Venue - Issue 276 - 4 December 2012

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VENUE Issue 276 Tuesday 4 December 2012

THE CHRISTMAS EDITION Music - The Best Albums of 2012, page 6-7.

Fashion - Golden Age of Hollywood: A Guide to Retro Glamour, page 9.

Film - The Hobbit arrives and the major Festive Releases, page 13.

Photo: Ga Chun Yau

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VENUE

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CONTENTS

Tuesday 04 December 2012

ISSUE 276

concrete.venue@uea.ac.uk

Editor-in-Chief | Amy Adams Venue Editors | Rachael Lum and Matt Tidby Music | Editors | Hayden East and Sam Warner Music Contributors> Jack Enright, Larson Campbell, Harry Edwards, Daisy Jones, Caitlin Gray, Shelley Hazlewood, Sam Warner and Hayden East Fashion | Editors | Jess Beech and Lucy Jobber Fashion Contributors> Emily-Clare Tucker, Ella Sharp and Claire Kidman Film | Editors | Kieran Rogers and Andrew Wilkins Film Contributors> Chris Gaisie, Joseph Holness, Bex White, Emma Holbrook, Will Medlock, Rebecca Markwick and Katryna Coak TV | Editor | Ellissa Chilley TV Contributors> Romy Higgins, Rianna Hudson, Bex White, Adam Dawson, Matt Tidby and Ellissa Chilley Creative Writing | Editor | Matthew Mulcahy Creative Writing Contributors> Indigo Griffiths, Beth Ryan, Marlowe Hill, Molly-Sue Moore and Johnnie Bicket Gaming | Editor | Oliver Balaam Gaming Contributors> Sam Emsley, Simon Sampson and Oliver Balaam Arts | Editor | Hatty Farnham Arts Contributors> Mia March, Tom Cullimore, Beth Ryan and Hatty Farnham Competitions/Listings | Editor | Amelia Edwards

From the Editors Seasons Greetings and Festive Salutations, Dear Reader!

We’ve loved editing Venue, and are very excited for next year. So, we’ll see you post-apocalypse, in 2013 - when the cats will ascend to high office and White Walkers will rise up from Great Yarmouth, leaving the Concrete editorial staff to make a dramatic last stand in Union House. Of course, we’ll survive. We’ll whack ‘em with rolled-up old issues whilst belting out Don’t Stop Me Now. Have a good one, you lot, Matt and Rachael

Photo: Philip Thomas

So, 2012: a year of jumping. A man jumped out of space really quickly, the Queen jumped out of a helicopter with James Bond, and most excitingly of all, we jumped on the bandwagon of our managing editor’s tireless campaign to interview Tina from S Club 7. In short, a truly remarkable year.

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MUSIC

concrete.music@uea.ac.uk 04.12.2012

live review

Catherine Huang

MUMFORD & SONS + DAWES Ipswich Regent Theatre 23.11.12 Sam Warner A theatre in the middle of East Anglia hardly seems the ideal place for one of the biggest bands on the planet to play a scheduled gig. Though this is named “The Tour of Two Halves” – in essence a tour of theatres and arenas – Mumford & Sons are a band that seem comfortable having a hoedown in Ipswich’s Regent Theatre.

After the rather bizarre opening act

of Piff the Magic Dragon – essentially a grown man dressed in a dinosaur outfit, doing purposely bad but amusing magic tricks (including laminating a Chihuahua) – the main support Dawes take to the theatre stage. Hailing form Los Angeles, they prove a cut above the generic support band with their mix of Death Cab for Cutie’s perceptive melodies and Kings Of Leon’s muscle power.

When My Time Comes, a set highlight, almost convinces the seated crowd to stand. Dawes don’t allow their set to suffer from a common vibe, mixing blues and rock before it descends into all out energy, with frontman Taylor Goldsmith jumping across the confined space like Mario dodging fireballs.

With the crowd somewhat convinced

by Dawes, Mumford & Sons take to the stage to deafening screams as the

assembled jump up in unison. Opening their set with the title track from their second album Babel, Marcus and co. waste no time in following with recent single I Will Wait. The melodious anthem is joyous, but its burst of power is somewhat blighted by the low sound mix, an unfortunate set-spanning problem due to the venue’s natural role as a theatre. Nevertheless, this is redeemed mainly by the sheer atmosphere and energy of the crowd – by the looks of it, most of Ipswich.

For the quiet ballad Timshel, the band proceeds to the front of the stage under dim lighting. The rowdy audience gradually seep down after the hushed insistence of Mumford. The resulting performance is pleasant, but the song suffers in its endeavour to be substantial.

The song Dust Bowl Dance towards the end of the set also falls under this fault,

creating an unnecessary superfluity that is as clear as crystal. Mumford & Sons clearly try to be something more meaningful lyrically and musically, but ultimately it is their anthemic belters that shine through tonight.

Winter Winds and Little Lion Man create mass sing alongs, and the band bring Dawes back on for a version of Awake My Soul that adds little, but is given an unlikely boost by Piff returning with his dog, the microphone turned to its tiny face in a comic gesture.

The band finish their set with the seductive slow-builder Lover’s Eyes and a final sing-along of The Cave, demonstrating their live power and ending a show with a crowd atmosphere unlike any other. Mumford & Sons are in no way groundbreaking or provocative as a band, but they put on a show that shows pure, enjoyable entertainment.

MUSIC

04.12.2012 concrete.music@uea.ac.uk

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Venue talks to Enter Shikari

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Jack Enright chats to Enter Shikari’s Rob Rolfe ahead of their LCR show in December Conducting an interview over the phone is never ideal. Complications over the exchange of phone numbers and wranglings over a convenient time and date are all too common. And even then, there is unhelpful background noise, problematic losses of signal, and the ever complex matter of recording the conversation in the first place.

More challenging than any of this, however, is the danger of phone interviews becoming dry, stilted and wooden.

Without the human spark of face to face conversation, these interviews can too easily become unbearably predictable question/answer exchanges. You can forgive Venue’s trepidation, therefore, when Enter Shikari’s Rob Rolfe opens up this interview by declaring that he is suffering from severe tonsillitis.

Yet it soon transpires that any anxiety was unwarranted. Rolfe is talkative and articulate, answering each question to put to him with the enthusiasm of someone who has never been interviewed before.

And it’s worth noting that, belonging to a band with a press schedule like Enter Shikari, Rolfe has been interviewed a lot.

make the big decisions on our behalf but it’s failed us time after time”.

Nor is he happy to have A Flash Flood of Colour marked out as a “political album”, adding that “the album could be perceived to be talk around politics, but I think we see it more widely than that.

It’s more expansive than just politics, we take a wider view... it’s about how the world’s going to run itself in the future, as one singular society, rather than about the ins and outs of why government has failed us”.

“We’ve tried to work with this system, using politicians to make the big decisions on our behalf, but it’s failed us time after time.”

“Everyone’s got a duty to speak about these issues, not just musicians...we need discussion everywhere.”

First on the agenda is the band’s obscure choice of recording studio - the group recently abandoned their previous haunt to record their last album A Flash Flood of Colour in the more exotic location of Bang Saray, Thailand. Rolfe’s answer is not quite as profound as you might have guessed however: “at the time we were working at a studio in Hoxton in London and the option came up of going Thailand and we figured it was a choice between commuting to London everyday on the train, or going to record the album in what’s pretty much paradise! It was a choice between grotty, stinky London, or a studio with a beach and palm trees outside the door.”

Coming from one of the UK’s mostly upwardly mobile bands, it’s relieving not to be delivered a dose of pretentious drivel about “comfort zones”, and actually receive an intelligible answer about the daily commute. Rolfe is as equally down to Earth when asked about the effect the new location had upon the record. He doesn’t try to claim some sort of affinity to traditional Thai music, but simply points out that the remote location provided a “great place to get away from distractions...pretty much all of the music was written before we went out there, but yeah, it was a good opportunity to really focus.”

Where Rolfe’s opinions become

considerably less mundane is when talking about the agenda behind their latest record. A Flash Flood of Colour was one of the most outspoken and opinionated albums to be released in the last few years, the record touching on topics ranging from climate change, fossil fuels and freedom of speech.

But Rolfe isn’t happy being labelled as a “political” band - in fact he sees that as being way off the mark. If anything, he told Venue, Enter Shikari are “antipolitical”. He explained that “basically what it boils down to is that politics doesn’t really seem to be adding anything to the world. We’ve tried so long to work with this system, using politicians to

What Rolfe takes great pains to stress to Venue though, is that it’s not just bands and artists who should be talking about these subjects: “I think everyone’s got a duty to speak about these issues, not just bands or musicians. The fact that we are [as a band] kind of put up on this pedestal and people are willing to listen to what we say means it’s even more important to say what we think, but we need discussion everywhere.”

He is equally as eager to condemn artists who choose to pass over difficult issues to write songs a little easier for the listener to stomach: “you know, making people think it’s cool to have loads of money, lots of cars, shoot guns and be a gangster and stuff like that. They’re misguided people, but what’s more their abusing this position they have as role models by misguiding other people. If it was up to me, a lot more people would write music about things that actually matter in world terms...not just about how many gold chains they’re wearing, or about the hot girl they saw in a club.”

Enter Shikari hit the LCR for a twonight run on the 19th of December. If you like your bands opinionated and original, then it’s clear that these are shows you can’t afford to miss.

