Issue 349.
Editorial
A note from the editor
-Tom Bedford
Deputy Editor Spring is finally here. The days are getting longer, the sun is getting warmer, and we can finally wake to birdsong instead of dark grey skies. To celebrate this birdsong – or, perhaps, to drown it out – Venue is particularly invested in music and sound this week. Between a look at musical representation in the Oscars in our Film section, to a Features page about popular podcasts, to our central spread about an upcoming musical, we’ve got your ears covered. Of course, we’ve also got a music section. We’re not just celebrating aurally, however, and the joy of the new season can be seen in all sections. In Gaming we celebrate the Chinese New Year with a look at the animal that represents the year, and our first Features page looks at important LGBT+ History Month films. I’m sure you’ve heard, but Concrete is starting the application process for the Student Publication Awards and, as someone who’s had to read all your work, I think you should all apply. Section editors should have contacted you about it but, if not, just pop us an email to let us know you want to apply too! I hope you’re enjoying the longer days as much as I am!
I am looking out of the office window into the Square where people are relaxing and having their lunch in the sun, after what feels like three months of solid rain. I might be being a little optimistic, but it’s starting to feel a lot like SUMMER! (not really, but it’s definitely starting to feel more like spring). To celebrate, Tom and I have dusted off some of our sunniest pictures for this editorial. And our editors are in the mood for the sunshine too. I was particularly excited to see a roundup of 2018’s UK music festivals. Just a warning: after reading our music section this week I was inspired to spend a good chunk of this semester’s student loan on festival tickets. As a result, I lived on beans this last week - but I have no regrets. When I wasn’t eating beans on toast or spending too much money, I also very much enjoyed watching Stephen Fry discuss his latest book as part of the UEA literary festival. As ever, Fry had a lot to say, and all of it was eloquent and thought-provoking. Television editor Dan enjoyed the night too, and you can see his write-up of the event on page 6. I was also excited to have a chat with son of Cilla Black and producer of Cilla: The Musical, Robert Willis. I grew up watching Blind Date and really enjoyed the ITV drama Cilla (also produced by Robert, and definitely worth a watch), so I was excited to speak to someone who knew her so well. Robert had lots to say about the influential nature of his mum’s career, and the highs and lows of creating a musical; make sure to take a look at the article on pages 14 and 15. I hope that, as you’re reading this, it’s as sunny as it is now and you’re able to sit out in the Square with your copy of Venue and a nice hot drink from Unio. But if it’s not, and you’re sat in the Hive as you watch rain drip down the window– as is, sadly, more likely – hopefully, this issue of Venue will get you in the mood for sunnier times. Either way, happy reading!
Arts Editor - Mireia Molina Costa Film Editor - Gus Edgar Fashion Editor - Leah Marriott Creative Writing Editor - Saoirse Smith - Hogan
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-Kate Romain
Venue Editor Gaming Editor - Amy Nash Television Editor - Dan Struthers Music Editor - Nick Mason
Arts and Design Assistant - Emily Mildren
Contents
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27th February 2018
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Film
Fashion
Our arts writers reflect on the artists who lived troubled lives and went onto achieve great things
Oscar D. Huckle considers the impact Rotten Tomatoes has had on our film viewing habits
Sean Bennett lists the must-have accessories for men
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Music
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Gaming
Television
Charlie Walker tells us what we can expect from 2018’s festival line-ups
Vince Gaffney condemns Dynasty Warrior 9 as a “glitchy, tedious mess”
Our television writers reveal the television shows that are celebrating their 10th birthdays this year
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Arts
Front and back cover credit: Kate Romain & Tom Bedford
Creative Writing
Features
Jono Mcdermott explores the theme of religion in his poem Deity Roulette
Venue editor Kate catches up with Cilla Black’s son and producer of Cilla: The Musical, Robert Willis
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Arts
Activist art “If anything, art is […] about morals, about our belief in humanity. Without that, there is simply no art” -Ai Weiwei Art is everywhere and, arguably, everything. We are now interconnected in ways that we would have never deemed possible years ago. The world is an active global community that could transform our struggles into a harmony that we would be proud to share. Perhaps, to some, this may seem too idealistic, but I believe that this is because the world has forgotten how to bond and/or are denied the time to unite. Art has meaning to us all : by this I mean all that we encounter shapes our identity in whatever way we choose. With this in mind, art has the potential for igniting feeling in all of us, and it can cause us to analyse our actions and behaviours. If politics and art have one thing in common, it is the ability to raise questions. Ai Weiwei’s quote can resonate with every one of us. As a political activist, he
What’s on in Norwich Caryl Phillips and Margaret Drabble 28th Feb - UEA Lecture Theatre 1 Crafternoon 3rd March - Millenium Library Scratch It! 4th March - Norwich Arts Centre We are the lions, Mr. Manager! 7th March - Norwich Arts Centre UEA Live: International Women’s Day 8th March - Writers’ Centre Norwich
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has been highly critical of the Chinese government’s stance on democracy and human rights. He has investigated the cover-ups surrounding the “tofu-dreg schools” that came to attention after the 2008 Sichuan earthquake. His activist art consisted of a blog that revealed his own findings and debated the issue at hand; after a gathering of followers, this was eventually shut down by Chinese officials. Further, he and his team collectively covered the Haus der Krunst building with 9,000 student backpacks to spell out the cries of acknowledgement from families. Given that this is a historical and famous construction, the act had a great impact. Slowly, more deaths have been counted, though all of the children have yet to be named and, therefore, have their short lives recognised and remembered.
“On an indivdual level we may not be globally influential, but as a community we are so much more” This movement has been incredibly successful when one considers the strength of the Chinese government and the global credit that Ai Weiwei has received for shedding light on this issue. Although we have not all directly been affected by the circumstances in China, we can all experience it through his artwork. It is this activity of interpretation and emotional involvement that erupts a fire within us and allows us to respond. Does this mean that we all instantly take action after staring at a painting? Of course not. Political artist Chris Jordan, known for giving statistics meaning, voices that “if we can feel these issues – then they’ll matter to us – then we’ll be able to find in each one
of us the question ‘how do we change?’ – ‘how do we each individually take responsibility to the one piece of the solution that we are in charge of ?’ – I’m not pointing the finger in a blaming way – we have a choice”.
“Our small choices make for a big impact.” His project Running the Numbers creates images through pictures of non-recycled plastic cups, where he digitally re-produces the exact 4 million cups that U.S Airline flights waste per day. Through art, statistics become visible and apparent. We can no longer deny our behaviour. Art allows us to comprehend the full scale of our actions. When we are all too busy with increasingly demanding lives, focusing on our own contribution can seem benign. On an individual level we may not be globally influential, but as a community we are much more. Maybe when society allows us to take time for ourselves and cherish what is important to us, we will all be able to forcibly be politically involved. Until then, our small choices make for a big impact. Maybe you don’t consider yourself much of a civil power, but we all have feeling. We all have art.
-Molly Welsh
Images: (top) Max Pixel; (bottom) Pixabay, trudith
Arts
Once tortured, now treasured Wikimedia Commons
Egon Schiele
With his rebellious personality and unconventional creativity, Egon Schiele was, and still is, one of the most daring painters in the history of art. Part of the Secession art movement, which advocated for the freedom of the arts from academic conventions, Schiele found his freedom in painting contorted nude figures, gloomy landscapes, intense stares and family love. His life, however, had a tragic end: the painter died in 1918, aged 28, three days after the death of his pregnant wife.
-Alessandra Arpaia
Plath is known for her haunting depictions of her experiences with depression, which eventually led to her taking her own life. Her poetry was known for its dark themes and general feelings of despair, although they are no less beautiful because of this. Her semi-autobiographical novel, The Bell Jar, is still considered one of the most striking pieces of literature on the theme of mental health, even fifty years after its first publication.
-Abi Steer
Obsessed with alcohol and stylistic perfection, bullied as a child and marked by the loss of his loved ones, the poète maudit dove into the darkest side of the human psyche in his horror and detective tales and his short-stories, where he depicted beauty through sadness and grief. With a death no less mysterious than his tales, Edgar Allan Poe became a cult figure for those lovers of the macabre.
-María Aguín Blasco
A prominent writer, Virginia Woolf led a tragic life. As a child, she was sexually abused by her two half-brothers and suffered the loss of several family members. In 1904, Woolf suffered a second emotional setback, and was briefly institutionalised. She entered a loving marriage with Leonard Woolf in 1912, despite having an affair with Vita Sackville-West. Unable to cope with her debilitating depression, Woolf filled her coat pockets with stones and walked into a river in 1941. Flickr, libby rosof
-Juliette Rey
patriarchal values and the construction of women as “others.” Her pioneering text The Second Sex (1949) demolished the myth of female specific traits, and gave her a place in literary history as an iconic activist for women’s rights.
-Becky Fitzhugh
Oscar Wilde may be the very epitome of the tortured artist. Despite being an accomplished poet and playwright, he was imprisoned for sodomy and gross indecency - in other words, being a homosexual in the 19th century. While his work lives on, perhaps most famously The Picture of Dorian Gray and The Importance of Being Earnest, you can’t help but wonder what else could have been if he hadn’t died aged 46, traumatised by his time in prison.
-Dan Struthers Flickr, Smabs Sputzer
Frida Kahlo
Frida Kahlo achieved great acclaim despite suffering a troubled life. Her pieces often reflected on traumas such as her infertility and a near-fatal car crash, in which she was impaled by a steel handrail. In spite of her chronic illnesses, Kahlo continued to stay politically and socially active, and once attended an exhibition opening in a four-poster bed. She is quoted saying that “we can endure much more than we think we can.”
-Bella Pattinson
Simone de Beauvoir is an influential figure in the enduring fight for gender equality. Controversially bisexual, she was a French writer, feminist, philosopher and social theorist, whose work critiqued
L.S. Lowry
L.S. Lowry is a national treasure, known for his instantly recognisable “Matchstick Men” surveys of Lancashire’s working class. A very private man, he was single his entire life and suffered from bouts of depression, exacerbated by the deaths of both of his parents - especially his mother, who he cared for in the years before her death. At this time, he created some of his lesser-known and darker works, strange self-portraits and erotica.
