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Peter Hart gets all the go ss on what's hot and what's dross in the wonderful world ol pop ...

Wotcha! So anyway , there I was at the Brits, playing Subbuteo against Noel Gallagher and desperately trying to get everyone to spare a few coppers for Jarvo's bail money. Not! No, actually, I've spent a very quiet fortnight- but that hasn't stopped the crazy larks of those wild popsters!

That's ver lot! Take that Take That lot, for example~ OK, they've split up, but they're still causing a stir with their latest vid. If you haven't caught it yet, it basically involves the lads in a dodgy bondage tied-up-type shocker with a disgruntled model , a transit van and a wet gravel pit. Oo-er! Plus, Gary dies! Well , he's pushed over, anyway, much to the shock of the other t hree~

it's this apparent dem ise of the group which has caught the imagination, although the director, Nick Brand!, claims that it's purely a coincidence that this happens in the group's last ever vid. We at The Event say that's a bit of a rope-y explanation!

Shane's got no Shame! Shane Lynch of Boyzone caused a major stir at a snoot fashion show in Ireland recently, when he dropped his trousers on the catwalk whilst modelling! The cheeky lad puts his actions down to the fact that he'd "had a few beers with Liam Gallagher and Robbie [Williams] beforehand" and that he wanted to make the whole event "less boring". Between you and me though, I get the feel ing that Shane has just been trying to recapture some of his lost glory, after his young

nephew Dean ended up signing just as many autographs as him during the making of the Boyz's new vid for Coming Home!

Love to hate vou! Oo-er, scary missus! Courtney Love, lead singer of Hole and Kurt Coba in's widow, has been sending death threats to Oasis! She's been leaving spooky messages on the Internet saying that "Oasis must die" and telling everyone not to buy their records~ As to the madcap Mancunians, they are clueless as to why Ms Love has the knives out for them . Maybe she just prefers United to Man City, lads! And on that murderous note, I think I'd better go before crazy Courtney takes a contract out on me!! oooo. errrr. ummm .. I'm sorry No really, I am. I've go! that slightly dodgy Chnstmas present off your gran feeling You really love her and everyth1ng but you blatant'y don t want those c eam and purple pants vVell the same th1ng ap., •es he•e, not tna! Uruse1 Yatsura gave me any dodgy presents you understand, but t"'ey c d g1ve me a se:.• wh1ch compr·,ed of 80 per ce"t pants and on,y 20 pt:.• cert BMX b1kes. And I do love them, honest. The good st.;ff was f, nt.lst1C, Plast1c Ashtray and S1amese (two of their last three s1ngles) went down a storm, and quite rightly too. Bu t the pants came 1n a rather uninspired no-var1ety pack of Some Youth sound-a-likes and Amencan underground plagiarism's. I don't like to moan on and on about bands I've seen live, especially not when I cons1der myself to be a fan but when they are capable of releasing one of the standout s ngles of 1995, and only del ver a set of substandard ar. no1se I feel somewhat let down Mark Tobin


hnst , one day of :,un and we all think its bloody summer out there in tne square w1th our st">ades ana our 1cea tea and our b1eea ng suntan lot L-1 Well let rre le. I you, there's go1ng to be a lot of raw between now and June Ana t'1ere s also going to be a whole oad of sh1te to be won in !"IS competition. Up for grabs this week LOADS OF FILM POSTERS FROM TOY STORY AND TO DIE FOR THAT LOOK EXACTLY LIKE THEY'VE BEEN WON IN A CRAP GIVEAWAY LIKE THISI A LUSH VALENTINE'S CAROl CHEERSI SOME MOR E OF TH OSE USELESS BRIT HOP AND AM YL HOUSE BEER MATSI WH ICH ARE CRAP I YET MORE AWFUL COS FROM TH E LIKES OF TE RRORVISION AND BLACK STAR LINER! Wowl So to win this poxy load of crumbly old turd , just present yourself at Concrete HQ (upstairs in Un ion House, natch) in a pair of shorts!



• When you're fed up with the pathetic whining of today's pop stars, how easy is it to go and make a racket yourself? Manhew Poole investigates...


hen punk first hit the streets in the '70s, people began to think: "Hang on, I can do this • making music is not so difficult." There is still some truth in this despite all the hi-tech equipment that is being used. I set off to London intent on discovering what you can get for your money that might help make music that's more than feedback. You know how Tottenham Court Road is the place for computers, well Denmark Street is the place for musical gear. This tiny street, off Charing Cross road, was packed with music stores of all shapes and sizes. The biggest store on the street was Rose-Morris, six floors of musical instruments and accessories. You could go ahead and buy a guitar, bass or drum kit and think: "Well that's it, I'm done, but the blighters are mighty expensive: If you're looking for the traditional outfit, you'd better try second-hand at the Hi-Fi Exchange in

Netting Hill Gate or the last couple of pages in Melody Maker. What interested me in these stores were the fuzzboxes, pick-ups, four-track tape decks and keyboards. You see, the guitar relies on a 'pickup' underneath the strings to catch the sound and send it to the amp. With this In mind, I tried the DIY guitar approach • that is to say. fitting the pick-up to a plank of wood and stretching the strings over it. I was thinking about using all sorts of cables, from piano strings to the stuff in hardware stores, but I was distracted by the fuzzboxes . These foot pedals come in varying colours and sounds. There are wah-wah pedals for the nostalgic, the grunge pedal for those still interested in grunge, distortion pedals, pedals with an echo effect... the list goes on. I got a dapped-out, second-hand fuzzbox at Netting Hill Gate for £25 but the regular price varies

here is a lesson to be learnt from the experience of seeing these two very different bands in successton . Namely, that second-rate guitar bands cannot simply ride on the wave of Oasis anymore; they need talent and originality to get noticed. Mansun evidently don't realise this and think that their bleached blond arrogance will endear them to indie kids everywhere. Hopefully these tossers will soon be thrown onto the dying embers of Britpop. In glorious contrast to this sad bunch are Audioweb. for whom the term 'fusion· may well have been invented . Bizarrely mixing guitar, dance and ragga , and boasting a skipping black Shaun Ryder as frontman, this lot are proudly Mancunian. As they waste no in telling us. Repeatedly. But the audience don't care , as everyone feels an urgent impulse to get up and dance - a surge of enthusiasm after the indifference displayed towards Mansun . To give them the plug they deserve, Audioweb's new single Yeah is particularly funky , and anyone wishing to move British music forward should rush out and buy it. Claire Sweeting


from £70 to £120 . The four-track tape deck, as I discovered, is a gem of a machine at the price of a gem (£179-£600). You record a track, rewind, record another, and each time you hear your previous tracks on the headphones. You can attach just about anything with a jack to this machine: keyboard, microphone, guitar, bass or loop-tape (a tape that plays what you put on it over and over). With the microphone you can go chasing sounds: from the neighbour's loud party to the clatter of a construction site. The whole musicmaking process can be an intrepid search for sounds. Here I am trying to tell you about making music on a shoestring, but the fact is you'll need more than a shoestring. This lark can be ruddy expensive. I suppose the moral is there's so much stuff out there, you've got to know what you want.


