Venue - Issue 277 - 8 January 2013

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Film - The Year in Film- 2012 to 2013, page 12-13.

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Fashion - Time for Spring: What to Wear This Season, page 8-9.

Television - The End of Merlin and the Rise of Ripper Street, page 15.

Photo: Oliver Balaam

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TA S D NOMINATIONS ARE OPEN: JAN 7TH 9AM - FEB 15TH 5PM  PICK UP A NOMINATION FORM FROM UNION HOUSE RECEPTION. FILL IT IN & RETURN IT TO RECEPTION

THINKING ABOUT BEING AN OFFICER? COME ALONG TO ONE OF OUR INFORMATION SESSIONS ABOUT ELECTIONS:  THURSDAY 10TH JANUARY |1PM | ROOM 1.33  TUESDAY 15TH JANUARY | 5PM | 1.33  WEDNESDAY 23RD JANUARY | 2PM | 1.33  MONDAY 28TH JANUARY | 12NOON | 1.33  SATURDAY 2ND FEBRUARY | 11AM | 1.33  TUESDAY 12TH FEBRUARY | 1PM | 1.33  THURSDAY 14TH FEBRUARY | 5PM | 1.33 W

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VENUE

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CONTENTS

Tuesday 08 January 2013

ISSUE 277

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> Emily-Claire Tucker, Emma Price, Maddie Russell, Hayden East and Sam Warner Fashion | Editors | Jess Beech and Lucy Jobber Fashion Contributors> Fiona Grundy, Ella Sharp and Niyonu Agana-Burke Film | Editors | Kieran Rogers and Andrew Wilkins Film Contributors> Will Medlock, Bex White, James Britton, Nicole Harmer, James Lillywhite, Joseph Holness, Adam White, Chris Gaisie, Marco Bell, Melissa Taylor, Anna Walker, Oliver Partington, Ayoola Solarin and Kieran Rogers TV | Editor | Ellissa Chilley TV Contributors> Richard Vojvoda and Matt Tidby Creative Writing | Editor | Matthew Mulcahy Creative Writing Contributors> Chris Morton, Maddy Smith and Rachael Lum Gaming | Editor | Oliver Balaam Gaming Contributors> Sam Emsley and Adam Riza Arts | Editor | Hatty Farnham Arts Contributors> Jack Coleman, Angelina Dresser, Carl Long and Mia March Competitions/Listings | Editor | Amelia Edwards

From the Editors Welcome back, dear reader.

Anyway, we’d like to thank all our lovely, incredibly attractive editorial staff for what we think is a jolly good issue. Any publication that involves Winnie the Pooh, Gandalf and Super Mario deserves a quick read, we think.

Enjoy making and breaking all your resolutions, Regards, Rachael and Matt

Photo: Oliver Balaam

So. 2013. Who could have predicted that? We certainly didn’t- Matt heeded the Mayans advice, decided it wasn’t worth his time finishing his dissertation and spent all Christmas watching The Thick of It, whilst Rachael jetted off around the world, righting wrongs and fighting injustice on the streets of Paris. Unfortunately, time had other plans, and we’re back here, with the exciting Drugs Issue. Complete with a Pink Floyd flying pig front cover.

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MUSIC

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concrete.music@uea.ac.uk 08.01.2013

feature DRUGS AND MUSIC

Emily-Claire Tucker takes a look through the entwined relationship between drugs and music over the past four decades

1970s

1980s

1990s

2000s

Over in America the 70s was a decade of new and exciting smooth funk and disco music, sprinkled with sugar sweet pop songs. Over here, music was pioneering in an altogether different way.

The punk movement of the mid70s has been a notorious period in British musical history for a few reasons: the loud anti-establishment lyrics; distinctive clothing of the fans and musicians; and most of all, the widespread use of hard drugs throughout the bands of the time.

Most famous of all drug using punks were the Sex Pistols, whose bassist Sid Vicious became infamous after tragically knifing his girlfriend Nancy Spugden to death during a drug-fuelled argument and dying of a heroin overdose shortly afterwards.

However, Heroin was a drug for the rich and famous; there was no widespread usage throughout the punk fan base, although the message of Anarchy in the UK did spread through the youth, causing social rebellion in the general attitudes of young people.

Not all punk bands were as tragic a case as The Sex Pistols – The Clash for instance went on to have comparably long-term success and healthy lives.

The early 80s were a miserable, miserable time in British music thanks to the post-punk movement, acting almost as a musical hangover to the drugs binge that was the 70s.

Drug usage took something of a back seat during the post-punk years.

Bands such as Joy Division, The Cure and The Jesus and Mary Chain made dark, brooding music with elaborate, metaphoric lyrics – a pretty far cry from the Sex Pistols.

In the second half of the 80s pop music became more popular than ever before, creating super rich and super famous stars, most famously from England: Duran Duran, Frankie Goes To Hollywood, Culture Club and Pet Shop Boys. With these musicians enjoying unprecedented fame and wealth, drug use was inevitable. Duran Duran reputedly demanded cocaine before many performances, and Boy George is still being caught out with marijuana and cocaine to this day.

However, unlike the 70s before it and the 90s after it, the 80s did not have a distinctive niche of the music industry associated with drugs – which, when considering the hair, clothes and buzzing high energy of the late 80s, is quite hard to grasp.

The 1990s marked the birth of British dance music as we know it today, as well as the all-important rave scene.

Compared to the decadent use of cocaine among rich popstars in the 80s, the 90s music scene gave drugs – namely cheap ecstasy – back to the masses. The rushing effect of ecstasy worked as the perfect partner to the consistent, highenergy beats and ambient tones of the dance music being produced at the time. Ecstasy is even credited with the development of the “drop” in dance music, something which is still widely used today.

It’s often been speculated that the building up and stripping down of sounds that so characterised 90s dance music was developed to replicate the anticipation felt after taking a pill, followed by an extended wave of excitement.

The influence of the 90s ecstasy boom was not limited to dance music; 90s pop heroes Pulp reached number two in the UK charts with their single Sorted for E’s and Whizz – which, if you didn’t quite catch that, is a song about securing ecstasy for a night out.

Even Blur’s Damon Albarn, the face of British pop in the 90s got caught out when he took ecstasy before appearing on Top of the Pops, the very cornerstone of British pop music.

Recent music, although largely watered down by the rise of music management, auto-tune and The X Factor has retained some elements of the drug culture so visible in earlier decades, particularly the indie scene.

Two figures from recent music stand out particularly as being drug users one being Pete Doherty, whose career began brilliantly with The Libertines and continued promisingly with Babyshambles, only for him to slide into obscurity and the pages of The Sun in recent times, thanks to his openly acknowledged use of heroin.

The other is Amy Winehouse, whose recent death followed several years of drunken performances, TV appearances, and strange drugged up YouTube videos alongside the aforementioned Doherty.

Whilst hard drug users in the public eye are demonised by the press, both Rihanna and Lady Gaga have publicly smoked marijuana and faced little wrath.

Nowadays drugs are more often than not viewed in parallel to the music industry rather than embedded in it. Thanks to the huge presence of the press, a musician caught snorting cocaine today can face the loss of their career rather than glamorisation, as was the case in the 80s.

Go to www.concrete-online.co.uk to check out Concrete’s drugs and music playlist...

MUSIC

08.01.2013 concrete.music@uea.ac.uk

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live review

ENTER SHIKARI LCR 20.12.12 Emma Price 2012 was a massive year for Enter Shikari; they released their third album A Flash Flood of Colour to critical acclaim, played hugely popular shows around the world and even released their own beer.

Following their hugely successful year, the band organised a small tour across the country to celebrate the festive season with as many fans as possible, concluding with two back-to-back nights at the LCR. The first support came in the shape of Engine-EarZ Experiment, a live

dubstep act who successfully combine electronics, rap, singing, tabla drums and guitar amongst a multitude of other talent to create a diverse show. Whilst the songs did have a tendency to blur into each other, their set did provide a few highlights in particular the heavily Indian influenced and massively popular Kaliyuga. Regardless, they succeeded in capturing the audience’s attention with a unique performance and set the barrier for a night of non-stop action.

Taking a completely different direction were the second support, Canadian hardcore punk band Cancer Bats who took to the stage in a flurry of beards and long hair. Already popular amongst the crowd, the band treated fans to a powerful, high-energy performance, which whipped the pits into a frenzy and had the crowd screaming along, with the highlight of their set coming from a

cover of the Beastie Boys classic Sabotage.

Cancer Bats successfully helped increase the hype amongst the audience and depicted just how much diversity can be found at an Enter Shikari show.

10 minutes prior to the headliners taking to the stage an American voiceover announcer counts down the minutes until the show starts, reminding everyone that they are going to be treated to a well thought-out show.

Opening with the powerful duo of System... and ...Meltdown the set continued in a strong fashion featuring fan favourites Destabilise and Gandhi Mate, Gandhi as well as drawing from their back catalogue with Mothership and Zzzonked. Throughout the show there were additional remixes and outros, mixing up the band’s sound to create a unique live performance; they feed off the energy given from the

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audience and give just as much, if not more, back. The bands’ showmanship skills were further displayed with a comedic intermission during Labyrinth to advertise their Sssnakepit beer, a slowmotion breakdown in Antwerpen and onstage chats complete with Australian accents.

The band shows just how much they have progressed during the encore with the calm yet powerful Constellations, complete with glockenspiel and festive snowy glitter confetti. Ending with the classic OK, Time for Plan B, dedicated to those who had been to every night of the tour, provided the perfect final bang for the band to end on. Following an incredibly successful year for the St Albans quartet it was great to see the band end the year on a high – and you cannot deny that Shikari know how to please a crowd.

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MUSIC

concrete.music@uea.ac.uk 08.01.2013

upcoming in 2013 BREAKING ARTISTS Sam Warner looks at some exciting new acts that look set to make it big this year

With the apocalypse narrowly avoided and 2012 now behind us, a new year of new music dawns upon us. Last year saw the emergence of a plethora of fresh talent with Frank Ocean, Jake Bugg, Alt-J and Lucy Rose amongst many gaining mainstream success and critical acclaim.

