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The local band wagon

W ild, w eird, w acky women

o d a y •PUB NIGHT, with Spencer the Gardener; this venue's days are numbered, so check it out!!

• CHARLES MOULTON, choreographer, presents "The aesthetics of Flying Objects," featuring the Santa Barbara Dance Theatre performing ball passing choreography; Campbell Hall, 4 p.m. Saturday •KAGEMUSHA, Japanese film-maker Akira Kurosawa's breathtaking combination of humanism and spectacle; Riviera Theatre, 11 a.m.

S u n d a y •HR-HUMAN RIGHTS, featuring members of Bad Brains; the Anaconda Theatre m o n d a y •COLUMBUS DAY, stay home and read up on your history, buddy.

t u e s d a y •DOWNTOWN STREET FAIRE, arts, Gregg Araki crafts and entertainment raises quite a from 6 p.m. to 9 p.m., on State ruckus with his Street between Anapamu and Sola latest Streets ultra-low-budget W e d n e s d a y independent •THE MONSTER film The Living BASH! featuring world premieres End.I And he of scary movies, a costume doesn't care. contest and surprise guests; Paseo Nuevo Theatre, begins - -ertr *6-r9#-p': nr. 2A Thursday, October 8,1992 ARTSWEEK Daily Nexus

Jumpin'

Sitting at Time Out Pizza with Jesse, Shawn, Chris, Joey and Derrick, the members of Lagwa- gon, I was struck by the contrasts in the band. The most recent local act to be signed to a record label, their heights range from 5’6” to 6’8”, and ages from 17 to 26. Yet they all seem to get along splen­ didly (talk about your “one love”). In fact, the mem­ bers of the band, much more “regular” than most punkers, require minimal hair care products and only a couple bucks to fix things very in a local band. Do you Jesse: Not really. A.W j Lately the local the van. unproressionally. try and make a serious ef­ Shawn: He made six crowds have been a little But are they nice fellas? A.Wj Before this album, fort to live by your lyrics? bucks in change. out of hand... Get this: They refused to you guys appeared on a Joey: The thing about the Jesse: But it was pretty Chris: But I think the next say anything bad about Lookout Records compi­ lyrics is some of these cold and my fingers got all show we play, we’re Ugly Kid Joe. lation. How did you end songs are like two or three numb. gonna’ do all Slayer covers Supporting NOFX, they up on a comp featuring years old. I look at some of Joey: But in a lot of ways, to make the meatheads begin a tour of all the states mostly East Bay punk? them and see them as im­ that was the coolest thing happy. in February, splitting their Joey: It’s all Fat Mike. He’s mature and I feel like I’ve that happened on tour. Denick: That’s really all time in the meanwhile be­ based in San Francisco grown up a little. But yeah, Jesse: It was cool that it we care about. Pleasing tween dates in California and he got us on a whole they all come out of me so happened, but it wasn’t meatheads and provoking and Europe, which they bunch of comps. We’re on there’s a part of my feeling that cool while it was violence, (sic) will move on to in a Flipside, Rat Music for in all of it. happening. A. Wj How do you feel ab­ November. Rat People... A.Wj While you were on A.W~- Being locals, you out reps from labels Artsweek You guys fust Shawn: And that tour did you have any guys have watched the showing up all over local signed with Fat Records Thrasher. Actually, we’re trouble with Jesse being local scene go up and shows? (a small label started by on like six comps. under age (he’s 17)? down for years. With the Joey: I just hope Creature the lead singer of NOFX, recent developments in Feature gets signed cuz “Fat” Mike). What are the A. Wc So you guys are just Jesse; Actually we did in the Santa Barbara music they’re the best band advantages to signing sluts... Spokane, Wash. The door­ scene, has it changed going. with a small label, your Joey: We’re whores. We’ll man wouldn’t let me in the anything? Lagwagon plays the Ana­ band being one of two, in­ do anything. East bay, club and I was like, “But Shawn: It’s kind of lame conda Oct 14 with Jug- cluding NOFX, on the West Bay- I’m playing.” Nope. And because you can’t really head’s Revenge, NOFX, label? Derrick: Just take what we so I went and got an I.D., play in I.V. anymore. I’d and Green Day. Their Joey: It’s cool because can get but he wouldn’t take it so I like to but the cops shut version of “Bad Moon Mike is like a friend. Any A.W.* Joey, you write all had to hook up a wireless you down so it’s not even Rising” will tear you a of us could go talk to him the lyrics on this album. and I played the whole worth it. new asshole. Lagwagon about a problem. He’s re­ There’s a pretty wide show from the sidewalk. could be the best enema ally supportive and punk range, from political to A.W- Did you get hassled Chris: And the Red Bam you ever had. oriented. He’s into doing coffee addiction, to being at all? got shut down. —Sara Seinberg