Images (signatures): Wikimedia Commons (WC); WC, Vasyatka1; WC, Connormah; WC, Scewing; WC, Connormah
-Tony Allen
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Arts
UEA Literary Festival: Stephen Fry As Stephen Fry descends the stairs of Lecture Theatre 1, a strange awed hush falls over the crowd. Fry notices this effect he has, a reaction he must be used to by now, and responds with a gentle jab at the audience “thank you for the enormous round of applause” which of course is greeted with laughter and subsequent belated applause. This ability to charm a crowd of many ages, ranging from students in their 20s to locals in their 70s, is due to his diverse career which spans nearly four decades; from Blackadder to QI, from Wilde to Sherlock Holmes and from The Fry Chronicles to his newest book Mythos. It is the latter book which he is at UEA to promote, Mythos: A Retelling of the Myths of Ancient Greece. As the title suggests, Fry retells some classic Greek myths such as Prometheus, Midas and Cupid but in a more accessible voice for a modern reader. Fry proclaims that the book is a labour of love and treats his captivated audience to two readings over
the course of the hour. As one would expect, the tone is light and smattered with Fry’s signature wit and charm as he reads his first chapter, which outlines the beginning of the universe. “Your trousers began as chaotic atoms”, Fry reads, “that somehow coalesced into matter that ordered itself over aeons into a living substance that slowly evolved into a cotton plant that was woven into the handsome stuff that sheathes your lovely legs.” While Fry goes on to discuss his relationship with Greek myths, which began at a young age, and gives us a superb reading of Pandora’s Jar (not Pandora’s Box, as he informs the audience, as this is a mistranslation), sadly there is no discussion of any other aspects of his career outside of the book he is promoting. Even when the floor opens for an audience Q & A, the questions stay safely in the realms of Greek mythology – not even addressing his other fictional and
non-fictional books which, considering it is a Literary Festival, is a shame. The only time he goes off tangent to talk about another matter is when discussing a documentary which explored bipolar disorder in which he asked people: “if there were a button you could press to cure your bipolar, would you press it?” Suffering from bipolar disorder himself, Fry describes how, while upon the surface this may be a simple question for those who are not familiar with the full effects of bipolar, the disorder provides the individual with moments of genius and ecstasy. Of the 40 people he interviewed with bipolar, only four stated they would press the button, which was a fascinating insight he chose to share with us. Despite sticking to principally selling his book, Fry still remains a national treasure. An hour in his company, whether he be talking about Greek mythology or philosophy, is a privilege.
Art and the prison system Hearing how the arts can be such a powerful support tool from a man with years of experience in prison can be truly overwhelming. In conversation with UEA Creative Writing lecturer Jacob Huntley, David Breakspear talked about his journey of reformation from criminal behaviour, emphasising the importance of external support and the need for a radical change in society to enable ex-prisoners to start a reintegration process. The talk, part of the War of Words conference at UEA, discussed the importance of Arts education in prisons and the need for ending the stigma around the prison system. Huntley and Breakspear met through creative writing workshops that Huntley led at HMP Norwich, where, using the same exercises UEA students encounter in their creative writing seminars, prisoners were able to make art out of their most emotional
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experiences. Breakspear commented that liberating oneself through artistic expression provided the support and dignity which is currently lacking in society. Together with other opportunities, such as a radio course with Future Radio, these workshops helped explore the human emotions that social stereotypes and stigmas constantly dehumanise. He insisted on the fact that, while there is a lot of social change needed, art and creative education are able to provide the necessary welcoming and supportive environment towards reintegration. Enabling people to release their experiences and issues could be one of the ways to support the journey of imprisoned men and women towards rehabilitation. Huntley emphasised the emotionality of the art and writing they encountered in Norwich
Image: Public Domain Pictures, Dawn Hudson
-Dan Struthers
prison. You could find truly “amazing artwork” flourishing from the darkest of thoughts, they both insisted. Their strength and truthfulness made some of the pieces award-winning artwork. Indeed, five Koelster awards were given to crafts and poetry created in Norwich prison in 2017. The awards, presented by Koelster Trust charity, encourage the rehabilitation of imprisoned individuals through artistic expression and monitor and support their reformation process. Using his years of experience and his familiarity with the prison system, Breakspear is currently working on several projects that aim at reintergrating ex-prisoners into society and ending the stigma around imprisoned and ex-imprisoned individuals.
-Mireia Molina
LGBT+ History Month Venue’s viewing list
Venue writers have created a film list of some of the highlights of the past and present moments in gay rights Cabaret (1972) The diaries of Christopher Isherwood are like a polished silver cigarette case – beneath all that glitter and shine, there were some cancerous lines that could really kill. But God, did they taste good. Catty, melodramatic and envious, Isherwood could be a devilish critic, yet he is the godfather of queer British autobiography. The delicious vice of his sexcapades in the “boy bars” of Weimar Berlin may have been transposed to fit a heterosexual narrative in Cabaret, but it retains the hedonistic
spirit of those diaries. The feverous energy of Berlin’s nightclub culture is illustrated in a devastating canvas of crossdressing and sexual fluidity, a vibrant underworld shining beneath the bootheel of fascism. A sumptuous evocation of early-30s flair, coated in a rich, brooding colour palette by cinematographer Geoffrey Unsworth, Cabaret remains timeless. The film is an ecstatic troupe of pleasure and sparkle, dancing defiantly in the shadow of Nazism.
- Liam Heitman-Rice
Beautiful Thing (1996) Originally a play, Beautiful Thing was born in the immediate aftermath of the Thatcher era and during the AIDs crisis. It stands out among the typically more miserable depictions of LGBT+ people during the 90s because of its happy ending- in a time when Section 28 was prohibiting local authorities from “promoting homosexuality”, seeing two
gay boys accept themselves onscreen was hugely subversive. The film follows two working-class teenagers, Jamie and Ste, as they explore their attraction to one another and try to navigate the often tricky process of coming out. It’s charming and poignant and also pretty witty; after stealing a gay
Boys Don’t Cry (1999) Released in 1999, Boys Don’t Cry is a biographical film dramatising the story of Brandon Teena, an American trans boy trying to pass and falling victim to a brutal crime when discovered. While not portrayed by an actual trans actor and failing in that respect, Hilary Swank offers a wonderful interpretation of the character, making the film a sensitive and careful exploration of Teena’s story.
The supporting cast is talented as well, and while most of the characters are greatly unlikable if not straight-up evil, they are well-rounded and interesting nevertheless. The film is shot beautifully, capturing the atmosphere of 90s road trips and teenage years, and conveying the loneliness that comes with keeping a
magazine out of curiosity, Jamie quite confidently informs Ste what “frottage” is (“It’s yogurt. It’s French.”). Beautiful Thing offers an adorable coming of age story and is a deliberate departure from the stereotypical depictions of gay men that were certainly abundant when it was released and still exist in popular culture today.
- Amy Nash
part of yourself secret and possessing an identity that is shunned and considered unacceptable.The ending is heartbreaking and ugly, frankly quite difficult to watch (various trigger warnings here!), but it is an important film, and a must-watch for LGBT+ History Month.
- Yaiza Canopoli
Blue is the Warmest Colour (2013)
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When Blue is the Warmest Colour came out, it was a controversial hit which shook many an award show and many an ignorant straight man. Its plot line is simple but effective – two girls meet, fall in love and fall apart – but the way that it’s produced is magnificent simply because of the realism and the
reality of the piece. Straight people get these plot lines all the time, but lesbians don’t really get good realistic rom-com type of films. And, what’s more, the characters fight like a real couple and make up like a real couple. They say those stupid things and show regret like real humans, real people.
The film shows friends making insensitive jokes, and people reacting badly too, just like coming out is like in real life. It’s a fantastic relatable film for any lesbian, bisexual or otherwise female orientated woman, so for that reason it is definitely worth the watch.
- Freya Barrett
Images: Film reel - PublicDomainPictures, edited by Tom Bedford - Dawn Hudson, Cabaret shot - Wikimedia Commons - Allied Artists Pictures Corporation
Film
Black Panther shows its claws As the last instalment before the heavily anticipated Infinity War, Ryan Coogler’s Black Panther must walk the line between building the excitement to the aforementioned climax of the Marvel Cinematic Universe. It must also provide a satisfying standalone story for a character introduced in a movie that wasn’t his own, and continue Marvel’s current trend of releasing more director - driven productions. It’s safe to say that the movie more than delivers. Set a week after the events of Captain America: Civil War, which included the death of his father King T’Chaka ( John Kani) , T’Challa (Chadwick Boseman) is left with the great responsibility of ruling his hyper-advanced, isolated African kingdom while being its super-powered protector: The Black Panther. However, his reign is threatened when a challenger, who goes by the mantle “Killmonger” (Michael B. Jordan), seeks to overthrow Wakanda’s protector and destabilise its way of life. The Marvel formula is well-known: protagonist-centred, light-hearted humour, inventive set-pieces and references to the wider universe. Coogler
A lot of what makes the movie so great hinges on Jordan’s Killmonger being the most complex, well-acted and uncomfortably sympathetic antagonist Marvel has ever produced, breaking their problem of boring villains.
takes this formula into deeper and more daring territory in a similar fashion to how he handled the Rocky franchise with Creed. Black Panther doesn’t just focus on its protagonist: an entire new setting is realised in a way that manages to be both alien and familiar, while the royal family drama shows shades of Shakespeare re-contextualised for the contemporary moment. Seriously, think a re-imagined Hamlet with colonial undertones that doesn’t shy away from making its protagonists uncomfortable with their own ideologies and the legacy they’ve inherited.
There’s more to be said about the film than how it fits in with the MCU and the contemporary direction of cinema itself; it’s also just a damn fine movie. Aesthetically, Wakanda is beautiful, the Kendrick Lamar-driven soundtrack furthers the movie’s uniqueness, and the supporting cast makes the film tick just as much as its eponymous hero. Interestingly, the weaker aspects of the movie are the more expected Marvel tropes; the action scenes aren’t as groundbreaking as the rest of the movie, and not all of its jokes land. Although Black Panther is held back by its obligations to franchise expectations, at its best, it’s a superhero experience that takes its established universe into new thematic and narrative territory, conscious of its own cultural importance.
Don’t judge a film by its statistics
Rotten Tomatoes has proven to be quite the influential tool in a modern film’s release, with many quick to judge a film based on its rating alone. Rotten Tomatoes is a website that measures how many critics give a favourable review to a film, in the form of a percentage. If 60 percent of the reviews are deemed positive, the film is rated as ‘fresh’, while anything lower is ‘rotten’. Of course, there are limitations with this model. Firstly, there is the notion that a film can be reduced to a statistic. Take the recent release of Darren Aronofsky’s mother!, a film that is intentionally designed to be divisive. It attained a 68 percent rating. To those unaware, 68
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percent would suggest that the film was pretty good, but perhaps flawed in some way. However, the rating fails to divulge that mother! is a polarising film, with a mixture of 1-star and 5-star reviews. How are you supposed to gauge from a rating the varying attitudes and opinions to these reviews? All 68 percent tells you is that 68 percent of the critics featured in this poll would give a positive review to the film. Another famous event that bought Rotten Tomatoes into the limelight was the famous critical backlash to Batman v Superman: Dawn of Justice. So-called “fans” lost their heads over the damning 27
-Joem Opiña
percent score (therefore, judged as ‘rotten’) and this was furthered by Suicide Squad’s also less-than-stellar critical reception, also scoring a measly 27 percent. Petitions were created from dismayed fans to “close the site down”, who thought these scores had been rigged and also believed that they could damage the legacies of these films. As flawed a system as Rotten Tomatoes is, one needs to understand that it is just an indication of a film’s general consensus, and not something that dishes out its own score. As film critic Mark Kermode puts it, “aggregate scores aren’t criticism, they’re just number-crunching.” Watch a film for yourself to form your own verdict - don’t judge it by a statistic.
