Venue 370

Ellie Robson Venue Editor

concrete.venue@uea.ac.uk Hello! Welcome to 370 - our fifth issue with this year’s team, and the penultimate issue before the Christmas holidays. I want to extend a huge thank you to Amelia and the rest of the editorial team for their support on the past couple of issues, and keeping Venue’s standards high! I’m in the sleep deprived high of having just submitted my mid-semester summatives, so I’ll feel on top of my work for approximately the next 24 hours. In an attempt to increase my productivity during this period, I deleted my social media apps from my phone. Facebook, Twitter, and Instagram were no more. I always complain that I have no time to pursue reading for pleasure outside my course, and I’ve found this has improved my use of my time greatly. I still use the platforms, but engage with them in my own time, rather than allowing myself to be distracted by endless notifications. Here’s hoping that you’ve made or broken a habit that makes you happy recently. Use your newly discovered time to take a flick through Venue!

Amelia Rentell Venue Deputy Editor

concrete.venuedeputy@uea.ac.uk To think we’re now on week 9 and the penultimate issue before the end of term! It’s around this time in the semester I start to feel Christmassy and therefore less academically responsible. Drinks? Monday? Yes - it’s Christmas. Summative? Wednesday? Oops. On that note, it’s a good time in the year to check in with your academic advisor, even if it’s just to show you’re a keen and willing student or for a friendly chat. Being in my last year, the real adult world seems to be coming at me hard and fast. I feel like I’m not doing the right thing, or I’m behind where I should be but you know what? I’m doing my best. School aside, I hope you enjoy this new issue of Venue. She’s a beauty. Our lovely Concrete Deputy Editor, Jess, has done a fabulous cover for us which is a perfect representation of the content we have inside. Thank you to our editors, Ellie and I really appreciate all your hard work and patience when we nag you on the group chat. A big thank you to our writers also, who provide us with thoughtful and interesting content. Enjoy!

Featured Articles:

Check out Leia’s interview with UEA graduate Elizabeth MacNeal, when she visited the university following the release of her debut novel.

Stop by Fashion editor Maya’s article, “An ode to seasonal movies” to get the warm (literally those turtlenecks were not a joke) and fuzzy.

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: Jess Barrett @jessicabarrett___

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

Problematic arts Double Indemnity is often considered to be James M. Cain’s best work, but it faced some controversy on its release. Cain based the novel on a real murder case; the murder of Albert Snyder, in which his wife and her lover plotted to kill him to reap the rewards of a huge life insurance policy. The depiction of the murder, in all its coldness and brutality, was controversial due to its portrayal of the fragility of marriage and the way in which Phyllis throws it away for money- not to mention the sexual themes and violence. Double Indemnity is often considered to be James

Judy Chicago’s ‘The Dinner Party’ is an homage to historical women. The piece endured a congressional hearing about whether it should be displayed in galleries due to its overt vaginal imagery. The most interesting part was that the debate was comprised entirely of men. ‘The Dinner Party’ is an unapologetic installation, and its scrutiny was unnecessary. It’s a good thing that we no longer have men telling women what to do with their bodies, right?

Ally Fowler Lolita is problematic as a literary classic. Written by Russian author Vladimir Nabokov, the book introduces a narrator so hateful and so unreliable it’s both hard to read, and yet compelling enough a concept to read on. Humbert Humbert is a man sentenced to death

M. Cain’s best work, but it faced some controversy on its release. Cain based the novel on a real murder case; the murder of Albert Snyder, in which his wife and her lover plotted to kill him to reap the rewards of a huge life insurance policy. The depiction of the murder, in all its coldness and brutality, was controversial due to its portrayal of the fragility of marriage and the way in which Phyllis throws it away for money- not to mention the sexual themes and violence.

Jack Oxford

Image: Flickr

Image: Wikimedia Commons

for murder, though his real crime relates to his love for twelve-year-old Dolores Haze, who he names his “Lolita”. Downright disturbing to the heart, Nabikovs work is a prime example of how literature is at times controversial and problematic purposely for readers.

Fin Little

What in the world of arts has caught your eye recently? Ever wondered what you would get when you pair the age-old question of ‘the purpose of art’ and the contemporary issue of the Earth’s rising temperatures? To give you a hint, it’s a beautiful coupling. Over the past month, Waterlicht, an exhibition by Dutch artist and innovator Daan Roosegaarde, opened to the public at Columbia University. Using a combination of LED lights and lenses, Roosegaarde created a powerful narrative of the ever-changing water levels and the vulnerability that it comes with. The exhibitions, whether they be in Dubai, London or Rotterdam, guaranteesthe same presentation – an aesthetically pleasing but also alarming, blue light meant to mim-

ic the world we will live in if we fail to intervene. “Art is an activator to make people curious about our future world,” said Roosegaarde. “Waterlicht is an inspiration for the future: can we build floating cities? How much power can one generate from moving water?” The use of the arts and digital media to combat the environmental crises has captured my attention, perhaps because art is a medium accessible to all, the same way that climate change is a disaster we shall all face.

Monique Santoso

Interview with Elizabeth Macneal Elizabeth Macneal is known for her debut novel ‘The Doll Factory’ published in 2019. She most reccently spoke at UEA’s Autumn Literary Festival which you can find a review of on Concrete’s online website. Young, fun, and inspiring, Macneal is refreshing for students and offers fantastic insights and approaches to writing and literature. Here is what she had to say to us: • What is the most important thing to remember when doing something creative? Everybody works differently, so what works for me certainly isn’t universal. But I try to be as disciplined as I can; I plan my novels in detail, and structure my day just as I would if I worked in an office. While sometimes I do need to take a break, it can be very easy for me to justify endless walks ‘for inspiration’, when really I just need to sit at my desk and write. When I’m about to make the umpteenth tea of the day, I try to remind myself of the quotation, allegedly by Douglas Fairbanks: ‘Writing is 90% applying the seat of the pants to the seat of the chair.’ • How has becoming successful to such a popular extent changed the way you write/view your own work? It has been a complete joy to have found readers, and I’m infinitely grateful for this – it’s a total cliché but it really is a dream come true. I do think I had a very rosy image of how I’d view my work if I was published and that I’d feel a real sense of validation. If anything, I’m more self-critical, and it’s a constant task to try to forget readers and their expectations, and to write the story that I want to write. • What would you love to see from the literature scene in the next few years? I’d love to see more diversity in authors and fiction published, which reflect how wonderfully diverse our world is. I like to think that with more varied stories being told, comes greater understanding of different perspectives and backgrounds. I’ve been really saddened by the turn politics have taken in recent years – its narrowness, its exclusion, its racism both overt and subtle – and I am hopeful literature will provide a different influence. • Does writing literature make you feel the same way as making ceramics or is there a difference in the creativity? I really enjoy them for their difference; making pottery is physical and mechanical, and I find that this allows my mind to wander and work out any plot difficulties. While generally I love writing, there are times when it can feel endless and sprawling. When I’m struggling, I can go out to the pottery shed and make and sell ten mugs and feel like I’ve achieved something. I also use pottery as a reassurance – I know I can make a mug if I’ve made one before, and so I try to apply that to writing. If I’ve written a book, I can write another. • When do you do most of your writing? E.g. some writers only write at certain times of the day. I generally keep to office hours as my brain turns to mud in the evening. I write from 9-6 every day. I try and be quite disciplined and stop at 6 – and that way, I’m excited to come back to whichever part of the story I’ve left behind.