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movle news ... movie news ... movie news fter much deliberation and heavy - duty negotiation , Steven Spielberg has finally signed to direct the sequel to Jurassic Park. Cameras will start rolling on The Lost World in September, and a release date is set for Summer 1997. The deal was delayed by high tech negotiations between writer Michael Chrichton and Spielberg about how much loot they could earn . Both wanted a generous percentage of the box office take, in exchange for a salary up front. But the relaxed Spielberg is still considering directing another sci-fi flick, Deep Impact, before going back to the land of the dinosaurs.


Cinemas have been reporting brisk business as Casino, Sense and Sensibility and Trainspotting all opened on February 23. Many 1 disgruntled punters have been complaining however, as the one time t that there are a couple of decent British movies, they're released together in the same week. When The Even t spoke to the distributors, they said it was just the luck of the draw since all the films are released by different companies. lt just means we 've all got an excuse to go to the cinema three times as often!



Sad news came from Nick Park this week that Wallace and Grommit will be retiring . Despite the success of the ' latest instalment , A Close Shave, which took tellies by storm this Christmas and is now available on video (together with A Grand Day Out and Oscar - winning The Wrong Trousers), the loveable duo will be having a 1 i break from showbiz and are pro bably now just ~ relaxing with some ch eese and biscuits.


I Quen ti n Tarantino may have ; proved himself in the • directing department with the likes of Reservoir Dogs, but i he really needs to work on 1 his acting . After a classic ' piece of type - casting , ~ Quent playe d a pretentious : fi lm maker in Four Rooms, and then an obnoxiou s cameo in Desperado although he did get bumped off early on. Now he's starring in a vampire comedy which he has written and which is being directed by Robert Rodriguez. Reports are not that great. Listen Quent, move back ( behind the camera mate . Good news from The Event's chums who created Trainspottin g. lt seems now that those reports of Danny Boyle going to Hollywood to make the next installment in the Alien fran chise were greatly exaggerated . As mentioned last issue , writer John Hodge wants to move 1nto Frank Capra territory with his anginal screen play A Little Less Ordinary, which is set to start shooting in th e summer.


ave you ever met an actor as talented, diverse and downright British as our very own Sir Anthony Hopkins? No, neither have I, but I've sure heard a whole lot about him ... For a start, he considered himself 'a moron' saying "I was lousy in school. ..that's why I became an actor!" Born in Port Talbot, Wales in 1937, Hopkins is the one child of Muriel and Richard Hopkins. His father was a baker. The young Tony was educated at Cowbridge Grammar School. At 17 he wandered into a YMCA amateur theatrical production and knew immediately that he was in the right place. With new-found enthusiasm, combined with proficiency at the piano, Hopkins won a scholarship to the Welsh College of Music & Drama in Cardiff, where he studied for two years. He entered the Army in 1958 for mandatory military training, spending most of the two-year tou r of duty clerking in the Royal Artillery unit at Bulford . In 1960 Hopkins joined th e Manchester Library Theatre as an assistant stage manager, then wen t to the Nottingham Repertory Company where he wa s advised to go elsewhere for fu rther training as an actor. He auditioned for RADA in 1961 and was accepted on a scholarsh ip. He graduated a Silver Medalist in 1963 and pro mptly joined th e Phoenix Theatre in Leicester. His next move was to the Liverpool Playhouse and Hornchurch Repertory Theatre. In 1965 Hopkins was invited to audition fo r Sir Laurence Ol ivier, th en director of the National The atre . Two years later, he was Olivier's understudy in Strindberg's Dance of Death. On the stage, his work ranged from the classics of Macbeth and King Lear (in which he played the title role) to Hollywood Wives and Hitler (in The Bunker) for which he won an Emmy. During his time


at the National Theatre, he was very much under the shadow of Sir Larry Olivier. Cri tics said he was Olivier's natural successor, but this didn't quite work out. However, during the restoration of Spartacus, it was Hopkins who provided Larry's voice for the previously cut scene regarding snails and oysters. An yway, Anthony kept on stacking up those awards and his performance in Pravda earned him the accolade of the British Theatre Association, who presented him with Best Actor Award in 1985, and The Observer Award for Outstanding Achievement, that same year. In television, both here at home and across the pond , he has graced such productions as War and Peace , Dickens, Mussolini and I, and even All Creatures Great and Small! He first arrived on the silver screen in 1968 when he appeared in The Lion in Winter, followed by over 25 others, notably The Elephant Man and 84 Charing Cross Road - a cha rming fil m in which he starred opposi te US actress Anne Bancroft, as a painfully uptight, and upright, English gentleman . He is pretty much re nowned for this type of character, owing to some of his more recen t roles in both Howards End and with Emma Thompson again in The Remains of the Day in 1993. These characters may seem a little dull , but only to those who haven't seen what great ch arisma Hopkins brings to them . Perhaps the best of these performances was his role in Shadowlands, in which he went that one step further as writer C S Lewis, widowed after Debra Winger dies of cancer.

In the past, he considered himself 'a moron' saying "I was lousy in school... that's why I became an actor!"

Besides, these parts are hardly the majority of his work - what about his appearances in Coppola's Dracula , Attenborough 's Chap/in , and , of course, the infamous Silence of the Lambs with Jodie Foster, where he won yet another award (Academy, this time!) for h1s lip-smacking portrayal of Or Hannibal Lecter. As far as appearances like these are concerned, Sir Ant says, "I am able to play monsters well ... I understand madmen ." There have been blips such as the forgettable Freejack, bullet's not talk about that. .. So, what's happening for Hopkins in '96? Appropriately enough, he's recently finished his latest film offering - Nixon - the extraordinary personal story of America's controversial 37th President and his lifelong quest for public acceptance . The fi lm is directed by Oliver Stone, giving him the unique opportunity to re-examine events seen in some of his previous films (Born on the Fourth of July, JFK...) from a totally new perspective. Hopkins heads the ca st portraying Nixon's friends, family and enemies , wh ich includes Ed The Abyss Harris as Howard Hunt, and another of our British (Telecom) greats , Bob Hoskins, as J Edgar Hoover. He might also be req uired to invest in a new set of shelves as he's been Oscar nominated again for Nixon and is a favourite at the bookies .

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Much Ado Allout N01hlng IPGJ I UK (1993) Sorted Shakespeare Dlr: Kenneth Branagh Cinema City • March 17 his adaptation of a captivating and lightspirited comedy provides the not-so-wellread cinema goer with an entertaining and accessible insight into the world of Shakespeare. Directed by, and eo-starring Kenneth Branagh, Much Ado About Nothing is a story of love, deception, jocularity and more love. Opening with a rather frolicsome scene, we see the Duke of Messina and his court, preparing for the arrival of Don Pedro of Aragon (Denzel Washington), who, in modern terms. would be labelled "a ladies' man•. Accompanied by Claudio, Benedick and his 'evil' brother, Don John the Bastard played by heart-throb Keanu Reeves, they descend on to the Duke's home. There we meet the Duke's daughter, Beatrice. And if you don't believe in love at first sight, here is sickening proof of its existence, as Claudio and Hero immediately fall for each other. However, courtesy of the dastardly Don John, all does not go to plan on the romance scene. Although no s.creen adaptation can do a Shakespeare play complete justice, this film is very entertaining, and leaves one with a sense of contentment at the end. Beautiful scenery combines with excellent acting especially by Emma Thompson, to make this well worth a visit. Wendy Leech


his month sees the release of a low budget, British costume drama based on a best selling novel. Yes, you've guessed itTrainspotting. The novel in question is by lrvin Welch, and tells of a group of odd bods from the Edinburgh drug scene. Set roughly in the eighties, the story is told by Renton (Ewan MacGregor) as he struggles to come off heroine, and the various events he encounters along the way. All does not go to plan however, and he's soon back to his dealer, know as Mother Superior {because of the length of his habit). The friends- Renton, Spud, Sick Boy, Tommy and Begbie -all try various methods to kick the habit, but more and more they get sucked into the various ups and down of life as a smack head.


