Ellie Robson Venue Editor
Amelia Rentell Venue Deputy Editor
concrete.venuedeputy@uea.ac.uk
concrete.venue@uea.ac.uk Hello! Here we are with issue three, and don’t our covers look so gorgeous together? This issue’s art is by the lovely Imogen Ince - we’re incredibly grateful that such talented artists keep wanting to work with us. Get in touch if this is something you’d be interested in - I can be reached at ellie.robson@uea.ac.uk The team has been improving in leaps and bounds since Issue one, and I’m over the moon with the makeover that we’ve given Venue. I think we’re presenting you with our best issue yet! We’ve also seen increasingly creative content calls, and are gaining momentum with some fantastic pitches from you guys - there’s really so much to delve into with this one. I’ve finally succumbed to Fresher’s flu, but other than that am happy to be back into the swing of university life, and making the most of my modules in this, my final, year. I did hear the word summative mentioned this week though...
Hi again! Here we are printing our third edition of Concrete and Venue - doesn’t time just fly? I’ve got my first essay to write soon and going back to academic writing has been a shock. Luckily, not as much of a shock as the 20p price increase of my beloved snakebite. This issue has some amazing content in it and I’m really thankful to our editors and writers for really pulling out their best stuff. Ellie and I have really enjoyed working on the new design layout for Venue and we think we’ve nearly got it down. Third time’s a charm, as they say. Hopefully, a lot of you have got your reading week coming up. Whilst it is definitely a time to do some reading and catch up with your classes, it’s also a time to reflect on the first few weeks of the semester and give yourself space to relax. You’ve earned it! Going to the LCR every week (sometimes twice) takes its toll. Anyway, that’s all I’ve got to say for now. Enjoy reading the new issue, - there’s something for everyone.
Featured Articles: Turn to our Arts section to read Rosie Flood’s musings on the relationship between art and social media, on page 4
Have a read of Lucy Cundill’s poem ‘I’m having the dream where your body is a forest that I want to get lost in’, on page 10 of Creative Writing
SECTION EDITORS ARTS - Leia Butler
concrete.arts@uea.ac.uk
FASHION - Maya Coomarasamy concrete.fashion@uea.ac.uk
CREATIVE WRITING - Oliver Shrouder concrete.creativewriting@uea.ac.uk
02 Cover art: Imogen Ince @imogen_ince
MUSIC - Lewis Oxley
concrete.music@uea.ac.uk
GAMING - Martha Griffiths concrete.gamingtech@uea.ac.uk
FILM & TV - Fin Aitken
concrete.film@uea.ac.uk
Relevance in literature and art Suzanne Collins announces new novel ‘The Ballad of Songbirds and Snakes’ Since finishing Mockingjay, I have been anticipating a new novel by Suzanne Collins. I was pleasantly surprised when it came in the form of a prequel to The Hunger Games: The Ballad of Songbirds and Snakes. The new novel is set to be 600 pages long and features Panem, 64 years before the 75th Hunger Games. On seeing the cover and how symbolic it was for the Capitol and its rebels, I am excited to see what brought District 13, home of the Capitol’s nuclear arsenals, to its staged destruction, as well as the story behind the first rebellion. I also hope that it will shed light on the previous tributes, namely Mags, whom we got a glimpse of in Catching Fire. She was the winner of the 11th years Hunger Games, after all. The book could explore her life in the lead-up to her victory, and how she learned to make deadly fish-hooks. Whatever this prequel holds in store, may the odds be ever in its favour.
Monique Santoso
I was surprised when I heard The Hunger Games prequel announcement. Although I would consider my teenage self to have been an enormous fan of the trilogy, it was a narrative which I had left behind in those years. The chance of it resurfacing never occurred to me, particularly as the final two films seemed to fall flat upon release. I’m not of the opinion that no book series should ever be revived with a prequel, but I think Collins needs to prove to her readers why ‘The Ballad of Songbirds and Snakes’ is a necessary addition to the collection. The success of the prequel will rely heavily on Collins’ original, and now older, fanbase, and she’ll have to tread carefully in order not to taint readers previous experiences, especially as readers are already doubtful of being dropped into the tenth Hunger Games, rather than the first.
Ellie Robson
Is art going out of trend? Art as we know it, as a skill, as an entrance to fame and wealth, as talent with a paintbrush or a way with words, is a much less common practice these days. In our current age where trends come and go as fast as the rain, the persistence of art is admirable, except that it has shed its traditional, capital letter “ART” title of the past and become a chameleon instead. The supposed ‘worthlessness’ of arts degrees seems to play a prominent role in society’s perception of the value of art and its slippage as a ‘trend’. We measure our lives and successes through wealth, job prospects and new technologies. Art for art’s sake is going out of style; everybody needs a reason for doing something, and if the reason is “because I enjoy it and because I want to” then needless to say you’ll be scoffed at for it. The increased ability to identify as an artist has also devalued the position of the artist as a previously untouchable profession, but it doesn’t mean that art itself is diminished; in fact, art is more accessible than ever, but in the business of everyday life we fail to recognise our artistic endeavours as something ostensibly worth naming. Paintings are art, sculptures are art. Websites are art, sentences are art. Instagram motivational quotes are art. Nonsensical Facebook ‘life hack’ videos are, begrudgingly, art. We are all highly embarrassing creatures, and our embarrassment of uniqueness stoppers our creativity. Some art is cringeworthy, but that makes it no less art. We just have to accept it as it is; a creative process, a thinking-outside-of-the-box feature. The moment we begin to use our imaginations is the moment art starts to come into play. Without creativity, we are mind-numbingly dull. We aren’t art-less beings; we’ve just clung to an old definition that hasn’t kept up with the times. An art-less existence has never been a thing, and, as inherently creative creatures, it can never be a thing. Trendiness is a faux construct; if we just make what we love, nothing else matters.