FIRST SANTA BARBARA CONCERT IN 5 YEARS Local Rock Reviewed

Lagwagon Cinderblock Duh Greatest Hits Fat Wreck Chords 12” Restless Records ☆ The long-awaited full-length debut re­ The saga of the Santa Barbara music lease from nardcore’s finest is finally here, scene continues, and this time up to bat is and it was well worth the wait! Whenever the trio Cinderblock. They’ve been signed an album this tight and fast comes across to Los Angeles-based Restless Records my desk, I cringe at the generic descrip­ and have titled their first release, boldly tion of “punk rock,” as this record offers enough, Greatest Hits. It would seem more solid arrangements than your usual that, in the band’s mind, the collection of “1-2, Fuck you!” beat. 10 songs are indeed their greatest hits, Songs like “Failed Again” and “Of considering that they’re 10 songs from Mind And Matter” are extremely tight, their 15-song demo tape. Chalk up one with fast, raspy vocal harmonies and in­ point for onginalily. credible drum fills. ‘Tragic Vision” and the “big” pop radio hit “Angry Days” Musically, Cinderblock sounds like make a return appearance from their first Dinosaur Jr. would if they sucked. Really Fat Wreck 7”, as well as entertaining bit- depressed-sounding vocals, pseudo­ PAT METHENY ties like the Inspector Gadget theme and a weird lyrics (“These walls, are so familiar harsh cover of “Bad Moon Rising,” a — inside there’s just one season, it’s WITH A SPECIAL 9-PIECE GROUP staple song from their live set. winter in here and you’re the reason” — Other cuts definitely worth noting in­ give me a break) are the ingredients in this clude “Bury The Hatchet,” a song which split-pea soup. None of the 10 tracks SECRET STORY TOUR examines those times when you wish your stand out, except of course for the last pseudo-best friend would keep in touch one, for obvious reasons. "Guitarist of the Year" and he or she never does, and “Stop Whining,” which sounds like the band’s downbeat magazine call to vote or quit complaining. . Just think — six more albums of this. for an unprecedented 6 straight years, 1986-1991 This album is instant satisfaction for First Toad the Wet Sprocket got signed those who have been patiently waiting for (to Columbia Records back in 1989), then more than two songs to be released, and Ugly Kid Joe was vaulted to stardom. THIS MONDAY, OCT. 12 • 8 pm Duh is one solid slab o’ vinyl. All aboard Now, we have Cinderblock to add to the Arlington Theatre the Lag Wagon, and don’t forget your list of great local bands to hit the big time. beer goggles lest you be outcast from the Who’s next? Tickets $ 2 5 /$ 2 0 • Available at Arlington Box Office, Mom inglory Music (I.V.), Compact small-town minds. Ditk/Tape (Goleta), and oil Tickelmasler outlets. Call 963-4408 —Ted Perez —P.E.A.C.E. A STEPHEN CLOUD PRESENTATION RECYCLE YOUR NEXUS Daily Nexus ARTSWEEK Thursday, October 8,1992 3A

