Chuck Workman Is Your Idol. You May Not Realize It Yet, but You Will

Chuck Workman is your idol. You g | Artsweek: What sparked your interest in making a docu­ about these people and what they believed in that rings à may not realize it yet, but you will. mentary about the Beats ? bell with younger people of today, it makes sense to them. How many people do you know that . Workman: I had done a film about'Andy Warhol called Most of that generation was either stoned or interested in have won an Academy Award, created ■ “Superstar” and an artist named Hiro Yamagata, the execu­ money, and now I think your génération is kind of interest­ the original “Star Wars” trailer, made a tive producer of “The Source,” had seen it and he wanted ed in both, among some other things. documentary about pop icon Andy to do a film about Allen Ginsberg. I thought that there was That's a pretty good assessment. Warhol, and created film shorts for nearly a more interesting story about the counterculture since Back then, it was a very narrow world and the Beats every major award show? Chuck World. War II and where it’s led us and how it lejd to the were saying, “There’s much more out there. If you just look Workman, filmmaker of “The Source,” hippie movement. And, four years later, here we are. outside yourself, or inside yourself.” There’s much more has done it all. W ith a lifetime of I Do you see a connection between Andy Warhol and the Beat going on, in the arts especially, and in society. In the late achievement and recognition under his / M ovem ent? ’60s, that became political as well because the hippies took belt, Workman now turns to the counter­ Yes, certainly. Their whole idea of alternative lifestyle, over thè political side of it. culture of the ’50s and ’60s and the enig­ not just the gay thing, but there is an alternative ^lifestyle, Do you think the Beats were political? ma of the Beat poets in his film, “The , too. The Andy Warhol world and the Beat world that was No, they weren’t political. They were just interested in Source.” He’s here to tell us all about it. not necessarily thé way that everyone else was living their doing their own thing. They were mostly interested in the life. The middle class people who were not living that life arts and living an alternative lifestyle so there was a certain were very fascinated by those people. They were ahead of amount of drugs and free sexuality that would have been their time. Their lifestyle, as wild as. it was, is still some­ shocking to the middle class values of the ’50s and ’60s. thing that led to a great deal more freedom. They weren’t trying to change the world, trying to just live H ow do you see the influence o f the Beat culture in today's their own life; whereas the hippies wanted to change the society? world. People who are under 30 are very interested in this film. V I think it has to do with the fact that there’s something SEE SOURCE, P.5A 2A Thursday, February 24,2000 Daily Nexus

GOOD GOLLY MISS MOLLY OVERCOMING BLINDNESS + ALCOHOLISM IN MOLLY SWEENEY LISTENING IN I LINDSAY FARMER “Molly Sweeney” follows three interpretations of a challenge. to re-evolve to blindness when she loses her sight once young woman’s life as she, her husband and her doctor Speaking o f challenge, how was it to portray someone more. It’s a bitter, sorrowful tale. It is fascinating to know deal with her blindness and restored sight. Artsweek took with a disability, like Molly’s? what we, as humanity, are capable of doing. time to interview longtime UCSB Theatre director It was a big challenge. I mean, who are we to say what Is there anything in the play to counteract the bitter-sor­ Judith Olauson about this upcoming performance. it is like to be blind. We just have stereotypes and row? assumptions. But Friel took his inspiration from a case Oh yes. There are profound themes in the play, but it Artsweek: Why did you choose this play a t this tim e? study by Oliver Sacks. The playwright picked up lots does have some happy moments, especially with Frank, Olauson: We chose “Molly Sweeney” for two reasons. from the case study and wrote it into the script to help Molly’s husband. The doctor is also an alcoholic, which The first is practical. We wanted something to offset the us. He writes how a patient has to learn to see and when provides another break from Molly herself. But there is musical performing this quarter. A lot of resources go to the patient is not ready for that, it can be very frighten- definitely hope to all these characters. the musical, but we still wanted to put on a rewarding The play is written in a unique style. Did this pose a production so we chose “Molly.” The