Ally Fowler
Image: Pexels (left), publicdomainpictures
03
Different perspectives on the way we view art How I changed my approach to art on social media... I’d like to say that I spent my summer in a beautiful exotic country, reclining on a sunlounger and sipping a Mojito. Unfortunately, this dream did not become a reality; my non-existent wage as an unpaid intern meant that my funds stretched just far enough to buy the occasional Kinder Bueno from the Co-Op. Like most of us do, I spent my commute scrolling through Instagram, watching story after story of what felt like everyone I knew jetting off to distant and exotic countries. Realistically, most of my friends were working this summer. However, I convinced myself that the two weeks that they spent holidaying represented their entire summer, whilst I was taking the same grimy train between Kent and London three times a week. It’s embarrassing how long it took me to realise that spending hours looking at highlight reels of my friends jumping into the Mediterranean perhaps
didn’t make me the happiest that I could be. We all know the pitfalls of social media, but like most people, I find it difficult not to get sucked in by my Instagram feed, scrolling even when it notified me that I was “all caught up!” I decided to take control of my social media habits - what was it about social media that actually made me happy? I was already following a few small illustrators on Instagram and their work popping up on my feed always made me smile. I started to follow more illustrators, which led me to more people who were sharing their artwork online. They posted a diverse range of artwork, body positivity and female empowerment was often a theme, with illustrations also adding a voice to topical issues such as Greta Thunberg’s speeches on climate change. My favourite illustrators often draw inspiration from their own lives, detailing how they have overcome
personal insecurities or even just sharing quick and relatable drawings of their days. After a few weeks, artwork was featuring on my feed more and more. Instead of feeling jealousy and comparing myself to other people when I scrolled through Instagram, I was coming across pockets of creativity and positivity. Whilst I think that any type of mental health awareness is a good thing, I’m wary of the “selfcare” culture on Instagram; realistically, looking at an aesthetic image with a feel-good slogan will never solve anyone’s problems. However, as cheesy as it sounds, it has made a difference to how I feel when I use social media and, until the day that I can curb my Instagram addiction, that can only be a positive thing.
Rosie’s Instagram reccomendations: @softlyscribble @cheeky_palm @lizzieknottillustration @artbymoga @soolooka @frannerd
Rosie Flood
Looking at the arts world through nature’s lense...
Photo: Pexels
Oliver Jay Shrouder
04
Listening to the backdrop of oystercatcher calls just beyond the Cley Marshes visitor centre, surrounded by a gallery of birding photography, I pulled out my pen and prepared. Moving into a new house for second year, and having been faced with a bare garden, apart from a meagre pear tree, hearing Mike Toms discuss the urbanisation of birdlife seemed to come at a perfect time. His intent was to evidence that within the British ecosystem, we all have an enormous impact, both positive and negative, on the livelihoods of garden birds. In terms of the positive, gardens have become a crucial habitat for birds, particularly corvids and pigeons, that primarily feed on seeds and nest on the flat roofs of houses. Opportunists like these thrive in the urbanised landscape, with over 50% of starlings and house sparrows now nesting in urban areas. However, what I found most surprising, especially so as an avid birdwatcher, were the secretive risks that came with putting out supplementary feed. Diseases such as avian pox and trichomoniasis have become far easier to transmit due to contact around feeders, and as a result birds such as greenfinches have experienced a decline of over 30%
in a single year. Furthermore, new habitats pose new threats through cats, vehicles and windows, each of which significantly affect the adult mortality rate of garden birds. Perhaps the most interesting point of Tom’s talk was the discussion of cultural service and disservice birds, and the biases of residents and the birds they hope to see in their garden. By hoping to entice birds of cultural service (such as tits and finches) and deterring birds of cultural disservice (pigeons, starlings and crows), we allow ourselves to affect British bird populations by stripping areas for certain birds to feed from and providing them to others. Though biases such as this go largely ignored, it allows us to realise how we can unintentionally create a negative impact on the wildlife we adore so much. In conclusion, all people, regardless of their interest, need a conscientiousness towards the habitats they have the largest influence over and a deeper understanding of how some relatively small changes can affect their gardens for the better. In the wake of the Extinction Rebellion and the climate crisis, the ability to understand our impacts on the world around us has become more important than ever.
Vote We asked you this question: Should all art/literature be free to access? Here are your votes!
27%
73%
Yes
No
In an ideal world, art would be free and accessible for everyone, however, I don’t think this is realistic. One example that comes to mind is theatre. Free theatre events are fantastic, but so many people come together to work on a show that really need to be paid - actors, tech teams, theatre staff. I think, with the increasing accessibility to art, it is also difficult to debate which art should be free to see, and which “deserves” to be hidden behind a paywall. I’m constantly torn between wanting art to be accessible and not elitist, but the creative community needs funding to exist.
Ellie Robson
In an ideal world, art would be free for everyone, right? I just don’t think that’s possible right now. Art, like everything else, costs money; artists need paint and writers need publishers. Theatres need sets and actors and costumes. Despite that, art is for everyone and should be enjoyed by everyone, and things are heading in that direction; free theatre events are more common now. I think art is finally gaining a real foothold in our world, so maybe in the future, things will be different.
Nerisse Appleby
I think in an ideal world maybe, but within current structures making all art free would diminish its quality. Art improves and reaches wider audiences when it’s created by more diverse people. Often, the people telling the most nuanced, difficult and touching stories are also the first to have their ability to produce and spread their art removed in times of hardship. I am of the belief that artists should always be paid fairly for their work, and that anyone who has the means should feel obliged to pay artists with the same mindset as anyone else providing them a service. Nevertheless, this does not mean that people shouldn’t be able to access art if they don’t have the financial means of paying; I feel as though once the income produced by an artist/piece reaches a threshold which allows them to earn a decent income and function as a business, they should take on the responsibility of making their work accessible to those who cannot pay. This may mean that people who can’t afford it only have access to bigger, more successful artists, but I guess it’s not an ideal world.
Laura Taylor
No, whilst plenty of artists can claim that they only make their art for the sake of the art itself, many artists need to make money from their art to survive, particularly if it’s their primary skill and the other option would be to work a minimum wage job. Making all art free would remove viability for many artists to pursue it as a career, even if only modestly successful.
Jack Oxford
There will be polls in every issue, so do vote when we put them on Concrete’s Twitter and Instagram (@ConcreteUEA). Feel free to email any comments or discussion points to concrete.arts@uea.ac.uk
Image: Public Domain pictures
05
These boots are made for walking We are now firmly into the Autumn, and many are faced with the dilemma of what footwear to sport around campus. Trainers certainly aren’t waterproof enough and wearing walking boots is simply unfashionable. Don’t despair and look no further than the trusted Chelsea boot. It is safe to say that the Chelsea boot is one of the most quintessential British looks. The boots have been popular since the Victorian era and are now
worn by almost everyone. J. SparkesHall designed the first Chelsea boot; he was a cobbler to Queen Victoria. To begin with, Chelsea boots were known as ‘Paddock boots’ because they were useful for walking and riding. Now they are considered to be one of the most versatile and timeless pieces of footwear around. In the 1960’s the boots were also favoured by members of The Beatles and The Rolling Stones. The boot is often available in a variety of materials but most commonly in
suede and leather. They are perfect when matched with a pair of skinny jeans or paper bag trousers. Thick tights and a long flowing dress are also a good combination. Chelsea boots are also great to wear in the office as they strike the seamless balance between being smart, yet comfortable. But perhaps most importantly, they will protect your feet from the cold and wet autumn weather.