But what artists are likely to break through the barriers in 2013? The Adele benchmark has been inevitable over the past year or so in determining potential success. Who will be the next Strokes and save guitar music (as it goes every year for the past ten)? Who will be the next Bravery…? Maybe not. Concrete gives its best predictions for the next twelve months.

First up are the hotly tipped American pop sisters Haim, who recently topped the BBC Sound of 2013 poll and have supported acts such as Florence + the Machine and The Strokes’ Julian Casablancas. Haim are one of a slew of current indie bands to tip their hats to Fleetwood Mac; their combination of Mac-esque pop with 80s synth by way of lead singer Este Haim’s Annie Lennox sounding vocals and power, as well as The Breeders’ cool image look to be a strong indicator of success for the LA sisters. With their debut album set for release within the first half of the year, Haim are definitely prepared for the big time in 2013.

In a similar if more inverted way to Haim are British post-punk band Savages. Making a strong introduction

to the masses last year on Jools Holland, this all-female band immediately call comparisons to Joy Division and Public Image Ltd. with their brooding undercurrent and startling passion.

Their single Husbands is exemplary of this, the sinister lyrics delivered with power and eccentricity of Siouxsie Sioux.

For fans of electro-pop, Chvrches seem set for increased exposure in 2013.

The Glaswegian trio have already been featured on The Guardian’s notable New Band of the Day column and are noted for their heavy synth-based sound, reminiscent of M83 amongst others in their emphasis on melodious pop songs.

Fresh talent also comes in the form of California’s The Neighbourhood, whose tracks such as Let It Go tap into the current niche of emotive hiphop and melodic pop à la Lana Del Rey. Also from across the pond are Deap Vally, who are based in Los Angeles and seem set to be one of the chief proponents of garage rock in 2013, drawing i m m e d i a t e comparisons to the Black Keys and The Dead Weather. The

duo have already supported stadium megastars Muse on their current tour and are in the process of recording their debut album. Expect to hear more from these guys in the coming months.

Also set to make an even bigger splash in 2013 are Palma Violets, whose garage rock looks set to propel them to the forefront of the British indie rock circuit.

From Manchester are Swiss Lips, who make exciting indie-pop in the same vein as Foster The People, to whom they have been frequently compared. They take clear influence from their hometown’s entrenched dance scene and have supported artists such as Bastille.

Their debut single is released at the end of this month. Also hailing from Manchester are Embers, whose atmospheric, arena-sized sound and grand vision is wide-spreading but encapsulating at the same time, doting to post-rock stalwarts Mogwai and Sigur Rós; their music could easily soundtrack the last days of man, yet it still grabs at your heart. Embers are also noted for their incredibly visual live shows and are

definitely ones to check out this year.

Also doing the rounds that looks set for increased exposure in 2013 is Australian electronic artist Flume.

Having toured with artists such as Four Tet, Flume released his self-titled debut two months ago and is prepared for greater success amongst the dance/ chillwave-sphere this year.

On the more pop side, AlunaGeorge have acquired much hype over the past few months and came second in the BBC Sound of 2013 list. The duo produce catchy electro-pop, such as on You Know You Like It, and are sure-fire set to shoot up this year.

Also high on the BBC list is Angel Haze, a New York rapper that continues the new wave of East Coast hip-hop in the mould of last year’s success Azealia Banks (whose debut album will be dropping soon).

Continuing on the pop spectrum is critics’ favourite is Tom Odell, who recently won the Brits Critics Choice Award. Odell writes heartfelt songs that build up with a fierce intensity and showcase strong talent from a new generation of singer-songwriters.

Having studied at the Brighton Institute of Modern Music and his music already appearing in a number of adverts, expect to see his first full-length LP drop in June.

If you haven’t already, do make sure to check out all these exciting new acts and more, as 2013 looks set to be an incredible year for music and new talent.

MUSIC

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upcoming in 2013

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ALBUMS Hayden East takes a look through expected releases over the next twelve months 2012 was a solid, though emphatically unspectacular year for music. However even at this early stage, the scheduled releases slated for 2013 so far stand as some of the most encouraging to come out of recent times, suggesting that the New Year may be a particularly exciting one.

Emerging new talents in rap and hip-hop see a succession of majorlabel debuts due this year, following the legacy of last year’s breakout stars Kendrick Lamar and Frank Ocean.

With new material dropping from A$AP Rocky in just over a week, his debut Long.Live.A$AP is already tipped to be one of the year’s best. Also expecting to release their long-anticipated debut records are Azealia Banks and Iggy Azalea – two female rappers set to challenge the current reign of Nicki Minaj et al.

After deservedly topping the BBC’s Sound of 2013 list, expectations are high for L.A. sisters Haim – particularly after last year’s steady stream of EPs and singles.

2013 will certainly be a year of comebacks too.

For the alternative crowd, expect the long awaited

return of many heavyweights from across the pond such as the Yeah Yeah Yeahs, The National, and Arcade Fire.

On home soil, ex-Smiths guitarist Johnny Marr will be releasing his first solo record The Messenger on February 26th, while during the first quarter both Foals and Biffy Clyro will be releasing new material.

A similar pattern can be seen in the pop domain too: after releasing her new perfume and embarking on a worldwide tour, Lady Gaga is set to release her third album ARTPOP, while M.I.A. is expected to deliver on the promise of last year’s excellent single Bad Girls with her fourth album Matangi. After a controversial promotional track was released last year, we may well get to hear the finished results of Aaliyah’s latest posthumous album, currently spearheaded by Drake.

In addition, more seasoned acts are also poised for a comeback, particularly in the case of e l e c t ro n i c a .

Depeche Mode are planning to

release their thirteenth as yet untitled album, and 2013 also sees the return of critically acclaimed duo The Knife after a seven year absence with Shaking the Habitual, expected to be one of the year’s most exciting releases, and well worth the wait. More than 20 years on from the seminal Loveless, Dublin shoegazers My Bloody Valentine are finally releasing their desperately anticipated follow-up too.

With a halftime show at the Superbowl and a documentary in the works, 2013 certainly seems to mark the return of Beyonce, whose husband Jay-Z recently confirmed his involvement with the soundtrack for The Great Gatsby. As such, those expecting a follow-up to Watch The Throne may have to be patient. For the optimists among us though, this also suggests that – almost three years after the release of the now-classic My Beautiful Dark Twisted Fantasy – we could be due a full solo release from Kanye in the near future (congratulations by the way, Kimye).

Early reports have rarely been as promising as those to come out of the New Year, plus many other exciting releases are still subject to speculation (Missy Elliott, Daft Punk anyone?).

However, the world can surely rest easy knowing that 2013 will almost certainly be graced by yet another album from Rihanna. Or not.

Expected Releases 2013 (subject to change) January 14 – Everything Everything – Arc 14 – Yo La Tengo – Fade 14 – Villagers – Awayland 15 – A$AP Rocky – LongLiveA$AP 22 – The Joy Formidable –Wolf ’s Law 28 – Biffy Clyro – Opposites 29 – Local Natives – Hummingbird February 11 – Foals – Holy Fire 12 – Azealia Banks – Broke With Expensive Taste 18 – Nick Cave and the Bad Seeds – Push The Sky Away 19 – Major Lazer – Free The Universe 25 – Palma Violets – 180 26 – Johnny Marr – The Messenger March 18 – Phosphorescent – Muchacho TBA – Depeche Mode TBA – Haim April 8 – The Knife – Shaking The Habitual June TBA – AlunaGeorge – Body Music Notable TBA’s: My Bloody Valentine, Arcade Fire, Yeah Yeah Yeahs, The National, Lady Gaga, Beyonce.

GIGS With yet another exciting term of live music coming up, Maddie Russell explains what we can expect to see in Norwich over the coming months As ever, Norwich has provided a veritable plethora of musical gems this semester. With gigs to suit varying tastes and price ranges there is no excuse not to get yourself to a couple.

The LCR, Norwich’s biggest music venue, is hosting some massive events this semester. Unfortunately unless you’re the early bird who caught the proverbial worm, some of these are long since sold out (Foals, Of Monsters and Men, Jake Bugg). Tickets are still available for the NME Awards Tour (February 15th) and with four cracking bands (Django Django, Palma Violets, Miles Kane and Peace), the £19.10 ticket price is pretty reasonable.

The Waterfront is a bit smaller, and maybe a bit cooler (Alt-J refused to

move up from The Waterfront to The LCR). The Joy Formidable (January 23rd), Frightened Rabbit (February 8th) Bastille (March 8th), King Charles (April 4th) are among the acts to catch, and if you’re feeling flush ex-Smith Johnny Marr’s playing for £19.50.

For just £7.50, catch Birmingham indie quartet Swim Deep on their biggest headline tour to date, which includes Norwich’s newest music venue, OPEN (February 25th).

Norwich Arts Centre is a really, really lovely converted church, and an acoustic must. Patrick Wolf ’s set (6th February) promises to be beautiful at £16.50. Already the ominous “call for availability”, you’ll need to get in there quickly. Fingers crossed that 2013

will see an album for Daughter, who perform on 14th January for just £10.

Ethan Johns is supported by Marika Hackman (who’s just finished touring with Benjamin Francis Leftwich), and the gentle acoustics of both acts will make for a properly chill occasion (11th February, £10).

The Tilting Sky Festival is one of those uniquely Norwich events. With prices starting at just £3 (Port Isla at the Bicycle Shop, 6th January; Wooden Arms, 7th January), it’d be worth going along to one of the gigs even if you’ve never heard of the bands. Waterfront Studio hosts two more acts (Barlights, 9th January, Darwin & The Dinosaurs, 10th January).

Norfolk gigs come in a spectrum

of prices. The soft lit, tiny capacity downstairs of The Bicycle Shop frequently hosts talent at reasonable prices (Hot Feet, 20th January, £4; Royale Rue, 29th January, £5); if you have a spare £40, Thetford Forest offers big names at bigger prices.