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MUSIC

concrete.music@uea.ac.uk 04.12.2012

albums of 2012

Music writers share their favourite releases of the year

SHARON VAN ETTEN TRAMP Sam Warner American indie-folk musician Sharon Van Etten has been on the alt. scene for a quite few years now. Here in 2012 she has quietly soared to the heights of contemporaries Bon Iver and St. Vincent, among others, on her third LP Tramp. A beautiful collection electric-

BRETON OTHER PEOPLE’S PROBLEMS Jack Enright Alt./electro-rockers Breton are a group with an intriguing take on what they can and cannot do. The five-piece have never envisioned themselves as a band in the traditional sense of the word, but rather a multimedia arts collective, working from a multi-discipline studio in south London dubbed BretonLABS.

tinged folk songs, the record wreaks of raw and intimate beauty, thanks in part to Van Etten’s evocative voice.

Recorded at Aaron Dessner’s (The National) studio, the guitarist also takes up production duties, transferring The National’s subtle drama to wondrous effect.

Tramp’s greatness doesn’t lie solely in painful ballads, with Leonard showcasing an uplifting element reminiscent of Beirut (Zach Condon makes an appearance on We Are Fine).

Even ascending into raw, horn-driven epicness on I’m Wrong, the album demands to be listened to as a whole, each song tugging at your heart in a differing manner. “Serpents in my mind, trying to forgive your crimes,” she sings on Serpents as she tries to mend her heartbreak; whether it be despair or hope, the soundscapes sound unique yet somehow familiar.

Sharon Van Etten is no doubt a tranquil force, but she stands out as one of the finest songwriters and musicians in the current indie-folk scene, and the poetic beauty that she conveys on Tramp stands out as the most emotive and singular effort of the past twelve months.

Other People’s Problems is the group’s first full length album after a string of EPs, and it was surely worth waiting for.

Opening track Pacemaker is a whirlwind of crunching bass lines, thundering drum machines and swirling, white noise vocals.

The onslaught is sustained by Edward the Confessor, where Breton exhibit their precocious gift for crafting visceral, sharp edges electro-rock.

However, Ghost Note is the true masterpiece of the record. It’s a surging, propulsive, and bass-heavy dance track that takes you by the throat and refuses to let go until your feet are moving. It’s the kind of track that, the second it starts, makes you believe Breton are a band capable of anything - the lofty heights of stadium shows do not seem out of reach within this four and half minute universe.

With the melancholy lamentation 2 Years, Breton prove that they can do tender as well as raucous, but it’s always the latter that they do best. The preposterously vicious Oxides makes this clear - a gentle harp melody is rapidly betrayed by blunt trauma bass lines and scintillating, razor-sharp synths. The evidence seems undeniable - Breton could be set to hit the big time. Watch this space.

JESSIE WARE DEVOTION Hayden East 2012 has definitely been a year of difficult, boundary-pushing music, so it feels almost reactionary that my favourite record - after much deliberation - is

To

undoubtedly one of the simplest records to come out of it.

There’s so much more to Jessie Ware’s mercury prize nominated debut than that, though. It’s about her chameleonlike ability to slip into the shoes of Sade, Annie Lennox and Whitney Houston while retaining her own velvet-smooth vocals, as if it’s no big deal. It’s about her bravery in stepping out of the dubstep roots that made her an early one to watch. It’s about her understanding of when to pull back and when to deliver those moments of intensity. But most importantly, it’s about the everendearing way in which she’s constantly surprised that people are enamoured with her work.

And so they should be. From the newjack leanings of Sweet Talk to the gorgeous harmonies of Something Inside, to the title track - a sophisticated number that The xx can only wish they’d written - Devotion is a smart, sexy, and sophisticated record through and through.

read the full review, go online to www.

concrete-online.co.uk/jessie-ware-devotion/

ALT-J AN AWESOME WAVE Larson Campbell A year ago you probably hadn’t heard of Alt-J (maybe you did and you’re really cool and I would like to be your friend) but now, the geometry loving quartet are certainly on your radar. Love them or hate them, you can’t argue against the fact that Alt-J have had one hell of a year.

Their debut album An Awesome Wave went to the top 20 albums on iTunes instantly, and when you listen to the album, it’s easy to see why. The genre of the album remains disputed, mainly because they throw just about every influence and genre in there.

Blending so many varying influences in a single album is no easy feat, however Alt-J manage to pull off the maneuver seamlessly.

Many have pointed out the similarities to Radiohead, and the band have admitted that In Rainbows had a direct influence when making An Awesome Wave - it shows. The album plays with up beat indie-pop tunes such as Dissolve Me and darker, sexier beats like Tesselate and Fitzpleasure, but somehow always manages to sound distinctly their own, which the band credits to their lead singer Joe’s incredibly distinctive, throaty vocals.

Going from viral internet sensation that ‘had that cool name that made a triangle on your Mac’ to fully fledged, Mercury award winning superstars that folk veterans Mumford and Sons covered in the Radio One Live Lounge, the weird and wonderful Alt-J have successfully dominated the music scene of 2012.

MUSIC

04.12.2012 concrete.music@uea.ac.uk

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albums of 2012

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Music writers share their favourite releases of the year

THE MENZINGERS ON THE IMPOSSIBLE PAST Harry Edwards There is nothing revolutionary about The Menzingers. The chord progressions you will have heard a million times before and the song structures are at times painfully straightforward. However, what made this album so special lies not in its technical brilliance or its

TAYLOR SWIFT RED

Caitlin Gray

Taylor Swift’s fourth studio album, Red, shifted 1.208 million copies in the US in its first week, and landed Swift her first number one album in the UK. If you are able to look past the obnoxious, yet admittedly catchy, lead single We Are Never Ever Getting Back Together, you will discover that this album is by far Swift’s most eclectic release to date. She transcends her country roots

distinctiveness, but the sheer power of the emotions it evokes.

A bleeding honesty, love and integrity oozes out of every pore of the Pennsylvanian quartet’s third full LP. The lyrics are not going to win any literary prizes, yet have all the more clout for it.

They are able to produce the sense of the beautiful joy and pain in youthful drunken nights. The triumphant choruses to standout songs like Gates, Good Things and The Obituaries dare you to not sing along.

In a year when sonic emulation was the predominate theme across records, this album is refreshing in trying to be nothing more than a collection of brilliantly written punk-rock songs where the artist holds nothing back.

In many ways it’s reminiscent of The Gaslight Anthem’s recent album Handwritten, which was also a definite high point of the year.

What distinguishes the music we appreciate and the music we love is our emotional response towards it. No album released this year produced the same raw response as this one did. It is for that reason that I would consider it the best album of 2012. for a genre-spanning record ranging from the U2-esque opening track, to an unexpected foray into dubstep on her latest single, I Knew You Were Trouble.

Swift’s songwriting talents are on full display on the soaring five-and-half minute long All Too Well, a beautifully woven story detailing a relationship from beginning to end. This song, as well as the mandolin driven Treacherous prove that Swift has not completely said goodbye to the country-pop blends that she does so well.

The album also features duets with the UK’s very own Ed Sheeran, and Gary Lightbody (from Snow Patrol), on which Swift’s strong vocals shine through. You can also play the fun game of guessing which famous ex each song is about through the album’s sixteen tracks on love and heartbreak.

It is easy to forget that Swift is only 22 years of age, in which case it’s all the more impressive that most of the album written solely by her. With Red, Swift demonstrates to her critics that she is not simply a one-trick pony, and that she is more than capable of expanding her musical style with success. Look out for her winning big awards with this album in the future.

THE KILLERS BATTLE BORN Daisy Jones Since bursting onto the rock scene with the hugely successful album Hot Fuss eight years ago, The Killers have been pretty patchy. However, Battle Born brings them back to what they have always done best – big guitar riffs, rangy vocals, heavy bass and synths all rushing together in a solid wall of sound.

Catchy opener Flesh and Bone sets the

YOUNG GUNS BONES Shelley Hazlewood

This eagerly anticipated sophomore album went above and beyond all expectations, cementing Young Guns place at the top of the British rock scene. They produced an explosive yet melodious rock album packed full of arena worthy anthems. It had a more polished and coherent feel than their debut; the songs flowed in perfect harmony, but each with something

album off to an uplifting, triumphant start mimicked in closing track Battle Born. In between is a pick and mix of songs that are in turn upbeat, rousing and poignant – everything The Killers have become famous for.

As ever, they face dark subjects – failed relationships, drug abuse, murder – with their classic blunt realism, sprinkled with just enough Dickensian sentimentality to make you care about the hopeless, hapless protagonists.

Runaways and Here With Me remember the rush of a first romance – its ecstatic highs and its crippling lows – while hauntingly still Heart of a Girl and Be Still are simply love songs, quiet yet optimistic.

Simply put, Battle Born does everything it’s supposed to do. It’s a stunning blend of old and new. Nostalgic references to the band’s classics are interwoven with new melodies, with Miss Atomic Bomb acting as the cathartic prequel to the bitter harshness of early hit Mr Brightside. And let’s face it, Battle Born delivers what most of their audience want from The Killers: rock ballads of lost dreams and teenage hopes to belt out in the car on the way home from work. slightly different to grab the listener’s attention.

It is packed full of powerful vocals, catchy riffs and thrashing drum beats.

The listener could identify with the honest and reflective lyrics which showcased a more mature sound. If it is listened to carefully, hidden inside every song is a truthful yet uplifting tale about life. It is one of those albums that never gets boring because each time it is played, something new is discovered.

Bones opens with the infectious riffs and raspy vocals of I Have Born, I Have Lived, I Will Surely Die and the pace of the album never slows down. There are a few mellow songs such as A Hymn For All I’ve Lost thrown into the mix, but each song is as powerful and infectious as the next.

Bones takes the listener on an epic journey through their best work yet, including the title track, You Are Not and Headlights, on course towards a more mellow finish but an epic climax nonetheless. Their next musical endeavour is eagerly awaited, following this masterpiece will be a tough job but their combination of creative talent will ensure, yet again they exceed all expectations.

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Editor-inChief Amy Adams wants to unwrap a penguin jumper...