Jess Barrett
Norwich Menswear: where to shop Among the extensive variety of large high street retailers, Norwich presents a teaming expanse of vintage and independent menswear outlets. Within today’s materialistic society and ‘throw away’ culture, with roughly 300,000 tonnes of clothing going to landfill every year in the UK, vintage clothing helps the struggling environment by offering itself as a sustainable, ethical, affordable and fashionable alternative. Throughout my hunt for menswear in the cobbled streets of Norwich, I have come across popular outlets that I, and many others, highly regard and will be returning to time and time again. These include the following great finds:
Taxi Vintage
In rows D and E of Norwich Market, Taxi Vintage transports a customer into an excitingly vast world of vintage. With pieces ranging from the 1940s to the 1990s, Taxi Vintage offers items that each hold their own individual histories. Shop owner Mark Wright speaks often of his passion
06
Image: Unsplash
for vintage, and his enjoyment in finding a piece and researching its past life before it finds itself on the Taxi Vintage racks. Taxi Vintage’s affordable and fashionable items are extremely popular, with the bright flash of the shop’s recognisable yellow carrier bags visible in the hands of
end menswear experience. Although neither shop are based around vintage clothing, Philip Browne contains well known staple brands such as Levis, Barbour and Fred Perry – to list a few – with Working Title presenting a selection of, perhaps lesser known, but equally well crafted brands including Edmmond Studios and Kardo. Both retailers provide an amazing display of staple pieces in all categories of clothing, that are sure to become go-to pieces in any mans wardrobe, tastefully designed and created to last a lifetime.
Retreat Vintage
many, acting as a driving force for Norwich’s growing vintage trade.
Philip Browne and Working Title
For those with a bit of extra cash to splash, both Philip Browne, found on Guildhall Hill, and Working Title, found on Bridewell Alley, offer a higher-
Neatly nestled on Norwich’s Magdalen Street lies this vintage clothing treasure trove, where you can retreat inside to find an overwhelming selection of garments. From the shop’s wide line-up of coats and jackets, to its bursting rail of band t-shirts, this vintage emporium has an endless
Toby Skinner
The Cult of Glossier Glossier, the ‘skin first, make up second’ brand achieved enormous success promoting imperfect realist beauty, attracting millennials all over the globe. Established in 2014, Glossier has a net worth of $1.2 billion with a social media following of over 2million. What’s more impressive? The brand began from a blog. Emily Weiss started her career at the age of 15 as an intern at Ralph Lauren. From here, she worked as an assistant for Conde Nast and even appeared in the reality television show The Hills. In 2010, Weiss decided to start her own beauty blog while working as an assistant for Teen Vogue and launched her brand in 2014. In an interview for The Cut, Weiss stated, “I had no idea what I was doing…I was 28 years old. I didn’t have an M.B.S. I went to art school.” To launch her brand, she needed an investment of $1 million. Although Weiss was initially turned down from 11 venture capital firms, she received endorsement from venture capitalist Kirsten Green. True to the brand’s ideology of natural
beauty, vowing to “never cover you up, turn you into something else, or over complicate your routine”, the brand launched with four products: Glossier smoothing face mist, Priming Moisturizer, Balm dotcom salve and perfecting skin tint foundation. But how did this natural brand fight its way to the top of the beauty market, competing with heavy makeup brands? The answer is Weiss’ direct-tocustomer strategy. The brand utilizes social media to spread the brand’s image. Packaged in minimalist, millennial pink, the brand’s undeniable instagrammable image spread across social media platforms to create a buzz for the product. The brand also used the original blog intothegloss. com as a focus group to develop new ideas and to interact with consumers. The brand combined its social media marketing strategy with a brick and mortar retail format. Before Glossier’s pop up stores, the brand was online only. Online accessibility meant customers no longer had to rake through Sephora or department
stores but had their products at the tip of their fingers. Consumers could get their products as they wanted them, and when they wanted them. Glossier’s success continues. The brand doubled revenue from 2018 and added 1million new customers over the past year. The brand has also launched Glossier play; a bold makeup range that appeals to new customers outside of their natural skincare brand. Alison Gaither, an analyst for Mintel’s U.S. Beauty and Personal Care Reports, stated; “By going bold, they are officially competing with major players such as Pat McGrath and NARS — brands that have pro makeup artists at the helm. It will be crucial for Glossier to compete at the same level or risk losing customers.” Glossier is one of the first femalefounded and female-led cosmetic lines to celebrate being who you are. As for what is next for the brand, we do not know. When asked about a public offering, Weiss responded: “We are certainly in a position where…we are able to do that”.
Alethea Farline
Images: Unsplash
07
Inclusivity in the BoF 500 On the night of September 30th, the Business of Fashion (BoF) gathered the most elite names in the fashion industry for a night of inclusivity and diversity. Set in Paris’s exquisite Hôtel de Ville, the publication’s 500 banquet discussed the importance of diversity and how it should be prioritized in fashion. However, some guests have called out BoF of doing exactly the opposite. In his Medium post titled ‘Business of Fashion 500 is now 499,’ Kerby Jean-Raymond, the designer behind the acclaimed fashion label Pyer Moss – initially one of the publications 500 influential people to celebrate that night – stated that he was disassociating himself from the publication and its Editor-inChief, Imran Amed. He called Amed out on “cultural appropriation and exploitation.” His comments were supported by various big-names in fashion, including designers Phillip Lim and Prabal Gunung, the model Joan Smalls, as well as former Teen Vogue Editorin-Chief Elaine Welteroth. Most of his critiques that night were rooted in the black gospel choir that sang for BoF’s gala, and Amed, dancing on stage with them to a room full of white people. Welteroth said “[The choir] were used out of context as a backdrop for a mostly white audience.” JeanRaymond shared her sentiments and stated that black talent is often mistreated within the fashion industry as a trend. But this night was just the tip of the iceberg for Jean-Raymond. Before his arrival at BoF’s gala, Jean-Raymond allegedly claimed that Amed had “exploited” him for ideas of how to make the publication more inclusive
08
by asking him for names of “diverse” individuals for their September cover series, promising Jean-Raymond his own cover as well. He continues to say that the founder “picked his brains” for other names of people to include on their 500 list. However, when the covers were released, Jean-Raymond’s portrait was nowhere in sight. Moreover, during the night of the gala, Amed failed to credit him for his ideas. In his article, he mentioned how black talent is often treated as a commodity that “are always up for sale.” Jean-Raymond’s participation with BoF goes back to last year, where he was one of the panellists at their London 2018 VOICES Conference. Despite initially being offered to be a solo presenter to speak on inclusion in the fashion industry, he received last-minute news that he was to be part of a panel instead. He suspected it as their plan from the start. Since the panel was held with individuals he respected, he obliged. However, his disapproval started when he realized that “people of colour were grouped to speak altogether in the commonality of [their] blackness and force [them] to disagree on stages
Image: Tiffany Frances, Vimeo
in public.” Amed responded to JeanRaymond’s comments by reiterating his passion for diversity in a letter where he explicitly mentioned his experience of being gay and “the only brown kid” growing up. Teen Vogue Editor-in-Chief Lindsay Wagner believes that Amed’s inadequate approach could set precedence for future designers of the industry and create a culture of not speaking up. “Young designers will look at that statement and will think, ‘I probably won’t get an apology either, so I won’t speak up.’” Phillip Pocardi, Editor-in-Chief of Out Magazine and a fellow BoF 500 member, said that BoF can only move forward with substance that demonstrates their meaning behind their inclusive message. “I felt that the spirit of the BoF gala, and of BoF in general, is to amplify and listen to voices,” he said. “I think it is important to listen to Kerby and amplify his message.” One thing is sure: Jean-Raymond will not shy away from speaking up for himself. As he concludes in his Medium post, “me getting checks is not going to stop me from checking you.”