The movie has received all sorts of ridiculous criticism that it's just an advert for drug taking. This view is completely unfounded. Rather, what it does is credit the audience with being clever enough to understand the story and the film's makers haven't found it necessary to try and make a movie with some moral message. All in all, Trainspotting is a cracking film writh bags load of energy, wit, originality and quality acting. The central performances from MacGregor, Ewen Bremner, Jonny Lee Miller and Kevin McKidd as his dodgy mates border on the faultless, ensuring that the characters are never less than enthralling. This is a fantastic and powerful film, and if you don't go and see it, you'll miss out on the best British film since, er, Sense and Sensibility. Matthew Doyle

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•The Skinnv/Arcadia Tour and Cast stop by to play UEA on March 8 and 10 respectively. David Jenkins spoke to Romo orchestrator Simon Price while Sam Rlchards chatted to Cast's Llam tvson to find out about these two opposing pop ideologies omantic Modernism - or Romo as it is commonly known - is a movement that has received much attention in the mainstream press in the past few months and a lot of misunderstanding has taken place. lt was all stimulated by the Romo issue of Melody Maker in November last year when Simon Price and Taylor Parkes set out their stall in unambiguous fashion. Unfortunately while this issue was much talked about (and much derided) it was little read. Now the Club Skinny/Arcadia tour featuring four top Romo groups (Plastic Fantastic, Ortando, DexDexter and Hollywood, with Simon Price providing 'sound and vision') aims to take Romo to the masses, and allow them to hear what up until now they have only been able to read about. For Price, Romo is in many ways a reaction against what is to him the inexplicable success of the likes of Cast with their third rate Beatles rip-off songs, unglamorous dress sense and laddish attitude. However, isn't this just what the majority of people are like, isn't the way Cast dress, say, merely reflective of the way they are? "I disagree. Cast aren't normal people getting up for work in the morning, they are performers, entertainers, who probably spend hundreds of pounds on trying to look like they have only spent a tenner - clothes designed to confuse the middle classes by looking cheaper than what they are wearing while costing more - and are resistant to anything they see as false or synthetic." So Romo is not an elitist, manufactured London scene then? "Not really", argues Price, "because, like many of the original New Romantics. much of the Romo contingent are from working class backgrounds while supposedly 'real' bands often come from the Home Counties."


Cast: They've been wearing the same keks since December ou know Cast. Or rather, you have an idea who Cast are, but their faces are pretty unmemorable. They are four blokes in cagouls with moptop hairdos, bloke being the operative word. They look like they have just wandered in off a Liverpool street. And they happen to make music that is incredibly popular at the moment. So is this, as Cast themselves put it, Alright? They have had several top ten hits and the UEA date sold out fast, so it would seem that Cast fans have no problem with the band coming across as merely an extension of the audience. However, the argument rages (and nowhere more strongly than in the Romo camp) that our pop stars should look wonderful and ridiCtJious, say preposterous things and generally radiate true star quality. A big part of this is style. Cast stand accused of having no style. A punishable offence? "Our style is that we play our instruments," offers liam. "We're a real band and the real bands shine through." Yes, liam will admit that Cast have no style or presentation. They're truly only interested in the music: "I've been wearing the same keks I've got on now since December. That's not important to me. When I get on stage, I put all my energy into playing the music." In fact, he's insistent. He is what he is, and no-one's going to change him. The devil's advocate replies that, well, a bricklayer just does what he does but no-one's expected to stand around and applaud. But anyway... Cast are based on a solid work ethic which has seen them touring constantly since their inception in '92. They were only signed to a record label (Polydor) in '95 but the fanbase which they had built up around the country meant that their


debut single went straight into the charts. You can't help but admire their straightforward approach: gigs + gigs + a few good tunes + more gigs = success. Of course, there's a bit more to it than that. The fact that all the members of Cast ha\18 been around on the music scene for a fair few years, not to mention John Powers' days in The La•s, means that they were all well-versed in the idiosyncrasies of the music biz and made sure that Cast were built to last. Cast iron, if you like. I mention Romo to Liam, the whole idea of a reaction to the 'ordinary blokes' in bands syndrome. He is nonplussed.

That's reasonable enough. So what about your alleged retro sound and '60s borrowing? "The word retro means nothing to me. Cast stems back far, far beyond the 'OOs and extends far beyond the '90s. We're playing the music now, so it's not retro. Music doesn't have an age." Liam's logic is rather scattershot. Lefs face lt, Cast are hardly pushing music forward into new forms as the likes of Tricky or The Aphex Twin could be said to be doing. but Mr Tyson will not be moved - Cast exist now, so that is his justification for them not being retro. Make of that what you

We could also add that Romo is only elitist and manufactured insofar as this was what was necessary for Price to draw attention to bands he really believed in and thought had something new to say. And, claims Price, it has worked: "Most of the Romo acts are now signed to majors and their forthcoming singles and tour should make them appear a lot more 'real', so to speak." Campaign for Real Romo, anyone? "Anyway, Cast are, if not exactly manufactured, heavily promoted by their record companies and lapped up by the likes of NME, giving the impression that they are somehow representative of 'the kids' and what they want. This allows the middle class media elite to perpetuate the stereotype of the wotf<ing class northemer as someone who

"Cast eHecUveiJ legtumlse being thick and onllnarr.lher make nsomething to achieve rather than escape from" - Slmon Pries is thick and completely lacking in any imagination," continues Price, although he does actually believes that Cast are "lacking in imagination." "Worse, because Cast get all this attention and praise it makes people aspire to want to be like them, and they effectively legitimise being thick and ordinary. They make it something to achieve, rather than escape from." But isn't Romo just a re-hash of New Romanticism? "No. While Cast look no further than the Beatles for inspiration, Romo, when you get to hear it, incorporates much more modem influences, handbag house for instance." Price goes further and suggests rather drastically that "you

Leading lights of the Romo scene... Spandau Ballet.•• enn, Plastic Fantastic (below)

word rei"' means not•Illlng to me• Cast of will,. alt~ough ~ear in min~ that Liam also tells me that one •u h1s b1ggest Influences ts the sound of outer space. StemS baCk far beJOndthe'60S and eJI80dS Perhaps the Cast theory is best summarised when I ask , , Liam what the future is for the band. Wortd domination? far beyond the 90s. We re playing the Blowing all their money on big parties? Making a classic music now, so it's not retro" • L/am &son ~~~~:ands of gigs, matet Playing nve is the only important ·~The

"I don't know anything about it. I don't read the papers. People wouldn't be selling tours out if they believed what they read in the papers. "Maybe it's the same peq>le writing that as who say that Cast fans are ugly. That is the most horrific thing you could write, it's just sick. When I look out from the stage, I just see beautiful people getting into the music. To say our fans are ugly is sick and bigoted." Liam then goes on the defensive about music writing in general, but I manage to drag him back to the topic in hand. "If these Romo people are so interested In style, they should go and be fashion model5. If they maka good music and look ll'd as well, sound."

part of being in a band. Top ten hits are fine, but ifs just a number when it comes down to it." For me, it's not really enough. Four men on a stage playing guitars in a heavily Beatles-influenced style is a path welltrodden. Pop music thrives on vitality, freshness and constant re-evaluation of the form as well as killer tunes. As much as Liam may argue otherwise, image and prevention is a very important part of the pop package and to ignore it is lazy and stubborn. Yet image without good music is nothing, and as yet, the Romo bands are nothing more than a PVC cape and a dab of mascara. They have a long way to go before they can match the sell-out gigs and universal popularity of Cast.



