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brand new house night begins this Monday at Peppermint Park. A group of DJs from Norwich City College have got together to present 100%, which aims to bring big names to Norwich on a regular basis as well as showcasing some local talent. The first event (on Feb 26) stars king of the mix Judge Jules, a highly respected house DJ and Ibiza party favourite . The upstairs room will feature jungle and drum 'n' bass , while in the main room, support for Judge Jules will come from DJs spinning hard and progressive house tunes. Monday's event is the launch party for 100% and if it takes off, it will become a fortnightly fixture. DTickets are ÂŁ3 in advance from the Student Union, Soundclash or Peppermint Park - prices will be higher on the door.

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hanks to last issue 's Sack of Cack winner for bring ing much fun and mirth into the office in the form of some cheap plast1c toys. See how easily we 're pleased? This week , you again have the chance to make our lives happier by entering another competition where you can win such undesirable items as. SOM E AWFUL 'BRIT HOP AND AMYL HOUSE ' BEERMATS TO THROW AWAY IMMEDIATELY! A SELECTION

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iving up to his reputation as one of the most melodic and relaxed brass soloists in the UK, Harry Beckett and Co provided Norwich with a stunning demonstration of just how good real live music can be. The performance was so full of skill and class that it deserved a far larger audience than the sixty-odd who ve ntured out to see it. Beckett's playing is easily compatible with that of Mr D Byrd; and the drummer, Winston Clifford, is one of the best I've heard. Highlights of the evemng were

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2 THE EVENT, WEDNESDAY, FEBRUARY 21 , 1996

OF ABSOLUTELY DIRE FOLK AN D COUNTRY LPS INCLUDING 'TIGERMAN ' BY SOME STU PIDLOOKING BLOKE CALLED KIM WILSON! GRRRR! A BORIN G POLITICO'S MAGAZINE WHICH HAS NOEL GALLAGHER ON THE FRONT IN A RATHER DESPERATE ATTEMPT TO APPEAR TRENDY! ALL THE RUBBISH VALENTINES GIFTS SE NT TO VARIOU S MEMBERS OF THE OFF ICE LAST WEEK I Wow! To win all this pony old shite , all you have to do IS wend your way up to Concrete HQ upstairs in UH, come in, and make us all a cup of tea with our new kettle! Zowie!

undoubtedly Harry's facial muscles, which have to be seen to be believed, and the numerous jazz freestyles. Beckett effortlessly slipped in and out of each tune and each musician was allowed to take centre stage in turn. Some of the drum and piano breaks which emerged were simply cla ssics, and they alone made the tnp worthwhile. it's a good job the Arts Centre is still here, otherwise quality concerts such as thiS probably wouldn't occur in Norwich, this so-called city of w~re.

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h~ LCR doubled up as a 'soap-dodgers paradise' as the Levellers descended to play a warm-up gig at UEA before a sold-out Blackpool show which is planned to be released on video. Two members of the band, Mark (singer and guitarist), and Jeremy (bassist) kindly agreed to be interviewed before the gig (exclusively for The Event of course!). When asked about their first impressions of UEA, Mark enlightenedly answered, "Well, it's a university innit." Never mind. Anyway, dreadlocks flying and fiddles playing, the band stormed through their repertoire, which Included tracks from all four

albums; from the nostalgia soaked England My Home to the 1FM friendly tune Just The One! The lighting was weird and wonderful as was the orange wigwearing chappie who skilfully played his didgeridoo whilst rampaging across the stage during the explosive build-up to One Way. The ominous and angry Battle Of The Bearfleld, which describes the savage attack by the boys in blue on a convoy of travellers, sent bodies flying over the crash barriers, whilst the more serene Maid Of The River sent the holdyour-lit-lighters-over-yer-head brigad into ecstasy. Robert Slbson


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•Before storming alg _.,~ltiei LCR, . , , Dt~lltJB manaJed ~to , ••~a few wordS, aut aJ Echdllellv's p,bble Smith

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it's got a _swear-word or something. Obviously it happened to Sonya a lot ;, .~l,pniOQs becausfl · h~ndles most of th ' EP tnllovem · · · · inteM ·• ;t , • " , chart $tars With' a of top state? ,, ~ Do you e~r get annoyed that So afbums-and ~ of great stng$lon9 really know mucn · it, most ontil! attention then? pop- $ing!es 11oder · belts. ~se l haven't been here, bUt I think •Not at all; that's traditional because MOt?t res::en1ly, Kh !fthti Kerb and Great ifs"quite healthy. The Bluetones are " she's the $lnQ8r.lf gives me more timE~ to Thln!J$ stormed rts, and anyone , niJmbeJ two .WE!n't they?; t ~·" " be myself~ .. , With a radio won't hiive eseaped them. lodeed; 1f I had my way. we'<f have a ?> Sounds.. fair enough. Debbfe Smith, gultarjst in the band since national .holiday to celebrate. aut t Finally, a few quick questiohS. How would 1994, talked to Th nf on the eve of Which bands do' Eebobelly like at you liJce E'ehPbelly to be remembered? theirjjn~l dataj :ecef)t British tot~r .•\\'! ., •As ~ rei!t!Ytight, kick-ass five band tQat , here-at UEA. SO, , , as the tpur be.Qn'' ,f ' could tealfy;Po thtfbu~lness; wltfl strqng ' . going? ,. %/f ' •.• ' bill songs, gOOd lyrlcs, melodi~.... . ·j' 'i ' *lt's been going fine'- the crowds have ' And what about you; wbat'll be written on been jumping up and down in an the ngnt your 9rav~stone? pia~. singing ~IQrig to all the son ,the moment? , . , After mu(!h thought. Debbie comes up Unfortunately, Dabble Is pretty "Well, Bawl [support on tM tour] are the ·< with a silnple "Here lies Oebbie Smith. unforthcomin9 on the salacious tour latest band that I've heard and they're LEAVE m• stories front - apart from drummer Artdy · biilllant • very good.· -. 'Nuff said, and with that the intervt'eW is beifl9 locked I ~; ei~er the tour's ,, ... Sq ).Vho do you dislike? . . ·~· over. ' been~ sedate ' ock 'n' rpll affajr '~~one really." . ,, ;)~;; ''· Later lght her opinion ls bom~';oUt . or stie's simplY' g! Anyviay. at the . . Wl!at @bout you( ·· . k 'with a lpg gig "" 1~00 times "19fe " beginning of a , h.ow does she YQ4 $&e yourselVes compe ith?' blistering y great than expected. J feel 1995 went f()r the band? . , tw'elt, I don't lik~ the Idea of competing Wfth a puni$hlng .schedule ahead, this •1rs been tQally buSY.- but I think ifs been , agafnst anybody, but we are better than could be the year Echobelly go baiUstic. · r~rding too. Wt've Qeen touring almost ,.,Sie.Qper...: ., ~you h~Y:_en't heard Oa!k Therapy yet non-stop and W&l>!*ll two months .. Can't argue with that. Echobelly are, alas, ·then you soon will ·an ep1c song tar wJitfng and recording the new album.· To:tten lumped 1o wtt.tr the Wbote Britpop above wt)at you might oxpect from <( soOh yes, On was re{eased last year and scene {including Sleeper). Js that deadcalled 'lndie' band. has since gon$ 9~, and already ' ~buried now? · · '7' ~ Watch the Cha~ spawned a e9up!e:P,f ttl~ §ingles., Ar;e the ,; . @ah, it's sll ~o!Jlo no band prol,ld it?''*~t' ", ' '> . ;, ' ! " •yeah, generally yte're very pleased with "WeD, If you read Melody Maker it because we wanted it to be a very Uveit Is anyway. Can we expect sounding album ~ just us playing with syntheslsers and eyeline£ to very little .overdubsor extra instruments, , pJay a role in Ecflobelly's future and ttlat's what hapPened. · lflen? ,., •oark Therapy [the new single) is actually "Jt was bad enough the ftrst a completely live Where w~ all ,time, that's alll can say... : played at the . What you hear ew, had me worrtl3d for. ~, on th{l " · ,, , ,. ,, :h, «« ,:~ ,. whil~:t- O,ro;e. album is Wit~ !

