Venue - Issue 287 - 22 October 2013

VENUE ISSUE 287

Jacob Roherts Kendall

concrete.venue@uea.ac.uk

www.concrete-online.co.uk

22.10.2013

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contents

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FASHION

ARTS

love your lips

banksy in new york

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BOO! As the nights get longer Be sure to wrap up warm and the days get colder the for the Earlham Park firework Halloween LCR and bonfire night display, which promises food, are fast appraoching. music and a fun fair. For the more frugal minded, Norwich Castle With only over a week to spare are hosting their very own free until Halloween it’s time to hit the fireworks display on Friday the city and search for those gruesome 8th of November. They will also or revealing outfits. Whether you’re be holding a pumpkin carving buying fake blood, facepaint and competition, and a fancy dress a t-shirt from Primark for your contest and parade on Halloween, zombie costume (you and 70% of for those of you who take your everybody else at UEA) or donning jack-o’-lanterns seriously. a Miley Cyrus getup, we want to As #burgergate draws to a close see some creativity at the LCR. Venue has plenty of new horror As the semester takes a stories to haunt you with this turn into the horrific realm of fortnight. coursework, and the prospect of essay writing draws closer, Norwich Stay cute, is hosting a number of events to Ciara and Hayden make the assessment period less mind-numbing.

review: filth

Editor-in-Chief | Sidonie Chaffer-Melley Venue Editors | Hayden East and Ciara Jack Music | Editors | Jack Enright and Alex Flood Music Contributors: Will Edwards, Jack Enright, Alex Flood, Chris Harrison, Faith Ridler, Mike Vinti Fashion | Editors | Madz Abbasi and Ella Sharp Fashion Contributors: Gemma Carter, Chloe Lamb, Olley West Arts | Editor | Callum Graham Arts Contributors: Callum Graham, Georgina Munn, Harriet Norman Creative Writing | Editor | Holly McDede Creative Writing Contributors: Georgie Curry, Oliver Wood, Brenda McGregor, Peter Thorn Gaming | Editor | Sam Emsley Gaming Contributors: Oliver Balaam, Sam Emsley Television | Editor | Robert Drury Television Contributors: Melissa Haggar, Katie Mann, James Szumowski Lydia Tewkesbury, Phil Turtle Film | Editors | Holly Wade and Adam White Film Contributors: Neven Devies, Jack Lusby, Josh Mott, Chris Rogers, Silvia Rose, Emily Souders Competitions/Listings | Editor | Saul Holmes

Issue 287

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22.10.2013

www.concrete-online.co.uk

MUSIC

concrete.music@uea.ac.uk

LIVE REVIEW

Graham Watson

GHOSTPOET NAC 10.10.13 Jack Enright “Turn it up. Turn it all up.” This command, thrown at the sound technician moments after the final bars of Ghostpoet’s opening track, is one that sums up tonight’s show with the kind of poetic accordance that music writers dream of. While ostensibly just another instruction between performing artist and in-house technician, here it serves equally well as the cardinal doctrine of the Ghostpoet live experience.

Where Ghostpoet’s two album releases are introverted, melancholic offerings, tonights show is hard, fast, and more than a little loud.

Obaro Ejimiwe was, until his latetwenties, stuck working at an insurance company in his hometown of Coventry.

But inbetween the day-shift drudgery of customer service, Ejimiwe was working nights under a different name - his artistic moniker Ghostpoet. After a tentative EP release in 2010, his brilliant debut album Peanut Butter Blues and Melancholy Jam

won a Mercury Prize nomination and thrust Ejimiwe firmly into the mainstream consciousness. While ultimately losing out to PJ Harvey, it was an album of considerable merit - a fearless fusion of understated electro and a lackadaisical, spoken-word vocal delivery that proved the perfect medium for the album’s themes: fear of mediocrity, the onset of old age, and the crumbs of enlightenment to be found amidst the day-to-day tedium.

Fast forward two years and Ghostpoet is back with his second offering Some Say I So I Say Light, an album where, if anything, the murky introspection only deepens. Woven from a fabric of agitated clicks, ticks, and whirrs, it provides Ghostpoet with the perfect sonic canvas for his own unique spiel of ‘kitchen sink’ realism, reconstructing The Streets for the new, circa-2013 London - post-7/7, post-financial-crash, and underpinned by paranoia. Little of that subject matter, however, is on display tonight.

Delayed by the organisers of NS&V until a full hour after the scheduled start time, Ghostpoet throws himself onto stage with the hunger of a man revelling in life outside the office. With time running short, his three-strong band kick their set into overdrive, hurtling through the tracks to try and give the crowd their money’s worth.

Opener ‘Garden Path’ sees Ejimiwe at his swaggering, slurring best, his distinctive spoken-word monologue sounding just as keenly sincere as it ever did on record.

With the brooding opening strains of ‘Cold Win’ come a sense of marked anticipation. On record, this track is a truly arresting experience, with clattering, staticwashed percussion underlaying lyrics heavy with the themes of resentment and regret.

Trademark Ghostpoet motifs are at the soul of this track - recalling “breaking my back all week for/crumbs and abuse,” Ejimiwe opens a window onto some of his darkest days, but this mournful vibe is not the one offered at tonight’s show.

It is here that Ejimiwe makes his demand of the sound technician, and it’s as if, in a moment, the gloves are off and the true nature of the evening can be revealed.

Buttons are pushed, switches are flicked - suddenly the drums are louder, sharper, the flowing strains of electro become taut synth-stabs. While the recorded version of ‘Cold Win’ was always a fraught and fragile exhibition of Ejimiwe’s precocious lyrical talent, here the focus is more on getting the crowd going, by any means possible.

Ejimiwe’s vocals are less despondent, less introspected, and more an exhortation to the crowd to pick up their heels and move.

It’s a reoccurring theme that continues

throughout tonight’s set - on record, ‘Survive It’ is a hopeful, peaceful number, with a female backing singers providing the playful chorus of a nursery rhyme ditty.

Tonight though, it’s a raucous, pub lockin sing-along that has the crowd howling the lines back at the stage. Even ‘Cash and Carry Me Home’, the single that first won Ghostpoet mainstream attention back in 2011, is enlivened beyond any recognition. For a song that quite explicitly tackles Ejimiwe’s battle with alcoholism, this reappropriation as an upbeat dancenumber leaves a bitter taste in one’s mouth.

This is a song describing a man’s years spent hiding down a whiskey bottle, and all the social isolation that comes with it - tonight, put bluntly, feels like a betrayal of these themes.

Let’s be clear - this performance was not a recital of the recorded material that has won Ghostpoet so much praise and acclaim. Tonight saw Ghostpoet rewire his work to the benefit of a more engaging live performance. And, in all fairness, this reappropriation accomplishes all that it set out to - the crowd get to have a sing and a dance, and everyone leaves the venue sweaty, hoarse and prepped for a night on the town. But for Ghostpoet fans who really connected with these albums, it was less a reimagining and more of a betrayal.

MUSIC concrete.music@uea.ac.uk

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LIVE REVIEWS DRENGE NAC 11.10.13 Mike Vinti Dems’ synth heavy post-indie fills the arches of the Arts Centre. Elements of Foals’ latest offering mix with James Blake style beats and crooning vocals.

The crowd is sparse, but enjoying it.

Heads nod and feet shuffle in time to the soft, tropical sounding drums, while Chvrches-style synths flow over the top: cutting vocal and melodic samples back and forth.

The biggest moment in their 30 minute set is easily lead single ‘Desire’.

Synthetic violins build before giving way to a skittish, clicking beat that

SAN CISCO WATERFRONT 11.10.13 Will Edwards Despite the disappointing attendance, San Cisco proved their potential with their performance at The Waterfront.

The four-piece indie pop band from Fremantle, Western Australia are currently touring the UK with their selftitled album and visited Norfolk for The Norwich Sound & Vision Festival.

The evening began with Bloody Knees, a four-piece band coming from just down the road in Cambridge. The highlight of their set was ‘Ears, Eyes, Ohs and Yous’. With an instant and exciting riff that continues throughout the song, their top track embodies the bands aim to create and uphold a constant pace and energy throughout their set. Although a tight collective, they weren’t quite right for the audience of teens awaiting soft vocals and summers tunes, but after playing at Reading and Leeds Festival in the summer keep an eye out for these guys.

The second support act were a three piece hailing from London called F.U.R.S. With Elle’s haunting female vocals, a comparison can be drawn with Beth Gibbons of Portishead. Elle controls each song perfectly over the

pulses under the impressive falsetto that pours from under the snapbacks of each member. Almost record perfect, Dems’ are an experience live but somehow feel out of place in this line up.

Next up are Missouri-based (and far more appropriate) punk rockers Radkey, composed of the three young brothers, Dee, Isaiah and Solomon. Their greeting to the audience of “We’re Radkey and we’re here to make you give a shit about it!” serves as a fair warning for what they have in store. Radkey ooze stage presence, Solomon plays the drums as if he was keeping time for a soft jazz act rather than pounding out beats to rival the Ramones, while Dee spends the majority of their set in the classic metal pose of legs wide, guitar low and head bowed. The crowd warms up as their set makes its way through EP title track ‘Cat & Mouse’ and winner of best-songtitle-of-the-night ‘Start Freaking Out’.

well-knitted bass and drums. Although there was quite a subdued reaction from the crowd, it was more in appreciation than boredom.