In terms of festivals, line ups are still pending, but Latitude is always a good one (July 18th – 21st). Festival No. 6 had an incredible line up in its debut year, and at a really reasonable price. We have high hopes for this year (September 13th – 15th). Field Day in Victoria Park is a one day festival which may strike mid exams (May 25th), but with more than 20 acts including Bat For Lashes, Chvrches, and Four Tet, it is a bargain at £45.

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SMOKIN’

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FASHION

concrete.fashion@uea.ac.uk 08.01.2013

Back to Basics: Wardrobe Essentials

Floral Dresses Winter is behind us, it’s time to don the florals!

Niyonu Agana-Burke The Ankle Boot The perfect shoewear to bridge the gap between Winter and Spring.

Maternity Wear We expect this royal motherto-be will be inspiring many wardrobes.

CHOKIN’ Sparkly Uggs It’s time to leave glitter and comfort behind.

Multi-coloured Hair Leave it to My Little Pony!

Meggings You guessed it...

Man + Leggings = Meggings.

Avoid fellas!

On a student budget you can’t always have the extensive wardrobe your heart so desires. It’s a harsh reality that so many students furrow into their overdrafts, credit cards or part time jobs to avoid.

Despite the constant changing of trends and the turn of seasons, there are some essential items that every wardrobe ought to contain, and with the new semester upon us there is no better time to check off that wardrobe essentials list.

The perception of the average student varies according to who you ask. Many think we’re all slobs, party animals, or all geeks, but frankly most students are a well-blended mix of them all; and your wardrobe should be too.

For the slouch in you there is the casual t-shirt, no matter the season there is always an array of cute tees from the best of the high street stores. Perfect to throw on if you’re hung-over, hitting a morning lecture or just seeking the casual

cool we all work so hard to perfect.

This leads me to knitwear, in these temperamental and cold climates there is no way to avoid the need for good oldfashioned woollen attire! The Boyfriend cardigan is a student cult classic, and now we have the cable knit sweaters over taking the fashion stakes; wear with a sharp-collared shirt underneath and vintage accessories for a look that’s bang on trend, or roll out of your duvet and into these cardigans for convenient fashion.

For the chic-geek in all of us there is the tube skirt or midi dress, it’s been on the agenda since a/w 2011 and certainly isn’t letting up. The midi tube skirt has the length and form of a pencil skirt making it perfect for any interviews, careers fairs or other sensible events you should ever need to attend, but still on trend that it works in your day to day wardrobe too.

It’s easily smartened up with a shirt,

dressed down with a T-shirt or dressed up with a peplum bandeau, making it an essential wardrobe piece.

On the topic of going out, each wardrobe needs something to dress the party animal that lurks within every student. For this, it’s got to be “The Freakum dress”, to coin an underused and outdated Beyoncé-ism. No wardrobe would be complete without at least one “wow” dress, the one that flatters and can adapt to almost any night out. This is the go to dress for any society balls, friend’s birthday bashes or the one to wear the night after a huge deadline. This season is all about the backless embellished dresses, which fit the bill of being both flattering and fashionable.

With these in your wardrobe you’ll be more than ready to face the new term and whatever fashion challenge it could throw your way, leaving you free to worry about deadlines!

Update Your Look: Winter to Spring Ella Sharp It’s easy enough to update your spring wardrobe to accommodate for those chilly winter months but to go from winter to spring, without blowing your student loan on a shopping trip, can be a little trickier. Following these simple tricks however, you can battle your way through the temperamental spring weather.

Layer it up: This will be your saving grace when the morning is still icy, but by the afternoon a cider in the square wouldn’t go amiss. A skirt and some thin black tights keep it appropriate for all types of weather, and cardigans over blouses will keep the cold wind at bay.

A light scarf will also both look cute and come in handy if the chill kicks in.

Socks: Who doesn’t love a cute pair of socks? Keeping those feet warm if you brave it in bare legs and looking adorable at the same time. Knee-length ones keep

it school girl chic and short ankle socks with any shoe gives the preppy look. If you’re really brave, go for brash colours and patterns to keep it looking summery.

Tights: Tights may be best for the spring to winter transitional months, but for winter to spring they can be just as useful. Replace the leggings, jeans and woolly tights with a thinner denier, or go for skin-coloured to keep you looking summery but keeping those legs warm.

Ankle boots: I love a good ankle boot. Heel or no; fake leather or real leather; brown, black or beige; whichever you prefer. Invest in some. They look cute with practically everything, from jeans to skirts, and can be worn year round, season after season. The high street never seems to stop selling these beauties so you have no excuse. Opt for brown leather if you don’t want to seem too hipster, or go black for a more subtle approach. Don’t,

however, go for ankle boots AND socks.

This is not a good look; trust me, I tried it.

A big bag: It may be warm enough to take off that American Apparel hoody, but you don’t want to be carrying it around all day. You need a big, bright bag. The bigger the better, make a statement with neon colours and don’t be afraid to tie that light scarf around the handle if it’s in late 20 degrees by the afternoon. Don’t be scared to clash, spring/summer is about embracing those colours and the easiest way is in those accessories.

So there you have it, five tips to help you through those painful transitional months before summer, where you can don the sunnies without looking like a wannabe gangster rapper, and crop tops (whether you like them or not) will be adorning all the girls with the washboard abs.

9 How To: Style the Ankle Boot

FASHION

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Fiona Grundy looks at the versatility of the perfect spring footwear The Ankle Boot Winter has definitely arrived. The torrential rain and ghastly winds means it is a definite goodbye to the sandals and espadrilles, and the UGGs can stay dry at home. It’s time to bring out the ankle boot. The trusty, faithful ankle boot, providing a sophisticated look whilst also keeping your ankles snug. With the new addition of floral, velvet and studded styles, it means that they can also be great ammo on a night out.

The Black Suede Classic Searching for ankle boots isn’t a hard task, especially when the black suede (or any colour suede for that matter) is pretty much everywhere. They take the many forms of the very simple, all over, ankle high, laced or zipped, boot. Providing a cute accessory to accompany your everyday outfit for lectures, lunch or trips to the library, as they’re comfortable, practicable and fashionable. But add on some studs or even a lining of fur and you have some spruced up evening shoes, which are now practical (and sneakily warm).

You get style points as well as the knowledge that your mum would be proud.

Chelsea Boots Chelsea Boots have come a long way from their modscene ancestors, no longer appearing clunky or large, they have been shaped to a womanly, petite fitting and now come in a range of pretty designs. If looking for a classic pair to accompany your everyday wear, Topshop and River Island have a great range of Chelsea Boots that you know will stand the test of time and the harshness of winter. For a more interesting design, ASOS have a range of Chelsea boots not only in bold colours, but also in paisley and floral designs, allowing a very masculine boot to appear more feminine, complimenting the wintery surroundings you’ll be marching them around in.

The Daytime Wedge For those of us who are very brave, the daytime wedge is a great piece of shoewear to provide sophistication and an edge of style. Try River Island’s ankle wedges, black all over until you discover the cheeky input of leopard print strip down the back, at a height that won’t break your neck when trying to climb to Arts Floor 3. Or, even bargain hunters can rejoice in Primark’s new range of ankle boot wedges, available in a range of suede

styles and colours to provide an unconventional but interesting dash of style. And then there’s the nighttime ankle boot wedge - winter night outings mean that they are dusted off and partied in until their heels wear away… Try New Look for their ever-affordable high heels, the standard black ankle boot stiletto looks a killer but you’ll be keeping your tootsies warm and wrapped up, a great look especially as winter rolls around and the tights come out!

High Tops For the street savvy amongst us the High Top provides a new, fashionable take on the shoe style made famous by basketball players and Justin Beiber… Wait! Don’t let that put you off… The high top has been reinvented lately (check out H&M or River Island for their range of High Top Boots), restyling them with suede and leather to make them a more feminine accessory that can accompany a pair of jeans for your trek to campus, and even now as wedge for your nights out. And if you think the High Top may not be a style you can pull off, don’t worry, elegant dressers such as Anne Hathaway and Made In Chelsea’s Millie can, so what’s stopping you?

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more than a handful of instances in which the Heavenly Creatures director winks to his knowing audience. While Elijah Wood, Ian McKellen and Cate Blanchett all reprise their roles from the trilogy, Jackson succeeds in giving the film enough substance to stand alone from the LOTR, with Wood’s Frodo the most subdued of the returning characters.

journey of discovery, through inner turmoil and multiple belief systems. Despite the majority of the film taking place on a lifeboat, with only a boy, a tiger and some sporadic narration to keep us company, Life of Pi is far removed from monotony. Pi’s

relationship with the tiger named Richard Parker is explored, delivering a thought -provoking study of the relationship between animal and human nature, in the absence of childish animated features.

The movie has been released in both 2D and 3D format, and although for most films the latter has been used to follow trends, and often doesn’t offer much outside of having to wear an annoying pair of glasses, Life of Pi utilises it in such a way that your experience is enhanced. It takes you into Pi’s world and you often feel as though you are there on the boat with him. Avoiding the obvious “jumping-out-of-the-screen” trait, director Ang Lee has created a film in which the audience are immersed in the details; you will find yourself concentrating on the smallest bird you can see flying around the edges of the screen, and not just the tiger which dominates the frame.

Ultimately, Lee has created a masterpiece from a book that was originally dubbed “unfilmable”, and something appropriate for family viewing; for children there is the adventure and the animals, while for the older generation there are deep questions regarding self-discovery. Whether you are a fan of Ang Lee’s previous work (Crouching Tiger, Hidden Dragon, Brokeback Mountain), or if you’ve read the book, you will not be disappointed by this gripping film and its visually amazing landscapes.

THE HOBBIT (12A) Director: Peter Jackson 169mins Starring: Martin Freeman, Ian McKellen, Richard Armitage

Will Medlock

encounters Bilbo, allowing for one of the film’s most memorable moments.

A humorous game of riddles results in Bilbo’s eventual claiming of the One Ring, thus catalysing Gollum’s desperate search for his “precious”.

