing up, she'd often look at him and say "Tusk, Tusk!" Beckett: Stands to reason ... Lennon: Stands to reason.

Lennon: What? Ohl My turn? Oh shite I Um, okay I I talk into this thing? Okay. Um, Sam, what were your trying to communicate to the world with that 'Waiting for Godot' ? And where were you on the night of the murder? Beckett The world? Really Johnl If a million people, one four-thousandth of the souls on the globe, saw 'Godot', I would be flabber· gasled ... And I was in the bed· room, the parlour, the hall, the kitchen and the loo. Especially the loo.

Lennon: Must not have been you, then. Right! So, what were your trying to communicate to the ten or twelve people who saw 'Waiting for Godo!' ? No, wait, we'll come back to that. Why'd you write the fecking thing in French originally? Beckett: Because I could! I mean, um, to ah ... , to sterilise the words, as far as that is possible. To present the struggle outside of any culture. Needed to do something beyond politics and local sentiment. Couldn't avoid that In the English without tile filter of the French. I have plenty French words, but very few of the etched associations of French culture that come to a native speaker. How's that? Lennon; It wasn't to impress people and pick up girls? Beckett: Well, um ... that tool Didn't work too well, though. Lennon: Patience! Lots of birds I knew went for that !chabod Crane type. Mind if I ask you the origins of some of the Godot characters? Beckett: Nol I'll tell you everything I can remember and add some of my speculations! Lennon:· Can you say anything about Vladimir? Beckett: Nol Lennon: Estragon? Beckett: No! Lennon: Pozzo? Beckett: It doesn't rhyme with Bozo the Clown like that. It's POTT-SOE, like pizza but with different vowels. Anyway, no! Lennon: Lucky? Beckett: Um ... Nol ... Damnl and it was on the tip of my tongue, tool Lennon: Godot? Beckett; Of course not! He never shows upl He doesn't have any lines I Lennon: You don't remember any· thing? Beckett: Lennon: Beckett: Lennon; Beckett: I tried! Oh, brother! Well, let's gol We can't! Why not? We're um, we're ... oh. never mind!

Beckett continued on page 14

Gwynne Dyer Faces

By Kyle Webb

Canadian Globalization Shuffle

WORLD'S GREATEST LOVE STORY IN UCFV'S THEATRE

The third production of the UCFV Theatre Department's 2000/2001 season of theatre feature the world' greatest love story, immortalized by the world's greatest playwright: Romeo and Juliet by William Shakespeare. Romeo and Juliet's forbid• den desire for each other, against the will of their feuding families, drives this spellbinding tale of doomed love to an unforgettable. heart-rending climax. Romeo and Juliet will be directed by department head Dr. Bruce Kirkly, who also directed last season's innovative production of Chakespeare's The Comedy of Errors. This will be the department's second production of Romeo and Juliet; the first version, in 1987, was set on the early Italian rennaisance period, circa 1550. This new version will be updated to the mid 1920's. this was a period of stark political polarization in Italy, creating a perfect dramatic vehicle for the fued between the lover' tow families. Romeo and Juliet has a large cast of theatre and community performers. The roles of Romeo and Juliet will be played by Steven Kurowksi and Lisa Love. Steven appeared as Adriana is last year's production of The Comedy of Errors, and Lisa recently played Gail, in this season's production of Better Living. Jordan Schartnew will play Mercutlo; and Dale Loewen is Tybalt, with Kevin Ault as Capulet and Judy Becker as Lady Capulet. Lindsat Steven Kurowski and Lisa Love as Romeo and Juliet

PHOTO:RICK MAWSON Bleakly takes the role of Juliet's nurse, and Jim Servizi plays friar Laurence. pus and runs at 8pm. March , 0, 15 to , 7 and 22 to 24, with two special priced Other performers, some playing mulitple roles, include: Michael Bridgman, Adam previews wednesdat and Thursdat March 7 and 8. There are also four matinee Cosby, Mark Dalling, Sara Dickhout, David Dunster, Chandra Goodey, Gynis performances: Tuesday and Wednesday March 13 and 14 at noon. Hannafod, Jaclyn Hollingshead, Vic Janzen, Kerri Leeper, Cameron Mackenzie, For ticket information on Romeo and Juliet and other upcoming events call Tristan Newby, Helen Oldfield, Alexis Quadnau, Vic Upshaw, and Wil Watchorn. (604)795-2814, fax at (604)792-2615 or e-mail at theatre@ucfv.bc.ca. Tickets, wich range in price from $5 to $15, are now on sale for Romeo and Juliet, which opens Friday, March 9 in the UCFV Theatre on he Chilliwack cam-

Napster settles on a billion dollar agreement with the RIAA -but the future is still in limbo

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By Jessica Oanylchuk

On the evening of February 20th, more Napster users were online swapping MP3's at one time than ever before. This is because the following day was anticipated to be D· Day for Napster, as the Recording Industry Association of America (RIAA) was ready to shut them down in yet another court appearance. The fate of Napster was put into limbo when the court ruled in favour of the RIAA, slamming Napster and its creator, Shaun Fanning, to agree on a one billion dollar settlement. This will see Napster pay $150 million per year in licensing fees to major record companies and $50 million per year to independent labels and artists.

Its effect on you? Currently, nothing. The operation of Napster will continue as normal until further notice. However, this further notice could be as soon as Friday, March second when there Is a risk that Judge Marilyn Hall Petal could shut them down in her court. This was the same judge who in the summer of 2000, ordered the operation of Napster to cease, siding with the RIAA on copyright infringement against Napster. We all know that Napster was successful in appealIng this ruling last July, but will they be able to do it again?

Should they be able to convince Judge Marilyn to once again keep Napster online.there will be, however, changes in the operation of the music-swapping site. No later than the summer of 2001, will they be implementing a service charge levied to Napster users.

It Is estimated at this time that these charges will not be outrageously horrendous, as one might expect due to Napster having to dish up one billion big ones. Under a basic plan, members may be charged anywhere from $2.95 to $4.95 per month with a I i m It e d amount of transfers. With a premium plan that would allow unlimited transfers, the cost would be between $5.95 and $9.95 per month. And of course, they would offer a free promotional limited time membership that everyone is obviously going to take advantage of.

Above these service charges, the new model would provide more restrictions as well.

Napster continued on page 17