second reason is : WE TO SAY WHAT challenge to you and the actors? more personal. I fell in love with the play. I love Irish lit­ The play is written as a collection of monologues. erature and theatre. It’s a passion for me. I wanted to ¡E BLIND” There is no interaction between the characters. They vir­ bring something from Dublin to Santa Barbara. tually never directly address each other. It is not a form What is so important about Irish theatre that it needs to that everyone will take to. Our generation is not used to be brought here and performed? listening to a story for two hours. The Irish are great at The Irish are very aware of their heritage. The Irish mg. storytelling. It is their heritage and Friel takes advantage people are on the upswing with lots of youthful views and Does the play focus mainly around Molly’s blindness, or of that and does a wonderful job. energy. [Playwright] Brian Friel digs deep into the per­ are there sideplots as well? sonality and character of people. His plays are about Molly is the main focus. The characters build their “Molly Sweeney"performs Feb. 25-27 and Feb. 29-March 4 ordinary people who live in small towns. They seem to lives around her as they deal with their own circum­ at 8p.m., Feb. 27 and March 2 at 2 p.m. at the Performing have no traumas,-but a deep sense of humanity. His play stances. She has to evolve to her surroundings. She has to Arts Theatre at UCSB campus (free parking in lots 22 and is intended to be done simply. The focus is on the lan­ originally evolve to blindness, then she has to learn how 23). 116 general/ t l 2 students; seniors. Call 893-3535 fo r guage and poetry which, in turn, becomes the actor’s to see again when her sight is restored, but then she has tickets and information.

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If someone were to mention “Santa Barbara” to you, REVIEW | LINDSAY FARMER still holding on to the old ways in a world that condemns what would you picture? A beautiful beach, downtown them going to do? State Street or a Montecito mansion? Dramatic Women “Fast Forward” follows a young man through his life looked at “Santa Barbara” and came up with nine differ­ were disappointing. The basic plot of “The Pathfinder”: as he watches his relationship with his parents, who live ent views of what it means in its current production of boy has to write paper on history of Santa Barbara, boy in Santa Barbara. His father always talked about how “Santa Barbara Confidential.” The night is a collection of falls asleep, boy dreams of meeting characters from the beautiful it was here, but the son could never really grasp nine short plays written, directed and performed by past he is studying in his books, characters help boy write it. It takes an entire lifetime of moving and living in New locals, for locals, about locals. The variety of life between paper, dream ends. Boring! Unfortunately, the acting in York, getting married and raising two boys, summer vis­ the mountains and the ocean is displayed through the this play made the plot look good. its to the beach, and finally watching a parent die to plays, as they look at everything from a pair of homeless So, where does the enjoyability factor enter the show? finally see the beauty that his father saw So long before. 20-somethings telling stories of how they ended up on The creative play, “Omega Night,” focuses on a woman Finally, the night closes with “Bedtime in Montecito,” the streets in “Street Dreams,” to personifications of staying after hours in a thrift store on State Street and a clever, hilarious play about two women and the little emotions universally felt in “Screaming in the Dark.” For her conversation with the store manager about knick- things we do to make ourselves feel better. When the an enjoyable night of hometown culture, this show is the knacks and memories of happy days long past. voices in your head are telling you to commit suicide, all ticket. You may even see some familiar names and faces “Rex” (Latin for king) focuses on an older man coping you have to do is change it to commit sausage. in and around the show. with the changing world, in which everyone has a pager Overall, the show is enjoyable, yet some of the indi­ on one hip and a cell phone on the other like a new-fash­ “Santa Barbara Confidential"performs Thurs. through Sat., vidual plays brought the show down. W ith the exception ioned cowboy, and nobody wears black suits with pol­ Feb. 24-26 at 8 p.m. at the Center Stage Theater above of the opening play “Street Dreams,” the first few pieces ished shoes except for the limo drivers. W hat is a man Paseo Nuevo Mall. Fox information, call .963-0408.