With the simple set up of drums, guitar and a synth selection played by Elle, the focus inevitably ends up on her fantastic vocals. The guitar resonates high above the rest of the music creating a dream like trance that F.U.R.S enticed the crowd with, evident in ‘Going Nowhere’. This style of music has become ever present in the current music scene, with a female vocalist and darker, sultry tones and F.U.R.S have joined this well.

San Cisco strolled onto stage at 9:00pm and opened with ‘Lyall’. The “na, na, nas” are catchy and reminiscent of The Beach Boys, which the crowd visibly enjoyed and partook in.

With the vocals being shared between lead singer Jordi and drummer Scarlett the crowd experienced a sound slightly different from the generic male vocals over twangy guitars that is all too familiar in indie pop. The average age in the studio may have been vastly under the legal age to drink but this upbeat opener is perfect for these young fans. They continued through the album playing ‘Stella’, ‘Hunter’ and ‘Wild Things’. All fairly similar with a catchy chorus and performed enthusiastically by the band.

Having played at The Waterfront before in support of Darwin Deez, the surroundings were familiar but Jordi still couldn’t pronounce the city’s name correctly, saying hello to the crowd from ‘Norwick’. As a front man he showed a

Radkey’s set is filled with energy and even though the crowd isn’t wild you can tell the band’s hard work is paying off.

After a short pause, Birmingham mystery merchants Superfood take the stage. Their bouncy, 90s infused indie rock bringing the energy levels down after Radkey’s punk whirlwind. Their set, while good, is nothing to write home about. However they’re clearly popular among the younger members of tonight’s crowd, managing to muster some dancing and shout-alongs from the so far reserved audience. Superfood know how to translate their music live but lack chemistry or stage presence, which is even more apparent given the previous acts’ youthful exuberance.

It’s testament to the sheer determination of Drenge that they can make the usually crystal clear sound of the Arts Centre fall into scuzzy, My Bloody Valentine-esque chaos. Another set of

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brothers takes the stage alone: Eoin on guitar and Rory on drums. The arrival of early single ‘Bloodsports’ sees the energy that has been building in the crowd all night finally reach apex. Bodies start flying and soon enough there are kids bouncing off the the stage. While Eoin howls hunched over the microphone, Rory pounds his way through two bass pedals; vanishing behind the scenes to grab replacement parts. What Drenge lack in flair on record, they more than make up for in energy live.

‘People in Love Make Me Feel Yuck’ sees the sweaty, joyous mob shouting the chorus back at the stage in fraternal harmony. Final track ‘Face like a Skull’ clatters in and elbows are swinging once again. As it all draws to a close Eoin tosses his guitar to the floor, turning on every pedal in his arsenal before walking off stage to a cacophony of feedback and wailing noise.

Todd Kunsman

good sense of humour and encouraged the crowd to “jump around” even if they didn’t know the words. His appeal was clear to see and hear due to the screams from the young girls in the crowd every time he spoke.

The rest of the band were beaming with smiles and the impression that they were enjoying themselves was shared with the room. After a brief lull with the relatively unknown ‘Make the girls cry’ and ‘Golden revolver’ San Cisco played a couple of crowd favourites ‘Awkward’ and ‘Beach’. These two tracks really display the potential of the band, justifying comparisons with Darwin Deez.

The set finished on ‘No Friends’ with the group of teens going mad at the front knowing it was nearly time to head home. The band thanked the crowd for coming and then hung around to mingle with the fans that were desperate for pictures and memorabilia to be signed.

Although they are not the polished article, San Cisco were definitely worth going to see, their upbeat songs encouraged the crowd to get moving and acted as easy listening when played off the record. The next challenge is to reach beyond the overcrowded indie pop genre and come up with something special, which may just be too much to ask.

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YES Chris Harrison

MUSIC

www.concrete-online.co.uk

where the technology takes us. As music fans we need to be concerned about the welfare of the musicians. Without them we’d be hard pressed to find any music to listen to. For smaller acts, who Yorke in particular speaks out in defence of, there simply is no way of financially justifying

Over the past couple of weeks those who are concerned with such things have been considering the impact that the world’s most popular music-streaming service, Spotify, is having on today’s music industry.

Thom Yorke kicked things a while ago off by pulling much of his back catalogue from the service in protest at the appalling way it treats the musicians whose work it seeks to profit from. Then David Byrne threw his hat into the ring last week in support of Yorke. Byrne’s article for The Guardian went so far as to suggest that “the internet will suck the creative content out of the whole world until nothing is left.”

The situation may not be all doom and gloom, as Byrne suggested, but services like Spotify aren’t helping artists at the putoinformatico.blogspot.co.uk moment.

Services like Spotify are certainly the pursuing a career in creating their art. An future of music consumption but this artist would have to sell 155 CD albums to doesn’t mean that we should blindly follow sustain themselves at the level of national

minimum wage (US figures), yet on Spotify they would need to hit 230,000 plays of an album a month to meet the same level.

As it stands, Spotify isn’t a sustainable alternative to record sales. It may be that we, the consumer, have to value the music we listen to a little more and pay more for whichever service we choose. Or Spotify and their ilk need to adjust their business structure and ensure that the artist receives a sustainable share of the profits and it isn’t split primarily between themselves and the record labels. Bands also make much of their money from touring, so more people need to go to the gigs of their favourite artists to help them make their living.

As consumers, and especially as students, Spotify is a godsend for music lovers. If you want your music for free without resorting to thievery, you can, provided you have the patience to sit through adverts after every three or four songs. If you want to get rid of the adverts and have the capacity to use the service on your mobile, for a nominal monthly fee, you can. It sounds almost too good to be true. Yet, as with most things that

concrete.music@uea.ac.uk

sound so good, there is a catch. The artists whose work we consume and sometimes grow to love are getting shafted. Unless, of course, you’re a mainstream act with mainstream funding and mainstream levels of popularity. But such a set up only leads to mediocrity, musically speaking.

Just give Mumford and Sons a spin if you don’t believe me.

Gang of Four’s Dave Allen came out in defence of Spotify a few days ago, saying: “we are in the midst of new markets being formed” and as such it wasn’t the fault of the service providers that musicians were getting the rough end of the deal. In pointing out the on-going development of the marker he’s correct.

Although this does not mean that musicians should sit back and wait for things to settle until they get their fair share. They need to speak up and make sure their interests are given priority when the labels make the deals with the providers for their work. As music fans we also have to ensure that our consumption ensures that the artists are rewarded for their work and can continue to make music, rather than going for whatever’s cheapest.

IS SPOTIFY BAD FOR MUSIC? evil, profiteering corporation, or the future of the music industry? we asked our writers for an answer...

Faith Ridler The digital age brought with it something that generations will relish: easy access to an immense collection of music. At the forefront of this mp3 take-over are online services like Spotify. These give millions of music enthusiasts free access to a vast music database in the hopes that pesky adverts and play limits will convince them to fork out £9.99 a month for a premium subscription.

It’s here that the company falls into some disrepute. To a certain point, Spotify is entirely free, compensating for around 24m users’ music streaming with compulsory advertisements. When you compare this figure to the 6m who pay subscription fees, it’s perhaps easy to fall under the misconception that Spotify does nothing but grossly underpay artists and labels with mediocre royalties.

Yet it seems that the people who criticise such services for their lack of payout to artists are sorely misunderstanding the nature of today’s music industry. The sad reality of the situation is, however immoral

stream their own work? (Often even before its official release date.)

The answer is simply that they wouldn’t.

To be able to gain a following, artists need to first find a platform to broadcast their work. The radio might seem like an obvious choice, but young bands are rarely given the opportunity for nationwide exposure on the airwaves. On the other hand, programs

Spotify

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it may seem, that the majority of music is downloaded illegally. As a result it would seem illogical to slam services, operating legally, for damaging the music industry, when it’s their growing popularity that has caused a drop in use of P2P sites, such as ‘LimeWire,’ over the past five years. This argument also falls flat when you take into account the popularity of YouTube, an

entirely free service on which artists often post their own music. If the music industry were truly being ‘destroyed’ as a result of free streaming sites, why would artists

like Spotify allow millions of people to have instant access to tracks. Perhaps even more conveniently for smaller performers, Spotify doesn’t insist on music from signed

artists, and even boasts a handy ‘discover’ tab. Such small acts are handed a huge boost

by Spotify’s services - they are provided with a service that allows them to reach millions of listeners, without any of these listeners having to cough up a penny. Even though it may be difficult for such artists to find their footing financially through the use of Spotify, it is something they can connect to social networking, and ultimately this gives them the opportunity to be heard by a wider audience. In the battle to ‘get big,’ this vastly outweighs the need for revenue.