- Oscar D. Huckle
Images: claws - Wikimedia Commons - triiiple threat; Black Panther - Walt Disney Studios Motion Pictures; tomatoes - flickr - Michael
Film
Loveless is anything but Andrei Zvyagintsev’s Loveless is an immaculate, sharp, powerful drama set in contemporary Russia. True to its name, the film is a bleak tale of dispirited couple Zhenya (Maryana Spivak) and Boris (Alexey Rozin) whose love for each other and for their twelve-year-old son Alyosha (Natvey Novikov) has been replaced by resentment and recriminations that leave them selfish and blind to his suffering. Loveless seamlessly blends themes of nationalism, consumerism, and orthodox Christianity, while depicting the effects they have on contemporary relationships, in which love has become a disposable commodity. With an exhilarating performance from the young Novikov, Loveless is littered with heart wrenching scenes that show
Alyosha as an expandable souvenir from an unlucky marriage, that neither Zhenya nor Boris have space for in their brand new, and yet untainted, lives. This is until, after witnessing one of their fights, Alyosha disappears. The cinematography and setting emphasise the film’s title, as well as the characters that inhabit its world. From chiaroscuro lighting, typical for noir films, to eerie shots of icy landscapes, the world presented to us is barren; far from the poetic imagery of a nurturing Mother Earth. Zvyagintsev does not offer us a glimpse of hope in any frame, but rather complements each element of the film through an exaggerated despondency. In short, the word “loveless” seeps from every corner of the film. It is
not this, however, that makes the film so spectacular, but rather the understanding, or perhaps even sympathy, that a viewer can experience for the parents, who are so deeply flawed. With a marriage resulting from an unplanned pregnancy, Alyosha’s character is largely symbolic, questioning the archaic idea that a new life is always a blessing and that children are the essence and the glue of a family. Through this beautifully sombre story Zvyagintsev explores and questions societal beliefs and ideals of parenthood, and the bond between parents and their children. Is the love a parent holds for their child really something so pure and instinctive?
The Netflix Paradox Suddenly, Netflix feels like a place where studios can dump films doomed to underperform in cinemas. It’s bad timing that the big Netflix film released prior to The Cloverfield Paradox was Bright, another massive failure with critics. With two Netflix blunders in a row, the tired argument that Netflix is killing cinema has unfortunately been reignited. We’ve been here before: from Beasts of No Nation being snubbed at the Oscars to Okja being booed at Cannes simply because a Netflix logo appeared on screen for a few seconds, Netflix has always been treated with double standards. Only now do its critics possibly have a point. The Cloverfield Paradox and Bright are success stories that have absolutely no right to be. Bright was so popular that a sequel is being made, and while we are yet to see the figures for Paradox, Paramount sold the film to Netflix for $50 million, after Paramount’s chairman felt that it would not be profitable with a traditional theatrical release. As a result, with a budget of $45 million, Paramount made Images: Netflix
- Sara Lapin
an instant profit and saved themselves from marketing and distribution costs for what seemed to be a certified box office bomb.
loss in doing so, after all, and in turn the film is able to remain relevant. This means that Netflix will always be keen to pick up any “big” movies, regardless of quality.
However, despite the studio’s fears, Paradox seems to be the talk of the town. While one could argue that this is due to it being a Cloverfield sequel and its unique Super Bowl marketing, there’s a more troubling reason; when a Netflix film has big stars, a budget or anything remotely “cinematic”, it suddenly becomes an event movie that not only everyone has to see, but more importantly, everyone can see. The streaming service makes the viewing experience so easily available that even with a film as bad as Bright, users will be able to watch it regardless. There’s little
Let’s not forget that Netflix routinely picks up independent films from Sundance, South by Southwest and small festivals that would otherwise fall into obscurity, and have also produced spectacular originals themselves. So, while the precedent that Paradox has set for studios is worrying, ultimately the good that Netflix does for film far outweighs their few missteps. Although let’s be a little bit more wary of the upcoming Annihilation that looked so promising...
- Marco Gagetti
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Film
10 great scores and soundtracks
In memory of the late Johan Johansson, our writers choose their favourite movie music...
Sicario
Sicario is perhaps the late Jóhann Jóhannsson’s best work, his score fitting in perfectly with the film, a crime thriller on the war on drugs. The score is dark, brooding and unearthly and as Johannsson himself described it, like “the throbbing heart of a beast charging at you.” - Oscar D. Huckle
Social Network
Deservedly winning an Oscar, Trent Reznor and Atticus Ross’ electronic-heavy soundtrack brilliantly underscores the backdoor hacking and backstabbing of David Fincher’s modern epic, and contains a fantastic reimagining of Grieg’s Hall of the Mountain King. - Tom Hall
Interstellar
Hans Zimmer’s magnum opus is strangely the most un-Hans Zimmer-y score he’s composed. No loud Inception BWAMMs and no epic The Dark Knight anthem. Instead an organ guides us from the beautifully moving Stay to the nail biting finale No Time For Caution. It’s a tragedy it didn’t win the Oscar. - Dan Struthers
Baby Driver
Edgar Wright’s Baby Driver was one of 2017’s biggest films. One of the main reasons for this was its fast-paced, retro soundtrack that accompanied the film’s chase scenes. With songs from The Beach Boys and Blur, the soundtrack was an instant hit amongst audiences and critics – as is evident in its Oscar nomination. - James Mortishire
The Lord of the Rings trilogy
Peter Jackson’s epic fantasy trilogy The Lord of the Rings is accompanied by Howard Shore’s equally epic score. The music elevates the story, ebbing and flowing as the plot does and injecting emotion into the world of Middle-earth. No fantasy film since has been able to match this achievement. - Joel Shelley
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Koyaanisqatsi
For a film whose title means “life out of balance,” Philip Glass provides a wild, frenetic and hypnotic score which employs his minimalist style to maximum effect. Using aggressively repetitive melodies and a spine-tingling choir, Glass fuses sound and image to translate the devastating quickness of modern life into a rapid surge of music. - Liam Heitman-Rice
How to Train Your Dragon 2
How to Train Your Dragon 2 is a stunning development of John Powell’s own Celtic-inspired themes in the original DreamWorks animation. Flying With Mother is a particular treat which uses intricate choral melodies and layering to showcase the wonder of these creatures and Two New Alphas is simply epic. - Joem Opiña
This Is Spinal Tap
This Is Spinal Tap’s soundtrack strikes a perfect balance; it pokes fun at the heavy metal scene without slipping into overt mockery. Comedic gems like Tonight I’m Gonna Rock You Tonight and Sex Farm are cleverly written to capture the spirit and silliness of the genre. They’re surprisingly catchy too! - Charlie Hunt
Blade Runner 2049
With high expectations set by Vangelis’ iconic score for the original, Hans Zimmer and Benjamin Wallfisch certainly prevail. With the brooding, whirring and hypnotic synth motifs, this score strikes the perfect balance between being melodic and violent –particularly Mesa and Seawall - encapsulating the dark, dystopian and electric dream world of the film. - Eva Wakeford
The Graduate
The Graduate (1968) helms one of the greatest soundtracks known to film, pairing Simon and Garfunkel’s music with that of Dave Grusin. The final scene is a masterclass in film: Benjamin and Elaine on the bus, their emotional state unclear; The Sound of Silence slowly fades in as their story slowly fades out. - Alex Caesari
Image: Embassy Pictures
Fashion
Campus catwalk
Misha International Development
A good fleece is a winter staple that’s tragically underrated nowadays. This cutand-sew Penfield edition was one such underappreciated item, but thankfully it saw new life once it hit the sales racks in January. For the rest of her outfit, Misha went for minimal, understated classics like the grey denim skirt and black desert boots that do their job and let the multi coloured fleece attract all the attention.
Jasmine MA Media, Film & Television
Jasmine’s lively winter outfit is a great example of how to liven up a cozy, comfortable look. Doing the classic “sweatpants with Uggs” in such a unique way is already a feat in itself, but the added flair in the pink Burberry scarf and round brim hat makes this our favourite of the week.
Images by Bobby Onanuga
Benie Media & International Development
Benie did this super on-trend look to perfection with coat/layered hoodie combo. A pair of charmingly worn-in Converse add an extra bit of personality. The real killer detail in this outfit that gives it its low-key charm and air of sophistication is the balance of all the colours.
- Bobby Onanuga
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Fashion
Beginner’s guide to a skincare routine Beautiful skin starts with a proper skincare routine. There is no point slathering your face in foundation and concealer if the skin underneath isn’t cared for. This is especially important at this time of year, when your face is exposed to the harsh weather outside and the drying heat inside.
Toner
Next, if you want, you can apply a toner or acid. Toner is recommended for oily skin, as it balances the natural oils your face produces in the day. Whereas acids, such as hyaluronic acid, help your skin to absorb moisture, recommended for those of us with dry skin. The Ordinary (available on ASOS) has some great, affordable options for these products.
Eye cream
It is also important to invest in a separate eye cream to your usual moisturiser, as the skin around your eyes is 40 percent thinner than the skin on the rest of your face and is typically more sensitive. I recommend the La Roche-Posay Toleriane Eye Contour, as, although a little more expensive, it has worked wonders on my eyes to reduce puffiness, redness and dark circles.
Skin type
Not all skincare is perfect for all skin types, and if you’re using the wrong product formulas it can actually be damaging to your skin. So, before you get started, it is important to work out what skin type you have, whether that’s dry, oily, normal or combination skin. Once you’ve worked out what skin type you have, you can start looking for products – keep an eye out for labelling which often highlights which skin type the products are aimed at.
Cleanser
The first key product you will need in your routine, before you even think about moisturising, is a cleanser, which will clean and moisturise your skin ready to start your routine.
Lip care Moisturiser
Face moisturiser is probably the most important part of your routine. Skincare experts typically recommend two separate ones for day and night. Nivea are really good for moisturisers as they have a complete range of products for all skin types, again, for a very affordable price.
People often forget about lips in a skincare routine so it is important not to forget to use lip balm regularly – especially if you wear lipstick often! Nivea is also good for lip balm and Burt’s Bees also have delicious-smelling flavours.
There isn’t any need to spend mega bucks on these products, as long as they work for your skin. And the important thing to remember is to keep it simple! Changing up your routine too much will encourage sensitivity and redness. So, find your holy grail products that work for your skin and stick to them. With any luck your skin will be glowing and healthy in a matter of weeks!
-Evangeline Stanford
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Images: Pixabay: @silviaita
Fashion
Accessories for men Clothes, I think we can all agree, are a necessity. Society almost universally condemns those who refuse to wear clothes and indeed in most nations’ clothes are a must by law. Accessories, on the other hand, are less vital to the general day-to-day running of one’s life. This does not, however, mean that they aren’t important.
Belts
Belts are the most basic of accessories. Unlike many, they can actually serve a purpose, but that is not to say that the way they look doesn’t matter either. Those of you who might be less than inclined to use animal products might want to look at plastic alternatives if you want the same look as leather, or fabric if you’d rather go in a completely different direction. Either way there are a couple of things to be aware of: colour and buckle. The colour of your belt should always match the colour of your shoes, at least if they are leather. A brown belt with brown shoes or a black belt with black shoes will give you a well put together look, especially with a nice tucked in shirt. Be aware though, brown shoes, and by extension a brown belt, is usually a no-no with black trousers. Try blue instead, anything from denim jeans to a blue suit will look great.
