The event issue 097 03 03 1999

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Tile Event is produced fortnighOy by Concrete: PO BOX 410, NORWICH, NR4 4TB TEL: 01603 250558 FllX: 01603 506822 e路mail: su.concrete@uea.ac.uk and printed by: Eastern Counties Newspapers, Rouen Road, Norwich NR1 1RB

THE EVENT, WEDNESDAY, MARCH 3, 1999

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Could they be the next Great British export to our Yankee cousins? Lee Garner starts to Muse. Mmm... oldly walking through an empty Waterfront, I'm confronted by such sweet sounds that m1ne ears do nearly melt and dnp off. "What is this wondrous melody?" l gleefully cry. But no one replies because the mus1c's too loud. On stage are the three Muse boys; not to be confused with the nine Muses, daughters of Zeus and Mnemosyne, goddesses of art and mus1c and all things cool Take a style not dissimilar to the Radioheaded sav1ours of Britain's musical respectability, add a soupyon of Space and perhaps a gamish of Divine Comedy, and even then you don't quite have the full dish- at the age of only 19, the boys could be on the verge of somethmg very

bJg. Their first taste of fame came m 1997 from Devon's own Straw Mills studio in the guise of producer Dennis Smrth. "He told us not to rush it, to concentrate on getting good, and it was a bad t1me for English bands trying to get a deal. We recorded four songs and that became our first EP." But their real success arrived at Manchester's

In The Ctty event. Someone in the crowd smelt a band •n-the-making and flew Muse to Americas equivalent of In The City. the CNJ festival in New York A bit more smiling and Columbra were flying the band down to LA for another showcase grg. "Just as we were about to leave LA, Maverick records phoned and said they wanted to sign us. tt was offer we couldn't refuse, and we finalised the deal on Christmas Eve." And alii got was ill-fitting Y-Fronts again. So, what are their aspirations? 'We only really wanted to get where we are now. I don't know what else, really Sell a million records, I suppose. We want to be able to spawn this living for as long

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as we can." lt beats working. I guess Muse may be under the influence of some groovy goddesses, but their feet are remaining firmly on the ground. During the support slot for Gene at The Waterfront, Matthew's faultless guitar effects merge with his haunting overdriven falsetto vocals. Bass player Chns plays with enough energy for the whole band; even, for one song, on an electric double bass that looks like it could have been designed by Salvador Dali. Finally, drummer Dominic's rhythmic prowess holds it all together and gets the crowd foottapping. Forget all th1s support stuff, Muse deserve their own audience. This summer, don't just sit in your tent feeling damp and fed up. go and have a Muse. And British record companies - I know you read The Event- listen up.

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pri111al screa111 What's the big fuss then? The Primals started un-spectacularly, establishing themselves as an average sixties influenced indie band, until they discovered a new sound with the album Screamadelica. The mixing of dance with rock gained them instant succes.s, critical acclaim, and today they remain one of the most original and interesting British bands of the nineties. Who did/does what? The band is fronted by Bobby Gillespie, previously of the Jesus and Mary Chain , and features the bass playing talents of ex-Stone Rose Mani along with Martin Duffy (keyboards) ,

Andy lnnes (guitar) and Throb (Guitar). The 'Scream, however, aren't shy of letting others join their musical trip: subsequently cameos have been made by DJ Andrew Weatherall, vocalist Denise Johnson and Sex Pistols bassist Glen Matlock. Sold a few records then? The band's landmark album Screamadelica shot into the UK top 10, while the Stones-esque groove of their single Rocks has been their biggest commercial success, and I doubt there are many who haven't danced many a long night away to the excellent Movin' On Up. Which is the best then? Screamadelica is a classic, renowned for its fusion of rock with dance, and features classics such as the paean to the summer of love Higher Than The Sun, Loaded and Come Together. The worst is undoubtedly their failed and largely abysmal Stones homage Give Out But Don't Give Up. Did we mention trains? Last Year Bobby and Co. intended to collaborate with My Bloody Valentine noise-monger Kevin Shields, but the project was abandoned after Bobby said Shields' sonic experimentation sounded like two h•gh speed trains were going to explode through the PA speakers. Shields settled for remixing the .single If They Move Kill 'Em which was released 1n a limited edition format for three days only.

So, what does the future hold? The Primals have nearly completed the follow-up to Vanishing Point, and it is expected to be released some tirue later this year. Featuring the production and mixing of the aforementioned Kevin Shields it promises to be one of the most exciting and interesting releases of 1999. In Retrospect. ... I'm moving on up, now.. .

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• llre 3 Colours Red a bandoning their punky roots for pop success? Jllex Pollock finds out that this is the furthest thing from their minds ... th the release of their laid back, string-laden ballad, Beautiful Day, t seems like legendary rock beasts 3 Colours Red have gone all limp and poppy. Walking in to find them soundchecking with numbers such as Mel C and Brian Adams' Baby When You 're Gone, is none too promising a start. This from the band Alan McGee spat onto the music scene, spouting Sex Ptstols comparisons. Not only that, but their tour bus, surely the scene of many a debauched ntght's activtty, seems drug and groupie free and ugh- almost tidy. Guitarist Chris McCormack at least looks the part. dressed all in black with sptky hair and more pi ercings than a fat bloke on a bed of nails. He tri es to explain . "We don't try and live out any kind of lifestyle or fit in with what's supposed to be rock'n'roll." But that's not to say they don't like to party. Oh no_ The launch party for th etr first album infamously featured belly dancers , dwarves and a

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that "if we write an acid jazz song and it's good we 'll use it." Their next album should be interesting then. Despite what we heard in the soundcheck, Chns distances himself from other pop acts: "We've never been a part of

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fas hion and we never wi ll." He, like many of us, is not too impressed with the current state of the charts, but hopes they can do something about it. For real change, though, he looks to h1s contemporaries, modestly reckoning "one band's not gonna change anything. There needs to be a scene." H1s real dream 1s "to fill the world w1th good music and to impress and challenge bands and hopefully be an influence on them for a long time to come ." Until then , they're moving on up and enjoying every day as it comes , because , to them , "Every day¡s a beautiful day " And there'll be plenty to come.

man who cou ld fit a python where the sun don 't shine. As Chris says, "We do go a bit over the top, like schoolkids going on class tnps. Except we do it every night." He is sadly reluctant to reveal any juicy detatls of tour madness, although he does clear up one rumour about the band smashing up the Rolls Royce from the Oasis album cover: 'That's absolute b'"ocks. I've never even seen the car. " Oh well , back to the music then . lt seems as tf these cheeky

We do go a bit over the top, like schooUdds going on class trips

metal lers have discovered a new sensitive side, earnmg them their btggest lick of the chart lolly so far. Although he tnst sts it wasn't a contnved effort to turn more mainstream , Chns does seem quite pleased with the result, reckoning , "We'll always be surprising people, we'll always be exciting". But just how far will they take this ? Surely they're treading a fine line between cult respectability and chart ambitions? Bizarrely enough , Chris cla1ms

Fountains o f Wayne a re b a ck with a new album and a tour. Sieve Quirke s p oke to songwriter Chris about aliens a nd Tom Petty of Wayne formed in

1996 around the song-writing team of Chris Collingwood and Adam Schles1nger. Their first single Radiation Vibe was an international hit, and further singles and touring followed, but recently it's been pretty quiet on the Fountams of Wayne front. But now, with new album Utopia Parkway due out in April and an accompanying tour also imminent, it looks like th ings are about to get a bit more lively. ''We were on the road for about a year," says Chris , "and then Adam's other band IVY put their record out, and they did a little bit of touring. I've been writing pretty steadily. I got married right before we started touring and I really haven't been able to spend any time with my wife since we got married , so it was nice to have some time off!"' Adam and Chris share song writing duties. and their songs tend to be a little off-beat, featuring a cast of characters that are pure Americana. "Other oeople work differently, but I'm always more comfortable writing about thi ngs that are around me, wherever

THE EVENT, WEDNESDAY, MARCH 3, 1 99

that may be. My wife and I have moved out of New York, so naturally some of the setttngs in the newer songs are more suburban." With what can be described as an aiiAmerican college-rock sound, it comes as no surpri se to discover that Adam and Chris met at college, and that Chris cites his Influences as, "things we grew up with , American Rock Radio- a lot of Steve Miller and Tom Petty and that sort of thing." Overall Adam and Chris maintain control of thei r sound , and chose to produce Utopia Parkway themselves. "We had some bad experien()Qe

One of the label people in Lll gave mea monster puppet for Christmas with producers where we weren't agreeing about things. I think that we're both pretty comfortable wo rking tn a studio. lt made sense to just do it ourselves - we didn't really want to work with anyone else." The Christmas before last, the band released I Want An Alien for Christmas, a song about spurning mou ntain bikes and demanding an extraterrestrial gift. So it seemed natural to ask: did you get an alien for Chnstmas this year? "No! Actually one of the label people in LA gave me a monster puppet." As the interview draws to a close, I'm forced to ask where the name Fountains of Wayne came from. A friend called Wayne who collects fountains? The answer is more bizarre then anything I had imagined: 'There's a store in Wayne, New Jersey called 'Fountains of Wayne'. They sell those big plasttc Santa Claus , and plastic lawn ornaments. lt really is a wonderful place. Very tacky!"