The idea of Spotify hindering the music industry seems very farfetched considering the context. If anything, by paying out 70% of its revenue to ‘rights holders,’ Spotify is doing nothing but facilitating the artists it streams. It may be true that Spotify needs to vastly increase its paying subscribers before more established artists feel that they could be suitably recompensed, but the point is that performers choose to stream their music there. If they didn’t like the royalties, why keep it online? Furthermore, if fans didn’t have access to this form of free streaming, it’s likely that they’d pick up their music in ways which would be far more damaging to the future of the music industry.

MUSIC concrete.music@uea.ac.uk

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22.10.2013

REFLEKTING ON YEARS GONE BY

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On the eve of the release of their fourth album, music editor Alex Flood takes stock of Arcade Fire’s career so far and looks at what the future may hold.

Win Butler’s intrepid group of indie-rock icons have come a long way since that fateful summer of 2003, when he spotted his now wife Regine Chassagne singing French jazz standards at an art exhibit in Montreal, and subsequently decided to form a band. Two mega hype-inducing EP’s, three platinum albums and two Grammy nominations later, Arcade Fire have perched themselves immovably atop the pantheon of alternative music as everybody’s favourite band of unassuming

rock stars. But what’s next? The Canadian rockers have maintained a never-ending presence on the road since the release of their critically acclaimed third album The Suburbs and it could be argued that three years is a long time between albums. The Suburbs was Arcade Fire’s coming out party, and represented a perfect mixture of the grand statements the band make through their own brand of anthemic, folk-tinged melancholic rock, and the kind of mass appeal that only the great indie bands (Radiohead et al) achieve.

In typically veiled form, the band announced back in August, via a tweet to one fan, that the follow-up to The Suburbs would be released on October 29th. Following the tweet, images using the name started appearing as street art in various cities, hinting that the album would be titled Reflektor. James Murphy of LCD Soundsystem has also been hired to produce the album, which suggests a more electronic direction for the band, although Murphy has been quoted as saying Arcade Fire are “very self-produced, and don’t really need a producer,” so his input could be minimal.

The first single from the album, ‘Reflektor’, was released in September to universal acclaim and features a short cameo from mega-fan David Bowie. The bittersweet vocals and LCD Soundsystemesque understated, syncopated beat all combine to create an unexpected first-rate floorfiller, which excites and enthrals in equal measure. The interactive video for ‘Reflektor’ that was released at the same time is a revolutionary turn and adds an extra dimension to Arcade Fire’s already sterling output. Directed by long-time collaborator Vincent Morisset, the video was filmed in Haiti and “follows a young woman who travels between her world and our own,” allowing the viewer to dictate where the plot goes.

Early reviews and indications suggest a conscious departure from previous norms on the record, and a leap into the unknown. Having spent recording time in various differing environments such as New York, Jamaica and Haiti, multiple new elements of sound have found their way onto this new, eclectic as ever record.

Reggae influences have been sighted, and whilst this is no reincarnation a la Snoop

Lion, the mid 70’s bump and grind of Messer’s Marley and Cliff can keenly be felt throughout the record, according to early reports. Bowie’s influence is, as ever on Arcade Fire records, felt acutely, but more in the electronic alternative style of Berlin era Bowie (see 1977’s Low and Heroes).

Whilst the Canadian troupe’s legacy is already assured, expect no relaxation on the part of the band, and early indications suggest this effort will surpass all previously.

Rolling Stone has called Reflektor “extraordinary” and “the best album Arcade Fire have ever made,” whilst Consequence of Sound have stated enticingly that “Arcade Fire re-emerge with their own pair of dancing shoes yet they’re still clenching onto the smoky art school gravitas that’s got them this far unscathed.”

Reflektor is a clear embarkation from the previous sound of Arcade Fire records, and with a slew of great reviews already in the bag, and news of an impending world tour in the pipeline, this could well be the most successful year yet for Butler and his rag-tag band of mercurial music-men, now twelve strong from the original five founders of 2003. Could this be Grammy number two?

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Hotter than ever: new collection at Topshop and Vogue contributing editor

Louboutin ‘nude’ shoes Five shades forward

Gemma Carter talks androgyny

The ambiguity of androgyny is what makes it such a compelling and impacting trend in the fashion world. The combination of feminine and masculine elements results in a chic, sophisticated style. Androgyny is renowned for its ability to blur the lines between genders and is a style that empowers men and women. In the past few decades many androgynous models have graced the catwalk like Agnes Deyn, highlighting how beauty isn’t just about being “pretty” in the traditional way.

The trend glorifies the different forms of beauty and goes against conventional feminine fashions.

You’ll likely to have many of the essential pieces in your wardrobe and not even be aware of it, having probably always worn them separately but never combining them together. To get started you’ll need a shirt, in a colour of your choice; here at Venue we’d recommend sheer or light fabrics if you want to

Halloween Nails

patent pair to achieve that polished look.

However, want that little bit of height that only high heels can give you? Try a simple pair of stilettos to soften your look but make sure they aren’t too overpowering otherwise your outfit may lose its edge. If you love being that bit different, why not try a pair of high heeled loafers and you’ll get the best of both worlds!

Avoid extensive accessorising with this look – simplicity is essential to it being successful. A simple fedora or bowler hat will add a touch of class and quirkiness to your outfit, and will make it look instantly more expensive; this is always a bonus on a student budget! If you’re wearing this outfit in the daytime go for an oversized satchel or a briefcase to maintain the structured and masculine aspect of your look. Or, if you’re heading out on the town for drinks, try an oversized clutch bag and maybe experiment with a pop of colour!

Chloe Lamb on keeping your feet warm and fashion-forward

CHOKIN’ New Romeo and Juliet Worst. Film.

Ever.

Whatever you do, just don’t take your hat off.

maintain that feminine touch to your outfit. The shirt sets the foundation of your look. Make sure the buttons are done up right to the very top – this will help to emphasise the sharpness of the collar. Feeling brave? Try wearing a bow tie to add a quirky edge to your outfit.

Next you’ll need tuxedo or dinner jacket as they are practically synonymous with this look. Tailoring is vital; you’ll need your outfit to look as polished and clean cut as possible. Venue suggests you go for a classic black or navy jacket to keep it simple and chic. Although if you aren’t liable to spill anything down yourself, try white as it will instantly add a confident coolness to your outfit.

When it comes to choosing your footwear the androgynous style leaves it pretty much open to individual preference. A pair of loafers or brogues is a favourite as they maintain that masculine edge. Try experimenting with a

Rock Your Socks Off

Get in the festive spooky spirit

Hat hair

concrete.fashion@uea.ac.uk

Do It Like A Dude

SMOKIN’

Kate Moss

FASHION

Whilst not always the focal part of your outfit, socks are getting more and more necessary as the weather starts turning colder and more Autumnal. The high street has an abundance of amazing socks for bargain prices. Whether looking for cute animal print socks, warm wool socks or knee highs as a quirky alternative to tights, you are sure to find something to tickle your fancy.

Topshop There is huge range of socks available so you are simply spoilt for choice! They have opted for more quirky animal prints such as the ‘Brachiosaurus Ankle Socks’. With their dinosaur print you can channel your inner palaeontologist!

The ‘Pigeons on a Line’ ankle socks are also a cute alternative to the everlasting bird print trend. Their ‘Lace Trim Ankle Socks’, whilst reminiscent of wearing school check summer dresses, frilly socks and sandals, have been given a grown-up style injection.

If you are not feeling quite brave enough to try the heels and socks look, these can still make a really cute statement worn poking out over a pair of ankle boots, brogues or creepers.

Whether toning down fancy heels or

dressing up boyish shoes, these socks are a winner!

River Island River Island is the place to go for wool socks. Their ‘Black Chunky Rib Frilly Ankle Socks’ are a great combination of fashion and function, with their contrasting on-trend, girly frill and warm, practical chunky knit. Other standout knitted socks are their ‘Cable Rib Pom Pom Ankle Socks’ in both beige and grey, which would look perfect peeking over a pair of brown or black ankle boots.

Asos A trend that features prominently in Asos’s collection is knee highs, a perfect sock for both day and night this season.

These can be dressed up in the evening with a pair of heels or worn with boots or brogues for a cute autumnal look on a cold day. The ‘Jack Wills Boot Sock’ is in keeping with Jack Wills’ identifiable ‘preppy’ style whilst still being extra warm with its thick cable knit.

For the more outgoing and quirky, the ‘Lazy Oaf Kitty Knee High Socks’ can add an instantly girly look to any

outfit with their adorable cat’s head detailing. There is also a big selection of plain black knee highs, which are both versatile and extremely purse friendly!

New Look New Look is by far one of the cheapest destinations for socks, especially if you are looking to buy a few pairs with various multi-buy offers. There is a wide range of animal print socks, from foxes to tortoises. They also have a great selection of bed-socks, a great alternative to slippers for wearing round a chilly student house! The ‘Red Snowflake Fluffy Trim Slipper Socks’ with their festive print will be the perfect toewarmers for a fun-filled Christmas day.

me-elle-you.com/2012/03/

FASHION concrete.fashion@uea.ac.uk

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22.10.2013

Photographer: Jacob Roberts-Kendall, Model: Stephenie Naulls, Stylists: Madz Abbasi and Ella Sharp

Love Your Lips

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Olley West Autumn lips are all about being bold. From a bright coral shine for those blustery days where you want to keep it cool and cute, to the deep wine stain for the more adventurous, and finally the classic red matte that everyone should try. This season don’t be afraid to go big on the lips and keep the eyes clean.

