CUB 549 by CUB Magazine

CUB

ISSUE 549

ISSUE 549 SECTION GUIDE

3 // The Editor’s Letter 4 // London 8 // Arts 14 // Film 20 // Features 26 // Music 32 // Style 40 // Photography 42 // Travel 46 // Columns 48 // The Team “I walk to the shop every day to buy things that I don’t need, because I want the owner to still feel relied upon, rain or shine.” MORRISSEY

ISSUE 549 - Editorâ&#x20AC;&#x2122;s Letter

Wilkommen Bienvenue Welcome This issue we have tried to cram in as many inspirational people, things to discover and new ideas to think about as possible. Pay attention to the wise words of Laura Bates, the inspirational founder of the Everyday Sexism Project - she is an icon of our time and we are very grateful to her for answering our questions. Over the page we have the second in our rather stunning London area map series: this time we help you discover cabaret and decent Japanese food, just what is needed at this SAD time of year. For some Chrismukkah cheer we chat films and music, although I will never agree to switching off The Fairytale of New York as one of our Music editors pleads with us all to do... And for that party season style update, work in a bit of French Sex. Good luck with those end of semester assignments and see you in 2014! Lauren Cantillon. 3

Illustration: Alice Harry

LONDON

London editor Anna Thornton reveals her highlights of Central & West London

peaceful haven

3: Koya: Delicious

just off bustling Oxford

Japanese food at a

Street.

reasonable price, their dishes are worth the

8: Serpentine Gallery:

queue..

In the middle of

filling udon noodles

the majestic Hyde

4: Madame Jojo’s: A

Park, this secluded

fabulously kitsch night,

gallery focuses on

it is a suitably sleezy

contemporary art

cabaret club that

and architecture,

hosts regular student

presenting conceptual

nights and music

digital art in a more

events.

intimate way than larger galleries.

5: L’eto Caffe: A that has the unique

9: Portobello Market:

advantage of

An obvious choice,

staying open late on

but fun nevertheless.

weekends, perfect for

A nice change from

a delectable drunken

Brick Lane Market,

dessert. Order the

they have a pop-up

honey cake.

cinema that has great

French patisserie

short film evenings.

6: The Bar: Busy

. a lively basement

bar playing 60s, 70s

venue with a variety

and soul music to

of club nights and

the wee hours. Fun

good music line-ups.

atmosphere and

Avoid ordering the

reasonably priced

absinthe, it never ends well.

1 Gordon’s Wine Bar: The oldest wine

creative sides

drinks for Central

(even if it is just for

London.

bar in London, this

revision notes) with

candle lit cave has an

their vast selection

intimate atmosphere

of art supplies, note

7: Wallace Collection:

and a quirky wine and

pads and graphic

With a varied

venue with a variety

cheese menu.

design pens. It

collection, beautiful

of club nights and

serves great coffee

architecture and

good music line-ups.

and delicious locally

hushed rooms this

Avoid ordering the

sourced food.

gallery is a

absinthe, it never

2: London Graphic Centre: Discover your

10: Notting Hill Arts Club: A lively basement

ends well.

As I carefully avoid the puddles littering

start

the

period,

and

usually impressive buildings merge into

March,

but

this

London

streets

and

watch

the

October-November not

diminish

can

vary

until

widely.

the grey skyline, it hits me. It’s winter, and the endless monotony of a London

The cause of SAD is in contention:

winter is not going to end for three

some argue that it has genetic origins.

more miserable months. This isn’t just a

Research

tad of melancholy, the Quintessentially

with a gene related to light sensitivity

British

reaction

that

mutations

(Melanopsin) in the eye may be the

than a drizzle of rain – I am tired and

cause. What has been proven is that

grumpy and I could eat anything and

people who suffer with SAD require

everything

a higher level of light to regulate their

that

anything

suggests

comes

way.

body clocks, and when this is lowered ‘Winter

Blues’

lethargy,

characterised

overeating

and

winter

irritability,

hormone

excess which

Melatonin

helps

promote

which I am sure we can all identify with

sleep in the body) is produced, in

to some extent. However, Seasonal

turn

Affective Disorder is more serious; it

hormone

causing

less

Serotonin

the

‘happy’

made.