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significant progfE~~ion from Everyone's Got One? ,, · "Well. the e~;~l'lle( I that Sonya 'Nr<>te were quite gelll and political, whereas oirsne started writing more in the flrst-persrih about her own personal experiences, so that's a progression I think: On~ acclaim ~me ~mid high-Profile success for other indie bands - was this a good thing? "Yee}h,

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written about you? , ..•1 h;Jven:'t read 1t in ages • it's q!te childish r9up of mQinly dn'.a pub. They start Q ''giVe it X amount of .........,.,""" , run and then ~r.op it to start a new one." . . ~do you Won:Y about ~;*' ~press twistlog your wotds li* ·and mis..quotin~ you? "No, becau$$ If you do I

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ny names.~ mention the ~should be quoted In , and ask wh~t 'rather than have a Ottle bit "· EchobQily. ltdidn't · - .. blown up arld stuck atthe .• their com~titlon .,. :'top ofthe P.f!~ because ~.

THE EVENT, WEDNESDAY, FEBRUARY 21 , 1996 3

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.a-IMV D.IPOOD

RefPied Pood!LP

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inja Tunes' latest offering is a reworking of tracks produced by the DJ Food collective . The trio have been knockin g out breakbeat albums for some years and following in the vein of ea rlier Ninja releases, Retried Food provides 79 minutes of non-vocal experimentation. Targeting beat junkies, all tracks are rhythm orientated melanges of samples, keyboard licks and basically ... noises. Artists on the remix include Ashley Beedle, The Herbaliser, Or Rockit and Squarepusher. Instrumental hiphop, drum 'n' bass and techno link together in an album that's mashed up, yet technically superior. Atmospheric in places, sparse and cold in others, the album succeeds in giving a good overview of what's happening in more open-minded studios at the moment. On the downside, tracks such as Sexy Bits and Half Step are slightly repetitive and uninspiring, but with creamers like Dark Lady, Turtle Soup and Me/la. the album provides a mixed bag of tunes well worth investigating . Chris Knight

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THRONEBERRY 'I'II'Ot: OUt' 'l'he ancares.t LP

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should only have to mention that this album is on Alias Records for those of you in the know to guess broadly what it will sound like. For those of you with lives though , Throneberry

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play 'classic' American indie-rock and are kind of like a watered down Afghan Whigs ; the lead singe r a diluted Dulli . Unfortunately, this album is a somewhat underwhelming experience , lacking much of the raw passion and power of their earlier work, and lacking in quality tunes to make up for it (there is

E DWYN C O LLINS Keep On

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certainly nothing here to touch Touched, their epic debut single) . The few good songs, like the fun Hooray For Everything and the extremely Pavement-esque Drops Of Moxie only serve to accentuate the weakness of the album as a whole. Disappointingly dull. Maybe it's a grower. David Jenkins

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........, of 'l'lnlel ... wangy bits on the guitar. That's how Edwyn Collins will be remembered. Sing . Twang. Sing again. Another gu itar bit. The lyrics don't make sense , but just carry on anyway . Perhaps it sounds a little similar to something you've done before? lt doesn't matter; we've got twangy bits , that'll knock 'em dead! Maybe that's a little unfair. lt isn 't that hopeless and pathetic; it just sounds like a remake of A Girl Like You , but the tune isn't as good and the lyrics don't appear to make sense . This sha ll end up being very annoying , and be sold for 99p. J ohn Spacey

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ith this release, from their forthcomi ng album of remixes Mut@ge Mix@ge, Front 242 effectively up-end their reputation as ind ustria l godheads . The original guitars , vocals and mash-pit inducing beats have been remixed into techno oblivion. Underworld 's version of Happiness on Side A is a straight dance track with the sort of sampling and inoffensive rhythm that teenage girls seem to dig. On Side B, Religion by The Progidy is a trippy jungle track with classic synthesiser blips throughout , and the Orb's mix of Rhythm Of Time stays relatively true to the industrial drums and distorted voices . A long , hig h jump onto the techno bandwagon . Kat Long

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f you were to take a handful of rocking guitar, a healthy dose of bluesy harmonica, a hi nt of Sheryl Crow and a dash of Alanis Morissette , the relish you would fin d yourself eating would be this mellow album by Joan Osborne . This aii-American gal , hailing from An chorage, Kentucky, has succeeded in mixing together this summery albu m with a taste of everything. Her new single , One Of Us , is fairly 'sweet' in com parison with the rest of the album , that you just can't help tapping along to. lt all blends together quite nicely with several 'interestingly' titled tracks (Dracula Moon, Spider Web , Let 's Just Get Naked) and it makes good enough background music to ignore it if you wa nt, without it fading into the wallpape r. All in all , at first this relish may taste a bit bland , but if you give it long enough the tan giness may just kick in. Carolyn Boyd

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NEW KINGDOM MeXIco or Bust/ .,.. I

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exico or Bust is the first release courtesy of New Kingdom since their breathtaking trip-hop inspiring debut Heavy Load; since then they have been eerily silent apart from a fairly uninspiring collaboration with Tricky on last year's Pumpkin single . Although this release is better it still falls disappointingly short of songs like Good Times. Praise does have to be lobbed their way though for th e inspired use of beats. The bass is slung so low and the drums warped so deliciously, that it can't fail to grab the interest of the most passive listener. The result is so disorientating that it took two listens before I was able to tell if it should be played at 45 or 33 rpm. So maximum respect has to go to New Kingdom for that, at least. Slightly dodgy vocals however, spoil what could have been a top quality instrumental track . Still you can 't hav~ it all ; it will be interesting to.see what the I. forthcom ing album has to offer. i Mark _To~if} t

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bitch to Oscar • From knicker-les~ super anne Lane picks contender wi~hhCt asotntosh!~~a Stone's career out the hlghiiU s hough she'll probably always be known for her knickers (or lack thereof) Sharon Stone's finally getting some respect. With Casino opening this month and her formidable performance precipitating rumours of an Academy Award nomination, critics might have to reconsider the daft, sex-bitch stereotype and take a fresh look at what this babe has to offer. Indeed, Casino has already thrown her a Golden Globe for her Las Vegas, coke-head, call-girl opposite De Niro, and on the basis of early rave reviews, more accolades are sure to follow. Not that Stone didn't deserve her former slagwith-a-weapon reputation. No, she earned that one, as sure as her allegedly lurid off-screen liaisons (reputedly, she's wrecked a few homes, stolen some husbands, nothing too exciting here) suspiciously resembled the psycho I nymphbeast roles (Basic Instinct, Total Recall, The Specialist, et al) at which she has proved so adept. Though Basic Instinct constituted a veritable watershed of stardom, no one much remembers that the actress' cinematic career began well before she sank an ice-pick into a few hairy men. In fact, Sharon Stone's activities in Hollywood predate her backstabbing big break by 15 years and a score of dodgy B-movies. Stone worked her way through modelling on the big-city