music reviews Really Pretty A . « ■ P I Ä O A R D

R.E.M. Automatic for the People H n Warner Brothers SPENCER the For a while, R.E.M. had a big security problem. Not die kind that could be solved with some bullet­ proof glass or a bodyguard GARDENER named Raphael. No, the band’s problem was more internalized and stemmed from having made the best-selling album of their career, 1990’s O ut of Time. You see, the guys in OCT. 8 R.E.M. were insecure. They had just hit the big time in a pop world that The thing that makes $2studentw/reg.card they had only shadow- one. There are no “Driver 8”s, nor are there any this album really worth­ danced around since the while is the pathos. The early '80s. No longer were “Stand”s. There are a lot of $3 general long, slow songs, with or­ humanity. It seems that they the up and coming Stipe and his cohorts have darlings of the college gan work and painful music scene — they were lyrics. gained the confidence to All OAI C THE BUTTERFINCER NEW MUSIC CDII^ A\/ veterans. This gear change is not put aside the hurried and Being veterans entails a necessarily a terrible deve­ frazzled side of their work 2 . “ L jW m m ? F R ID A Y lot of expectations. One is lopment. After all, the and concentrate on song- that your record company band’s style lends itself craft, which does show THE DEAD MILKMEN will allow you just about well to the pensive side of through. But there is very any leeway you want. the average pop consumer. little rock of any kind to be That’s right, the songs are heard on Automatic, and PLUS SPECIAL CUESTS R.E.M. knew this when it is missed. they recorded their new al­ all veiy pretty. bum, Automatic for the There is a haunting in­ I called the phone com­ THURSDAY OCTOBER 22 People, and they travelled strumental inspired by the pany the other day and to cities like Seattle, New boys’ wanderings in New was put on hold for at least A T TH E UCSB PUB five minutes. While I lis­ Orleans and Miami in an Orleans, called “New Or­ effort to find a new local leans Instrumental No. 1.” tened to the muzak, I kept DOORS OPEN A T 8 PM +$1«r.etwg. flavor that would inspire Another song, “Night­ thinking that R.E.M. had $7 ADVANCE STUDENTS/$10 CENERAL AT DOOR hit the heavy rotation. Lis­ the revolution in their swimming” leaves a nice PRODUCED BY ASSOCIATED STUDENTS PROCRAM BOARD S. CON- music that they all hoped taste in the mouth with a ten closely the next time for. really pretty orchestral ar­ you’re at your dentist’s of­ But the album sounds rangement by Led Zeppe­ fice. R.E.M. is all too likely like they just got tired from lin’s John Paul Jones, to be there too, and this whose work on this and will be as comforting as it all the travelling. There are is disconcerting. literally no fast songs on three other songs lends a quality tone. —Dan Hilldale SNEAK PREVIEW* this album. None. Not Hark, the Heralds! Babyland past is dead. Their music is a hybrid of to­ You Such Crap day’s technodance music and punk rock, Flipside Records with a much higher BPM, about 200 to be KflNDYMflP precise. FROM THE CHILLING IMAGINATION OF CLIVE BARKER #### Lyrically, Babyland advocates giving Imagine a peasant farmer with ox and the burden of labor to technology, while TICKETS WILL BE PASSED OUT plow manually tilling the Earth, while an humans take the tíme to, as the band puts FRIDAY AT NOON IN FRONT OF THE UCBJ unused 1993 John Deere diesel tiller sits it, “educate ourselves about who we are 2 TICKETS MAX PER PERSON W/VAUD REG. CARD in his equipment shed. He is fully aware and what we can do.” of the tiller in his shed, but refuses to use it “Well fuck you then, just stay HEATRE i/iO H ' because his family has done it with an ox away and stick to your past I and plow for centuries. want what’s to come and if it’s Does this scenario sound unrealistic to pain, I’ll face the shit head on. you? It shouldn’t. Our technology has gi­ Built to advance I’m not the L O O S E N U P ven us infinite ways of coping with survi­ same as yesterday. Why not de­ val, yet we haven’t nearly begun to apply cide instead of being forced with or develop the equivalent advances in our into an end. History is dead. value system— as a society our ethics are Learned what I could, I know I trapped in the past Like the farmer, we must move on.” humans are continuously denying prog­ The album is entitled You Suck Crap. ressive thought. Go out and steal it, or you could buy it. COMEDY NIGHT! Now imagine two boys, each under 21, Just make sure you add it to your CD col­ with an H.G. Welles mentality, compu­ lection. Listen to it, understand it, and ters, a punk-rock nihilist attitude and two don’t be afraid to tell the world that or­ Flipside releases which make more noise ganized religion sucks cock, and our soci­ than any human being has ever been cap­ ety is shit, because You Suck Crap has able of making before. opened your mind... and your ass has fol­ These two boys, hailing from Los lowed. Like no “good” Christian is with­ UCSB PUB Angeles and calling themselves Baby- out a damn Bible, you should not be with­ land, are indeed a real band, with real out You Suck Crap. filings to say. What they produce is not rock, because rock is of the past, and the —Vincent Baker TUES., OCT. 13 at 8pm PHAT TOP TEN AcOuStlcSH AcOuStlcS according to P.E.A.C.E. WED, OCT. 14 1. Kenny Dope, The Unreleased Project (TMT E.P.) 4-Qpm 2. D.J. Food Volume 3 (Ninja Tune LP) 3. Reel 2 Reel, The New Anthem (Strictly Rhythm 12") FREE UCSB PUB 4. Compton's Most Wanted, Hood Took Me Under (Epic 12") 5. Messiah, / Feel Love (Kickin' 12") 6. The Pharcyde, Ya Mama (Delicious Vinyl 12") 7. K-Solo, House Party (The Formula) (Atlantic 12") AcOuStlcSH AcOuStlcS 8. Various, International Pop Convention (K LP) 9. Cypress Hill, Latin Lingo (Remix) (Ruffhouse/Sony 12") - 1 0 . Various,* Disclosure/Veices o f Women (New Alliance CD) * > FOR MORE INFO CALL 893-3536 4A Thursday, October 8,1992 ARTSWEEK D aily N< Madame X Rim maker Ulrike Ottinger Brings the Berlin Underground to UCSB Having just finished her latest film, A. IF.