Monique Santoso
I’m having the dream where your body is a forest that I want to get lost in I’m having one of those dreams where I’m in love from the backseat, and there’s a boy looking at my body like it’s a holiday — something for him to have and then forget about. And I’m looking at him like a mirror, through which to see myself, and he’s looking at me like he wants me to start dancing; so I do just as I’m told, because the radio screams easily and I’m far too scared of the quiet, because I keep having nightmares about waking up and still being stuck with myself. And I’m having the dream where your body is a forest that I want to get lost in And I’m having the dream where you let me crawl over the roots of the trees And I’m having the dream where you let me grow up to be who I want to be But I’m having the dream where the roots snap, and cut me with their teeth. I saw you in the midnight slick, in the forest floor like crushed violet, and thought, my god, that boy is beautiful— I want to devour him — body, lungs, and heart. lupine air like vapour— I could take you in this moment and swallow you whole. I could take you in this moment and nothing else. I could take you in this moment and it wouldn’t be wrong. I could take you in this moment and it would give us something to talk about. But I’m having the dream where your body is a forest that I want to
10
get lost in And I’m having the dream where you let me crawl over the roots of the trees And I’m having the dream where you let me say everything I’ve ever wanted to say But I’m having the dream where the roots are trying to push me away. I’m having the dream until it takes me to pieces too. I’m having the dream, like I’m having you— Small doses, sensible— ignoring the instructions— Everything, anything, smothering— I’m having... I’m having the dream like I’m having my cake and eating it too. I’m having you, I’m having you, I’m having you on. The roots around my body were never curled tightly enough I’m having you, I’m having you— but it’s not what I want. This is not what I want. You want. You get— hope like you’re pumping gas at a petrol station — always trying to put something slick, hot, and poisonous into a body. You want. You get— hope like you’re pumping gas at a petrol station, And I’m the service attendant. And it’s two in the morning and we’re standing, in a crystalline bubble of neon Standing like a sword, amidst the blanketing tundra of the midnight hour. It’s two in the morning and you pay by card. It’s two in the morning and there’s blood on your lip. It’s two in the morning and I want to know you.
It’s two in the morning and I want to tear you to pieces. And I’m having the dream where your body is a forest that I want to get lost in And I’m having the dream where you let me crawl over the roots of the trees And I’m having the dream where you let me finally get as close as I can reach But I’m having the dream where there are wolves between the trees. So, you want me in the worst way— that’s how I know you’ve made it personal. So, let’s meet in the dark, dingy, alleyway, street lights, pour your heart out from your lips— Let’s make it colourful. Let’s make it irreversible. I’m having you, I’m having you, I’m having you on— Top of me in the quiet, in the forest, in the midnight hour, I’m having you until you crumble into pieces, and— I’m having your pieces to break down into powder To use as ashes to keep me warm in the winter To use as ashes to burn down the roots. Because I’m having the dream where your body is a forest that I want to get lost in And I’m having the dream where you let me, crawl over the roots of the trees And I’m having the dream where you let me, tell you anything you want to hear But I’m having the dream where the roots are insincere.
Lucy Cundill
Root of the Problem
Rooted to a spot. Unable to leave. Green with envy of the freedom, For other un-tortured trees. A root of the problem Is something not to be leafed out. In order to feel oak-ay, Within an unfamiliar forest You’ve got to branch out. Trim back the bothersome, Find pleasure in planting the positive That flowers, that blooms; When faced by a new room Rustle up courage, And as you please Share your bark and leaves With unfamiliar trees. Give yourself a bark. Use shared interests- such as sunlight - to spark Streaming conversation that flows As your roots finally stretch And whispering winds grow. Watch as your form shapes and moulds, Water that small seed of drought Into friendships that form The more your tree branches out.
Toby Skinner
Radicle
“I am the roots that grew where sari hems met England’s paved streets, Probing deeper, deeper for life, hope and, one day, belonging. I am the roots massaged with coconut oil and haldi paste by mother’s tired hands, Easing a mind knotted with sleepless nights and jobless days. I am fellow roots from distant lands intertwining in silent solidarity, Pirouetting and waltzing under soil that dries in their presence. I am the roots bursting under stifling tarmac and cracking the pavement into fractals, Reminding marching boots to tread carefully. I am the roots that anchor the young sapling against gale and storm, A network of multitudes, old as the soil, strong as the bedrock we all rest upon.”
Rahul Mehta
Images: Unsplash, Filip Zmnzevic (above), Praveesh Palakeel
11
On New Places and Old The grounds where I planted my roots lie over seven thousand miles away. I’m here now and it’s been two years, but it still feels like I have one foot across the seas. I still see ghosts of my childhood home in every concrete building that I pass. I see my hometown submerged in February flood in these puddles of rain. I feel the blazing sun against my face in England’s frosty autumn air, and everything reminds me of home. Don’t get me wrong, I’m happy now and I’m grateful for every tear that my parents have shed to get me here. And it’s taken me more than a year, but at last there are people I’m glad to call friends. I now have memories of nights spent in comfortable silences, of cooking meals and sitting around a carpeted living room, of a rainy storm outside while we’re heated from hysterical laughter, Shark Tale playing quietly in the background. Blindfold me and my feet will take me around the twists and turns on campus. I know how to wake up an hour before a lecture and still have time for breakfast and a hot shower. I recognise faces in the library and I know which days to come to the Hive for a plate of jollof rice, but I’d be lying to say that I’m not still haunted by the memories of home. I love a hearty roast dinner, but it’s simply not the same as my mother’s oxtail soup, and though flapjacks have become my guilty pleasure, they’ll never be the familiar indulgence of a chunky martabak slice. I guess what I’m trying to say is that no matter how far you travel and no matter how much you think you’re settled in this new land, your roots will always remain in the same grounds you were raised. Not even a lifetime of new memories will ever change that.