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catwalks throughout the 70's, but soon ditched the clothes for the big screen, in more ways than one. After she caught Woody Alien's eye in 1980, and appeared for an eye-blink as his Casablanca-style dream girl in Stardust Memories, Sharon sleazed through embarrassments like Deadly Blessing, The Vegas Strip Wars, Police Academy 4, Personal Choice and Blood and Sand, to name more than is charitable. Stone also saw a role in 20-odd episodes of an American mini-series, Bay City Blues, before she won the part of Arnie's nightmare in Total Recall. But Stone struck glitter with Basic Instinct, a film most of the industry's leading women refused. Total Recall gave her exposure to be sure, as the mighty Schwarzenegger pulled in at the box-office, but it was Basic Instinct that made her one of Hollywood's hottest commodities. The twisted sex and sordid character of the Verhoeven /Eszterhas collaboration chased away nearly every actress in town to whom it was offered, yet Stone seized the role of the darkly sexual sociopath, baring all for the camera, the world, and a greasy Michael Douglas. With the infamous "Flash", the actress showed the world what she was made of, literally. Though

perhaps nothing award-winning , Stone was now a star, top-listed in the greedy little minds of production executives and Hollywood moguls. Yet it was Basic Instinct that cemented Stone's typecasting in notoriously unimaginative Tinseltown . Shortly to follow, Sharon fell into the voyeuristic rip-off Sliver (also written by Eszterhas) and the equally forgettable The Specialist, a poorly produced piece of schlock designed to make Sly feel sexy again. Following a stint with Richard Gere in Intersection, Stone reached a turning point, and branched out of the mould in which she'd been cast. Forming her own production company and spitting out The Quick and The Dead, Stone showed off her flexibility and untapped potential. Though far from spell-binding, at least the production showed some initiative on Stone's part, and proved the actress capable of conquering more than her eostar. Casino marks a turning point in Stone's career; though films like Basic Instinct and Sliver slapped her name firmly on the big-budget star list, she had yet to prove herself capable of the calibre of acting necessary to pique critical acclaim . Martin Scorsese's forthcoming Casino is soon to change all that. Though she had to fight for

the role, auditioning more than once, talk is that Stone's performance as Ginger, the unstable wife of De Niro's gambling king , is nothing short of transcendental. Ginger's character represents a marked departure for Sharon from the one-dimensional roles that had become the staple of her career, and her portrayal might very well land her in the ranks of "serious actress.· And it's about time. At 37, Sharon Stone is cleary past the recommended Starlet sell-by date. In the ruthlessly superficial world of movie-making, each new year padding the actress' age reduces her marketability in a how-unfair-is-this-world type of way. Yet if Sharon can prove a talent as sharp as her pick, the world is her oyster. She has since completed work on Last Dance, out in May by Bruce Beresford, in which she plays a woman on death row (which I can only hope won't remind me of Julia Roberts in The Player). Currently, she is working on a remake of the French thriller Les Diaboliques with lsabelle Adjani. Stone seems eminently suitable for yet another sexual homicide, but this one might present a challenge. However, until then, that's Miss Stone to you.

MAIIE: SllatOft Stoftt BORtt. March 10. 1951 AB£:3'1 SlABSIGH: Pisces JES1 FILMS: Total ReCall (1990); Basle ~nct(1992);Tbe

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Get out that dinner jacket or slinky dress because Cinema City can offer you a top film gala screening. Those crazy cats in London are paying £175 a tick9t to see Restoration two days before, but on Saturday March 9, it costs a mere £6 .50- and all the/ profits are going to charity, mate. The film stars Hugh Grant, David Thewlis, Meg Ryan, Sam Neill, and a bevy of other stars and will be introduced by the author Rose Tremain, on whose book the film's based . For booking and further information ring Cinema City on Norwich 622047 . Colin Welland may have cheered 'The British are coming' at the Oscars for Chariots of Fire, and this year, it might actually be true! • •.. Leading British hopes include '- Emma Thompson for Sense and Sensibility, together with Kate Winslet, director Mike Figgis for Leaving Las Vegas and Anthony Hopkins for Nixon. Sadly, one of the Academy's recent traditions has come to an end , with no nominations for Tom Hanks. Shame. But it wasn't just the British who did well. This year has seen a distinct lake of the usual American dominance, and one notable success was If Postino or The Postman as it is more commonly called , serning seven nominations. However, The Event favourite Babe is one of the top choice of the movies nominated for best flick. Let's just see if it'll bring home the bacon for its Austrailian makers. Following on the great tradition of sport in the movies, with classics like Escape To Victory (which saw Sly Stallone and Pele play on the same team) comes Brit footle flick When Saturday Comes. lt stars Sean Bean , Emily Lloyd and Pete Postlethwaite, and tells the story of Bean's ambitions to play for Sheffield United. Although it's more cliched than your average issue of Roy of the Rovers, strong central performances make it highly watchable, and Sean Bean makes a much more convincing striker than Michael Caine ever did. A long time ago in a galaxy far, far away ... so began one of the greatest film trilogies of all time. The good news is that George Lucas is going to do it all over again! Firstly, a special jazzed-up edition of Star Wars will be released next year, with previously unseen material. Then, the first of the new three will be released in 1998. Casting is very hush-hush, but there is said to be no place for the original cast like Harrison Ford , since the stories will concentrate on the early life of Ben Kenobi and Darth Vader. As they say, watch this space!

THE EVENT. WEDNESDAY. FEBRUARY 21. 1996 5


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he power of Martin Scorsese in American cinema should never be underestimated. His directing force has kept him at the top of his profession for an unprecedented twenty five years . His passionate commitment to a subject and technical mastery ensure his status as a dedicated artist who will never make trivial films. Scorsese's films are well known for their frenetic shooting i style and important soundtrack which lir ,:~ers in the memory for months afterwards . His determination in enveloping the audience is commendable at a time where people are becoming less inclined to believe in the importance of fiction. Mean Streets, made in 1973, soon became a landmark of 70s cinema, and established Scorsese as a critical success . Scorsese has sometimes fallen victim to his own incredible talent in that his audience and critics always expect the best. After Hours fell short in this way, yet it was still a stylish film and never dull! Once again Scorsese is in the cinematic spotlight due to his latest film Casino, reuniting him with Robert De Niro and surprisingly also starring Sharon Stone. Yes, it is another gangster movie. But, it contains much more than that. The film explores the disturbing elements of people's excess desires in a Las Vegas setting where anything and everything becomes possible. Astonishingly, Marty isn 't an owner of one of those lovely gold statues , and the American Academy has again .. denied Oscar recognition for Casino. Nevertheless, once again it appears that Scorsese is not prepared to give up his Kingship quite yet! Nicola Hutchinson

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FREE STUDENT MEMBERSHIP SI Mary's Plain, Norwich Tel: 627478 Only 5 minutes from Norwich market 6 THE EVENT, WEDNESQAY, FEBRUARY 2_1, 1996

a Ha! We all went to see this movie because of our buddy Tarantino! What suckers we are! Let's just start out on the wrong foot - Room One was cliche city! OK girls, we've finally got a voice in the movie world, director Alison Anders . And what did she come up with? Sadly only a story of women witches needing Tim Roth's sperm. lt was just silly. The second room , The Wrong Man , is a joke on Tim Roth and us, the intelligent audience. I'll say no more, although it was cool seeing Jennifer Seals ; I haven't seen her since Flashdance . OK , now the highlight of the movie. Room Trois : Antonio Banderas in The Misbehavers . Excellent! His son, played by Danny Verduzco

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is stellar and Tim Roth as a frazzled geek just gets better and better. Oh , and I'd also like to welcome Robert Rodriguez into the world of brilliant writers. The last room , what we were all waiting for, was supposed to be another Tarantino thrill. This was just an excuse for our boy Quentin to flap his jaws. He talked and talked , and none of us laughed. Quentin and his swinging buddies try to redo a Hitchcock plot, but somehow it didn't reach the audience like old Alfred does. Tim Roth is a true actor in this film . Being a Tarantino fan , I'm glad I have this notch in my belt, but I'm also glad I only paid the matinee price for it. Too cliched for my taste. Luisa Lowe