encompasses severe depression under Whilst

the

established,

definite there

cause

are

being

many

forms

Seasonal Affective Disorder (SAD) is

of treatment being developed. Light

a type of depression with a seasonal

therapy is seen as the immediate option

pattern;

low-

to relieve the person suffering with SAD,

intervals

and can in fact help relieve symptoms

autumn

in less than a week. There is a 50-80%

and winter. Symptoms can include:

chance using these lamps will rid your

fatigue, tiredness, social withdrawal,

symptoms completely. In Scandinavia,

difficulty

weight

cafés lit up by these specialised lamps

gain, oversleeping, loss of sex drive,

are extremely popular, as they receive

depression, crying spells, and in the

only five hours of sunlight a day in

most severe cases, suicidal thoughts.

winter. It is less common, but sufferers

Despite

the

may take anti-depressants alongside

months,

approximately

one

feeling each

cases

where occur

year,

episodes at

regular

mainly

late

concentrating,

will

ten

less serious ways of battling these low feelings, with something as simple as a

summer. This can include different

walk in those (however brief) moments

symptoms

loss,

of sunshine creating that all-important

anxiety) as a response to the heat.

Serotonin to make you feel happier.

It is thought that SAD affects around

For more information about SAD, go to:

2 million people in the UK and more

nhs.uk/conditions/seasonal-affective-

than 12 million people across Northern

disorder

(insomnia,

(most 18-28).

likely

experience

this to alleviate symptoms. There are

reoccurrence of their SAD during the

ages

people

winter a

Europe

see

link

weight

between

Symptoms

the

usually

Words: Lucy Sutcliffe

Photo: Vicchi/flickr

its unappealing umbrella of symptoms.

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Flesh & Fornication: Sarah Lucas at Whitechapel Gallery

Words: Laura Maw

An odd combination of the strangely

fascination

unappealing

in a sexual context designed for male

erotic and conventionally unattractive,

side of human nature and the body’s

consumption. Lucas’ ‘Bitch’, reveals a

Sarah Lucas’ first major solo exhibition

functions.

cultural trend of ridiculing a woman’s

both enticing and

repulsive all at once. Lucas’

blend

photography

the

installation, sculpture

state,

with

Collins’

t-shirt

revealing that any attempt to display

series of large photographs of a male

this state is branded “disgusting”.

with a banana and coke cans covering

his genitalia. The effect is provocative

In terms of sexuality, Lucas’ work

yet displays a definite sense of humour.

ricochets between underlying currents

visit I overheard a man full of praise

Whilst Lucas maintains a focus on

of bawdy humour and an overt sense

for Lucas’ brashness, as he nodded to

presenting

genitalia

of seriousness; at times challenging

the sculpture of a male hand mimicking

as pieces of fruit, meat and fish, it is

to distinguish between them. These

masturbation, deeming it “brilliant.”

interesting to consider that her work

paradoxical tones certainly serve to

Yet two women discussing the animal

reveals subtle yet intrinsic paradoxes

fuse the two together, producing works

legs on a stained mattress thought it

within society regarding the female

which are at once serious and satirical.

“too much”. This wonderful mixture of

body.

undeniably

and

natural Some of the most playful works are a

provocative.

During

both

genders’

response Lucas draws, is what makes her work so fascinating.

Despite

never

using

any

human

‘Bitch’ - a table of two melons and a fish

materials, the exhibition reveals an

at opposite ends - representative of

obsession with the human body in

The exhibition fluctuates between a

the female form, is outwardly comical.

all its forms: functional, sexual and

state of uncomfortable and at times

Yet through this Lucas exposes the

metaphysical.

confusing reverie through the form of

misogynistic aspect of a culture which

latter, Lucas’ mixture of stuffed nylon

the human body. It is Lucas’ use of the

reduces women to sex objects, yet

tights representative of legs and large

everyday (stained mattresses, toilets

simultaneously ridicules their bodies’

sculptures of penises serve to infuse

and

natural state.

the exhibition with a strangely erotic

cigarettes

all

feature),

which

forces you to confront a state of harsh reality that, this aesthetic.