Jackson, to his credit, restrains himself from alluding to his previous masterpieces; in fact it would be challenging to recall

LIFE OF PI (PG) Director: Ang Lee 127mins Starring: Suraj Sharma, Irrfan Khan, Rafe Spall

Bex White Released just before Christmas, Life of Pi has quite understandably soared to the top of the box office over the festive period.

An adaptation of Yann Martel’s bestselling novel, the film offers love, adventure, and some extremely cute meerkats. The story centres on Pi, a teenage boy who gets stranded at sea, a horrible fate in itself, but whose troubles only intensify as he has to share his lifeboat with a tiger.

The film starts with us being introduced to Pi’s world, in the zoo his parents own in India. The sheer beauty of this location immediately captures the audience’s attention, despite the fact that the first half an hour moves at a slow pace. Its opening chooses to build up Pi’s character, indulging in the stories and people of his youth that will later affect the decisions he has to make at sea and, ultimately, shape the man he becomes. There is no doubting that it takes a while to reach the crux of the story, but things never gets boring as long as the audience are treated to beautiful images of India and its wildlife.

As its trailer promises, the audience are also treated to an extraordinary view of the ship that sinks and throws Pi into disarray. The wonder, however, does not stop there; we stay with Pi for the entire time he is alone at sea and follow him on a

concrete.film@uea.ac.uk 08.01.2013 Freeman displays the same charm as he did 10 years previously as Tim in The Office, with a dash of militancy, as a young Bilbo.

It is also worth addressing the well collated ensemble, led by an unrecognisable Ken Stott as Balin. Armitage’s Thorin takes centre stage as the film enters its second act, yet Sylvester McCoy almost steals the film through his portrayal of the bumbling, eccentric Radagast the Brown. Only those well versed with the novel will be able to remember each and every dwarf, with Stott’s Balin and James Nesbitt’s Bofur afforded most of the dwarves’ dialogue. In truth, the group that sets off to the Lonely Mountain do not possess the same charm as the Fellowship in the LOTR, with much of the film’s humour arriving courtesy of Gollum and three unmistakably Cockney trolls.

However, Jackson is by no means flogging a dead horse; J.R.R. Tolkien’s prequel to the LOTR allows the New Zealander to legitimately return to Middle Earth without too many rolling eyeballs.

It was almost a given that the film would flirt with the three hour mark before inevitably settling for another trilogy; the announcing of the film’s third instalment was revealed to the actors at the wrap party, according to Freeman. It would be difficult to condemn Jackson for wanting to explore as much of Tolkien’s mythology as possible, particularly if the final two films possess the same enthusiasm for adventure as An Unexpected Journey.

REVIEWS

Peter Jackson’s return to Middle Earth contains as much subtlety as you’d expect from a film whose budget surpasses the one hundred million dollar mark. That being said, the monumental envisaging of Bilbo Baggins’ (Martin Freeman) journey to the Lonely Mountain from his unassuming abode is one of sheer wonderment.

Set prior to Jackson’s The Lord of The Rings trilogy, Bilbo’s abandonment of The Shire is initiated by the arrival of Gandalf (Ian McKellen) and his accompanying 13 dwarves, led by the brooding Thorin (Richard Armitage). The story centres on the reclaiming of the dwarves’ kingdom from the clutches of the dragon, Smaug; something that is detailed in an opening prologue that relies on an overload of CGI. There are moments littered throughout which over indulge in the capabilities of visual effects, yet all are forgiven once the idiosyncratic Gollum (Andy Serkis)

FILM

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NEWS

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Lincoln leads Golden Globe nominees; Lindelof out of “Prometheus 2”

James Britton As we head into 2013, and awards season, the biggest news of the last few weeks has been the unveiling of the nominations for the Golden Globes. Often considered a strong indicator of where the other major awards will fall, the nominations for the year are a typical combination of the predictable; Lincoln leads the way with seven nominations closely followed by Argo and Django Unchained with five apiece, and the surprising; few would have predicted The Best Exotic Marigold Hotel and Salmon Fishing in the Yemen to have captured the hearts and minds of the Hollywood Foreign Press Association quite as much as they have. The smart money as to who will win big this year seems to be on a three way battle between the aforementioned Lincoln and Argo, and Ang Lee’s Life of Pi, the 3D adaptation of Yann Martel’s 2003 novel that is proving to be something of a saving grace for the much derided format.

Away from awards, fans of Edgar Wright and Simon Pegg will be delighted to see a new still from the third part of the “Blood and Ice Cream” trilogy: The World’s End. Details are being kept tightly under wraps for the follow up to Shaun of the Dead and Hot Fuzz, beyond that it involves

a group of friends on one last pub crawl as the apocalypse approaches. It’s main rival in the apocalypse comedy stakes is This is the End, which also had its first trailer release over the festive period. Seth Rogen, James Franco, the entire Apatow roster and Emma Watson play twisted versions of themselves coming to terms with the apocalypse and attempting to survive. Both are due for release in the summer, avoiding competition with the biggest comedy of the year; Anchorman: The Legend Continues, which after months of inactivity finally has a release date of December 20th.

In sequel news, momentum is gathering on the follow up to 2012’s most polarising blockbuster Prometheus, with the news that Damon Lindelof will not be on script duties, ostensibly due to his work on sci-fi epic 1952 but also, in his own words, due to “a reaction” from the first film.

Speaking of sci-fi sequels; Lucasfilm are yet to announce a director for Star Wars Episode VII, currently being written by Toy Story 3 scribe Michael Arndt. JJ Abrams, of Star Trek and Super 8 fame, revealed that he was approached early in the negotiations but turned the job down, to the disappointment of many. X-Men:First Class director and self-

CHOOSE LIFE: DRUGS ON FILM

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11

proclaimed Star Wars fanatic Matthew Vaughn remains the frontrunner for the job.

Finally, a brief word on the passing of Gerry Anderson, creator of Thunderbirds, Captain Scarlet and Stingray, who died on Boxing Day. Although not a filmmaker in the conventional sense, his influence was evident in the flood of tributes that followed the news, and leaving a legacy in the minds of children he inspired to become creative.

the enduring relationship between narcotics and the cinema

Nicole Harmer No one can doubt that some of our best art has been born from those who opened their minds to the world of narcotics. If the creative world is so tightly knit to the world of drugs, and if we live in a world in which drugs are undeniably at large within our culture, it is wrong to believe that drug consumption should not have their place in cinema.

The British Board of Film Classification has recently loosened its regulations on classification for the

depiction of drug use, though there are still many conservative minds out there who believe that the film industry glamorises the depiction of drug use and us, poor, naïve minded youths will then mindlessly stick a needle in our arm and end up face first in the gutter.

However, due to the rise of drug related films in the 1960s and 1970s, as a result of the LSD generation, and again in the 1990s, in the explosion of the

ecstasy rave scene, there have been a number of widely popular and outstanding additions to “drug” film. Examining drug consumption at such a close level, opens up a whole new world of creative possibilities.

Fear and Loathing in Las Vegas, as well as Trainspotting, are two examples of films that produce a seemingly realistic drug experience through the use of camera angles and decadent, intoxicated dialogue. We are, in a way, able to experience in moments the world of the drug user without having to “pop” a pill. But the films mentioned here also use “sober” narration, so although we may experience moments of intoxicated illusion, we are ultimately guided along in the so-called safe hands of the sober character.

To say that these depictions are glamorised is, largely, mindless and ignorant. These films, as well as the beautifully poignant Candy and the gut wrenching Requiem For a Dream, show both sides to drug consumption.

Candy has intoxicating scenes of a hedonistic, drug fuelled romance, but also disastrously comes crashing down to reality, whereas to say Requiem For a Dream makes anyone want to “do” drugs is utterly absurd.

It is also interesting to note the rise of drug-related comedy in modern times. In

American teen cinema, the “stoner kid” is becoming an archetypal character prime for silly dialogue, while the release of yet another Harold and Kumar film recently shows the more laid back and slapstick attitude to marijuana use, in contrast to other harder drugs. Meanwhile, the British cult-classic Human Traffic, based on the nineties rave scene, successfully articulated the culturally clichéd but realistic ecstasy experience.

The depiction of the drug trade as a whole, however, cannot be said to be glamorised in cinema. Drug dealers are mostly depicted as foul characters surrounded by violence and crime. Alternatively, those who are presented in a softer light, such as in Blow, always seem to meet some kind of negative end. It appears that although individual consumption is treated with less stigma, the trade, conservatively, is not.

To say that drug culture does not have a place in cinema is creatively and cinematically misguided. If we were to remove it from our screens, we would have to remove such other “bad influences” as alcohol, cigarettes, crime, murder and so on.

To deem it glamorised is close-minded. As like most other things, drugs are considered wholly immoral when this is not necessarily the case. They have a deserved place within the arts.

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CABIN IN THE WOODS

THE RAID

STAR TREK INTO DARKNESS

MAN OF STEEL

Director: Drew Goddard

Director: Gareth Evans

Director: J.J. Abrams

Director: Zack Snyder

Although it is destined to be remembered as the “other” film that featured the work of Chris Hemsworth and Joss Weadon in 2012, The Cabin in the Woods is far more interesting and ambitious than anything SHIELD produced this past year. Alternative even in the genre of meta-horror, this collection of horror film troupes, sharp writing and mermen stands out in 2012’s blockbuster year as a clear highlight.

The Cabin in the Woods is almost impossible to synopsise, but here goes: a group of teenagers, featuring Kristen Connolly, Chris Hemsworth and Fran Kranz amongst others, venture to a rundown cabin

for a holiday full of fun and frolicking.

Though, inevitably, it all starts to go wrong.

It is here where a longer description becomes troublesome, as the surprise of what happens, and the intrigue created by the parallel story lines, make the film what it is. Rare is it that a film can be so unpredictable, so able to change tone with such speed, and still be successful. Just be assured that it is unlike any Hollywood film you have seen.

Part horror, part comedy, part postmodern satire, The Cabin in the Woods is a fascinating film and an entertaining love letter to the horror genre.