Fashion Writer Claire Kidman is dreaming of Miu Miu Glitter Heels...

concrete.fashion@uea.ac.uk 04.12.2012

Dressing for the Party Season Emily-Clare Tucker

Concrete Fashion’s Christmas Wishlist

FASHION

There is something about formalwear which is inherently exciting to men and women alike. The festive season is full of occasions where you simply have to go the extra mile with your outfit. For men, this is simple - slip on a suit, be it a tuxedo, three piece or even the cheapest of matching trouser and blazer combinations to instantly acquire James Bond levels of sophistication.

For the average female however, the bar for eveningwear has been set impossibly high ever since we saw Belle walk into Beast’s ballroom in that perfectly fitting, flawless deep gold ball gown paired with elbow high gloves. From Audrey’s slimline black number in Breakfast at Tiffany’s, to Keira’s slinky green dream dress in Atonement, one flawless formal dress has been all it takes to make an ordinary woman into someone legendary. Because of this, the chance to get dressed up to the nines is always exciting, at least to begin with. Once the reality of trying to switch from an ordinary person into a graceful, refined lady of leisure sinks in, most of us will have a minor breakdown at the impossibility of the task. However, there are a few rules for when all hope is lost and you don’t even want to go to the stupid ball/dinner/prom anymore (we’ve all been there) 1. Touch Your Toes No matter your size or shape, it’s incredibly hard to go wrong with something long and fitted. With maxi

skirts and dresses having successfully made the transition from summer staple to autumn essential, it’s also very easy and cheap to pick up a long dress, or a long floaty skirt paired with something tight on top can be equally as elegant.

2. Shoes, Shoes, Shoes When everything else has gone wrong, make like Carrie Bradshaw and find some excessively high, shiny and expensive heels. You could go to the Oscars in your pj’s and not have anyone bat an eyelash so long as your shoes were outstanding.

Just avoid the hideous studded Jeffery Campbell platform boots that are far too popular at the moment - more suited for a sex dungeon than a fancy occasion.

3. Diamonds Unless you’ve been very good with your student loan this year, fake sparkles will be a better option than actual diamonds, but jewellery, no matter its authenticity can save an outfit from disaster. A big enough necklace or set of earrings will distract from the worst of last minute mish-mash outfits.

4. The Perfect Fit The final and most important rule is that whatever outfit choice you make, make sure it fits perfectly. If it doesn’t, leave it in the shop, or put it back in your wardrobe and head to the shops. In case of absolute emergencies, safety pins have proven their worth as alteration aids, so long as they aren’t visible.

And remember, it’s Christmas, the season of excess, so don’t ever worry that your outfit is a bit too much.

What to Wear on Christmas Day Ella Sharp talks casual chic on how best to dress for the big day...

Music Editor Hayden East wants a Denim Jacket under his tree!

Fashion Writer Holly O’Brien is hoping Santa will bring a Mulberry Del Rey...

Christmas day is fast approaching. It’s one of the few days of the year where it is appropriate to don the pyjamas and stay in your dressing gown all day while your nearest and dearest fetch you mince pies or chocolate.

However, for a slightly more decent look the simple jeans and a hoody can be your answer. Optimum comfort and the allowance for gravy spillage and compensation for over-eating, this outfit is the go-to for the small family Christmas. And if cold, afternoon walks are the tradition this outfit is perfect, don the uggs, ear muffs, and the woolly socks and you’re set for a country walk. This may not be the most glamorous but perhaps making the effort with some cute Christmas themed nails will ensure you pull it off.

The other alternative to this comfy Christmas outfit is the novelty jumper; easy Christmas appeal and available from almost anywhere this time of year. Also great for those family

photographs that will be unearthed 20 years from now. Just don’t go matching with the rest of your family; I’m sure your future kids won’t want to suffer that much embarrassment.

On the other hand, if you are, like me, expecting hoards of uncles, aunts and cousins to your house, a more glamorous approach than your gravy-spilled hoody might be necessary. This is the time of year where embellishment, sequins and sparkles are allowed to co-exist in one over the top, but perfect for Christmas day, dress. This is the season to have baubles hanging from your ears, so if you’re going Christmassy - don’t be afraid to fully embrace the sparkle.

Unearthing those six inch heels, however, may not be such a practical choice if you’re helping out around the house. Chasing after hyperactive cousins or serving the potatoes; neither looks good tottering around in platforms. Why not shove on some

slippers with that party dress? Once you’re sitting at the table no will notice! Slip on some basic black flats if it’s your job to open the door though.

It’s a whole other ball game if you’re heading out to a fancy restaurant for lunch. It’s perfectly okay to treat this outing as much, much more than a family meal. It’s a fashion parade. The likelihood is the restaurant has a dress code; no jeans. So that means glam it up. Red lipstick, heels (you’re being served, wear the six inches!) and that sparkly Topshop dress. Tis the season to be jolly and embracing Christmas glamour is a sure-fire way to spread the joy.

A few things to remember regardless of your Christmas Day attire; hair must be neutral, you are going to be wearing a paper hat whether you like it or not; and finally, don’t wear anything too tight. It’s Christmas day, a day for, if nothing else, eating until you just can’t move.

FASHION

04.12.2012 concrete.fashion@uea.ac.uk

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Flapping around the Christmas tree Concrete Fashion gets all festive with pearls and feathers

Models: Katie Nertney, Kirsten Powley, Melissa Taylor, Maddie Russell, Charlotte Cox, Hatty Farnham and Jess Beech Stylist: Jess Beech Photographer: Elizabeth Margereson

Claire Kidman goes old school with Hollywood Glamour...

The Golden Age of Hollywood lasted from the 1920s until the 1960s. Its female stars became icons, as famous for the clothes they wore as the films they starred in. From the flappers of the 1920s to Marilyn Monroe, the glamour of Hollywood is timeless, and the perfect inspiration for the upcoming party season.

Hollywood’s first fashion icons emerged in the 1920s. Names like Clara Bow and Louise Brooks may not be as familiar today as Monroe or Hepburn, but they were huge celebrities whose modern take on Hollywood glamour sparked trends that were copied by young women across America, desperate to emulate their style. They wore loose-fitting dresses that were daringly short for the time, complete with beads, dark makeup, and bobbed hair.

From simple dropped waist dresses to all-out beaded

party dresses, the glamour of early Hollywood is a great alternative to the more popular styles of the 1950s and 1960s, and is conveniently on-trend this season.

Check out H&M, Coast, and French Connection for 1920s inspired dresses to suit all budgets.

In the 1950s, the hourglass reigned supreme, and dresses were designed to showcase the wearer’s curves.

Marilyn Monroe is the epitome of Hollywood glamour, and her classic silhouette, with its nipped-in waist, is arguably the most iconic of all time. Whether the dress had a circle skirt or pencil skirt, the waist remained the focus of the look. Her blonde hair, red lips, and beauty spot made her the embodiment of beauty and glamour.

To recreate the glamour of the 1950s, take a look at Vivien of Holloway, who make reproduction dresses

in a wide array of colours and patterns. For a more subtle 1950s-inspired look, try a pencil dress, but keep the length midi; mini dresses were a creation of the 1960s. Warehouse and Miss Selfridge have some great options.

Finally, I could not forget Audrey Hepburn. Her role as Holly Golightly in Breakfast at Tiffany’s gave us one of Hollywood’s most famous looks—the long, black Givenchy dress, complete with black gloves, pearls, and sunglasses. Her dark hair and chic, simplistic style contrasted completely with Monroe, yet her understated look was no less glamorous.

For a Hepburn inspired outfit, try a classic black dress, and keep it simple with a shift style. ASOS have a huge selection of LBDs. Add a statement necklace and the look is complete—sunglasses are optional.

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FILM

concrete.film@uea.ac.uk 20.11.2012

REVIEWS THE MASTER (12A)

Director: Paul Thomas Anderson 144 mins Starring: Joaquin Phoenix, Phillip Seymour Hoffman, Amy Adams

Paul Thomas Anderson returns to the director’s chair with The Master, his first film since the celebrated There Will Be Blood, almost five years ago. Fans of his previous work will likely find much to enjoy, but for those who seek traditional narrative-driven storytelling, The Master may frustrate.

The film tells the story of Freddie Quell (Joaquin Phoenix), a World War Two veteran suffering from post-traumatic stress, struggling to adjust back into society. That is until he comes across the charismatic cult leader Lancaster Dodd, also known as the Master (Phillip Seymour Hoffman), who befriends and promises to help him. This basic premise is used to construct an in-depth character study of all the players involved. Fortunately, these are some of the most brilliantly realised characters in recent cinema.

Freddie visibly wears his war trauma in his contorted body language and slanted face, so much so that after watching the film you may find yourself looking at past pictures of Phoenix, just to check if he’s always looked

this... broken. His mannerisms and dialogue perfectly match his outward appearance, making for a truly intriguing character.

Meanwhile, Hoffman perfectly portrays the charisma and leadership of Dodd, displaying both his genuine humanness and his unsettling, controlling malevolence.

That these characters are so interesting and non-transparent is testament to the great performances and writing that went into them.

The relationship between the pair is central to the film and is great to watch. While they at first seem like polar opposites, the line between the two is slowly blurred as we observe the erratic behaviour of both. Periphery characters are just as well executed, with particular note to Amy Adams who plays Dodd’s chillingly faithful wife.

Another key element of the film is the extraordinary music. Jonny Greenwood returns from his work on There Will Be Blood to compose an exceptional soundtrack that almost works as character itself. It has a beautifully haunting nature, managing

to be mystically alluring and unsettlingly strange at the same time. Juxtaposition between what’s happening on screen and what the audience hears often creates a disquieting feeling that there’s more to see than what meets the eye. Despite such powerful music, it never becomes overbearing, but adds to the rich texture of the great on-screen action.