Coral Gloss Seen on: Jessica Alba, Cara Delevingne, Burberry For those looking for a gentle refresh, a coral orange lip is an easy wear and a great update to the basic nude.

Coral was a huge colour this summer and it doesn’t want to leave the party just yet. To bring it into this season tone it down by applying the colour in a lipstain, in a tangerine or orange-based shade. A tinted lipbalm is easy to put on and comes with the bonus of keeping your lips healthy when facing these winter conditions!

Lipbalm sticks or stains tend to come off as very sheer, allowing you to ease yourself into the look by

building the brightness layer by layer. When layering colour on your lips, Venue recommends an initial layer of an un-tinted medical lipbalm like a chapstick. Using a cotton bud to work the balm gently into your lips before the stain is a great way to provide protection from the cold.

Red, Red Wines Seen on: Oscar de la Renta, Miu Miu, Rihanna As the days turn darker it means our makeup can too, so release your inner Goth with dark lip shades. Layering a darker lipstick with a sheer gloss can take the edge off, or if you want punch go for a deep liner, buffed right to the edges. Spend a bit of time finding the perfect wine colour for you.

Vera Wang and Miu Miu really set the bar with deep plum purples, and this trend looks amazing on darker skins – pale complexions should beware of blue-based purples as these will bring out the blue in your skin and leave you looking a bit ghostly. For these fairer skin tones look to Emma Watson’s wine-style lips for

inspiration, while applying bronzer will help tie the look together.

Super-matte to the Rescue Seen on: Marc by Marc Jacobs, Miley Cyrus Our favourite trend emerging has been a smash with the fashion weeks and is remarkably easy to pull off, the key ingredient is confidence. The secret to getting a strong flash of colour is all in the liner, and lots of it.

Liner can be unforgiving if you go wrong, so be careful to start small and work outwards, but when used well it’s your best friend. Under a critical eye it can balance and correct uneven lips- and mercifully it really stays put, perfect for a long evening of partying. Venue would also recommend using a bit more concealer than usual, because the bright red colour will bring attention to any other red tones on your face. Look for products with keywords such as ‘suede’ or ‘leather’, or choose from a ‘long-lasting’ range, to get the super-matte finish that looks so Hollywood. Be wary of chapped lips: this style is not forgiving so stock up on lipblams.

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ARTS

www.concrete-online.co.uk

concrete.arts@uea.ac.uk

Banksy Takes Up Residency in NY

Banksy: Lower East Side

Callum Graham Banksy, perhaps the most well-known street artist of all time, is entering the last stretch of his month long ‘residency’ in New York. During his time in New York Banksy has promised and delivered a new piece of street art every day around the city. Some of the pieces have been sanctioned by the city’s authorities, whilst others haven’t and are reactionary in their nature.

“Are you the sort of person who enjoys going to art galleries, but wished they had more gravel in them?” The artist wrote on his site. “Then this temporary exhibition space is for you. Housing just two paintings but also featuring a bench, some carpet and complimentary refreshments. Opens today through Sunday 11am til midnight.” This describes one of his latest pieces, a street gallery complete with security guard hanging below an underpass on West 24th Street.

So far, his residency known as ‘Better Out Than In’ has seen a mixture of graffiti art, live installations and touring pieces spread at various points throughout Manhattan, Brooklyn, Queens and the Bronx. With each piece a phone number is sprayed alongside to provide an audio guide for those who are lucky enough to stumble across them.

One of the larger stunts of the month featured a stall, set up by Banksy, selling original pieces for $60 (£38) each. This isn’t a rare sight, with most tourist spots around the world you can expect to see something similar, what’s different here is that because all of the pieces were original Banksy’s there actual value is an estimated £20,000. Banksy posted a video on his website showing an unknown older man selling only six pieces throughout the day, one woman bought two for her children after negotiating a 50% discount.

To those who claim that Banksy is watering down his work there are answers to this criticism. A life size Ronald

McDonald statue appeared outside a different McDonalds restaurant every day, the statue looks down on a real life shoe-shine boy polishing his massive read shoes. This might not seem all that controversial now, but that’s only because Banksy has largely led the street-art charge against capitalist multinationals.

It isn’t only corporations that Banksy has his sights on. One piece features a car with cowering civilians sprayed on the side, towering over the car are stencilled horses wearing night vision goggles.

The audio guide to this piece is real transmission from the Iraqi war: “This is crazy horse one eight, we have a bongo truck picking up…[gun shots]…boom oh yeah right through the windshield.

Oh yeah look at those dead bastards, there’s one trying to crawl away…does he have a weapon…come on buddy please have a weapon…he just crawled over a body…we have eleven Iraqi KIA’s and one wounded child…oh well that’s what you get for bringing your kids to

a gun battle.” The horses represent a US Apache helicopter unit responsible for killing two journalists in Iraq, as well as a string of horrific and fatal attacks on civilians and surrendering Iraqi fighters.

Other pieces are lighter hearted and playful, in Greenpoint Manhattan he has written on a wall: “I have a theory that you can make any sentence seem more profound by writing the name of a dead philosopher at the end of it. –PLATO” The ‘residency’ is truly an eclectic mix of politically and ethically motivated pieces, as well as comedic ones indicative of his earlier style. With just over a week to go until his ‘residency’ is finished the NYPD have promised to “arrest Banksy if [they] find him.”

Will the NYPD succeed where police forces around the world have failed?

With Banksy’s elusive track record it’s doubtful. Here’s hoping that they don’t, and that Banksy continues his brand of often vitriolic street art for a long time to come.

ARTS

concrete.arts@uea.ac.uk

www.concrete-online.co.uk

Art in your words

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Harriet Norman explores the Pre-Raphaelite Brotherhood In 1848 an association of painters was formed, the Pre-Raphaelite Brotherhood (PRB), that was to become an important era in the world of art as well as literature.

The term Pre-Raphaelite refers to art and literature yet the term itself originated in relation to the Pre-Raphaelite Brotherhood, a group of artists, and its influence would then spread into literature. Although the Brotherhood was to last little more than a decade, the direction it gave to leading Victorian art would last until the early years of the 20th century.

This influential group of midnineteenth-century avante garde painters included William Holman Hunt, Dante Gabriel Rossetti and John Everett Millais.

Before the PRB made their mark, British art was very much dominated by the Royal Academy, founded in the early years of George III’s reign by Sir Joshua Reynolds whom the PRB called “Sir Sloshua”. The style of painting favoured by the Royal Academy tended toward that of the Old Masters. The PRB deliberately challenged the established view of art and drew up a manifesto of their intentions, publishing them in four issues of a periodical called ‘The Germ’. Their aim was to paint directly from nature with objective truthfulness, abundant detail, intense colours and

Millais: Christ in the House of His Parents

complex compositions. Their primary purpose was to harken back to the work of the great Italian artists, particularly art before Raphael.

The Pre-Raphaelite Brotherhood went to great lengths to find exact models for the settings and people in their paintings, famously the example of Elizabeth Siddal who modelled as ‘Ophelia’ for Millais. In order that the artist might get the correct

composition for his painting, she had to lie in a bath filled with water which unsurprisingly resulted in her contracting a severe cold.

Initially critics were hostile to the realism the Pre-Raphaelite Brotherhood portrayed, including Charles Dickens’ commentary of Millais’s ‘Christ in the House of His Parents’, “You behold the interior of a carpenter’s shop… a kneeling

woman, so horrible in her ugliness, that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster.” Although Dickens’ opinion may seem overly harsh to us, this painting caused such a stir that even Queen Victoria requested a private viewing. People were angered by Christ’s family being shown as ordinary and Mary as any other woman, yet this realism is what the PRB strove to represent and why their art still resonates today.

The Brotherhood had a way of presenting art in a realistic perspective not only through their content but their use of colours and light. It is the reality of Christ in Millais’ painting as an ordinary child, contrasted with the symbolism of the cut on his palm that he shows his mother that makes their work stand out; not only for the beautiful simplicity but also the subtle undertones present for those who care to look and understand.

Though the Brotherhood dissolved in about 1853 the new climate in the art world was one which many other artists identified with and their influence continues to define art even in the present day.

UEA LitFest

Georgina Munn reviews the festival, featuring David Almond and Charlie Higson As UEA’s Literary Festival continued into its third week, it welcomed two more former students, David Almond and Charlie Higson, into the open arms of Lecture Theatre One. They were greeted by an audience of all ages and it was refreshing to see the younger members eagerly waiting to see their favourite authors. This diversity shows the popularity of Almond and Higson, who have achieved great success in their careers so far.

Starting from a very young age, they immersed themselves in reading and writing, sharing a particular fondness for Roger Lancelyn Green’s King Arthur and his Knights of the Round Table. This very candid interview also touchingly revealed the darker times in their childhoods, with the deaths of Almond’s younger sister and his father, and also the death of Higson’s mother. On the one hand, Almond used his writing as a way to objectify his feelings, whereas Higson used his writing as a barrier between himself and the outside world – two very different ways of dealing with such trauma.

