The Arts and Entertainment Supplement to the Daily Nexus, For

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doing something like that, like doing something through, if you get caught caught get you if through, gone bill justice criminal it. be lucky to get away with away get to lucky be to got You’ve it. in people to have a license many that have might you someone, strictly organized.... Even Even organized.... strictly if you hire the place off of of off place not the hire if you it’s where parties it’s it, with away get you uk, ih underground with lucky, your­ setting really you’re self up for trouble, and if if and trouble, for up self isn’t England, in on going erything board, well above ev­ Unless do you there.... there’s loads of rubbish rubbish of loads there’s Are you used to that kind that to used you Are n England. in culture f dance o rent state cur­ the Discuss f thing? o nute due to pressure from pressure to due nute h plc department. police the Especially now the now with Especially Paul Hartnoll: Hartnoll: Paul Oh, Oh,

2A Thursday, December 1,1994 Daily Nexus ^ MEME CACOM James right to release an experi­ purchasing this album: a present themselves upon Wah Wah mental, aberrant album, colorful, well-textured as­ listening to any other new Mercury following such alternative sortment of pop songs, alternative release. This pop successes as Gold finely produced lullabies, one’s different, my friends. James, a seven-member Mother, Seven and Laid. thought-provoking politi­ My suggestion is to spin rock clan, has been mak­ The new release is called cal lyrics and MTV-esque the disc in an elegantly lit ing music for well over a Wah Wah, out on Mer­ song structures. room, with the sole agenda decade now. These Man­ cury in the United States. However, one may ex­ of listening to the sounds cunian (from Manchester, Let me issue a warning perience a variety of senti­ and voices of Wah Wah, England) veterans have to the James audience, of ments, reactions and mind and the mere pleasure of earned their fame and the what not to expect when revelations which do not meditating to Tim Booth’s soothing voice. Let the un­ pop music take you under to experience how open LUSCIOUS your mind can get to ac­ cepting unique melodies and rhythms. Just as Wah Wah is raw, intentionally Luscious Jackson unfinished and uncut, it In Search of Manny leaps into flames of inse­ Grand Royal parable intimacy, concent­ ration and potency. Luscious Jackson’s It is impossible to write music has a flavor all its a review on particular own, a flavor that songs because the album screams of their native blends its tracks into each New York, a flavor uns­ other, and rightly so. Some ducer Brian Eno recorded wayed by the tired rap Laid. The bold production tracks may pose you with Wah Wah raw, and so did and rock standards. strategies have Eno writ­ an unhurdlable disso­ not rerecord any of the 1992’s In Search of ten all over them. And nance. There is a high tracks. It was compiled M anny brought Lu­ Wah Wah has 23 tracks — quality of cacophony to from a set of spontaneous scious Jackson consider­ over 68 minutes full of some of the tracks. In the recordings which were able respect as a versatile mind-blistering, ear­ same light, it is important done in an adjacent studio band with a unique blanketing music. to note that James and pro- during the recording of knack for songwriting. —Radha Patel In Search of Manny boasted a bass-heavy sampling of obscure '70s funk records, along with RESH live drums, singing, gui­ tar, bass, keyboards and, player, emotionally im­ album’s first single, of course, MC’s. mature and unable to “Citysong,” is strictly a As the firsthand with a face responsibility. Ag­ hip-hop record with pri­ ONCERT W orld release on Beastie Boy gressively feminist, Lu­ marily rapping, scream­ Something real is hap­ — the place has the feel of songs on blue marbled M ike D ’s infam ous scious Jackson takes a ing horns and a rolling pening in Goleta. Since a collective. While the club vinyl. Phooey, Schlong, Grand Royal Records — serious approach to their bassline. “Citysong,” the middle of last year, exists as a substance-free Crack and a fourth band even before Check Your music with topics like along with Luscious there’s been a local con­ entertainment alternative will be playing Anarchy Head — Luscious Jack- physical abuse, sexual Jackson’s overall feel, cert venue that’s heartfelt, for the local high schools, Under the Sea, the cross­ son endures countless pride and fighting male pays tribute to New exciting and honest. Not it’s been snowballing as dressing prom, on Dec. 17. comparisons to the Beas­ apathy. Their lyrics don’t York’s rich culture and surprisingly, UCSB can’t the only place in this area tie Boys and have even shy away from being dangerous streets. The Living Room has take the credit. Located at where you’re going to see a shows pretty much every been referred to as the tough or abrasive: “I’m What’s best about Lu­ 7190 Hollister, if used to certain niche of indepen­ “girl Beastie Boys.” the cold reminder of de­ scious Jackson is that weekend. And they’re a lot be a union hall. It used to dent live music. of fun. For details, call the However, Luscious Jack- feat, I’ll be there when they’re playing at UCSB be called the UFCW. I Bands on tour play son definitely has its own you wake up next week, in the UCen tomorrow hotline at 564-0130. Real­ think they’re now calling it there, like Shove, Catfood, ity Control’s address is sound, which runs the I’ll be there when you night. The second, or the Living Room. Hush Harbor, Witchypoo, 5970 Birch, #2, Carpin- border halfway between freak the next freak.” possibly third, best thing The club’s atmosphere Heavens to Betsy and an hip-hop and indie rock With their new album, about them is that the teria, CA 93013. is very distinctive and un­ unadvertised Canadian —Kevin Carhart (even though they’re Natural Ingredients, show is only $5 for stu­ ique. All ages are admitted. pop group called Gob, to now on Capitol/Grand Luscious Jackson re­ dents, a bargain if there No alcohol is served or name just a few. Royal). turns with a deep, heavy ever was one. I’ll see you permitted. There’s a defi­ There’s also a layer of 4 Manny refers to the sound, recalling vintage there. nite politics in the air. The relatively “local” bands o jirchet^ge^of^^he^male st^lesfroniti^TOs/Tlie —Noah Blumberg admission prices are low that come and go and in­ terchange members and o return in new incarna­ FREE MEMBERSHIP tions. Sparker, Young EMERALD VIDEO présents... with major credit card Pioneers and the late, 6545 Pardall Rd. CALVIN & H O B B E S great Vulvalution have $1.00 OFF ANY RENTAL gone by the wayside. But > isla VÎSta, CA 968-6059 By Bill Watterson with this comic (void with other offer) Ventura’s Phooey is thriv­ ing (and Dan Silver too). Phooey has a new seven-inch single out on Reality Control? Records. The packaging and tweaked layouts are amaz­ ing — they seem to have cut up their old Booster Gold comic books to stick inside the sleeves. Herve Villechaize, cartoons, Da­ vid Letterman and random pop art are all inside in a massive book, along with four strange, appealing Créât Classics