Skint records have arguably revolutionised the dance-scene and now they're on tour. Darcy Hurlord headed down to the gig at the Waterfront for a chat

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oads of things come from Brighton . Over the years, this Sussex coastal resort has given us many cultural treasures, including Quadrophenia, a Graham Greene novel, and a rather

fine pier. lt has also given us the Levellers, but this is a family publication and we disdain to mention such soap-dodging rabble rousers here. In more recent years Brighton has played host to the musical phenomenon that is Big Beat, and to Skint records, the label that brought us Norman Cook and the La-Fidelity Allstars. This February the label set off on a UK tour featuring main signings Indian Ropeman and Space Raiders, with support from DJs Danielsan and Sparky. They were kind enough to stop in 'Narridge' for a Waterfront gig on Friday, February 12. One reason why Skint has been so successful is its 'anything goes' policy in a world full of big name clubs. According to DJ Danielsan, this is because Skint acts aren't tied to one style of music. "The way Skint grew up was as a way to put out records we like. We're not from pure dance backgrounds. Sanjay (aka Indian Ropeman) isn't from a dance background at all. I grew up on hip hop, but I also like Madness and listen to loads of other records ." Indian Ropeman agrees. "I think that's why big beat crosses over to indie kids. it's because it's more accessible, it's not snobby". Having tha venerable name of the one and only Fatboy Slim Norman Cook on your roster can't be too much of a disadvantage either, but Martin from the Space Raiders plays this one down: "Norman's just an artist on the label, even if he's the biggest one." Fortunately there's no requirement for new signings to become as successful as Norman, which must be a bit of a relief, even if commercial success is not a desirable thing for Skint. Many of the acts on the tour will have records out in the near future - the Space Raiders release an album in March, and Indian Ropeman's new album will follow shortly after, so this is a chance for them to "get some

publicity". 1999 promises to be a busy year for Skint. "I think we're pretty much touring for the rest of the year," explains the Ropeman. "There's a European tour lined up after this one finishes." This decade has seen a complete transformation of the club scene, with the rise of Ober-clubs, like Ministry and Cream, so big and powerful that they're capable of holding their own festivals and national tours. How do Skint's acts, who have been involved in clubbing for years, feel about the current state of things? "1988 changed everything," says Danielsan. "Now some of the clubs have got too big, so they're changing and getting more fun again". Being based in Brighton as opposed to the capital can also have its benefits. Not only do you get all that healthy sea air to stimulate your creative juices, but Brighton also has a thriving club scene of its own, away from all those nasty Cockney and A&R types that lurk in London venues. Size makes a difference too, according to the

Ropeman. "it's not so much that Brighton has loads of clubs, it's just that they're all near each other. If you go to London you have to travel all over the place whenever you go our Being a musician always sounds like a great laugh, but what about DJing? Can playing other people's records be as satisfying as writing and performing your own material? lt can't possibly offer the same opportunities for on-stage catharsis and 'oh my bleeding heart' type behaviour, but for Danielsan and the Space Raiders, DJing was always more of a sideline than a main goal, more of a stepping

stone towards making their own music: "DJing can feel the same as perfofming your own music, but you get frustrated ," Danielsan says. "it's just something I do, but I do want to make my own records." The Skint boys, it must be said, are 路 fairly new to this touring lark. So, how are they liking this current jaunt? "You tend to act like children," admits Indian Ropeman. "lt just reminds me of the summer holidays, when you're really bored and looking for stuff to do." Let's look around the Skint dressing room a bit, readers. Blue Peter is on TV, with Stuart Miles showing us how to make pancakes. There are model aeroplanes and dinosaur~ lying about on the dressing table, and just behind me a man is earnestly testing a wooden toy gun that fires elastic bands, trying to attack the musicians on the other side of the room. lt seems the Ropeman has a point. Martin's assertion that Skint records is named thus because "everybody's skinr may also be true. Well, in any case, they have a money making scheme up and running, presumably just in case ticket sales take a tu m for the worse. "We had this gold clock the other night. One of us wore it on-stage, and then we sold it. We got a

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tenner." They also make Star Wars models and customise them. Apparently there's even a band forming on the bus, but whether Coriander, as it's called, will ever see the light of day remains a doubtful prospect. As does this particular dream of Norman Cook's, as recounted by Danielsan. "Norm had this dream that he was going on tour, and the support was going to be a boy band that wore suits, but did acrobatics with flight cases on Astroturf. So we're, er, hoping to get them on the next tour." Let us know when the tickets go on sale.'

EVENT, , V/,EDNES~Y,.,r.,,\IIG.~

31 1999

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~eventJ the round up of this fortnight's music releases Cassius

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returned to original 'old skool' influences. This album provides cleverly integrated samples and scratching, excellent mixing and is held together by smooth raps. it's original and invent1ve. but don't try and listen s1tting downl If you th1nk of what Scott le Roe , Krs-One and The Sugarhill Gang were to the original old 'skool' then you should expect their 'Nu Skool' counterparts to emerge from this group of arti sts. Raw beats and smooth cuts. Kris Siefken

it's 1999, and don't we know itl The title of our latest French import Cass1us ' album creates a feeling that we are approaching something special and are on the verge of a great change. Its relevance to Cassius is that they see themselves as taking dance music somewhere it hasn't been before. By soaking up the burgeoning French dance scene and m1x1ng its cu tting edge sounds with the production values of house, they believe they are on the verge of the future. 1999 prom1ses to be a classy cocktail of everything that is good in dance, and it almost delivers. Songs like Chase. Interlude and the alternative house workout of Cassius show th at this musical formul a can deliver impressive resu lts. However the vibrancy , characteristic of innovative French dance music appears to be missing in places, meaning ultimately th e album never quite seems to get to where it's trying to go. Phi! Stephan

Sound of the Nu-Skool Volume I

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Revelations

Whitey Ford Sings The Blues

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Beats Pharmacy UEA LCR Saturday, February 20 Although billed as an interesting and eclecti c mix of big beat and drum'n'bass . th e Beat Pharmacy night became inevi tably polarised between the two styles A small but dedicated crowd assembled in the Hive for some full-on drum'n'bass while a larger. but still much less than capacity group enJoyed big beat sounds 1n the LCR. The drum'n'bass was generally excellent, getting better through the night, although there was always a tendency to try and prove that the current DJ cou ld spin darker and harder tracks than the DJ before , which ended up being more

ridiculous then dark . Hard drum'n'bass is all well and good, provided it doesn't descend into a 'who can be the darkest' compe tition . That said , by th e end of the night th e DJ had pu lled it all back, playing a selection of cl assics by artists such as the £2 Rollers and Roni Size. By contrast, the big beat room rolled on happily through the nigh t, the highlight being a d1verse set by Will from the Propellerheads. If I wanted to complain. I'd say that, on occasion, the music verged perilously close to house, bu t I don't, so I wo n't .All in all , a good n1ght, if, as usual with dance events at UEA, disappoin tin gly underattended . Tom Harberd

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Gene's second album Drawn To The Deep End was a beautifu l affair which was cruelly overlooked by the record buying public. As all 'lost classics' should, it contained many a precious gem. But listen1ng to this third long player from Gene, I began to wish that I was reviewing said predecessor. Th ere was nothing to say about thi s damp squ ib of an album, besides that it was incredibly du ll and predictable. Or so I thought .. . Becaus e with a few more listens, I experienced what can only be described, rather aptly it seems, as a reve lation . The songs began to take on their own distinctive character, and though it still lacks the grace and endearing vulnerabil ity of the previous albums, tracks like Little Child and The Looker hav2 a ce rtai n charm that almost compensates. Not as bad as I first though t, then - and any band that writ es about th e general crapness of th e New Labour governm en·t can't be all that bad Katie Durrant

Everlast

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The term 'Nu Skool' is not just a clever marketing t1tle for this compilation album from Fresh Records. There is a definite original and unifying 'flava' to this hip-hop and amb1ent B-boy inspired collection. Featunng the best of Fresh Record's output from 1995 onwards, it includes tracks from The Freestylers, Cut and Paste and Soul Hooligan as we ll as Lovestation 's massive Teardrops and Electrotheque's awesome Every l 's a Winner. These artists have rejected mainstream mediocrity and

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Spa ce Corps Directive Number 3683/?b : "Any white men (Beastie Boys excepted) attempting to make a rap or hip hop album shall be ridicu led mercilessly." it was with this in mmd that I put th e latest solo album from ex-House of Pain frontman Everlast into my trusty CD player. But wa1tl Th1s is actually a very good record. it (mostly) manages to steer clear of the crap misogyny and violent lyrics that can make rap uneasy listening, and also la rgely avoids the musical lumpyness whic h occasionall y dogs hiphop. The latter problem is overcome by th e imaginative use of keyboards and guitars, and the lyrics are both well delivered and Intelligent. The word 'sensitive' even springs to mi nd for songs such as The Letter. Everlast has moved on impressively from his Jump Around days to make a great album. Wh ite men can't rap? Anthony Love/1 Don 't believe a word of it.

lJ3®~G~ @l?Cs®~ [3(50)0@[Ji] @fjj[? This song is a beautiful and haunting elegy that breaks the heart. Orlon creates an urban hell~cape of decaying noise and maddening emotions. Yet at all times Stolen Car remains tender, comforting and optimistic. All these effects are greatly assisted by maudlin cello - like guitar found courtesy of Ben Harper. Candle lit and mesmerising . A/ex McGregor

Dot Allison Ho-Pop Mo-Pop has the big beat meets female vocals of bands like Dubstar. Yet what this tune lacks in originality it makes up with an upbeat, catchy sound and funky Daft Punk-esque B-sides. Finally music wit.h~----------.... the chill factor of Portishead but without the depression hooray! A promising debut single. Lynette A/cock

Pras Wat'cha Wanna Do You'd be forgiven for thinking that Mr. G. Supastar works from formula. A few decent beats, most 'borrowed' from Culture Club and a couple of profound lyrics, such as "Yeah Yeah", "Uh Uh" or "Right Right", are the basic premises of this particular offering . What'cha wanna do? Dance or vom it - no doubt you 'll soon be able to synchronize the two at th e LCR. Andrew Goodson

Kent 747 747 is the latest offering from Sweden's Kent, their second UK rel ease after last year's If You Were Here. Despite the title. 747 has nothing to do with flying; Ken t have produced a compelling bassline with Verve-like lyrics to navigate. This single should bring the success that Kent warrant - definitely worth a listen. Amanda Akien

Technique Sun Is Shining Introducing more eighties synthesiser meets lulling, girlie vocals, proving 'disposable pop' is con tinuing to come our way. Not completely dislikeable, but at the same time neither captivating nor synthetic enough to matter. However, with a handful of remixesthey've milked it! -.watch out for it on those dance floors. The onslaught continues.