With

regard

the

and sexually charged element of a Lucas can be compared to artist

somewhat surrealist dream. Despite

Petra Collins, who this month released

contrasting hugely with the functional

One installation consists of: ‘Is suicide

a t-shirt depicting a female hand

elements of the mattresses and toilets,

genetic?’ (1996) written inside the

masturbating whilst on her period;

these out of proportion pieces combine

bowl of a toilet. This confrontational

a piece which has been met with

the ethereal with the overtly sexual

approach

serves

exhibition

with

provide

the

criticism. Despite the eighteen year gap

aspects of Lucas’ art. With both humour

acceptance

between both pieces (‘Bitch’ dates from

and sincerity, fusing the erotic and the

human flaw. As to the effect of the

1995) it is shockingly evident that the

unappealing, Lucas’ exhibition presents

yellowing mattresses, old food and

female body is

a repulsive and attractive body of

broken toilets, these depict a gritty reality and reveal Lucas’ somewhat

morbid

only acceptable

work which is representative of the human form in all of its diversity. Photo: c/o The Whitechapel Gallery

in the country is

with

ARTS

Paul Klee’s art defies easy categorisation. Having

1920s, involving violent explosions of colour, as well as

experimented within various fields in his lifetime, such

playful and comical caricatures and sketches produced

as expressionism, surrealism and futurism, and often

during Klee’s time teaching at the renown German art

introducing new methods and techniques, the German-

school Bauhaus. Wandering through the late 20s into

Swiss artist is remembered as one of the great creative

early 30s and the highpoint of his career, we encounter

innovators of the early twentieth century. Tate Modern’s

some of the most striking works of the exhibition, and

major

autumn

exhibition,

Making Visible,

brings

the several masterpieces that can currently be spotted

together works from collections around the world,

all around London.

presenting the first large-scale Klee show in the UK in over a decade. Spreading across no less than seventeen

However, it is the collection produced during the

rooms, it follows the life of the artist, with several of

artist’s final years that form the most memorable part

his most magnificent works reunited and displayed

of the exhibition. Whereas early works allow us to

alongside each other as they were originally presented

follow Klee’s struggle in the process of establishing

in his exhibitions.

himself as a painter and artist, the later are equally as personal, tracing his declining health as he battled

Making Visible begins by introducing us to Klee’s

the wasting disease scleroderma. Fear and unease are

early works, many of which provide an insight into

present in most of these paintings, although some also

his engagement and experimentation with painting

indicate a sense of freedom and relief. One of these,

prior to his trip to Tunisia in 1914, where he mastered

entitled ‘Twilight Flowers’, depicts plants growing from

the field of colour and allowed it to become a central

the earth in a state of warmth and well-being, clearly

component of his art. The decision to present the works

contrasting Klee’s own circumstances as he was taken

chronologically brings about a clear demonstration

over by his illness. The work was the final one added by

of Klee’s artistic development, and particularly the

Klee himself to the last exhibition of his lifetime, which

process of abandoning representations of the real,

he eventually became too weak to attend.

visual world and moving further towards abstract themes. ‘Landscape with Flags’ stands out as an early

Tate Modern’s exhibition allows the Klee’s work to

example of what would eventually become Klee’s iconic

convey his considerable artistic integrity. From his early

individual style, displaying heavy lines and geometric

portrayals of subject matter rooted in the visual world,

forms, conveying the ever-present oscillation between

to his focus on analysing and illustrating the spaces

experience and imagination.

of the mind, Klee left behind art that, as he himself famously put it, “does not reproduce the visible; rather, it makes visible”.

The exhibition is beautifully arranged, including mainly small and intimate works, arranged on black and white walls in a combination of smaller and larger

The EY Exhibition: Paul Klee - Making Visible is open until

rooms. We are guided through pieces influenced by

9th March 2014.

wartime conditions and the political upheaval of the

Words: Maria Kristiansson Art: Paul Klee, ‘Comedy’, 1921

LET THEM IN: This winter The Royal Court is presenting John Lindqvist’s highly acclaimed Let The Right One In, a story of when a young boy encounters a vampire, as interpreted by The National Theatre of Scotland. Before curtains up Sofie Redland was lucky enough to interview the two leads; Martin Quinn and Rebecca Benson about everything from cultural differences to performing in London for the first time

How do you think it affects the play that the original story is not set in Britain? Have you encountered any cultural differences? Rebecca: It hasn’t. At least, not for me. If anything the fact that the story is originally told from a Nordic perspective made it more recognizable being Scottish. The similarities in the cultures, the coldness of an environment and the isolation of living in a small town, made it logical to place a new adaption there. Any cultural differences have been extremely minor. For example, we made the decision to keep the Swedish character names and place names intact but with Scottish pronunciation. The effect of that seems to have been that it enriches the world we’re creating. It makes it more universal. Martin: John, the director, wanted the play in Scotland because of the link between Scotland and Scandinavia. The play is still set in Sweden, but it isn’t obviously Swedish. There are some names that we don’t pronounce exactly like Swedish people would, and some references to specific place names have been removed, but it’s still Sweden in our heads.