* Your fiction films portray extraor­ Taiga — a documentary on nomads in dinary women in the role of protagonists Northern Mongolia and Siberia— Ulrike who go through transitions or metamor­ Ottinger, “queen of Berlin’s under­ phosis. Is this a formula that you ground,” is paying UCSB a visit over the employ? next two weeks as a regents’ guest lec­ Ottinger Films are made up of form and turer. In addition, a selection of her works content, and I take these aspects and — concoctions of romantic fairy tales, place them in the surroundings of history fantasy and the bizarre — will be and fantasy. I like to play with roles and screened. people’s expectations. If Artsweek Your films deal you want to find solutions, with transitions and "W om en had you need to play with all changes. What does this the possibilities offered. motif mean? broken For me, it means dynamic Ottinger It follows the characters who go through idea of travelling. There through the a series of situations. are different themes in my barriers* only A.Wj How do you come films, but what makes the up with your characters? Ulnke Ottinger films move is that the pro­ to set; up new Ottinger It’s difficult to things and incredible changes happened with funding for avant-garde films? tagonists always change. give you a short answer. If because of the women's movement, but at Ottinger: Unfortunately, film deals with a They travel and tell a story. firriitstbr you work with different the same time, some ridiculous things lot of money, and it's in the hands of bu­ I’m interested in move­ themselves." ideas and are interested in went on. So I took what I had learned ab­ sinessmen, not people who are interested ments and changes within many things, then you cre­ out women pirates and incorporated it in self-expression and art. Cinema is the cultures and 1 their] ideas. ate an entitv that combines with some of the unnecessary seriousness youngest of the arts and it is completely My last documentary, Taiga, is an eight all these things. For example, Madame X in the women’s movement. The idea was controlled by money. It’s a pity, because hour and 20 minute film of two peoples —“the pirate queen.” When I was ayoung to let women know it was important for in film you can do amazing tilings and who live as nomads in Northern Mongo­ girl, I liked the romantic pirate movies them to leave the seriousness of work be­ make such an impact on the public. It’s lia and Siberia. It’s about their travels and with Errol Flynn and Olivia de Havilland. hind every once and a while and to have such an adequate medium for our times, lifestyles and their relationship with the I did a lot of research on pirate queens adventures. It was an image of the wo­ when everyone is seduced by the screen. environment and animals around them. and found out that there were many in men’s movement that I wanted to see. It’s a shame that some filmmakers have In Johanna d’Arc of Mongolia you have China, Spain and France during the 16th Women had broken through the barriers, the opportunity to express themselves to European music and Yiddish music com­ century. When the women’s movement only to set up new limits for themselves. the public, yet are [forced] to make ing to the states and becoming influenced started in Germany (late 1930s), I tried to At the time, I received a lot of angry re­ money-maldng films. I don’t like produc­ by jazz to become a new form of music. do a comedy about it. A lot of wonderful sponse to the film. Feminists were abso­ ing my films alone, but it’s the only way to lutely against [it]. At the time it was re­ have creative freedom and do what I want leased, women’s newfound freedom was to do. too important and too new to make a A.Wj In the 1970s films that fell under comedy about. Now, it’s a cult movie of the categories of avant-garde or experi­ the feminist movement. mental made their way into the com­ A.W~ You bring up the idea of relation­ mercial industry. Nowadays, it’s almost ships between “minority and majority.” impossible for such films to get exposure This is evident especially in Freak Or­ in the mainstream market. Why is that? lando. How did you be­ Ottinger: Part of the an­ come interested with this swer is money. It also is a topic? "C inem a is result of tiie spectators. Ottinger: This topic has a They don’t want films that long history in art. It’s an the youngest educate and provoke ironic play on history to of the arts j thought as well as enter­ bring this topic into the tain. They are so accus­ present through the arena and is tomed to the sex and de­ of film. In art you have in­ struction that is supposed teresting constants. The completely to be pleasing in the com­ images remain the same, controlled ¿y mercial industry, they but throughout the times don’t know film can pro­ their meanings change. m oney." vide them with something Freak Orlando does this. more, so they demand [This ideal protagonist! more. not only travels through the centuries but A. Wj What is your next film going to be travels from one sex to another. about? A.W~ What interested you to work with Ottinger: The working title is Diamond freaks? Dance. It’s set in New York and is about Ottinger: I work with minorities who the different Jewish neighborhoods were repressed and persecuted in the dif­ [there]. It’s a fiction film. If I raise enough ferent centuries. I work a lot with con­ money, I hope to show it by the end of trasts and the tensions between differ­ next year. ences. It is made in Berlin, and in the Seven of Ms. Ottinger’s works will be background are the industrial landscapes screened during her stay at UCSB, from that have been there for hundreds of Oct 6th to Oct 17th, including a free years. It has a tension and connection screening of Madame X today at 8 p.m. with the protagonist. in Girvetz Theater. A.Wj Why is it so difficult to come up —Anita Minile