Watches
Jewellery is a topic for a whole other article, but the humble wristwatch is always worth mentioning. A classic
accessory for any gentleman, the watch does seem to be going out of fashion these days, now that everyone can check the time on their phones. But for those that do want to keep the tradition going, there are, as ever a few considerations. As with belts, leather strapped watches should be colour matched with the rest of your leather items. Alternatively, fabric or plastic strapped can be any colour. Go for a bright, bold colour if you want a statement piece, or a subdued greyscale design if you’re looking for a more understated item. Metal strapped watches are another possibility, and are very versatile, as they go with pretty much everything. Do try to avoid massive, sparkly metal watches though. In my opinion, even as a statement piece, they can come across as very ostentations and unnecessarily flashy.
Neckties
More of an item of clothing that an accessory, but neckties are a sure thing for most guys in their lives. Many hate them, some don’t mind them, very few love them but, for most of us, they will be expected at least a few times a year. The main consideration here is always going to be colour. If you’re wearing a white shirt, it’s open season. You can wear whatever you like and it at the very least won’t clash with anything, though you do still have to consider the colour of your trousers and blazer, if you’re wearing one. For any other block colour shirt, your best bet is to go for a complementary colour different from
Image: Unsplash @andrea_natali, @willpower, pixabay: MatthiasShild
the shirt. If you really want the same colour tie, make absolutely sure that the two are different shades at least. For shirts with a pattern, try to match the tie with the colour of the pattern and only wear block colour ties.
Much like colour matching, pattern matching is difficult as hell and often not necessary. Other than that, bear in mind a few other things: stick with classic knots, a Windsor or halfWindsor usually, and avoid super skinny ties. The ties of old that were half the width of your body might have gone out of fashion, but ties that are just an off cut of fabric about an inch wide all the way down are just as bad in the other direction. A tie with about thee inches at its widest will be slick and modern without it looking like you tied a shoelace around your neck. Oh, and never wear a black tie with a white shirt unless you’re going to a funeral, or you’re a spy.
-Sean Bennett
13
Photo - Matt Martin
A son’s tribute to
cilla
As the son of Liverpool legend Cilla Black, I expected Robert Willis to have a trace of his mum’s famous scouse accent. This was not the case. Instead, Robert sounds very BBC British as he tells me proudly about his mum, and his stage show Cilla: The Musical.
Cilla Black is perhaps best known to us millennials as the charming and charismatic host of Blind Date, the original Saturday night dating show. What is lesser known is that she enjoyed an exciting and incredibly successful singing career, achieving two number one singles in 1964 and eleven subsequent number ones between then and 1971. Perhaps her most famous single, Anyone Who Had A Heart, was the UK’s biggest selling single by a female artist in the 1960’s. Oh, and she was childhood friends with John Lennon. Despite growing up with a British icon for a mum, Robert is quick to tell me
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that he and his brothers enjoyed a normal childhood. “Her fame was part and parcel of our upbringing,” he reveals. “I was born in 1970 when she already had a successful pop career, so it wasn’t like she became famous. Our parents wanted to make sure we had as normal an upbringing as possible, so we weren’t spoiled. They made it obvious to us at a very early age that what they did was their work, and that they were parents when they were not working. They wanted to spend as much time as possible with their family, which was what was most important to them.” Robert’s father – also called Robert, though better known as Bobby - was a songwriter himself, before becoming Cilla’s manager. When Bobby died in 1999, Robert took over the role. After enjoying a television career spanning over a remarkable forty years, Cilla and Robert were approached by screen writer and television producer
Jeff Pope, who was looking to create a television series that told the story of Cilla’s career. Ultimately, this is not what the ITV mini-series, Cilla, which aired in 2014 turned out to be. “It ended up being about her pop career, and finished at the start of her TV career, which is the part that everyone knows about. But no one knew the actual details of her music career, or the details of my parent’s relationship.”
“No one knew the actual details of her music career, or the details of my parent’s relationship” Initially, Robert tells me, Cilla had some qualms about seeing her early life dramatized for a mini-series. “At that point, the model for TV dramas was revealing salacious or unsavoury details, whereas this wasn’t going to be like that. What we were doing was telling the love story between my mum and my dad, and the story of her ambition. We weren’t
“if we’d done this show and it hadn’t worked, it would have been heartbreaking” looking to deconstruct her character. And when she understood that, she let us get on with it. She trusted me, and she trusted Jeff, and she knew we would do the upmost to do the right thing: tell her story.” And Cilla was right to trust Robert and Jeff; the series enjoyed a great reception from the British public, and indeed, from Cilla herself. “She didn’t want to watch it initially. She was worried she wouldn’t like it. But we sat down together and watched the whole thing. To start with she was like ‘hang on a minute, our front door wasn’t that colour!’” Robert laughs. “She was noticing those initial things – it was her life after all. But she got over that after about ten minutes and just loved it. She was just enjoying the drama.” After the success of the series, Robert and Jeff began to wonder if the story and the music would work for a stage show and
began working on a first draft. “Mum was very much in favour of that!” Robert tells me. Sadly, Cilla passed away at her holiday home in Spain at the age of 72, in 2015, before the musical premiered. “Initially after her death, it would have been easier not to do [the musical].” Robert reflects. “If the TV drama hadn’t worked, it wouldn’t have been the end of the world… But if we’d done this show and it hadn’t worked, it would have been heart-breaking. But the risk was worth taking. Partly because I’d lost both parents; the show isn’t just about my mum, it’s about my dad as well, and doing right by their memory was a big pressure. It was something I promised her I’d finish; it was a labour of love. And the payoff has been a fantastic show that entertains and moves people. That was what she was about.”
“[Cilla:the musical] is a fantastic show that entertains and moves people. and that was what she was about”
Robert is extremely proud of the musical and the TV series, but he is also clearly relieved that they have been received as well as they have. “A lot of these shows, the majority of them actually, don’t work out. But thank God it did for us. I was a bit reticent before it opened; I knew we had everything ready, that Kara [Lily Hayworth, who plays Cilla] and the rest of the cast were excellent. But as much as you think you have all the ingredients until you see it you just don’t know. It was the same when the TV drama came out on DVD. I said, you know what, if people don’t get it, that’s ok, I can live with it. I’m proud of it. Thankfully, everyone got it. But you never want to be that presumptuous.”
“The drama empowers the music, and the music empowers the drama” It’s not a jukebox musical. The drama is there to go with the music. The music empowers the drama, and the drama empowers the music.” And Robert’s favourite music from the show? This is the question that stumps him. “I’ve got lots of favourites, but no real one. Anyone Who Had A Heart is a lovely dramatic moment. The first time I saw it, it was outstanding. And Liverpool Loverboy, as she used to sing that to us as kids. But I guess it would have to be Anyone Who Had a Heart.” Robert leaves me with something that hadn’t yet occurred to me, but helps me understand better exactly why he is so proud of his mum and her achievements. “Women [in the 1960s] – and today – tend to be judged on how they look, and not so much on what they have to say, or what their talents are,” Robert says thoughtfully. “Whereas Cilla’s force of personality and character were what came through. And I think, in that respect, she was certainly ahead of her time. Although things are much better now, we still have a long way to go. But she certainly did her bit.”
Cilla: The Musical will be at Norwich Theatre Royal 17-21 April
Wikimedia Commons - Nationaal Archief
- Kate Romain
15
Music
The 2018 festival round-up Reading and Leeds
The annually-disappointing conveyor belt of trite known as Reading and Leeds festival once again churns out a homogenous indie pâté for this year’s GCSE recipients. The surprising lack of indie on the line-up and the strange presence of outdated noughties poppunk, a genre now close to becoming dad-rock, has led indie fans to look for other festivals to meet their demands of samey four-piece white male bands who know three chord progressions between them. Sadly for them, line-ups of this persuasion are on the decline, for indie music hasn’t done anything new since 2011, whereas hip-hop, trap, grime and dance are continually pushing boundaries and creating new sounds. Resultantly, they are attracting significantly more attention from this generation of teenagers, displacing guitar music almost entirely. The R+L line-up has to reflect this. It can’t have indie bands forever if
Bibio Lover’s Carvings
- Joel Shelley
A song about the end of winter and beginning of spring, Spring Day is a brilliant song to welcome the warmer weather. Spring Day is a soothing song
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Boomtown
With a traditional emphasis on festival infrastructure instead of bringing in big names, Chapter 10 has subverted this trend by offering Gorillaz, Die Antwoord and Limp Bizkit as headliners, with other big acts like Morcheeba, Enter Shikari, and Soul II Soul. Despite the firm guarantee of face-melting bass, Boomtown’s biggest strength has always been variety. Beyond having multiple themed districts, which put the “town” in Boomtown, its plethoric line-up regularly offers something for everyone, from reggae to death metal, from jump-up to spoken word, from psy-trance to country rock. Treat yourself and buy a Boomtown ticket.
Bestival
As a more toned-down, less nitty version of Boomtown, Bestival once again supplies a decently varied line-up with multiple themed areas. Bestival doesn’t fall short on the promise of decent indie, with Django Django, First Aid Kit, and London Grammar, balanced with excellent dance acts like Mura Masa, Jorja Smith, and Flava D. Those who were left unsatisfied by Reading and Leeds line-up, Bestival is the next best thing. Not only does it serve you quality indie on a silver platter, but those musically unadventurous will experience the genre-defying awe of Grace Jones and Thundercat, the mind-bending renditions of Talking Heads classics by the London Astrobeat Orchestra, and hot fiery sets from DJs like Craig Charles, Norman Jay, and Gilles Peterson. Bestival has done its bit this year.
-Charlie Walker
Venue’s spring songs
This chilled-out song from English producer Bibio comes in two halves, starting out with a casual guitar melody before moving to an upbeat rhythm complete with cowbells and lyrics. The division forms a perfect structure for those spring days in which you feel nostalgic about the recent wintery past but also hopeful for the coming summer.
BTS Spring Day
the kids don’t dig it. Those complaining about the line-up have completely missed 2017’s big boys: Kendrick, J Hus, My Nu Leng, Ski Mask, Dua Lipa, Post Malone, and Brockhampton make this line-up the best in years.
that fits perfectly with the upcoming season. BTS’ song about the change in seasons is a metaphor about seeing the silver lining in bad situations. Spring Day is a song I listen to when I need cheering up.
Fifth Harmony I Lied
I don’t know why but whenever I listen to I Lied, I get springtime vibes. A song about someone who lied about being in love, I feel like it’s the end of something. But along with that becomes beginnings and renewal - a concept I associate with spring. Spring comes after winter, warmth after cold I Lied epitomises that feeling
Frank Turner The Opening Act of Spring
Jangly guitar and mandolin combo, folky lyrics, singing about birds and having “Spring” in the name? No doubt that this is Frank Turner’s certified Spring anthem. The Opening Act of Spring is the aural equivalent of sitting in a meadow watching birds and constructively self-loathing. For those who love charming troubadours in their mid-30s who can occasionally make an (almost) positive song, look no further than this cut from Frank’s album Positive Songs for Negative People.