James Lillywhite

YOUNG ADULT Director: Jason Reitman Because she looks like Charlize Theron, young adult novelist Mavis Gary never had to work on any of that “inner beauty” stuff. She’s rude and narcissistic, existing solely on a diet of junk food and the contents of the E! network, her only companion the Pomeranian she lugs around in her handbag like Paris Hilton circa 2003. Returning home to win back her high school boyfriend, deciding that he’s probably bored to distraction by his unspectacular wife and newborn baby, Mavis represents an individual still stuck with the emotional maturity of a 17 year-old prom queen.

Diablo Cody’s darkly comedic script explored the underlying

tragedy of all of this. While Theron has never been as fearless as she was here, she was given sterling support from Patton Oswalt as the perpetual high school victim still willing to actually talk to her.

Having reunited Cody with director Jason Reitman four years after Juno, though steering away from the overwritten “honest to blog” contrivance that made that film so insufferable, Young Adult laid its foundations in nervous humour and thematic resonance, building to a hilariously unapologetic climax that stuck two fingers straight up at Hollywood convention.

Adam White

AMOUR Director: Michael Haneke In Amour, director Michael Haneke created something that stands incredibly distinct from all other cinematic output of 2012.

Amour isn’t the sort of film that you can watch repeatedly, in all honesty it really only needs to be seen once. This is by no means a criticism of the quality of the film. On the contrary, it’s perfectly crafted in every possible way to fulfill its purpose. Each shot lingers for just the right amount of time and each sound feels perfectly placed. If you are in any way interested in filmmaking as a craft, this film has to be watched simply to see the brilliance

of Haneke at work, and how he warps his audience.

Amour is undeniably tough to watch; it goes one step further to test the audience’s emotional limits. This is why it exists, why any film exists: to emote and relate to characters. If the purpose of a run of the mill romantic drama is to serve as emotional porn then it seems only fair to describe Amour as emotional BDSM. It’s really upsetting, but that’s why you should love it.

Joseph Holness

Remember when action films had you on the edge of your seat? When you felt every punch connect and every gunshot fired?

Director Gareth Evans makes you realise most action films of late have failed in that regard, but not The Raid.

It cannot be stressed enough how much fun it is watching this film.

There’s nothing quite like being in a cinema full of people, all ‘ooh-ing’ and ‘ahh-ing’ at some of the most brutally realised fight scenes to grace the big screen. Critics have compared it to a musical - and it’s not too hard to see why; the choreography is absolutely top notch. Throughout the film characters seamlessly perform a stunning dance of violence that crucially never lacks threat. There is a story, but to be honest it exists to provide a framework for the amazing action, and that is not a bad thing. All you

need to know is that it follows an Indonesian (English subtitles provided) SWAT member who fights his way through an apartment block filled with martial-arts fighting, gun-toting, machete swinging goons before facing the big-name gangster at the top. Grab some mates and a copy of The Raid; you will not be disappointed.

Chris Gaisie

Release Date: May 17th

2009 saw the reboot of world famous franchise, Star Trek. Though there were many reservations from fans and critics, it is safe to say that the film was a success, managing to stay true to the classic Trek while giving old stories new life. Upcoming sequel, Star Trek Into Darkness is looking to be much the same with director, screenwriters and cast all returning, along with the addition of exceptional actor Benedict Cumberbatch (Sherlock). Hopefully, through the role of the ambiguous yet sinister John Harrison, Cumberbatch will provide a memorable villain, which was lacking in the previous film. The story begins with the Starship Enterprise crew, under the leadership of Captain James T. Kirk, returning home to find that an attack has taken place

and the planet is in great turmoil. Once again, the crew must work together to defeat an evil that threatens the peace of the Universe.

This may be a well-worn storyline but it is one that never manages to get boring, if done correctly.

With universally known characters such as the stoic Spock and comical Scotty, Star Trek already has a cult following that gives any potential reboots the makings for a great film.

There’s no doubt that with 2013’s Star Trek into Darkness a whole new generation of Trekkies will arise.

Ayoola Solarin

A Year in Film

2012 - 2013

Venue’s film writers reflect on their greatest films of 2012...

...and pick out those you should watch out for in 2013

SKYFALL

DJANGO UNCHAINED

Director: Sam Mendes

Director: Quentin Tarantino

In a year where Britain successfully hosted an Olympic games, it was only fitting that its greatest cinematic commodity, 007, struck gold. Skyfall, the 23rd film in the James Bond franchise, went on to break records in 2012, becoming the first film to make a nine-figure sum at the UK box office – and deservedly so. Atop of some stunning cinematography (the pinnacle of which a silhouetted fight upon a Shanghai rooftop that played out like a dance in the dark) and a deliciously homoerotic antagonist, Skyfall is arguably the most thematically rich Bond to ever appear on screen.

Acclaimed director Sam Mendes, and scribes Neal Purvis, Robert Wade and John Logan, made an astute choice in focusing on the oligarchical and the matriarchal i.e. the nature of Judi Dench’s authoritative

M and her relationship with Bond, extracting all of its oedipal worth. It made for a fresh and fascinating study of two characters we all thought we knew well enough beforehand.

Of course, Skyfall combined this substance with the other crucial element that was so sorely missing from Casino Royale and Quantum of Solace: fun (with Daniel Craig given permission to wise-crack as much as brood). The fact that it managed to blend these traits seamlessly enabled Skyfall to satisfy fans of the old, audacious Bond, and those of the neo-Bond that exists in a post-Bourne era – by no means an easy feat.

Even though our beloved spy may well rest in our memories of 2012 for a certain meeting with a member of royalty, his film deserves just as much commemoration.

Kieran Rogers

Release Date: 18th January

Quentin Tarantino’s latest offering Django Unchained, released January 18th, is an unconventional spin on the Western genre, filled with a number of powerful performances in time for the Oscars. Revolving around the slave era in southern America, Jamie Foxx plays Django, a slave who is freed by a bounty hunter on the condition that he will help identify and kill the exploitive Brittle brothers.

The movie looks set to touch upon the terrible conditions slaves faced, with Tarantino stating his desire to boldly reflect the dialogue and violence true of the times. The villain of the movie, played by Leonardo Di Caprio, is a corrupt

plantation owner named Candie who owns Django’s wife. Di Caprio’s unkempt appearance and sadistic persona are a refreshing change from the safer roles that have made him Hollywood’s most in demand actor. The cinematography is trademark Tarantino, with glimpses from the trailer displaying stunning settings and close attention to detail.

Boasting a classy soundtrack and a script unafraid to delve deep in its portrayal of slavery, Django Unchained will be a thoroughly entertaining spark to brighten up a wet January afternoon. Jonah Hill and Samuel. L Jackson (Tarantino’s lucky charm) also star in what should be another controversial but fulfilling Tarantino movie.

Marco Bell

@Concrete_Film

Release Date: 14th June

Superman. Just by seeing the name, you’ve now got the image of Christopher Reeve in tights and the classic John Williams musical score in your head. It will now be there for the rest of the day. It’s impossible to separate the character and mythology of Superman with that film. Any director worth his salt would be scared of taking on Richard Donner’s mantle. In 34 years, not one version has come close to Donner’s. The most recent trailer for Zack Snyder’s Man Of Steel was just released and it’s a hard one to pin-down. The best way to describe it is Superman by way of Terrence

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Malick. Snyder’s always made great looking films, though he has had trouble in the past with uniting his natural ability to create a good shot with the ability to tell a good story.

However, for the first time, this trailer shows him merging the two in what looks like an action-packed cerebral drama. Sounds perfect for Superman. The 1978 edition’s tagline was “You Will Believe A Man Can Fly.” Looking at Man Of Steel, it seems a new generation of audience members will too.

Oliver Partington

THE GREAT GATSBY Director: Baz Luhrmann

Release Date: 10th May

With a heavy-weight Hollywood cast, contemporary soundtrack and the captivating 3D setting of Jazz Age New York, Baz Luhrmann’s latest project brings F Scott Fitzgerald’s The Great Gatsby steaming into the now. Think decadence, debauchery and drama; this latest imagining of the ultimate American Dream novel looks set to draw huge crowds this Easter.

Leonardo di Caprio stars in the role of the hedonistic party host Jay Gatsby; the mysterious character’s obsessive, desperate affair with a married woman intrigues the young narrator Nick Caraway, propelling him towards the darker realities of Gatsby’s millions and the disillusions of a city booming on the very brink of depression.

While Luhrmann seems determined to stay close to the text, fans may be divided as the two dazzling, hip-hop sound tracked trailers released so far suggest the new imagining is a world away from its academy

award winning 1974 counterpart, which starred Robert Redford and Mia Farrow.

Having already been pushed back from a December release date, the hotly anticipated adaptation hopes to appeal to literature buffs and movie fans alike, and Luhrmann’s signature love of spectacle promises to unfold Gatsby’s glittering world in a way that is distinctly his own.

Anna Walker

EFFIE Director: Richard Laxton

Release Date: TBA

For all art fans and lovers of biopics, Effie is the film to watch out for in 2013.

The film charts the tumultuous love triangle between Pre-Raphaelite artist Millais, fusty old art critic, John Ruskin, and their appropriately pale and thin muse, Effie Gray.

With a screenplay by the brilliant Emma Thompson, and promises of lavish costumes and Victorian sauciness, Effie is awaited with high expectations.

18-year-old Dakota Fanning takes the lead role of Euphemia ‘Effie’ Gray, child-bride to the worryingly senior John Ruskin, played by David Suchet (aka Poirot). Historical rumour has it that Ruskin, familiar as he was with the rigorous topiary employed by the female nudes of Renaissance art, had little idea what

Victorian ladies really looked like in the alltogether. Disgusted with Gray’s un-pruned nature, the marriage was never consummated.

Little wonder that Gray absented herself to shack up with the younger, and much sexier, Millais, played by the quite attractive Tom Sturridge. Apart from playing a miscellaneous fairy in that awesome film, Fairy Tale: A True Story and Carl, Bill Nighy’s godson, in The Boat That Rocked, Sturridge has so far graced relatively few films. Perhaps Effie will be the film which propels him into our collective consciousness, or at least rouses a greater cultural appreciation for his lovely face.