Erica Fransisca
12
Image: Unsplash, Hafidh Satyanto
Nick Cave and the Bad Seeds - Ghosteen “Once there was a song, the song yearned to be sung…” Thus opens Nick Cave and the Bad Seeds’ latest album; we begin with a reference to Elvis Presley, who is something of a recurring theme for the Australian rock band, having been the subject of songs such as ‘Tupelo’. Yet there is nothing routine from Ghosteen, this is the kind of album you have to give yourself over to completely, and preferably with a large, strong drink in hand. You cannot listen without somehow being aware of the tragedy that befell Cave in 2015 when his son was killed in a fatal fall. Whilst their last album was all but complete at the time of the incident, this album deals with the themes of grief, religion, death, and acceptance with a pervasive sense of clarity. The songs themselves are beautiful; I found myself listening to ‘Bright
Horses’ on repeat when I first heard it, only to move grudgingly on to the next track and be blown away by ‘Waiting for You’. Both tracks are gut-wrenching, filled with loss and the wordless call in Bright Horses still haunts me now like an ancient funeral wail. During his recent tour, Cave bravely took on unmoderated questions from his audience and whilst none of them outright asked him about his grief, the conversation inevitably took that path and this album perfectly reiterates what happens when “everything has gone wrong”. There is so much in this album to unpick. It has tones reminiscent of Leonard Cohen and Tom Waits, whilst the piano could be part of a Clint Mansell soundtrack. Yet it is also completely unique in that there is a powerful sense of
wonder to the album, ‘Sun Forest’ conjures up a wild yet beautiful world as “a spiral of children climb up to the sun”. I will reiterate: this is not woefully sad music. Instead, the pain has been turned into raw creative energy and transcends the human realm to include all that we cannot see, yet we can most certainly feel.
Image: Flickr Julio Enriquez
Martha Griffiths
Deluxe Editions - Money for Old Rope In recent years there have been many disgusting examples of deluxe editions; the worst, in my view, being the re-release of XXXTENTACION’s album ‘?’, which more than tripled the runtime of the original album. Originally being a rather slim release of 37 minutes and 18 tracks, the deluxe edition of ‘?’ contains 113 minutes and 53 tracks. The additional content is laughable; instrumentals, which in my opinion are one of the worst ways of creating a deluxe edition except for exceptional circumstances, and some very strange acoustic recordings and voice memos, many of which would likely have never been released during XXXTENTACION’s lifetime. Some deluxe editions are more innocent, being released with real reason. For example, the
anniversary of the album’s release creating a surge in popularity, although this again is just another example of driving for higher sales. Occasionally this results in new content. For example, with Radiohead’s re-release of ‘Ok Computer’ for its 20th anniversary, they introduced some of their B-sides to streaming services, even adding a few previously unreleased tracks for fans of the sound they pursued in the album. However, the claim that an album has been ‘remastered’ is one that occasionally irritates me. It is rare that one can notice the difference between the original and remastered edition of a track unless using a superior set of headphones and listening to the highest quality version possible. Whilst the avid listener may consider this
worthwhile, the more casual listener, who may only listen to music during their commute, for instance, benefits very little from this, particularly if using a streaming service which caps out the sound quality. With online streaming becoming the most popular way to consume music, artists have been making every excuse to create deluxe editions of their albums. This is done in many different ways, such as the tacking on of throwaway singles or remixes, and the addition of poorquality live recordings. Why do they do this? To push sales of course, to chase the Gold and Platinum certifications that are so important when measuring an artist’s success. It’s a shame that the industry has become like this, although for me to act like this is a new phenomenon would be ignorant.
Jack Oxford
13
Watch This Space! - The State of Norwich’s Venues Norwich is considered to be a ‘fine’ city, but a relatively small one. However, one way in which it leads the pack in East Anglia is through its music venues. The city is known for having a large variety of small capacity, and fairly niche, music venues available to all musicians, but quite frankly they aren’t given enough exposure. The creation of the music festival Wild Paths this year has allowed me to discover music venues I haven’t been to before. From The Shoe Factory to The Birdcage and Voodoo Daddy’s Showroom, it’s nice to uncover new spaces which provide a different atmosphere. It’s a nice surprise to see other venues such as The Bowling House utilise the space they have available and also be part of the festival. The most famous music venues in Norwich are The Waterfront and the LCR. However, both are owned by UEA Students Union so can feel as if they are excluding a larger, older
14 Image: Molly Bernardin
demographic. Open Norwich is another widely recognised venue but is largely associated with the event Soul Train.
requires a mosh pit, but for artists that play slower, more acoustic sets, you can feel a little out of place.
Norwich has such a rich history. I am pleased to see that a variety of historically relevant venues are also being used. Tilly Moses has recently announced a secret gig held in The Shoe Factory. The Shoe Factory is an amazing venue, naked with exposed beams. I think it is amazing that a venue with such an amazing history has given a nod to its past. In fact, Norwich as a city consistently recognises its past and wonderfully intertwines this into the vibrant events and culture within the city itself.
With less recognised gig venues, the atmosphere can feel more comfortable and intimate. After all, the main reason to attend a gig is to see the artist live and build upon the relationship you have formed with them from listening to their tracks. A smaller music venue enables you to read the facial expressions of the artist, to see the pain and heartache that resurfaces as they perform. Gonzo’s, The Crypt or The Birdcage are the perfect venues that provide intimacy, character and a more enjoyable atmosphere for performances with lower tempo tracks.
Having such unique music venues can also add to the atmosphere within the gig. I’m often left a little disappointed when I step into The Waterfront and The LCR and the floors are sticky and stained with alcohol and the gig is over its capacity and feels overcrowded. This is great for gigs with high tempo music and also when the song
Since I have been a student at UEA, I am so pleased that the venues in Norwich are expanding, growing and receiving the recognition they deserve.
Jess Barrett
Concrete’s Great Gig Guide Vol. 2 Oct/Nov 19’
She Drew the Gun: NAC Norwich Arts Centre will house She Drew the Gun and support act Bugeye on October 28th. The England based act describes themselves as creating “hypnotic and darkly ornate psych-pop” and are fronted by guitarist Louisa Roach; an interesting act to check out, especially if you’re yet to visit Norwich Arts Centre! 28/10/19 Kate Tempest: LCR Kate Tempest is taking to UEA’s LCR on 8th November as part of her UK tour. A novelist and poet as well as a musician, Tempest specialises in spoken word and hip-hop, and weaves all of her word-related pursuits together effortlessly. This looks to be an enjoyable and thought-provoking evening. 8/11/19
Kodaline: LCR Dublin indie quartet Kodaline found their footing when they charted back in 2014 with ‘All I Want’. The release of their album ‘Politics of Living’ last year is an electronic turn for the band, making use of synthpads and dance beats mixed with anecdotal and sometimes emotional lyrics. 10/11/19
Bluetones: Waterfront One of the great indie bands to break through in the late 90s along with Supergrass and Suede, the Bluetones take to the Waterfront on 23rd October. The band embarked on a reform in 2015 after a hiatus of four years. For fans of nostalgic Brit-pop this will surely be a memorable evening. 23/11/19
Sports Team: NAC The eccentric six-piece formed in Cambridge is emerging as a fundamental piece of the British indie-revival through cultural lyricism seen in tracks like ‘Kutcher’ and ‘M5’ as well as earworm riffs and drum beats that continue after the song ends. This raw-sounding indie band are often found playing small venues filled with lively crowds known to turn into large mosh-pits. 18/11/19
Primal Scream: LCR The Glaswegian rock mavericks stage an appearance at the LCR on 27th October. Known for their influential 1991 record, ‘Screamadelica’ that blended rave culture and 60s Psychedelia in the notion of “Come Together as one”, this shall propose for a raucous evening of rock ‘n’ roll done with a distinctive swagger. 27/11/19
Joseph Saul, Ellie Robson, Lewis Oxley
Celebrating The Sticks - The Best Drum Songs Ni Ten Ichi Ryu – Photek When people think drums, they usually think rock, but electronic drumming was so important for the development of the dance scene, and Photek is such a brilliant example. Ni Ten Ichi Ryu is stripped to the core. It’s a torrent of disorienting beats. Blood-curdling, glassy notes descend and ricochet around your ears. Drawing from an obsession with Samurai, the rhythms are cutting and the tinny production slices cleanly through the mix. The track is so spacious that every drum hit snaps with remarkable energy. Not only is it a superbly threatening track, it’s great to write that last minute essay to.