Leia Butler

Image: Pixabay

Degas at the Opera I visited Paris over the Halloween weekend, and one of my stops throughout the city was the Musée d’Orsay. This museum is in a beautiful building that was previously a train station built in 1900, which now houses mostly French art from the late 1800s and early 1900s. To my delight, I found that the museum offers free entry on the first Sunday of every month, making an already relatively cheap venue even more accessible. The museum houses classic artwork by Van Gogh, Manet, Renoir, and Monet, pieces which were exciting to see even if they were being looked at through dozens of phone cameras. An even greater realisation was that the resident exhibit at the d’Orsay, ‘Degas à l’Opéra’, was also free. The exhibition will run until 19th January 2020 and focuses on Degas’ obsession with the Opera. Degas is known for his work

around the theatre and has explored dance studios, stages, auditoriums, and audiences in his paintings. He has also featured a multitude of people in these locations, from dancers and singers to musicians

Image: Wikipedia, l’encyclopedie libre

playing alongside the ballets. The use of space in the exhibition made sense but at times was a little jilting, as it was at times unclear which way the chosen pieces were meant to flow. It was exciting to see art forms beyond just paintings – model stage sets, and paintings of staging plans were scattered

amongst Degas’ work, and it was fascinating to see the steps taken to bring scenery to life, and how Degas chose to depict this in his work further. One of my favourite additions to the exhibit was a large model of a theatre, split in half and spread out along one wall so that spectators could look inside its workings. The stage is a fascinating place, but it is also interesting to see how the spaces behind the scenes are used, and what the public wouldn’t have noticed. I’d seen a lot of Degas’ work before entering the d’Orsay, and while it was lovely to see nothing really surprised me. What’s special, and less available to the public, is getting to see early sketches of what later became famous paintings. Overall, I did feel incredibly inspired by the experience of walking through the exhibit, particularly as quotes by Degas about art were scattered across the walls.

Ellie Robson

Should old art and literature that contains politcally incorrect content still exist in today’s society? 1 0 0 %

Literature that was created centuries, even decades ago, is still politically and historically relevant as it reflects the society at the time and shows the reader how much modern society has developed.

Jess Barrett

Pretending the past and it’s problems didn’t happen does not help moving on from them. Instead we have to recognise them as cultural moments which tell us about why things were the way they were and how we need to move forward.

Martha Griffiths

Ignoring the past doesn’t benefit us, if anything it stops us from moving past it. How can we learn from our mistakes if we censor them? Literature that contains politically incorrect content should be viewed as we do all art: as a product of its time of creation.

Jack Oxford

Has Anna Wintour killed Vogue? With the recent announcement of the Met Gala’s 2020 dress code and her 70th birthday having just passed, Anna Wintour’s influence within fashion and popular culture as a whole, are thrust back into the spotlight. Known for her iconic bob-sunglasses combination, and being the inspiration behind Meryl Streep’s role in ‘The Devil Wears Prada’, the American Vogue editor is one of the most respected figures within her industry. Born in 1949, Wintour climbed the ranks to British Vogue editor by 36, where she was quoted by the London Daily Telegraph saying “I want Vogue to be pacy, sharp, and sexy, I’m not interested in the super-rich or infinitely leisured. I want our readers to be energetic, executive women, with the money of their own and a wide range of interests.” Just a few years later, now editor of American Vogue, Wintour began the slow descent into the very same rhetoric she aimed so desperately to avoid. Throughout her time at American Vogue’s helm, Anna Wintour has emphasized the star-studded network she has created, having contacts littered throughout major industries, from politics to sports, music and film. Wintour’s power has undoubtedly arisen from her disregard for the artistry of those who have come before and favouring celebrities on her covers, rather than

hiring professional models – just a few months ago she awarded Kim Kardashian West with her 8th Vogue cover, giving the reality star some much-needed publicity, of course. Gone are the days of haute couture and runway-ready models, now we can only guess which celebrity will be basking in the magazine’s limelight. The once prestigious fashion magazine has flailed in the past few years as celebrity culture has sunk its claws in. One distinction often made is the difference between a good editor and a great Vogue editor; Anna Wintour can be a great editor, after all, she gathered enough financial support in during her first few years to revitalise the magazine (which had begun to stagnate compared to new startups like Elle), restoring it to its former glory in relation to its monopoly over other publications. The September 2012 edition, under Wintour’s editorship, had 912 pages, the most ever for a monthly magazine, but this doesn’t mean that she has a flair for fashion. A great Vogue editor is one that has a strong perception of the brand’s image — the fashion needs to be striking and the photography strong. As we witness the transformation of British Vogue under Edward Enninful, we can only anticipate how its American cousin will transform under the leadership of another.

Imogen Ince

Do you want to write for us? Are you a budding journalist or looking for something cool to put on your CV? Look us up on Twitter, Facebook and Instagram @ConcreteUEA. There you can find all the information needed to access our content calls and pitch your own ideas to our editors.