Melissa Taylor

TELEVISION

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YOU SAY GOODBYE, I SAY HELLO

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Venue bids farewell to one family-friendly legend, as a far darker mythology hits our screens

MERLIN Matt Tidby

the finale

Saturday night television was very different pre-2005. Hulking great monolithic reality shows reigned supreme, with no alternative for bored audiences. However, things changed. Between 2005 and 2008, starting with the materialisation of Doctor Who, several new arrivals graced Saturday night television, bringing family drama back to the heart of schedules. Despite initial demand, Primeval, Robin Hood and Demons all eventually met their ends.

However, one such show caught on, and after five series, concluded this Christmas.

The secret to this shows success? Dragons, magic and a potent homoerotic subtext.

Merlin started out as a youthful prequel to the tales of Arthurian Legend, starring Bradley James as the then Prince Arthur and newcomer Colin Morgan as the titular teen wizard. Initially chided by critics for its lax approach to historical accuracy (it’s a fantasy, duh), the show built a solid audience and fandom, gaining a reputation for pacey, linear storytelling driven by character. Gradually, elements of the traditional Arthurian legend began to increasingly hold sway over the storytelling; as Morgana made her transition from bland to evil and bland, and Arthur inherited his father’s throne,

RIPPER STREET Richard Vojvoda

It’s 1889. The streets of London are full of dirt and dangers. Jack the Ripper hasn’t struck for some time, but the discovery of the body of a young woman means fears swell once more. And so begins the new BBC One crime series Ripper Street. Is the woman another of Ripper’s victims?

The streets of London are in panic once again, but fear not, for charismatic Detective Inspector Reid is here, played

by Matthew Macfadyen (Pride and Prejudice, The Pillars of the Earth), and he will do whatever it takes to prove that this is just the work of some imitator.

Helping him are not only one, but two loyal sidekicks: Jerome Flynn (Game of Thrones) in the guise of Sergeant Drake, and Doctor Jackson played by relatively unknown Adam Rothenberg.

Writer Richard Warlow, of Waking the Dead fame, and his creative team have set out on a difficult challenge. With the crime genre as popular as ever in all mediums, the question is whether Ripper Street can offer a fresh alternative. Taking a look at this first episode, there are

the drama grew darker, with more at stake for Merlin in his bid to save Arthur and unite Albion. Gone were the recurring ‘Prince Arthur/King Uther has been hypnotised/poisoned by a princess/troll/

guest actor of the week/all of the above’ plot structures; the show, like its audience, had grown up.

The last episode, The Diamond of the Day, began with Arthur and the Knights

a new super sleuth for victorian london reasons to be sceptical about its chances in standing out among the competition.

The opening episode titled ‘I Need Light’ follows with the somewhat familiar

premise of the detective meeting with disapproval from his superiors. And so off he goes trying to prove his worth. What is more unfortunate, however, is that the

making a stand against the villainous forest Goths Morgana and Mordred on the battlefield of Camlann. Of course, Merlin arrived to save the day, but not before Mordred let Arthur know how upset he was with him by stabbing him in the gizzards. Tasked with saving his King, Merlin and a wounded Arthur take one last trip of self-discovery together, in a manner that was both moving and in no way deliberately baiting certain fan communities. Merlin’s emotional reveal of his powers to his best friend was perfectly realised by Morgan and James, two leads that have grown into their roles perfectly, providing the dramatic axis for much of series to work around.

The finale did suffer from much terrible villain dialogue, but whilst tight budgets may have led to a sparsely populated episode, whether intended or not, the sole focus on Merlin and Arthur’s relationship made the conclusion all the more gripping and remained true to the character-driven nature of the dramas diverse canon.

It was a fitting conclusion to a hugely endearing show- it was Game of Thrones in a world without cynicism, gender or beheading, and all the more innocently entertaining for it.

bbc1, sunday 9pm case our protagonists are investigating is little captivating by itself. Warlow simply fails to deliver a mystery that would astonish or encourage the viewer to stay until the resolution.

However, in the end, the tragedy is not so great because the strengths of the episode lay elsewhere. Even without an interesting puzzle to solve, the episode doesn’t bore for a minute. It jumps into action right at the beginning and holds the tension until the very end. Moreover the atmosphere of dark, gruesome Victorian London works perfectly and is helped by Dominik Scherrer‘s soundtrack which is one of the highlights of the episode, even if perhaps it sometimes strays a little too close to Hans Zimmer’s score in the Guy Ritchie Sherlock Holmes films.

Whilst this unremarkable series opener may not satisfy much as a standalone detective story, it is a solid thriller nevertheless. The justification for an entire series remains to be seen, but the first episode is certainly good enough to recommend.

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themed submissions

Addiction

Bodybuilding

The Friend Zone

Flash Fiction by Chris Morton Your wheels burn across the tarmac, rushing you to the doors.

The doors slide open before you; they slide shut behind you, blocking out the world.

You lean back into the cold leather of the bench – it creases under you, supporting your weight. You breathe in, breathe out, and begin.

The cold iron grips cool your boiling skin, your veins surge with the rush of blood and energy, the weight gracefully rises above your body and dives back down. You feel the pump, the pleasure, the warmth and comfort of pain.

You repeat – you lift, you throw, you press, you row – you repeat, till your body screams for no more. Your organs work relentlessly to keep up, your blood crashes through your veins and swells your muscles; your whole body is consumed in violence, inside and out; your skin feels ready to tear – the raw power of a person once lost under the anonymous mountain of office papers returns to his body with a vengeance. The mind-blowing, fibresplitting rush of hormones, blood and spirit through your body transgresses all pleasures you could imagine. It lifts you up and reminds you of yourself.

The cold shower hits your body; it cleanses the burning skin with whispers of relief that run down you and away into the plughole. The day’s troubles are momentarily forgotten, the overwhelming pressure of life blasted away by the fresh water, freeing you of the shackles that hang around your slumped shoulders, your shuffling ankles, constraining every fibre of your being.

You walk out of the doors, feeling new. Everything from this point is easy – it’s your day.

No weight seems immovable, no obstacle seems too high. You are as solid as iron.

Poetry by Rachael Lum Tasting the pleasure, tasting the pain On your tongue, in your heart. How they burn.

Look, my friend, here we are again.

Today you felt it once more when the rain Scorched your cheeks, made your stomach churn.

Tasting the pleasure, tasting the pain Each time that kiss coaxes you to remain.

Why is it that you can never learn?

Look, my friend, here we are again, A broken record. And I entertain Too often this infinite pattern: Tasting the pleasure, tasting the pain On your lips, then your soul starts to drain.

Yet you find this cycle no cause for concern.

Look, my friend, here we are again.

You are fooled by the one you can’t attain, And as I soothe your wounds, it is my turn To taste the pleasure, then taste the pain.

Look, my dear, here we are again.

Funfair Rides and Burnout’s Blaze Poetry by Maddy Smith My friend, he can’t remember me.

Messed up and so spaced out that He flew to another galaxy.

He threw the thoughts and memories And melodies so readily Away, this written effigy May turn into his elegy.

Ebony pupils drowned aquamarine Out to the very sides and seams Of his wide eyes, once blue and green, Now turned a coke smoke onyx machine; Unseeing yet they seem serene, The black, his own smack telly screen.

At nineteen years, not safe nor clean, So fragile that to intervene Would split his spleen, unwind his genes, Make double helix alleles seem Like genomic slides from fairground scenes; A curlicue helter-skelter dream Of hessian sacks of chained protein, Each amine hooked on nicotine And spinning round and flailing down A funfair ride of Benzedrine.

My mate physically can’t maintain His cloud nine MJ aeroplane, In which he leads his Mary-Jane Right down the low lit central lane To play the mile high club game Just like he does, and will again.

At fifty three hundred feet he came Just as the lightning in the rain Struck thrice, and turned the craft to flames Which crashed down, dragging soul and brain.

Each metre gone and more insane Became my friend, and more profane His cries, “I swear, this time I’ll change!”

Though every word was said in vain.

So when he hit the ground his pain Was dulled by dope, and so in shame He let his life go down that drain To sewers of smack, and tunnels of black, His skin, washed white with crack cocaine.

Dear Shirelings, The Fellowship are looking for Short Stories or Flash Fiction in the genres of

Science Fiction & Fantasy Submit all writing by

Tuesday 15th January

18

@Concrete_Gaming

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GAMING

concrete.gaming@uea.ac.uk 08.01.2013

Hardware Review: Wii U

Adam Riza Depending on who you ask, the Wii was either an overwhelming success or a colossal disappointment. The system has sold in excess of 90 million units since its launch six years ago and has undoubtedly expanded the very definition of gaming, leaving the Kinect and the Playstation Move to play catch-up. However, it would be a lie to say that the Wii was everything that it should have been. Its lack of sheer processing power in comparison to the Xbox 360 and PS3 meant that many third-party developers ignored it entirely, with Wii owners missing out on some major releases as a result. Although some of the Wii’s best came from third-parties, such as No More Heroes and Zack and Wiki, by far the best games came from Nintendo themselves, and these games did not appear often enough to satisfy the needs of most gamers.

The successor to the Wii, peculiarly dubbed the Wii U, aims to address some of these issues. It’s substantially more powerful than its predecessor (now graphically in line with the Xbox 360 and PS3), while still providing a new way to play with its innovative GamePad. The GamePad is the main controller for the Wii U, it comes with every system and is comprised of a large touch-screen, surrounded by the familiar buttons and joysticks of a standardised controller.

Developers may utilise the GamePad as they see fit, in New Super Mario Bros.

U its only function is the ability for the player to play entirely on the pad’s screen and not the television, whilst in Zombi U it is used far more frequently in gameplay, such as holding it up to the television to zoom in with the sniper rifle, or to manage the inventory. Another novel and convenient function of the GamePad is the ability to configure it to you television, giving you the ability to access the volume and channel controls direct from the GamePad, eliminating the need for another remote. Of course, the real impact of the GamePad is yet to be seen, as it depends on the ways that developers decide to utilise its functions.