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• Man stocks lays his cards on the table and takes a gamble with the lat~st scorsese thriller, cas1no ust, greed, love, revenge visuals. The violence is and huge wads of cash frequent, graphic and Casino has it all. disturbing (head in a vice Scorsese has returned to the anyone?) juxtaposed as it is violence and dirty-dealings of with scenes of tendern ess and compassion. the Mob which he depicted so well in GoodFel/as; only this Scorsese's Casino has a dark, violent humour and is time it's set in 1970s Las Vegas. ultimately a very enjoyable Casino shows the end of an film, if a little unoriginal in era, the success and glamour theme. but also the inevitable self The visuals are fantastic and it destruction of Mob-ruled even has a good soundtrack Vegas. The complex plot plus Sharon Stone manages, revolves around the volatile for once, to keep most of her relationship between Ace (De clothes on! Niro), Santoro (Joe Pesci) and r.--~S;;ii:iilliil'l::;r-:;;~ Ginger (Sharon Stone), all of whom perform brilliantly, especially - although I hate to admit it - Sharon Stone, who plays a materialistic hustler turned cocaine addict. Although having striking similarities to GoodFe//as some of the set pieces are almost identical - Casino is far more powerful and engaging. Being based on real events and filmed in a working casino, the atmosphere is incredibly tense and visceral. The cinematography is superb, with every part of the frame used to full effect with a mobile, documentary camera style. Surrealistic touches, such as a nose-eye view of cocaine snorting, add an extra dimension to the stylised

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Looney Tunes (U) Cartoon capers Video • out to b uy Warner Brothers proudly presents another Looney Tunes Bumper

Collection. An anthology of some of the funniest footage ever fil med starring those regular favourites Bugs Bunny , Daffy Tweety& Slyvester, Wile E Coyote & Road Runner and Elmer Fudd. This host of all time favourites comes to life in classic hits from the golden age of animation. Don't try and be cool by saying you're too mature... just go and buy some of the greatest cartoons in history.

The Spy Who Loved Me (PG) USA (1977) Premium Bond Dlr: Lewis Gilbert Video • out to buy

Rob Roy (15) USA (1995) Kilted Kaper Dir: Michael Caton - Jones Video • out to buy

He's suave, he's sophisticated and he's back! The Spy Who Loved Me Is the pick of the five widescreen Bond videos re released this month. From the death - defying opening that finds Agent 007 ski - ing straight off a 3,000 foot mountain precipice to the explosive finale aboard a super tanker, this is Bond at his exhilarating best. Not content with diving off mountain sides, Jimmy also launches one of Q's cleverest cars straight underwater. The submersible Lotus sports car "equipped with sea • to. air underwater missiles" was actually driven by two divers wearing breathing apparatus travelling at 14 knots. Moore always considered this his favou rite film, perhaps not least for the introduction of the metal - mouthed and seemingly indestructible Jaws, the only Bond villain ever to return.

A potentially passionate and thrilling tale, Rob Roytells the true story of the 18th century Scottish hero Robert Roy MacGregor (Liam Neeson). Against a backdrop of stunning beauty and the bitter reality of clan life, Rob Roy and his wife May (Jessica Lange) are caught in an epic i'h:'1=.,....,.......,.struggle to defend personal honour against treachery and savagery. The ideas are good, but the film fails somewhat in its execution, although Liam Neeson is always worth watching and if s considered by many to be better than Mel Gibson's Bravehearl.

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• The film now arriving at your local cinema has been hyped as the best this decade. Manhew Doy/tJ invited the Tralnspotting Trio on to the platform to speak... ast your minds back to January 1995 when virtually unknown director Danny Boyle was having all sorts of nice things said about him, thanks to his debut movie Shallow Grave. Ewan McGregor, Christopher Eccleston and Kerry Fox were the three flat mates all in a tizzy about what to do with the dosh they find in Keith Alien's bedroom after he goes the way of the dodo. The result is a fascinating film about death, dismemberment and dementia. Together with The Madness of King George and Four Weddings and a Funeral, it was useo to boost Channel Four's status as the best movie studio in Britain. Indeed, C4 last year received more Oscar nominations than any of the major Hollywood studios. Although claims of a booming British industry might have been a bit premature, the Hollywood movie moguls were keen to make Danny an offer he couldn't refuse. As it turned out, he could. But does he regret the choice? "lt was one of the best decisions I've ever made," says Danny. "lt always " depends

and who wuuld let us go ahead and make the film as we wanted to make it. Whereas if you want to make Terminator 3 then obviously you should make it in Hollywood because you need those kinds of resources to make it, so it depends on the kind of film you want to make." Producer Andrew Macdonald agrees. "After the success of Shallow Grave we were offered a suitcase full of cash by Hollywood, bJt we felt it important to stay in Britain and make another contemporary film. Trainspotting fitte::l the bill even if it meant cutting the fees to work on a Channel Four budget.• When Shallow Grave came out it was seen as heralding a British revival. Do you feel that this has added pressure since the industry is in such a bad way at the moment? "Not really" replies Danny, "We don't really hang out with the British film industry, we don't really have anything to do with them. The best way to do it is just get on with it yourself." One aspect of Shallow Grave which Andrew was keen to repeat was the central production teem. Producer Andrew, director Danny, and writer John

on what sort of film you want to make really. I think if you want to make a film like Trainspotting and have a certain truthfulness about it and about the people that it's about and the novel that it comes from it's very sensible to keep it as low budget as possible, because if people put a lot of money in - Americans or whoever they are they get nervous, particularly about controversial subject matter. Especially when the film is being made, as opposed to when it's being finished and everybody thinks it works, they can affect some of the important things that you are trying to focus on in the film. lt wa~ very important for Trainspotting to do it with Channel Four who we knew and who trusted us

after a meeting in 1990 led to the successful debut screenplay. His screenplay for Trainspotting is bzsed on the successful cult novel by lrvine Welsh. John found adapting the novel a great cha lenge because of the lack of narrative in the book, but it was a fascination with the central c~aracter of Mark Renton which kept him going. "The film depicts his philosophy and his nihilistic, selfish way of life, which aren't particularly attractive traits, but at the same time he's charismatic, intelligent and attractive. One of the great things about the book is that amidst all these horrific circumstances this

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character is still alive and kicking, he's still got a smart comment to make and he's still got a heart - maybe a slightly damaged, bitter one. but he's still a human being and so are the people around him." Having written the orginal screenplay to Shallow Grave. can you watch it now, or do you think 'I should have written that line better', or whatever? "Yes. But you just have to accept that you move on afterwards. You could go on regretting it, and with Trainspotting there's far more in the book than you can get into one film and I think 'Oh wouldn't it be better if we'd put that bit in'. but the opportunity would pass you by. You can think about something forever, but we had the opportunity to write the film and get it made when we did." When it comes to film-producing families, Andrew Macdonald is a member of the nobility.