- Nick Mason
-Amy Newbery
Image (left to right): Wikimedia Commons, Seamann, Flickr, Wonker, Wikipedia, Bestival
Music
Spring King: surf-punk Manchester four-piece Spring King stopped off in Norwich on their first tour of the new year. These guys are no strangers to the “fine city”, previously selling out Waterfront last year. As doors opened on this cold Tuesday evening, fans started to slowly fill up the venue, in anticipating a night of energetic indie infused goodness. First to take to the stage were London trio Calva Louise. Combining blissful harmonies and a raw punk edge, I was immediately mesmerised by the infectious energy radiating off the stage. Frontwoman Jess displayed a remarkable vocal range as she took control of the stage and won the crowd over from the get-go. Calva Louise are a band to watch out for in 2018 - their perfect blend of indie punk music and irresistible hooks are refreshing to see from an up and coming UK band. As the room started to reach capacity, Fizzy Blood were next up. Lead singer, Benji Inkley, implored the crowd to move forward and the band kicked off their set with psychedelic pop banger Summer of Luv. Fizzy Blood’s somewhat intimidating stage presence seemed to supplement their off-kilter fusion of grunge and alternative rock. With snarled faces and thundering riffs, Fizzy Blood have devised a sound which sets them apart from most bands in the contemporary alternative music scene. Benji’s impressive vocals soared above the band’s distortionridden arrangements and although Fizzy Blood’s music may not be
conventional in structure or sound, the band provided hook after hook which are sure to get stuck in your head. As the headliners got ready to take the stage, people rushed in from their smoke breaks and anticipation grew. The band emerged from the darkness and a roar of excitement erupted from the crowd. Spring King grasped the audience immediately into the palm of their hand, opening with fan-favourite, Detroit. As the mosh pit rippled in size, pulling people in from all directions, the band soaked all this energy in and jumped around the stage in elation. With new songs sprinkled throughout the set, Spring King’s new material seems to display their classic surf punk charm with added progression in terms of unique song structure. As Spring King ripped through some of their notable hits such as: Mumma, City, and Who Are You, the band’s energy does not dip one bit. Drummer/singer (Tarek Musa) kept the crowd hyped and showed great stamina to churn out fast paced banger after banger. Spring King’s punchy group vocals and artpop style truly separate them and place them at the top of the scene. If you ever get a chance to see Spring King live, I highly recommend jumping at the opportunity. 2018 could be the year Spring King are propelled to global success.
-Joe Maguire
Free Throw Tennessee emo-rockers Free Throw excel at making fun and lively music, their tongue often planted firmly in their cheek, but with the ability to hit hard emotionally when it matters. Their return to Norwich takes place in the Waterfront Studio, the upstairs attic best known as home of RockIt and the £5 minimum card spend. It is a lifeless room at the best of times and with the skeleton crowd there the stars are not in Free Throw’s favour. However, the band have chosen a stellar support lineup that do the impossible and infuse the room with life. Local lads Prey Drive bring a massive atmospheric breed of rock to their performance, reminding the room of the heyday of old-school emo, sounding like a blend of Thrice and Deja-era Brand New. Dryjacket follow Prey Drive with their own take on Midwest emo that is both emotive and impressive, with complex song structures and instrumentation that fills the room, whilst their banter with the audience is light-hearted and compelling. With a room full of enthusiasm, Free Throw come on to lap up the energy. Bouncy, joyful and downright impossible to dislike, the band seem thrilled to be here. They belt out banger after banger, hitting fever pitch with the chorus to Tongue Tied, bouncing between vocalists as they scream, sing and shout about heartbreak. It’s hard to make an empty room feel full. In doing so a band must bring enough energy to focus you on them and not the space around you. Free Throw, Dry Jacket and Prey Drive all know how to do it. They fill the space with sound and draw attention with an immediate honesty and intimacy that cannot be faked or simulated. Free Throw are a testament to the brilliance that can come from a good lineup choice and simply enjoying yourself on stage.
- Nick Mason
Image: Free Throw at Waterfront Studio by Nick Mason
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Music
Franz Ferdinand: not quite ascending In an age of Soundcloud rap and Ed Sheeran, it’s easy to forget just how much mainstream music has changed over the two decades of the 21st Century. It was only a little over a decade ago when the NME served as a gateway for indie bands into the charts, championing skinny jean clad groups such as The Libertines, The Strokes and Franz Ferdinand. While the first two have officially given up on being anything but a festival headlining nostalgia trip, the latter Scottish band have arguably been forgotten across public consciousness. Their influence has not stretched far beyond their biggest hit, Take Me Out, being played in student unions up and down the nation. It is possible that the acclaimed dance-punk of other bands (ahem; LCD Soundsystem) causes their sound to be slightly less exciting than it was 15 years ago. With the departure of guitarist Nick McCarthy in 2016, new album Always Ascending had a lot to prove. Were Franz Ferdinand able to recapture what made them so loved nearly fifteen years ago? The result is a surprisingly fun listen. Lead single and opening title track
Always Ascending is the quintessential sound which defined their dance-rock style. With exciting drum fills and smooth lead vocals, the song justifies being the longest song on the record. What ensues after the opening track is a series of songs that never stray too far from the classic “Franz” formula of groovy instrumentation and playful vocals. While this often results in repetition and unoriginality (specifically on tracks Lazy Boy and Paper Cages), the band’s undeniable chemistry and charisma prevents the album from feeling stale.
think I was listening to 1960s Leonard Cohen, despite a slightly dodgy lyrics about celebrity culture and paparazzi. Overall, Always Ascending is the sound of a band aware of what made them so popular in the first place. The ten tracks, bar a couple of exceptions, never stray far from the happy-go-lucky and fun indie rock which catapulted them to the status of indie nightclub gods.
-Fin Aitken
The addition of keyboard player Julian Corrie on a number of tracks adds interesting and varied layers to the instrumentation. This can be seen on the Human League-esque track Lois Lane, which features an interesting blend of synth pop and post-punk. Similarly, Corrie’s fairground organ on Finally perfectly complements Kapranos’ breezy and carefree crooned vocals. Another highlight on the record is the slow and solemn The Academy Award. The track’s fingerpicked acoustic guitar and solemn vocals almost made me
The Oscars: too many omissions With the Academy Awards looming, now seems like a suitable time to take a look at the Best Original Score nominees. They are: Alexandre Desplat for The Shape of Water; Carter Burwell for Three Billboards Outside Ebbing, Missouri; Hans Zimmer for Dunkirk; John Williams for Star Wars: The Last Jedi; and Jonny Greenwood for Phantom Thread. Whilst most of these scores are fairand fit well with their respective films, none of them represent their composer’s best work. Zimmer or Greenwood probably have the strongest chance of winning due to the warm critical reception of
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their scores and how important they are to their respective films. Music is a key feature of both Dunkirk and Phantom Thread; Zimmer’s score does a lot of heavy lifting in a film largely bereft of dialogue, and Greenwood’s score swoons and soars with the drama portrayed on-screen. That said, Desplat also has a chance of winning if The Shape of Water sweeps the board with its mammoth 13 nominations. It would make sense for Desplat to add to the tally if this situation does happen. Carter Burwell’s score has some great moments but doesn’t have a chance of winning, and John Williams’ nomination is
laughable. There’s no doubting the stature of this great composer, but his score for The Last Jedi is mainly a recycling of past themes. A more worthy field of nominations would include: Brian McOmber for It Comes At Night; Clint Mansell for Loving Vincent; Marco Beltrami for Logan; Max Richter for Hostiles; Michael Giacchino for War for The Planet of the Apes - all great and deserving scores that are very memorable.
-Oscar Huckle
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SHAM 69 (1977 LINEUP) + UK SUBS + RUTS DC + EXTREME NOISE TERR Fri 25th • 18.00 • WF+WFS £28.00
THE EXPLOITED + THE MEMBRANES + SPEAR OF DESTINY + CRISIS + ANDY BLADE
Sat 26th • 18.30 • WF+WFS £28.00
JUNE THE MARLEY EXPERIENCE + THE DOWNSETTERS Fri 1st • 18.30 • WFS £15.00
THE SMYTHS “UNITE AND TAKE OVER - THE BEST OF THE SMITHS & MORRISSEY” Sat 2nd • 18.30 • WFS £15.00
+ THE BON JOVI EXPERIENCE + WALKWAY Fri 4th • 18.30 • LCR £22.00
PUBLIC IMAGE LTD
SHOWHAWK DUO
Thu 7th • 19.30 • WFS £15.00
Sat 5th • 18.30 • WFS £18.00
THE METEORS - “THE POWER WILKO JOHNSON OF 3” TOUR + SPECIAL GUEST: HUGH
THE MOON BRIGHT LIGHT BRIGHT LIGHT WALK Tue 10th • 19.30 • WF £18.00 Wed 14th • 19.30 • WFS £9.00
+ CKY + DANKO JONES Thu 19th • 19.30 • LCR £24.50
CORNWELL & BAND Sat 5th • 18.30 • LCR £25.00
Wed 6th • 19.30 • WFS £15.00
DANNY BRYANT
ABSOLUTE BOWIE
Sat 9th • 18.30 • WF £13.00
CLOUDBUSTING - THE MUSIC OF KATE BUSH Sat 9th • 18.30 • WFS £16.00
BUZZCOCKS, THE THE BEAT PROFESSIONALS (EX SEX PISTOLS) , THE VAPORS (ALL Sun 10th • 19.00 • WF £18.00 ON FULL / EXTENDED LIVE THE TOTAL STONE ROSES & SETS) OAYSIS Sun 6th • 18.00 • LCR £28.00 Fri 15th • 18.30 • WF £13.00
WOES
+ I SAID GOODBYE + THE VISITORS Sun 6th • 19.00 • WFS £6.00
PETER & THE TEST TUBE BABIES
FRANK TURNER & THE SLEEPING SOULS
THE DOORS ALIVE
Wed 9th • 19.30 • LCR £27.50
Sat 16th • 18.30 • WFS £12.00 Fri 22nd • 18.30 • WF £14.00
/thelcr - /waterfrontnorwich @officiallcr - @waterfrontnr1
CONCRETE
006
Gaming
Dynasty Warriors 9 is a “glitchy, tedious mess” If you weren’t previously a fan of this series, this game will not make you one. Dynasty Warriors 9 is the latest entry in Koei Tecmo’s Musou franchise where historical wars are reimagined with an over-the-top anime-esque hack and slash aesthetic. Over the years they have refined and mastered the 1 vs 1000 formula, applying it to a variety of historical settings. In previous games, battles were fought on self-enclosed battlefields designed to have their own feel and layout so no two environments feel completely the same. Dynasty Warriors 9 marks the developers’ first attempt at a fully open world; battles now occur on a huge scale as forces clash all across China. However, with a larger scale, the pacing of these battles have been utterly ruined, with tedious periods of travelling between very short missions, in what feels less like a fast-paced action game and more like checking chores off a to-do list. This increased scale is also poorly optimised with horrendous frame rate issues and world rendering, which was a shocking first impression to say the least. Musou games have always had a simple control scheme: you mash buttons and your character does a bunch of fancy moves. You use those moves to kill hordes of peons. Rinse and repeat. With 9, the decision was made to revamp this system, introducing the ‘State Combo System’, meaning your character will automatically react to the position of an enemy i.e. if your target is in the air your character will jump up and hit them there. Somehow they’ve been able to take a simple combat system and make it even simpler by limiting the length of combos you can string together. Add to that the inclusion of a one-hit kill move (pressing the triangle button when it randomly tells you to) and combat quickly becomes
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trivial. The worst new mechanic, however, is without a doubt the grappling hook, which allows you to scale any wall you want; sieges become irrelevant and any character can become an unstoppable master ninja. Another issue as a result of the expanded world is a lack of content. The trailers showed off a variety of activities such as fishing, hunting, gathering materials and enjoying the beauty that is China! The sad truth is these do little to fill the country-sized void. It quickly becomes bothersome to travel, and side missions are unnecessary as you level up just fine through the story missions. This is where the game fails as an open world experience; when presented with an open world one should never be saying “Oh, I’ll go there later’’ or ‘’I can’t be bothered with that right now.’’ It lacks the wonder, joy and fun that should be had in exploring new places with complete freedom, and fast travel quickly becomes your most trusted ally. The source material of the Romance of the Three Kingdoms brings with it a plethora of characters, and the in-game adaptation of the story had only been improving over the past entries. With an admittedly camp and overly dramatic style of voice acting, each character had their own unique charm to them. That
has been butchered as all attention seems to have been placed on developing the new open world system. Cutscenes are very hit or miss – though even the hits are weaker than the last entry – and characters sound almost identical in some cases with bland, emotionless performances all around. Gone are the iconic voices of the past decade and in are bargain store knock offs, one in particular sounding suspiciously like a text-to-speech machine. You can still see the shadows of their former selves in the writing, making the recasts all the more bittersweet. Dynasty Warriors 2 helped define what it would mean to be a hack and slash game in modern gaming, and Dynasty Warriors 9 was the experiment to take that formula to the next level. It was definitely worth a shot and I give credit to the developers for trying something new, however it was a clear misstep which failed in places previous games excelled. As a long-time fan of the series I sincerely hope this is just a major teething issue and Dynasty Warriors 10 can rectify these shortcomings. To anyone considering buying this: don’t. It’s cheaper to buy older games and you will have far more fun playing them than this glitchy, tedious mess.