BEAT SAUCY I DOLLFACE Chuck Workman’s documentary, “The Source,” the dark pop culture. Though dramatized readings by Johnny underbelly of poetic yearning is explored with images Depp (as Kerouac), John Turturro (as Ginsberg) and Remember that ultra-cool group of guys in high from hundreds of interviews, jazz films and live footage Dennis Hopper (as Burroughs) seem exciting in theory, school that never seemed to care about the world as they from the Beat era and beyond. they unfortunately come off as contrived and overdone. boldly smoked cigarettes in the parking lot? The ones With insightful commentary on the evolution of the However, all in all, “The Source” is a highly valuable and that had that dark, sensitive, brooding way, a mystery that Beats* “The Source” inspires a newfound respect and fas­ incredibly absorbing piece of work. It may even renew intrigued you and left you craving to know what made cination in the trendsetters of yesteryear. Taking us from your respect for those high school hoodlums brave them tick? Welcome to the Beat Generation. Led by the underground poetry readings and sexual affairs of enough to do their own thing. enigmati? personas of Jack Kerouac, Allen Ginsberg and decades past to raging hippie protests to slam poetry William Burroughs, the counterculture movement of the readings of today, the film extensively explores the pro­ “ The Source" screens Sunday, February 27 at Campbell Hall, ’50s and ’60s revolutionized our definition of “cool.” In found effects of the Beat movement on contemporary 7:30p.m. 15 students.

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File this one under Guilty Pleasures. al actually works. It’s so cheesy that it’s painful, but it group (unlikely, but it « a horror movie), suddenly find­ “Pitch Black” begins with a spaceship’s crew waking hurts so good. ing himself in the middle of an impenetrable blackness. up from a frozen hypersleep to find that they’ve flown David Twohy directs “Pitch Black” like an art film, He uses a bottle of liquor to make a burst of flame. The into an asteroid field and must perform an emergency with all sorts of bizarre camera angles, effects and filters light lasts only a second and a half, but in that brief crash-landing. Those few that remain find themselves on that only serve to distract the viewer from the weak story. instant, we see that he is surrounded by waiting mon­ a desolate desert planet. There is no water, and the three The crash sequence is shot and edited like a Nine Inch sters. Then the light is gone, and we only hear the creepy suns that circle the planet imply that night will never fall. and effective screams and sounds of tearing flesh. If this isn’t bad enough, they discover that the ship was Logic dictates that this movie should suck. Somehow, also transporting Riddick (Vin Diesel), a notorious con­ it doesn’t. “Pitch Black” is definitely a bad movie, howev­ victed mass murderer, to the prison planet to spend the THATITS er, cashing in on every cliché possible, right down to the rest of his life. Riddick not only survives the crash, but abandoned colony they discover. Why do stranded space also manages to escape into the desert. OOD travelers even bother asking, “Where did all the colonists This is definitely one of those “At least things can’t go?” Don’t they know that the aliens got them? The main get any worse” situations, and, of course, things do. characters are all one-sided, and the supporting charac­ While burying the dead, they find a subterranean species ters have no “sides” at all; they might as well wear T- of carnivorous aliens that shun the light. None are too shirts that say “Alien Chow” in big, red letters. But I did concerned until realizing that every twenty-two years, all find myself laughing at some of the one-liners, and three suns eclipse, allowing the monsters to come out to jumping at almost all of the “gotchas.” (In my defense, I feed. Unluckily, they managed to arrive on this strange Nails video; it is so jarring and filled with unnecessary did feel really embarrassed about it afterwards.) planet the day of the eclipse. strobe lights that one might have a seizure 30 seconds “Pitch Black” is as hokey, silly and predictable as one Riddick is a stereotypical bad-ass, and Diesel plays into the movie. Fortunately, the pretension disappears would expect. Still, it’s fun, and these days, that’s saying him as such. Had this performance been delivered by when the light does. But there is actually very little dark­ something. In a lot of ways, it’s reminiscent of an older most other actors, it would have been gag-worthy, but ness in “Pitch Black.” The only time that Twohy actually generation of science fiction cinema, of movies like there’s something so comic book-like about Diesel’s mus­ plays with the complete absence of light is when one of “Forbidden Planet” and “This Island'Earth.” Guilty plea­ cular physique and chiseled face that his obvious portray­ the characters, stricken with terror, crawls away from the sures, but pleasure nonetheless.