Image: Unsplash

The end of Zac Posen

Designer Zac Posen has had to shut down his eponymous label, House of Z, after almost 20 years. Posen is known for his red carpet looks reminiscent of Old Hollywood glamour and stated in a press statement that he was ‘deeply saddened’ as his company had been looking to find a new buyer for some time and was unable to do so within the allotted time frame. The designer let go of his 60 employees, stating that ‘management worked extremely hard to navigate the increasingly challenging fashion and retail landscape.’ The closure of Posen’s label represents the major challenges couture designers are facing. Increasingly fashion houses have had to

deviate from couture and tap into the mass market for sustainability. Despite creating multiple mainstream fashion lines, none were a major success and Posen has ultimately been unable to keep his brand afloat. Rihanna, Oprah, Sarah Jessica Parker and Ariana Grande are a few of the names Zac has closely worked with and one of his most iconic dresses include Claire Danes’ light up ball gown she attended the 2016 Met Gala in. The gown proved to be a huge hit because of its technical capabilities featuring illuminated piping. However, more traditional of Zac’s signature aesthetic is Gwyneth Paltow’s rose colour-

ed chiffon dress that she wore to the 2007 Oscars. The dress incorporated Art Deco inspired linework and encapsulated his seamless ability to create body-hugging gowns that work to flatter the wearer’s form. There is real craftsmanship involved in creating Zac’s construction pieces, with his atelier being one of the last few remaining in New York City. House of Z produced custom runway pieces from scratch, in house, a rarity for an American fashion house. The closure of House of Z will be a major loss for the couture industry.

Defne Navaro

Images: Flickr, Wikimedia Commons

Return of grunge Floral dresses are a wardrobe staple irrespective of the season, and for autumn/winter ’19, they are back and even darker than ever. Inspired by the grunge look that thrived in the 90s, it would not be your typical autumn palette without dark colours, such as lavender on navy and vermillion roses. Initially emerging from brands like The Row, Valentino, and Givenchy, this season dons grunge with classic feminine pieces. Back in 1990, the music industry gained media acclaim for its surge and decline of punk. This rise in genre was accompanied by the choice of fashion of the day. Back then, the grunge look was mundane everyday clothing – oversized sweaters, ripped jeans, a pair of Chuck Taylor’s and of course, unkempt hair. Kurt Cobain, who pioneered the look came with one motto, “Less is more.” But it wasn’t until fashion designer Marc Jacobs took the look to the runway of his now-infamous collection for Perry Ellis in 1992 did people notice its fashion appeal. As Cobain was on his way to becoming a household name, Vogue was preparing an all-star cast including Naomi Campbell, Kristen McMenamy and Nadja Auermann to shoot their new grunge pages. At the same time, Kate Moss was establishing herself as an icon and fashion’s poster child for the grunge movement. Vivienne Westwood, an architect of the grunge fashion phenomenon in 1970 used the spread of the movement as an opportunity to shock, irritate, and provoke a reaction to inspire change in the industry. British songwriter Viv Albertine is known to have said, “[Grunge fashion] showed that it is okay to not be perfect, to show the workings of your life and your mind in your clothes.” Then, the hallmark of the style

were mohair jumpers, knitted on big needles so loosely that you could see through them, t-shirts slashed and written on by hand, and seams on the outside of outfits. Meanwhile, on the red carpet, icons like Gwen Stefani rocked a crop top, Drew Barrymore inspired girls to wear beanies, denim, leather and Chuck Taylor’s again, Johnny Depp wore his hair always disheveled and PJ Harvey taught the generation how grunge is the anti-fashion movement. Inspired to wear et you’ve stored in closet again? Here how to rock the

that leather jackthe back of your are some tips on trend this season:

Pump it up with some platform heels: For those looking to embolden their style, platform heels are a staple for the grunge look. Wear them with some wide-leg trousers, padded shoulder tops, and top handle bags – all in fluorescent colours. You will surely stand out from the crowd! Apply dark makeup and accessories: Feminine grunge is simple. Pair your favourite ladylike dress or lace slip with some chokers, chains and studded combat boots. Finish the look with some dark eyeshadow and plum lipstick. Don’t forget your iconic round sunglasses! Wear the flannel: Focus on the flannels with dark tones like brown, red and burgundy. They can be oversized and have holes in them. Avoid buttoning them up and couple them with some 90s band t-shirts with ripped jeans. Make the outfit authentic.

Monique Santoso

An ode to seasonal movies There is nothing that gets me truly excited for those dreary autumn days more than the endless opportunities for dressing. And where better to seek inspiration from than our favourite seasonal films, offering extensive and meticulously styled outfit combinations to keep warm whilst embodying your inner Hollywood starlet. Let’s start with a classic, ‘When Harry Met Sally’. Nora Ephron’s famous tale of male and female friendship that provides the ultimate mood board for all things autumn. From Sally’s red knitwear and black skirt combo, to Harry’s light wash jeans and chunky white jumper, it’s a bountiful source for sweater weather styling. And how could I not mention the scene

Image: Flickr

of the pair walking through Central Park’s fall foliage, from the movie’s poster, that sees Sally mixing an oversized grey blazer (with shoulder pads galore), pleated trousers and a bowler hat. Perfection. The film is a constant haven for high waisted denim and knitwear with the perfect amount of slouch, meaning I return to it time and time again when in a fashion rut. ‘Stepmom’, whilst rather depressing in plot, provides the perfect backdrop for sumptuous autumnal outfits, that tend to distract from the onscreen drama. The leaf scattered American suburb that Susan Sarandon lives in, with her massive house and wrap around porch, provides the perfect setting for Sarandon and Julia Rob-

erts’ vast array of turtlenecks, wool hats and long coats. Every outfit worn in the film shows how a basic jumper can easily be dressed up to look chic, but then again, Julia Roberts could make a bin bag look like haute couture. Lastly the witchy tale of ‘Practical Magic’, following sisters played by Nicole Kidman and Sandra Bullock, is full of gorgeously layered outfits, with floaty floral slip skirts and dark green velvet dresses, for those not so typical warm autumn days. So, the next time you’re at a loss for what to wear, turn to the big screen and its array of seasonal movies to spark your imagination.