And Today's Best New Rock 'n Roll Daily Nexus Thursday, December 1,1994 3 A

Associated Students PROGRAM BOARD Digable Planets Blowout Comb presents Pendulum/EMI

Blowout comb. The blowout comb was an essential tool of the African-American community in years gone by — used to pick out and shape our naturals, in celeb­ ration of the unique kinkiness of the locks which grow on our heads. And in defiance to the limiting definition of beauty and style prescribed to us from above by chauvinistic Western culture, it was these picks, whether with a raised clenched Black fist on the top, or with the extra-long “cake cutter” handle which thing from women’s reproductive rights hung out the back of your pocket, which to Marxist theoiy were expounded upon became a living symbol of the African re­ beneath the backdrop of urban New naissance in America. Physically as well York. On Blowout Comb, the intellec­ as culturally and politically, the dominant tual discussions of today’s society are still American/European culture took a back there, with the primary focus on the liber­ seat to the very real motto of “Black is ation of Black Folk from the clutches of Beautiful.” American capitalist greed. This is why I feel that the image of the blowout comb is regaining its past signifi­ Throughout the 13 tracks on the al­ cance in the midst of our current cultural bum, this central theme is manifested as renaissance, which can be seen in the re­ the trio lyrically pays homage to various placement of styles such as the Jheri curl heroes and martyrs dedicated to African with the natural beauty of dreads and liberation within America, as on “Jettin,” fros, where the political conservatism and and stresses the necessity for unity and racial hypocrisy from the powers-that-be social cooperation among Black people is being met with open physical and men­ in order to achieve liberation, on “Dial 7” tal rebellion, and where the artistic musi­ and “Black Ego.” They pay homage to cal expression of hip-hop continues to Black music, culture and especially their thrive with social relevance despite unre­ home of Brooklyn, NYC, on “Borough lenting external and internal threats to its Check,” featuring Guru; “Graffiti,” with survival. Jeru; and “9th Wonder.” Helping define this new era in the mus­ With Blowout Comb, I feel the Digable ical vanguard is the Brooklyn trio Digable Planets have proven not only that the bril­ Planets, with their long-awaited second liance of their first album was not a fluke Featuring Special Guest album, Blowout Comb. (nor was it dependent on their commer­ To say that this album is dope would be cial success), but they have demonstrated an understatement; here, the Digables, that they are not afraid to grow artisti­ consisting of Brothers Doodlebug and cally, despite the many pressures which BEN H A RPER Butterfly, along with Sister Ladybug, pick often befell a successful debut LP. up brilliantly from where they left off on I am curious to see if this album re­ KjEE 92.9 their debut effort, Reachin’— musically, ceives as many accolades from the main­ Fri. Dec. 2 lyrically and politically. As with their stream and alternative liberal and yuppie NOW ON SALE Grammy-winning first album, the pro­ types who attempted and failed to sepa­ in the UCEN duction is very tight and heavily jazz- rate the Digables from the undeiground Only $5 for Students! based, reflecting the continuity of African revolutionaiy ideals of hip-hop music musical expression in America through­ and culture, where they have always be­ out the generations. But it is the lyrical longed. Hopefully not, but if so, the Dig­ content and expression within the album able Planets can rest assured that they which makes Blowout Comb a magnifi­ have released a classic and the message cently fat LP. brought forth within its contents will be In Reachin', we were first invited into received by those it was designed for. All the universe of Digable Planets, where a power to the people and seize the time, dynamic range of progressive-minded baby. Peace. topics were discussed lyrically. Every­ —Fruzz FEEL SHOD MUSK Pfi'SH ®A / $ave $$$/ \ t V * F ? P Skadanks Give Thanks Elektra Buy early/ \ Everyone has a few designated albums that they can throw on and instanta­ Good seats J' J F ^ neously be transported to some place where everything is all right— music that \ s t i i i o n ^ clears your thoughts of whatever happens to be the problem and uplifts you. Music that magically puts everything in perspec­ tive. For dancehall reggae lovers, Give Thanks by Skadanks has potential to be­ come one of those albums. Ktytm?ju/jm sjo/va/a J a ^ Skadanks’ strength lies within their full and forceful sound. The music is driven by a heavy bassline and drum track which motivates the listener to move to the "Pass the Herb.” This is a result of the silly TUESDAY, DECEMBER 6 rhythm. It’s the type of music you just and repetitive changing of “Pass me the can’t help but get into as you listen to it. herb, and I’ll bum the herb” in the chorus. You just want to play it loud and groove Additionally, the music on this track to it. The rhythm is complimented by the seems out of place when compared with UCSB EVENTS CENTER strong voice and Jamaican accent of sin­ the tone set by the others — a little too ger Rocker-T. hip-hop for this album. Although it is un­ The lyrics on Give Thanks are not fortunate that this is the first track on the ON SALE AT THE A.S. TICKET OFFICE deep or very substantial in any way. What album, reserve judgment, because this Thanks does provide is a unique example one gets much better. AND AT ALL LOCATIONS of straightforward, not-a-care-in-the- The highlights of Thanks come in the world, feel-good music. It grabs ahold of song “Rock And Come On.” Complete $16.50/Student Adv. $18/Gen. Adv. you and elevates you to a higher ground, with loud and strong horns, this is every­ leaving you there to relish in this musical thing a song should be. It epitomizes the $20/Door bliss. Rocker-T’s chatting blends, sound ana feel of Skadanks. Give together with the music, add to this Thanks is an album that will be a wel­ Tickets are on sale at the A.S. Ticket Office, feeling. come addition to the collection of anyone in the University Center There is only one track on Thanks — who ever needs a little pick-me-up, and itself a solid song — which does not be­ hey, who doesn’t? To charge by phone: 893-2064 long on this album. The track is titled —Michael Abramson CALL the PROGRAM BOARD HOTLINE for more info.