An article in last week's Artsweek included incorrect dates for the series, "Essential Viewing: Rims Directed by Women." The films will be screened in Campbell Hall on CORRECTION: Thursdays and Sundays at 8 p.m. through mid-November. Pa r a m o u n t P ictures P resents A P ercy IN/Iaiim/L egende P roduction A R idley S cott Fil m G erard D epardieu 1 4 92 :C onquest O f Paradise A r m a n d A ssante a n d S igourney W eaver mubyVangelis phot&oraVmv A d rian B iddle, b .s .c . producers IVla r c B o y m a n a n d R oselyne B osch

producer! M im i P olk S otela a n d Ia in S m it h w" ittî ï R oselyne B osch .«oouc.d R idle y S cott a n d A la in G o ld m a n D,",CTi? R idley S cott 1 ¥ l| DOLBY STEREO |‘ A PARAMOUNT COMMUNICATIONS COMPANY PG-i3|FMBm rnuxar ciuitiomd«» n, ft CCTYWOKT t« t «T KMMÉIOUgT HCTU— Al WOKT« —MWyip »—BBbBI—r>»l—iwbBMIbCMM— l*rllL SOUNDTRACK ALBUM AVAILABLE ON ■AST WEST RECORDS CASSETTES AND COMPACT DISCS fireaJtfsst with the Nexus: the perfect COMING OCTOBER 9 TO THEATRES EVERYWHERE ______way to start your day! ______e , y / a / v \ Presents... FREE MEMBERSHIP NUJT K \ LET CALVIN $1.00 OFF WITH ANY RENTAL %ih / N J » J the 6545 Pardall Rd. & HOBBES w/this comic ■ W a Isla Vista, CA 968-6059 By Bill Watterson void w/other offer y Daily Nexus / cm. n o t h in g , i w a s j u s r WHY OF COURSE WE CAN f '■Tift, classifieds THINKING, MAYBE, IF '(OU HAD THATS MORE IMPORTANT THAN THE TIME, YOU AND I COUU) THIS.' SURE, WHAT W0UU) speak for DO A FATHER-SON KIND OF , YOU U K E PROJECT. YOU KNOW, JUST f 1 0 D o ? youl THE TWO OF US. Storke -*T-rl Communications l*E3T\ Tower jJSf! P 7 V S \ Room 1 0 4 1 ■ cV • •• • »'s •••• . 8am - 5pm J m JütS Mrz\ ' Open for Lunch Daily Nexus ARTSWEEK Thursday, October 8,1992 5 A Interview Gregg Araki Fights the Politics of Film

uerrilla filmmaker Gregg Arakl’s third “no-budget” feature film is coming to town and has been Graising a rumpus on the way. Campy, Crude Araki, a 1982 UCSB grad who went to USC to leam the “right” way to make Visions of films and then proceeded to make de­ cidedly “wrong” ones for sums of money that studio productions spent on lens Road Romance cleaner, is now being heralded as one of an emerging group of openly gay film­ As “Fuck the World” is spray-painted makers (die most visible of which are Gus onto a wall in the first shot of The Living Van Zandt and Todd Haynes) referred to End, we begin to sense the kind of film as the New Queer Cinema. we will have to deal with. All this because his latest film, The Liv­ Gregg Araki’s latest and not-as-far- ing End, is a road movie whose two leads underground-as-usual film is not polite are HIV-positive gay men. How does he Hollywood consumer product It is feel about his sudden membership in the crude, angry and a bit surreal. It wears latest, hip thing? its politics on its sleeve and spends a lot Araki: I just love being lumped in with a of time complaining. bunch of fags, (laughs) You know, we’re Plotwise, two lonely people find each all friends, but it’s not like we sit in a room other in the LA. wasteland, fuck each and strategize the “New Queer Cinema.” other in a variety of places and point a ... It just so happens that we’re all very fiery, phallic pistol at each other and open and being gay is a very big part of our people who bug them. Just another road identity and it is very evident in our work. movie, except the two leads are gay men That’s what ties us together, not that who are HIV-positive. there’s any sort of “movement.” Araki tries to distance his film from Artsweek Does this perceived move­ the more traditional aesthetics of both ment help to get visibility for the films? Hollywood and the road genre, and a Araki: It does sort of mean that ink is Two men and a phallus: Craig Gilmore and Mike Dytri star in Gregg Araki's tension develops that is at least interest­ spilled, and other things are spilled, over ruckus-raising 'The Living End.' ing to watch. Dialogue and perfor­ the faces of the unsuspecting public. For mances are far from “realistic.” Random instance, “The Big Picture” on MTV is do­ scenes reek of camp, and a lot of time is spent on things that are apparently sup­ ing a thing on Queer Cinema. We were on porch and hold hands for five hours. A.Wj What is your interest in staying posed to be “neat;” kitschy toys, arty by ourselves before and now we’re on as I don’t know how, given the subject with your ultra-low-budget part of this Queer Cinema and every little matter, you could make a film that could productions? movie memorabilia and lots of “cool” music. bit of publicity will help. On the flip-side, be more optimistic, considering there is Araki: I wanted to explore the “freedom it’s a ghetto-izing thing. Personally, I no cure for