Later in life, Almond and Higson were clearly on the same page when deciding which university to attend: they both chose to study English and American Literature (and Film in Higson’s case) at UEA. The versatility of the courses was the main attraction, an attribute that students still enjoy today. After graduating, Higson formed a band with Paul Whitehouse, The Higsons, before becoming a painter and decorator to earn more money, whilst Almond became a teacher in the hope that the long holidays would give him plenty of opportunity to write: no such luck.

Eventually, everything seemed to fall into place. Higson, along with Whitehouse, achieved huge success writing for Harry Enfield’s television show Saturday Night Live and The Fast Show, to name but two, whilst Almond left the teaching profession to pursue writing.

Sure enough, Skellig, as Almond phrased it, ‘happened.’ With the audience hanging on his every word, Almond fascinatingly described the way in which Skellig came to him sentence by sentence; he never knew

what was going to happen next. Skellig went on to achieve unbelievable success, winning the Whitbread Children’s Book Award, and is now studied in schools all over the country. Almond did not intend to be a children’s author, it simply happened.

Similarly, Higson began by writing crime fiction for adults in the early 90s, yet he too became immersed in the world of writing for children, with his immensely successful Young Bond and Enemy series.

This eye-opening event ended on a very uplifting and positive note. Both Almond and Higson championed the importance of writing for children and young adults, and they praised the fantastic work in this field today.

For Almond, reading is one of the most important forms of culture because children can learn so much from it. Both authors, having visited many schools, emphasised how enthusiastic children are about reading and writing; the stereotype that young people are reading less and less seems to be very much untrue, thanks to the brilliance of authors such as these.

David Almond: Photo by Sara Palmer

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www.concrete-online.co.uk

concrete.creativewriting@uea.ac.uk

Theme: Places Into the Forest

Georgie Currie I think of a place that I call my own, My place, my space, my home.

Mine.

Oliver Wood

A haven untouched and left alone, Strangers and dangers locked outside are unknown.

My.

A tree in summer Its leaves relax in the breeze The wind gets stronger

A temple dedicated to a shrine, Alone I rest, distress, unwind.

Im.

A tree in autumn Just two leaves cling together Both having known spring

This fortress of solitude has no windows or fresh air, The walls show nothing; they are empty and bare.

Me. That space now a narrow corner, Squeezes and teases and shrinks even smaller.

I.

Nature

My cell, a container, that I once called my home, Betrays, delays and insults everything I have known.

You.

Peter Thorn

A box suffocated by brown paper wraps my despair, Tossing and turning I gasp for air.

Yours.

The door shut silently when you left this place, No words to bless or caress; I am left in disgrace.

Alone. dianaterry.tumblr.com

Of Cheese and Sheep

“All I ever really want to know is how other people are making it through life—where do they put their body, hour by hour, and how do they cope inside of it.” Miranda July, It Chooses You

Vacant

Two Tree Haiku

Cold pale light On browning trees Trickles down Through diseased dead leaves To the forest floor.

These trees, in days of yore Were witness to jousts and bloodshed To lovers and losers To stolen kisses, secret solaces and the hangman’s noose.

And now to Dave the Binman, Who comes every Tuesday through the residential area.

Into the City

Into the Void

“A blue stain creeps across the deep pile of the evergreens. From inside the forest it seems like an interior matter, something wholly to do with trees, a color passed from one to another, a requirement to which they submit unflinchingly like soldiers or brave people getting older. Then the sun comes back and its totally over.” - Kay Ryan

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Now memories haunt the suburbs of my mind, Cursed, unrehearsed my verse unravels and unwinds.

Blank.

I think of a place that I call my own, I find nothing, not one thing.

Nowhere.

“We hit the sidewalk, and dropped hands. How I wished, right then, that the whole world was a street.” – Aimee Bender, The Particular Sadness of Lemon Cake

How to Build a City

B eige -S ta ined Jumper Peter Thorn

Brenda McGregor when the city was built the back of the alleyway matched the back of his mind. the numbers on the clock followed the pulse on her neck. the graffiti eating at the walls exactly aligned to the engulfing feeling of a hand directly over a wrist. the dotted people on the sidelines followed the pattern of the misplaced bodies that found themselves a little bit closer to starting to exist, but then dropped and missed. yes, when the city caught on fire it matched the voice that was never quite there on the other side, no matter how many times she tried, the longing for food in her throat when someone else taught her how to get high, that yes, sometimes people die-or sometimes they just leave in the middle of the night, sometimes, you can’t fight, sometimes that’s life. or sometimes, it’s the city. the city that was built up out of dirt, out of love, but then fell down, set itself on fire, along with the gas station, the chinese restaurant, the public library, with a pound, a plea, a you, and a me arguing with court cases and destiny, and eventually, maybe, the goodbye. but when the city fell down it didn’t say goodbye. it just fell down and never came back.

She wears a beige-stained jumper frayed with holes, That dear old mum made for her when she was just thirteen years old And now it seems that everything she tries to be is like the jumper, Worn and tired and overgrown with mildew-mold.

She lives in a damp and rainy hollow underneath the bridge, The empty autumn air and earthy ground will keep her hid From parents, friends and long-lost loves she has discarded wilfully like broken needles that surround her midst.

She had such pretty dirt-blonde hair and now It’s frayed and old with one year’s neglected disrepair She’s a wanderer, our long-lost child, Across the foggy city streets through which she hates, And within her golden home the park, Through which she contemplates.

Her dark dank den is full of curiosities.

Of broken battered objects Which somehow reflect her twofold tragedies; CD’s she has, hung like guilty sins on strings, Patches of cloth which she managed to steal And a photograph of mother, just to keep it real.

She wears a beige stained jumper frayed with holes That mummy made for her when she was just thirteen years old, She’s twenty-one and growing now, She thinks she’s lost the way but can’t remember how.

lauras.face.deviantart.com

GAMING concrete.gaming@uea.ac.uk

Sam Emsley

www.concrete-online.co.uk

Preview: Battlefield 4 Beta

Battlefield 4 had previously been previewed at E3, showcasing the titanic scope of the gameplay and how they’ve taken the already huge maps to new insurmountable heights in an attempt to create a truly immersive warfare experience.

The Beta includes one map, Siege of Shanghai, and up to 64 player lobbies with a modest range of equipment which can be unlocked and used in game, more of which is greyed out for the full release. Including only one map may seem strange, as one might expect to tire of it fairly quickly, however this simply does not happen. The map is huge and expansive; featuring a multitude of locations for fire fights, giant airspace for aerial combat and plenty of vehicles to facilitate travel that one can play the level a dozen times and never have the same experience. Players will go from close quarters shootouts one minute, to controlling areas with aerial bombardment the next, then sniping enemies from atop a skyscraper, then

Oliver Balaam With a new generation of consoles on the horizon, and masterpieces like GTA V and Bioshock Infinite in the rear view, 2013 has been a monumental year for videogames. One of the year’s biggest successes however, the exponential growth of free to play mobile games, has been ignored and occasionally even ridiculed by the gaming press.

F2P represents a vast new market and we need look no further than the narcotic hold that Candy Crush Saga King

bailing out of a building as it begins to collapse into the river below. There are so many different scenarios that it is impossible to ever become bored with the scenery.

The most interesting and ground breaking feature of the E3 demo was Levolution, which allows huge events to take place during the game with cataclysmic consequences. This map includes a huge Shanghai skyscraper collapsing, transforming the battlefield and forcing players to adapt to this. This is certainly a spectacle and players will find themselves gaping in awe more than once, provided they are not parachuting away from it. However it does feel like a set piece which changes the battlefield in only a fairly localised area. The rest of the map has no such events and remains unchanged for the rest of the game. Wider reaching consequences of such a collapse might serve to improve Levolution, but for now it does not change a great deal.

The gameplay itself is very much Battlefield and seems somewhat

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EA Digital Illusions CE, Electronic Arts indistinguishable from Battlefield 3. This is not a problem however, as it does work very well. Although the rifles do feel as if they have no recoil, meaning players can achieve long range kills with assault rifles. However, with the epic scale such compromises must be made.

The promise held within the Beta is extraordinary; the game already seems completely polished. One can only hope that the full release can build on this and create more quality maps and Levolution scenarios to keep the game fresh every time.

‘Free’ To Play? exerts over its millions of players to realise this. Last week Super Cell, the three year old developer of the similarly successful Clash of Clans, were valued at $3bn, almost as much as the Royal Mail. The selloff of our postal service has made it clear that valuations aren’t always to be trusted, but bubble or not, there’s no question that there are billions to be made in F2P - as often as not in 69p instalments.