r r 4A Thursday, December 1,1994 Daily Nexus Star Trek: Gettiti’Back to the Nexus

Where do you go if you foray for the cast and crew crew of the Enterprise D what emotion he would need help saving the uni­ into the elaborate and ver­ have to deal with one of have next. The only prob­ verse and the only one satile world of the silver the survivors that Kirk lem, once again, is that if who can help you is Cap­ screen. But for anyone saved. He blows up stars in you have no idea who tain James T. Kirk? who sees the movie with­ an effort to get back to the Data is, then what do you Why, to the Nexus, of out that background, it be­ Nexus. I know a few peo­ care if he has emotions or course. comes a meaningless ple like that. not? Star Trek: Genera­ group of subplots that are The action in the film is The rest of the film is in­ tions, the seventh Star impossible to comprehend fairly fast-paced — after it teresting but not quite as Trek film, has been re­ or appreciate. ended, I was left wonder­ fun. After months of wait­ leased as a joining together The story revolves ar­ ing if it was really done. ing for the epic meeting of of the two casts of the po­ ound a random energy The person who really ste­ the two captains of the En- . pular TV shows. Although phenomenon called the als the whole show, in my terprise, I must confess I it is the most recent addi­ Nexus. The new captain of opinion, is Brent Spiner, was a little disappointed. tion to the series of Star the brand-new Enterprise who plays the android During the course of the Trek films, the actors and B receives a distress signal Data. After so many years film, Picard eventually producers have tried to from some ships caught in of watching Data as a cold, finds himself thrust into stress the fact that Gener­ this thing, while Captain emotionless machine who the Nexus, while an entire ations should stand apart Kirk and his companions always yearned for more, galaxy is destroyed behind from the previous six Star are taking a tour. Kirk it’s a real treat to watch him. Never one to accept Trek films. Captain Kirk doesn’t need much prod­ Spiner go to town with the his fate, he searches for (William Shatner), Che- ding to step in and try to character when the deci­ help and finds James Kirk. kov (Walter Koenig) and save the passengers, only sion is made to place a po­ Seems that he’s been stuck Scotty (James Doohan) to find that they like it in tentially dangerous emo­ in the Nexus and out of make sparse appearances, the Nexus. (Who tion chip in his brain. Data time since the 23rd cen­ while the rest of the film is wouldn’t?) But problems then flies from fits of un­ tury. Picard eventually but can be appreciated, if occupied by Next Genera­ worth the wait, despite its ensue as Kirk is blasted by controllable laughter to convinces Kirk to help for nothing else than for problems. tion stars. part of the energy ribbon unbridled fear as he tries to save the universe, to which the special effects done by For those who have At the very least, it’s and dies. ... Or does he? get his new feelings under Kirk replies, “Sounds like Industrial Light and Magic worth it to go just to hear watched the Next Gener­ Added to this are control. Throughout the fun!” and off they go. — they’re spectacular. ation series for the past se­ all those good “Nexus” further complications, as film, I found myself wait­ For those who know And for those who are lines. ven years, the film is an in­ Captain Jean-Luc Picard ing for his entrance in the nothing about Star Trek, hardcore Trekkies like me, teresting and exciting (Patrick Stewart) and the next scene so I could see the film will be confusing, the film is fun to watch and —Matt Nelson