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SOURCE, CONT. FROM P.1A three were my first choices. They weren’t portraying the to the work that you do. Suddenly it’s like you’re knight­ person, but more of the persona. I wanted actors that sort ed in Hollywood. It means a great deal, but it’s not a big I t’s pretty amazing that basically three people could of had the same sensibility as [Kerouac, Ginsberg and deal. There are plenty of directors that don’t win anything spawn an entire counterculture. Burroughs]. and there are people that get [awards] and don’t deserve It was in the air; it certainly was not just the three of What was it like to work on the original *Star Wars" them. I don’t know where I fit in there, but in the them. Kerouac and Ginsberg certainly were, in the ’50s, trailer? Hollywood world, which is a very small world, it means known as representatives of a very far-out movement Well, that was fun because the movie wasn’t well an enormous amount. and lifestyle that had nothing to do with what everyone known at the time. They had done two other trailers and What was running through your mind when you won? else was doing. Burroughs was known maybe 15 or 20 George Lucas didn’t like them so he called me. I had I wished I could just go out and jog and take a run. years later after he wrote Naked Lunch. Burroughs was done some movie trailers but none for a movie that That’s what I was thinking about at the time. I was talk­ unknown; he was thought of as kind of this strange would become that big. The movie got to be the phe­ ing to friend who’s also won an Oscar the other day and writer, druggie guy. But the other two were very well nomenon it was while I was still working on the trailer; we both said that when they opened the envelope, we known and made fun of a lot, which we show in the the movie had already opened but they still wanted a knew we had won. It’s kind of a funny thing. Who film. They became cliches in a way. trailer for it. George Lucas and his partner had this little knows, maybe you feel that way even if you lose. What was it like interviewing Allen Ginsberg and Do you have any upcoming projects? William Burroughs? kk I am doing a lot of stuff for this year’s Oscar’s show. They were both very inspiring men. They were both I’m actually doing something on science-fiction before weird, especially William. But he’s very smart and just KEROUAI + GINSBERG CERTAINLY WERE, IN Star Wars, a litde 2-minUte film with a lot of funny stuff did what he wanted to do. Allen was very generous and TH ~!S,.KNOy------in it. And then I have a dramatic feature that I shot saint-like. He’s saindy, but he would get annoyed some­ which is going through editing right now called, “A times if things were taking too long. Basically he’s very House on a Hill.” That’ll be out next fall. spiritual and broad. Knowing him was an important - Any advice for fledgling filmmakers? part of my life, and I never knew him that well. He cer­ W ith filmmaking today, with video cameras you can tainly influenced my life, in terms of my values. make any movies you want. I would suggest that people Why did you choose to hav.e Johnny Depp, John Tuturro office somewhere with all these “Star Wars” dolls in it just make movies, just as an artist should paint and a and Dennis Hopper readpoetry in the Jilm ? and that was it, that was the whole “Star Wars” Empire. writer should write. In terms of a career, that’s á whole The movie was about writers and the written word so Who’s your favorite “Star Wars" character? other story. Sometimes it’s just being in the right place, I wanted the audience to get a feeling for the work that (Laughing.) No one’s ever asked me that before. I had getting a job. So make a film, get a job and the third most [the Beats] did. I decided early on that I wanted big a lot of fun with the robots when I was working on the important thing is don’t call me. (Laughs.) Just hang out pieces of literature spoken and most of the poetry was trailer. Oh, and I liked Carrie Fisher’s character. and don’t give up. It’s a very long process that has its ups done in the first person. It worked out well to be drama­ You won an Academy Award for your short film, and down and you have to stick with it. You go out and tized with an actor doing a monologue. ... I wanted to “Precious Images. ” What was that like? buy a hat that says “filmmaker” on it and then anybody use well known, but kind of “edgy” actors and so those It’s very important for your Career; it’s a big validation can be a filmmaker. LETS PARTY! C entral C oast P roductions