• • '-.!;

shouldn't be allowed to listen to records made before 1975 anymore", and although I can't quite make out the reason I suspect he thinks that all new twists on anything before that date have been done to death. Anyway, Price argues that "while good music is vital, the whole package - the look, the design etc - are important these days.· I point out that Cast don't appear to have these attributes and therefore people must like them for their music. Price is instantly dismissive of the idea that anyone could like Cast for their music . They do have a look. he insists, but it is a conscious and studied attempt at a non-look. •p eopte should be able to look up to their pop stars, they should be idols, something to aspire to or at least remove them from the dullness of .weryday life. People don't look up to Cast, they look sideways. •tt I want to see ordinary people, I'll open my window and look out at the people walking down the street. • Romo is the antithesis of everything the likes of Cast are about and Is not designed to appeal to everyone, let alone be understood by everyone. However, it is a necessary and vital component of what the likes of Price see as a war between glamour and greyness, imagination and insipidity. More importantly, it is offering the young and the disaffected an alternative from the limited options offered to them by the mainstream music press. How viable this option is is very much down to the quality of these bands and whether what tlley offer is what the people want. lt must be borne in mind that few people have actually heard any music from the Romo scene bands, and to draw a bottom line on this, if the music fails, the whole concept fails. Basically, you decide.

·'IHE EYENT, Wf:DNESOAV, tMRCii 6, 1996 9 ... . .


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o there we were, the almost entire Event team, huddled together in a darkened cinema with a host of popcornstuffed kids. The reason? We had all come to see Disney's latest movie, a computer-animated funtest called Toy Story. And boy. were we all in for a treat! Without a doubt, this has to be one of the best things Disney has ever done, and not least because they've finally done away with the sickly-sweet pathos side of things and got on with creating a damn


amusing bunch of characters, courtesy of Pixar Animation Studios. We're not talking complex plot here. of course - two toys get stranded out in the big wide world through their petty bickering, and have to find their way home again before their little boy moves house. But it's the little touches that make it so special; like the Mr Potato Head who ferverently desires the coming of a Mrs Potato Head, the scary mutated toys in the bad kid Sid's bedroom, and the little alien monster toys in the pizza parlour

grabber machine who reverently look on the "coming of the claw". Marvellous, absolutely marvellous from beginning to end, and that includes the Roger Rabbit cartoon that trailers the movie. The one bummer is that the few songs they have are instantly forgettable, but that's easily forgiven. So The Event jury give this one the big thumbs up; and the good news is that you can get away without taking a child along!

Caroline Jenkinson

• •••

he self explanatory title suggests an inkling of what is to come in this typical Oliver Stone film. Following the huge success of the controversial JFK, Stone continues his political theme by recounting the life of the 37th American President. Nixon attempts to examine a complicated social life and political career, and the film also deals with a difficult, and at times torturous childhood which involved the loss of two younger brothers. lt later traces Nixon's ascendance in politics which eventually lead him to the ultimate position of President. This is succeeded by a thorough examination of Watergate, the episode in Nixon's life which leads to his dramatic demise. The cast reflects the overall ambition of the project, with Oscar winners Anthony Hopkins and Mary Steenburger starring alongside Emmy winners James Woods and David Hyde Pierce. Hopkins plays the controversial and complex Nixon with the excellence that cinema audiences have come to expect. As with any Stone film, there is very little compromise, and Nixon is no different. Consequently, this film lasts over three hours. Nixon would claim to take a neutral stance over a man that some have described as a monster, and this probably works in its favour.


Georgina Aboud O The Event has teamed up with DDA to offer you the chance of winning copies of the Nixon book which includes the original screenplay, Watergate documents and transcripts, an interview with Oliver Stone, essays by prominent figures associated with Nixon and transcripts of Nixon's taped conversations in the Oval Office, together with copies of the CD soundtrack. To win all you need to do is answer this simple question: Which former American president was a/so the subject of an 0/iver Stone film? FRANKENSTEtN MUST BE DESTROYED UK (1969)

Video - out to buy


ROLLERBA LL (15) USA (1975)

Video • out to buy f N

ow this is real entertainment. None of your wusses with silly names in big padded outfits and tights, having · glorified pillowfights on 1 national telly. 1This is how sport should be: big men with spike-studded helmets and gloves, on spike-studded m otorbikes and skates, beating the crap out of each ' other and scoring the odd goal. In 2018, the world is held in the iron grip of six corporations.. There is no war, no poverty and no free will. Violence too has been eradicated, except in the form of Rollerball, a deadly serious national spectator sport. Only James Caan can save the world from tyranny by leading his Rollerball team to victory against oppression.

I e've got 5 signed photos of Sharon Stone to give away, Just answer the following question: from Casino, name two other movies starring Sharon Stone. Answers on a postcard in the competitions box in The Hive by March 15.



ore of a thriller than a horror story, Frankenstein Must Be Destroyed combines the directorial style of horror guru Terence Fisher with the acting talents of Peter Cushing as Baron Frankenstein, in yet another Hammer Horror sequel. Dodgy special effects, make-up and eerie fog combine with a sinister soundtrack that haunts every scene, making an atmosphere of underhand medical practices, murder and madness that's strictly not for the squeamish. Suspense and humour run side by side as the film teeters on the brink of self· parody. Nevertheless, it remains a classic creepy tale, well worth watching.





Vjdao • out to buy


his film was the last of Hammer's Frankensteln movies and it offers few

surprises, rewotf<iog a& it does a tried and

tested sub-genre. . This time Or Frankenstein (Peter Gushing) is · ' carrying out his dastardly plans from the conducive surroundings of a ridiculously stereotyped maximum security mental hospital that makes Broadmoor look like Centre Pares. There are some grizzly moments, especially the gratuitous brain transplant, but over all, the most terrifying thing is the campness of Cushing's acting. By far the best bit is the 'hellish' monster which appears to be a cross between a Baboon and Gaz from Supergrass.

Matt Stocks

e've got copies of Ro/lerba/1,


Frankenstein Must Be Destroyed and Frankenstein And The Monster From Hell to give away. All you need to do is answer this .simple question: In which classic seventl•s scf.fl film did Peter CU$blng stv? Just drop your answers on a postcerd to Concrete clothe competi#Ms box in UH.