Maya Coomarasamy

we are barely ten and holding our imaginary shovels we go searching for the golden light or perhaps a newt in the long grass or maybe a lucky clover

wishing for clovers

your dad told you all clovers are four leaf clovers but they wanted to be just like him when they grew up while waving his prosthetic at thirteen you tell me you want to be like those clovers proud in their three-ness and showed me the marks you have a big family i wish he’d look at you like everyone at the party looks at you after you press your mouth to their mouth fifteen year old mouth and steal a first i wanted to be your very third kiss but laughing ecstatically you mouth your way wide of the mark

you tell laura

your daddy won’t be happy and force the truth past her lip gloss

you crouch in the old newt pond college uniform still on and pull the mutant quadruplet from a rebellious clover and my eyes stroll the boardwalk between sock and skirt where your thigh softly fills and think ‘yes this is the golden light’ before i can choke it back but you don’t kiss me until leavers with your pen on my shirt and my lipstick on your neck kiss number forty-seven you are selective with your three-ness and daddy won’t be happy when he finds out youngest of four down for the count but at least he’ll still get grandkids if the rest would get a move on to him i become your prosthetic limb pushing into you a plasticboyfriend

when we meet at christmas mummy looks away daddy hugs me but searches my wrist for a pulse we find our first newt squirming in the wet mud of deep balmy summer all golden in the sun and i stop you pulling its leg off you say it has the luxury of growing a new one i tell you it won’t be the same and you look at me for a long time when daddy walks you down the aisle it isn’t me and i’m happy i’m happy to hell with your three-leaf clovers and your raw-limbed newts i send you a letter about wishing for lucky clovers and how i wish i could stop a newt regenerating if i could for one moment hold that golden stub-limbed salamander and you don’t write back

Dylan Davies

Images: Flickr, Michael DeCorso

The Troublesome Pain of Memory Lane A silent and dusty mind, Meaning memories are hard to find. As cobwebs cling to jumbled thoughts, With a last attempt to rack your brain, Searching for a seat within the train Of thought that seems to have departed, Leaving you in lands uncharted. It never used to be like this. Remembering faces and names, Now a struggle to reminisce. Cast in thick fog, A grey mist that sticks Causing thoughts to slowly slip Out of sight, thus, you forget, As if your life has been reset. Until the switch is finally flicked, A flash of reflection firmly gripped. And for this moment, Although the light is brief, Can you feel memoryâ&#x20AC;&#x2122;s sweet relief?

Toby Skinner

Remembrance The balloon burst and all the air escaped too quickly for Jill to catch. She sighed as she saw the wrinkled skin, because there was a hole that was Jim shaped. The balloon was as big as their love had been with multicolour patches to match. Golden memories and silver highlights, picnic days of sunny yellow and mossy green. The balloon had initially flown high, blessed by a gentle wind. It danced a little before the breeze changed, blowing the air awry

Images: Flickr, Adrian Cook

and the balloon flew all across the sky. The balloon drifted for too little to be long before it hit a tree. Nothing to morn or remember, yet even so Jill saw that it was cared for. She picked up the worn balloon and held it close to her heart. 50 years and theyâ&#x20AC;&#x2122;d never spent a day apart. She lay in bed and remembered the night she became his bride. She placed the balloon on the pillow and fell asleep by its side.

Leia Butler

I Remember Cruelty “Next!” She began the slow shuffle to the counter. Her timid feet dragged beneath her. Hands clawed in silent pain, she forced a meek smile over gritted teeth. “Yes, hello dear, I’ve come to… I’m here to…I’m terribly sorry, I can’t seem to remember why I came here. I…” “This is a post office, not a dementia ward. You’re holding up the queue. Next!” With a dejected “oh”, she made for the exit. As she stood in the doorway, a cold winter breeze biting at her narrow ankles, her brow furrowed, and her eyes closed for a brief moment. Her silk robes billowed as she marched down the aisle. Her shoes, catching the light of the chandelier above, beat a war-drum rhythm as she walked. She came to a stop by a small wooden desk, covered in files. Shoulders reaching for the room’s tall ceiling, she snapped her head to the solitary figure before her. “Apologies for my delay, your Honour. The press outside were simply rabid. I am ready to begin.” In turn, the man before her dipped his head slowly, his lips curled in a knowing smile. This was the dance they had perfected over several court cases. The dramatic entry, her first words a proud lie, and his tacit approval. But the dance was over, and the court case was to begin. “We are gathered here today…” A car blasted its horn, and the fleeting scene gave way to the present. Under darkened skies,

galloping pedestrians dodged the oncoming squalls by diving into nearby shops. As one sped past her, their swinging satchel caught her hip. Her body was flung backwards, twisting towards the counter. She staggered, then caught herself. Her knee exploded into scalding agony, her mouth smarting into a grimace. She made for the counter, eyes glaring over the golden rims of her spectacles. “I’m with a customer right now…” A caustic smirk rippled across his gaunt face, chin tilted forwards in unbridled

contempt. With a loud sigh, his eyes rolled mockingly. “Well, to be frank, dear, I don’t give a shit”. The silence, once clinging to every surface like a film of thick dust, scattered into the dark recesses of the shop. The shop filled with a conspiratorial mumble. “Excuse me, who do you think…” His voice had risen to a nasal shriek. As the Perspex partition steamed up with his nervous breathing, she put her purse down neatly, then brought her half-closed fists down on the counter. Though he would later claim it was the chair, everyone

in the queue knew the highpitched squeak was his. “No, I still don’t remember why I came here. But I’ll tell you what I do remember.” She took in a sharp breath, and continued. “I remember a life well lived. I remember friendships, even if the faces and names escape me. I remember pride and joy, the fleeting visits of celebration. I remember landscapes and smells and random melodies. But do you want to know what else I remember?” His lips parted in an attempt to reply, cut short by a glimpse of her glare. “I remember cruelty. I have lived long enough to know it’s not just in the law courts or shackled in the cells. It’s in the small things too. It’s in everyday gestures. The unreturned smile, the avoided eye contact, the unsent invitation, a lonely Christmas. And you have been rather cruel. Now, I will return soon. When I do, I hope you’ll afford me patience over cruelty. Otherwise we’ll have to have another of these conversations. Perhaps I’ll ask your manager to join us.” Snatching her purse, she turned effortlessly on her heels and marched past the crowd of customers. The raindrops collected like small jewels on the steamed lenses of her glasses. Her coat, once limp as it hung from her stopped frame, danced in the wind behind her. Whether she remembered this tomorrow or not, she did not care. Today was enough.