The Master looks absolutely stunning throughout. There are many times during the film where you could easily take a freeze frame of the action and have an outstanding photograph. Superb use of focus and framing seamlessly directs the viewer’s attention to important minor details which may have been otherwise overlooked. The camera steadily moves and lingers through scenes, creating a constant flow throughout. The editing carefully moves from scene to scene, keeping the audience engaged in what is quite a slow-paced film. Towards the end, this slow pace does slightly start to

take its toll and the film’s resolution loses some weight as a result.

So what’s not to like? The film is definitely more focused on character development than telling a cohesive narrative. Not much seems to really happen and when it does, consequences of minor plot points are often discarded in favour of focusing on the characters.

For some, this and the film’s slow pace will be too off-putting, causing some to simply ask “what was the point?” The film ultimately hinges upon its ability to draw you in to its world of extraordinary characters. Whether you buy into this or not may depend on how much you cling to the standard narrative conventions that dominate cinema today. The Master’s pre-occupation with its characters will undoubtedly split opinion, becoming both the reason some people enjoy it and others loathe it.

Chris Gaisie

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REVIEWS AMOUR (15) Director: Michael Haneke

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127 mins

Amour tells the story of an old couple, Georges and Anne, as they deal with the physical and mental breakdown that affects the latter at the end of Anne’s life, and the emotional impact this has both on their relationship with each other and their daughter, Eva. It’s hard to get a sense of exactly what this film is like simply from watching the trailer or hearing it from another person. Even having viewed the film, it’s very difficult to convey precisely what the film is like.

“Amour” in French means love, and from the title alone it would not be unfair to expect it to be about exactly that, but in truth it’s far more complex than that. This is not to say that the love between the two lead characters is irrelevant, far from it. It’s what drives the film and makes Georges’ difficulty in caring for his ailing wife so powerful.

Neither is it melodramatic; director Michael Haneke doesn’t try to make things overly sentimental.

Haneke’s style is distinct. He uses very long takes and no non-diegetic sounds or music, creating a very raw feeling, as if all the action is playing out in real time. It makes the audience member feel almost like a voyeur, glimpsing into something that they shouldn’t be watching.

Without doubt the strongest aspect of the film is the acting. The way in which

TWILIGHT: BREAKING DAWN - PART II (12A) Director: Bill Condon

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115 mins

So, after all the tween-anticipation, the final Twilight film is here. In this, the second part of Breaking Dawn, we see Bella, Edward and their new child come

the film is constructed feels as if it is just a showcase for the actors. There is no stylisation or complexly choreographed sequences, instead just actors doing what they should be (acting) all the way through.

Jean-Louis Trintignant excels as the elderly husband, frustrated by the idea of nurses coming in to take care of his beloved wife and adamantly against the idea of sending her to a nursing home as their daughter suggests.

Emmanuelle Riva’s degeneration into an almost childlike state is equally as

heartbreaking. It causes you to question throughout how you would react in such a situation, how difficult you would find it to care for someone who is no longer the person they once were.

As great and effective as all the elements of this film are, it’s important to say that this is an incredibly tough watch. You’ll find yourself glued to the chair during the credits trying to process exactly what it is you’ve just seen. For days after the film will linger and leave you in a mildly depressed state.

Haneke won the Palme d’or at the

Cannes film festival for his direction here, and is likely to win even more come award season, and rightly so.

But as technically effective and as emotionally engaging as it is, don’t go in expecting something light, or even something emotional in a similar style to The Notebook. It’s sentimental in a way that taps into the darkest parts of your mind. It’s probably best not to watch this unless you’re in a nice, comfortable place psychologically.

under threat from the Volturi, resulting in the famous couple having to recruit vampires from all over the world to help them.

If you are a Twilight fan, then this instalment will soon fall into your category of much-loved films, as it would appear to be able to do no wrong. However, to those that have not read the books, nor

are massive fans of the previous films, this conclusion to the series will prove no different. In no way will it convince you to take joy from Edward and Bella’s forlorn relationship.

As a stand-alone narrative, the film would appear not to make all that much sense. Although it is a sequel, little is done to remind us of the past other than the occasional flashback. This, combined with the introduction of new characters to appeal to an audience unfamiliar with the previous films in the franchise, provides a confusing premise. However, passing over the lack of backstory, the plot of the film is very simple and no moment is overly predictable.

Breaking Dawn: Part II has clearly been made with its fan base in mind, which by no means is a bad thing, especially for that said fan base. For the rest of us however, it’s just a bit strange.

Part II has been dubbed the best of the series for the fans, which is understandable given the strong emphasis on the romance between Edward and Bella. With the couple now married the film allows fans to finally see them happily set up at home

and, with the majority of issues with Jacob put aside, their relationship and its sense of eternity is really foregrounded.

Alongside this, solid performances from a host of new vampires that join up to fight provide the film with some variety in place of the angst-ridden teenlove-triangle. The film’s subplots and shorter sequences, including some of these secondary characters, also provide some relief from the over-stylised and, quite frankly, hideous music video aesthetic of the love scenes between Edward and Bella.

Overall, for the existing Twilight fan, Breaking Dawn Part II is not a disappointment. The film has clearly been made in consideration of those that have spent their time and money on the franchise, and it has led to a film that turns the final book into a visual treat that few can deny is a decent adaptation.

Although there will be people who are sad to see the franchise finish, this final instalment has allowed it to conclude on a high, even if it leaves those who aren’t fans a bit bewildered over what all the fuss was about.

Joseph Holness

Bex White

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GAMBIT(15)

Director: Michael Hoffman 89 mins As the old saying goes, “if something seems too good to be true, it probably is” and this has never been more pertinent than in the case of Gambit. Written by Hollywood’s darlings of irony, Joel and Ethan Coen, and with a cast that most filmmakers would dream of having at their disposal, the film has all the makings of a modern classic.

In actuality, Gambit is akin to buying an impressive-looking bouncy castle, only to spend an agonising hour and a half watching it deflate.

A retelling of the 1966 film of the same name, Gambit is the story of bumbling art curator Harry Dean (Colin Firth), who sets out on an ill-advised quest to exact revenge on his tyrannous boss, Lionel Shabandah (Alan Rickman). Harry enlists the aid of P.J. Puznowski (Cameron Diaz), an irritating caricature of the Southern cowgirl, in order to con his boss into blowing £12 million on an amateur forgery of Monet. But despite this foolproof plan, things do not go smoothly.

The film then proceeds to lose all

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credibility, as it muddles its way through a series of situations so ridiculous that a monkey rodeo proves to be a welcome moment of sanity. In most circumstances, this suspension of disbelief would have been worth the laughs that follow, but the script is so predominately devoid of anything even resembling humour that the central mystery could well be why this farce forgot to include jokes. In one of the few recognisable “punch-lines”, the Coens resort to toilet humour in a desperate bid for a laugh, and as the elderly woman explicably breaks wind, she becomes a stunningly accurate metaphor for the entire film. Other cringe-inducing moments come in the form of remarkably dated Japanese stereotypes that are not sufficiently ironised and, in what must be the highlight of his career, Colin Firth scaling the Savoy in his boxer shorts.

The individual merit of the actors involved is undeniable, but their competence with farce and chemistry with one another is disappointing. The typically endearing Colin Firth is no Peter Sellers and, despite his valiant attempts at slapstick, his performance is an uncomfortable one.

He flits between the persona of blundering

bore and competent conman, without fully committing to either, meaning that Harry Dean is an extraordinarily hard figure to sympathise with. Equally, Alan Rickman’s portrayal of a media tycoon is unremarkable, though it would be wrong to exclusively blame the actors considering the quality of the hackneyed script.

Ultimately, the Coens fail hopelessly in their outsider attempt to recreate British farce because their script is monotonous, surprisingly bereft of irony and simply not

FILM

concrete.film@uea.ac.uk 04.12.2012

funny. Farce is a notoriously uncooperative partner and very few recent films have managed to apply the formula correctly (most notably Bridesmaids and The Hangover), but unfortunately Gambit is not one of them. Perhaps the film is actually a masterfully ironic piece questioning the relevance of farce in the modern film industry. In which case, the Coen brothers have conned us all.

Emma Holbrook

Tarantino to retire; Wahlberg to make transformers debut; Hardy to go undercover

Will Medlock Love him or loathe him, the news that Quentin Tarantino may quit film-making after his 10th outing as director will keep both the American’s supporters and naysayers talking in preparation for the release of his eighth feature, Django Unchained, on January 18th. Even the

most ardent of Tarantino cynics cannot fail to recognise the importance of his eclectic, yet identifiable, back-catalogue.

Financially speaking, Tarantino didn’t need to make another film after 2003’s Kill Bill, but then we would never have had the joys that were Christoph

Waltz’s multiple interrogation scenes in Inglorious Basterds. They alone were worth Tarantino sticking around for a few years more. Tarantino was quoted as saying by Playboy magazine that “directors don’t get better as they get older”; tell that to Clint Eastwood.

Despite Paranormal Activity 4 teasing audiences that “all the activity has led to this”, Paramount have confirmed that this years instalment of the franchise will be followed by a fifth film in 2013.

Yes, really. Considering they started out with a somewhat innovative storyline, borrowing from The Blair Witch Project amongst others, the studio are in serious danger of following the route of the Saw franchise, with once enthusiastic fans somewhat waning, cueing a haphazard final instalment.

Similarly, details of Insidious 2 have surfaced in recent days; another horror whose initial success has, perhaps belatedly, culminated in plans for a sequel.

Arguably one of the more inventive horrors of 2011, Insidious, helmed by Saw creators James Wan and Leigh Whannell, will return to the big screen in 2013, potentially providing some healthy Halloween competition for PA4.