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approach, Butler proves to be an able pop- undeniably complex in its layers of sound. smith - but not for anyone under 30. This The intertwining of English arid is an album you buy for your parents to let Portuguese coupled with his soft, whis- them know that you still think they’re pery voice, vocalizing such abstractions as cool. [Andy Sywak] “Fasten me down/ Rub words away (“The Prize”), “Too weak to wake up/ Too lazy to MUSIC: SPOTLIGHT sleep/1 look fo r shade by moonlight" (“Ex- Laziness”) or “Your face slips away from your expression" (“Resemblances”) give the album a sensually evocative tone that has come to characterize much of Lindsay’s work. Throughout most of the album there is a juxtaposition of rhythmic ten­ sion, at times evert cacophony, and the Nerf Herder | How to Meet Girts | Honest Don’s Bernard Butler | Friends and Lovers | Arto Lindsay | Prize | Righteous Babe euphony of his acoustic guitar and voice Creation Records Sekou Sundiata | longstoryshort | Righteous which, upon first listen, gives the whole Where oh where has nerd rock gone? Babe album and uneasy feeling. Give it a Weezer’s Pinkerton gathers dust on the As people get older, they seem to grow chance, let it sink in and you’ll find your­ used CD racks at the Wherehouse, but more conservative, forsaking experimen­ For the first time in its nine-year exis­ self in the same sublime world that Nerf Herder’s How to Meet Girls might tation in favor of the surer and simpler tence, Righteous Babe Records decided to Lindsay sings about. It is a steady climb to just save them all. things they know others will accept. release music that does not have its the pinnacle of the album, “O Nome Having a name like Nerf Herder is Listening to Bernard Butler’s latest founder, Ani Difranco, as an integral part Dela,” but well worth the nine-song trek. built-in audience-targeting for only the release, Friends and Lovers, it’s clear rock of it. The inclusion of Arto Lindsay and Every element of Lindsay’s past is most pasty-faced of Star Wars fans. It stars are no different. Butler, ex-Suede Seka Sundiata to the roster is no mere brought together in perfect measure to turns out Princess Leia had to resort to guitarist arid British press-darling, nods whim or fluke, rather a calculated decision create a song of such lyricism, poise and this obscure dig in “Empire” when Han his head to classic rock and sincerity on to which Difranco will be able to bow to musical articulation it’s hard to know Solo publicly insinuates their kinky, pas­ his second solo album. In fact, the album after the inevitable success of both these what to say. In fact, don’t say anything, sive-aggressive relationship. OK, I only is so rife with sappy power ballads and well-established artists on her label. just listen. know this because I was one of those feel-good love songs, Butler makes a case Lindsay, a Brazilian native who was Acute listening is a necessity when lis­ dweebs that knew every line to Star Wars, for being a dream tour-mate of the uprooted at an early age and transplanted tening to Sundiata’s longstoryshort for the which explains why Nerf Herder has Eagles. to New York, has kept those Tropicalia- album is his politically-and-socially- struck such a chord. The guitarist’s conservative and for­ steeped roots alive and well, initially charged spoken poetry over enticingly Upbeat power chords fuel pop-orient­ mulaic approach to songwriting makes formirig the avant-garde, experimental funky rhythms. He has made a name for ed style ballads about subjects like one wonder how he ever came out of the pop bands the Ambitious Lovers and himself lately, being lauded by people Courtney Love’s slutiness, Pantera fans in