Tania Neumann ·

topdogformusic videos games THE EVENT, WEDNESDAY, MARCH 3, 1999

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The Thin Red Line

Dlr: Terrence Malllc I 999 Opens March S

War films. Seen it all before, right? Some big men with bigger guns go around shooting people; a few of them make profound statements about the meaning of the universe; then they save someone's life and get shot themselves. Last year's Saving Private Ryan, which, although well made, did just that, may make you think twice before rushing to sit through another three hours of war epic, this time from Badlands director Terrence Malick. You may have heard that The Thin Red Line has as many stars in it as a Robert Altman picture: John Travolta, George Clooney and Sean Penn being notable examples. But it is not just these famous faces that lift this film above your average army drama. Malick manages to cover new ground in a genre where we thought all the territory had been occupied. The film centres around a group of WWII soldiers and their involvement in the battle of Guadacanal. lt follows the development of their ideas about the war they are fighting, and in this respect it is fairly unique. Instead of concentrating on one character there are a variety of 'leads', all of whom cope with the war in very different ways. lt could be this that lends the film a realism that is sadly lacking in many, otherwise excellent, war movies. However, it also means that the action gets a little diluted and the narrative wanders a bit somewhere in the middle. But the strengths of the film carry it through these faults and it doesn't have to rely on the formula dramatic sequences and stock Hollywood endings to get its message across. An unmissable film. lt will leave you shell shocked.

Rebecca Barrett

With Tinsei•Town • and much of the rest of the world • waiting expectanOy for the r esults of the Aca demy Award s l a ter this month, Jllex McGregor takes a look at the Cdms making the runing for a golden statue

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o Oscar season is well and truly upon us again, like some Prada adorned, attention seeking, rabid media whore. And I love it. Every March 21 I'm overcome with an indescribably childlike sensation. Some may say that I'm aboard a runaway train careering towards the canyon of obsession. To those people I say: "Shut up, Billy Crystal's about to ask Kevin Spacey to do a Christopher Walken impression.• Yet despite the sheer star appeal of the Oscars every year we whine and complain about the nominations - and with good cause too. 1999 is no exception. Shakespeare In Love has somehow managed to ooze through the grates of good knowledge like the greased turd that it is. How can a film which is in essence 'Carry On Shakespeare' win 13 academy award nominations? For those of you who haven't seen it, Shakespeare in Love is a 'comic' reinterpretation of Shakespeare's prefame days where he's a kool, hunky romantic. Does this sound familiar to anybody? No-one made this much fuss about Young Einstein, did they? Admittedly Shakespeare In Love would have been infinitely improved had Yahoo Serious been in it, but he wasn't. Oh, no. Instead we got Joe Fiennes. Now I understand how difficult and souldestroying it can be trying to make your way in the same business as your incredibly successful older brother Ralph. But no sympathy can be given if you insist on only doing the scripts your brother tums down. I can only presume that the picture on Joseph Fiennes' press-pack is of him holding up a picture of Ralph with the caption, "Hire me, I'm the cheap Ralph Fiennes". At least he hasn't got an Oscar nomination, but both Geoffrey Rush and Judy Dench have. In Elizabeth Geoffrey Rush gave a performance of such malevolence it warranted comparisons to AI Pacino's portrayal of the Don in The Godfather Part 11. In Shakespeare In Love he does a bad Kenneth Williams impression. And which one does he get nominated for? I don't need to answer that. Similarly, everyone agrees that Dame Judy Dench deserves an Oscar. But at least give her one for a film that she's actually in for longer than an episode of Stel/a Street. She has five scenes in this movie. If she does win, which she probably will, it will only be because the academy feels guilty about not letting her win one for Mrs Brown. Ah, arise, Sir sympathy vote. How many times have you given wonderful actors &wards for lesser work? Let's see, there's AI Pacino for Scent of a Woman, Sean Connery for The Untouchables and Susan Surrandon for Dead Man Walking. No-one will deny that these are all good performances in good films , but they should have had the Oscars years ago for better films. This year's nominations feature some heavy sympathy vote candidates. Along with Dame Judy there's Nick Nolle and James Coburn, who are both nominated for Paul Schrader's Affliction. Seeing as James Coburn is well into the autumn of his life and Nick Nolle is apparently suffering from some unidentified disease which has his friends and family very worried, a sly bet upon them may prove fruitful. But James Cobum is nominated in the Best Supporting Actor category, which is always the most interesting. This year it features Ed Harris for The Truman Show and Billy Bob Thornton

for Sam Raimi's A Simple Plan. Best guesses have the awards going to one of these two. n the Best Actress category there is no question that Cate Blancett should win for Elizabeth. Which could mean that two actresses, Blancett and Dench, could win Oscars for playing the same person in two different films in -the same year. However, Cates major opponent is the considerably less deserving Gwyneth Paltrow, who has two things going for her. One, she's an American (not usually too much of an advantage, but that changes come Oscar time). Two, she's not in the leading role. Now this may sound like an odd thing to remal1<, but a quick survey of the evidence will show that not being a lead actress helps you win Best Actress even though the category's full title is and this is very important - Best Actress In A Leading Role. Was Helen Hunt in the leading role wen she won for As Good As lt Gets last year? Yes, of course she was, it wasn't Jack Nicholson at all. Let's look at the other 1998 Best Actress nominations: Kate Winslet for Titanic - not lead character; Helena BonhamCarter for

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greatest accolade your profession can bestow on you might mean that you will never work again. Take the case of Marisa Tomei. She wins an Oscar for My Cousin Vinny and is never seen again. Ever. Last word was that she was living in Nepal as a goat, it's the same for Anna Paquin who won. for The Piano. Where is she now? Seeing as she was only about three when she won the damn thing, maybe she's in school or something. Then there's F. Muny Abraham who won Best Actor for Amadeus. His biggest film since has been the last Star Trek movie. Good God, I wonder what Glenn Hoddie would make of his

past life? I believe I have found the cause of this evil. As all these fine actors disappear into the pits of obscurity, one man inexplicably remains omnipresent. Could Williams be running some kind. of Hollywood syndicate? So any Oscar nominees out there, you know what you have to do and to whom. Let us all hope that come Oscar night we can see some of the most expensive talent in the wortd put aside their differences in taste, religion and politics and come together in bludgeoning Robin Williams to death. And then everyone would leave a winner.

Wings Of The Dove - part of an ensemble, not lead character. If Kevin Spacey wins Best Supporting Actor for The Usual Suspects then surely they should be in the Best Supporting Actress category. As for Best Actor, despite the presence of Tom Hanks, my prediction is that it will go either to the aforementioned Nick Nolle or to lan McKellen for his performance as monster movie film-maker James Whale in Gods and Monsters. As for Best Film, it's a battle between World War two films and those set during the reign of Elizabeth the first. All the money's on, unsurprisingly, the remarkable Saving Private Ryan However, despite Ryan's brilliance I shall be cheering on Terrance Mallick's The Thin Red Une. This is a film where every second is a work of immeasurable art, beauty, power and emotion. lt makes you feel a bit sorry for Steven Speilberg really. He makes one of the finest films about Wortd War Two ever made and then six months later some one goes and makes an even better one. The Thin Red Une trumps Ryan on almost every level. Just look at the cast. Nick Nolte (again), John Cusak, Woody Harrellson, Sean Penn, John Travolta, Ben Chaplin and George Clooney. The list goes on and on. Well, actually the list stops there but if you're not impressed by that you never will be. Of course, the most noteable thing about the Oscar nominations is always the omissions. David Thewlis, who's a national treasure and should be kept in the tower of London, should have got a Best Actor nomination for Divorcing Jack. A film the like of which you will never see again, but only about four people saw it in the first place. And, personally, I think that The Prince Of Egypt should have had a Best Film nod ahead of Shakespeare In Love, if for no other reason than the absolutely beautiful interpretation of the Red Sea parting. I must just mention, for the benefit of any academy awards nominees reading this, beware. Beware my friends of the dreaded Curse of Oscar. This is a frightening phenomenon that seems to strike at random. lt seems that winning the

1 F ar mers Avenue, Norwich

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THE EVENT, WEDNESDAY, MARCH 3, 1999

THE EVENT, WEDNESDAY, MARCH 3, 1999

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==~~------~~~------~==~----~==~~~ ~e~e1~ spin, this is, at ifs most basic, an oldfashioned romance, not surprising when you consider that You've Got Mail is based on the Jimmy StewartJMargaret Sullivan comedy The Shop Around the Comer. it is for ~Is reason ~at you cannot escape ~e feeling ~at you aren't watching an~ingnew.