Nintendo have always lagged behind their rivals when it came to online infrastructure and this failing has also been addressed with the Wii U. Friend codes have met their long-awaited demise, with gamers now creating a unique Nintendo Network ID, acting in the same way as a Gamertag or PSN ID. Another welcome online addition is that of the Miiverse, an in built social networking system that allows gamers to post open messages to other Wii U owners, comprised of either text or

drawing via the GamePad. Whether it’s requesting help or simply commenting on a particular game, Miiverse messages constantly appear on the Wii U’s home menu, encouraging player interaction and cooperation with one another. Nintendo have clearly attempted to embed their community spirit at an operating system level.

Whilst the hardware is on the whole quite impressive, there are undoubtedly issues. The launch line-up does boast some fantastic titles but technically superior versions of many of these games have already appeared on other platforms, thus constricting the options of gamers that own the other systems. Batman: Arkham City, Assassin’s Creed 3 and Mass Effect 3 are great games, but I doubt many would buy another version of them for the Wii U, especially at their inflated price points.

Also while Nintendo have included the ability to transfer all downloaded Wii content and purchases to the Wii U the presentation of this content, locked away in a separated application that doesn’t play on the GamePad screen, is just staggeringly backward.

The most major discussion surrounding the Wii U is whether or not it will be able to compete with the next-generation Xbox and Playstation systems in terms of power. If it cannot, it is more than likely that the Wii U will suffer the same fate as the Wii, being ignored by major thirdparty developers and suffering as a result.

Currently the fate of the Wii U hangs in the balance. The technology is undoubtedly impressive, with the GamePad potentially opening up entirely new ways to play games, and Nintendo seem to have finally grasped the concept of online gaming. Whether or not the system can compete in the long term though is yet to be seen. One can only hope that the Wii U turns out to become the great system that the Wii should have been.

Pros:

Unique interface.

Play without TV. Subscription free online gaming.

Local-multiplayer focus.

Promising 2013 line-up.

Cons:

Convoluted operating system.

Low internal storage.

No multi-touch functionality.

No ethernet port.

5gb mandatory software update.

GAMING

08.01.2013 concrete.gaming@uea.ac.uk

www.concrete-online.co.uk

Review: New Super Mario Bros. U

@Concrete_Gaming

19

Adam Riza

New Super Mario Bros. U marks the first time since the N64 that a Mario game has headlined a Nintendo home console launch. In comparison to Super Mario 64 however, New Super Mario Bros. U is not a revolutionary gamechanger; it’s not going to change the world. Despite its name the New Super

Mario Bros. series has never been one to take risks, and this applies to the latest entry. This said, Nintendo have crafted a refined 2D Mario experience, surprising in its quality, easily the best in the series, and a more than suitable launch title for their new system. The story is predictable and practically non-existent, but Mario games are not played for their spectacular storytelling; instead they are played for the unparalleled quality of platforming.

Every aspect of playing as Mario feels perfect, the controls are as responsive and accurate as ever, and Mario’s weight and speed are spot on. For the first time since Super Mario World on the Super Nintendo, the levels are navigated via one cohesive map, allowing varying pathways to be chosen, secrets to be hidden, and for Nintendo to experiment and astonish with their level design.

Mario does tread some overly familiar ground including forest, fire and water themes, but Nintendo also included some more unexpected elements. The most striking of these is a portion inspired by Vincent Van Gogh’s Starry Night, creating a unique and surreal aesthetic that has never before been seen in a Mario game.

More recent Mario games have been criticised as being too easy, trying to

appeal to more casual audiences rather than ardent fans. Nintendo have clearly taken note of this and have satisfied fan demand in a variety of ways. For a start, the learning curve is extremely well judged, gradually increasing as the player traverses the worlds, with the last handful of levels providing a real challenge for even the most dedicated fans, especially if their aim is to collect all three of the star coins found in each level. To aid less experienced players, the Super Guide function is yet again present, giving the player the option of help if one sequence proves to be too difficult.

Outside of the main story, Nintendo has also included both Challenge and Boost Rush modes, aiming to further appease veteran fans. Challenge mode requires the player to finish a sequence using a certain method, such as beating a certain amount of enemies before touching the ground, whilst Boost Rush features a level that scrolls continuously faster dependent on how many coins the player has collected, in an attempt to complete the stage as quickly as possible. Both act as a true test of any long-term Mario player, and will hopefully return as mainstays of the series.

Overall, New Super Mario Bros. U is

without a doubt the highlight of the Wii U launch line-up, providing a fantastic balance of gameplay for both veterans and newcomers, whilst also boasting a surprising amount of content. This is 2D platforming at its best, providing the finest traditional Mario experience since Super Mario World on the SNES.

Review: Far Cry 3 Sam Emsley

Far Cry 2 set some high standards for a follow up to live up to, but after four

years in development Far Cry 3 has turned out exceptionally well. Players assume the role of Jason Brody, a privileged American tourist whose life is hijacked after his latest holiday goes awry. He is inducted into the Rakyatt, a tribe of ancient warriors trying to save their mysterious island from pirates and privateers as he also battles to save his friends.

The first thing anyone notices about the game is the graphics, which are incredibly beautiful both on consoles and PC. From atop a radio tower staring out across the elysian fields and rocky landscapes dotted with roaming wildlife and luscious jungles, down to the crisp cobalt mechanisms of the Desert Eagle in your weathered hands as it dispatches adversaries in a deluge of blood; everything is awe inspiringly rendered. The insurmountable level of detail is astonishing, and more than once players will find themselves gazing

across the crimson landscape just as the sun dips beyond the horizon, inundating everything in a serene layer of vermillion.

If you have own PC capable of highperformance, this feast of Direct X 11 technology is not to be missed.

The story is also a surprisingly complex and engrossing aspect, which has inauspicious beginnings, but develops into a personal and psychological struggle that surpasses simply saving your friends and escaping the island. Your main objectives are to kill the slave-trader, Hoyte, and his lunatic accomplice Vaas to rescue the island from their anarchic rule. The way you approach your objectives is entirely up to you as the game accommodates stealth, gunplay and explosive pyromania equally enjoyably.

Through a number of psychedelic encounters with phantasmagorical creatures, hallucinogenic mushrooms and absurd landscapes, you symbolically

deal with important enemies and progress through your journey. Despite the game’s chaotic open world nature, the tightly woven story is still integral to your every action as you see how your actions affect the people around you and how they perceive your increasingly violent behaviour.

One minor design issue is the constant need to ascend dilapidated radio towers to unlock free weapons and reveal areas of the map. An interesting idea, but very quickly it becomes a chore you’d rather avoid. There is also an issue with running down steep hills, as fall damage is far too punitive and inconsistent, but these are very minor criticisms of an otherwise outstanding game.

Any fan of The Elder Scrolls or Fallout is implored to experience what this game has to offer. It strikes a perfect balance between the RPG and FPS elements which keep gameplay exciting and engaging for well over 20 hours.

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ARTS

concrete.arts@uea.ac.uk 08.01.2013

Arts Politics: Damien Hirst and Drugs in Art

Jack Coleman The use of drugs in works of art has always been a controversial idea. Most famously, perhaps, the Young British Artist Damien Hirst filled cabinets with pharmaceuticals in his work entitled Medicine Cabinets. Hirst believes that art and drugs can both heal, but that the latter can also warp or damage the way we think; resulting in very unusual methods of creating artwork.

The cabinets, recently shown in Hirst’s mid-career retrospective at the Tate Modern, encompass the artist’s major themes of life and death.

Pharmaceuticals temporarily keep the inevitability of illness or death at a safe

Angelina Dresser

distance and preserve life. Hirst lined up the drugs in a particular order to look aesthetically pleasing, and gave each cabinet a name from the tracks on the Sex Pistols 1977 debut album. The random titles only added to the curiosity of the whole piece.

Hirst is all too familiar with the power drugs hold over the human body.

He often became a “babbling wreck” after consuming copious amounts of cocaine and alcohol during his days as Brit-Art’s raucous working-class lad from Leeds. The cabinets were personal and illustrated how the chaos of Hirst’s intoxicated mind could be controlled.

Many critics dislike his crude and gruesome works, but for many, Hirst represented a new kind of art in Britain.

It was during the 90s when Hirst ascended to become the most famous and richest artist in the world. The last decade of the twentieth century saw new wealth, and a society wishing to break from old traditions. The Young British Artists, a group in which Hirst belonged, created modern consumer art for the new consumer society. People were shocked by his dead shark and baffled by the dot paintings, but he began to represent the “cultural consciousness of our times”.

Arguably, his art became the drug which

the rich and rebellious became addicted to.

Other artists have taken it further.

For example Bryan Lewis Saunders created a series of self-portraits, drawing each one whilst taking different legal and illegal substances. The result was a wide range of incredibly vivid and often disturbing paintings. Saunders believes the drugs allow for creative stimulation and reduce self awareness. But he wasn’t proud of the experiment, claiming that he thought drugs made him look “ugly”.

He was actually hospitalized with brain damage at one point; and all in the name of art.

Clive Stafford Smith on Injustice in America

Clive Stafford Smith’s latest book Injustice details the unfair trial of Krishna Maharaj, a British national who has been wrongly imprisoned in America for the past 18 years. He was initially sentenced to death by a Florida court though after enormous pressure was granted a retrial as there were outrageous flaws in the first case. The retrial resulted in the resentence of Kris to life imprisonment.

Stafford Smith explains that his book a catalogue of the ways in which he had, so far, failed Kris. His description of the arrest and the unfair trial reveals the shocking illogic and cruelty of the American justice system.

His talk was highly engaging and witty but the real body of the interview was sobering and shocking. He repeatedly tried to steer the conversation away from biographical

and personal elements, claiming that the only reason for his appearance at such events as the UEA Literary festival in November was to inform people of Kris’s plea and to ask for support.