A DEATHfloor for a little nap. Ion­INcreated THE by Berenger’s of evilSOCIETY in society and to the The Dramatic Art Dept, from the grave has erupted the blind citizen, Ryan here at UCSB has again in the Studio Theatre. esco thrusts us into Beren­ world. flaws inherent in these Hoover convinces you pulled oft a perfectly timed Eugene Ionesco would be ger’s dreams and gives us The play climaxes in a solutions. completely that his char­ production. Just when proud. Ionesco died ear­ his own Wonderland- stunning monologue by What really makes this acter’s sickness isn’t just in America is reaching a new lier this year, but his play gone-industrial world Berenger to the entire cast, production take off is the the body but in the mind peak in its fervor over The Killer has been taken where Berenger, like who in their role as the players. Ionesco’s play and soul. Andrea Wat­ crime, and no one dares up by the Dramatic Art Alice, seems the only society laugh and toy until writing is a very cerebral son’s direction, which is utter a word against the Dept and given new life. source of logic. He wan­ Berenger as he grows more form that seems to favor embellished with shadowy more and more expensive The Killer opens with ders through this dream furious. Finally, he collap­ deep thought more than choruses and imaginative measures being taken by the main character, Mr. state, encountering a stoic ses to the ground and action. Thus, it is up to the umbrella choreography, our government, a voice Berenger, settling in on the architect/police chief who wakes from his dream; but cast to fill the audience in compliments the surreal tells him the strange story the theme holds true for on what is physically going style of Ionesco’s play. of “the killer.” With a the waking world just as on. Turning in his best per­ This production of The modus operandi more strongly. formance yet is lead Kevin Killer supremely balances complicated than a space Ionesco’s ideas in The Murphy. He combines the ideas of Ionesco in an shuttle launch, the killer K iller could not have perfect amounts of logic entertaining and visually stalks the people of Beren­ come at a more appropri­ and slapstick to create a interesting production. ger’s town with a ruthless, ate time. America is cur­ believable protagonist in —Davin McHenry arbitrary thirst rently obsessed with the Ionesco’s whirling mad­ The rest of the play de­ idea of eradicating crime ness. Murphy explores ev­ tails Berenger’s -frantic through any means neces­ ery range of emotion, from The Killer plays running about in his desp­ sary, whether it be educa­ madly wrestling with John erate attempt to catch the tion, incarceration or le­ Mediero’s comic drunk to December 3rd at killer. Berenger battles gislation — three strikes an intense nail-biting soli­ 2 p.m. and again against the illogic of his and you’re out. If we look loquy under blaring lights. dream world, where killers around today, our country Estefanie Ruiz is im­ at 8 p.m. For are not lone citizens, but is filling up rapidly with pressive in the complex part of the society. Beren­ prisons and jails, and the role of the architect/police further info, call ger’s struggles to capture costs are skyrocketing. chief, but seemed in over tiie killer, in the end, are Ionesco calls out to us to her head at times with the the box office at futile, as the killer is not a take a long look at our character’s multiple 893-3535. person but a collective evil “solutions” to the problem moods. As the picture of