The examples of ~is are numerous and rest primarily with the pairing of Hanks and Ryan. While ~ey inject enough spar1< into their parts to keep the story going, the feeling

You've Got Mail ~

Dlr: Hora Ephron 1999 How Showing

es, ifs true, ladles and gentlemen, Tom Hanks and Meg Ryan reunite for the first time since Sleepless In Seattle and I for one am overcome wl~ unidentifiable emotions. Joy? Rapture? An overwhelming need to be

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sarcastic? Hmm... Let us examine the 'plot': T..w book store owners anonymously faH in love over the inlemet. Uttle do they know that they are actually bitter rivals In a book store war with Ryan running the underdog children's book shop and Hanks dlfector of the national book chain threetlning to send Ryan's shop under. Operating on a basis of no personal details, the couple grow ever closer ~ut finding out who ~ey are a-mailing, while trading Insults in ~eir professional lives.

that ~ey are just going through the motions is inescapable. Hanks ./. proves ever-reliable, though one has to wonder how much longer he can carry on with this type of part, while Ryan seems to have the "perky but quirky" love interest down to a fine art. So much so, In fact, that she seems to be on a caffeine high for most of the film. And, I'm sorry, when a film reaches a stage where you begin to notice how many cardigans one character has, you can be pretty sure your interest is waning. Adam Chllpmsn

Doable 7alre u're film star. You pretend to be omeone else and get paid for it. Right? That's all you do. However, some stars seem to think that by immortalising their image on celluloid they become more than that. it's hard to imagine I know, but some stars actually believe that they are more important than anyone else on the planet. Take Julia Roberts for example. On screen she prides herself on playing vulnerable yet warmhearted heroines, but in reality she is, it seems, less approachable. On several occassions reports have appeared of her less than modest personality traits. According to one hotel manager he had to instruct all of his other guests not to look at her during her stay because she had had a bad day. Maybe she's just shy, because for her brief performance in Friends she ordered that the audience be excused. Roberts is not the only one whose head is bigger than the budgets they attract. Both Tom Cruise and John Travolta have displayed similar meglomanic delusions on occasion. They have been known to order transportation from their trailers to their sets - sometimes as much as 100 yards away, poor things. A tunnel and a limo respectively. Now is that really asking too much? • So what is it with these stars? Why did Leonardo DiCaprio give all of his friends signed Titanic calendars for Christmas? Unfortunately it could be because if you earn more money ~an Camelot people tend to do whatever you tell them. lt must be hard to stop your ego enlarging at the same rate as your bank balance when there are people who will happily take all the abuse you can throw at them. The tabloids quote them like they are philosophers, but next time you see your favourite star on screen don't forget that all they actually are is an impersonator. No matter how many taxis Robert DeNiro may drive on screen, in reality all you get is Malcolm from Cars A Us.

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director's CSG!JiS Nora Ephron Startlng...;O;;;..u;;;..t;....._ _ _ _ _ __ Having started out on the road to success as the Oscar-nominated writer of Silkwood (1984) and the hit comedy When Harry Met Sally (1989), New York bom Nora Ephron began her directing career relatively late (age 51) with 1992's This Is My Life. She certainly grew up in the business: her father was a prolific writer/ producer himself from the 1940s to the 1960s who was assisted by her writer mother. Sister Amy was also to follow in their footsteps, as did other sister Delia with whom Nora has eowritten several films. Nora even tried her hand at acting, in a couple of minor roles, before moving behind the camera herself.

Making the Break

us anagement, Bridge House, Fisheragte, Norwich NR3 1 UF THE EVENT, WEDNESDAY,MARCH 3, 1999

it was Ephron's second stab at directing that proved to be her breakthrough. The phenomenally successful romance Sleepless In Seattle garnered her yet another Oscar nomination for her screenplay. After marrying author and long time Scorcesse collaborator Nicholas Pileggi, she followed up the success of Sleepless with the ill-advised farce Mixed Nuts, and the hit-and-miss John Travolta vehicle Michael (in which he sported those fetching angel wings). She has now returned to more familiar territory with the romantic comedy You 've Got Mail, a follow-up of sorts to

Sleepless and a remake of the 1940s Shop Around the Corner. Again starring the seemingly infallible double act of Tom Hanks and Meg Ryan (this time as 'emaillovers'), it has, of course been a hit in the States, and is now out here.

Shesay~s~ : --------------~­ "After Sleepless, Rob Reiner said to me 'You can have three flops now'. Well, I never felt that I had that luxury. If anyone can make three flops after a hit, it's a boy, not a girL"

_ F_ IIm _._ 09!!PJ!Y~~--~~~~~ This Is My Life(1992), Sleepless In Seattle (1993), Mixed Nuts (1994) Michael (1996), You've Got Mai1 (1998), Red Tails In Love: A Wildlife Romance in Central Park (1999). Slmon McCsllum

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DQJD lt was the most talked about game of its time and, heck there's even a film with Kylie in it! Kelvin Gan takes a look at Street Figlate..-s latest incarnation on the Playstation Fighter /1 and the fact that it is the template from Street Fighter all modem fighting games are derived . In which Collection l 1990, Street Fighter 11 appeared in the arcades as ~40

Released March,

the first Beat 'Em Up to feature special moves, a choice of characters of various strengths, combos, endings and bosses . The combos in this game were actually a glitch that soon became accepted as the best aspect of the game. Special moves remain at the core of modern fighting games for hardcore game players. In the two years between the first incarnation and Street Fighter /1: Championship Edition, the series had built up a cult-like following. Players had enjoyed and learnt so much of the game that there were amazing I""T"""!!T------------""'IT"'I'""'lor---"':!!'l:n-T'!'"TT""Pr-r---r!::lr----,,..-------. achievements such as scores of over 1,300,000 points, playing the game without getting hit once and finding the secret end credits sequence with all the names changed. Street Fighter 11: Championship Edition was a treat compared to the first; the bosses were playable characters (for the first time, you could be M. Bison and obliterate your opponents with Psycho Crushers!), and the original characters were .:-.---., tweaked a bit. There were also extra coloured costumes

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here are two kinds of Beat 'Em Up players: the ones who have played the original Street Fighter 11 games, and ones who haven't. it doesn't matter whether the ones who haven't are demons at Tekken 3. Anyone can be, that's the appeal of Tekken to mainstream markets, but being good at Street Fighter 11 games usually means the aptitude for every other Beat 'Em Up. Now this really is due to the age of Street

'---------------------------'---"--------------------J

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for each character, but it was not really the great sequel that had been expected. In the same year came Street Fighter 11 Turbo, a game that was essentially Championship Edition with Chun Ll gaining a fireball and the best addition to the entire series: speed. Many fanatical nonprogressive types still reckon this to be the best of the entire series. it was once, but in actual fact the best today is the latest rendition, Street Fighter Alpha 3. But more on that in an upcoming report ... So these games were the best of the early 90s. How well do they stand today? The series began in the arcades, places that are dark, dingy and really attract the kind of people who eat, drink and sleep video games. So did Tekken 3, and not a lot of people had played it at all until it ported over to the Playstation . The mainstream success of the Street Fighter series also began on the consoles. it appeared on the SNES and Megadrive and became to these machines what Tekken is to the Playstation. Today, these are still great games and this retrocompilation pack is fantastic for nostalgia. People aren't really likely to be plugging in their SNES to play their old favourites and even if they wanted to they probably sold it to pay for the Playstation

anyway. In this compilation there is a vague attempt at introducing beginners to the games with a section of hints and tips on how to play the game, and each time you complete the arcade mode it also provides you with secrets to winning the game. Plus there's a training mode for each of the games in this compilation. This title is not really recommended to casual garners who've only ever played Tekken, unless they feel that the precursor to all modern Beat 'Em Ups should at least be experienced: then it might be considered as an educational purchase. Really this CD is recommended for the old school , hardened players who want to see it all again, repackaged with loads of art galleries too. Play this, then play Street Fighter Alpha 3, and be reminded what a great line of games this is, and feel smug that you've had years of fighting experience from it.

aker

Try skateboarding withou the grazes thanks to this latest playstation release Mode are opened up for you to skate in as Street Skater well. The best part of completing the game Released April,

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kate boarders. Girls love 'em. Boys feel cool being them. Never tried it? Too busy geeking out with video games? Not that you ever feel intimidated or inadequate whenever any of your mates (especially the girls) went on about it, but you have to admit that it is bloody cool to be a skater. Well, Street Skater is going to do for skaters what Coo/ Boarders did for boarders: make you realise more than ever how cool they are, but allow you to experience it for yourself as only the Playstation can Oust about). In fact, it is very much like Cool Boarders, with a difference in structure. There are two modes of play: Park Mode and Street Mode. Park mode is the arcade mode of the package, and Street Mode is the place to attack high scores on each course. There are unfortunately only three courses, and only a handful of characters. You do get extra characters as you complete the game in Park Mode and the courses in Street

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each time though, is that your chosen character increases their tricks level, meaning that a whole plethora of tricks open up to you and you can go back on to the ramps and get higher scores. These tricks are simply amazing; the stuff that's extremely difficult to pull off in real life. There's also a two-player split screen mode, which wasn 't included in the Japanese original, and adds a little bit more fun . The difference in gameplay between this and Cool Boarders lies in the control method for the tricks: once initiated the character goes through the whole trick without further