The biggest difference between America’s justice system and our own has to be the death penalty. For those wrongly convicted in murder and killed on death row in America, there can be little sense of reprieve. It is only those on death row yet to be executed and those who have been sentenced to life imprisonment who have even a minute chance of regaining freedom.

Yet horrifically, innocence has little bearing on your right to life in America. People on death row have no right to a lawyer and it is the problematic nature of an innocent human to stubbornly believe that

others will believe in their innocence and treat them accordingly. This is why Kris, amongst many other innocents, refused to spend money on a top lawyer, believing it to be an unnecessary waste of money as the defensive evidence was so strong.

In addition, access is only granted to the prosecution file once the person has been convicted of the crime. Evidence would not save Kris from death or incarceration because behind the case was a network of corrupt police officers and magnificent amounts of money tied up in illegal drugs.

As Stafford Smith described this Kafkaesque system the crowd laughed and the more ridiculously and illogical it became, the bigger the roar. However, it is not the bloodthirsty nature of the audience which brought these outbursts but the

impossibly illogical and absurd nature of the system. Even harder to comprehend is that this system is upheld in a developed country like America.

This psychopathic bureaucracy is not as distant as we may thinkElizabeth however.

Stafford Margereson Smith also revealed that MI6 has the legal right to make up information about any UK citizen. They can spread rumours about Kris or any other citizen closer to home. Kris is now 73 and still waiting for his deserved freedom whilst his wife waits too: a victim of the American health care system as well as its injustice system. They both still desperately need all the support they can gain.

You can find out more about the case and how you can help by visiting: www. reprieve.org.uk/cases/Krishnamaharaj/

ARTS

08.01.2013 concrete.arts@uea.ac.uk

www.concrete-online.co.uk

ARTS NEWS: SOUTH EAST ASIAN FOCUS FOR NEW UEA COLLABORATION

@concrete_arts

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ARTS HISTORY: THE LIFE AND IMAGINATION OF A. A. MILNE

Carl Long

Mia March The South Asian Decorative Arts and Crafts Collection (SADACC) are to collaborate with UEA in order to increase arts opportunities and educational activities for the community. Philip and Jeanie Millward set up the SADACC trust in 2010, but their collection of over 4000 South Asian items is a result of 30 years of travelling. Due to rapid globalization, South Asia has experienced a decline of much of its traditional crafts.

Founder Mr Millward described how the collaboration with UEA “will make the SADACC collection more available as an educational resource, and hopefully secure a long-term future for the collection and this iconic building, with public access guaranteed”.

“One of the prime objectives is to develop contacts and ties with academic and other institutions in South Asia.

This will hopefully create relationships and introductions into an area which is

fast becoming an economic giant of the 21st century.”

Professor John Mack, chairman of The Sainsbury Institute for Art, explained that he has enthusiastic about the project: “We are delighted at UEA that such generous local patrons have so willingly encouraged an expansion in the range of activities and educational opportunities in the city and to our students at the university. The work we have been doing together over the past years shows what potential a relationship such as this can realise.”

UEA’s Sainsbury Centre of Visual Arts already has an institute of Japanese art, and the new collaboration with SADACC signals a movement towards a similar South Asian centre at UEA. This is an exciting and unique project for UEA because the collection’s emphasis on furniture and architectural items indigenous to South Asia is unusual in the UK.

Next week marks 143 years since the British Author A.A. Milne was born.

The writer is well known for the success of his Winnie the Pooh stories, a success further established by the subsequent sale of the rights to the Disney Corporation by his widow, Daphne. The man himself considered himself a writer bonded to neither genre nor format.

Born in London on 18 January 1882, Alan Alexander Milne was educated as a boy at Henley House, a small private school run by his father, where he was taught by H.G. Wells. He also attended Westminster School and Trinity College, Cambridge, where he studied Mathematics. He served during the First World War in the Royal Warwickshire Regiment but was discharged from the Army in February 1919 due to illness. During the Second World War, he was Captain of the Home Guard in his hometown regiment in Hartfield, East Sussex. He married in 1913 and his son, Christopher Robin, was born in 1920. He suffered several strokes and died as a result of subsequent poor health in 1956.

His literary career canvassed and demonstrated a broad range of talents. In addition to his children’s stories, of which Pooh Bear was not his sole outlet, he was

also a poet to both adults and children.

He wrote articles for newspapers and magazines, notably for both Punch and Granta magazines. He was a playwright of 32 plays, including an adaption of Kenneth Grahame’s The Wind in the Willows, titled Toad of Toad Hall, and his play Michael and Mary was adapted for the screen in 1931, as was his poem The King’s Breakfast in 1963. There are also four screenplays, four non-fiction pieces and seven novels.

Near his home in Hartfield, East Sussex, lays Ashdown Woods, conceptually known better as the Hundred Acre Wood.

His son, Christopher Robin Milne, and his son’s stuffed toys, Edward a.k.a.

Winnie the Pooh, Piglet, Eeyore, Kanga, Roo, Owl, Rabbit and Tigger, comprise the real-life inspiration for his most famous literary creation. Pooh began life as a poem, called Teddy Bear, published in Punch in 1924. Also working on Punch magazine was E.H. Shepherd, who drew the original illustrations for Pooh and ultimately defined his look which he based on his own son’s teddy bear, Growler.

A plaque in Ashdown Forest simply says “In that enchanted place on the top of the forest a little boy and his bear will always be playing”, a sentence that beautifully captures the power of literature.

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COMPETITIONS

www.concrete-online.co.uk

concrete.competitions@uea.ac.uk 08.01.2013

1

across

2 5

4

4. The world’s largest rodent (8) 7. Orange preserve (9) 9. Opposite of quickly (6) 10. Children’s book by J.R.R. Tolkien (3, 6) 12. Sherlock actor (Surname) (11) 13. ----- of approval (4) 16. French Emperor, short in satires (8) 17. Singer of Read All About It (Part III) (5) 18. Largest Continent (4)

3 6

8

7 9

10

11

down 1. Possibly (5) 2. Internet-famous song (7, 5) 3. Dark Irish Stout, company established 1759 (7) 5. Next Olympic Host Country (6) 6. Sleeping attire adopted from India (7) 8. 1829 machine built by Robert Stephenson (5) 10. Country formerly called Siam (8) 11. Nest of a bird of prey (5) 14. Of the sun (5) 15. Large, stringed instrument (4)

12 13 14 15

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THE VENUE COMPETITION

WIN £30 WATERSTONES VOUCHER It’s a new semester and Venue is here to help with all those costly new course book purchases.

We’ve got a £30 voucher for use in Waterstones stores to help one lucky reader weather the financial storm of compulsory textbooks that weigh more than a medium-sized dog.

TO WIN THIS PRIZE:

Send us a 140-character review of the best book you read in 2012.

Tweet us at @Concrete_UEA or find us on Facebook.

The review we judge to be the most articulate and fun will win.

Please submit all entries by Saturday 19th January. Happy reviewing!

/concretenewspaper

Concrete_UEA

LISTINGS

08.01.2013 concrete.listings@uea.ac.uk

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www.concrete-online.co.uk

8 January - 21 January PJ & Onesie LCR 10pm Price £3.50 Advance UEA LCR

Tuesday 8 January

Wednesday 9 January Chris Ramsey: Feeling Lucky presented

by Comedy Club 8pm Price £10/£8.50 NUS Advance UEA LCR TTSF 2013 - The Barlights @ The Waterfront Studio 7.30pm Price £5 Advance The Waterfront Thursday 10 January TTSF 2013 – Darwin and the Dinosaurs @ The Waterfront Studio 7.30pm Price £5 The Waterfront Daniel Bye’s The Price of Everything 7.30pm Price £7/£5 Conc Norwich Arts Centre Friday 11 January Non-Stop 90’s + Alt 90s 10pm Price £4.50/£3.50 Advance NUS The Waterfront Intensi-T @ The Waterfront Studio 7pm Price £8.50 Advance The Waterfront A List 10pm Price £4.50 UEA LCR

Saturday 12 January

Meltdown + Britpoppin 10pm Price £4.50/£3.50 NUS Advance The Waterfront This Is Colour + Friends @ The Waterfront Studio 6.30pm Price £6 Advance The Waterfront TTSF: 2013 Closing Night featuring Sargasso Trio 7.30pm Price £6 Norwich Arts Centre Monday 14 January Daughter 8pm Price £10 Norwich Arts Centre Tuesday 15 January Pirates Vs Aliens LCR 10pm Price £3.50 Advance UEA LCR Wednesday 16 January Stand-Up Poetry Club presents Caroline Bird 8pm Price £7/£5 Conc Norwich Arts Centre Thursday 17 January

Robert Newman 8pm Price £10 Norwich Arts Centre

Friday 18 January TWR! Live feat The Burning Crows, Wicked Faith, Soulborn, Blind Tiger, Enigma 6.30pm

Price £5 Advance The Waterfront Daniel P. Carter DJ Set 10pm Price £5/£4 NUS Advance The Waterfront High Impact: Literature from the Low Countries 7.30pm Price £8/£5 Conc.

Norwich Arts Centre Saturday 19 January A List 10pm Price £4.50 Advance UEA LCR Miguel w/Daley 6.30pm Price £18.50 Advance The Waterfront Meltdown + Metal Lust 10pm Price £4.50/£3.50 Advance NUS The Waterfront The Joy Formidable w/We Are Animal 7.30pm Price £12.50 The Waterfront Lyngo Theatre presents Tom Thumb 2pm Price £8/£6 Conc Norwich Arts Centre Monday 21 January Blood Red Shoes + Wet Nuns 8pm Price £10 Norwich Arts Centre

GOT SOMETHING TO TELL UEA ABOUT? Venue Listings is changing. If you’ve got a Society or on-campus event that you’d like to share, let us know.

Get in touch: concrete.listings@uea.ac.uk

VENUE Issue 277

Coming Soon The Venue Sci-Fi and Fantasy Issue Tuesday 22 January

Photo: Oliver Balaam