His grandfather was the legendary writer producer Emeric Pressburger, best know for his 20 year, 20 film collaboration with Mlchael Powell. With such an Ulustrious forebear, how did he find this as an act to follow? "Emerle was definitely an inspiration," admits Andrew, "He made high quality European films which were aimed squarely at the international market and he never just did a film for the money, he never compromised: Despite the past family success, he still had to work his way up from the bottom, starting as a runner on Hugh Hudson's ill-fated Revolution. He later became an assistant director on various films including The Big Man and The Long Day Closes. Now as a producer he sees his job as fusing the aeative and financial aspects of a film. "At first sight Trainspolling may not appear a

particularly commercial subject for a film, but I believe that every story has its budget; it's a matter of matching resources to expectations. We thought long and hard about how to make Trainspotting in such a way that it would make

S0 what does tbe Iuture h0Id? Rumours run riot, hinting at an Alien 4. but writer just get on with it. He asked to John Hodge replies: "I want to do a Frank fintshed. se~ the script once it was He was very pleased, Capra-esque modem romantic comedY; gave us a few notes. but was I don't want to do all this violence" basically very pleased. back its money: lt looks like this will turn out to be somewhat of an understatement as cinema managers prepare to see their tills overflow when the punters rush to catch this enthralling, exciting and engaging movie. Some of this will come from people who've read the book and enjoyed

After the success of Shallow &rare we were offered a suitcase full of cash by Hollywood, Hodge all but we felt 11 Important to stay In Britain andwtoge orktehd er make another contemporaryfilm; Tralnsnonlngon titled the bill" • Andrew Macdonald, Producer shallow Grave,

10 THE EVENT, WEDNESDAY, FEBRUARY 21, 1996

it. With Shallow Grave there was more freedom since it was an original project but did you feel more restricted with Trainspotting that lrvine Welsh will watch and say afterwards 'what the hell have you done to my book?' "No, he was very positive actually and said we should

TOP BOYS: Producer Andrew Macdonald, writer John Hodge and director Danny Boy/e on the set of Tralnspotting

"So we asked him if he would come and play a part in it? He agreed to play a small part in it and he's very pleased. it's such an enormous and wonderful novel that no film is going to capture the whole of the novel and he knows that. He's a bright guy. "I would certainly recommend people to turn to the novel if they want to have the full experience but Trainspotting is just a film in itself really, just for its 90 minutes it's just about itself really. 1t doesn't depend on the book for your enjoyment; you don't have to have read the book to enjoy the film and that was one of the reasons we made it like we did.• So what does the future hold? Rumours run riot, even hinting at an Alien 4, but John replies: "I want to do a Frank Capra-esque modern romantic comedy, I don't want to do all this violence." As our interview draws to a close, the audience arrives for the next film. Danny suddenly notices that the Trainspotting trailer is beginning and bounds into the theatre saying "This is great!" Perhaps this is because it's staying in Britain rather than moving to Hollywood, or perhaps it's just his genuine enthusiasm for something he loves. Either way, the Trainspotting Trio have got a rollicking success on their hands here - let's hope they don't go off the rails in the future. DTrainspotting opens at the Cannon Norwich on March 8, and will be reviewed in the next issue of The Event

• THE EVENT, WEDNESDAY, FEBRUARY 21, 1996


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hey used over six gallons of blood and more than 8,000 rounds of ammunition ... 'nuff said. Desperado is as violent as violence can be, with Antonio Banderas as the very sexy, nameless, itchy 'trigger fingered guitar player who is on a wild goose chase to get revenge on his lover's killer. As he wanders around the desert, he shoots anything and everything that moves, which appears to be the entire male population of Mexico. But don't call Banderas a cold-blooded killer, because he still goes to church like a good little mummy's boy and gives

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guitar lessons in his spare time. Reservoir Dog Steve Buscemi is Banderas' best mate who not surprisingly gets killed. Joaquim de Almelda (Clear And Present Danger) is Bucho the baddy in a white suit who is Banderas' final target and star name on his hit list. Also Quentin Tarantino finally gets a taste of his own medicine with a Pulp Fiction Marvin-style mindblowing end, splattering lots of tomato ketchup everywhere. Robert Rodriguez had his plate full as producer,

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. 10 THE EVENT, WEDNESDAY, F ~B~UJ\R'(.~l •. ] 996 I

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writer, director and editor of the sequel-come-remake of his original, low budget and not very successful film El Mariachi. If it doesn't sound like your jug of sangria you'd probably be surprised that a film with as many dead people as Natural Born Killers can also be as funny as... a comedy! The desert's hot, the beer's bad, Banderas is horny and his (new) woman looks like a Sindy doll and you'd be just plain estupido to miss it. Lauren Cohen


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riginally screened on Saturdays in the late afternoon from the mid-1980s, The A-Team was simply the best way to kick off the evening, with its outlandish storylines, flashy gadgets and exotic locations. Over the course of its seven year run, the A-Team had the pleasure of toppling a whole range of foriegn despots, dodgy property tycoons and mine owners; claiming back inheritances from warped relatives; tackling gangsters who ran intimidation and protection rackets, and rescuing quite a number of scantily-clad babes from the clutches of nasty men. The show's perfectly-cast characters Colonel John 'Hannibal' Smith {George Peppard), 'Howling Mad' Murdoch {Dwight Schultz) , Face (Dirk 8enedict) and the formidable 8 A 8aracus {Mr T) - all excelled in their respective departments. Hannibal was the schemer, the man with the plan who was always able to see a way out of a given dead-end.

A madcap imbalance was provided by Murdoch - most of the time we saw him, he was just about to be sprung from a psychiatric hospital - whose rapport with 8 A was one of the highpoints in contemporary TV entertainment. Then there was Face, the relentless charmer who provided male viewers with a few trusty gems in the field of tried and tested chat-up lines. And who could forget 8 A, fearsome muscle man with a jeweller's window display round his neck? No wonder Ratner's went bust... The A-Team rode round LA in their unique and much-imitated van (in Essex anyway), a peach of a vehicle from its souped-up engine and alloy wheels to its radios and luxury seats, ready to slide open the side door and burst out upon the latest set of unsuspecting villains. Accordingly, fight scenes were another important facet of the show. The chaps would launch themselves into a given confrontation and fists would fly copiously, but the most significant thing would be that no-one ever seemed to get seriously hurt maybe the slow-motion editing made sure that everyone had a soft landing. The same was true of car chases and pile ups: no matter how spectacular the smash, the occupants would emerge from wrecked vehicles just before they exploded holding their heads , having conveniently escaped serious injury. Another key element of The A-Team was the regular 'construction' scene near the end of the show when the intrepid foursome would find themselves locked into some shed,

warehouse or disused factory in the middle of nowhere - and would have 12 minutes to prevent a major catastrophe . But they'd need some kind of contraption in order to save the day, and all that they'd have to hand would be a few tins of paint, some aluminium tubing and a bit of string, No problem! Welding kits were constructed with ease from a cigarette lighter and an aerosol can, dustbin lids provided armour plating, knackered bikes offered a means of generating electricity and so on ... but the coup de grace had to be the 47-piece socket set B A always happened to have concealed down his trousers. An extra dimension was added to The A-Team halfway through the series with the introduction of US military police supremo, Colonel Decker, who'd been pursuing the fugitive foursome ever since they escaped from that famous maximum security stockade in 1974. But unfortunately, he never quite managed to get his prized catches, as they always managed to escape at the very last minute to continue their lives as soldiers of fortune, where , if you had a problem, nobody else could help, and if you could find them, you could hire ... the A-Team . Totally unbelievable perhaps, but this is what made The A-Team what it was : pure entertainment where the baddies always got their dues and our heroes emerged triumphant to crack a witty comment or two as the final scene froze before the credits. Said Hannibal as he chewed on his cigar: "I just love it when a plan comes together." And so did we. Good work fellas!

Pllamus Park. HIJIIY HIPPOS Antlla Wed Fell 21 • 3.30 m The hippos all seem to be grumpy, so Ticker, GTG and the moles decide to cheer them up. For all you daytime TV fiends looking for excuses not to do any work, what more could you want?

The Fast Sllaw BBC2 Friday Fell 23 • Bpm Paul Whitehouse and Charlie Higson eo-write and perform in this collation of sketches featuring such household names as Competitive Dad, wartime comic Arthur Atkinson, and the Copulating Couple. Also starring Carolina {Mrs Merton) Hook. Unmissable.

Film On Four: Peter's Friends Channel4 Sunday Feb 25 • 9pm Much-hyped British comedy about six old university friends meeting up again over New Year's Eve, comprises Stephen Fry, Hugh Laurie, Kenneth Brannagh, Emma Thompson, lmelda Staunton and Tony Slattery. Overrated and at times excruciatingly embarrasing, it nevertheless remains worth seeing for some good moments and Emma playing a dowdy, slightly hysterical bookworm with no lovelife: at last, she finds her true niche!