11 1

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controller - unlike influence from your CB. Unfortunately, the game is far too short, and it's this and the lo-fi graphics that stop it from being an amazing game. Cool Boarders, however, was just as imperfect when it came out, and its popularity was unhindered. This game is fun enough and ought to do well. Kelvin Gann

THE EVENT, WEDNESDAY, MARCH 3, 1999

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With everyone talking about the poet laureate job, it looks like poetry is the new cool, and if that's the c ase then Simon Armatage is the new Fonz. luis Sielhen spoke to the 'paradoxical' poet when h e visited UEll recently

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o be introduced to an audience as "the leading light of .. . the new generation of British poets" is high praise indeed and more so when the speaker is UEA's own Andrew Motion , himself a leading contender for the now vacant Poet Laureate position. Yet this is exactly how Simon Armitage was introduced when he appeared before an appreciative audience in The UEA Studio on Tuesday, February 24. it was done with good reason . Ten years ago Armi tage was working as a probation officer in Manchester (having completed a post graduate Certificate in Social Work and an MA at Manchester University) when his first collection Zoom came out: a collection that was to change his life dramatically. Instantly acclaimed , and a Poetry Society book choice, it began the journey that finds him ten years later secure in his position as an estab lished poetic voice. Ten years that have seen a prolific output: six subsequent vo lumes of poetry, a col lection of short stories All Points Norfn, plays for the National Theatre, TV documentaries and the poem film Xanadu. Not bad for someone who first started writing poetry "out of nostalgia when I went to Portsmouth Polytechnic, [because] I was very homesick." Something to remember , perhaps, when you're nursing that half pint of lager and scribbling about life without yo ur goldfish on the beer mats in the back bar. Indeed, it is hard to remember when you are talking to

Armitage that he has only been on the literary scene for ten years. (A comparatively short period of time given his reputation and the obviou s esteem shown by his colleagues: Andrew Motion praised "his ability to catch things in a recognisably contemporary present" and the way he can be at once "sharp, passionate, immediate and contemplative"). But this, perhaps, has less to do with Armitage the poet and more to do with Armitage the man. He is

I think people are drawn to poetry. lt's growing and attracting attention again disarmingly funny and has a wry streak of selfdeprecating humour that reminds you more of Jack Dee than anyone 'literary' (after reading two particularly introspective poems he jokingly exclaimed, "Right, that's the self pity out of the way"). Indeed, during the read ing he often seemed at his most entertaining the audience wi th anecdotes and stories of his upbringing: filling in th e blanks between the poetry and its writer.

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or a poet who no longer includes a writer's biography in the front of his volumes - "I 'm just a shy boy, really" - Armitage is remarkably open and approachable about what drives his poetry: his childhood, his work, even his occasional illnesses all adding to the mix. Both in conversation and in his work you get the sense that as he has matured so have his motives for writing. From writing origi nally, with a students desire to 'reconnect' with a strong sense of 'home', his poetry has developed into an increasingly personal journey of discovery; a quest to be heard and to have something people want to hear. As he put it, when asked about the current renaissance poetry is enjoying and its relevance to the MTV generation, "I think people are quite often drawn to poetry these days. it's growing and attracting attention again. And I think it's because we are bombarded with s**t, the crap comi ng at us from every angle, in all directions and most of it in the form of language. "I think that when you get something said by one person who actually means what they're saying, a single voice without any back-beat or accompaniment, the rest just seems to drop away. I think that's the value people are rediscovering in poetry." Armitage is a man who doesn't hide behind literary trends - laughing at the arbitrary twist of marketing fate that saw his generation labelled 'the new generation' and not the other possibility, 'Punk Mode rnism' - and it is this honest openness that has attracted such a large readership for his work. In conversation what rea lly comes across is Armitage's wonderful sense of the ironic and comic, a talent he demonstrated by reading a new poem about the "overkill" of attempting to chop down a large Pampas grass plant in his garden wi th a chainsaw. Needless to say the plan t survived both the chainsaw and a subsequent attack with lighter fluid . Well f1 crafted

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and carefully written, it still maintained a sense of ironic reality that really brought it to life. lt is this lack of willingness to take himself, or literary conventions, too seriously that is perhaps his greatest quality. it keeps both his poetry accessible and his companions amused . On stage he expresses doubts about the waste of "paper and trees" when a poem is only five or six lines long but later over a glass of wine he happily confesses, "what I really like is just writing little poems that don't really get beyond the bottom of the page . Sitting at home, doodli ng away at them - that's what I really like." Armitage, like his poems, seems to revel in the paradoxes and ironies of life and it is this possibility of alternative interpretations and outlooks that make both him and his work so approachable. Surrounded by at least one or two creative writing students at the book signing , Armitage was afterwards to reveal to what wou ld seem to them to be the bitterest irony of all. Given that he had not studied writing when he was at university I asked whether he would have done anything different if he cou ld have the time back over again. "No. I wouldn 't. I wouldn't study English . For me poetry is a luxury, something outside th e rest of my life; something fresh to keep going into. I think that that kind of serious study would spoil it for me, take the joy out of it fo r me. Besides , I think it's good to go your own way." Good advice, particularly as the way Armitage has picked to go has turned out to be a very productive and successful way indeed.

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sweet dreams Minotaur's Sweet Drama Festival Tuesday, February I 7 Saturday, February I 9, UEA Studio inotaur presented their festival Sweets at the Studio last week. The four plays were ambitious choices, from Stoppard, well known for his tilting wit, to the incisive socialist rhetoric of Dario Fo. A perfect opportunity for drama students to flex their cerebral muscles? Opportunity, maybe. Success? Not quite. There was talent here. Rosencrantz and Guildenstern are Dead, for example, was slickly directed with flashes of inspiration. The cameo roles held their own. James Wright was particularly inspiring as Hamlet, dipping in and out of the conversation of the -unhappy pair, as they headed helplessly towards the fate that Shakespeare designed for them. But John Terry and Ash Verjee as Rosencrantz and Guildenstem didn't quite pull the parts off. They exhibited dramatic ability, but ultimately couldn't sustain interest in Stoppard's academic dialogue. Terence McNally's Sweet Eros, with a cast of only two, promised 'material of an adult nature', although such a claim seemed like<;~ calculated attempt to attract a larger audience. The play, a nasty look at psychotic misogyny, consisted entirely of the interaction l:ietween Ewan Hood's 'young man' and a girl he has taken hostage (this part, however, required Rufus James only to shake her hair and make occasional defiant gestures). Hood's performance was unconvincing; his calmly delivered monologue was too natural to have the chilling effect intended, and consequently, the outbursts of rage were not very frightening . In the end, though, the script was simply not

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good enough. it contained brutality and explicitness, two qualities which in the best · theatre can leave one feeling violated and numbed. Here, however, all they left was a bad · taste in the mouth. Next up was Dario Fo's Accidental Death of an Anarchist, a farcical look at police corruption in 1970s Italy. Directed by Melody Schroeder, this had all the makings of an extremely fine production, despite being tinged with the sense that we were witnessing 'work in progress'. Geraint D'Arcy, in the leading role, started off very promisingly, but didn't cope so well when, '!"""''!"""''!"""''!"""'---.... towards the end, the dialogue lapsed from clever allegory into naked political rhetoric. The fastmoving script demanded focused concentration from all the actors, and despite occasional blips~ the overall standard was high, with particularly good performances from Dale Martin and Amy Powell. Despite a lack of polish, ·this play was really good fun . Finally, almost as an afterthought, came Blue Remembered Hills, an offering not from Minotaur but the UEA Drama Society. This was rural realism from Dennis Potter, markedly different from the of the mind-teasing material that came before. Not that this wasn't thought-provoking; it emphatically was. But its grounding in the everyday gave these actors a chance to shine. And shine they did. This short production was fantastic, far outshining the others. it charted the actions of seven children in 1943 as they explored their volatile environment of violent parents and the invisible threats of war. Compellingly and sensitively directed, the actors all managed to capture the essence and physicality of childhood, leaving the audience both moved and disturbed. The Sweets festival certainly provided food for thought, but ultimately, only Blue Remembered Hills controlled its material well enough to expose a powerful message behind it. Sam Glazer & Emily Hunlca

Damian Thompson The End of Time

9

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1999 has, predictably, seen an· avalanche of trashy books about the millennium and its possible consequences. This is not one off them. Thompson's revised and updated investigation of "faith and fear in the shadow of the millennium" is in a class apart. This astounding book is a must read for anyone even remotely interested in the approaching millennium. Impeccably researched, The End of Time covers this huge subject with care, fascination and a healthy dose of scepticism without ever stepping over into derision. it investigates religion , society, politics and the individual in relationship to the millennium. Yet, unlike most authors on this subject, Thompson carefully places beliefs about the millennium in their historical context. He is as lucid and competent when discussing ancient Mayan civilisation, the Reformation and the Crusades, as he is about the Y2K Bug, 1990's fundamentalist Christianity in South Korea or New Age beliefs. The End of Time is immensely readable and when this reviewer put it down he felt not only that he'd learned something but he had also ·a real desire to pick it up and start all over again. At turns spooky, amusing, fascinating and disturbing this book is a significant development in the study of human obsession with the possibility of apocalypse. Where once I might have dismissed millenarian scholarship as pseudo-science I left this book feeling that, despite the garbage produced by many modern authorial 'harbingers of doom', the fear and faith the coming millennium has produced should be investigated. Thompson's extraordinary book is just this investigation. Enthralling and occasionally breathtaking. If you read only one book on the subject, this should be the one. Krls Slefken