-Vince Gaffney
Image: Wikimedia Commons, Koei
Gaming
You should be watching Monster Factory I first came across Monster Factory at the tail end of 2015 and it was love at first sight. It’s an ongoing Youtube series hosted by Polygon where two brothers - Griffin and Justin McElroy - mess about with the character creation systems of various games and create unique characters to take into them. Their goal is to come up with the strangest looking creations that the system will allow, often by pushing sliders to their extremities. Though the concept sounds simple and probably pretty dull, the show is gutachingly funny. It’s absurd and ridiculous in all the right ways. Most of it is adlibbed, with very few scripted sequences at all, which lets the brothers just riff off of each other and makes the show something genuine and engaging. Refreshingly, the humour always comes from a place of love: while the McElroy brothers do create horrifying misshapen abominations, they’re quick to come up with suitably ridiculous backstories and voices for them and establish them as characters in their own right and emphasise how much they adore them. They have an uncanny ability to make the viewer feel included in the conversation even though they’re just a passive listener, honed from years of podcasting, and their descending into hysterical, unstoppable laughter is hilarious rather than alienating. Their comedic timing is fantastic and the childlike wonder they approach the games with and their affection for each other really drives the series into something special. Part of the cleverness of Monster Factory is its self-awareness: often the characters will be created to represent the opposite of what the game’s protagonist is meant to do. The Final Pam is a burly, sort-of-Russiansounding powerhouse whose ultimate goal
is to destroy the world of Fallout 4 entirely. My personal favourite, Trullbus the Crime Eater, vocally detests crime and vows to stop it entirely- except he is, unfortunately, the protagonist of Saints Row 3, a game that expects the player to commit lots of it. Seeing the brothers cackle over trying to come up with excuses for the countless crimes Trullbus is racking up (his gun shoots special bullets which teleport enemies to Dairy Queen, there are no laws in the sky, etc) is absolutely amazing. The ad-lib nature of the show really shines when the monsters are in multiplayer experiences, as watching Griffin and Justin expose the unsuspecting public to their harmless but farcical creations is truly something special, particularly when those already playing the game are taking things extremely seriously. One of the best moments in the series stems from this experience: a particularly standoffish and pretentious leader of a “meeting of the minds” debate group in Second Life has to deal with two hilariously deformed new recruits who burst in declaring at the top of their lungs: “I THINK DOGS SHOULD VOTE!” The monsters vary from completely original creations to bizarre expies of famous characters and people, but all of them have their own unique charm and the humour never fails to keep things rolling. If you’re looking to jump in, the best starting points are Fallout 4 (with the astoundingly powerful, world-destroying Final Pam) and Second Life (where the Boy Mayor of Second Life campaigns to stay in office). You won’t regret it!
Images: Public Domain Files, Gerald_G; Pixabay, Elionas; Publicdomainpictures, Karen Arnold; Wikimedia Commons, Mistman
-Amy Nash
Who’s a good boy?
To celebrate the Year of the Dog beginning this month, here are a few of the best pups in gaming!
D-Dog: Metal Gear Solid 5
Not only is D-Dog both adorable AND capable of being a destructive force on the battlefield, you get to see him grow up from a puppy.
Chop: Grand Theft Auto 5
Chop is fiercely loyal and, while normally friendly, will protect you from just about any NPC who picks a fight.
Lesser Dog: Undertale
Very few games let you pet dogs. In Undertale, you can keep petting this one over and over, and he gets so excited his head leaves the screen entirely.
Mira: Silent Hill 2
Mira only appears in joke endings, but is still an outstanding part of the Silent Hill series. She’s revealed as the mastermind of 2’s horrors in the “dog ending”.
Umbra: Final Fantasy XV
Umbra sticks around for over two decades to lend Prince Noctis a pawhe’s even able to time travel the party back to the past and is technically a god.
Dogmeat: Fallout 3
Unlike your bipedal companions, he won’t leave you if someone else joins you- he’s loyal to the end.
-Amy Nash
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Gaming
Indie-penchant: Transistor
The fact that Transistor was nominated in the 2017 Steam Awards for Best Soundtrack is testament to the strength of its musical score: the game released back in 2014 and still stands out as memorable. Not only is the music masterfully put together, but it manages to link directly into the world of the game as it’s the protagonist, Red, who sang them prior to losing her voice. A majority of game soundtracks tend to stick to instrumental pieces, but Transistor manages to include plenty of songs with lyrics that tie subtly enough into the plot that they don’t risk becoming cheesy. It’s uniquely melancholy and desperately sad, mostly due to the strength of its voice acting. While Red has her voice taken from her, her unnamed lover has his soul absorbed into the giant sword she carries- the titular Transistor- and continues to speak to her through it. Logan Cunningham - who also starred in Supergiant’s first game, Bastion - absolutely kills the role of the man
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inside the Transistor, where he attempts to guide his girlfriend along the path to revenge on the people who tried to tear them apart. The art direction is wonderful- the entire game is rendered in a vibrant art-deco inspired style which really enhances the beauty of its futuristic setting, a city of creators and visionaries called Cloudbank. Transistor isn’t just pretty though: the top-down RTS gameplay has a decent amount of depth and nuance, with the player able to choose between queuing up commands for a burst of power or using them individually to wear down the enemy. Difficulty is up to the player, as different limitations can be installed to make things trickier. Representation is also subtle but wellconsidered and effective: there are multiple characters of colour, including Red’s boyfriend, and quite a number of LGBT+ characters in smaller roles. It wasn’t until my second playthrough that I noticed that two of the characters shared a last name and were intended
to be presented as a gay couple. There is nothing particularly outstanding here, but it’s nice to see developers making an effort to be inclusive in a way that doesn’t feel performative. Part of the reason this works is because Transistor is full of subtleties intended to be caught on subsequent playthroughs: snatches of lyrics in some of the songs played at the very start of the game foreshadow its end, and a seemingly innocuous phrase repeated throughout the game has a heartbreaking meaning in retrospect. Transistor is utterly captivating and one of the best indie experiences available- it’s just a perfectly crafted, heartbreaking story that’ll leave you humming the best of its soundtrack for weeks.
- Amy Nash
Images: Flickr, BagoGames; Publicdomainpictures, Bob Williams
Television
10 years ago since... 2008 was a great year for the small screen: highlights included the introduction of four loveable losers, Heisenberg, and the origin of a boy wizard (Hint! Not Harry Potter). Can you believe it was only tenyears ago that they all graced our screen? A decade ago these three shows changed the face of British comedy, American drama and ermm...young adult fantasy. Well, while you process the shock, take a reminder of why we love these TV shows, and bathe in the nostalgia of the late noughties…
Merlin Ten years ago, John Hurt’s velvety voice graced our screens, with the now iconic introduction, “His name… Merlin.” Five series and ten years later, I’m not sure about you but I’m still re-watching the episodes over and over. Merlin, first broadcast on BBC1, follows a young wizard and the future king of Camelot. It’s loosely based on the Arthurian legends, although of course it diverges somewhat from the original plots. Merlin, to me, is the type of show which I watch snuggled up under blankets, hot chocolate in hand; true escapism on the screen. From some questionable CGI in places, to epic sword fights and the beauties that are Bradley James and Colin Morgan, it’s such a nostalgic TV show that I could have it on repeat in the background until King Arthur rises again.
Breaking Bad Breaking Bad raised the bar for all the TV shows that followed in its wake, showcasing how storytelling, directing, and acting can be outstandingly cinematic and enthralling on the small screen. Seeing the transformation of Bryan Cranston, who most people knew as the loveable and bumbling Hal in Malcolm in the Middle, into the desperate and ruthless blue-meth-making Walter White made for entertaining viewing. The journey from anti-hero to outright villain through the five seasons is an excellent example of a character-driven plot and, by not being run into the ground with more and more seasons, the show tells a brilliantly structured and contained story. It is also incredible that, after all the build-up, the finale was not a let-down. Another point of praise would be how it spawned the spin-off show, Better Call Saul, which stands on its own two feet and continues to provide thrilling narratives from the same world.
- Joel Shelley
- Hannah Brown
BUS WANKER!