Good Juck.• ~ may the force be with ~0¥1.


l tbe nte and balrcuts eMattbew DoJ\e '0°k~: mouth • Cbrls Evans 01 tbe man wltb a


t seems that everything Chris Evans touches turns to gold, and this now includes Friday night television. His new series TFI Friday (aka Thank Four lt's Friday) promises to see more revelry courtesy of the red-headed rascal as he offers a selection of the best in music, news and interviews, live from London's Riverside Studios. And that's not to mention the top featurettes, like the debating sash, with such hard-hitting topics as "Should Noel's House Party be scrapped?" argued on air. The publicity describes his choice of music as "eclectic", with a mix of the best bands In the world, from Black Grape to Blur. The hour..fong show will see live sets from at least three artists, various guests and Evans' own spin on the week's news and views. In tandem with this new prog, of course, is his muchlauded radio show. Early last year Radio 1 boss Matthew Bannister called on Chris to give the Breakfast Show a much needed relaunch after the departure of Steve Wright. The critics said it was the biggest gamble of his career, but this wasn't a problem for our Chris as it proved to be a great success. But he wasn't always the mega-star that we know and love, oh no. Born on April1, 1966, his first radio job was as an assistant to that ooh, inconsiderable talent Timmy Mallet on Manchester's Piccadilly Radio. I After a break while he set up his Kinky's Kissogram business, he returns to Piccadilly with his own show in 1986. Unfortunately, a few, er, on-listener friendly comments about things like cooking cats get him into trouble. He resigns. However, jobs followed on Virgin and GLR, culminating with Chris presenting a Radio 1 show called Too Much Gravy. He's spotted by Channel Four and hits the big time with The Big Breakfast. Millions of people now wake up to Chris' chirpy smile and witty repartee, and feel much happier going off to work I college in the morning. He makes way for Cheggers in 1994 and sobs on screen. Aaah. Through Ginger Productions he creates Don't Forget Your Toothbrush, which successfully runs for two series as Chris develops a snazzy line in multi-coloured suits, aided and abetted along the way by Jools Holland. He blubs for the second time as the prog draws to a close after two successful series. And now he's back with his new Ginger Production; and this time he's not blubbing! DCheck out TFI Friday onsurprisingly enough -Fridays on Channel Four at 6.25pm.



en-ery's ... Hen-ery's ... you must know Henry's Cat. Yes. you must have seen the movies, you must have read the book. He's a mellow, yellow feline so why not take a second look. Badly drawn, badly animated and with terrible accents (all orchestrated by the genius Bob Godfrey) Henry's Cat was of course completely brilliant. A character we could all empathise with, Henry's Cat liked nothing better than eating cake and sleeping and this is what he spent a large part of episodes doing. Many adventures attempting to defeat the evil RumBaaBaa actually

only took place in his dreams and ended with comforting inevitability as Henry's Cat woke up in his nice warm bed. His charm lay in his utter naivete planned trips to the moon or searches for buried treasure generally only succeeded in engaging the wrath of Farmer Giles. His most carefully laid plans were often destroyed by his insatiable appetite as he sensibly concluded that nothing in the world was more important than ice cream. And how can we forget Chris Rabbit, the oversize blue bunny whose preposterous ideas always seemed to convince the equally gullible Henry's Cat. Cheap, pointless and infantile, Henry's Cat was animation in its prime. The fact that no character called Henry existed summed up the beautiful irrelevance of the whole programme. He knows everything about nothing and not so much about that, so if you know someone who knows what he knows then you must know Henry's Cat. Meeeiiiooow! Sam Richards

Francols TruHaut: The Man Who Loved Cinema BBC2 Wed March 8 ·11.1511m Twelve years after his death, a homage to Truffaut rightly regards him as one of the greatest film-makers Europe has ever produced. Charlotte Rampling narrates this documentary about the maker of such classics as The 400 Blows and Jules et Jim; tracing his progress from neglected child to internationally-acclaimed auteur. For film buffs everywhere.

AbsoluteiJ Fabulous BBC1 ThUrs March 7 •


Another chance to see the first ever episode of the classic belly-andcoke sitcom. A must for ageing confused hippies and introspective

111e Munsters: Lere Cemes to Mocllln lrd RlllldS BBC2 Frt March 8 • Bpm Intrigue of a romantic nature today as an elderly relative, a box filled with money, and a handsome stranger are added to the already volatile mix - I predict dastardly deeds and thrilling deviousness aplenty - be a devil, skip Home and Away!

Film: Coming To America BBC1 Ft1 Marcll8 • 9.30pm Okay, it's slushy, it's predictable, and in parts it's silly, but Eddie Murphy lifts the tone and justifies the tag 'comedy'; for pure and easy escapism. you could do worse. • Worth staying in on a Friday night for? In Norwich, definitely!!

Cinema 1DO: Laurel and Hardy Radio• Thurs March 7- 2.0211m Robbie Coltrane plays Oliver Hardy, known throughout his life as "Babe" - the mind boggles. John Sessions is Laurel, in an adaptation of the stage play which promises to dish the dirt about Hardy's relationship with his mother, and the duo's beginnings and subsequent success. What you always wanted to know.

In Concert: Oasis Radio 1 Mon March 11· 9pm Riding high on the crest of half the female population's wanting to do things to one of the Gallagher brothers, (or in some cases, both , I am told ... ), the fab five provide two hours of stonking music recorded live at Glastonbury festival.

n recent it has been said that it is the BBC and C4 telly companies that have been responsible for the majority of film production in Great Britain. Whilst it would be premature to To repeat the cliche that the British are coming {especially launch when referring to Hugh Grant), there have undoubtedly UK Gold 's been successes, one of which was from BBC films, new latenamely Priest. Starring Unus Roache, this Is an night slot , they evocative look at the life of a new priest arriving are offering ten at an inner city parish in Liverpool, and the pairs of Calvin problems he faces trying to come to terms Klein style boxer with his vows and the society which shorts in lycra printed greets him. lt has just been released with Bottom! If you are an :. on video, and we've got five avid UK Gold fan, or (we 're to give away. Just answer this feeling generous), even if you question: Roberl Carlyle eoaren't, you 'll be delighted to know stars in Priest, but what that your marvellous TV & Radio Ed recently released British has procured some for your very own movie does he also personal use (?). In order to be one of the star in? Answers chosen few , all you have to do is answer a postcard to the following question : Who stars alongside competitions Adrian Edmondson in Bottom? box, in Entries can be posted Hive




in the usual way- in the competitions box in The Hive • b y March 13.



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THE EVENT, WEDNESDAY, MARCH 6, 1996 11 ,1I - ~ I


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urrah for modern theatre! Anyone knows that these days, the convention of the stage IS outdated Thus we have Pinter's first sketch, Night, performed m the foyer while his second , That's All, takes place in amongst the seated audience. Both are typical Pinter, utilising the banal and the cliched to convey a deeper sense of isolation and estrangement, yet still absurdly funny. The best piece, however, is Beckett's An Act Without Words which casts Eli Silverman as a hapless mute clown. lt is unashamedly slapstick, more Chaolin than Chekov, and Silverman's ability to fa ll over theatrically s to be greatly adm1red. it's not all laughs, though - the humour becomes blacker and blacker as our protagonist is outwitted by the various props and eventually, even his suicide attempt is foiled . Special mention here must go to Matt Evans and his stunnmg whistling ability. The second half of the show was taken up w1th Carol Churcllill's Abortive. an altogether more naturalistic drama. T e one-act-play began and ended with a plamuve song, while the 'action' focused on a couple who found their relationship faltenng as a result of their inbalanced lodger's interference. Covering the topics of rape and abortion, the piece was certainly affecting, but not quite as cleverly subversive as those 1n the first half. Still, a fine, imaginative performance from all concerned.