Pushit (Salival) – Tool Danny Carey, master of the polyrhythm and known octopus, is the drummer of the progressive metal band Tool. His infectious energy and complex rhythmical ability create the backdrop and carry the tempo of every Tool song. My personal favourite piece of drumming from him is during the song Pushit from the live Salival version. All throughout the song his subtle yet effective drumming carries an effective rhythm with the bass, guitar, and vocals, and the breakdown sees multiple percussive instruments being utilised to create a spectacular polyrhythm, that builds to an explosive crescendo.
It’s Started – The Joy Formidable One song that springs to mind when I think of amazing drum solos is ‘It’s Started’ by The Joy Formidable, which features in their third album Hitch. The song ‘It’s Started’ opens with 50 seconds of an amazing drum solo that completely shifts the tone of the previous songs on the album, which are low in tempo. The bands drummer, Matt Thomas, is exceptionally skilled with the sticks and provides the perfect beginning for such a punchy, up tempo song, which I would imagine to be amazing played live.
Callum Gray
James Ward
Jess Barrett
15
Mental Health in Gaming This month we saw World Mental Health Day where communities around the world came together to raise awareness of mental health and how we can take care of ourselves and others. In addition to this, hopefully by now you have seen Concrete’s own Mental Health Crisis Campaign, which hopes to open up a dialogue between universities, their faculty and students, whilst reducing the stigma that surrounds mental health. In the gaming industry, there are two main ways games interact with mental health. The clearest way mental health can be explored within games is to have active or playable characters who experience mental health concerns over the course of the game. There have been examples of both good and bad representations of this throughout gaming history; unfortunately, like film, there is many a horror game that takes place in an asylum or mental health facility. These often use the location as a source of fear and therefore impact negatively on the dialogue we must have concerning mental health. Often patients become violent towards the player which dehumanises them further and makes it impossible for empathy. But don’t worry, there are games that have better understood the complexities of mental health and produce quality content that continues the conversation. Arguably, the most important in recent years was ‘Ninja Theory’s Hellblade: Senua’s Sacrifice’, where you play as a woman working her way through the Norse underworld whilst experiencing psychosis exacerbated by grief. The game makes use of incorporeal voices who insult, doubt and encourage you throughout the game, alongside hallucinations to give a powerful example of mental health in gaming. Image: Jorge Figueroa, Flickr
The designers took time to speak with psychiatrists, neuroscientists, and people with the condition, in order to accurately portray what one may experience. On a more subtle level, game designers have become far more conscious of their role in the mental health conversation and how to be an ally in games that do not actively engage with mental health. A great example of this was the most recent incarnation of ‘God of War’ which explored themes of grief, PTSD, and toxic masculinity without removing itself from mainstream popularity. Santa Monica Studios took a game franchise which had been previously criticised for its misogyny and heavyhandedness, and instead produced a game where Kratos develops over the course of the game to become more open and understanding. They accepted their past offences and looked at how they could move forward with the character without glossing over his problematic history. The other side to what gaming has to offer from a mental health point of view, lies in how they can help alleviate symptoms in some cases. Thatgamecompany, for example, have sought to challenge game tropes since their first game, ‘Flow,’ all the way back in 2006. Yet their true masterpiece from a mental health perspective came in the form of ‘Flower’, a speechless and textless game where the player controls the wind to collect petals and bring colour
to a dark world. The game was designed to stimulate positive emotions and players have reported a sense of calm caused by its lack of complex controls, gentle music and soft animations. As a way to expel anxiety and stress, the game offers an outlet, but there are games with a more specific objective. ‘Apart of Me’ is a mobile game produced by Bounce Works which aims to help young people through bereavement by creating a safe space for them to explore their grief, whilst hearing testimonials from people who have been in their position. The game begins by asking for a name of someone the player has lost and then intermittently asks them to relive a positive memory or experience they shared with the loved one, whilst also completing tasks ingame. The portable aspect of mobile apps means that the game can be on hand at any moment for guidance and meditation. Unfortunately, some of the hard work the gaming industry has placed into moving themselves into the current moment could be damaged by the World Health Organisation’s decision to include ‘gaming disorder’ in its 11th edition of the International Classification of Diseases. The addition took effect last year, regardless of leading experts voicing their discomfort with the diagnosis citing lack of evidence, and the decision continues the cycle of negative opinions of video games as a form. What this may do is prevent people from seeing the benefits of games as a self-help resource and a serious environment for mental health exploration in the years to come. The reality is that gaming is a popular mode of communication with audiences, that has only just begun to tap into its potential for understanding mental health.
