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Editor Rob Young ed~or©theWire. co.uk

Rev1ews Editor Chris Bohn reviews@theWire.co.uk Art Editor & Designer Robin Bawes design@thewire. co.uk

Sub Editor Peter Shaplro Projects & Web Editor Anne Bllde Neset pfOJects@thewtre.co.uk Advertising Manager Andy Tall ads@thewire.co uk (Tel 020 7494 1340) Subscriptions & Administration Ben House subs@theWire couk (Tel. 020 7734 3555)

Words Steve Barker, Mike Barnes, Clive Bell, Chris Blackford, Ben Borthwick, Byron Coley, Richard Cook, Jullan Cowley, Christoph Cox, Alan Cummlngs, Brian Duguld, Davld Elliott, Phi! England, Kodwo Eshun, Matt ffytche, Sasha FrereJones, Louiae Gray, A.ndy Hamilton, Richard Benderson, Ken Rollings, Dave Rowell, David Keena~, Monica Kendrick , Rahm.a Khazam, Nick Kimberley, Biha Kopf, Art Lange , JUan Licht, Howard Mandel , Peter Mclntyre, Andy Medhurst , Will Montgomery, }on C Morgan, tan Penman, Edwin Pouncey, Simon Reynolds, Tom Ridge , Chria Sharp, Mark Sinker, Dave Tompkins, David Toop , Dan Warburton, Ben Watson, Don Watson, Val Wilmer, Barry Witherden, Douglas Wolk

Images Amy & Tanveer, Frank Bauer, Dean Belcher, Nigel Bennett, Karl Bielik , Vince Dolman, Melanie Grizzel, Olly Bewitt, Tim. Kent, Sim.on Leigh, Joe Miles, Savage Pencil , Ni.k Strangelove , Michele Turriani, Eva Verm.andel, Johnny Volcano, Wandy

Cover photo of Royal Tru x in Washington DC Frank Bauer

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Pr111ted by St Ives plc • ReprOOuctJOn by DP GraphiCS · Webslte hosted aOO mamtanled by DFuse ( ~cl/tiSea:m) The WIII' IS amember of the Namara Group USA The W.re iSSN 0952-D686 1USPS 00623 1I • pu~ohed month~ f0< $85 by The Wire MagazJne ltd Peocdlcals postage paid at Champla1n, NY 129 19-1 5 18 Postmaster, seod address changes to The W1n:' do IMS of New York, PO Box 15 18. Champla1n, NY I 2919- 15 18

The w:wsexpressed., The Wr"eare thOsoeol the respecuvecornnllutors and are not netessar-dy Sharedbylhefl"oil8azJJeornsstaff TheWtfeassumesnoresponstblhtylori.I"'SShotedi'I'I¥!USCf1PtS photogra!)t6andlllustratJOnS.CopynghtrlUKaodabroad!Sheldbyltlepu~orbyfreelanc:e contnbutor5 Unauthonsed reproductoo of arl'f 1tem IS fOfbddeo

Anyone who's seen the recent Stephen Frears/John Cusack movie version of High Fidelity may have noticed one fortunate piece of product placement There's a shot in the lovingly dressed record store set which lingers on a magazine rack in the fo reground, upon which th is very organ featuring Terre Thaemlitz on the cover from issue 180 - is prominently racked . For the record , I want . to let it be known that the magazine didn't acti vel y seek or pay for this walk-on part, although we did supply copies when asked by the film's production team. Evidently the producers thought it an appropriate signifier in a movie depicting a cast of twenty- and thirtysomethings obsessing over an encyclopedic array of independent music I can't imagine why

Stil l, we were certain ly flattered to see it placed so conspicuously. As it happens, it's not the first time Hollywood has beckoned. Believe it or not, the props department on The Matrix also requested a copy (of the Alec Empire issue 166), along with a pretentious ta x asking us to authorise unrestricted use of the image in perpetuity throughout the universe, in territories discovered and yet to be discovered , in media existing or hitherto uninvented . A reward for anyone who can actually spot it in the finished movie, because we're damned if we can .

Happily, High Fidelity has immortalised the layout of Robin Hawes, our art editor since 1995 , who, sad to report, takes his leave of The Wire this month. From his very first issue, which featured The Aphex Twin on the cover (134 ), he took our pages in hand and with quiet confidence applied a little design discipline and clarity, just when the la yout badl y needed new direction. Over the ensuing years Robin has created an enviable stable of photographers, many of whom received their first break in music photography th rough our pages

The Hawes trademark was never to make things unduly compl icated or tricksy for the sake of i t Although the magazine is stuffed with complex ideas and unorthodox personalities, we haven't tried to cloak these subjects in self-consciousl y 'avant garde' design - the logical conclusion of which is the classic case of Raygun designer David Carson convertin g an entire Bryan Ferry interview to a 'Dingbat' font consisting of nothing but sma ll logos and glyphs. As on most issues, feedback from yourselves, the readers, seems split down the middle: some of you would like a more 'cutting edge' fee l to the layout; others comp lain that a full page photo is a waste of valuab le space that shou ld have been given over to more text As always, we welcome more correspondence on the matter.

So, apart from the fact that there's no pleasing all of you all of the time, intuition tells us that the visual component is a vital factor in the clear and accessible presentation of difficult information. Who'd want to be wi th out Val Wilmer's incredible archive of free jazz luminaries, snapped right on the spot in th e cra mped apartments and tiny clubs of downtown New York? Who could imagine Captain Beefheart separa ted from Anton Corbijn's stark monochrome portraits in the Mojave Desert? Can any description of Diamanda Ga las, Sun Ra or Rammellzee approximate the eyeboggling effect of those personali ties in the flesh? it's all part of the package. ROB YOUNG

Coming next month. . .

THEWIRE200

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