Sam Richards

'96 he 1ncense filled concert room IS ready to rece•ve Slant. Ansuman Biswas and Sam1a Malik. Chr s from Slant straight away dismisses any illus1ons that this 1s easy l1stenmg cabaret. He holds a light bulb on a ..,ltck above h1s mo th and gurgles guttural animal sounds wh1ch make the light flicker Ansurnan, who plays the ablas, wc-lks around the room making c;ounds with children's oys ana 'C'I\es a viol 1n bow to a sheet of metal w1 h ear-wrench1ng effect. Sianed Jones jo1ns 1n with accomplished violin play1ng and clear pcwerful VOICe. A string quartet are mtroduCed and begin to play a tunefu class1cal piece In a moMent

wh1ch bnngs smtoe:- to the lUd1ence s faces S1aned ' tem.. pts 'he quartet w h strong sound f·om he· VIOlin and Slant k1cks 1nto a w Id carn1val of sound wh1ch naKes you want to dancE' Philip Jeck from Slant prov1des mdustrial-ambient frog-croaking sounds w1th two gramophone players and old records. Tradtltonal rock mstruments however are no left out, as Jon 'N1 k nsor from Slant provides electnc gUitar for a true East11eets-Wcst sound emphasised the enchanting sing1ng and ecital< of North Indian song-poet S m1a Mal1k s.ant ana nends bnng the ~ven 1n g to a close w1th "you see the s1tes but you don't see the truggle and exit play1ng the r nc;trL.'llents, wncluding a wonderful evenmg out Matthew Poo/e

he world of !he rnusrc hall came to the Arts Centre last night, albeit in past1ch form, when Simon Day came •o town You may remember h1s character Tommy Cockles, tl'te gen1al East-Ender f•or. ~HS days on V1c Reeves' Big 1\tgN Out. Or mav e you rernE:.mber"' '11 troduc ng th ' r <e s Me Wast--board" guy l n The f=a!:.t Show The even1ng was cc,mpered by a y stand-up comrc Dave Galrnar wh up the audience w h a r xt .. e of rdor c w1t and cn.. shing pu -downs for heck re; Then Simon Day came on and treated the audience frs to h1s character Billy Bleach, a Londoner w1th a bubble-perm ladd1sh JOKes and a mce 1ne 1n poetry But Tomrry CocKles w evenmg, regaling ~ life f•om when hA was wer few actua surreal tream o b L8 ' necdote, f orn throw g 1ce ub s at R'1 wart .vh n ·-a was Scott sh ') , a bar tc soap olg dow 1 Chris Rea 1n a t1n bath you had to be th<>re rea1iy . ) lt's frustrating to revrew - I was " st.tchP.s all r 1-t• b t I' ure why. De"nite v a COMIC to you et the cra"l.e

s you lay snuggled up n your bed as a c11 d ':sten1ng to a story, d1d you ever stop and wonder what pc'l'l' · was trying to rraKe. or even who was whom" Probably not, umess you were very precoc1ous mdeed everthe es ·, Pan . Projects /tan Kaham - The Story of Stories aiM' ,; investigate JUSt that by preser>tlrg stories frorn around the world usrng costume, dance and songs as well as traditional narrative. P/ayschoo/ with a h1gher purpose tt en? ~ Well , yes , in a manner of speaking with perhaps a little less emphasis on the ~. Big Ted and Humpty side of things • · The sho"' has t< Lred al ov 'r the world, . from Portugal to India a'ld Nigena and IS now back for a third lime 1r the UK. m case you m ssed it 'he first couple of times. Desr.• e as a genuinely mUlti-cultural production". th1s promises to be an intriguing night, Stuart Dredge for JUS £3.50.



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here's nothing better than a gripping detective mystery novel with its sadistic killers and tough cops, and discovering that ultimately nothing is what it seems. Therefore despite my initial eagerness to read the book, and generous dollops of praise from critics, I was left with a mystery of my own. How could Minette Waiters have won so many crime writing awards? The Dark Room begins after the main character, Jinx, wakes up in a hospital after a suicide attempt, unable to remember the events of the past two weeks. Her ex-fiance and her best friend who were engaged in an affair are found murdered in the forest. Jinx is the pnme suspect. With the help of a doctor, she begins to remember her nightmares, and the confusing list of recent occurrences. Annoyingly, however, the plot did not contain the expected intrigues. Much of this book IS set 1n flashback mode: there's too much jargon and not enough action. Waiters delves herself into the realm of psychology with her sexually dysfunctional characters, and her mentally unbalanced abusers, but I couldn't help wishing that one of her all-too-stereotypically-defined characters would lash out and kill somebody. This novel moved too slowly, talked too much whilst saying too little for me to hand Minette Waiters my version of the, "Boy you left me satisfied" award of the year. Jane Lee


.lazld •


he magazine which calls itself Jazid concentrates on the multiple genres of funk, abstract beats, hip hop, jungle, Iatin, soul and jazz. And w1th Pharcyde splattered across the cover, looking at me staight in the face, it already showed signs of some dynamite musical taste. So I flip through the pages and realize that this piece of work is strictly intelligent musical reporting which all the masses should witness for themselves Unlike other musical magazines, with its flashy, glossy pages and advertisments, Jazid is strictly musical and dedicates its 27 pages purely to their definition of what rocks in their boom box. Not only does Jazid concern itself with music, but it also delves into the artists and their backgrounds creating a social and


political sigmflcance within the hip hop world. This multi-dimensional issue contains featured articles of the creators of "Labcabincalifornia", the pharcyde, Wall of Sound, guru Afrika Bambataa and an article about the use of LSD in the days of 60s soul. With reviews and previews of music from DJ Krush to KRS One to the Greyboy Allstars entenng the1r stacks of future h1p hop, trip hop musical collection, Jazid provides 1t readers with a box of groovy, profound beats to play in our own culturally stimulated world. Jazid creates a sonic boom in hip hop culture with style, fus1ng the needs for social and political responsibilty w1th the joys of uplifting, pure funk. Jane Lee

Famous Works: Pride and Prejudice, Sense and Sensibility, Emma, Mansfield Park Other Interests: Needlework, letter writing and bitching. What's she got to do with the price of fish?: A lot actually, the BBC recently made that sexy version of Pride and Prejudice (Colin Firth -fwooaarl) and Emma Thompson has got her screenplay of Sense and Sensibility now at a cinema near you! Interesting Fact: A modem critic has recently dared to put forward the theory that Jane and her sister Cassandra were more than just very good friends. Famous Admirers: the Prince Regent, Sir Waiter Scott, Emma Thompson and any girlie who's ever fancied wandering round in an empire-line dress whilst being wooed by a man in jodphurs. Famous Critics: Charlotte Bronte, who thought that all Austen's characters were dull 'cos they never displayed any wild emotion. Well, what would she know, eh? Immortal Lines: "lt is a truth, universally acknowledged, that a single man in possession of a large fortune must be in want of a wife." How to sound intelligent about Jane Austen: "What one must remember, IS that Austen was suggesting a form of female emancipation at a time when a woman's role was very much centred around the home." How to sound a complete nonce about Jane Austen: "Nah, the telly version was much better... more wet shirts and wobbly breasts." If she were alive today she would be: a gossip columnist.