AIDS. The film doesn’t have a of the underground.” When you make a Unfortunately, this “personal vision” don’t think of The Living End as a gay false optimism. That’s what I found so of­ film with very little money, you have the not only clashes with the mostly tradi­ film — not an AIDS film, certainly — al­ fensive about Longtime Companion—it freedom to ... take things to the limit or tional narrative, but undermines its ef­ though that’s how it’s being marketed to tries so hard to have a happy ending for past the limit to the point where they fectiveness. The film is based on a famil­ the demographic. I think The Living End such an incredibly gloomy story — I aren’t working anymore. But at least you iar Hollywood tale, an almost obvious has more to do with Repo Man than it found that really insulting and degrading have the freedom to take those kinds of blending of the buddy movie and the does with Torch Song Trilogy or Long­ for all concerned. risks. road romance. But the spectre of im- time Companion. A. WJ One of the scenes in your film that nding viral death and the outsider sta­ My criticism about 99.9% of all con­ tus of the gay community is what ener­ The Living End has that whole sort of has been getting a lot of flak is the temporary cinema, not just Hollywood, is passé punk-rock, anti-government thing. “Killer Lesbian Scene.” What were you gizes the genre; the “experimental” low- that there’s a certain pedestrian quality; budget touches become distractions in Ifs reâlly a romantic film that is essen­ thinking? not pushing too hard, just trying to make tially about this relationship; the doomed Araki: I feel very much the same about the their QuestTo Be Weird (which is why it a good movie. It's more interesting for me is perceived as a “gay” film, rather than a lovers in a hostile universe. I think it has lesbians in my film as I do about the Basic to take chances than not, even if things go Instinct killer lesbians. I don’t think Godardian road movie with gay more to do with being alienated and dis­ too far, even if people go, “This is weird. I characters). enfranchised than it has to do with stan­ (those) killer lesbians are necessarily that don’t know if I like this. This is not profes­ dard gay politics. bad, because they’re not stereotypical. If Araki’s vision of weird is one you sional filmmaking,” or whatever. happen to like, then all the better; if not, The film really divides gay audiences. It They’re these sexy, beautiful women who I’m not trying to make films to appeal tends to be younger, more pissed-off gays are m control of the situation, unlike the to anyone, which is sort of a problem.... just be willing to overlook it. Because who are really into it, whereas, older, typical sexist Hollywood movie where the The film is being marketed to West Holly­ even when the movie falls flat, it’s still an stonewall-type homosexuals who object victims are always women.... There’s this wood homos who just don’t get it. They ronest alternative to the color-by- to being called “queers” find the film too certain faction that has been turned on to don’t know who Godard is and they don’t numbers design of standard Hollywood whatever — too dark or angry or impro­ this whole “killer lesbians are bad les­ give a shit. They’re coming from A League product. per or impolite. bians” thing.... The lesbian characters (in of Their Own, you know? So naturally The Living End opens Friday at the I think it’s a lot more optimistic than The Living End) are cartoonish, but all they’re going to be a little disconcerted by Victoria S t Theatre Call 965-1886 for Bonnie and Clyde or Badlands, or any the supporting characters are portrayed things in the film. Which is fine, you info. others of the genre from which it sprang. I in this garish, over-the-top, cartoonish know. It’s not my problem. —Alex Maclnnis think the film ends on a very ambivalent way. —Alex Maclnnis note, but ultimately it’s very romantic. It I understand all the good that groups, has this corny sentiment that, at the end like GLAD, are doing to raise awareness, of the day all the characters have is each but there is a tendency for these people to other in this world of shit. not look at things in a veiy complex way. I think it’s a really good queer date mo­ And I think they need to apply a different vie — I love the idea that these little queer sort of philosophy toward a film like The boys are on their first date and they go to Living End — which is obviously an al­ see The Living End — gives them some­ ternative art film, reaching a certain audi­ thing to talk about after they go home and ence with a certain education level — Santa Barbara Bowl have their safe sex or after they sit on the than they do toward “Roseanne.”