Rahul Mehta Image: Flickr, Michael Kumm

Kanye West: Jesus is King Review An artist such as Kanye West needs no introduction. He is one of the most critically and commercially successful hiphop artists of all time, with all his albums, except for possibly the 2018 release ye, being heralded as classics. After the cancellation of Yandhi last year, Kanye reworked the unreleased album into this new body of work, Jesus Is King. Despite drawing on heavy Christian themes in his lyricism and production, Kanye’s ninth solo album is a bit of disappointment. The album opens first with a chopped-up gospel choir on ‘Every Hour’ before transitioning into ‘Selah’, Kanye’s first vocal appearance on the project. Whilst the

production here is excellent, featuring an organ and the choir again, Kanye’s lyrics leave much to be desired, with the line ‘Everyone wanted Yandhi/But Jesus Christ did the laundry’ being a lowlight. His flow is uninteresting here, as it is in most tracks, rarely engaging me as a listener except for on the album’s most popular track ‘Follow God’ which has production reminiscent of ‘Otis’ from Watch the Throne. Mixing and vocal clarity throughout the project is sloppy as well, giving the 29-minute album an unfinished feel, especially noticeable in Selah’s second verse and on Pusha T’s verse on ‘Use This Gospel’, although this

track is a definite highlight of the project with the Clipse duo reuniting and, obviously, completely outrapping Kanye. I’d go as far as to say that Kanye is usually the worst part of these tracks, ruining the song ‘Closed On Sunday’ with a chorus that betrays the sensitive string production throughout. Overall, I’d describe this album as Kanye’s worst. Whilst there are some moments of clarity within the project, particularly in the production, they just sadden me as I’m reminded of Kanye’s previous masterpieces. 2/5

Jack Oxford

Welcome (back) To The Black Parade - MCR Are Back Emo twitter is thriving. On 31 October, a fitting holiday for the band, My Chemical Romance announced an LA reunion show in December. Since this news, several more shows have been announced, mostly regarding Download Festivals in different countries. So far, Japan, Australia and New Zealand have been lucky enough to have the iconic rock band booked to grace their stages. The quartet, fronted by singer and comic writer Gerard Way, were initially together from 2001 – 2013. The December show marks their first show together in seven years, having last performed in 2012. Individually, the members have been busy in their time apart. In 2014, Way released his debut solo album Hesitant Alien, which leaned more towards the electronic/pop genre, and last year brought his comic ‘The Umbrella Academy’ to our screens via Netflix. Lead guitarist Frank Iero

has taken part in a string of musical projects, most recently via his band ‘Frank Iero and the Future Violents’. The fans are thrilled. My Chemical Romance’s YouTube page has seen an increase of 190% in their videos being played, and memes are spreading across the web. There hasn’t been confirmation about whether further shows will be played, but fans are hopeful for a world tour. As a die-hard MCR fan, I won’t hear anything against the band, so believe that this is nothing but a labour of love from the band. However, whenever a large or wellloved band reunites, debate always springs up about whether this is something the artist wanted to do, or something they are motivated to do for financial gain. One group to be looked to is the pop girl-group Spice Girls, who came together for a 23 stop UK tour

this year, minus Victoria Beckham. The tour faced a multitude of complaints about the sound quality at performances, which caused fans to leave part way through the gigs, and demand refunds for their arguably overpriced tickets. Whilst not the fault of the performers, it goes to show that reunion gigs need to be pretty much perfect to avoid negativity from those who will be undoubtedly looking to criticise.

Ellie Robson Image: Deviant Art

Steve Mason at Norwich Arts Centre Steve

Mason is a unique talent. His career began in 1996 with The Beta Band, now immortalised by their sonorous hit ‘Dry the Rain’, an experimental group that effortlessly fused folk, electronica, looping motifs, and downtempo jamming in their sweeping collections such as The Three E.P.s. Next came the guise of ‘King Biscuit Time’ and then the copiloted ‘Black Affair’. Finally, we arrive at his eponymous act, under which he has released albums like the acclaimed Meet the Humans (2016) and, most recently, About the Light (2019) Norwich Arts Centre has changed. Over the summer, it has completed the first phase of its regeneration project, supported by Arts Council England, and looks great: a new pop-up bar/ cloakroom exists in the foyer; a new colour scheme runs throughout; overall accessibility has been improved. It is still, even more so now, one of the best venues for live music in Norwich. As the room slowly filled, the lights dimmed, and Mason’s band (including former Beta

14 Image: Alex Caesari

Band member Steve Duffield) took their positions, the audience dropped their conversations and raised their heads. Dressed in a khaki boiler-suit and bucket hat, Mason came out to a staggering applause; each person, it seemed, was clapping for twelve others. The walls slapped with noise. The night kicked off with a classic ‘Beta Band’ track, ‘Inner Meet Me’, a perfect introduction that encapsulates Mason’s cult folktronica group: atmospheric, filled with energetic acoustic guitar, rippling and darting sound effect, and, of course, bongos — an instrument Mason would enthusiastically return to throughout the set. Mason followed up with the highlight track from 2016’s Meet the Humans, ‘Planet Sizes’. It’s upbeat, it’s catchy, but it’s also lyrically superb. Take, for instance: “I know my 6 times table / I learned where the planets lie / I know my planet sizes / the universe makes me cry”. The things we learnt in school are purely logistical, pragmatic — where/when/how do we learn about the universe through

philosophy or emotion? We don’t; we cry; we write songs and listen to records. Other notable tracks were ‘Rocket’, from his latest album, an ethereal love song that, surely, reached into each audience member’s past and pulled from it a string of emotion connected to their own certain someone; and ‘America Is Your Boyfriend’, a superb song written in reaction to the horror of Grenfell and its ignoble cause (“Feed your desire / There’s a tower on fire”). The night — split between sublime music, hilarious anecdotes about crazed fans and former Beta Band members, and rapturous applause — ended with, of course, ‘Dry the Rain’ and Mason’s boppy new dance number, ‘Like A Ripple’. There was a true sense of these three musicians on stage simply enjoying themselves — every single minute of it. And their passion, spearheaded by Mason, could not help but radiate outwards, in their music and presence, eliciting euphoria throughout the room.