Although Paranormal Activity 3’s opening weekend return of over $29m in America rather blew Insidious’ $13m away, tiring

audiences may seek their thrills elsewhere, signalling an end to a franchise that, in many critics’ eyes, has run its course.

With Shia LeBeouf having distanced himself from future instalments of Michael Bay’s divisive Transformers franchise, Mark Wahlberg is set to take over the reigns as leading man. Say what you will about Bay and his penchant for CGI on an altogether outrageous scale, but he and Paramount have successfully nailed down a cash cow since the first film’s release in 2007. The addition of Wahlberg, star of Boogie Nights and The Departed, will potentially draw in a different type of audience, providing they can look past the giant robots that Bay will no doubt give even further license to attack and destroy.

Finally, video game company Ubisoft have announced that British actor Tom Hardy will portray the character of Sam Fisher in the film adaptation of their popular game Splinter Cell. Not many men can pull off the depiction of crazed prisoner Charles Bronson, moustache and all, and mask-wearing Bane in The Dark Knight Rises and still maintain heartthrob status. Yet, Hardy’s appeal to both action aficionados and the female audience will ensure that the big screen version of the game will attract the same amount of interest as its small screen precedent.

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CHRISTMAS 2012 PREVIEW

Katryna Coak It looks as though there is a film for everyone to enjoy this December.

Of course some films have been long awaited, such as The Hobbit: an Unexpected Journey. A prequel to The Lord of the Rings trilogy, The Hobbit follows the adventures of Bilbo Baggins (played by Martin Freeman) on his quest to reclaim treasure from the dragon Smaug. Directed by Peter Jackson, the film looks set to draw in audiences. However, The Hobbit, like its relatives, is to become three films, following the increasingly popular sequel trend set by films such as Harry Potter and the Deathly Hallows Part 1 and 2. This means that avid fans will be forced to dip into their pockets beyond this Christmas in order to view the ending of the film. It begs the question: is this really warranted for a film based on a book that is only few hundred pages long? Time will tell.

If you’re in the mood for something a bit different and surreal, then Life of Pi may provide an escape from the stress of Christmas shopping by plunging you into a world of adventure. Based on the oftensaid ‘unfilmable’ novel by Yann Martel, this film follows a young boy stranded in the ocean on a lifeboat with a Bengal tiger.

The sea is to be the main set of the film, which might mean that its backdrop may

be one-dimensional, though it looks as though it will be used as a canvas to create different moods and sense of a fantasy.

Meanwhile, Jack Reacher, directed

by Christopher McQuarrie, will be introducing us to the on-screen version of the hero from Jim Grant’s (aka Lee Child’s) successful series of novels.

Brought to life by Tom Cruise, whose abs are still in superhero mode from his last

Mission Impossible outing, it seems like yet another generic action-filled popcorn movie. Fans of the novels will undoubtedly be interested in this, and if you’re sick of watching Die Hard every year perhaps this will be a nice alternative.

The film that may prove to be an unexpected hit this Christmas is Seven Psychopaths. Riddled with an all-star cast that includes Colin Farrell, Christopher

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Walken, Sam Rockwell and Woody Harrelson, and directed by Martin McDonagh, the story follows several dysfunctional writers who get caught up with a ‘Shih Tzu kidnapping.’ The film may very well have audiences in stitches, particularly if McDonagh’s In Bruges is anything to judge by.

Upping the tempo for fans of Glee or Step Up, Pitch Perfect may be a mustsee for those of the eccentric variety.

Following Beca, a college freshman played

by Twilight’s Anna Kendrick, the audience will be plunged into the world of a cappella.

It promises dancing, singing, male-female rivalry and the usual ‘rom-com’ antics.

Finally, on the darker side of things, I, Anna, directed by Barnaby Southcombe, will add a bit of mystery to Christmas festivities. Its trailer is entirely ambiguous (and worth checking out), and leaves you with a sense that nothing is as it seems. Its synopsis simply states that this is a noirthriller based on the novel by Elsa Lewin.

Although, there is a lack of anything Christmas themed to watch this year, with the schedule laced with literatureto-film adaptations, there does appear to be something for everyone to enjoy this December. Sure, hang up your stocking, eat some mince pies, but make sure you get to your local cinema.

THE CHRISTMAS LIST Venue recommends the alternative films you should watch this christmas Rebecca Markwick Christmas films: you sit down with the family and watch the same old films year after year, or maybe the newest offering for the kids, the younger siblings. Why not, instead, watch something a bit… different?

Starting with films for the youngsters (and those young at heart) that don’t involve elves or a Claus, try out Megamind – a wonderfully animated film that depicts the struggle to understand yourself, what is right and wrong, and what it is that will actually make you happy. Following the same anti-hero theme, Despicable Me is another option – a story of minions, orphans and the power of family, alongside a dollop of moon shrinking and pyramid stealing action. However, if you must have snow in your Christmas films, Ice Age is a sure fire winner (let’s be honest, who doesn’t love Sid?). Following an unlikely herd of animals, consisting of a saber-toothed tiger, a mammoth and a sloth, Ice Age sees this band of misfits trek across the snow in order to reunite a human baby with its family (and we can’t forget about Scrat

and his never ending quest for an acorn)- what could be better at Christmas?

For a fun and furry film, Gremlins is perfect; it is set at Christmas and it also has a splendid plot (and the cutest Mogwai ever in the form of Gizmo). In the search for the perfect present, protagonist Randall Peltzer buys Gizmo in Chinatown, and is told to abide by three specific rules: don’t expose Gizmo to light, don’t get him wet and don’t feed him after midnight. Of course, Gizmo gets wet and five new Mogwai appear, foremost among them Stripe – the evil antagonist

of the film - who ends up in a local pool, spawning hundreds of Mogwai that lay seige to the town. The highlight of the film, undeniably, is getting to see rows of Mogwai in a cinema watching Snow White, a hilarious cinematic appearance from Disney that seems to suggest that the west is not ready for Mogwai, no matter how cute, or with the revival of Furbies.

For those who are more action minded, Die Hard is a brilliant choice.

With a

young Bruce Willis (including hair) and an excellent performance (as always) from Alan Rickman as the infamous terrorist Hans Gruber, Die Hard is a wonderful film – and it’s even set on Christmas Eve. What better way to celebrate Christmas than to watch Willis gun his way through Gruber’s henchmen, climb through air ducts (where his t-shirt mysteriously changes colour) and rescue the day. It is a superb old school action movie that still works well today. You could always put yourself through the numerous sequels, too if you want…although Bruce does lose his hair.

For the romantics out there, the BBC adaptation of Pride and Prejudice is always a tremendous and fulfilling watch. Why not spend four hours plus with a loved one on Christmas day, to watch some dancing, Darcy and plentiful of disastrous happenings with the ever laughable Mr Collins.

So…this Christmas season why not move away from the cheesy films that always get shown and go for something with a little more bite, and a little more fluff.

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TELEVISION

concrete.television@uea.ac.uk 04.12.2012

Good Tidings

Time travels, period drama and comedy galore - Venue gives you the low down on the best of the festive tv to come

DOCTOR WHO Matt Tidby

It takes a lot of good memories and a culturally ingrained cautious optimism for something to become part of Christmas tradition (Also see: extended family, vegetables, the Queen). Seven years after its festive debut, Doctor Who returns to BBC1 this Christmas with ‘The Snowmen’, with Matt Smith’s normally exuberant Doctor at an uncharacteristic low ebb. After the dramatic departure of his previous companions, (a pair of psychotic Scottish legs and an amiable puffer-jacket), the good Doctor is seemingly hanging about in Victorian London in fancy dress, waiting for a lady with a bit of hutzpah to motivate him into saving the world one more time.

It says something about the enduring fondness in which Doctor Who is held nationally that it has been welcomed so readily into the hyper-competitive fold of Christmas television. Of course, over the decades, the show has been no stranger to Christmas - as early as 1965’s ‘The Dalek Master Plan’, First Doctor William Hartnell broke the fourth wall to wish “a merry Christmas to all you at

Ellissa Chilley

home!”; thankfully, the show has come a long way since those simpler, halcyon days. From David Tennant’s pyjama-clad seasonal debut in 2005’s ‘The Christmas Invasion’, to 2012- Matt Smith’s silly but damaged Doctor has proven popular, and the programme has gone on to huge success internationally, being broadcast in 206 territories. That isn’t to say that

the show is at its best in its current erait certainly hasn’t been without its critics, and after over two years of Amy and Rory, the imminent arrival of a new companion is a hotly anticipated turning point in the shows modern history.

So, all eyes on new friend Clara, played by Waterloo Road alumnus Jenna Louise Coleman. Hold up- wasn’t she in it

before? Indeed. Miss Coleman’s debut was in Series 7’s hectic opener ‘Asylum of the Daleks’, in which she played the canon’s first sassy Dalek, and then promptly died.

Answers on a postcard for that one; head writer and professional troll Steven Moffat is not known for his readily accessible plots or, quite honestly, his character writing. Fan complaints about the overcomplexity and lack of emotional context in Amy and Rory’s storylines held so little truth that Moffat fled Twitter to avoid them, but it looks like this ‘tricksy hobbit’ of a showrunner may continue to frustrate those who wish for less complex adventures.

Regardless, the show marches on to unparalleled success, with ratings remaining buoyant and with much support from a financially stretched BBC. So, in that warm, cloying atmosphere of Christmas day evening, food babies gestating, get the family around the television for the new best Christmas tradition: another magical, snow-bound adventure with Britain’s favourite benevolent alien.

the battle of the period dramas DOWNTON ABBEY VS CALL THE MIDWIFE

Period costume and Christmas, almost inseparable, and once again ITV are bidding for the festive hearts of the nation with another two hour Downton Abbey Christmas Special.