THE END OF

TIME

DAM IAN THOMPSON

Josie Lloyd & Emlyn Rees Come Together Come Together is the latest literary sensation since Bridget Jones' Dairy. The particular hook of this book lies in the fact that it is co-authored. it is essentially a love story, set in London, with two main characters Jack an Amy and their various friends. The story charts the- progress of their relationship, from initial seduction to their frantic couplings. The thing that sets the book apart from others is that the narration is from both Amy's and Jack's perspective. Nice idea but the question is does it actually work? Well is answer is a resounding yes! From the first paragraph the book is immensely -especially Jack's successful loss of his virginity. The story is peppered with comical anecdotes (mostly about ex-boy/girlfriends and sex) . Many will empathise the agonies and neurosis of the lead characters as they embark on the road to coupledom. The book is similar in many ways to Bridget Jones' Diary. Amy could have easily been Bridge! in her mid-twenties, and insecurities are plentiful. However where Jones was perhaps too selfobsessive, here the split narrative makes this book less so. There are elements of Alain de Bolton's style - his knack for crisp dialogue and witty insights, without his heavy intellectualism and introspection. This is a much lighter book, with no such pretensions·and is much better for it. This has been a much-hyped book. lt is probably not as good as the media furore, but then nothing ever is. Full of laugh out loud funny lines, you cannot help but like it; it may not be very adventurous by any stretch of the imagination, and it does cover somewhat familiar ground, but so what?! Ridiculously funny, brutally honest and full of plenty of cynicism, Come Together is an ultimately optimistic book. Perhaps one-day men and women will understand other - one day? Ayode/e Mansaray

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Rob Newman Arts Centre Tuesday, February I 6 The newly refurbished Arts Centre proved to be the perfect informal setting for Rob Newman to try out new material before embarking on a nation-wide tour. Given that the comic freely admitted that he was likely to muck up much of the material throughout the show, he certainly put in a good performance. Mixing fresh material with old favourites such as Jarvis the perve, Newman looks set to make a roaring return to the comedy circuit after such a lengthy break. The idea of the evening was to intersperse his regular stand-up routine with new characters and sketches, while trying out material written just moments before the show. Even when sketches went wrong or proved to be just plain rubbish , the Comedian managed to keep the audience going and rewarded them with a bout of classic stand-up at the end of the show. Given that Newman's material is so topical it was great to see him back on stage ranting and raving in the unhindered manner that fans came to know and love during his partnership with David Baddiel. The intimacy of the venue, coupled with the quality of the unrehearsed material, kept everyone laughing throughout the performance. A welcome Daryl Bramley comeback.

What? You cant say what?' JUSt like that. You should have some more respect. Why? What are you going on about? Look, we've got royalty m. Oh, right. Well perhaps you could tell me what may or may not be art this week, please? Thats much better. Pa1nting the Queen Painting the Queen? 1 know the daft old bat is supposedly a national treasure, but don't you think coating her in emulsion is taking things a btt too far? I th1nk you've m1sunderstood. I m laking about paint1ng portrarts of our esteemed monarch

made her fingers look too fat and her royalness was not as they say amused

Blimely, I suppose they have to be careful who they let have a go at the old girl. Who's doing her next? Lucian Freud. Lucian Freud? Not that the same Lucian Freud who insists on 72 slttings .•• They've got h1m down to 48, apparently.

Oh right, with you now. Surely there are loads of pictures of her majesty? Well a fa1r few Apparently she genP tes at least one a year. Generates? She sounds like a p Careful unflatter g d c pt1 no:~ body w111 ge u owhere

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. Well that's reassuring, but is it art? Yes Marml (Provtdrng she approves.)

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11 As more and more young upwardly mobile types leave the city to do it themselves in the country, Clare Hickman investigates the phenomenon of 'down shifting'

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hen people think of selfsufficiency the image that often comes to mind is of ageing hippies dressed in tie-dyed !shirts and woolly cardigans, milking their goats and tend ing to their spinach plan ts, or perhaps of the classic sitcom The Good Life. However, times have changed and 'down shifting', as self-sufficiency has been re-named , is the in thing for successful people to do. Business men and women are now flocking to the country in search of the simpler things in life . Tired of the London rat race , they seek only to live in a nice house, own a coup le of Labradors, grow their own vegetables, keep some chickens and

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take their children on extremely long country walks. A new Channel Four series Escape to River Cottage (Sundays ?pm) sees Hugh FearnleyWhittingstall , of TV Dinners fame , taking up the

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THE EVENT, WEDNESDAY, March 3, 1999

gauntlet of self-sufficient living. Hugh is duly shipped off to deepest Dorset to live in the picturesque River Cottage, and his first step is to purchase a pig. On consu ltation with the pig farmer, he learns that pigs prefer company and, since its life is destined to be somewhat short, he decides to keep it happy by buying it a friend . Throughout the series he lavishes attention upon the pair, ei th er through genuine affection or a longing for some tasty bacon sarnies and pork sausages. You wonder wh ether he'll have the heart, or th e stomach, to eat them at the end of the seri es, bu t seeing him harpoon fish and shoot pigeons, you rath er suspect he will - after all Hugh was the man wh o ate placenta pate on national television. Hugh shows that being self-sufficient needn't mean eating endless vegetable stews as he reduces his neighbour's problem pigeon

population and pops them in a gourmet pie. Some of Hugh's recipes are not for the faint -hearted, but the vegetarians among us will be relieved to know that he is also growing his own vegetab les, although only the more exotic and rare strains will suffice, Realistically though , Hugh-style self-sufficiency is somewhat of a fiction . People who do give up their well-paid jobs and put all their capital into Angoran goat farming in North Wales soon find that ru ral life is a far cry from the idyll they dreamed of. You can't help wondering whether Hugh ever pops down to Sainsbury's for a microwave meal , and where he would be without the support of Channel Four? Back in London I suspect . A degree of self -sufficiency is possible fo r all of us though ; I'm not suggesting that we all go out and buy pigs and chickens, but it is perfectly possible for us students, with a slight bit of effort , and I do mean slight, to grow a few vegetables in a small area of your weed-infested garden or in a tub or window box. Vegetables in our supermarkets today have little to offer us nutritionally. They have been sprayed coun tless times with insecticides , fertilisers and herbicides . Many have been treated with radiation to increase their shelf life and are hardly what you could call fresh . The alternative is to buy organic vegetables where the farmer has used manure as fertiliser and employed many hapless and impoverished students to pull out all the weeds. Not surprisingly these vegetables cost an arm and a leg. For a fraction of the price of organic vegetables you can buy some seeds and grow your own . For those wi thout particularly green fingers you can grow cress to put in your sandwiches. If you feel slightly more adventurous lettuce , carrots, onions and leeks take up little space just watch out for slugs. If you don't want to use slug pellets, try putting down jam jars full of beer. Slugs, like students, are drawn to th e smell of beer, bu t drown when they fall in - at least th ey die happy and extremely drunk. If you are a bit of a chef you can easily grow your own herbs such as parsley, thyme, oregano and basil , and if yo u're feeling really brave, whi p up a nice Herb Salad la Sli me.

a

The most comprehensive guide to what's on around Norwich this fortnight The valentines cinema hangover continues, with Tom Hanks and Meg Ryan set to repeat the sucess of Sleepless in Seattle. Strictly chicks only? HIDEOUS KINKY Kate Winslet! returns to her indie film roots .in Giles Makcinnon's film about a youngs 70's mother! travelling the hippie trail.

ABC SHAKESPEARE IN LOVE The bard is still in love, and judging by the viewing figures of this film will continue to be so for quite a while.

LITTLE VOICE Jane Horrocks and Ewan Mcgregor in a moving film about the rise and fall of a painfully shy singer. Look out for Michael 'Cockney' Caine.

A BUGS LIFE Again good viewing means that these animated insects will be gracing the silver screen for a long timE;) to come.

PRATICAL MAGIC Witch chicks Sandra Bullock and Nicole Kidman cope with a family curse that means any man who falls in love with them wiH die prematurley. Bum mer.

YOU 'VE GOT GOT MAIL

JACK FROST

Child requires therapy as his dead father comes back to life as a talking snowman, voice by Michael Keaton.

ROUNDERS Friday, March 5 Matt Damon plays every primary school P.E. teachers favourite summer sport. 9.00pm.

ODEON

BULLET IN THE HEAD/ FACE OFF Sunday, March 7 A double-pistol packing double-bill of John Woo's overtly cool action flicks. The first is from his early Hong Kong days with themes echoed in the second of tonights films , the Hollywood blockbuster staring nick Cage and John Travolta. 7.00pm/ 9.00pm

A BUGS LIFE Disney insects suspect their acting talents are being abused for the sake of crass commercialsiation and marketing. BABE: PIG IN THE CITY The 18 rated directors cut is rumoured to be renamed Babe: Pig in the Abbatoir, a chilling piggy snuff flick. This though is just harmless talking animal action . MADELINE Childrens adventure set in Paris during the 1950s about 12 girls learning to be ladies. Makes a change from hollywood star voiced insects.