Alex Caesari

UEA Autumn Concert: Myth and Faith UEA’s prestigious Choir and Symphony Orchestra are coming together to celebrate the works of Smetana and Haydn this autumn, with a powerful exploration of emotion through music. The Orchestra will begin by taking you through Bedřich Smetana’s Má Vlast. An exploration of several classic Czech myths, these pieces tell the story of the birth of Smetana’s homeland. Vyšehrad, the first of these three compositions, describes the castle of the Kings in Prague – the Czech people’s very own Camelot. This is followed by, Šárka, an evocative fable of betrayal and revenge. The trio is concluded by Vltava which

follows the path of the river, twisting and turning from its source, past the knights and bards of the Vyšehrad, and finally flowing into the great waterway that forms the very life source of this mythology. Following the interval, the Orchestra will be joined by the powerful voices of UEA students and local members of the community. Led by four fantastic soloists, the Choir will perform Haydn’s Harmonie Mass. The last of Haydn’s works, this intricate and impactful piece is a moving summation of a lifetime’s dedication to the mastery of music. Beginning by touching on the suffering faced by Haydn on a person-

al and a musical level, this score transcends to an undeniable optimism in the final movement. Led by Choirmaster Tom Primrose and Conductor Stuart Dunlop, the Choir and Orchestra promise to put on a concert to remember. Playing at St Andrew’s Hall, Norwich on Friday 22nd November at 7:30pm, tickets can be bought online, over the phone, or on the door. Visit www.uea.ac.uk/music-centre/ events/tickets or call 01603 626414 to buy your tickets now.

Madeleine Bracey

From Despair to Where? - How Music Channels Grieve As artists write music, they tend to tap into a present emotion they are feeling but sometimes that feeling, delays their music writing or even releasing process. No subject other than love has been exploited by art like grief. Throughout time, there have been several artists who used grief to write some beautiful pieces of art. For over 20 years, singer/ songwriter Phil Elverum of Mount Eerie used his grief to write masterpieces. He released ‘A Crow Looked At Me’, which he began two months after the passing of his wife and channeled the sadness he was feeling to write mesmerising music. ‘A Crow’ was even recorded in her room using many of the instruments which she loved using. Some artists on

the other hand, tend to use grief as a time to heal and take some time off, eventually postponing some anticipated music releases.

has used it, Mount Eerie too, so it is clearly a bit of a push to most when it comes to writing or releasing songs.

Very recently, Lorde postponed her much anticipated third studio album over the death of her dog, Pearl. She was quoted saying the grief was overwhelming and she needed time to heal before she would finish and release the album. Many artists have done this, including Schoolboy Q who last year, after the passing of Mac Miller, decided to delay his album while grieving the loss of his close friend. Despite all of this, it seems that music has been more of a helper to artists which has led to them releasing some bangers over time. Lil Uzi Vert

Bryan Mfhaladi

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A Return to Gaming

For as long as I can remember, the best days of my childhood were my summers. Filled with days off school, the lush green grass and walks by the beach, there was always something beautiful about the season. However, more than the beauty in full growth around me, summer held great memories because I knew I could uproot myself from the real world of homework and after-school sports to video games. My 14-year-old self was solely interested in fantasy games – games that would detach me from the harsh truths of life. ‘Pokémon’ and ‘Journey’ were a few of my favorites. I also recall adopting niche interests in fashion design and ballet from Ubisoft’s ‘Imagine’ console games. However, time ran its course and eventually these interests that I had initially only lived through the screen of my Nintendo DS came alive. I was no longer designing clothes for some high-end fashion boss virtually, I had Image: Pragii, Unsplash

to make sure my outfit looked presentable for college, while still making it to my evening ballet lessons. As my parents like to see it, I grew older. It was only until two weeks ago, when Concrete’s Gaming Editor Martha posted a content call on the “Politics of Gaming,” did I start to read up on how video games have evolved over the past 6 years of my absence. Without much thought, I began venturing into the world of ‘Life is Strange 2’, and the stark amount of references to the current socio-political climate took me aback. Scrolling through a list of more video games, I tiptoed through Moons of Madness, knowing that it was Halloween night. Despite the story-driven horror setting of the game, I was again amazed at how close it was to the world we live in today. From its space exploration adventures to its visual graphics, I could very well say that my ship of 2D graphics has sailed.

As I reflect on the experience of returning to gaming, I realize that perhaps my childhood self was not right in thinking that games were a form of escapism. Just as any form of media today, gaming has become a medium of information – whether it be cultural or political, every game is rooted in the situations of its time. Irrespective of how fantastical a game looks, I began to unravel how every fantasy was held up by some reality. But it does not mean that one should stop playing. It simply means that we are getting more out of our games than we previously did. Just as Monopoly tells us about the economic situation in 1904, our future generation might play Life is Strange and understand what it was like to live in 2019. The more I think about it, the more I understand that as I grew older, my video games grew up too.

Monique Santoso

Dragon Quest XI S: A Review

‘Dragon Quest XI’ has finally come to the Nintendo Switch, and it lives up to its new (and rather lengthy) title. This edition comes with a 2D mode previously seen in the Japanonly 3DS version, complete with new quests; an orchestral soundtrack option, a photo mode, and various qualityof-life improvements. This is still the same amazing game released in 2018 in the West, but the new content and of course the portability offered by the Nintendo Switch make this a game you can’t miss, newcomers and veterans alike. The story is a typical JRPG epic, with three acts and various sub-arcs with unique and interesting stories. Now, this is a very long game. I took about fifty hours to complete the first two acts and twenty for the third. It’s a time-eater. Bear that in mind. But if you like your time being eaten,

Image: Marco Verch, Flickr

this is the game for you. The tale woven here is worth experiencing and focuses on themes like friendship and humanity in traditional JRPG fashion. It’s light, fantastical and whimsical, but can also be dark and sentimental in parts. This might be a disappointment to some: DQ XI does not take any risks, it’s a continuation of a perfected formula, albeit perhaps the best it has ever been. Some episodes of the story are lacking however, with plenty of fetch quests, and after a certain point it can become too cumbersome and dense that it feels like it will never end. Saying this, Act One is amazing and so is the majority of Act Two. The gameplay is repetitive but addicting, with turn-based combat being reasonably strategic but, in my experience, only during boss fights. There

are extensive skill trees and party roles for each of the characters, who are class-less, and defined by their weapon type. Overall, it’s great, but does nothing particularly differently from most other JRPGs. The new content included in this edition expands the game greatly, especially the 2D mode, which feels like an entirely new game, and is particularly comprehensive in its recreation. The new QOL improvements include being able to craft anywhere in the world, an outfit system, and a battle speed selector, which was used without fail during my playthrough to avoid tedium. I loved playing through this game. It is a worthy JRPG with a fantastic story and great gameplay.