funky glam rock of Suede. There are DNA, which achieved critical, but never such as Bill Moyers, as being one of the love, 5,000 ways to die and other funny exceptions to the rule, however. The “best commercial, success. He moved on to pro­ country’s most astute spoken word artists topics you’ll never catch Blink-182 guitarist of his generation” (as NME refers duce several solo albums for Rykodisc in articulating the turbulent and troubled singing. Although nerd rock is inherently to him) still has some vinegar. The first before coming over to Righteous Babe, lives of blacks in the U.S. The album is exclusive, I’ve already heard Nerf Herder and title track comes to life with an ener­ gaining popularity and much deserved relatively seamless, with the underlying on 92.9, so maybe it stands a chance. getic riff and sing-along melody that acclaim along the way. themes of revolution, reaction and repara­ Somehow, I wouldn’t be surprised if the never slackens. The eight-minute epic Prize finds Lindsay trying to achieve “a tion weaving their way throughout the 15 radio-friendliness and infectious choruses “Has Your Mind Got Away?” loses the balance between delicacy and power that I song-poems. Comparisons to Gil Scott are nothing but a front to get kids singing, arena-rock pretenses of the album for a have never attempted on an album.” The Heron are inevitable, though I think “Courtney Love, now I ’m overweight and slow dissonance that builds up to a grainy proof is in the pudding as he helps expand Sundiata is less standoffish in his message ugly/ Just like you used to be/ Why 1 can't be solo screaming, “I am a guitar god yet!” the meaning of multi-genre, fusing tradi­ and music in hopes of gaining a wider like you, and drive away to Malibu/ Hope Even on the cheesy tracks, Butler’s unique tional Brazilian, pop, subtle electronic and audience. Highlights of the album include I ’m not out of place/ But Courtney Love sit ability for melody manages to salvage that ever-growing “Putamayo World” “making poems,” an organ and guitar trib­ on my face. ” God bless nerd rock. [David songs you were almost ready to laugh at. sound into a warm, sharp-edged collec­ ute to the those who died in the Adantic Downs] Utilizing sleek production and a safe tion of songs that is at once simplistic, yet Slave Trade and “longstoryshort” a Latin

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influenced romantic tune that professes rock and other music genres. They add a Mocket; listening to this, it’s obvious Medeski’s “Swamp Road” is given the love to one, and therefore all. Sundiata’s little turntable on one of the tracks, with where lots of the inherent scariness of that turntable treatment by fellow Medeski, words of vibrant wisdom and eerie elo­ some ska-ish horns at the beginning, but last Mocket album came from. All the Martin 6c Wood member DJ Logic, quence would jump off the page if you all it does is make the songs sound worse. bands that people have been known to rounding out the collection’s variety of read them, but in this context they do Not only does this album lack in quali­ refer to as “riot grrrl,” The Need is defi­ artists, sounds and styles. The Hammond even more: They dance. [Josh “the ‘B.H.’ is ty, but it’s also- a little low in quantity. At nitely the most unpredictable. And they B3 Organ is a deliciously retro sound, and optional" Baron] only eight songs, only roughly half of got mad style. [Josh Miller hasn’t written a bad the treatment these blues, jazz and funk which are decent, one can’t help but won­ review since August 3,1975] musicians give it is an all-around good der if these guys have a day job in the time. [Jenne Raub thinks she should get paid just works to- help cover their losses. [Collin to have a good tim e... ‘cuz Lord knows work ain’t M itchell] paying enough]

Blackalicious | H ia | Quannum