SNAKE EYES Thursday, March 11 More Nick Cage, this time in Brian De Palma's techno thriller about a murder investigation based on TV camera footage . 7.00pm

THIS YEARS LOVE London drifters, including Cathy Burke live out their lives in this couple swapping Brit flick that tips it's hat to every British film of the last five years. YOU'VE GOT MAIL Tom Hanks and Meg Ryan conduct a relationship over the interne!. Gives a whole new meaning to computers going down on you .

CINEMA CITY HILARY AND JACKIE Wednesday, March 3- Saturday, March 6 at 5.45pm and 8.15pm. Monday, March 8 -Thursday, March 11 at 5.45pm and 8.15pm. One of the best British films in ages, this biography of the calibrated cellist Jacqueline de Pre' focusing on her realtionship with her older sister. OUT OF SIGHT Friday, March 5 at 11 .15pm Based on an Elmore Lenoard novel, this superslick thriller with romantic elements is one of the best films to come out of Holllywoocj in years.

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THE OPPOSITE OF SEX Friday, March 12, Saturday, March 13 and Monday March 15 at 5.45pm. Tuesday, March 16 -Thursday, March 18 at 8.15pm. The well endowed Christian Ricci stars as a white trash 16 year old who splits from her mother, runs off with her brother's gay lover and steals her father's ashes. Makes family life eventful , if nothing else.

BUFFALO 66 Friday, March 12 Vincent Gallo directs himself, as a drifter who captures a girl and forces her to pretnd to be his fiance. A stylsih U.S. independent movie, showing the directors talent to the full. 9.00pm ZERO EFFECT Tuesday, March 16 Bored inept P.l. 'Zero' investigates a paramedic in a blackmail case. Ben Stiller is his assistant. 9.00pm ANTZ Wednesday, March 17 Dreamworks computerised little creature feature . Was rather big in America thanks to a certain W Alien. 7.00pm LAST DA VS OF DISCO Thursday, March 18 Kate Beckinsale and Chloe Sevingny are two rich ladies at the end of the 1970s. This film, charts the loss of that decades innocnce and the rise of the capitalist 80s. 7.00pm

THE

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it may be on late, but its definatley worth it. Ba sed on an Elmore Leonard novel this is done with more subtley than Jackie Brown, but with all the style Augg George Clooney and the delectable Jennifer Lopez star as a cop and an escaped convict, w uickly develop a r port, and whilst playing a game of cat and mouse decide end uip falling head over heels in love. s mora thrilling than most modern action flicks, and far more romantic tha any of the formulaic trash Hollywood has put out for Valentines day.

ACK BAR

HEROIC TRIO Monday, March 8 A top choice for international womens day, with three super-power endowed lasses searching for the 18 children kidnapped as the furie of China. Silly stunts and comin book action a go-go. 6.30pm

THE TRUTH ABOUT CATS AND DOGS Sunday, March 14 at 7.30pm Janeanne Garafaldo and Uma Thurm路an and Game On's Brit-hunk Ben Chapman star in the gender switch re-working of the Cyranno d'Bergerac tale. ENEMY OF THE STATE Friday, March 19 at 11 .15pm Will Smith finds himself on the death list of the - NSA, when he unwittingly finds evidence of a murder.

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YOU ONLY LIVE TWICE Tuesday, March 9 Blofeld captures U.S. and Soviet spaceships from his secret undergound volcano rocket base, and only James Bond can stop him. The best Bond film , period. 9.00pm

JUNKMAIL Monday, March 15 A nosy postman stops a woman form killing herself, only to find himslef responisble for her. Morbid comedy from Norway. 6.30pm

s A P-ERFECT MURDER Thursday, March 4 Michael Douglas wants to bump off his missus to get his hands on her cash, but cunningly decides to pay her lover to do the dastardly deed. More twists than a twizzler lolly. 7.00pm.

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THE EVENT' WEDNESDAY'

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arch 3 HAPPY DAYS THEATRE ROYAL, MUSICAL. Runs until Saturday, March 6 With Henry Winkler, the original Fonz as a 'creative consultant', you can be sure that this new musical will contain all the cheese and schmaltz of the TV show . Cool. £19.50/ £16/ £13.50/ £11 / £3 PURE SWING MANHATTAN S, CLUB. Uplifting swing for the people of Norwich . 9pm-2am FREE SUPERFLY MO~O ' S CLUB Serious Funk. 10pm-2am £3 WILDE CLUB FAT PAUL V'S, GIG See posters for details.

ILLEGAL EAGLES + GUESTS UEA LCR, GIG . Tribute to the classic rockers, with songs including Tequila Sunrise, Hotel California and The New Kid in Town. £7.50 adv MELTDOWN WATER FRONT, CLUB lndie and alternative dance with In the Bag , handbag hits in the studio. 9pm - 2am £4 /£3.50 CWFS@ZOOM ZOOM, CLUB Uplifting house & garage. 10pm-3am £5 A NIGHT FOR DISCERNING ADULTS RICK 'S PLACE , CLUB £3 with flyers before 11 pm

arch 10 VINEGAR TOM , THREE MORE SLEEPLESS NIGHTS, HEARTS DESIRE UEA DRAMA STUDIO, PLAYS. A week long festival of three plays by Caryl Churchill from UEA drama sector. 7.30pm £10/ £6/ £3.50 ROY WOODS ARMY THEATRE ROYAL, GIG. Ageing British Rockers, with support from She Said . 7.30pm £12/ £10/ £9/ £3 STUDENT NIGHT SOLAR SKATE , SKATING! Cheap skate hire and indie DJ . 7-11 pm £1.00 with Student ID CARWASH LIQUID , CLUB Funky 70s disco night. Wear your flares and get in for free . Otherwise £3. UNDERGROUND MOJO'S, CLUB Lo-Fi and lndie night. 10pm-2am £3 WILDE CLUB ARTS CENTRE, GIG See posters for details .

DANCE CLUB MANHATTANS, CLUB 9pm -4am £5

STUDENT NIGHT LIQUID , CLUB Cheap student night from Norwich's latest club Free before 11 pm with UEA ca rd , drinks £1 .

URIAH HEEP WATERFRONT, GIG. These rockers have been going for 30 years. Now th ey're back with a new album Sonic Origami. 7.30pm-11 pm £8 .50 adv THINK FLOYD THEATRE ROYAL, GIG . Another tribute band , this time 'recreating' the hits of the influential group. 7.30pm £10/ £8/ £3. IAN McEWAN . UEA LECTURE THEATRE ONE , TALK. This year's Booker prize winner and UEA graduate lan McEwan, writer of Amsterdam and Black Dogs. 7.00pm £3.50 /£2 PURE SWING MANHATTANS , CLUB Uplifting swing for the people of Norwich. 9pm-2am FREE SUPERFLY MOJO'S CLUB Funky sounds for Norwich groovers. 10pm-2am £3

Popular gay night at one of Norwich 's most famous clubs. £3 /£4 THE LCR UEA LCR , CLUB Hell makes its weekly visit to earth. Drink enough and you might die. £2.50

THE KRUSTY KLUB Noisebox night with three bands and DJ 8pm-1am , FREE ENTRY DOMINIC KIRWAN THEATRE ROYAL, GIG . Easy listening Irish style comes to Norfolk. 7.30pm £13.50/ £12 /£3 SUNDAY SERVICE MAN HATTANS, CLUB House night. 8pm-2am FREE EXTRA SMOOTH SUNDAY THE GARDEN HOUSE Drum & Bass, scratching , live guitar and bongos Upstairs bar FREE

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THE THATCHER YEARS WATERFRONT, CLUB. Regular 80s music slot, with FUNKY GROOVE SHACK'S disco and reggae sounds in the stud io. 9.30pm-2am £4/£3.50

PINK FRAUD FAT PAULY'S Pink Floyd tribute band £4 Stud.

CEILIDAH + PENDRAGON UEA LCR , FOLK DANCE. UEA's folk dance society with a traditional Scottish· event, headed by th e band Pendragon. £2.50 /£3 CLUB FLINT RICK'S PLACE, CLUB £2 before 11 pm GORGEOUS MANHATTANS, CLUB Happy House club night. 9pm-4am £5 CWFS@ZOOM ZOOM , CLUB Uplifting house & garage . 10pm-3am £5 SPEAR OF DESTINY FAT PAUL Y'S, GIG £4 Stud .

THE EVENt: WEDNESDAY, MARGH 3, 1999

CLUB CHAD IKON, CLUB Ikon's new students only night. Free before 10pm with UEA ca rd . 60p a pint

THE CONCEPT COMEDY CLUB London circuit comics. All drinks £1 .50. Doors 8.30pm £4 WILDE CLUB FAT PAUL Y'S , GIG See posters for details.