Portishead without its gritty realism— ciously forlorn strains of They sample balladeer Dummy boombox beats, hip-hop “Sour Times,” and that Johnnie Ray’s “I'll Never On Go Beat Records scratching, rasta rhythm, voice intoning, “Nobody Fall in Love Again” for a soul food samples. But it loves me ... it’s true ... not truly strange effect on There is a new sound floats in darkness, the way like you do ...” like Billie “Biscuit,” one of the al­ now, out of England. It is a projector beam captures Holliday’s finest moment bum’s most chilling, gor­ the sound of the city. Peo­ motes of dust floating in in her worst hour. geously gloomy moments. ple are writing songs about the air in a darkened, And there’s more. Like Beth’s voice can go soft all the love and all the stuffy cinema. It is the film “Strangers,” which sam­ and warm, brass and jazzy, hatred of London, trying noir music of England’s ples Weather Report’s or deeply forlorn. She is to capture the bustle and streets. “Elegant People” for a the flesh to their bare- clatter of the streets, trying Or, to be exact, the cool, jazzy effect. It’ll bones approach. to mix the idealized vision streets of Bristol, England, make you feel like a true Portishead can do up­ of the cool city with the for Bristol, it seems, is swinger. And the supple, beat funk pop, if you like, boiling realism of the over­ where this cool, atmo­ soulful voice is the sound too. Check out “Numb” or crowded, underfed, multi­ spheric stuff is hailing of a true jazz/funk diva. It “It Could Be Sweet.” This down. It’s so mournful it out in palatable parcels cultural tenements that from. Bands like Massive belongs to Beth Gibbons, could almost be fodder for could almost draw a tear if that make it easier to con­ England's cities have Attack and Tricky have an unassuming English the “adult contemporaiy” it wasn’t for that cool, at­ sume, but no less easy to become. been doing it for a few woman who sang folk charts if the music wasn’t mospheric Portishead understand. Dummy is an Some bands, like years now. But it looks as songs and ballads in a so damn precise and cool. funk. intriguing album that may Moonshake, are succeed­ if Portishead, who took local café before joining But that’s what this band But this is not a bad take some getting used to. ing in doing just that. their name from their up with soundsmith Geoff does best — cool. “Wan­ thing. The sounds on this As it aspires to, the music Others seem to have a way hometown — a small burg Barrow and guitarist/ dering Star” is their per­ record will move you. Por­ forgoes the teeming exter­ of painting it in shades of in Bristol — are the ones bassist Adrian Utley, who fect, dark, glassy dream — tishead knows its city, and nals and goes straight for blue, capturing an atmo­ who will take it to the manipulate the samples, even with an ultra-funky the strange joys and com­ the cold, red, beating heart sphere, as if on film, and masses. rhythms and textures that sample of War’s “Magic plete despair that can ac­ of the city. Portishead putting it down on tape. We’ve already been ex­ move precisely through a Mountain” added for ef­ company living in. it. found it That atmosphere is not posed. to .the groovali- Portishead song. fect. “Roads” is purely They’ve measured them —Miz E. Daily Nexus Thursday, December 1,1994 5 A INTERVIEW BY MONTY LUKE

Continued from p.lA introduction of this, those cause of overpopulation. minded o f a m osaic.... It you were getting unadul­ because we’re twiddling you’re a criminal.... people who oiganize it are Phil: No it doesn’t! It’s seems as though each terated music from the knobs and pushing AW: Do you want to now criminals, whereas got nothing to do with.... track starts with a small people to the people. It buttons. talk a little more about before they weren’t AW. Well, I think it’s a piece and eventually does happen with white But the element of the that? really.... bit of both of what you’re labels and the whole actual music, we’re impro­ builds by adding many Phil Hartnoll: Well bas­ It’s [fox] hunt saboteurs saying The white supre­ dance thing, and you vising with the structure of ically, it covers a lot of as­ as weli. It’s a very horrible macy thing is more of a other pieces to create a know the people’s creativ­ the songs. We can make a whole song Could you pects about civil liberties bloodsport that the aris­ feeling by a lot of people ity is not being stifled in track last a minute or an talk a bit aboutyour crea­ any way. hour if we want to. The really... the way the British tocracy follow, so you’ve who happen to be white, tive process? government are selling it this feeling of superiority. Paul: I don’t think communication between got a lot of quite right-on Phil: Well, I’d say that’s to the public by earmark­ there’s much in common us and the audience via the people that totally object And the thing that’s hit the nail on the head. funny about that, is that, in attitude that goes along music, we’re responding ing, scapegoating certain to that, and now, basically, AW. Aughll There’s a specific minority groups: you’re a criminal if you ob­ in this hotel, a lot of the in with the music. They’re to how they’re acting. If spider on my head! Or it we’re building up to a cres­ the subculture of rave, the ject to that... people who are cleaning felt like it anyway.... both subversive in their new age travellers and own ways, but dance cendo and they’re really It’s all about interpreta­ up, who are doing the shit Paul: He’s on LSD, I squatters... the people that music is sort of a passive loving it, we can sustain tion. They could arrest my work, are Hispanic peo­ can tell! (laughter) come between 15 and 25 subversiveness, instead of that and it makes us go wil­ dad for this, but they’re ple. Now, many of these Phil: No, I think mo­ — the youth, basically. trying to do something ab­ der. Or if people are quite earmarking the drug­ people may or may not be saic’s a good description, But to get a wider grasp out it, it’s “we’ll just live mellow, we might be taking, housy people. documented to work in and what’s strange about sparser. o fit,ifs ...when you get ar­ That’s how they’re selling this country and be here that is that in the end, it how we want to live.” rested now, they’re stop­ It’s going to be different, it to the public.... They’re legally, but if these people never has any resemblance AW: As far as perform­ and it’s hard because ping your right to silence, getting at the minorities — are rounded up and to how it was when you ing live, what do you see well, you’ve got a right to that’s their excuse for in­ kicked out, who the hell began. as some of the limitations we’ve been playing clubs and people don’t know remain silent, but that will troducing this new law, is going to do these jobs? AW. What’s your favo­ that a group like yours be taken into evidence, al­ but what I think the public No one, because people rite house song or techno has, and what do you do how to react to it because most against you. “Yes, don’t realize is that it will like you and me think song? to alleviate them? I don’t ... it’s quite boring. You get well, he kept quiet, there­ a good deejay and you affect them very seriously, we’re too good to do these Paul: It changes all the have a problem with see­ fore he must be guilty.” don’t stand there and and I think that will come jobs anymore. time, depending on what ing two people up on watch unless you’re really Phil: Yeah. ... Yeah. I’ve heard recently. ... stage and just playing AW: What quality in “Voodoo Ray,” by A Guy your music do you feel Called Gerald, it came out sets you apart from the when I was still “House other groups out there? music! Give it to me!” “Ideally, what we’d Paul: I don’t feel set AW. That song reminds apart, really. ... I just feel me a lot of your music, love to do is set up like we’re a part of music. too. We meet other musicians Paul: He’s an influen­ on the dance floor, and it’s like being a TV re­ tial character. pairman and meeting AW. How about now? other TV repairmen. I see Paul: Well, I only just which we’ve done in every band as being heard his second-to-last individual. single, which I really liked, the past, so people AW. What is it about and I thought he’d re­ the new LP, Snivilisation, turned to uie “Voodoo can just wander past that stands out relative to Ray” angle, but the way he everything you’ve put out works now, which is id- and see what you’re in the past? most a lighter-framed Paul: It’s a bit of a jungle world ... almost not themed album, isn’t it The dance music, I thought it doing.” other two are just collec- was really good.