The Inbetweeners There are a few groups of people you should avoid in life, chiefly: people who care about Bitcoin and people who don’t like the Inbetweeners. Luckily, they run in hordes and can be avoided by sticking to well-lit areas. The best thing about the show is that it absolutely should not be funny. Someone saying “awububub” shouldn’t be what we class as humour, but we do, and it most certainly is. Almost daily, my housemates and I still tell each other to grow up in a Will/Simon standoff rendition and reply to anything borderline “cool” with a “ooh you’re hard Si.” Anyone who bumps into people in the LCR thinking they’re a big man gets a polite “you inconsiderate ARSEHOLE,” and most of our hangovers are narrated with “I don’t mean to be dramatic, but I think I might be dead.” You don’t have to appreciate any elaborate jokes, and there’s no niche humour that you’ve got to be in some edgy social circles to know, it’s just you and the sweet connection of Neil’s right hook landing on the jaw of a fish. Quality.
- Jack Ashton Images: Pixabay (CC0 Creative Commons), illustration: Murray Lewis
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Television
Dark: following a thread through a maze Debuting on Netflix late last year, the German-language TV show Dark was met with many comparisons to Stranger Things. While similarities can definitely be made, Dark builds a complex, interconnected world, episode by episode, which is ultimately much more sinister and bewildering. Starting with a suicide and missing child, Dark quickly becomes a maze of plotlines and recurring events, all seemingly connected by an ominous nuclear power station and a mysterious cave in the woods. Across multiple time periods, we are shown many generations of the same four families in the town of Winden. By weaving through such a huge ensemble of characters, some of which appear at different ages played by different actors, it can be a struggle to keep a track of everyone. Having the family trees by your side may be useful.
On first viewing, Dark is best watched with no preconceptions. Holding no expectations throws you into the deep, end where the bewildering nature of the show will have you questioning everything, even what genre it might stray into. The first episode makes no promises, instead teasing what could come next. Will it move more towards supernatural and horror like Stranger Things, or will it become something completely different? The main mystery of Dark revolves around the concept of time and the interconnectedness of the past, present, and future, no matter how labyrinthine that complex network of links may be. The past is dependent on the future just as much as the present is dependent on the past. This is by no means an original concept, but the show does an amazing job in drip-feeding just enough information to have you start piecing together the clues while still making sure
each revelation is satisfying. Despite the brilliance of Dark, the fact it’s entirely in German may be off-putting. Having it dubbed largely ruins the atmosphere, so subtitles, however, are the best option. Focusing on subtitles means less time focusing on the characters’ faces, which in turn infringes on the ability to match voices and names to them. Usually this would not be a massive issue but, in a show which has such a vast retinue of characters, it serves to create another barrier for an English-speaking audience. Dark is certainly not a show for a casual viewer: it requires your full attention lest you miss a crucial detail. While that may seem a daunting task, the challenge makes it all the more rewarding when all the pieces of the puzzle come together.
- Joel Shelley
The Doctor to team up with Rosa Parks? Rumour has it that in the new series of Doctor Who, the new Doctor ( Jodie Whittaker) will meet famous activist Rosa Parks. Following tweets from a Doctor Who fan, which reads, “The real Montgomery bus boarded by Rosa Parks in 1955, restored and held in the Rosa Parks Museum and the recreated bus being used for filming of #DoctorWho Series 11. Really looking forward to seeing the story of Rosa Parks bought to life,” and includes pictures of the Series 11 set, there is also other evidence in some casting leaks that suggests Rosa Parks may be making an appearance. Actor David Rubin had “Raymond Parkes”, Rosa Parks’ husband, listed on IMBD, and actor Aki Omoshabyi had “Fred Grays”, Rosa Parks’ laywer, listed on his, although both of these have now been removed.
However, some are worried that, considering the seriousness of the civil rights movement and its history, having her meeting the Doctor may be deemed insensitive. In the past, The Doctor has met historical figures such as Agatha Christie and William Shakespeare, which were light-hearted romps that explained mysteries in their lives (Christie’s about her eleven-day disappearance, Shakespeare’s about one of his lost plays). Having said that, the new head writer of this series, Chris Chibnall, has previously worked on Broadchurch series three, which involved a storyline about rape. Whilst Broadchurch is obviously not a family show, this suggests that Chibnall can handle subject matters carefully which leaves many hopeful for the new series.
With the first female Doctor, it seems that the BBC are stepping forward far more with inspirational female figures and also exploring civil rights. Back in the previous series, the Doctor and Bill visited the UK in 1814 in “Thin Ice”, and racism was briefly raised when a man who was thought to be an alien (nope, just a horrible man) was outrageously racist to Bill. So, with hope for the new scriptwriter of the family sci-fi, the Doctor meeting Rosa Parks in Series 11 could actually do great things for the show, and generate conversation around civil rights today. Hopefully the rumours will prove fruitful, as I for one would be very excited to see Rosa Parks team up with the Doctor.
- Hannah Brown
24 Images: (left to right) Flickr, Wiston Hearn, Wikimedia Commons, BBC Network, Wikimeida Commons, Timur Saban
Television
The Grand Tour vs Top Gear Some say...that in the build up to Top Gear, Sean Bennett single handedly decided to examine the pros and cons of the two biggest motoring shows on TV. All we know is that I’ve probably laboured this joke too much...
completely held my attention. More importantly, it no longer infuriated me with its mediocrity.
To some, they are the holy trinity of motoring hilarity. To others, they are nothing more that vulgar, overpaid buffoons. Whatever your opinion of Clarkson, May and Hammond, it’s hard to deny their considerable and, apparently, long running success.
As Season Two progressed, the welcome changes became evident. Though some sections still displayed the unwelcome signs of sloppy writing, the banterous dynamic of the Orangutan, the Hamster and Captain Slow had certainly returned. Sceptical though I was following Season One of The Grand Tour, it’s seems that Clarkson, Hammond and May might now be back to stay. Season Two is worth a watch. I look forward to Season Three.
Following an extremely well covered and public collapse of their original motoring show Top Gear, the trio found their way into the growing ranks at Amazon Video, with a higher budget, a longer reach and a big blank canvas to work on. Their first attempt at a masterpiece fell somewhat short. Season One of The Grand Tour was a disappointment. The premise was weak, the recurring segments were painful and that all-important dynamic between the three presenters had been utterly decimated by an astonishing amount of uninteresting and unimaginative writing. Needless to say, for those of us who counted ourselves among the long standing and loyal fans of the trio’s work, the whole thing was a travesty. Thankfully, Season Two has seen some improvement, even though the series began with a worrying high speed crash from Hammond which actually provided a running joke for the rest of the series. From Episode One to a finale special in Mozambique, involving more fish than is really sensible on a car show, the season
Many of the offending aspects of the inaugural season were not only dispensed with, but the presenters even went so far as to list them off in the first episode, with Hammond punctuating each scrapped idea with the blunt, but very accurate, observation - “You hated it”.
For a while, following the loss of its presenting team, the world’s biggest motoring show looked as if it might have reached the end of its not inconsiderable 22-season run. Then Season 23 happened. Three were replaced by six and the show continued, headed up by BBC Radio 2’s Chris Evans. The avid car enthusiast and multiple time guest on the original show was joined by Matt LeBlanc, along with Eddie Jordan, Chris Harris, Sabine Schmitz and Rory Reid. Though the name of the show had not changed, pretty much everything else had and, as such, the first series of the “new era” was never going to be an easy ride. To all intents and purposes, both The Grand Tour and Top Gear were brand new motoring shows for the world to
enjoy; or at the very least tolerate in the hope of improvement. Season 23 was problematic. Very much like its new rival, the show lacked the substance and quick-fire humour that audiences had grown accustomed to. The new presenters clearly hadn’t found their dynamic with one and other, and the sheer number of them often made it hard for their relationships to offer any entertainment before new faces appeared and steered the audience away. Chris Evans, the supposed “main man” of the show, was particularly ill-suited to the role. Struggling to talk and drive at the same time and insisting on shouting every word at the camera landed Evans in hot water with already irritable viewers and, following the final episode of the series, he resigned from his position, once again leaving the future of the show in question. The question was answered quickly. Season 24 saw Matt LeBlanc take the helm along with Chris Harris and Rory Reid. A new trio was born. And it worked. The season aired to an audience of sceptics, still bitter about the season before. But the new trio, along with occasional appearances from the other remaining hosts, presented a united front. The bits were funny, the banter was natural and the show started to crawl its way back into the hearts of its fans. Needless to say, Season 24 was a good one, not only in comparison to 23 but also in its own right. Season 25, eagerly awaited as it is, airs next Sunday and promises to be just as fast paced and exciting as ever. Hot on the heels of The Grand Tours final episode, comparisons will undoubtedly be drawn. Let’s see who comes out on top.
- Sean Bennett
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+
C. writing
Washed up to shore As she walked down the grey pavement of the hilly road, she could see, in the distance, the brilliance of the southern sea. It was a warm Tuesday, and the sun hit the water at an angle which made the water explode in a firework of vibrant contrasts. She could hear the squawking of the seagulls who circled up above, hunting for their prey. Although she never really liked the sounds they made, their shouts were always a trigger for a cherished memory of home - of wading in the water with her mother’s cousin, her ‘aunt’ Fran, who always feared the water slightly more than she did. Knowing that she could swim just that little further than Fran gave her a sense of achievement - a big step for a small girl. There were other things, as a child, that Sophie was made to battle. Many called her a scared child, and although she didn’t feel “scared” as a child, she most definitely was a “scared child”. Her mother was a single parent, and for years Sophie chose to take her position across from her mother, in her bed, every night. Her mother would tuck her in at half past eight exactly, wishing her sweet dreams. ‘Try to sleep now, Sweetie’, her mother would whisper, as Sophie pretended to drift in to thoughts of jumping sheep. She would let half an hour pass - no more, no less - before flicking her eyes open. The room was dark, and Sophie feared what may lurk behind the shadows. Her mind would play tricks on her, allowing two crimson red eyes to rise from the depths of the dark. Sophie feared it may be Smaug, a fiery antagonist in her bedtime story of the moment. Wandering, devilish eyes would search the darkness, and then rest on Sophie, who by this point, was so far under the covers, she had created her own cave of comfort. Flicking back the bedsheets, Sophie crept very steadily in to the hallway, putting more weight on the bannister so her step would sound lighter. With every tread would come a harsh intake of breath, as she teetered on the broken part of the step. CREEEAAAAAAAK. Sophie would wince every time, because every night she would forget about the one step that threatened to blow her cover. As the Spy Kids would do in the movie, Sophie imagined herself tumbling and diving down the stairs, sliding down the bannister and landing in a half summersault, half dive at the end. She could hear the cheering from the crowd, “Congratulations to Sophie, who has won Gold in the Spy Awards, 2003.” She would bow to the audience, sending kisses and throwing flower petals, “I’d like to thank my mother. Had you not put me to bed so early, and had I not hated sleep, I wouldn’t be here right now, so thank you!” As Sophie reached the bottom of the stairs, she would change to all fours, and, like her neighbours cat Whiskers, she would scamper to the corner of the living room door, peeping around to view her mother, who was watching Midsummer Murders. The image of Smaug escaping from the black, to the theme tune of Midsummer Murders, made Sophie shiver with fear. Thud. Sophie had placed her hand down too hard on the floor, and her mother swivelled around. “For goodness sake Sophie, you’re awake again?” Fear tempted Sophie to stay rebellious more than anything else, and this ritual proceeded for years and years. It was on a Friday, four years later, that Sophie finally felt able to sleep in her own princess bed. Sophie thought fondly about this memory on the long walk to the shore, but she knew that the hit of fresh air would be worth it. She lived in the city now, and sea air was hard to come by. Then again, she also knew that Fred’s, her local fish and chip shop, would have a small queue at this time of the day, but Sophie had been dreaming about a battered mars bar all day, and nothing was going to stand in her way. When she reached the bottom of the road, she noticed a dog, a small Yorkshire Terrier, sprinting across the grassy lawns in an attempt to catch the filthy, chewed tennis ball. Laughter erupted from her as she remembered Ronnie, her family dog, whose erratic and playful nature had her in a heap on the floor every time. The memory was pleasing, and she headed across the road, sidestepping a little child, towards the seafront, and towards th e tempting past.