•

Forbes smgtng baritone Featuring performances of Schuberts' Song Of Minm and Brahms' A

German Reqwem. 7.30pm £14/£11 £5

LCR DISCO UEA LCR, CLUB Dtsco fever grips UEA again, for about two hours. £2.50. TOSCA THEATRE ROYAL, OPERA. Runs till Saturday March 13 Sung m Italian, wtth English subtitles, this production of the famous opera is brought to Norwich by the renowned Mussorgksy Theatre of St Petersburg. 7.30pm £301£221£17 £5. CHAINS ON VELVET WATERFRONT CLUB Fortnightly dose of metal and grunge from Deviant Soc 1Opm-2am £21£2.50 CHARTY HANDBAGGY THE LOFT, CLUB Popular gay night at one of Norwich's most famous clubs. £3/£4 PLEASURE RICK'S PLACE, CLUB New club night, with cheap dnnk offers. 99p with flyers before 11 pm JOY RIDE CONCEPT, CLUB. East Anglia's premier Soul and R'n'B night. £3

MELTDOWN WATERFRONT, CLUB. Saturday 1nd1e and alternative dance slot, With Ballistix In The Studio. 9pm-2am £4/£3.50 CHARTY HANDBAGGY THE LOFT, CLUB. Popular gay night at one of Norwich's most famous clubs. £3/£4

UNDERWORLD UEA LCR, GIG. Alongside their new album, the Brittsh dance pioneers return to the scene. Wtth DELUSION at the Waterfront, Norwich clubbers will be spotlt for choice. 8pm-1am £12.adv GORGEOUS MANHATIANS,CLUB Happy House club night. 9pm-4am £5

THE CARBON CLUB UEA LCR, CLUB. A night of modern tribute bands, wtth Robbie Wtlliams form Let Me Entertain You and B1g Willy doing Will Smtth. 9pm-1.30am £5/£3.50 UEA CHOIR AND THE LONDON GALA ORCHESTRA ST ANDREWS HALL, CONCERT. Conducted by John Aplin, with Mauren Bratthwalte stngtng soprano and Andrew Dale

CLUB CHAD IKON. CLUB Ikon's new students only night. Free before 10pm With UEA card 60p a pint STUDENT NIGHT LIQUID, CLUB Cheap, very popular student night from one of Norwich' poshest clubs. Free before 11 pm with UEA card, dnnks £1.

CWFS@ZOOM ZOOM, CLUB Uplifting house & garage. 10pm-3am £5 A NIGHT FOR DISCERNING ADULTS RICK'S PLACE, CLUB £3 with flyers before 11 pm DANCE CLUB MANHATTANS,CLUB 9pm-4am £5

THE R YA P L ARM NI THEATRE ROYAL, CONCERT Conducted by Waiter Proost, the worlds finest Orchestra will play a selection of popular pieces from Elgar, Beethoven and Tchaikovsky. 7.30pm £19.50/£16/£12/£3. NO FADE AWAY UEA LCR, GIG. A tnbute to Buddy Holly for the 40th anniversary of his death, wtth Mike Berry and Dave Edmunds. £9.50adv

DELUSION WATERFRONT, CLUB. Return of the Waterfront's infamous all nighter featuring Hardcore, Jungle and Oldskool, and a playstation chill-out area. 10pm-6am £12.50 adv £15/£14 on the door

SUSAN PERABO UEA LECTURE THEATRE 1, TALK. Teacher of creative writing at Dickinson College, Pennsylvama 7 OOpm £3.50/£2.

SUNDAV SERVICE MANHATIANS,CLUB House night. 8pm-2am FREE

ERROL BROWN + GUESTS UEA LCR, GIG. You Will believe in miracles when you see that this bloke is still walking, let alone dancmg and singing. The star of Hot Chocolate, comes to Norwich with his 'Still Sexy' tour. 7.30am-11.pm £12 PURE SWING MANHATIANS,CLUB Uplifting SWing for the people of Norwich. 9pm-2am FREE SUPERFLY MOJO'S CLUB Funky sounds for Norwich groovers. 10pm-2am £3 THE CONCEPT COMEDY CLUB London circUit comics. All drinks £1.50. Tables can be reserved in advance wtth the club Doors 8.30pm £4 WILDECLUB FAT PAULV'S, GIG See posters for details.

THE THATCHER YEARS THE WATERFRONT, CLUB. Alternatively Funky Groove Shack in the studio will give you all the funk you'll ever need. 9.30pm-2am £4 /£3.50 CLUB FLINT RICK'S PLACE, CLUB 11 pm £2 before GORGEOUS MANHATIANS, CLUB Happy House club night. 9pm-4am £5 CWFS@ZOOM ZOOM, CLUB Uplifting house & garage. 10pm-3am £5

ANTHONY AND CLEOPATRA THEATRE ROYAL, PLAY Cathy Tyson as the egyptian queen in thts well reviewed production of the bards famous tragedy. See Don't MISS £15.50/ £13.50/ £11 I £91 £3. CARWASH LIQUID, CLUB Funky 70s disco mght. Wear your flares and get in for free. Otherwise £3. UNDERGROUND MOJO'S, CLUB Lo-Ft and lndte mght. 10pm-2am £3 WILDECLUB ARTS CENTRE, GIG See posters for details.

CHARTY HANDBAGGY THE LOFT, CLUB Popular gay night at one of Norwtch's most famous clubs. £3/£4 PLEASURE RICK'S PLACE, CLUB New club night With cheap drink offers. 99p with flyers before 11 pm

CHARTY HANDBAGGY THE LOFT, CLUB. Popular gay night at one of Norwtch's most famous clubs £3/£4

JOY RIDE CONCEPT, CLUB. East Anglia's premier Soul and R'n'B night.

DANCE CLUB MANHATIANS,CLUB 9pm-4am £5

£3 THE LCR UEA LCR, CLUB The last one this term so get your tickets early £2.50

SUNDAY SERVICE MANHATIANS, CLUB House night 8pm-2am FREE

at~~E E ENT, WED ESDAY

¥CH 3,1999

I

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LIVE IN 'fHE HIVE BOYZONLY

11UBUTE TO BOY BANDS TAitE 1HA1: SIVE, BOYZONE

'l1liBU'IE TO BOY BANDS TAitE 1HA1: SIVE, BOYZONE

TVES 2 MAR

FREE

ILLEGAL EAGLES

TVES 2 MAR

FREE

ILLEGAL EAGLES

A TRIBUIE · AlL THE HR'S C. THE EAOl..ES

A '11UBUIE ·AlL THE HR'S C. DIE EAGLf.S

SAT 6 MAR

SAT6MAR

f.8.581£7.50 SU

LIVE IN THE HIVE r,TIME OF YOUR LIFE'

A501£7.SOSU

LIVE IN 'fHE HIVE r,TIME OF YOUR LIFE'

WAYNE ICENNa)Y AND DIKIY DANCJNG

WAYNE KENNEDY AND DIIUY DANCING

ruES 9 MAR

11JES 9 MAR

FREE

UNDERWORLD FRI ll MAR

!1llast few tickets

the CARBON CLUB

FREE

UNDERWORLD FRI 12 MAR

!12 last few tickets

the CARBON CLUB

&. me tribata to RoWiic Willilml.t WiJ Smilh

&. me lrbda to RoWiic WillilmiiDd Will Smilh

SAT 13 MAR

SAT 13 MAR

!!1!3.50 SU

!!1!3.50 SU

A ROCK'N'RCXL NIGHT -<E..E8ItA11NG BUDDY HOlLY'S Uf'E FEA1URJNO

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LIVE IN THE HIVE BOYZONLY

,.

ALBERT LEE & BOGANS J{EROES, DAVE EDMUNDS, MIKI BERRY, PETE WINGFIELD SUN 14 MARCH !9.58/limited 110. !5 SU

ALBERT LEE & BOGANS HEROES, DAVE EDMUNDS, MIKI BERRY, PETE WINGFIELD SUN 14 MARCH !9.50Jiimited DO. !5 su

LIVE IN 1BE HIVE

LIVE IN 1HE HIVE

MAMBOCOMBO

MAMBOCOMBO LA11N NJGH1'

LA11NNJGHT

TUES 16 MAR

FREE

TUES 16 MAR

FREE

ERROLBROWN

ERROLBROWN

S11U. SEXY 1WR- All.. THE HR'S C. R>T OfOC'OLAT'E

S11U. SEXY 1WR - All.. DIE HR'S Of HOT CHOCOUJE

WED 17 MAR

501110 SU

club MISS MONEYPENNYS SAT 20 MAR

!9/fB SU

ECHO & 'fHE BUNNYMEN !11

MON 12 APRIL

WED 17 MAR

S0/£10 SU

club MISS MONEYPENNYS SAT 20 MAR

!9/f1J SU

ECHO & THE BUNNYMEN MON 12 APRIL

!11

TERRORVISION

TERRORVISION

Ji'RI l3 APR

F'RI l3 APR

TBC

TBC

CHRIS BARRIE & NORMAN LOVETf

CHRIS BARRIE & NORMAN LOVETf

S'fANI>-U» COMEDY Fllo.t 1HE STARS OF RFD DWARF .t. BRI1TAS

~ CC».tt!DY FllOM 1HE STARS OF RFD DWARF .t. BIUTT.AS

WED 28 APR

!9.50

WED 28 APR

!9.50

MERCURY REV

MERCURY REV

SAT 8 MAY !8.50

SAT 8 MAY !8.50

ROGER MCGUINN of the Byrds

ROGER MCGUINN of the Byrds

FRI 21 MAY

!14.50

TlllJNDER SAT 29 MAY

!11.50

ROBERT CRAY BAND WED28JULY

!14.50

FRI 21 MAY

f.14.SO

TlllJNDER SAT 29 MAY

!11.50

ROBERT CRAY BAND WED 28 JULY

!14.SO

PRICES DISPLAYED ARE ADVANCE, MORE ON THE DOOR TICKETS from UNION'S NEW BOX OFFICE OPEN 10am-5pm weekdays

PRICES DISPLAYED ARE ADVANCE, MORE ON THE DOO:R TICKETS from UNION'S NEW BOX OFFICE OPEN 10am-5pm weekdays

NEW CREDIT CARD HOTLINE TEL: 01603 50-80-50

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UEA EVENTS