Unlike the snow filled special of last year, this year’s episode sees Lord Grantham and the family head north for a spot of deer stalking at the Scottish estate of Dowager Countess’s great niece Lady Rose and her parents. In place of the usual upstairs/downstairs divide, this episode will see most of the family and the staff separated instead by country and “while the cat’s away, the mice will play,” Executive Producer Gareth Neame promises. In the family’s absence trouble brews back at the Abbey as Mr Carson is left to try, against all distractions, to keep the staff focused on the daily routines.

Possible romance and certain upset is rife in the Highlands with the

controversial presence of the married journalist Michael Gregson, and meanwhile O’Brien finds a scheming partner in lady’s maid Wilkins - all of which will of course come to a head at the much anticipated Gillies’ Ball.

Writer Julian Fellowes, however, has promised that this special will revolve a lot more around the staff than usual.

Back home the excitement of the Thirsk Country Fair is proving a disruptive influence on the staff, love may even be in the air for cook Mrs Patmore, and arrival of new housemaid, Edna (played

by MyAnna Buring) also causes upset.

Laura Mackie, ITV Director of Drama warns that: “As ever, Downton will take its audience through a whole range of emotions. All of life’s experiences will feature in this episode - best have the tissues ready ...” In short, prepare yourself: 9pm ITV1 on Christmas Day.

Call the Midwife is a gentle, entertaining but often poignant drama based on the memoirs of nurse Jennifer Worth. Every Sunday night, upwards of 9 million viewers were reminded of simpler times, when children played out in the street and men wore hats that they tipped at women.

Although this drama did have the tendency to gloss over the squalor and poverty of post-war London, with period interiors and spotless cobbled streets, it still managed to provide a fascinating history lesson for younger viewers and a trip down memory lane for the older ones.

Forget Casaulty and the modern day hospital dramas, Call the Midwife’s characters grab you on your first viewing and guide you through a spectrum of emotions. With references to the only just established NHS and the difficulties women had at the time you may even leave with a new found appreciation for modern

Romy Higgins

day midwifery; long gone are the days when a midwife popped on her bicycle to do the delivering rounds.

With the introduction of the hilarious Miranda Hart as the posh but eager-to-learn Chummy, the show appealed to an even wider selection of viewers who know her as the awkwardly entertaining protagonist of Miranda.

Last Christmas, Downton Abbey was the most watched Christmas show outside of the soaps, so Call the Midwife certainly has a challenge on its hands to win the title back to the BBC. Its diverse cast of well known British favourites, such as Jenny Agutter, Pam Ferris and Jessica Raine, who plays the protagonist Jenny Lee, all took to their roles with ease to create a refreshing main cast of strong female characters to support a fascinatingly different mix of supporting cast each week. Tune in to BBC on Christmas Day to watch the latest baby drama unfold.

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MIRANDA

OUTNUMBERED

Bex White

The much loved sitcom Miranda will return to our screens this Christmas to begin a highly anticipated third series.

Set around a clumsy 30-something and her friends and family, it was an instant hit with the British public, and audiences have only increased with its repeats shown on BBC over the years; so much so that it has been promoted to the hallowed schedules of BBC1 this Christmas. Its combination of asides to camera, hilarious physical comedy and satirical comments on posh ex-boarding school students, Miranda provides a lovable character with a romance storyline that everyone is rooting for.

The new series finished filming back in August, but actual dates for broadcast,

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Rianna Hudson

or any specifics as to the plot, are as yet unconfirmed by the BBC, but no doubt it is hoped that the bumper Christmas audiences will re-launch the show in style.

Both actor Tom Ellis (Gary) and Miranda Hart have hinted at the continuation and possibly conclusion to the romance between characters Gary and Miranda, which has been a constant story line since the original series aired back in 2009. So could this Christmas see the two characters finally get together? Even if they do, no doubt it will be amongst some hilarious and/or acutely embarassing outburst in short, “such fun”. Keep an eye on the schedules for the return of Miranda; this is sure to be one present everybody will be enjoying this festive season.

Among the many other Christmas specials to be aired this Christmas is winner of Best Comedy at this year’s National Television Awards: family-centric, semi-improvised sitcom Outnumbered. The show has already been a regular part of the Christmas special tradition, celebrating yule in 2009 and 2011, along with specials for Comic Relief and Sport Relief. This year’s episode will be a 40-minute special and is to guest-star Mark Heap (Friday Night Dinner, Green Wing) and Sanjeev Bhaskar (The Kumars at

No. 42), adding further comic talent to the already abundant cast.

The recording of a brand new fifth series is scheduled for 2013. It will see all the same cast back together as the Brockman family; the long suffering parents played

by Hugh Dennis (Pete) and Claire Skinner (Sue), and playing their three often unruly children, with some of the poshest names ever heard; Tyger Drew-Honey (Jake), Daniel Roche (Ben), and Ramona Marquez (Karen). Apologies to any Tygers or Ramonas reading.

The Sky planners are going to be jolly busy this December, but spare some room for Outnumbered and you won’t be disappointed.

The show has always been justly praised for its well-observed everyday surrealism and its honesty when dealing with the stresses of family life, and this special should hopefully continue this fine tradition, whilst giving us some hints as to the direction of the next series.

OTHER SHOWS TO LOOK OUT FOR THIS FESTIVE SEASON Snowman and the Snowdog C4

DOORS OPEN

The Snowman creators bring you another snow-filled adventure

Adam Dawson

Ian Rankin, the award winning author of the Rebus novels, has a TV adaptation heading our way this Christmas. Doors Open is one of his best-selling novels and follows an unlikely set of accomplices taking part in an art heist.

The story follows self-made millionaire Mike Mackenzie, played by Dougie Henshall, as he teams up with his old pal Professor Gissing, played by the everprolific Stephen Fry, as they attempt to replace art masterpieces with perfect forgeries. Like most of Rankin’s stuff, this show is set in Edinburgh.

This is gearing up to be an interesting watch because of its different take on the crime thriller. There’s no murder at the heart of it, or any sort of gruesome crime that’d put you off you dinner. It’s good to see there’s more to crime television than the troubled detective trope or “suspect of the week” style shows, and the art heist plot of this sets it apart from what will no doubt be a season of disappointing murder mystery shows.

Crime stories may not be the first thing you think of to give you a warm Christmassy feeling, but Fry has gone as far as to call it a “breathless and ingenious thriller” and from the looks of things that is exactly what it’s shaping up to be.

Look out for Doors Open on ITV this Christmas season.

with this warm-hearted sequel.

Panto! ITV1 A festive comedy drama co-written by John Bishop.

Mr Stink BBC1 David Walliam’s award winning children’s book has been brought to vivid life, starring Downton’s Hugh Bonneville.

Room on the Broom BBC1 An animated film brought to you by Gruffalo writer Julia Donaldson.

COMEDY SPECIALS Friday Night Dinner C4 Mrs Brown’s Boys BBC1 The Royle Family BBC1 QI BBC2

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themed submissions

Winter

A Memory Flash Fiction by Beth Ryan

I remember strolling through St James’ park, still hypnotised by London’s glittering winter streets.

Our grins glowed pink as December chill tickled our faces, and our squabbles were swallowed in the hugs of puffy coats. Somewhere behind us, the adults speaking nothings and sighing out small talk in strange foggy shapes. But we charged on ahead, warmed by the thrills of nameless excitements that we didn’t realise you missed.

You moved alongside us, seeking solace in our bliss. I did not yet understand the weight of the growing gaps between your words, struggled pauses elongating with the winter nights. I explained away your slowing movements by the crippling cold, yet I could not fathom why you no longer moved by steps and strides but by wheels.

I didn’t try.

Instead, I gleefully squealed as we launched ourselves onto the arms of your chair, and you, complicit in our unmarred joy, let us race with you through the dusty blue air, zooming past countless silent couples and dogs sniffing frosted mounds and men in dull grey coats; all became blurs, so you felt the fleeting freedom of realities dissolving.

We wordlessly agreed, through sparkling awe-filled blinks, the magic of this now familiar machine. Yet we stifled our silent bemusement at its sudden lingering in our lives, unaware of you fading like the bare and baring boughs above.

So we shrieked to go again, and again we flew with you through solstice acidity but sweet apricity, giggling and gulping the icy sky into our lungs until I saw your laughter mingle with the mist and escape into eternal azure December.

Solstice

The Endless War

Poetry by Indigo Griffiths The winter season; the best and the worst Evoking feelings that summer cannot Home, home, home.

The ever-longing want, the ever-lasting loneliness, But don’t worry lover We will hold hands and skate And hope that cracks do not appear.

The pretty pictures, the cold fingers And it falls, pure, white, goodliness Soon to be tainted with black For we know it cannot last forever.

But for now let us pretend, Let us be overwhelmed.

Yuki (Snow) Poetry by Marlowe Hill Red, bearded, jolly.

Mountains of snow outside doors.

Warmed is the spirit.

Winter

Poetry by Molly-Sue Moore

I am growing fond of winter and the crisp edge to the air, the blurry haze of rain that clings onto your hair.

Once the day has shied and tired night falls, and wonder beckons.

The moon walks slowly with me, if only for a second.

The glitter-laced undergrowth sprawls like spilt milk on tiles, crackling softly around us as though weighted by our smiles.

I’ve grown so fond of winter that I’ve lost all sense of time the birds now sing for summer, yet the moon is still all mine.

Flash Fiction by Johnnie Bicket The sinewy birches shudder as the chill breeze gently fumbles through their topmost branches, and the sound of hundreds of twigs jostling against one another blends into a soft Shhhh. Leafless, stripped once more by winter’s return, their structures are revealed – supple trunks points upward, splitting first into two boughs, then cleaving again and again, till the breadth of the trunks are reduced to a million tiny wooden filaments. An icy gust of wind abruptly shakes the trees once more, and they clack angrily at their discarnate tormentor. They heave from side to side, their inner fibres writhing and straining against the deep roots that grab fistfuls of earth below. Like a low, discordant choir, the woods begin to sing their screeches and groans, entreating the onset of December’s tempestuous gale.