Beautiful, well-rounded, ahead of its time and full of Purpose: N ia has already locked my vote for album of the year. Blackalicious has taken their time releas­ ing their first long-player, but it was worth the wait. Chief Xcel (beats, cuts) and the Gift of Gab (rhymes) have creat­ ed a masterpiece — an album that will go The Syrups | Fig | Beck Various Artists | Organ-ued: An All-Star Tribute down as a classic to everyone blessed with to the Hammond B3 Organ | High Street the opportunity to own it. Verse, Chorus, Verse, Chorus, Chorus. I may sound like I’m jocking these Yeah, it’s another band. There are three The Need | The Need is Dead | Chainsaw Tribute albums tend to be nothing guys, but the evidence is all there. guys with names like Orion and Pat, a more than a quick attempt at garnering Blackalicious moves from fast-paced couple of guitars, some drums, etc. The Need? Dead? Naw, they’re work­ cash for a particularly esteemed band. braggadocio (“Fabulous Ones”) to creep­ Despite the blandness of The Syrups, ing on a rock opera at this very moment. Fortunately this album is a tribute to. an ing introspection (“Sleep”) and makes their new album Fig has a somewhat The need for The Need? Stronger than inanimate object, which might explain stops everywhere in between. “Do This tastefiil recap of last decade’s trends in alt ever. This is The Need’s second full- why it’s actually really fun, if not at times My Way,” featuring Lyrics Born, is an rock. It’s not good, but then again, it’s not length on Chainsaw and it finds them inspiring. A wide variety of jazz artists are awesome display of lyrical ability and the bad. It’s just kinda there. expanding on the bizarre rock eclecticism given their turn to work the keys of the emcees’ mastery of the English language. W hat they should have done is built all of the first album. They reside somewhere famed organ, ranging from Galactic’s Gab takes off on an epic journey of action their songs around the blissful and inno­ between artsy punk rock and heavy metal, funky “Galactic” to Jimmy Smith’s jazzy and drama in “Cliffhanger,” while pre­ cent second track, “The One.” It is the doused with electronic weirdness and “There Will Never Be Another You” to senting two sides of an intimate argument quintessential pop song: simple lyrics loopy, carnival-esque organs, with the Mike Finnegan’s bluesy “Just a Little Bit.” in “Shadow Days.” Blackalicious accom­ about girls, four-chord progression and a occasional torch ballad. The lyrics are as W ith the exception of a few tracks that plishes all this without compromising an chorus you can’t get out of your head. weird and impenetrable as the voices fall into elevator-music terrain (Reuben inch to the formulaic approaches of pop Unfortunately they choose not to stick to they’re sung by, but in a strangely affect­ Wilson’s “Yes Sir”), Organ-ized is a con­ rap or “keep it real” bullshit. Simply put, 'the pop format. Instead, they unsuccess­ ing way. Rachel Cams and Radio Sloan, sistent album, featuring talented artists Blackalicious can’t be faded. Pick N ia up fully try to push the boundaries between duo extraordinaire, have also played with allowed to show off their skills. John at any record store Feb. 29. [Trey Clark] TATTOO ‘Body Piercing 6565 ltigo Rd., I.V. 861-4783 • Sterile, Friendly • Custom Drawings m É H¡ • e-mail: [email protected] s to m I n k 4/6 State Strut • Santa Barbara X SiV vi '.'iiX'i U 'WtwiTAcrriiio ! IW W rM » -.TÄ. t i g « W«, W .T S ..WGStfc, Â-.ï/WS. HÙÌ.:;,Ä,& ¡"«TV ÍM* SU. ItW «UMML- ' ïv-pïjg rasasi, sâ&ïÿ i'U-: R*:,;. U îw r W o i SítíJií-.._____ ....: wyy.sm ssx. ¡maafls ...... '" íiüb*: mam ijmSSfl ÄÄ» f ’iSwv VÂlttÛw tfïiy M...V & : íf A i K s : S two :.v Via hsxx?; •:"SY-{ »sw i> This is what the Birthday itt* Oil .'vi« r JJíírhi Sä!;!! Tt: m f f t 1 M Box looks like «V Y> i-'Tiì l i eh ri3 . kv.tiítf» it appears in the Classifieds when Tcurr someone cares enough to s.:nd ¿ f:\v>s their friend a birthday greeting! p à ve. K.Vxa. ixy> NC Come to the Nexus Ad t&ev HAPPY HOUR • 9:3tpn-] In •¿ÜArr office under the tow er to find iü. * f-6 i w i ; ’ unique borders to go with your rA^Xi% P Double Drinks Single Priced! special message for friends, roomies, significant others. (80S) 963-9680 O nly $3.25. WWWjIarUaxtm &** 1 Happy Birthday to You ÁííS;::j i-,v & :*>•»•; Mir.;;g -ï !>Sv C&ll As; T H » t i l i ) e. * **•« ♦ o # 8A Thursday, February 24,2000 DiyM üs

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