Martha Griffiths
17
Don’t You Have Any Humanity? ‘Cards Against Humanity’ gives us the chance to reveal our inner dark humour, to laugh, to cry, and largely to insult. I first bought the game as a fresher, a small group in my flat thought it would be a good way to spend time together. No quicker than you can say Jade Goodies’ cancerous remains, and I was logged into Amazon Prime with the game in my shopping basket. Over the course of the next few months, we played the game on an almost weekly basis. We would play music, sit in the comfort of our corridor and sometimes eat pizza together. Playing the game created such an amazing sense of community, even though we were being horrible human beings. The card game has become so popular that you can buy expansion packs to give yourself more variety when playing. Versions of the game are also available for US and UK citizens. I believe that this divide is key. The British sense of humour is renowned for being dry and sarcastic – the kind
18
Image: Laurens van Riel, Pexels
of humour that wouldn’t go down well in America. The kind of humour that is perfect for a card game such as ‘Cards Against Humanity’. Occasionally I come across people who have played the game but have made the decision to remove certain cards as they find them too offensive. The cards most frequently removed are the ones about Madeleine McCann and Jade Goody. Personally, I think that unless you had never heard about the card game before you decided to play, then you knew exactly what you were getting yourself into. The game is designed to reveal the darkest sense of humours, to be racist, homophobic and misogynistic. It goes against all morality and humanity. You shouldn’t be surprised if a combination appears so horrific that all that remains is to laugh. One trick I have picked up in my years of playing the game, is to use ‘amnesty’. ‘Amnesty’ is a good option to take when everyone playing the game has exhausted all of their good cards and
are left with a poor hand. ‘Amnesty’ enables all players to switch five cards in their hand for five new cards, in the hopes of making the game more interesting. It’s easy to recognise when you will have difficulty matching a card you hold to a question card. This crafty trick enables the game to last for even longer. It simply is the game that keeps on giving! Another trick of the trade is to place a random answer card in the mix and have the cards shuffled. If the random cards even get picked, it just demonstrates how the card game relies on the creation of crazy combinations and can still be the most hilarious. This is also a perfect solution if you only have a small group playing the game. ‘Cards Against Humanity’ provides a good outlet for the players to use their wit and creativity in creating the most horrific and socially unacceptable combinations.
Jess Barrett
Casual Gaming
The recent downpour of rain has meant that more people want to stay inside – but what do you do for hours on your own? If you were a ‘Hardcore’ gamer you may decide that this week is the best opportunity to level up your Elder scrolls online character (that’s ESO for all you pro gamers!). Casual gamers seek the variety that rainy days like these can offer. You might be wondering what games a ‘casual gamer’ enjoys, even if it is secretly. Here are a few to get you going: For those that like to completely hide from others, a turn-based game against a computer boss might be your idea of bliss. The surprisingly addictive ‘Slay the Spire’ is a great strategic, turn-based card game. Its main appeal is that you can plan out your route to the final boss and collect relics that give you much needed boosts. The futuristic blends well with the spiritual characters that you face – it is an exciting escapist world for you to become absorbed in. Others may want to play with close friends, in which case the nostalgic ‘Spiro’ is a great choice which can be played on a console. The cutest purple dragon out there has to save his fellow dragons by unlocking them at each stage, which is where the story kicks in and you have conversations with each character you save. Fun for those who have younger siblings and can play them without being
as competitive as other games require. Maybe you like the simpler things in life? ‘Mini Metro’ certainly appears simple – just create and maintain a train system made up of colours and shapes, what can possibly go wrong? Turns out managing the London Underground is harder than it looks, you will lose the game if there is a station that gets too congested and you are limited by the number of carriages, trains, lines and bridges that you can use. Choose your placement of starting train lines carefully is the advice for this one. And finally, for those that have a mischievous side there is the ‘Untitled Goose Game’ where you play a goose and are set tasks that disrupt the humans around you. The first set of tasks include: ‘get the groundskeeper wet’ and ‘have a picnic’ – you know common goose activities. The charm in this game comes from being able to honk and spread your wings. Two features that really makes this game a joy to play. A casual gamer can pick and choose between this selection and maybe even swap in some real-life games like board games or card games. It all depends on the mood, who they are able to play with and how long they want to play for – it could be short and sweet, or they could get wrapped up in the game and play for hours.
Gabriela Williams
New Gamer I have pretty much zero gaming experience, other than playing copious amounts of Skyrim one summer whilst I was in sixth form. When chatting to my gamer housemates about what games they had that I could play for this column, we landed on Portal. From what I’d heard, it’s a classic, pretty well-known, and my housemates described it as a puzzle game that I’d enjoy. They were right. After waking up in some strange, museum-esque glass cube, the player progresses through various levels of puzzle solving, which eventually comes to include a gun that can shoot portals onto any surface. I played on an Xbox, and the controls were fairly easy to pick up, as only 4 or 5 of the buttons were used. As the levels continued, I did grow a little tiresome of solving them, partly due to my own frustration when I got stuck. I would definitely return to the game, but play in shorter bursts. My favourite thing, and what kept me most intrigued, was the ominous, robotic voiceover that became increasingly menacing, and far less trustworthy, over the course of my gameplay. I’ve heard that this only becomes more engaging! Are you new to gaming? Want to share your experiences? Drop me a message on Facebook or at martha.griffiths@uea.ac.uk!
Ellie Robson Image: Patrik Larsson, Unsplash
19
‘Joker’ - “Incredible, Visceral Performance” ‘Joker’ marks a new age for DC and Warner Bros. Once seen as marvel’s lacklustre competition, DC now welcomes projects completely separate to their cinematic universe. Telling the origin of perhaps one of the most famous villains in history, ‘Joker’ presents the story of Arthur Fleck and his downfall, leading to him becoming Batman’s ultimate nemesis. To start, one must discuss Joaquin Phoenix’s captivating performance. From the first shot of him, you are captivated and on the edge of your seat as he evokes equal parts empathy and fear. His take on the iconic laugh eerily resonates with you long after the credits have rolled. Furthermore, the physical transformation Phoenix went through for the film, losing three and a half stone, creates moments of extreme discomfort and unease as shots linger on his form, ultimately adding to the shocking and distressing tone of the film without even a word of dialogue. Furthermore,
20
despite
Image: Flickr
the
films
apparent 70’s aesthetic it felt somewhat timeless. The stunning visuals within the film felt slick and vintage. The costume design mirrors that of a butterfly emerging from its cocoon, going from dull greys to crisp oranges and greens that furthers the fixation on Phoenix’s performance. Moving forward, the film is overtly political, criticising the treatment of the working class and the most vulnerable by those with power in society. Within the film, it’s Batman’s father, Thomas Wayne, that faces the brunt of the criticism. Ironically, ‘Joker’ flips the idea of good guy and bad guy on its head and makes the viewer question the morality of Batman’s upbringing. Did he live a life of luxury only to grow up and punish those that are suffering? It is moral questions like this that are at the centre of the film. The film invites its viewer to question everything we see on screen from the treatment of the vulnerable in society to the actions of Fleck himself. The film presents Fleck as a victim and in every sense, he is. Society has
allowed him to fall through the cracks and ultimately this becomes the reason he turned to his murderous life of crime. An issue I have with this presentation, is the lack of condemnation that Arthur receives from the citizens of Gotham. Many of the characters within the film do not resent his actions, but in fact hail him as somewhat of a political hero. In an age where political tension is high and there is an extreme issue with mass violence, especially in America, I think it should be of key importance to present this idea as morally wrong as opposed to being open to interpretation. Overall, whilst I disagree with the presentation of his actions within the film, I cannot ignore the incredible, visceral performance given by Phoenix and the slick visuals orchestrated by director Todd Philips.