What’s so devastating out after a few sort of mon­ music, but I think a lot of into deejay techniques. is, to read this criminal jus­ strosity arrests, that they’ll the criticism about dance But we’re not restricted as tice bill, it’s absolutely realize what’s happened. ■ music in a live setting a deejay’s restricted; we’re ludicrous. We were brought up to m m centers around that not restricted as a band, in Paul: You’re not al­ think ... capitalism, yeah, i s Paul: — Normally be­ song mode, so it’s a trying lowed to have about seven freedom — bollocks! And cause the criticism’s com­ to re-educate. lillfe y * or 10 people — even if it’s this country’s full of it as 1 £ K ing from the rock- Ideally, what we’d love in your home, it’s classed well, the hypocrisy of civil !3ig' journalist angle. If itcomes to do is set up on the dance as a gathering, and if liberties, freedom and jus­ ■ jjawt from a dance angle, it's floor, which we’ve done in you’re playing music with tice for some. - more to do with the music the past, so people can just a succession of repetitive AW: We just had a vote • I v M ® that’s created, and the en­ wander past and see what beats, that’s illegal as well. on a proposition, 187, ■ a vironment, than watching you’re doing. There’s no, Phil: It’s attempting to that was drawn up to ■ H*. the actual artists perform. sort of, focal point — it’s I p specify what house music deny services for anyone It’s just people getting more a sort of union. It’s is, really, but it's who is not a citizen of the used to that because there not us and them, it’s more ridiculous. United States, and it isn’t much to watch with all o f us. Paul: Pearl Jam has re­ passed by an overwhelm­ dance music, and there AW: Last question — petitive beats ... so basi­ ing majority, believe it or won’t be, you know what I what’s the future for Or­ cally if there’s like 10 or 11 not. You can’t go to mean? You can link up bital? And dance music friends, listening to some school, you can’t get a flu with other people who do as a whole? thrash metal harmlessly in shot— if you get arrested, dance work or video work Paul: Future of Orbital