Why then, if F2P to play games are

reaching millions of new players, are games critics so ferociously disinterested in the model? One popular theory is that it’s just male entitlement. As a medium created (at least initially) by men for men, many gamers have a hard time realising that they aren’t the centre of the universe, and that (thankfully) not all games are aimed squarely at them anymore. Evidence of this mentality can be found in almost any online comment section, and it’s clearly a factor, but there are some other, perhaps more legitimate concerns about F2P. One initially compelling argument against the model is that it exploits the naivety of children. Kids are clearly the target market for colourful games like Candy Crush kids and they display at best a slender grasp on the realities of money, sometimes spending £69 of their parents’ money, rather than 69p. Cases like this however, while often seized upon by tabloids, are relatively rare, and developers and platform owners have shown willingness to issue refunds, and implement safeguards. Ultimately, you can’t make billions by manipulating children, for that, you need to frustrate and manipulate human adults.

Frustrated adults, choosing to pay 69p (over and over again) rather than

wait 30 minutes for another life, is the financial core of F2P. Traditionally games have had to entertain in order to earn your money, but here, they aim to monetise frustration. This fundamental structural difference is for many, the most convincing argument against F2P. Candy Crush takes “coercive monetisation techniques” further than most of its competitors, and it often seems that as much design work goes into extorting money from the player as goes into the game itself. With arbitrary difficulty spikes (levels 29 and 65 are infamously challenging) and a system that forces gamers to play a particular level a number of times before they get a “good” board, it’s no wonder that so many are tempted to drop a few pence on a helping hand. Once they spend these few pence of course, their account is marked as a spender, and the game’s difficulty ramps up further. Video games are often labelled addictive, but never before have the parallels with drug dealing been so direct.

With Papa Pear Saga just out and Angry Birds Go on the horizon, it’s a mistake to ignore or belittle F2P. We can only hope that in the future, developers walk the line between challenging and exploitative with a little more grace.

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TELEVISION

concrete.television@uea.ac.uk

Return of the Talk Show Giants

Norton and Ross return to lock horns in the Battle for Ratings Melissa Haggar It was the return of the talk shows last weekend with The Graham Norton Show airing on the BBC The Jonathan Ross Show gracing our screens on ITV, returning to treat viewers to interviews of their favourite actors, comedians and musical guests.

The Graham Norton Show featured an array of popular guests: Sherlock star Benedict Cumberbatch, Hollywood legend Harrison Ford and comedian Jack Whitehall. Norton’s show may appeal to those who prefer a bit more of a lively, sarcastic tone, and his shows usually feature several accompanying segments.

The ‘Red Chair’ is a popular feature, where members of Norton’s audience recall hopefully amusing stories - and if they bore with their tales, then Norton (or quite often, the guests) flips them right out of their seat.

Meanwhile, The Jonathan Ross Show

included guests such as Hollywood acting royalty, Sandra Bullock and Tom Hanks, and former Blind Date host Cilla Black.

the audience involved with his forms of entertainment for the guests.

As both shows feature a similar range

BBC The show’s appeal may be more focused around Ross himself; having previously had another chat show and therefore bringing an existing fan base. Ross’ show features a little less audience participation; unlike Norton, who regularly likes to get

of guests, sometimes the only thing to differentiate between the two shows is the host. With The Graham Norton Show entering into its 14th series, and The Jonathan Ross Show into its 5th, it’s difficult to see where potential new

chat shows would fit in, considering the prime-time slots thse programmes occupy. Considering talk shows seem to focus around the appeal of the host, it is preferred to choose long-established names in comedy, entertainment or performance. Therefore, it can be tricky and potentially risky to place ‘new talent’ in the prime hosting spot. It will often be the case that established comedians - such as Alan Carr and Sarah Millican - will be the ones chosen to headline any new talk shows that do emerge. You could certainly make a case that this is damaging to up and coming talent and to anyone who wishes to get into the industry.

So for now, it seems viewers will have to tune in to what is available, which of course, is perfectly satisfactory - if you enjoy what is being broadcast. In an industry based almost entirely on viewing figures, it would appear we can ‘look forward’ to several more series of each respective show.

Stephen Fry: Out There James Szumowski Stephen Fry’s two-part BBC documentary Out There starts with a simple statement from the man himself regarding the lunacy of homophobia: “It’s as if you met someone who spent all their life trying to get rid of red telephones.” Quite.

An early interview shows Sir Elton John and David Furnish discussing their experiences of homophobia and sexuality from the comfort of the library in their Berkshire mansion, with plenty of fanboying from Fry, though this seems quite out of place; as does a scene depicting Stephen’s appearance at the wedding of Andy and Steve (whoever they are). A not entirely convincing tear follows, a bit too sweet and saccharine for the tone of the show, these scenes come across a bit ‘look how lovely these guys are!’

Stephen then meets Farshad, a twentyeight year old who bursts the cosy bubble that the show created thus far. An Iranian national seeking asylum in Britain, he tells the story of his exile, interspersed with footage of public hangings, which he may face if deported. Fry summarises; “if we send you back to Iran and you were hanged, it would be a crime that would be on the head of every one of my

BBC countrymen, and it would shame me.”

Completely powerful and moving stuff.

In Uganda, Fry meets Pastor Solomon Male and unfortunately resorts to having a childish shouting match with the pastor.

It’s almost comedic, and Fry’s mocking behaviour brings him down to the level of the Pastor, bellowing “my penis isn’t terrorising anyone!” and discussing the finer points of his own sexual preferences.

It’s all a tad unnecessary and seems below him. Later, a conversation with an LGBT

woman who was subjected to ‘corrective rape’ is harrowing; just 14 at the time, the attack resulted in her contracting AIDs and falling pregnant. The sense of heartbreak and sadness Fry displays in these darker moments show his mantra throughout the programme (‘it’s all about love’) is not just an empty phrase.

Sao Paolo features next on Fry’s whistle-stop tour. Venturing in to the biggest gay pride parade on the planet, with 4,000,000 people attending, Fry is

visibly moved. We also see the opposite side of the conflicted coin that affects Brazilian views on homosexuality. In Brazil, one LGBT person is murdered every 36 hours. This militant homophobia is given a very real face when Fry meets the mother of 14 year old Alexandre Ivo, who was tortured and murdered whilst walking home because he “looked gay.” Nobody has been charged with his murder.

India and America prove to be the two most open countries Fry visits.

With LGBT bars and the upcoming abolishment of homophobic laws (originally set out by Britain), India shows its openness and warmth. An impromptu trip to ‘D’Kloset’, a wonderfully named ‘gay shop’ as Stephen eloquently words it, is brilliantly awkward, with Stephen framed by a mannequin adorned with a diamond encrusted jock strap as he peruses the shelves (“Oh yes, all the really good…gay stuff”).

Out There is enlightening, with the hopeful prosepct of changing negative views of the LGBT community. It succeeds in giving hope and bravery to those across the globe who are hated simply because of who they are, and how they love, which seems to be the real message.

TELEVISION concrete.television@uea.ac.uk

www.concrete-online.co.uk

Lydia Tewkesbury

Masters of Sex

“In 1956, a nationally renowned fertility specialist met a former nightclub singer. Ten years later, they published a scientific study which revolutionised our understanding of human sexuality.” So begins Channel 4’s new American-made drama, Masters of Sex. Telling the story of Dr William ‘alpha dog of coochie medicine’ Masters (Michael Sheen: 30 Rock, The Twilight Saga), a man who is interested in everyone’s sex life but his own (although his wife does upsettingly refer to him as ‘daddy;’ which is both creepy and a massive mood killer, so it’s sort of understandable), it aims to tell the story of the circumstances surrounding the discovery of the science behind sex.

The series begins when Dr Masters finds his mind blown by the revelation from one of his ‘subjects’ (a prostitute who lets him watch her have sex with her clients for money; from inside a cupboard) that women fake orgasms. Unable to get his mind around Showtime such a possibility, William decides to put his award-winning name on the line to begin such a thing? (He could probably have an experiment that aims to answer one saved himself some time by asking his wife; simple question: why would a woman do their parallel single beds scenario says it all.)

Made in Chelsea

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assistant to all of William’s endeavours. A woman of, according to Dr Masters, ‘unusual opinions’ (namely having sex without wanting to get married), she takes the experiment from an idea with a prostitute to a study that people in the university will actually take part in. We love her, despite her horrifically whiney boyfriend (one of those can’t get it’s just sex types despite ample evidence to contrary) who we can only hope will be appearing significantly less in future episodes.

Masters of Sex is a typical glossy American drama. The script is tight, the sets and costumes - and people - are beautiful (this show doesn’t exactly do a lot for positive body image. There are a lot of stick thin naked women). It’s got enough intrigue that most of us will probably watch past the first episode. None of this changes the fact, however, that this show is essentially hilarious.

It has been the subject of some debate as to whether or not this is entirely intentional.

Whatever its intentions, be they funny or seriously inclined, Masters of Sex is an enjoyable way to spend an hour and it’ll be interesting to see how the series progresses.

Bringing Back the BBC’s Open All Hours Phil Turtle

Katie Mann

E4 The sixth series of Made in Chelsea has returned to our TV screens with new storylines, new dramas and new (some might say really quite attractive) cast members. Couples seem to be forming in front of our very eyes; of course with the usual drama and arguments arising between the ladies and gents of fair Chelsea at a pool party in the country; well, of course.