Friends Channel4 Wednesday, Feb 28, llpm Hot on EA's heels comes the US's {2ndl) hottest export, a comedy about six twenty-somethings, that has taken America by storm and is successfully transposing to our more discerning tastes.

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I I De Ewenlng Session

Radio 1 Wed Feb 21 • 7pm As part of Radio 1's Great British Music week, we are treated to Massive Attack live in session. The groovy Bristol trip hoppers give us pure Britpop from Maida Vale.

John Peel

Radial Sat Feb 24 • 5pm The cult guru excels himself and brings us exclusive sessions from The Bluetones, whose single MBiuetonic" must be familiar to every groovy groover around, and Stereolab, who recently supported Pulp on their tour.

In Concert: Suede Radio 1 Mon Fell28 • &pm This gig was recorded at the Phoenix Festival last summer, and should be a worthy example of the band's repertoire. Despite the fact that they have been forgotten a little of late, Suede are undoubtedly one of Britam 's outstanding talents, especially with the addition of Richard Oakes as replacement guitarist for Bemard Butler. Although you won't be able to appreciate Oakes' much superior sexappeal on this occasion, I strongly recommend that you also procure a picture of His Studliness to assist your appreolation. Noel Gallagn&r, move over.

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hat do you get if you throw together former Doctor Who actor Colin Baker; Darren Day front man to Joseph and Copacabana, and songs by Mike Read - top Radio One DJ? Well mix them in the right proportions, add just a touch of penod costume , poetic justice, and dramatic twists. and you get Great Expectations. Dickens' classic novel has been adapted by the award-winning Christopher G. Sandford, and is showing at the Norwich Theatre Royal until early March. Full of colourful characters, Victonan humour, charm and pathos, it tells the story of Pip's struggle for greatness against all odds . When the show premiered at Theatr Clywd in 1993, it broke box office records before embarking on a hugely successful nat1onal tour, and consolidated the star status of its Pip Colchester chappie, Darren Day, well known for his pearly teeth and dodgy ha1rcut Colin Baker plays Magwitch, and the mysterious Miss Haversham is played by Nyree Dawn Porter. They are jomed by a supporting company of West End talent drawn from Cats. Chess, Les Miserables and others, so this prom1ses to be one of the most star-studded shows around at the moment it's a must-see for any Dickens fan , and if you can't afford the 拢3 to see it, you'll just have to wait and hope for an unknown nefactor to pay your way. Lee Jones

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his is not just about glorifying a bunch of old weapons, since in Japan swords were thought to be imbued with the life force of natural deities, so a thorough spiritual preparation was necessary for a technical job. Apparently, the sword-smith had to start his day with a bath , sprinkle salt around him and walk to a holy mountain and back before he could actually get down to business. This might sound fascinating, but I still found it hard to get in the spirit of the exhibition. Even after intensively consulting the guidebook, I could not see much difference between a Kunimitsu dagger (said to represent Japanese sword making at its :best) and an illomened blade reputed to have caused a number of fatal accidents. I shied away from all this cold steel in favour of scabbards made of lacquered wood, bound with a silk braid, and I was also pleased IQ discover, a guard adorned with a flowering plum bow and a gold inlaid chrysanthemum (and before you accuse me of being uninterested in the sword side of things because it's too manly for me, I'd have you note that there were female samurais, some of them reportedly quite handy with the sword and dagger, so there). I cannot deny that swords seem to hold In people a certain morbid fascination , on the>Qne hand 19ther nasty weapons, and on the 'dtner, be~ utiful pieCes of art. However, I would have appreciated)t itthe focus had been less on sword styles and路 periods, and more on the legends surround ing swords, like the one of the warrior who tran sformed his girlfriend into a comb and carried her in his hair whenever he was out to maim eight! headed dragons. The exhibition is well worth a visit, but unless you take along a Japanese friend , as I did, who can help you through the complicated bits, yoll might have to make the odd stab in the dark. Annette Leyssner

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12 THE EVENT, WEDNESDAY, FEBRUARY 21, 1996

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luff is a clown show with a difference, brought to UEA by Brouhaha , awardwinning Anglo-Swiss clown trio. Their's is a unique brand of performing which they have developed and toured all the way from Ireland to Spain to Mexico. Set in a war-zone , the story is not exclusively a laugh ing matter, despite plenty of stupidity , crossdressing, and miscellaneous japes . Three women find themselves thrown together by perilous circumstances, and do all th ey can to support each other with resourcefulness and faith in th e future. As tragic as it is comic, portraying the sadness of human greed and despair, Bluff promises to be a moving production , with universal appeal. Matt Fasken

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Red Pepper: Raising t:he pollt:lcal temiHH'Cd'Ure

elf-proclaimed 'voice of the independent left', Red Pepper is a political magazine produced by the socialist movement. If that isn't enough to put you off, the publication cites 'Lennonists and green economists'as its target audience. This would appear to neatly exclude the majority of the population, including me. I was more than a little surprised at the wide variety of articles it contained.

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Fairly mundane pieces concerning recycling and the future of Labour policies sit side by side with more stimulating items on the politicising of pop, the French strikes and disturbmg human rights stories. Although aiming for a relatively wide audience, Red Pepper tends to lapse into 'smash the establishment' jargon that can be off-putting to the casual reader. Whilst it will never take the ~~:!H-;;:•.,...,...IIP:I place of More! on my coffee table, those with more interests in life than 'position of the fortnight', will find that Red Pepper provides a coherent, slightly upbeat discussion of thoughtprovoking political issues. Ruth Mal(ep«~ac«~l!:.=~;;:~;J

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Ma..na Oltv. . 'rh G oWing HOUN & T Golden Road atthew sat alone in the Hive, an a1r of mystery apparent on his knotted brow. Lorna , a tall, sultry redhead timidly approached, glimpsing The Glowing Hours, a Marina Oliver novel in which Matthew was engrossed . "Excuse me, I couldn't help noticing your book," she began, the dulcet tones of her vo1ce stirnng his thoughts away from the gripping narrative, "and I was wondering if you'd read The Golden Road. I've just finished it." An enchanting sparkle appeared in his eyes . "But of course. Isn't Marina Oliver simply divine?" He gestured for her to sit with him. "Oh, yes! Her warm, appealing sagas send me into raptures!" she exclaimed as she sat down, her perfume drifting sensuously around him. "lt's amazing that she has written over 30 historical novels, with such depth of research and insight." he said, gazing into the pools of her deep brown eyes. "And her way of capturing subtle nuances of feeling with passages like, 'What he was doing was so delicious, making her breathless with anticipation, shuddering each time he touched her'." "Quite!" Matthew exclaimed. "And the bit in The Glowing Hours where Timothy is teaching Kitty to drive - 'Kitty took the starting handle in a fastidious grasp. "lt's too big." She announced ..."' Lorna squealed with ------:,delight, interrupting him. "And Timothy tells her, 'lt's better if it's big- more leverage'." They laughed, and their eyes met for a moment. Matthew broke the ensuing silence. "I never thought I'd find someone who felt the same way!" Lorna blushed, wondering if she'd found her Prince Charming at last. She smiled coyly, and said, "Let's continue this discussion over dinner in Breakers." They both knew it was the start of LJ~~--~something wonderful. MaNhew Fasken & Lorna James