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Father Of The Bride, part 11 (PG)

Persuasion (U)

If this is the best they could do with the title , God help the film.

Mon Mar 11 - Wed Mar 13 - 8.15 pm. Thu rs Mar 14 - Sat Mar 16 - 5.45 pm. Thurs Mar 14- 2.30 pm. Benefitting from being adapted from television to the big screen, this sumptuous looking pe riod piece is enhanced by subtle performances and a psychologically intense script.

Toy Story (PG)

CAN ON Heat (18) Bobbie De Niro and AI Pacino team up on screen fo r the first time , ca using the celluloid to nea rly catch fi re in the process .

Casino (18) Bobbie again, this time back in GoodFel/as terri tory, courtes y of Scorsese, with Joe Pesci and Shazza Stone to assist.

Get Shorty (1 5) John Travolta. Rene Russo. Gene Hackman and Danny De Vito all try their hardest in this movie ind ustry based comedy , but something goes wrong along the way .

Babe (UJ Loads of Oscar nominations for this Aussie effort prove why th is entertaining flick is still bringmg home the bacon.

Johnny Mnemonic (15) Keanu Reeves plays an airhead, who can rent out his bonce for the storage of computer data. Or something like that.

Strange Days (15) Bizarre stuff from Kathryn Bigelow, with Ralph Fiennes , Angela Basset and Juliette Lewis on hand for this futuristic thriller.

Trainspotting (18) You thought Shallow Grave was good? Wait until you see what a top job the guys have done with this.

Top toon animation from Disney about the likes of Mr Potato Head. The Event all loved it, and so wil l you! (see page 10)

CINEMA CITY Mute Witness (18) Wed Mar 6 - 5.45 rm . Thurs 7-Sat Mar 9 - 8.15 pm. Thriller with a macabre sense if humour, featuring a mute special-effects technician and a snuff movie in a Moscow setti ng .

The Innocent Sleep fl5) Wed Mar 6 -8.15 pm . Thurs Mar 7 - 2.30 pm. Thurs Mar 7 - Fri Mar 8 - 5.45 pm. Polilical thriller starnng R u~ e rt Graves as a homeless man o•1 the run from the corrupted establ ishment afer witnessing a murder.

True Romance (18) Fri Mar 8 - 11.00 pm . Taran tino's script steams along giving a 90s touch to the 'couple-on-the-run ' storyline.

Power Rangers (PG) Sat Mar 9 - 2.30 pm. The feature film of the hugely popular TV series, blending 70s-styled comic heroes with computer-styled violence.

Schindler's List (15) Sun Mar 10- 2.00 pm . Spielberg's Oscar-winning adaptation of Thomas Keneally's Booker Prize-winning novel about a Nazi Party member who helped save his Jewish factory workers .

City On Fire (18) Fri Mar 15- 11pm. An undercover cop infiltrates a ruthless group of jewellery thieves in this violent Japanese gangster film. Providing a plot which inspired Ta rantino's Rese!Voir Dogs.

Jurassic Park (PG) Sat Mar 16 - 2.30 pm. Spielberg's 'monster' film in every respect, sports a cracking script, amazing special effects and a whole cast of stars.

Outbreak (15) Sun Mar 17- 5pm More dead ly than the bubonic plague, this Bmovie-esque script got the Hollywood big budget treatment, becoming an enjoyable, tense thriller.

Othello (12) Mon Mar 18- Tues Mar 19- 5.45 pm, 8.15 pm. Tues Mar 19 - 2.30 pm. Paring down on style, this straightforward adaptation focusses on suspicion, jealousy and hatred in sixteenth-century Venice.

UNION FILMS The Scarlet Lener (15)

Sun Mar 10 -5.30 pm . Cult 60s road movie, with Dennis Hopper and Peter Fonda as the hippie bikers capturing the quintessential mood of the times.

Hamlet (U)

Crimson Tide (15)

Still drawm9 in the crowd s are Brad Pit! and Morgan Freeman in this excellent thriller by Brit director David Fincher.

Su n Mar 10- 7.30 pm. Me! Gibson gives a surprizingly assured performance as Denmark's haunted one in Zeffirelli's adaptation of Shakespeare's play.

Thurs Mar 7 Underwater action fishing the murky depths of big men, big submarines and big nuclear missiles which really hits the target.

Sense and Sensibility (UJ

Seven (18)

Land and Freedom (15)

Mon Mar 11 -Wed Mar 13 - 5.45 pm. Tues Mar 12- 2.30 pm . Thurs Mar 14- Fri Mar 15-8.15 pm. Sat Mar 16-8.15 pm . Both hugely popular and critically acclaimed, this thriller takes the usual two, mismatched cops and sends them on the trail of

Fri Mar 8 Critically acclaimed tale of an idealistic Liverpudlian who takes up arms in the Spanish civil war.

ODE ON Seven (18)

Absol utely Fantastic. If Emma Thompson doesn 't wi n an Oscar, then there's no justice in the world .

Nixon (15) Oliver Stone returns to US President 3 hour biopic territory, aided by Tony Hopkins in an Oscar worthy performance.


Wed Mar 6-Sat Mar 16 - 8pm (Matinees - Thur & Sat - 2.30pm) . Your last chance to see thi s top musical, set Sun Mar 17- 7.30 pm • backstage amongst stormy luvvie love-lives. A bubbly version of Shakespeare's comedy, Especially with the Playhouse's new halfprice - made highly accessible by breathtaking Italian • scenery, a starry cast and their comic antics . • student rates. £3- £12.50 .

Tues Mar 5 Hawthorne's novel provided a real red herring of a script for Demi Moore and Gary Oldman in this desperate adaptation.

Antonio Banderas sizzles his way through Mexico in the blood 'n' bullets action fest.

Conduct Unbecoming Tue Mar 12-Sat Mar 16- 7. 30pm (MatineesThur & Sat - 2.30pm). A suspenseful thriller of great critical acclaim . Tomfoolery, court martials, guarded secrets 1t's all here. £2- £15.

Much Ado About Nothing (PG)

Easy Rider (15)

Desperado (18)


While You Were Sleeping (12) Tues Mar 12 Romantic comedy starring Sandra Bullock as a lonely ticket-booth attendant who saves the man of her dreams from the path of an oncoming train, with amusing consequences .

Braveheart (18)

Romeo and Juliet • Thur Mar 21 -Sat Apr 13- 8pm (Matinees - Thur & Sat - 2.30pm). Shakespeare's tragedy about these two kids who fall in love with each other only their families aren't happy about it so everyone dies. £3 - £11.

• UEA STUDIO MAShows Mon Mar 11-Sat Mar 16- 7.30pm. A week-long festival of plays from the MA Theatre Directing Programme, including The Shoemaker's Wife by Lorca, Confusions by Alan Ayckbourn, and a host of other goodies.

llan Kahani · The Story of Stories Wed Mar 20- 7.30pm. Spellbinding storytelling japes from around the world, with plenty of song and dance thrown in for good measure. £3 .50-£6.

MADDERMARKET THEATRE The Madness of King George Ill Fri Mar 22-Sat Mar 30- 7.30pm. Alan Bennett's tale of anarchy in the UK when the king loses his marbles. And Charles and Di think they've got it bad. Great film, thi s is bound to be good. £3- £7.