As usual, Lucy Watson has started off the season in style by being asked out by one of the new members, Miffy (unfortunately not the cute white animated rabbit we remember from childhood).

We’re left reeling by Andy and Louise’s falling out, though it does provide us with our weekly quota of tears, and a horrifically sad shot of the poor guy leaving

Enter Virginia Johnson, played by the wonderful Lizzy Caplan (Mean Girls, New Girl), the ambitious secretary and future

22.10.2013

Express.co.uk/PA her house, guitar and holdall in tow. Will they patch it up and be the perfect couple?

Only the next few episodes will tell…

As for Spencer, do we really think his questionable psychotherapy session has helped him? An interesting addition to the show for this week, it certainly gave Twitter and the critics something to talk about. We’re given hints of the rag-tag man-about-town turning over a new leaf with the promise of a new girlfriend from across the pond.

Of course, the rest of the cast are up to their usual antics; a highlight included Francis asking Rosie out on a date. While naked in a swimming pool. Mmm. The series has definitely made a splash on its return, with both newcomers and returners giving us much to love and look forward to.

The BBC have announced that the classic sitcom, Open All Hours, is to reborn for a one off Christmas Special to be shown this year.

The corner shop centred comedy, starring Ronnie Barker (The Two Ronnies, Porridge) and David Jason (Only Fools & Horses, A Touch of Frost), ran for four series in the 1970s and 80s, with 26 episodes produced.

The show centred on Barker’s ‘Arkwright’ character and his haphazard attempts to woo the uninterested Gladys (played by Lynda Baron: Come Outside, Doctor Who). Much of the comedy derived from Arkwright’s ill treatment of his nephew Granville (Jason). The premise for the remake, which will be titled Still Open All Hours, is that Granville has inherited the corner shop, which he now runs with his son.

Given that Ronnie Barker passed away several years ago, it will be interesting to see quite how the remake plays out. It’s hard to imagine how much the show can afford to relate to its past given the passing of so many years since its heyday, but it’s reassuring to know that the script is being penned by the writer of the original series Roy Clarke.

To succeed with fans and critics alike this Christmas, the show is going to have to blend a move into 21st century culture with the 1970s humour for which it is so fondly remembered. It will be tough to live up to the high standards set – Open All Hours was voted the eighth greatest British sitcom of all time in a 2004 BBC poll.

Filming is currently taking place, including in the show’s original town of Doncaster.

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FILM

concrete.film@uea.ac.uk

Wireless Magazine

Filth

Silvia Rose watched James McAvoy get dirty for Irvine Welsh’s latest sleaze epic Director Jon S. Baird Starring James McAvoy, Jamie Bell, Jim Broadbent, Imogen Poots, Eddie Marsan, Joanne Froggatt, Shirley Henderson Cert 18 Runtime 97 mins If you are familiar with the dark, raucous world of Irvine Welsh, Filth, based on the novel, will not come as a shock to you.

That is to say, you will be expecting the shock.

James McAvoy plays Bruce Robertson, a sadistic policeman trying to gain a promotion while working on a murder case. He drinks, takes drugs and indulges in sordid sex. He lies, he cheats, he embodies immorality. There is only a glimmer of the clean-cut earnestness we once saw in Atonement; this character is coarse and deliciously unlikeable. Against the seedy backdrop of Edinburgh we witness Bruce’s

deterioration from a powerful, cocky figure into a delusional mess who can’t keep his demons at bay.

Jamie Bell plays Bruce’s junkie colleague who joins him in snorting coke before torturing a potential witness into giving information. The world of shallow sex and drug addiction may be a prime ingredient in the film, but it is not glamourised. It draws you in, undoubtedly, with its headiness and criminal seduction, but smashes you down alongside Bruce so you wake up next to him feeling the same sense of shame and nausea. It not only highlights the emptiness in excess, but also the pain behind such acts.

Like most of Welsh’s characters, you are not expected to like Bruce. He is not even an anti-hero. He is a despicable human being who uses his position of power to manipulate those beneath him. But as the film unravels you see the pain and selfloathing that fuels his aggression, and the disturbing flashes of hallucinations that haunt him. We are reminded that everyone

has a messy past, and shown the worst that can come from it. After seeing the depths of his depravity it is hard to sympathise with him, but you can certainly pity him.

The film begins with Bruce’s point of view, we hear his thoughts and trust his lead, but as it develops the focus is dimmed and his confident air is diminished. In terms of plot, it is fast-paced and unrelenting; the only scenes of rest are the ones that show the harsh reality of daylight. The style is similar to Trainspotting in its glossy brutality and choppy editing. There is the same wry humour and a twisting of reality, using real-life settings to create a gritty surrealism. But while Trainspotting has heroin as its main theme, the drug in Filth is moral corruption. Bruce feeds off his emotional turmoil and creates a monster. To fend off the comedown of his conscience, he seeks the next fix in more destruction.

There are at times windows of tenderness, especially with the absence of his wife and daughter. The scenes with

Carole (Shauna Macdonald), his wife, portray her as the perfect woman, beautiful and loyal, and we see just how unattainable this ideal is towards the end. Slowly but surely the veil is lifted and we see the extent of Bruce’s fantasy and how much has been hidden from us. The ending is a crescendo of obscenity, the faint glimpses of hope tease us with the possibility of a happy ending, but inevitably all paths lead to Bruce’s obliteration.

This is a film which batters the senses, stretches boundaries and snaps them beyond recognition. It is worth seeing primarily for McAvoy, who gives one of his most raw and affecting performances to date. Do not watch it if you are easily offended or are looking for a positive portrayal of humanity. Do watch it if you want to be drawn into one and a half hours of pure exhilarating filth.

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FILM

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At Cinemas Near You Sunshine on Leith

Director Dexter Fletcher Starring George MacKay, Kevin Guthrie, Freya Mavor, Antonia Thomas, Peter Mullan, Jane Horrocks Cert PG Runtime 100mins Emily Souders Sunshine on Leith is guaranteed to make you leave the cinema with a smile and clapping your hands, but much like an alcohol infused dance to 500 Miles, it feels a little uneven.

The film itself is an adaptation of a stage show by Stephen Greenhorn, centred on the lives of two returning soldiers Davy and Ally (MacKay and Guthrie). Once the boys are back in Edinburgh, their eyes turn to love, and this is where Davy’s sister Liz (Mavor) and her friend Yvonne (Thomas) come in. Surrounding the young’uns like a solid foundation is the 25 year marriage

of Davy’s parents (Mullan and Horrocks) but all may not be as it seems.

The out look of this film is unashamedly feel-good and the cinematography paints a stunning picture of Edinburgh that will make anyone wonder why it’s not seen as one of Europe’s most beautiful cities. For anyone who has been, it will make you long for your days there. The performances do the perfect job of pulling you along for the ride whilst adding depth, with a special mention to both Jane Horrocks, who really is the soul of this film, and to “wee” John Spence, who is utterly charming.

The music of the Proclaimers is used to perfection and because of this, is accessible to anyone not familiar with their back catalogue. It was especially impressive how much attention Stephen Greenhorn had paid to the lyrics, as many have been used as parts of character traits, a highpoint for this being the Letter From America sequence.

Another musical highlight involves the motion of the truck in the opening sequence, matching the beat perfectly, but of course the finale of I’m Gonna Be

The Independent (500 Miles) is what everyone is waiting for. However, the golden hue of this film can sometimes come across at odds with the darker elements of the story, with a main character nearly dying and the results of war not being shied away from, leaving those scenes feeling uncomfortably out of place as if they were unintended events. There are also rather jarring moments when some of the

extras look directly into the camera, making the film feel unpolished.

As a result, Sunshine on Leith is more of a film that will make you smile on a rainy day than one that will grace the warmer climes of LA award season.

Meg (Duncan). It is however, a great joy to announce that the film is a wonderfully fresh departure from the staged feel of couple-comedies such as This Is 40.

Both actors have mastered the griping, sarcastic old couple act to near perfection.

This is perhaps best seen during the couple’s visit to the Sacre Coeur when Meg, unimpressed with Nick’s advances, states

in a stage whisper ‘You make my blood boil!’ to which he replies ‘A sign of a deep connection!’ to her retreating back. Some uses of strong language between the two feels a little forced at times, and the film is not without some problematic feelings of saccharine sweetness, but overall you do feel in the company of real people. You’d find it hard to watch the scenes between them and not recognise certain mannerisms or exchanges from your own grandparents.

A great deal of films in this genre usually trip themselves up two-thirds of the way through by introducing too many side characters, but this film simply cuts it down to the bare minimum; namely an old uni pal of Nick’s, played superbly by Jeff Goldblum in equal measures of eccentricity and slime, providing a welcome break between the grumbly, sardonic humour expressed by the leads.

In short, Le Week-End is a rare example of a comedy that manages both bittersweet romance and raunchy humour without losing its way, and even managed to reduce someone who approached the film with a great deal of cynicism to tears by the closing credits.