- Saoirse Smith-Hogan
Image: Wikimedia, Caspar David Freidrich
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C. writing
Semi-skimmed milk I saw him now, in the glass of the fridge. Brown collar crinkled, name tag bright from nervous polishing. He paced amongst the aisle of pasta sauces like a fish caught in a net, each step a thud against my chest. It was quarter to eleven PM. Bubbles churned in my stomach. In twenty seconds the old lady would walk in, a crocodile handbag under her arm, nails glittering with midnight blue. I forced my gaze back to my own reflection, the unkempt hair tied loosely into a bun. It was like seeing someone under the surface of a lake. I couldn’t make out my nose, my cheeks, only the rows of plastic milk jugs in front of me. I tried thinking of the open bottle of Coke untouched on my desk. I thought of my mother, complaining that she’d been given a spineless child, as she walked through the clutter in my room. I told myself to ignore it, but it was like telling milk not to spoil. The boy in the brown uniform tugged my attention away. He was motionless as the old lady ambled up quietly behind him. Then suddenly he turned, his elbow swung in an arc, smashing her headfirst into the aisle. I buried my knuckles into my eyes, trying to rub the memory away, but it has been uncapped, and they scaled up my limbs, growling hungrily at my chest. I was conscious how long I’ve been standing here now, without buying anything. Whole, skimmed, semi-skimmed, coconut milk. My mind was a parasite, humming in unison with the tremble of the fridge’s fan, my mother’s voice hissing in the background. In a minute the lady would enter again. It was as if I could still feel the shape of that collar around my throat, burning my face and neck in red. The boy stood over my shoulder, the glare from his shiny name tag sending spots blooming in my vision. I can’t even look my past self in the eye. Beads of sweat clustered on the plastic milk jugs, bone white. I fled from the store.
- Sandra Tse
Deity roulette
This is gunna hurt
I’m a demon with a halo Dark wings so I can stay low The patron saint of sinners Raise your glass, we are the winners We inhabit the fire We inherit the earth We will rise from the ashes Of sacred rebirth Abstinence didn’t work for Mary A lack of love breeds hate Karma is my bitch I like to pro-reincarnate I’m a Buddha in a hoodie Meditating when I’m moody And the voices in my head They tell me piety is dead
- Jono Mcdermott
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Image: (Top) Pixabay , (Bottom Left) Wikipedia, (Bottom Right) Pixabay
Hi I’m your a doctor This is going to hurt I really am sorry This pain is the worst But if you look on the bright side And this is entertaining All of your pain is temptation you let in
- Sophie Bunce
C. writing
Cocaine morningstorm Morgan pushed the door open, and balled her fists against her hips. A denim jacket she didn’t recognise was draped over the edge of the door. These small trophies were Filip’s equivalent of putting a tie on the doorknob. The room stank of marijuana, infused with the toxic quantity of deodorant employed to disguise it. The light from the corridor shone on Filip. His inert, naked body lay sprawled on top of the crumpled bed sheet. He was wearing one shoe, around which his semen-speckled boxers had entangled themselves. Filip’s bedfellow was in the toilet, wherein he loudly relieved himself. It was this which, for the third time that evening, had woken Morgan up and destroyed her patience. “Whoever that is,” she said, “he needs to go.” Filip opened his hand and raised it incredulously. “Why?” he said. “Because, this is the third”—she kicked his bedframe—“bloody third boy you’ve brought home in a week. God knows where you find them. This is a not whorehouse, Filip, and we are sick of cleaning up after you.” “Then don’t. I’ll do it. I’m twenty-three, fuck.” “Oh, you are?” She laughed, a sharp furious Ha. Filip drove his face deep into the pillow and groaned. His hand slapped onto the bedside drawer and grabbed his phone. He looked at it and groaned again, louder. “Mum, it’s four-thirty, just go away.” Morgan threw the other boy’s denim jacket at her son and flicked the light on. The room was stunned with white light, revealing the tapestry of illegality scattered across it: a cloudy bong, an empty zip-lock bag, two bottles of red wine – one half-empty – two small bundles of clothes, and a ripped condom packet. Suspended over Filip’s bed was a film poster, the word Koyaanisqatsi written in large, violent red letters. Underneath
was its subtitle: LIFE OUT OF BALANCE. “Oh, um…” someone said quietly, tapping Morgan on the shoulder. She turned around. Stnding there in a long-sleeved silk shirt, unbuttoned to reveal a hairless, ridged abdomen and a small diamond tattooed on his left pectoral, was the boy Filip had brought home. A knotted wave of brown curls spilled over his forehead; a shadow of facial hair covered the speckle of acne under his jaw. He was probably nineteen. The boy hugged his elbows and said “um” again. “I’m Filip’s mother.” This was not a greeting. “Okay. Hi.” He squeezed between her and the edge of the door and picked his jeans up off the floor. “I hope you’re doing alright,” he said as he quickly got dressed. “Filip’s a friend from uni. We, um, study American Lit together.” Filip sat up and squashed his face between his palms. He blinked, shook his head, and clapped his hands over his head. “Great. Happy Thursday, everyone.” He grabbed his boxers, pulled them up and snapped them over his waist. “Yep, I’m awake now, Mum.” Filip leapt off the bed, spread his arms open and bowed. “What would you like me to do? Iron your socks? Mow the lawn?” Morgan saw his eyes, saw his dilated pupils. She marched into the room and took her son’s wide, slim shoulders in her hands. She held him beneath the overhead light and tipped his head back slightly. “There is blood in your nostrils. Your nostrils have blood in them. What did I”—her voice snapped—“what did I ask you? Filip, what have I asked you to do?” Filip snorted and stared at the ceiling. “Don’t remember.” Morgan slapped the flat of her hand against her son’s bare chest, and held it there, pressed it over his heart. “I asked you to stop. I asked you to clean yourself up.” Her eyes had begun to shine with tears, small shards of reflected light glistening beneath the shadow of her brow. Filip looked at her unsteadily, feeling the pressure of her gaze as firmly as the tips of her fingers pushing into his chest. “I said I’d try.” “Try harder.” Morgan could feel her son’s heartbeat quickening. He began to tremble. Morgan whipped the blanket up off the floor and wrapped it over his shoulders. “We’ll talk about this later,” she said. She then turned her attention to the boy. “Get your shoes and go, please. It was nice to meet you, but if you come over here again and piss into the toilet without closing the door, I swear to God.” “Okay.” He grabbed his bag and his shoes. “Bye, Filip.” “Yep. Bye.”
- Liam Heitman-Rice
Image: Wikimedia Commons, Tom Sizemore
29
Pod-cast your votes: part two Venue reveals six more of their favourites
Don’t blame me
Reasons to be cheerful
Is he a fuck-boy? Do all girls swallow? Can you date your ex’s friend? Think of this podcast as a selection of answers to questions your friends regularly attempt to answer, but with a pinch more authority, a dash more real experience and a whole cup of humour. The guilty pleasure of the podcast world, 24-yearold Meghan Rienks’ podcast Don’t Blame Me invites young people to ring up and demand answers to questions your mother never tells you. Hilariously funny and crudely unapologetic, you can listen to this podcast at dontblameme.show. In need of advice of your own? You can submit your questions to Meghan too!
Reasons to be Cheerful with Ed Miliband and Geoff Lloyd is, as the tagline states, a podcast about ideas. Addressing a range of topics from universal basic income to prison reform, the two co-hosts talk with experts (including the likes of Sadiq Khan) to get informed about the current debates and ultimately find reasons to be cheerful about the future. Ed and Geoff provide an entertaining dialogue, which you don’t need to be a massive Miliband fan to enjoy, and the issues are important to our society so, by the end, you’ll have learnt something.
- Joel Shelley
- Jessica Cappi
uncivil The American Civil War is no longer a historical event but a mythologised narrative, and Uncivil is an investigative historical podcast that aims to challenge that assumed narrative. Digging through forgotten documents and conversing with the descendants of historical figures, hosts Jack Hitt and Chenjerai Kumanyika explore the Civil War stories that have been omitted from the history books. Many of these include stories that haven’t quite ended, like issues with land rights given to African Americans after the war that the legal system has since revoked. The stories deal with past and present race relations, and the way that who we think of as heroes and villains may have changed in the 150 years since the war. In their treatments of forgotten events, racist “heroes” and ongoing exploitation, Hitt and Kumanyika are gloriously uncivil.
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- Tom Bedford
The adventure zone
This is a Dungeons and Dragons podcast that stands out because of its hosts and its characters. The McElroy brothers (Justin, Travis and Griffin, who also produce My Brother, My Brother and Me) and their father, Clint, are all on the same wavelength when it comes to comedy and are amazing at riffing off of each other’s jokes. It jumps across multiple genres, and while it becomes more story focused as the overarching plot develops the humour is what makes the podcast special. It’s perfect for D&D beginners too - some of the hosts are learning as they go along and the podcast never dwells too much on statistics.
- Amy Nash
Russell howard & jon richardson’s bbc 6music show Digital noise If you’re someone who loves film but hates the cinema, then Digital Noise from One of Us is something worth listening to. It is a monthly podcast covering all new home releases in Blu-rays and DVDs, usually hosted by Chris Cox, former critic from the popular movie review site Spill. com. The podcast is particularly great for discovering hidden gems, whether it be small indies released at festivals that go straight-to-DVD or old obscure films that are finally being restored to Blu-ray. The amount of films that I would have never even heard of if it hadn’t been for this podcast is astonishing.
- Marco Gagetti
As former housemates, these two popular comedians hosted a radio show on BBC 6 Music from 2006 to 2008 where they discussed all manner of things from the Dyson Airblade ( Jon’s favourite hand dryer) to Mark Lawrenson (their joint favourite football pundit who they have an unhealthy obsession with). While this might not sell it to you, their natural chemistry will, as they mercilessly mock each other weekly, Jon portraying Russell as a dim Bristolian and Russell depicting Jon as a Northern neat freak. Sadly the show only lasted three years but thank God for YouTube where you can find all the podcasts in their entirety.
- Dan Struthers
Images: Ed Miliband - Wikimedia Commons - Chris McAndrew; earphones - Max Pixel - Samsung Wb850f
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