Thurs Mar 14 Scotland at its most breathtaking, a rolickingly good storyline and Me! Gibson in a kil t!

Blue Juice (15) Tues Mar 19 A British surfing movie!, starring Darling Buds of May sex bomb Catherine Zeta Jones!, which is also a comedy! 'nough said really .

SAINSBURY CENTRE Swords of the Samurai

The Net (15) Thurs Mar 21 Prophetic tale about a computer hack who loses her identity to the Internet with thrilleresque consequences. Sandra Bullock as the id-less girl on the run adds a lot of byte.


Wed Mar 6-Sun June 9 - 11 am - 5pm (closed Mondays only) . Take a friend , take a lover, take a favourite aunt and her tiny dogs, or go by yourself, just don't miss this excellent collection of ancient Japanese swords and artifacts - they're calling to you, and it's free to students.


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~S3event 9pm - 2am £2 b4 11 pm , £3 after Saturdays - The Big One 9pm - 2am £3 b4 11 pm , £4 after

Pressure + The Ant Hill Mob + Parker

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 9pm- 2am £4 b4 10pm, £5 after

Thursday Mar 7 Quality polished rock with support from two punky new wave bands. £2

Waddle + Des Lrnam All Stars + Vanilla Pod

UEA LCR The Bluetones Wednesday Mar 6 Britain's fastest rising guitar group. SOLD OUT (original Waterfront tickets valid).

Skinny Arcadla Tour Friday Mar 8 Romo bands Plastic Fantastic, Dex Dexter and Hollywood (see centre spread). £5 adv.

Thursday Mar 14 Grungecore boys (and Melody Maker stars) return with the brill Allstar boys. £2


• The Nlvens Thursday Mar 21 Cool '60s-influenced breezy tunes and jangly guitars. £2

The Sawdoctors Tuesday Mar 12 Stomping, fiddly, kiss-the-blarney-stone style rock from the Emerald Isle. £10 adv.

Everything But The Girl


Thursday Mar 7 - Club Night 9pm- 2am Free b4 11pm, £1 after Friday Mar 8 - Gas Station 9.30pm - 2am £3.50 Saturday Mar 9 - Club Night 9pm - 3am £3 b4 10pm, £4 after Thursday Mar 14- Club Night 9pm- 2am Free b4 11pm, £1 after Friday Mar 15 - Marvel 9.30 pm - 2am £3.50 Saturday Mar 16 - Club Night 9pm - 3am £3 b4 1Opm, £4 after

Tuesday Mar 19 Folky duo, still enjoying the success of their Todd Terry remixed single, Missing. £9 adv.

Beatnik Fllmstars + Magoo + Velvla + Ma oganv Monday Mar 11 Excellent line-up of lo-fi arty noisy pop fun. £4/£3.50 adv.

• Elevate + Navigator + Spine Wrench + Sodium Blue Monday Mar 18 Experimental guitar business and moody tunes. £4/£3.50 adv.

Lee Wasey Band

Blllle Ray artln Wednesday Mar 20 Happy House with guest DJs, headlined by the eccentric Euro house diva . £7 50

THE WATERFRONT The Men They Couldn't Hang Tuesday Mar 19 Acoustic show from ageing folkies . £5 adv.

Moloko Wednesday Mar 20 Utterly mad trip-hop/disco/jungle/acid jazz band with technicolour tight sweaters. £4 adv.

NORWICH ARTS CENTRE Eden Burning Wednesday Mar 6 Roots sounds in a contemporary electric atmosphere. £6/£5 adv.

The Clark Tracer Trio Thursday Mar 14 Classic bop jazz from the son of Stan Tracey. £71£6 adv.

Uzume Talko Friday Mar 15 Multicultural percussion ensemble. £8/£7 adv.


Hys The loft Monhottans Peppermint Pork Ritzy The Waterfront Zoom Cannon Cinema City Odeon IV1addelmarket Nor.Mch Arts Centre NorWchAayhouse Theatre Royal UEAStudio UEA lklion En'fs

621155 623559 629060 764192 621541 632717 630760 623312 622047 621903 620917 660352 766466 630000 592272 505401

Club Retro

Miss Moneypenny's Saturday Mar 16 Return of the unashamedly handbag club night. 9pm - 2am £8/£7

THE WATERFRONT Milky Lunch Friday Mar 8 Regular house n1ght with guest DJs Mark Wilkinson, David James, Macca Dee and Offyerface upstairs. 9pm - 2am £6/£5

Meltdown Saturday Mar 9 lndie and alternative club with mod/r'n'b/soul night upstairs. 9pm - 1.30am £3.50/£3

Mantra Friday Mar 15 Another new dance n1ght featuring a live PA from Woodshed and guests from Blacklight Productions. Offyerface and Sherman upstairs. 9.30pm - 4am £8/£7

ZOOM Club Yum Yum

Wednesday Mar 13 Amazing Bulgarian progressive classical choir, premiering a new composition for National Women's Day. £10+

Saturday Mar 9 Techno trance in the main hall w1th ambient dub in the bar. £3

Saturday Mar 9 The best of '60s, '70s and '80s tunes . 9pm - 2am £3.50/ £3 cone. on the door.

Saturday Mar 16 Local folk/rockers . £6/£5 adv.

Le Mrstere Des Volx Bulgares

Suspect Sound System


Old Heads, Young Shoulders


Mondays - Student Party Night 9pm - 2am £1 all night Wednesdays - Midweek Party 9pm - 2am 50p with flyer Fridays - Frantic Fridays

Tuesday Mar 19 Solid R&B hits in The Hive. Free Entry.

Friday Mar 8 Pre-club garage and nu-disco vibes 8pm onwards. Free Entry


Cast + Mansun Sunday Mar 10 Down-to-earth scouse rockers (see centre spread) with support from Mansun. sa.DOUT.

High Society


Wednesdays - Uplift student night 9pm- 2am Free b4 11pm, £1 after Saturdays - Club Dance. 1Opm -2am £2

+ Mamle + Crame Yellow


Friday Mar 8 With Or Bob Jones (see page 4) £6/£5 cone. Mondays - Cow Club student night 11pm- 2am £2 with ID Tuesdays - Fresh! Current & classic chart and dance. 1Opm - 2am Free b4 11 .30, £2 after Wednesdays - Alternative night 10pm- 2am £1 b4 11, £2 after



- ~--·- - --------------~


£5 adv

SKINNY A R CADIA TOUR featuring Plastic Fantastic, Orlando, DexDexter a nd Hollywood Sat 9

£3.50 adv

Club RETRO 60's, 70's, & SO's Sun 10


t- ' \j



Tue 12

£10 adv


£ 8/£7 c one

Club MISS NlONEYP ~ Tue 19

£9 adv


£7.5 0 adv

Happy House Event


A Tue 23

£8.50 adv

LLOYD COLE *Exclusive Bluetones interview! The Event meets Britpop's latest chart sensation

£10.00 adv

Wed 24


AY £8

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60 FOOT DOLLS S 3.50adv/£5 door


*Rough Magic, Bridget Fond a's new film, opens next month. We talk to this talented single white female

'A. lecture by Britain's leading

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*Want to get away? We've got £150 worth of top travel guides to give away *Plus much, much more!

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v a ilable from: Union Finance OHice Soundclash Our Price

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

The event issue 058 06 03 1996