tions of things over time, AW. What’s the most and on this one, we sat embarrassing remix “W e were brought down and said, “Let’s try you’ve done or . been to write it beginning to asked to do? up to think ... end. Let’s give it the theme Phil: The Human of sticking to reality. Any League one. capitalism, yeah, voice samples must come Paul: That was the sil­ from the real world and liest one. We did a remix of not fiction. And any slants Yellow Magic Orchestra’s freedom — bollocks! will come from, like, a “Behind the Mask” and it soundtrack to living in the turned out cheesy and And this country’s western world.” Mostly poppy, in the traditional urban, I’d say, ‘cause we’re Yellow Magic Orchestra full of it as well, the both living in London. style, and they said, “Why AW: Describe an un- don’t you redo this but re­ snivilised individual place the vocals with Phil hypocrisy of civil Paul: (laughs) An un- Oakey and the girls from snivilised individual Human League!” And it liberties. would be somebody really was absolutely hilarious, pleasant, like a bunch of wasn’t it? really unmolested people AW. Elaborate on the their home with a few cans immediately the police living in the rainforest who link between early punk and have them perform — I don’t think about it of beer, they’ll be apt to go ask you where you’re don’t have police or crime, rock and current dance- their thing at the same too much. If I get an idea, 1 in and grab ’em, as it were, from. If you don’t have ci­ haven’t got a word for music culture time, but.... prefer to sort of be able tc and call them criminals. tizenship, they’re legally crime, or.... Phil: I think the similar­ Phil: It’s very difficult. do it then and there. As foi Phil: It’s about interpre­ obligated to notify the Phil: No, I suppose it’s a ities are... the sort of do-it- ... We go see live bands and dance music, things jus< tation, really. They’ve put INS. And the chilling ef­ very open-minded per­ yourself, record-at-your- we go to clubs. You’ve got progress and march on, in all these stupid laws.... fect has been devastating. son.... I suppose a Buddh­ home, record-in-your- your deejay on one hand don’t they. It’s like watch­ The whole rave scene in Paul: It’s sort of like the ist attitude is the closest garage. In Britain, there and your live bands on the ing a plant grow. You starl Britain has been used to effects of overpopulation. thing 1 can think of to an was an explosion in inde­ other. I see us in this unex­ off with one stem and then Phil: It’s not just popu­ running away from the po­ unsnivilised human being, pendent record labels only plored area in the middle. break off into two, into lation, it’s more to do with lice anyway... for harmless where they care about comparable to when early With this equipment, it en­ four, into eight. That’s the white supremacy of free festivals in fields in the other living creatures. punk came out, which was ables us to set up a basic what music does, I think. people. middle of nowhere. AW: When I listen to a very similar thing. What studio on stage. And what Who can teU — loads ol Paul: That happens be­ What’s happened with the an Orbital iong I’m re­ you got there, you knew we’re doing is veiy subtle little fragments. 6A Thursday, December 1,1994 Daily Nexus

Sometimes it’s the si­ films like Natural Bom mastery makes him one of takes shelter with a hermi- them. the same league as most lences, not the voices, that Killers and Pulp Fiction the few true auteurs work­ tic neighbor (Jean Reno) Aside from Gary Old­ action films. If the hard- speak the loudest Few stand out. The Profes­ ing today. who turns out to be a “pro­ man, the name value of the boiled intensity of films by films I have seen cany the sional keeps an under­ The plot of the film is fessional” mob hit man. cast may mean nothing in directors like John Woo is kind of subtle emotion im­ stated dignity of its own. deceptively simple: After The two quickly form a today’s market, but proves to your liking, you will plicit in the silence of Luc Besson’s ability to show us 12-year-old Mathilda’s sort of father-daughter re­ that there is still work for probably be disappointed Besson’s The Profes­ both gritty, cold violence (played by Natalie Port- lationship, and the rest of decent actors in Holly- by The Professional. sional. Absent is much of and an endearing love man) family is killed by the film deals with the way the “glitziness” that makes story with confident crooked DEA agents, she the relationship changes SPECIAL ADVANCE SCREENING

N/co/as Jon \)a/?a CAGE LOVITZ CARVEY

wood. Once again, Old­ While the action sequ­ man seemingly changes ences are beautifully di­ his inner persona for the rected, and do contain a role, and his conviction as lot of violence, there really Gary Stansfield, an on- aren’t enough of them to the-edge, PCP-addicted satisfy those accustomed DEA boss, proves again to the Die Hard genre. On that he is one of the best the same note, if you like character actors working. touching love stories, but Reno brings a sort of silent can’t stomach intense vio­ excellence into his role as lence, The Professional Leon, an emotionally im­ might not be what you’re mature “cleaner” who looking for. proves that even the col­ Characterization and dest of killers has the abil­ mood is where Besson is ity to love. really at his best, though. In her film debut, Nata­ Characters in the film have lie Portman shows a na­ an emotional complexity tural talent as the emo­ characteristic of French tionally over-mature filmmaking, which gener­ Mathilda, and Danny ally places more value on Aiello (in a bit part) makes character development the most of his role as than Hollywood films ever Tony, the Italian “capo” attempt. Here, the art is T rapped in who sends Leon work. not conversation, but the What really surprised lack thereof — the subtle me about The Profes­ moods struck in tiny inter­ sional was how well Bes­ actions where words are son mixes an intense and not even necessary. Bes­ power-packed action plot son gives us characters we with an emotionally can see and feel. chaiged and touching love As a curious side note, story. While the film could one could easily make the easily be considered an ac­ comparison between War­ tion film, the violence in ner Bros.’ The Specialist the film serves a point, an (released earlier this year, idea that runs contrary to and often confused with most action films pro­ The Professional) and duced today, where the vi­ this film. While the two olence of the film is merely deal with very similar spectacle. Besson, who di­ plots, The Specialist uses FREE MOVIE POSTERS rected such greats as big-name actors like Sha­ 1992’s La Femme Nikita ron Stone and Sly Stallone and 1990’s The Big Blue, to sell the film, while Bes­ displays a thorough son keeps high integrity, Thursday, December 1 Pick Up Free Passes understanding of the art of relying on a firm under­ In Front of UCen writing, directing and standing of the art of 8:00 PM cinematography (all of cinema. In a day and age At Noon -Thursday, Dec. 1 which he did himself), where companies “pro­ Isla Vista Theater Presented by masterfully weaving duce” films in the same Associated Students Program Board together action and emo­ way that a car is “pro­ tion into one film. duced,” Besson’s personal But the film works on touch restores film to its Courtesy of 1181010 such a deep emotional highest artistic mode. level that it would be im­ ALWAYS THE LOWEST PRICE FOR A COLLECT CALL. possible to consider it in —Kelly L. Hartman ...The only nationwide talk show not hosted by a right wing wacko or convicted felon." TALKRADIO KQSB-AM SANTA BARBARA’S HOME OF I Daily Nexus Thursday, December 1,1994 7A