James Ward

Don’t Rule Out Rule of Rose You’ve probably never heard of ‘Rule of Rose’. The 2006 survival horror game didn’t see a release over here due to a series of unfortunate circumstances, caused by media outlets and government officials denouncing the game based on incorrect claims and assumptions of its content. Unlike other survival horrors of its era, or any era for that matter, ‘Rule of Rose’ incorporates themes of childhood fear alongside adult subtext in a very uncomfortable and down-to-earth way. Bullying, kidnapping and imprisonment are portrayed throughout the game, and its depiction of a child-run hierarchy and the helplessness of the adult protagonist offers a unique perspective on inversions of society and power structures. The use of children as antagonists was in itself atypical, due to the risks that could come with getting such content released especially in international markets. For example, when the first ‘Silent Hill’ was released, an enemy known as the ‘Grey Child’ was removed from the Japanese and European versions of the game becaus it too closely resembled a child, according to censors. The front cover of an Italian games magazine, which featured the game alongside the quote ‘He Who Buries the Little Girl Wins!’, was the first step in the judgment that would follow. The magazine condemned ‘Rule of Rose’ for containing scenes of sadomasochism, underage eroticism and people being buried alive, none of which is actually present in the game. This untruthful description was blown further and further out of proportion when it reached other European media, including British newspapers like The Times and the Daily Mail, which continued the false accusations and questioning of video game morality as a whole.

This culminated in an attack on the game by the European Union Commissioner for Justice and a motion put forward to Parliament for a ban on the sale of ‘Rule of Rose’, alongside a call for greater surveillance and regulations to be put on distribution of children’s video games as a whole. Not long afterwards all allegations were disproven by more reliable sources, but the damage was still done. As a result of the controversy, ‘Rule of Rose’s release was cancelled in the UK and Australia, irreparably damaging the game’s sales along with its reputation. ‘Rule of Rose’ was the stimulus of a short-lived moral panic, not unlike those which surrounded games like ‘Doom’, ‘Grand Theft Auto’ and even ‘Pokemon’, based on wholly inaccurate details. Unlike said games, ‘Rule of Rose’s niche genre and limited release meant this targeting had much more of an impact. Without this initial reception, it could easily have become one of the legends of its genre.

Mallory Spencer

New Gamer I think it is quite safe to say that the idea of video games never held much appeal to me, perhaps this was because I was under the impression that, unless you were playing the Wii, you were restricted to one kind of game and that involved guns and violence. With this in mind, I was hesitant when Martha suggested I played a game to help her out with an article. She kindly prepared me with reassuring words and explained that she would set me up on her PlayStation with a game called ‘Flowers’. That didn’t sound too violent… I was informed that I only needed to have control of the joystick and then to use the control in the same manner as a Wii remote when playing ‘Mario Kart’. My confidence increased, I had grown up on ‘Mario Kart’, maybe I could do this! ‘Flowers’ had a simple objective, to collect petals from flowers and gently float along, increasing the number of petals in your charge, to my delight I could do this rather well! The game grew more enjoyable as the landscape transformed from dreary and grey into a colourful and natural scene. I played for twenty minutes or so and thoroughly enjoyed my experience, to my surprise the game was calming and gentle, absolutely perfect for me! Thank you Martha for showing me that video games do not always consist of guns and violence!

Maddy Spearing Image: Unsplash, Meghan Schiereck

We Need To Talk About ‘Euphoria’ One of the latest TV series to come out of HBO, Euphoria made waves in the summer in America for its brazen representation of drug trauma and adolescent sex life. In the same vein as the Netflix productions 13 Reasons Why and Riverdale – an American high school drama set in a small suburban town, lit in dark, oversaturated colours – but it’s a cut above the former and leaps ahead of the latter. What makes this debut season so engaging is simply a product of the attention that has gone into it; the strong writing and great production value. It doesn’t trump the best shows out there, but it is the only show I have had the impulse to rewatch instantly and that’s down to well-constructed, well-acted characters, the best being the character-narrator we follow, Rue, in a performance by Zendaya that simply elevates the quality of the show. Rue is a drug-abusing teen whose arc gives us insight into the dysfunctions and mental health concerns of her fellow students. She befriends the new student, Jules, in a gripping relationship that is packed with turmoil and emotionally invests you from episode one.

Euphoria tackles matters like depression, drug abuse, relationship insecurities and porn’s influence on people’s perception of sex, and does it honestly and unapologetically. Now, whilst it is unlikely to have all these characters in one small town – such as a sociopathic, closet-homosexual jock whose dad is also a closethomosexual using a gay dating app; a body-conscious student who finds confidence on sex webcamming; a 17year old drug addict fresh from rehab – we must remember that this is fiction, and it flirts with these boundaries to have a story filled with content, but content that provides examples of real identities and behaviour. The show hooks these onto strong acting and character arcs that make the story genuinely commendable and creates visually stunning TV. It comes with the territory of the dramatised American high school genre that an English audience is susceptible to finding cringey at points, but that is left behind and forgotten in the shadow of a quality that is the hallmark of the HBO network. The well-acted Rue and Jules are the driving force and

Image: Wikimedia Commons, HBO -A24 Television

enable gripping moments of tension for these characters that punctuate every episode. There’s coercion in drug deals; meeting strangers in motels; the temptation for an addict to relapse – achieved in the writing but also fine camera work that shows this series hits both style and substance. Fluid cinematography that draws you out of and into the drama, keeping the pace fresh and the audience attuned in a visually stunning style that you don’t often find in TV, matched with sometimes surreal scene transitions and popping colours that gives a music video look to it. It can be a touch too much for everyone’s tastes, but you stay for the effort that has gone into this production that makes it a cut above other TV shows in its genre. So far it seems it doesn’t have the buzz it deserves in the UK or if it was a Netflix original, but this is a series you will binge not wondering if there is something better you could be watching, and be frustrated waiting for season two after the tense final minutes you’re left on.