Niamh Brook
Violence, ‘Joker’ and Moral Panic ‘Joker’ is currently at the centre of heated discussion across the political spectrum, capturing a wave of passionate debate in a way few films can. Typically, the Express and the Mail will attack films with anything that even mildly offends their strict moral sensibilities. From the violence of ‘Once Upon a Time in Hollywood’ to the introduction of LGBT characters in Disney films, there seems to be no shortage of material for the tabloids to fearmonger over. However, Todd Phillips’ new vehicle has conjured similar outrage from more traditionally left leaning papers such as the Guardian and from broadsheets that normally wouldn’t comment on the idea of moral panics surrounding films, referencing the by now infamous Telegraph walk out. The film can be an incredibly uncomfortable watch, the opening scene features an underweight
Joaquin Phoenix being robbed and beaten by a gang of teenagers, later, we witness a brutal subway shooting, and finally, a particularly vicious stabbing does lead to a film that can seem a touch lost in its own bloody carnage. While the individual acts of violence are indeed difficult to watch, the greater objection seems to be based on what they represent. Before its release, controversy had already appeared based on a fear that Joker panders to the alt-right, giving a voice to a dangerously charged subset of incels, men who feel that they have been wronged by the world and that violence is a natural solution to wrong this. Indeed, the question over whether or not the film could create real-life monsters is what led Phoenix to walk out of his interview with the Telegraph. Perhaps it was difficult to explain how complex the theme of political violence becomes in the film.
The nuance of the politically charged violence can easily become lost in the internet controversy machine. After watching the film, I firmly believe that it tries to offer counter-arguments to incels and the alt-right, the issues presented are directed at society and social structures, not at any marginalised group. I believe that the marketing and the hype surrounding the film can give a fundamentally warped perspective of what it is trying to communicate. While I am truly sympathetic to legitimate concerns over whether or not ‘Joker’ could embolden a potentially unstable individual to commit dangerous acts because of how high-profile it is, I believe we have to see that in terms of substance. The film tries to address the deeper reasons behind how such people are created, without justifying what they do.
Harry Routley
TV For the People! - Television and Democracy Something has to change. I want you to imagine this: there is more of your product around than ever before, but it is less effective. That is what I think about Television. In the era of 24/7 news channels, there is less of what the media should be doing: holding politicians to account. Why has it become so fashionable to talk about the post-1945 era as less deferential towards public figures? You would not imagine it from watching the television today, would you? Quite simply, journalists need to be doing their job better. My wishes for political television start with the assumption that the best way of scrutinising government figures is by increasing the length of political interviews: the longer you interview them, the more information you gather. I passionately believe
that the news needs to be longer to allow for this to take place. But what else could television do differently? I notice a lot of programmes that are solely devoted to Westminster and world news are off-peak and post watershed: Question Time is on BBC 1 at 22:35 on a Thursday. How can our accountability improve when many potential viewers will be wrapped up in bed during our only informative shows? Similarly, I would like to see far more political programming aimed specifically at young people. We are the future. Where is the Newsround aimed at University students? In the era of high tuition fees, it should be television holding politicians to account for their decisions. Does it matter whether there is less scrutiny of politicians? The short
answer is yes. Television is a crucial part of our national debate and tone is important. Populism, for lack of a better term, sucks and I think the media has played its part in allowing it to take a nasty journey. Does globalization mean power is moving away from Westminster, and moving towards the hands of multinational corporations? Television should aim to be a format that provides balance against the Tory-supporting press. It would be almost impossible to report in a vacuum: what happens in the press can influence what is being talked about on Television. Television has to do better, and this is something which can only be achieved through showing our frustration with the current media climate.
Laurence Scott
21
“Bake Off is Now Background Noise” ‘The Great British Bake Off’ is a national treasure, and has been since its birth on the BBC with everyone’s favourite, Mary Berry. However, since the show has transferred over to Channel 4, viewers have become divided about what the show has become. ‘Bake Off’ used to be an endearing, feel good show, which made viewers root for the variety of personalities that were brought together by their love of baking. Many viewers now suspect that contestants are kept on based on their TV personability, rather than their culinary skill. This conspiracy theory was born with the newest series, which has seen older contestants, who used to be adored by audiences,
slowly be eliminated to leave only the younger cast members behind. Another complaint about the show is the shift that has been seen in the challenges that participants are set. When the BBC were running things, challenges were created from the tried and tested recipes of the professional judges but have now become niche and irrelevant. ‘Bake Off’ used to encourage viewers to get involved at home, but this desire has disappeared as the challenges have increased in difficulty and aren’t engaging anymore. For example, one random theme has been the recent 1920s week, which immediately lost
my interest. I would rather watch the same challenges be tackled each year, than have topics which were pulled from thin air for the sake of diversity. One thing that has been maintained since the shift to Channel 4 is the show’s capability to draw the loveliest hosts. Sue and Mel had our hearts, and now Sandi and Noel have stolen them from us again. I’m sure that I’ll continue to keep up with ‘Bake Off’ in coming years, but it will be a much more casual relationship. Once unmissable and British TV gold, it has now faded into background noise.
Ellie Robson
The Return of ‘Peaky Blinders’ Looking now at Steven Knight’s passion project, sold to the BBC as a four-season presentation of the gritty violence of 1919 Britain, ‘Peaky Blinders’ is now in its fifth season with no signs of an end close; but I honestly wished it had. What, in the past, came off as good writing depicting Birmingham’s underbelly and the politics of a dying Imperial Britain, has hit a halt this season, and for what? The answer is seemingly to let in some new talent in unappealing roles, jump the shark in a care home on the coast and find out if Sam Claflin looks sexier with a moustache. The writing is just not up to par with the stories of the past, trying to focus on the beginnings of parliamentary fascism through the Shelby family’s new partnership with Oswald Mosely - founder of the British Union of Fascists - rather than building on the storylines already adored by fans.
22
Characters here all come off as bland and dusty (apart from an amazing performance from Paul Anderson as borderline monster Arthur Shelby),
with near to no importance until the final minute of the season, leaving few moments of suspense and action and
Image: Unsplash, Sebastiaan Stam
instead featuring thirty minutes of period drama just for a rushed and sometimes wacky, breath of violence. Still there is much praise for cinematography and music. Highlights include the electrifying use of Black Sabbath’s “War Pigs” in a scene featuring a militia group, Arthur’s scene of breakdown after torturing an innocent man, and the various arguments over drowning chords in the houses of Parliament. But it’s clear the Shelby characters are unrecognisable to that beloved idea Knight began with, now directed by Anthony Byrne, the latest instalment feels like the first half of something which could be salvaged, or merely the beginning of a downward spiral. I’d like to see if this is a problem Thomas Shelby can think through.
Fin Little
4
5
8
9
6
4
4
5
1
4 5
4 2
5 7
3
7 3 2
6
5 7
8
2 1
2 3 3
8 1
9
1 7
1 6
4