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Famous works: Rime of the Ancient Mariner, Kubla Khan, Christabel Other interests: Chasing the dragon Interesting fact: Coleridge wrote the poem Kub/a Khan in his sleep . On waking, he started to write it down, but a visitor from Porlock disturbed him and he forgot it. What a bummer, eh, poetry fans? Famous chums: Wordsworth and his sister Dorothy. They had a bit of a falling

alk 1nto the music section of any book store and count the number of texts on the fab four- 1f you dare. The greatest band m the world appear to have an even greater number of books written about them than the tracks they recorded, multiplied by the years they were together. The question must be asked, "Do we really need another book on those loveable mop tops?" Well, usually the answer is a resounding "No thank you, I'll stick to the 50,000 currently available ." But in the case of Revolution In The Head, the answer is an astonishing "YES!" The book is divided into three sections , beginning with an intelligent introduction, providing an acute socio-political history of the Sixties alongside the Beatles' own story. As expected, this portion spends a good deal of time discussing drugs (especially LSD), which were important in shaping the music of the four laced-up legends. The second part concentrates on the songs themselves, arranged in recording order from Love Me Do through to the final studio sess1on of I,Me,Mine ; not only giving ample commentary on the studio work and explaining who played what (if you're interested in that 'sort of thing), but also (Sgt) peppered with interesting

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anecdotes Finally an extended table shows what else was in the charts, coupled with current affairs and culture throughout each section of their legacy. A must for Beatle-nuts and laymen alike. "Don't you know that you can count me in?" James Lushey

out though, mainly down to Coleridge's persistence on getting zonked regularly. However, they did manage to produce the top Lyrical Ballads before this Robbie Williams type creative split. Immortal lines: "In Xanadu did Kubla Khan/A stately pleasure dome decree", "Water, water everywhere/And all the boards did shrink" and "I shot the Albatross." How to sound Intelligent about Colerldge: Say things like "Essentially, Coleridge was a tortured genius whose drug habit only fuelled his creativity." How to sound like a complete nonce about Coleridge: "Fair enough, he was stoned, but that still doesn't give him the excuse to write poems about albatrosses." If he were alive today he would be: "sorted for Es and Whizz."

THE EVENT, WEDNESDAY, FEBRUARY 21, 1996 13 '


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A Midsummer Night's Dream (UJ

Seven (18)

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Sun Feb 25 - 5pm . Glamorous thirties Hollywood adaptation of Shakespeare's classic play, based on the broadway production by Max Reinhart.

Brit David Fincher makes up for Alien3 with this top notch thriller starring Brad Pill and Morgan Freeman .

CANNON Heat (18) Scorching high voltage thriller from director Michael Mann , with the likes of De Niro, Pacino and Val Kilmer getting heavy with some very big guns.

Babe (UJ Having saved his bacon and missed the Christmas dinner table, the film tells the endearing tale of the super-piglet, Babe Worth trotting along to.

The Little Princess (UJ Rega l fable given the big screen Hollywood treatment, making this perfect family viewing.

Dangerous Minds (15) Cliched predictability, with Michelle Pfeiffer trying to make it all look respectable .

Father of the Bride, Part 11 (PGJ Boring title , boring comedy.

CINEMA CITY Sister My Sister (151 Wed Feb 21 - 5.45 pm . Thurs Feb 22-Fri Feb 23 - 5.45pm. Dark tale of the incestuou s relationship between sisters in provincial 30s France. Intense melodrama verging on the Gothic.

"'•· Ran (15) : Sun Feb 25 - 7.30 pm. ·'* Akira Kurasawa's highly acclaimed "' interpretation of Shakespeare's King Lear, " transfered to a sixteenth century Japan.

• ,.. Devil In a Blue Dress (15)

"' Mon Feb 26-Wed Feb 25 - 5.45 pm , 8.15pm. "' Thurs Feb 29- 5.45pm . Matinee on Tues Feb 27 - 2.30 pm . Fri Mar 1-Sat Mar 2 - 8.15pm. Cha ndler-esque styled fi lm noir, with Denzel • Washington taking the fam iliar Bogey role as the P.l. on a sleazy trail.

Les Diabollques (15} Thurs 29 - 2.30 pm , 8.1 5 pm. Fri Mar 1-Sat Mar 2- 5.45pm . Classic psychological thriller focussing on an ad ulterous headmaster and his seedy private school.

Reservoir Dogs (18} Fri Mar 1- 11pm. Tarantino blood, guns and swearing fest.

Richie Rich (PG) Sat Mar 2 - 2.30pm. Macaulay Culkin tries to recapture some of his cuteness as he reaches puberty.

Top Hat (U) Sun Mar 3 - 2.30pm. Damn fine musical with Ginger Rogers and Fred Astaire.

La TartuHe (PG) Sun Mar 3 - 5.45pm. Faithful adaptation of the Moliere play, directed by Gerard Depardieu.

Mute Witness (18} Johnny Mnemonic (151

Babe (U}

Keanu Reeves plays an air head who can rent out his brain to store information in this disappointing futuristic drama.

Wed Feb 21 - 2.30 pm. Fri 23 - 2.30 pm Endearing tale of piglet Babe's charming porky pursuits.

Loch Ness

Four Rooms (18}

Strange things are afoot when American scientist Ted Danson goes Nessie-fishing, unfortuantely bringing home a bit of a damp squid .

Ace Ventura: When Nature Calls (121

Wed Feb 21-8.15 pm . Thurs Feb 22-Fri Feb 23 8.15 pm . Matinee on Thurs 2.30pm . Quartet of tales revolving around a L.A. hotel on New Year's Eve, with a star turn by Tim Roth as the harrassed bellboy.

Revenge of the rubber faced one in this decidedly suspect sequal.

Psycho (181

Disney does it again, in yet another magical animation .

Fri Feb 23 - 11pm. Hitchcock's classic tale of a lonely motel, its highly strung proprietor (Anthony Perkins) , andthatshowerscene.

Goldeneye (151

Three Colours: Blue (15}

On his 17th outing Bond looks surprisingly good in the guise of Pierce Brosnan . There's one in the eye for the critics .

Sat Feb 24 - 1pm . The first of Polish director's Kieslowski triology of loosely connected films, looks at its protagonist's attempts to rebuild her life after a car crash.

Pocahontas (UJ

Strange Days (18) Ralph Fiennes as you 've never seen him before in this techno-twisted noir thriller from action director Katherine Bigelow.

Casino (181 Martin Scorsese's hard hitting tale of gambling in Las Vegas, with Robert De Niro, Shazza Stone and Joe Pesci all in top form.

Desperado (18) Hypnotic Hispanic Antonio Banderas keeps the blood 'n' bullets fiowing in this top notch caper.

Mon Mar 4-Tues Mar 5- 5.45pm . Matinee on Tues Mar 5- 2.30pm. Unpleasant little tale of snuff movies and murder.

The Innocent Sleep (15) Mon Mar 4-Tues Mar 5 - 8.15pm. A homeless amn witnesses a murder and is caught up in a spiral of political intrigue.

"' •

: THEATRE ROYAL

"' " " Great Expectations : Tue Feb 20-Sat Mar 2 - 7.30pm (Matinees.. Thur & Sat- 2.30pm). £3 - £19 .50 . Darren Day, fresh from performing on the : West End, stars in thi s musical interpretation .• of Dickens's classic rags to riches tale.

: NORWICH PLAYHOUSE "'

• Kiss Me Kale Thu r Feb 22-Sat Mar 16- 8pm (MatineesThur & Sat- 2.30pm). £3- £12.50. A backstage musical about the stormy love, lives of an actor and actress performing in Shakespeare's The Taming of the Shrew, with fabulous songs by Cole Porter. f;.

,. UEA STUDIO ' Honestly Thur Feb 29 - 7.30pm. HoiPolloi, leading physical theatre troupe, are ' back with this maniacal comedy about fetishism and obsession. Twisted and very amusing. £3.50 - £6 .

Bluff ' Fri Mar 1 - 7.30pm. Comedy and tragedy are juxtaposed in this clown show set in a war zone, performed by Anglo-Swiss clown trio Brouhaha. £3.50- £6.