Rowan Grove

Unnecessary TV Revivals? The first season of The End of the F****ing World was superb. A brilliant story that was both gripping and concise. It left you on the edge of your seat throughout its eightepisode run. (SPOILERS AHEAD) The finale found James and Alyssa finally brought to justice as they are caught by the police, James being shot in the process. There is a lot to argue in regard to this ending. Whilst being a conclusive end to their story, the ambiguity of the ending left viewers wanting more; to learn what happened to them after the events

James had not survived that fatal shot on the beach, and in doing so luring us in for the second season.

This week Channel 4 gave us what we wanted: a second season. After some clever marketing from 4 showing Alyssa and new character Bonnie with no James in sight, myself and many others believed this was proof that

All of this raises the question, did we really need this season?

of season one, to see whether or not James survived!

The series overall was good, entertaining and funny. But in comparison to its predecessor, it lacked the charm and the drive of the first season which told a compelling story of two misfits. This season featured those same two misfits, but in no way do I feel I have learnt anything new about them or have a better understanding of the story from the first season. The only continuation from the first season is the backstory given to creepy lecturer Koch.

Whilst many fans longed to see these characters again, I don’t think there was a strong enough idea to

justify this season. This poses a key question: should writers have to hold a form of creative control over their projects? Should creatives deny fans more of what they want if they believe the story isn’t strong enough? My best example of this is Fleabag, Waller Bridge is adamant that she won’t make another series simply because the story isn’t there. She waited until an idea came to her to make a second season, instead of launching herself into it simply for fan service or monetary gain. The End of the F***ing World has fallen victim to the same problem many great TV shows have faced; too much pressure to release a second season when there is simply no need for it and resulting in some lacklustre sequels to some fantastic television.

Niamh Brook

Charlie’s Angels: Rebooted The iconic ‘70s TV show, Charlie’s Angels is being rebooted by Elizabeth Banks (writer and director). The stars of the film Kristen Stewart, Ella Balinska, and Naomi Scott take a tried and tested formula and make it relevant. It could perhaps spark a new era for the franchise by releasing it to a new audience. For those who haven’t watched the iconic ‘70s show, or multiple films e.g. the reboot, which was released in 2000 starring Cameron Diaz, the core concept is a mysterious figure known as Charlie recruits and trains women to fight crime in usually ridiculous situations. However, the newest release keeps the tradition alive but adds a new quality to the

storytelling that’ll make it popular with action fans as well as those looking for some nostalgia. But being honest, there isn’t anything that looks terrible or even unwatchable, the trailer just didn’t really spark a major interest for me. Even though, I do like the idea of rebooting the classic to make it relevant and celebrating the differences in women, I feel like the trailer could’ve used some more of the iconic references alike at the end with the pose and the close-up shot of the ‘speaker’ where we hear Charlie’s voice. On the other hand, I do think that the trailer shows a sense of female empowerment through the use of quick-cut editing of the action scenes

as we are shown snippets of the jampacked action we get in the movie. As well as the strong, independent representation of women, there is still a sense of sexualisation within the film as this is what Charlie Angels are known for. In particularly, in the first scene of the trailer we see Kristen Stewart seducing a man before it breaks out into a fight scene. So, I do think that the film will be entertaining for fans of the franchise as I feel they will be intrigued to see how the film turns out. However, I do think I will see the film to get a sense of the franchise but also how they have slightly adjusted the iconic film to cater to the audiences today.

Caitlin Telford

Biopic vs Documentary Plenty of recent biopics have triumphed in the box office and undoubtedly, they make a permanent impression. A whole generation grew up with an idea of who Gandhi was purely based on Sir Ben Kingsley’s riveting performance of the Indian freedom fighter in the 1982 biopic. Similarly, it is Daniel Day-Lewis whose image pops up when young Americans think of their 16th President, Abraham Lincoln after Steven Spielberg’s 2012 Lincoln. Despite these captivating awardworthy movies, some misrepresent to

sell. For this reason, the question of biopics or documentaries arose. While biopics were made for entertainment, documentaries were made to inform. Therefore, biopics incorporate more stunts, visual effects and dramatic dialogues that would otherwise not seem realistic. In fact, it is the ‘based on a true story’ sentence that appears at the start of every biopic that gives film-makers the license to be creative with the real story while still maintaining an air of suspension and disbelief. That said, if you want to learn about a person’s life, it is best to watch a documentary.

Documentaries incorporate interviews, where the person in question is seen speaking directly before a camera on their experiences as opposed to a rehearsed script told by actors. As one simply cannot cover the entire birth-to-death of an individual over two hours, documentaries also have a greater focus, allowing their subject to spend more time on what the focus is. For instance, in RBG, a documentary on US Justice Ruth Bader Ginsburg, directors chose to focus purely on her life defending women’s rights, including supporting scenes from her childhood through interviews on how that led to her advocating for equal gender rights. Furthermore, as the aim of a documentary is to give an accurate portrayal of the individual, conflicting information is not presented, only the truth. Unlike in biopics where we often question where one’s motives lie, documentaries make it clear from the start that the movie will only tell so much as the person does, all the while ensuring that one does not degrade or glorify someone. This balance is immensely important when discussing anyone from successful public figures to serial murderers.

Image: Pixabay, OpenClipArt-Vectors

Additionally, biopics are fuelled to deliver to a fanbase of an individual and directors as well as script-writers are often faced with incredible pressure to deliver to please this group of people, often through muddying up the truth with the idea of the truth. Jean-Marc Vallee, director of Dallas Buyers Club, a biopic of AIDS activist Ron Woodroof, stated that in his film, his primary goal was to create a compelling narrative. “We are serving a piece of entertainment,” he said. “We are not trying to depict Ron’s life meticulously.” Finally, documentaries are informative, true and well-made without the need for props, scenes or highly-skilled actors, all of which add up to why documentaries may just be better than biopics. Had it not been for Eddie Redmayne’s excellent performance in Stephen Hawking’s biopic, The Theory of Everything, one could say that the movie would have been incoherent. I wonder how many would say the same if they tuned in to watch Dr. Hawking speak himself.

Monique Santoso

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