The first issue of the new year will feature our Drugs Survey, so we are looking for work on the theme of

‘Addiction’

Please submit all writing by

Photo: Philip Thomas

Tuesday 1st January 2013

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GAMING

concrete.gaming@uea.ac.uk 04.12.2012

Review - Angry Birds: Star Wars Simon Sampson Unsurprisingly, many Star Wars fans had a bad feeling about Rovio producing a Star Wars themed Angry Birds, believing that once again their beloved franchise was selling out. However I am pleased to report that this disturbing lack of faith was unnecessary– Rovio has merged the two properties seamlessly and produced a game that only improves on its predecessors.

Every aspect of the formula has been revamped: from the music and sounds to the birds themselves, everything has been given a Star Wars makeover. Each chapter takes place on a memorable moon or space station, telling the story of the original film series as you progress.

Players take the role of the rebel alliance, fulfilling their destiny and fighting against the empire on the barren desert world of Tatooine and the aptly named Death Star, with the Ice World Hoth due to be released as a free update in the future.

The core gameplay is much the same

as in the past; players must eliminate pigs on each level by launching disgruntled poultry at them and their defensive structures. Each of the fuzzballs in your arsenal is a caricature of a main character from the series and some have been given new abilities. The basic red bird stars as Luke Skywalker and he can use a lightsaber to slice his way through the hordes of white armour-clad stormtrooper pigs with the tap of a finger. The black bird aka Obi-Wan Kenobi has the ability to use the force to push structures and stormtroopers alike while Han Solo – the yellow bird – fires a volley of lasers which can be reflected off metallic objects.

Chewie acts as the big bird and the blue birds are rebel pilots. These new abilities, along with some of the most complicaited environmental puzzles the series has ever seen, mean that no two levels feel the same.

The Mighty Eagle has also been reworked as the Mighty Falcon (It’s the ship that made the Kessel run in less than 12 parsecs), which can be used to decimate any particularly tricky levels.

These can be unlocked either by earning them with stars or buying them through the in-game store, although they’re usually in abundance anyway.

Angry Birds: Star Wars is an assortment of all the best bits of previous versions in a lovingly crafted Star Wars themed package. The new abilities distinguish the gameplay from previous instalments and the presence of both classic style and space levels keep things varied. With 80 regular and 11 bonus levels available at launch with more on the way in the free Hoth update and in the Dagobah chapter available through the in-game store, there is certainly enough content to keep players amused for a fair few hours at least.

Only two and a half hours after launching Angry Birds: Star Wars took the number 1 ranking in the iTunes app store and it is easy to see why. Even though it doesn’t introduce anything genuinely new to the franchise it is the best Angry Birds so far and is well worth a try, especially for android users who can download a free ad-funded version.

GAMING

04.12.2012 concrete.gaming@uea.ac.uk

www.concrete-online.co.uk

Preview: DmC

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Oliver Balaam The announcement of DmC, a western reboot of Hideki Kamiya’s much loved Devil May Cry trilogy, was met with much scepticism back in 2010. Alarm bells started ringing when a short trailer showed its protagonist Dante reinvented as a skinny emo but, after our recent hands on, we can report that these fears were uncalled for. Dante is back.

The series’ new Cambridge based developer Ninja Theory have undoubtedly put their own slant on the series but its core tenets remain intact. The emo present in the misrepresentative trailer is nowhere to be seen and, in actuality, the new Dante fuses a 70s punk aesthetic with the exaggerated anime sensibilities of previous instalments. The result is an immature but likeable protagonist. Sure he’s arrogant but the game’s stylish hack and slash combat feels so empowering that you can hardly blame him.

Ninja Theory have assigned light and heavy attack modifiers to the triggers, a trademark design philosophy, and their combat has never felt so responsive

as it does here. The focus remains upon juggling enemies and executing flamboyant combos but the need to modify stances demands that players exercise some method amongst the madness. Add pistols and an extendable whip to this medley and you’ve got a flexible combat system that begs for experimentation and rewards finesse.

It remains to be seen how entertaining and varied the systems will be over the length of a full game but for the length of our demo they were mesmerizing.

Devil May Cry’s environments, while always gorgeous, have never felt particularly interactive but in DmC these static vistas have been replaced with a vibrant and lively city scape.

In the section we played the city, controlled by demons, shifted and crumbled in a constant attempt to halt our progress. Indeed this lead to some surprisingly responsive platforming and chase sections, a first for the series.

Similarly, apart from Dante, the previous trilogy’s characters mostly felt like dry archetypes rather than fully developed personalities. Ninja Theory

have always pioneered performance capture in the games industry, famously working with Andy Serkis, and their work here is equally impressive. Tim Phillips puts in a perfect turn as Dante, not only nailing the attitude but also the comic timing. Towards the end of our demo Dante encounters a giant maggot boss and their bickering during the ensuing battle was funny enough to hinder our ability in combat.

What was abundantly clear from our time with DmC was that while Ninja Theory have the confidence to experiment, they understand what made the games such a success in the first place. The counter-cultural aesthetic remains but has been modernised, the soundtrack still leans towards metal but also flirts with punk and electronica.

The game also benefits technically from Ninja Theory’s development, running smoothly and with a camera that understands the importance of both cinematic framing and playability. After a lengthy and troubled development DmC is in surprisingly good shape, we look forward to its release in January.

Preview: Prison Architect Sam Emsley Get ready for a new type of business simulation game that does away with the docile banalities of everyday life and instead invites you to incarcerate inmates. You’ll be tasked with designing their living quarters, provide for their needs and hoping that they’re not bored enough to resort to mass brawls in the

canteen and casual homicide in the showers.

Developed by Introversion Studios, a British developer with a very British sense of humour, Prison Architect satirises administrative cruelty and the idea that you can distance youreslf from your actions. The game is currently in

the alpha stages of development. There are a lot of bugs (something amusingly addressed in the trailer), but if you can look past this, you’re left with a unique game that has fantastic potential.

The first thing that really makes the game stand out is how uncompromisingly niche it is. The concept is simple, you design and run a prison, but the idea hasn’t previously been attempted. One of the major influences of the game is Theme Hospital, which was released in 1997, and the concept is clearly adopted here but refinements and modernisations make this feel more of a homage than a replica.

Unlike Prison Architect, Theme Hospital was very PG, targeted at younger audience. Prison Architect is far more adult, which is refreshing, as there really isn’t another business simulation game as interesting and daring as this one.

Whilst the premise may seem straightforward, the gameplay itself isn’t. A great deal of management is required in order to contain, confine and occupy your inmates, and it is not

as easy as it seems. You’ll have to build and designate rooms for showers, cells, canteens, kitchens, offices, medical centres and many more, whilst hiring enough staff to meet the demands of the prisoners. If they’re hungry, they’ll let you know about it, and it’s not going to be in the form of a strongly worded letter. To keep the inmates in check, ensure minimum hostility and stop them digging to freedom, you must also hire enough guards to patrol and police the buildings.

One downside to all of this is that a lot of micromanagement is required, and this may put off some gamers who are more interesting in jumping straight into an experience. Much of this is just the unavoidable learning curve that comes with the strategy territory and after an hour or so of trial and error, it all makes sense.

Prison Architect is available now in alpha state and buyers will receive all future updates for the game. It could use some polish at the minute but hopefully the finished product will see a promising game turn into a brilliant one.

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ARTS

concrete.arts@uea.ac.uk 04.12.2012

Actor John Hurt to Become NUCA’s first Chancellor and First Provost

Mia March NUCA, Norwich’s University College of Arts, has recently announced that next autumn John Hurt will be the University’s first Provost. Hurt will perform the role of figurehead and ambassador for the students of NUCA, and will be present at university events and ceremonies such as graduations.

NUCA also recently announced that by the end of the year they will gain an official university status, and will be named the Norwich University of the Arts, or NUA, becoming Norwich and Norfolk’s second university. This advance is one of many nationwide, as a number of university colleges, from Plymouth to Lincoln, become fully accredited universities.

The prolific star of stage and screen has previously received two Academy Award

nominations, a Golden Globe Award, four BAFTA Awards and a Lifetime Achievement recognition award. Famous for his distinctive voice, Hurt has also been a prominent voice actor for many years, lending his considerable talents to productions such as Watership Down and Merlin. When taking on the position he said that ‘I hope that I will be able to help make NUCA an arts university second to none and the envy of the most illustrious institutions not just in this country but worldwide’.

“This may sound a boastful ambition but I believe, from what I have already seen of the work and felt of the atmosphere, that it is eminently possible. What greater privilege and honour could I have been offered and I will do my best to help achieve this ambition.”

Review: UEA Drama Soc’s Wagstaff Tom Cullimore It is not often that you would expect to find contemporary issues addressed in a play loosely based around the Second World War, but in Wagstaff, Oliver Michell’s new one act offering, there are lurking criticisms of Britain’s colonial aggression, which might as easily be applied to the wars in Iraq and Afghanistan as any other military conflict of the past century.

Gwen Hanauer’s direction ensured a vibrant performance, full of tense exchanges and the odd comic flourish, whilst the pacing was finely measured, allowing the audience’s interest to sustain for the duration of the play.

Set in a hostile and claustrophobic desert environment, Wagstaff explores the psychology of an embittered, egotistical and injured soldier, whom the play is named after, determined to withhold his potentially lifesaving landmine maps in an attempt to gain revenge over the military he believes have betrayed him.