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Great çHjbèià|(; comic books Ì% SATURDAY 7 2 P M & a huge sci-fi seiecteit " also appearing at the THE BLACK CROWES SUN OCT 25 SANTA BARBARA BOWL TRAVIS TRITT THU NOV 5

including The Compact Disc and Tape Store (Goleta), 5756 Calle Real • 967-8980 Mornmgiory Music (I.V.) and the Santa Barbara Bowl box office. I (1/2 mile south of Falrvlew) HOURS: Mon-Sat 10AM-8pu/Sun i 1am-7pm To charge by phone call (805) 583-8700. 6 À Thursday, October 8,1992 ARTSWEEK Daily Nexus

film reviews 'Mice' Takes You for a Ride It doesn’t have a cast of thousands, and all of its scenes vich’s portrayal has a dignity that makes his lovable but take place in the same farm area, so it is easy to call Of frightening Lenny believable and human. Malkovich Mice and Men a beautiful little film. But it also is a pow­ gives the character physical strength which is as deep as erfully moving, warm and genuine portrayal of the epic his capacity for love — Lenny literally crushes creatures novel by John Steinbeck. to death with affection. Even if you’ve read the book more than once, this film Sinise himself plays the part of Charlie, a solid force version is fresh and worthwhile. Each scene’s literary de­ amidst a sea of decrepit farm hands who are going no­ scription seems to leap off the page and onto the screen where in life. With one exception—Candy (Ray “My Fa­ in a flawlessly lyrical way. vorite Martian” Walston) is an aging ranch hand with a The screenplay was written with the permission and lame arm who wants to start a farm with Lenny and guidance of Steinbeck’s widow, who was often present Charlie. on the set. Her input gave director Gary Sinise the sense (Of course, this is Steinbeck, so Kleenex may well that this film would be true to Steinbeck’s vision, and come in handy. A scene involving Candy and his old ca­ sure enough the film matches the novel’s depth and nine friend evokes sniffles and, in many cases, streams of intensity. tears.) Sinise’s direction is subtle and tight, and he gives each The overall look of the film is rich and golden. Each Two 12” character rare dignity, never exploiting them for their scene’s color reflects its emotional tone — the good Cheese Pizzas lack of intelligence or pitiful qualities. He and star John times have a warm glow and the bad times are revealed for only Malkovich have a strong working relationship, and ap­ through the stark contrasting of lightness and darkness. $ Q 9 9 parently Sinise felt that Malkovich would be perfect for 17 +tax the main role. He was right — Malkovich’s portrayal of Basically, there is nothing wrong with this film. It’s P I Z Z A Additional 'Toppings Extra the mentally handicapped Lenny is worth the price of like good sex — it flows along at an even pace, climaxes presents . . . with this ad admission. when it should and delivers a memorable product. This Compared with the 1939 version, where Lon Chaney version of the Steinbeck classic is a classic in itself. THE FAR SIDE By GARY LARSON Jr. played Lenny with a goofy, dumb expression, Malko- —Allison Dunn 'Magnum, P.l.' - The Movie OK, let’s just get this out aging ball player who goes to win the pennant. P.I.” episode. The mana­ of the way nght now: Until to Japan to revive his ca­ Then, of course, there is ger of the Dragons base­ the day he dies, no matter reer and experiences cul­ the obligatory love- ball team is even a Japan­ what he does between ture shock in the mysteri­ interest between Selleck ese version of Higgins. So 8. now and then, Tom Sel- ous East by playing for the and a Japanese woman. if you liked "Magnum,” go e check out a matinee of Mr. a leck is going to be remem­ Dragons baseball team. And, of course, the wo­ 3 bered by the civilized There are few surprises man’s parents are shocked Baseball. It’s a great way 8 world as Thomas Mag­ in the plot: Ball player is in at her cavorting with a to kill an afternoon, espe­ 8 num, Private Investigator, a slump in the States, gaijinl cially if you should be o and there’s not a damn drinking and womanizing As mentioned earlier, studying for that English thing you, me or my dead far too much so he gets the plot is nothing to write test grandma can do to about shipped off to the land of home about. Selleck’s per­ But if you thought Mag­ it. the rising sun. Ball player formance is the only thing num was just silly Ha­ That should tell you if is at first bitter and patro­ that makes this movie rise waiian fluff that should you’ll like Mr. Baseball or nizing to his Japanese above the trough of me­ have quietly faded into the not. “Magnum” fans will teammates and fans but ul­ diocrity. ’ land of residuals, then you love it timately reaches a com­ Ultimately the best would be better off crack­ Selleck seems to have mon understanding with compliment, and worst in­ ing open that tattered and Years later, Harold Zimmerman, the original dog-eared copy of “Hookhand” of campfire ghost stories, tells his mastered the art of laid- them as all share a com­ sult, you can give this mo­ grandchildren the Tale of the Two Evil Teen-agers. back comedy. He is clearly mon epiphany in defeating vie is that it would have Canterbury Tales. in his element here as the the defending champions mqde a great “Magnum, —Jay Bennert