Grey Owl Video Presented by Rich Gralewski, The Mighty Diamonds President of local Grey Owl Society Speak the Truth RAS Records

Good music you like and bad music you don’t like. Speak the Truth, from The Mighty Dia­ monds, is not a personal favorite of mine. I don’t like poppy reggae. Their new package is all Casio- disco-like pop music. It’s the synthesized hand­ clapping that perturbs me. In almost every song there’s this thing going on that sounds like “smack, smack, smack....” Other than that, the Diamonds are the most Tuesday, December 6th, 7 p .m . soulful roots reggae band of the new releases coming Germany. Yet they have as “Pass the Dutchie.” Faulkner Gallery, S.B. Public library out. They are roots music, remained together That became a “four mil­ No Charge and are being distributed through the years, and still lion sold” wonder for on Doctor Dread’s RAS travel around the globe Musical Youth. “Why should the last o fthe Silent Places be destroyed ruthlessly whilst we records. playing their music. They stand by in listless apathy, without making an effort... to provide A lot of poppy British- returned home to Kings­ The Diamonds CD does sanctuaryfo r the Spirit ofthe Wild andfor those ofus, and they are not Jamaico reggae music, like ton, Jamaica, to produce seem to get better after you few , who live to commune with Him ana H isfurred andfeatheredpeople. ” Steel Pulse and Aswad, Speak the Truth. listen to it a couple of have that dancy-fancy The Mighty Diamonds times. It definitely has ra­ “He gave his extraordinary genius, his passionate sympathy, his bodily strength, his sound, but have lost it have a long performing dio potential. For some magnetic personal influence, even his very earnings to the service of animals, and when it comes down to history. In 1969 they people, this might be a of man through the right understanding of animals.* London Tima loyalty to their roots and formed a group called The nice smooth CD to have why they’re making music Limelight. In die mid-’70s around. It has love songs “He was not they say, a real Indian, So What?» w m g (other than $$$). Unlike they made an album called for the people and our these bands, the Mighty Right Time, which is still planet, songs of unity and Diamonds have had a highly praised and has peace, and songs about rough relationship with never been out of print. In corrupt cops, all good top­ the music industry. The the ’80s their song written ics. So if you are inter­ title track was inspired by in praise of the -mighty ested, go look for this one the experience of being herb, called “Pass the yourself and give it a listen Just the FAX. lied to by one of their man­ Kutchie,” was adapted before you buy it. agers when they were in and sold by Musical Youth —Tom Gallagher Go ahead and get tough with us. FAX us your classified ad. Call 893-3829 for info. HORSE BREAHEBSmBl Daily Nexus Classifieds we can take it.

Aaaaaaaaaaaaaaa yes! it’s time to read the Weekend Connection Every other Friday in the Daily Nexus you’ll find the Weekend Connection— a section that’s bursting with information about dining and drinking and dancing and other fun activities around town. Don’t miss it— coming Friday!

Daily Nexus 8A Thursday, December 1,1994 Daily Nexus

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C e li ï ï l û CJ:':- iX ~those ~who are w:rr^ on th "~ * — result -“»■■ of this terrible ep becXfeXe remembering our loved ones ^ ™ ^ Only through education X ipy^f- ■X>T pandemic. We AIDS d ¡Mrrecce * peci oi' ihà . “ATDS and Families. All of us are The theme of World AIDS Day is AIDS an

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other, what makes a family is * * * * HIV infection The observance this year ej e and nurturing to and AIDS and the family members who are giv. g ,V* ......

m M l '? Y ® : those who are infected. eex e i. i >. r: i vi\.L iti*? In order to raise awareness of the At n00n there {?*»■ VV( several events today to which t^ e n ^ moving ceremony which will be a Die-In at the Arbor T ^ ^ world and right here graphically depicts the loss o Formal Lounge, people n æ 1 at UCSB. A t 7 :0 0 p.m., m Sa . „ m be telling their very personal M § § I I :• •: V. infected with HIV as well as their arm e staffed by Peer stories of living with this whcre you can get Health Educators at sever p . ^ ^ n to show your support-: information, buy a button, or ge opportunity to I encourage every member ^ ^ . &iend or learn more about AIDS an o ^ events. ^ 0f Us are touched colleague to join you at one or roore ° 0f the solution. by the impact of AIDS in some way. Please

Together we can make a difference. IViÎ-Ç

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Sincerely,

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Henry T . Yang Chancellor

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