Perhaps, though, this does not quite do justice to the complexities of Wagstaff ’s character. He is, in turn, charming, cocky, selfish, vulnerable and witty; an entertaining mix, handled deftly by Jonathon Moss, whose energetic delivery masked the niggling weaknesses in the script which might have threatened an otherwise fluid performance. The

only exception to this rule came in the form of the injury sustained to Moss’s character in the opening minutes. Any act of graphic violence, as we see when Wagstaff steps on a landmine, brings with it a risk of exaggerated delivery, evident here in the protracted and bizarrely monotone screaming, which was unnecessarily awkward.

From this point on, however, the performance achieved a more desirable balance between a sense of immediate physical agony and the need for considered moral conversation, helped immeasurably by the introduction of Milli Bee as Ratnasingham. Of the three characters we are introduced to, Bee’s was by far the most interesting; an involving, morally dubious figure, whose choices are among the most challenging of those presented to us. Her initial betrayal, and subsequent rescue, of Wagstaff, highlights the attention paid by Michell to the intriguing nature of deferred responsibility in military hierarchy, as she is asked to abandon a soldier whom she knows will die without her help.

These orders are given by her and Wagstaff ’s superior, Baverstock, who, for his involvement in such a delicate dilemma, is disappointingly twodimensional. Through no fault of the actor in question, Chris White,

the lines delivered often felt a touch predictable, as he served the sole purpose of barking instructions and insisting upon their execution. To an extent this is compensated for in the scenes with Wagstaff himself, as Baverstock’s charmless approach is ridiculed to great effect, but in most contexts it simply feels reflective of a lack of depth in his character.

In all, though, the energy, tension and intrigue which are present throughout the play mark Wagstaff out to be hugely successful presentation of wartime psychology and morality. These nuanced performances, alongside Hanauer’s precise, playful direction, ensured that our considerations for individuals within a collective remain as relevant as they have ever been.

ARTS

04.12.2012 concrete.arts@uea.ac.uk

www.concrete-online.co.uk

@concrete_arts

ARTS POLITICS: THE IMAGE OF ADVERTISING

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Hatty Farnham Adverts have long since been an integral element of popular and media cultures. The relationship between art and advertisement is problematic due to cultural conceptions of the highbrow and lowbrow. Like art, however, advertisement is designed, it appeals to the senses, and it aims to provoke reaction (even if it is just to make you buy something).

Advertisement is part of 21st-century everyday life. Ads permeate the radio, the television, the internet and social media forums, and by tracing the development of advertising and its content, one can trace the trajectory of westernisation.

Arguably, through fashions and through social media, the individual’s association with self-advertisement is rapidly increasing. We promote ourselves through Twitter and Facebook, and just like brands, we manipulate the image of ourselves we would like to promote to the world.

Adverts have been causing a stir in the run up to Christmas. The John Lewis Christmas advert has had 2,174,983 hits in two weeks, and Coca Cola’s tagline “Holidays are Coming” trended on Twitter for days.

Recently there has been much debate concerning the image of motherhood

which companies such as Asda, Morrisons, and Iceland have been promoting through their ads. Iceland’s recent Christmas ad received over 1000 complaints objecting to what viewers classed as a sexist portrayal of women in the kitchen. Similarly, three weeks ago Asda posted their latest Christmas advert (entitled ‘Behind every great Christmas there’s Mum’) to YouTube; a vicious backlash on social media and in the press made it clear that such representations were not acceptable in 2012.

Indeed, aside from portraying mothers as screaming, nagging, and slightly incompetent, the father is almost absent

from the video (except for when he asks “what’s for tea, love?” after Christmas lunch). ‘Mum’ singlehandedly runs about hoovering, cooking, feeding the baby, and performing household chores. The advert’s tagline is “behind every great Christmas there’s Mum, and behind mum there is Asda”. Notably, ‘Mum’ is never described as ‘great’.

Whether or not you give a flying fig about Asda’s Christmas ad, it is important to assess the presentation of gender within popular culture. Are these adverts simply mimicking current social stereotypes, or are they preventing them from being reformed?

REVIEW : LANDSCAPES EXHIBITION AT SCVA Beth Ryan

The Sainsbury Centre’s latest exhibition is more about thinking than spectating.

Welcoming us are questions scribbled across a white wall: “What is landscape?”.

We start at “the edge of landscape”: a room of paintings ranging from landscapes with an abstract quality to Mubin Orhon’s explosive abstracts, whose presence within a landscape exhibition in itself provokes thought.

All works in this section are concerned with the idea of landscape rather than the physicality of it. Charles Maussion, for instance, strips back the image of a landscape to an arrangement of tone and shape; he considers the visual, space and temporality. His works are still, unsettling and ineffable, and inspire us to think about our surroundings in a strangely lyrical way.

If the atmosphere is too heavy and conceptual, perhaps for younger spectators, this is rectified by an interactive landscape-building section.

Participants can work towards a collective

“soft landscape”, or attempt their own version of the microscopic Chinese art form of Penjing. This is a brilliant initiative, synthesising the exhibition’s sophisticated ideas with craft-based entertainment.

Perhaps the highlight is Lee Grandjean’s visually fascinating installation, “From the Deep Woods”. Exemplifying his love of paradox, Granjean mixes rural and urban waste, balancing branches into a staggered arrangement of lilting figures, each adorned with clusters of crushed cans. The result is meandering woodland where the various landscapes of our modern lives collide.

Epitomical of the exhibition’s array of ideas is the short film “Wolf ” which is projected onto a wall. It uses the story of the last wolf in Sutherland being killed by hunters to examine human destruction of nature. It comprises of stunning shots, ranging from sweeping scenes of rural Scotland to close-ups of a trembling leaf, and reminds us of the

ceaseless possibilities of our landscape.

Slow and transcendental music accompanies the film, lingering within the space between other installations. It is tricky to escape the contemplative feeling

Rhian Poole

this inspires, particularly when returning to the white wall of questions with a clearer understanding of the complexity behind that pressing question: just what is landscape?

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COMPETITIONS

www.concrete-online.co.uk

concrete.competitions@uea.ac.uk 04.12.2012

1

2

across

1. Gifts (8) 3. Paper decorations cut out using symmetry (10) 6. German mulled wine (8) 7. Author of A Visit from St Nicholas (surname) (5) 8. Small breed of deer (8) 10. Statue of frozen water (7) 12. Sparkly tree decoration (6) 14. Another word for sweets (5)

down 2. Last night of Christmas (7, 5) 3. Sock-shaped gift receptacle (8) 4. Christmas hymns (6) 5. Winged messengers (6) 8. The red-nosed reindeer (7) 9. Author of A Christmas Carol (surname) (7) 11. City which donates Trafalgar Square’s Christmas tree (4) 13. Famously chubby gift-giver (5)

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LISTINGS

04.12.2012 concrete.listings@uea.ac.uk

www.concrete-online.co.uk

4 December - 17 December

Tuesday 4 December UV Rave Price £3.50 Advance 10pm-1.30am UEA LCR

The View Price £14 Advance 7.30pm The Waterfront Laura Levine @ The Bicycle Shop Price £5 8pm The Bicycle Shop

Wednesday 5 December Gary Numan Price £25 Advance 7.30pm UEA LCR Anaal Nathrakh presented by Metal Lust @ The Waterfront Studio Price £13 Advance 7.30pm The Waterfront

Thursday 6 December Dreadzone Price £15 Advance 8pm The Waterfront

Friday 7 December Pout At The Devil + No Mercy + Wicked Faith Price £5 Advance 6.30pm The Waterfront

Villains (ex-Never Means Maybe) w/Avosetta, Depth and Stars Over Shadows Price £7 Advance 7pm The Waterfront 80s Night + Hit Parade Price £4.50/£3.50 NUS Advance 10pm The Waterfront

Saturday 8 December The A List Price £4.50 Advance 10.30pm-3am UEA LCR Meltdown + Britpoppin Price £4.50/£3.50 NUS Advance 10pm The Waterfront Dying Breeds Album Release Party Price £6 Advance 7pm The Waterfront

Sunday 9 December Russell Kane – Posturing Delivery Price £16/£13.50 NUS Advance 8pm UEA LCR Aynsley Lister W/Ron Sayer Jr @ The Waterfront Studio Price £12 Advance 7pm The Waterfront Studio

Monday 10 December Rancid Price £20 Advance 7.30pm UEA LCR

Tuesday 11 December The Human League w/The Penelopes Price £25 Advance 7.30pm UEA LCR Norwich Green Party presents Kate Stables (This Is The Kit)/Eastern Seaboard/Milly Hirst Price £8 7.30pm The Bicycle Shop

Wednesday 12 December Christmassy LCR Price £3.50 Advance 10pm-1.30am UEA LCR Thursday 13 December Dappy Price £15 Advance 7.30pm UEA LCR The Quireboys w/The Burning Crows @ The Waterfront Studio Price £13 Advance 7.30pm The Waterfront Tom Pearce. Milly Hurst and Daisy Vaughan @ The Bicycle Shop Price £4 8pm The Bicycle Shop

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Friday 14 December Call It Reckless w/Keep It Secret @ The Waterfront Studio Price £5 Advance 7.30pm The Waterfront NON-STOP 90s + ALT 90s Price £4.50/£3.50 NUS Advance 10pm The Waterfront Saturday 15 December The Alumni Christmas LCR reunion Price £4.50 10pm UEA LCR Meltdown + Metal Lust Price £4.50/£3.50 NUS Advance 10pm The Waterfront

Sunday 16 December Squeeze + Paul Heaton Price £32.50 Advance 7.30pm UEA LCR Oli Brown supported by Jimmy Roe Trio Price £12.50 Advance 7pm The Waterfront

VENUE COMING SOON

2013 Much like 2012, but better. Obviously.

Photo: Chloe Hashemi