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W o i k x t s u II Daily Nexus ARTSWEEK Thursday, October 8,1992 7 A PAD POLfTICAL ADVERTISEMENT COLMAN For Park Board Paid for by Colman for Park Board CASH MID FOR USED COMPACT DISCS! • Highest prices paid! • Well give you instant cash! • You!! get unlimited 70% discou n ts forever! • Large collection? We'll come to you! morningjoryì> I Color and Overwhelming Jazz "W e'll R e c y c le Your M u sic" Downtown *1218 State Street * 966-0266 Occupying a small space with a large sound, Over­ Six-time Grammy winning jazz guitarist Pat Isla Vista • 910 Embarcadero del Norte * 968-4665 whelming Colorfast often sounds like a plump boy Metheny will be appearing at the Arlington Theater on squeezing into a pair of too-small dungarees. It’s tight Monday, Oct. 12. The show comes on the heels of his — but when it feels good, it feels good — and when it recently released Secret Stories which, among other comes to running, it's a little stiff and let’s rest, here’s a things, features the choir of the Cambodian Royal Twinkie. Palace. These boys are from Frisco and rightly so, as they Metheny, recognized for his unruly shock of black sound like a band that comes out of some great port hair as much as his wild musical experimentation, will should. So much trade, so much free enterprise; is it be appearing with a special nine-piece band. And if it surprising that they are so vastly influenced by so many isn’t the Cambodian choir, most likely he’ll have Thursday, Oct. 8 Los Guys 9-12pm bands? Break down: Husker Du, Soul Asylum, Nir­ sampled those sounds on a computer disc that will vana, Teenage Fanclub, Beatles. Overwhelming Color- hook up to his guitar. Friday, Oct. 9 John Lyle 9*12pm fast is not as good as any of these bands, but you’ll like Either way, the show promises to be a mind-bending ’em more than you like Soul Asylum, because Soul Asy­ journey to the Wild Side of American jazz, Argentinean Saturday, Oct. 10 Bill Femberg 9-12pm lum stinks even though they’re really good. Check ’em and Japanese instrumentation and Cambodian-style out Their first record, called Overwhelming Color- blues with Metheny as the Willy Wonka tour-guide of it Sunday, Oct. 11 Late Night Happy Hour fast, just came out. It’s good. It’s produced by Butch all. “Nirvana” Vig. Metheny has been making music for almost 20 years Monday, Oct. 12 Monday Night Football BBQ This band will be coming to the Anaconda Theater now, and is constantly reinventing jazz guitar sounds here in town to open for perennial lunkheads, The Ra- through computers and other electronics—paying no Tuesday, Oct. 13 Glynn Lockwood 9-12pm mones, next Monday. What they have in common with heed to rhythmic ormusical standards. He adds a new The Ramones is both bands will be playing at the Ana­ face to his music with almost every piece he writes, and Wednesday, Oct. 14 Marv Green 9-12pm conda Theater next Monday. You should see it, if that’s this time around will be a testimony to the boundaries the kind of thing you’re into. he breaks. f6030dHolliste< Kickin' it! * 964«52T T : 1 Leading modem dance choreographer Bebe Miller and her troupe will bring two unconventional dance performances to campus this week: ”The Hendrix Project, " a riveting ensemble piece performed to the Tired of the guitar work of master Jimi Hendrix, and "The Memory Project, ” Miller's : Same Old Thing? latest work, in which dancers move through different moods set through visual design and lighting. The Bebe TRY THIS... Miller Company will perform on Oct. 13 and 14 in Campbell Hall at 8 p.m. ! optHboWL i At orchid boWL The Daily Nexus is Lanes available bte night & all weekend long! currently seeking m K applicants for the P# 0L position of asistant THE CONTACT : plu s ... arts editor. What this CONCERT means, essentially, is SPORT \ ROCK N'fteW L we're looking for o f someone who knows Every Thursday - 9:30 pm-_Midnight how to think and write OF THE 90’$ about everything from CD6A.N and • with Great Rock & Roll to Tournament size tables All uni (,v> Bowl $10/pci son Georges Rouault Oh, Professional Cues yes, we know you're VOCAL music lPh Beers A Domino’s Pi//,} Specials out there, and that Snooker Table W in Tm h'S A CDs from Comp.n1 Disc A T.ipe Store you've been waiting for just this VIDEOS PLUS... opportunity to start ANN LEATHERMAN FR S COUNTRY WESTERN showing the newspaper-reading Organist world what Rolling in the Galleon Room * Stone just won't give M E L F O S T E R 2 Thursdays 7 M - &30 pm & Saturdays 730 - 9fl0 pm us anymore. Got some Baritone ■ Live Musk Thin, Fri, Sat • No Cover ideas about theater 1128 Chapala reviews, about the ■ PLUS... campus art scene, 966-0915 SUNDAY, OCTOBER 11 about how to crack plaster with a 3:30 RM. I KARAOKE 500-watt bass amp? I W EDIiESDAYS Give us a call. Ask for First Chinch of Christ, Scientist Bonnie Bills, Artsweek ■ 8:00 -11:00 pm with editor. Tell her you're 120 East Valerio Street, Santa Barbara her woman, or ■ Sing your favorite songs and win CDs, Tapes, and More! ' B IG 1 " Happy HalfHour 8-830 • $1 Draft Beers/$2 WeK Drinks w h atever you are. Everyone is Welcome Come on, you know ■ ■ - you're good. for . Admission is Free I ORCHIDBOWL=& 893-2691 m 5925 Calle Red • Hwy 101 at Fakvtav, in Goleta • 9(7-0128 eeriiläg Cef, Ü « ■ * Must be 21 & over lor Galleon Room events. _ Jin » j u l mu jl r jc j.il* jlh j u i b j u j u l i jl « a jl p .*’ 8 A Thursday, October 8,1992 Daily Nexus

KSVfta B u l l

ill We’re cooking up a feast...... for you to READ about! In the Daily Nexus on Friday!

Friday brings us the Weekend Connection - that scrumptious supplement (in the Daily Nexus) that tells you what’s cooking in town!

It’s your big chance to revel in reading about delicious dining, moving movies, delightful dancing, naughty nightclubbing, and whatever else Isla Vista and environs has to offer the person-with-a-bit-of-time-on-his/her-hands- and-wants-a bit-of-fun!

Read it and weep - over the savory smell of fried onions - so pungently brought to life by our devoted wordsmiths.

Read it and cheer - moved by such prose (and pictures) to new heights of joy! Can life really be like this? Yes!

Don’t miss it! We’re cooking up a feast We just might even have just for you! It’s in the Nexus— Friday! seme dessert for you!

The Weekend Connection— every other Friday— in the Daily Nexus! Coming October 9!