Briefs Too - Treats .. Thur Feb 22-Sat Feb 24- 7.30pm. The second half of Minotaur's week-long festival brings us this fast, furious, and comical domestic drama by Christopher ,, Hampton. Treat yourself. £3 .50- £6.

UNION FILMS To Die For (15) Thurs Feb 22 Nicole Kidman is the ambitious weather girl in • Gus Van Sant's bewitching black comedy.

Young Poisoners Handbook (15} Fri Feb 23 A young lad finds murdering the members of his family more fun than playing with Lego.

The Big Sleep (U) Tues Feb 27 Humph Bogart and Lauren Bacall star in this fantastic and enthralling Film Noir, directed by Howard Hawks. One not to miss.

::->

NORWICH ARTS CENTRE Simon Day Sat Feb 24 - 8pm . His character, Tommy Cockles, has told his showbusiness anecdotes and tall tales on Vie Reeves Big Night Out, and The Fast Show. Comedy at its best and most off-the-wall. £5.

Three Colours: White (151 Sat Feb 24 - 5pm . This second part to the Three Colours triology, charts an amusing rags-to-riches tale from France to Poland.

The Neon Bible

Three Colours: Red (1 51

The Scarlet Letter (151

Sat Feb 24 - 7pm . The final offering pf Kieslowski's triology fo llows a model's seemingly inconsequential encounter with an elderly recluse and the inevitable repercussions.

Tues Mar 5 Despite Gary Oldman's best efforts, this is a period bore and desperate adaptation of Nathaniel Hawthorne's novel , eo-starring Demi Moore

Fri Mar 1 Poverty and depression in small-town 1940s America . Not a barrel of laughs.

SAINSBURY CENTRE Swords of the Samurai Wed Feb 21-Sun June 9- 11am- 5pm , (closed Mondays only). Finely crafted Oriental tools of decapitation and disembowelment, and much, much more. ,1 Free entry to students.

14 day listings in association with the Theatre Royal- (01603) 630000 for reservations. Tickets always available from £3 or £4 14 THE EVENT, WEDNESDAY, FEBRUARY 21 , 1996


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Mondays - Cow Club student night 11pm- 2am £2 with ID Tuesdays - Fresh! Current and classic chart and dance 1Opm - 2am Free before 11 .30, £2 after Wednesdays - Alternative night 1Opm - 2am £1 before 11 , £2 after Saturdays - Cow Club house and garage 9.30pm - 2am £5

Manln Stephenson Friday Feb 23 Well crafted folk rock from the former songwriter of The Daintees. £71£6 adv

Kathryn Tlckell Trio Friday Mar 1 Traditional folk from Northumbria.

UEA LCR Chumbawamba + Blameless Friday Mar 1 Left wing popsters with a bizarre sense of humour. Support from breathy Sheffield rockers. £7 adv.

THE WATERFRONT The Emissions Tour Wednesday Feb 21 Conemelt (live PA) + Andy Weatherall + Alex Knight (Fat Cat Records) + Ashley Marlowe (Panash) Midweek mash-up from the masters of nu musik! £6 advl £5 NUS 8pm-1am

Mondays - First Degree 9pm - 2am 50p b4 midnight with student ID Wednesdays - Cool And Casual 9pm- 2am 50p b4 midnight with student ID Fridays - Fast Trax 9pm- 2am £3 b4 10.30pm, £4 after Saturdays - Furious Fun £4 b4 1Opm, £5 after

• •• Urusel Yatsura + Backwater + Des Lynam Allstars + Hard Cousin Monday Feb 26 Hotly tipped Glaswegian lo-fi noiseniks, with local support coming from the mighty Allstars. £41£3.50 adv.

Solar Race + Dvahead

• PEPPERMINT PARK •

100%

Monday Mar 4 Rough and ready female fronted shenanigans, with support from local sixth formers playing their third live set at the Arts Centre in as many months. £41£3.50 adv.

THE FISHMARKET (AT SA ANTRA'S) Elmerhassel + Obi-Wan + Velvla Thursday Feb 22 Local triple bill of indielpunklartrocklbritpopl guitar abusing fun . £2

Mon Feb 26 First of a new club night, featuring special guest Judge Jules (see page 14). £3 adv Mondays - Student Party Night 9pm - 2am £1 all night Wednesdays - Midweek Party 9pm - 2am 50p with flyer Fridays - Frantic Fridays 9pm - 2am £2 b4 11 pm, £3 after • Saturdays - The Big One • 9pm - 2am £3 b4 11 pm, £4 after

: MANHATTANS v Wednesdays - Uplift student night

9pm - 2am Free b4 11 pm, £1 after Saturdays- Club Dance 10pm- 2am £2

• I f

Thursday Feb 22 - Club night 9pm - 2am Free b4 11 pm, £1 after Friday Feb 23 - Gas Station 9.30pm - 2am £3.50 Saturday Feb 24 - Club Night 9pm- 3am £3 b4 10pm, £4 after Thursday Feb 29 - Club night 9pm - 2am Free b4 11 pm, £1 after Friday March 1 - Gas Station 9.30pm - 2am £3 .50 Saturday March 2 - Club Night 9pm - 3am £3 b4 10pm, £4 after

· RITZY

: THE WILDE CLUB (AT THE : NORWICH ARTS CENTRE)

I

~ ,~0~ --NU~t~---

•• Hys •

• The Loft •• Manhattans • Peppermint Park

• ••

Ri1zy • The Waterfront • Zoom • • Cannon • • City • Cinema • Odeon

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:• UEA LCR

• Club Fantazla - The House Collection Tour Saturday Mar 2 Featuring DJs Mike Cosford + Adrian (Luvdup). Dancers, decor, lights and decibels 9.30pm- 1.30am. Tickets £81£6 .50 cone.

...

: THE WATERFRONT Late Lunch Friday Feb 23 Guest DJs Tony De Vit + Ricky Stone with local talent Retro House and Kissing The Pink upstairs. 10pm- 6am £101£9 adv.

Meltdown Saturday Feb 24 The reliable old favourites downstairs, and a load of indie toss upstairs at Club Trouser. 9pm - 1.30am £3.501£3 cone.

I

Rumble Friday Mar 1 Jungle evening with Jumpin Jack Frost and Hyperbolic. 9pm- 2am £7/£6

Meltdown Sat Mar 2 9pm - 1.30am £3.50/£3 cone.

First Out

'I • • • •• •

Tues Mar 5 Midweek merriment coming from "the dancey end of pop". 9pm- 1am £31£2 .50 cone.

: ZOOM The Kitchen Friday Mar 1 Offyerface + DJ Lewis (The Orb) Phunky house and terrific techno 10pm- 6am £7

THE EVENT, WEDNESDAY, FEBRUARY 21, 1996 15


Fri 1

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Fri 8

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SKINNY TOUR featuring Plastic Fantastic, Orlando, DexDexter and Hollywood

£ 3 . 50 a dv

Sat 9

Club RET.RO 60' s , 70's, & S O's

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Tue 12

£1 Oadv

Sat 16

£ 3 .50adv/£5 door

Serial Kille r s A lecture by Britain's leading criminologis-t, C hristopher Berry Dee Sa't 1 6

£8/£7 cone

Cl ub NliSS NlO NEYPENNY'S

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*Films, films and more films Out' of the toy cup-board ::' -::comes the latest Disney ·: ... s,.ma~h Toy Story. - ,· •

T u e 19

£ 9 adv

VERYTHI NG BUT THE GIRL Wed 20

£7.50 adv

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<*.Need· some travel guidance? We've got _ £150 worth of top travel guides to • g1veaway .

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(weekdays ll-3.30) City Ticket Shop Andy's Records

CREDI CA D BOOKING

01 03 505401/764764


The event issue 057 21 02 1996