Moviefied NYC

Le Week-End

Director Roger Michell Starring Jim Broadbent, Lindsay Duncan, Jeff Goldblum, Olly Alexander Cert 15 Runtime 93mins

Chris Rogers In a time where any old rom-com has the term ‘feel-good film of the year’ or ‘you’ll fall in love all over again’ slapped across its poster, it’s hard not to be cynical when approaching Le Week-End, Roger Michell’s comedy-drama depicting the anniversary weekend in Paris of Nick (Broadbent) and

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FILM

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concrete.film@uea.ac.uk

Heeeeere’s Halloween!!!

Boo! Neven Devies and Jack Lusby bashed their heads together and came up with a collection of skin-crawling spine-chillers to make your halloween more treat than trick.

The Shining (1980)

Braindead (1992)

Director Stanley Kubrick Starring Jack Nicholson, Shelley Duvall, Danny Lloyd

Director Peter Jackson Starring Timothy Balme Far removed from his exploits in Middle Earth, Peter Jackson’s horror comedy has now achieved cult status. As dedicated son Lionel decides to hide his newly zombified mother, his efforts become increasingly futile. Braindead takes the zombie genre and turns it on its head, with its ridiculous finale a genuine pleasure. JL

Much vaunted and much parodied, Stanley Kubrick’s adaptation of Stephen King’s The Shining remains his masterpiece. With Jack Nicholson’s deteriorating hotel caretaker taking centre stage amid a series of iconic hauntings – “redrum”, the twins, the bath – The Shining is a truly terrifying take on isolation horror. JL

Livid (2011)

Julia’s Eyes (2010)

Directors Bustillo, Maury Starring Béatrice Dalle

Director Guillem Morales Starring Belén Rueda, Lluís Homar Spain’s answer to the contemporary giallo, Julia’s Eyes, about a woman who investigates her twin sister’s mysterious suicide, veers more towards the thriller territory. But with some truly queasy set-pieces and a killer visual flair, Julia’s Eyes will manage to please both horror and non-horror fans alike. ND

More grotesque fairy tale than straight-up horror movie, Livid’s glacial pace, dream logic and suffocating atmosphere will likely put the majority of audiences off. However, with its slick art house aesthetic and some unmissable cinematic nods to the golden age of Italian horror cinema, Livid is perfect for those looking for something different. ND

Audition (1999)

Drag Me to Hell (2009)

This psychological horror about an obsessive lover is more disturbing than scary. As a widower schemes to replace his late wife under the guise of a TV audition, he gets more than he bargained for. Director Takashi Miike dials up the perverse in a film that will stay under your skin. JL

One of the most enjoyable horror films of recent years. Alison Lohman’s loan officer is desperate to rid herself of a gypsy’s curse after becoming haunted. A confrontation with the latter in her car a highlight, Drag Me to Hell toes the line perfectly between the suspenseful and the slapstick. JL

Director Takashi Miike Starring Ryo Ishibashi, Eihi Shiina

Director Sam Raimi Starring Alison Lohman

Ahí va el diablo (2012)

In My Skin (2002)

Director Adrián García Bogliano Starring Francisco Barreiro A simple story about two missing children who resurface with a secret breathes new life into the tired ‘possessed children’ trope thanks to its wildly frenetic pace.

Complete with frenzied camera zooms and a penchant for melodramatic dialogue, as if the Devil himself possessed a telenovela. ND

Director Marina de Van Starring Marina de Van

Quotesave.me

Following a woman’s descent into self-harm, the film is certainly not for the faint hearted. Raw in its execution, the camera rarely cuts away, forcing the audience to bear witness to some truly horrific acts of self-mutilation. Not a horror film in the traditional sense, but watch with caution. ND

FILM

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22.10.2013

Video Killed the Radio Star

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With Pink making her cinematic debut in Thanks for Sharing, Josh Mott took a look at some more unexpected transitions from music to film

Movpins.com

Musicians have starred in countless films and actors and actresses have had no end of chart toppers, have they not? “Um, no” you reply, but why is this? Is acting that much easier than singing, or can studio executives just bank on box-office takings when they put a chart topper in the lead role?

The latter is probably more the case; people,

Cavemen (1981) Whether the Beatles drummer Ringo Starr was short on cash or he liked the idea of a film with no legible dialect, who knows? With barely any comprehensible lines (95% of the film’s script is made up of caveman language) Caveman can be somewhat of a tough watch. At some

putting aside notions of taste, will go out and see the latest Miley Cyrus movie but they will not be likely to buy the latest Russell Crowe single (yes, there is one).

Can you name one movie star who has transitioned to making music in a way that replicates the success of people like Will Smith or Justin Timberlake, both of whom moved from successful pop careers

showings of the film, audiences were issued with a leaflet of translations, a nice idea apart from the fact that translation becomes rather difficult in a dark cinema.

Ringo was not deterred by the film’s poor critical and audience reception, playing several other roles before finding his calling as the narrator in the Thomas the Tank Engine cartoon.

to ones in acting? No, because there isn’t one.

There are some, however, for whom the move or even dabble into movie-making did not go quite so well. What follows here is a sampling, if you will, of what can happen when music stars believe a little bit too much in their movie-making talents.

Moonwalker (1988) Any film that has a trailer stating “from the mind of Michael Jackson” is sure to be an odd one, and Moonwalker does not fail to deliver on this front. The movie is basically a collection of Jackson’s elongated music videos from the Bad album. The mishmash of claymation, fourteen minute

Smooth Criminal video, and Jackson as a transformer leaves you thinking you’ve been on a horrendous acid trip.

Despite Moonwalker’s box office success, Jackson decided not to return to the silver screen in a creative role, opting instead to stick to cameo appearances and his own movie-like music videos.

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22.10.2013

LISTINGS

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22nd October - 4th November live music 22nd October

The Cult – Electric 13 Tour w/ Bo Ningen UEA LCR £29.50 23rd October TRC w/ Astroid Boys and Rough Hands Waterfront Studio £7 Troubadours Norwich Arts Centre £8-11 24th October Tom Odell + Ruen Brothers and Wildflowers UEA LCR £12

Emily Barker & The Red Clay Halo OPEN £12 Boomtown Rats w/ Patrik Fitzgerald UEA LCR £24 26th October

The Mighty Diamonds Norwich Arts Centre £16

Hot 8 Brass Band Norwich Arts Centre £12.50

27th October Daughter UEA LCR £15 28th October

Girls Names + R.P Murphys EPIC £5-6

HIM + Caspian UEA LCR £20

Hazel O’Connor Breaking Glass Live/ Greatest Hits Tour The Waterfront £20

Coasts Waterfront Studio £6 25th October

29th October

Sonic Arts No. 75 – Instant Music UEA School of Music £4-7

Dave Giles, BriBry and Danny Gruff Puppet Theatre £10.50

Spear Of Destiny Waterfront Studio £13.50

The Cat Empire w/ Flap The Waterfront £20

Alistair McGowan The Playhouse £15

By The Rivers Norwich Arts Centre £6

Blue Rose Code The Bicycle Shop £6

The Prince Fatty Rub Dub Club OPEN £8 3rd November The South w/ Daydream Club The Waterfront £22.50

Keep It Secret Waterfront Studio £5

Robbie Boyd w/ The Tracks OPEN £9

The Blackout + Framing Hanley Waterfront £15 31st October Gilmore & Roberts + Jess Morgan Norwich Arts Centre £8

Lucy Spraggan w/ Andrea Moe + Shannon Saunders UEA LCR £12.50 Blake EPIC £18.50

Mila Falls & Special Guests EPIC £4-6

4th November

Steve Mason w/ Chains Waterfront Studio £16

theatre

22nd October

25th – 26th October

Mad Dog Mcrea Waterfront Studio £8 Gnarwolves EPIC £4-5 2nd November

30th October

comedy Simon Munnery: FLYM Norwich Arts Centre £10-12

1st November

Sub Focus w/ Fred V and Grafix UEA LCR £14.50

Dr Feelgood EPIC £17.50

Tamikrest Norwich Arts Centre £12-14

Secret From Richard Waterfront Studio £5

28th October Helen Keen: It Is Rocket Science!

Norwich Arts Centre £8-10

29th October Gatecrash The Garage £5-10

31st October – 1st Novmber Blackadder II The Playhouse £10-12

30th October Female Gothic Norwich Arts Centre £9-11

1st November Emil and the Detective The Garage £5-10 4th-5th November As You Like It Playhouse

club nights 22nd October

26th October

29th October

31st October

Pokemon - Choose Your Colour UEA LCR £3.50

The A List UEA LCR £4.50

Blow Up! UEA LCR £3.50

The Hallowe'en LCR UEA LCR £3.50

Will Cockram

COMPETITIONS 22.10.2013

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concrete.competitions@uea.ac.uk

the venue crossword Across

2. Nickname for student accommodation (4) 5. Small yellow bird (6) 7. Represent the student body (5) 10. Release of repressed emotions (9) 12. The morning after the night before (8) 13. Vaporised water (5)

Down

1. Judge or detractor (6) 3. Newton and the apple (7) 4. Marshland (3) 6. Cock-a-doodle-do (8) 8. Boudicca’s tribe (5) 9. The here and now (7) 11. Loves scooters hates rockers (3) 14. Container of coffee or a fool (3)

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VENUE Jacob Roberts Kendall