ARTS

The play is based on a popular book that has been made into a film twice. Where would you situate the play in relation to the other interpretations of the story? Martin: I’d say Oskar is different than he is in the films. When you see Oskar there, you just think, “this is a really weird kid”, and while he is still weird in the book, you get more empathy with him. His nice side comes out more, especially in the way he is with his mother. We try to show this side of him to make him more relatable on stage. He also comes off as more naïve. A specific difference from other interpretations is a scene in a sweet shop, which John Ajvide Lindquist, the author of the book, said he particularly liked when he came to see the play. That scene was in neither of the film adaptations, but works well in the play. Rebecca: I would definitely say that it stands on its own. You don’t have to be familiar with any of the other work to enjoy this play. Even when I was rehearsing it, watching the film or reading the book became too much. I was surprised how distracting I found it. That didn’t matter, because Jack Thorne’s script is a fantastic work that was easy to create our own world from, without influence from the other adaptations. What we have is an independent piece which I am very proud of. What do you think of the Royal Court as a space to perform in? Martin: I’m very new to the theatre world, so I hadn’t heard much about the Royal Court when I first auditioned, but having seen it now it seems like a really cool place - it’s trendy. Their focus on new writing is very exciting; it’s a good platform for that. Rebecca: I’m really excited. I’ve never performed there before and I cannot wait. Do you expect a different audience here than you had previously, in Scotland? Martin: London is a very exciting place, and also seems very excited about theatre. More people go to see things, some of the performances have sold out already! In Scotland, people have to travel in order to see theatre, and the audience came from further away to see the play, whereas in London there is more easy access, so we expect a more plentiful crowd. -

Let The Right One In will be performed at the Royal Court from 29th November to 21st December. Tickets are of limited availability, but student concessions are available for some performances at £12, or £10 on Monday. For more information, visit the website: royalcourttheatre.com/whats-on/let-the-right-one-in

PUSHING BOUNDARIES Words: Hannah Ballard

The modern world is now proliferated with Pop Art. You can buy prints, postcards, bus pass holders, tote bags, mugs; nearly anything emblazoned with an infamous image. Yet, in the post-war period it was something new and exciting, a marriage of highbrow art and the real world. It was art made with money in mind; it tackled advertising and consumerism, and the artists involved could churn out works for a great amount of money. Pop Art, as the name indicates, still retains its ties with popular culture, and you would be hard-pressed to find someone who does not recognise a Warhol or Lichtenstein.

Photos L-R: Swimming Pool by Verner Panton, 1969;

UP 5 & 6, La Mamma Donna by Gaetano Pesce.

However, despite Pop Art’s popularity and regular attention, the link between the Pop Art movement of 1950s-70s and the design of the time has little been explored.The Barbican, in co-operation with Vitra design museum, Louisiana Museum of Modern Art, Humlebaek & Modern Museet Stockholm, is challenging convention and putting on the first major show focusing on this. When you see sheer size of the exhibition and volume of exhibits to admire, it’s genuinely surprising this link has been little explored, and the amount of work creating the beautifully organised space has to be admired. The design of the exhibition itself was actually based on a lot of the collage works displayed within, described by cocurator Catherine Ince as encouraging the “association of everyday environment which forms inspiration for

ARTS

the exhibition in order to create an uplifting and playful environment.”

Photo: Studio 65, Leonardo sofa image by Andreas Sutterlin

That aim has definitely been met, with the exhibition space itself looking as exciting as each individual work. A smorgasbord of 2D and 3D mediums create an engaging and surprising environment, with icons of commercialisation being displayed alongside the Pop Art version as well as sculptural interpretations. There are Lichtenstein’s paintings as well as his source material on display; infamous design pieces such as Eames chairs alongside Eames chairs that have been

could make yourself then use as a poster after wearing, flat-pack houses built entirely from new lightweight and easy to build materials, even a garment made out of PVC panels which the wearer could unzip and rearrange to create a t-shirt or dress to match their mood. The shop even seems an extension of exhibition, promoting the sense of mass-production and availability, selling a range of carefully curated design objects that correlate t o

made the canvas for art, parodied adverts alongside their originals, a photoset of shop windows where Pop Art canvasses were used as props in window displays. One of the most attention-grabbing and dominant pieces in the room is ‘Moloch,’ a reproduction lamp that is three times as big as the piece it is based on. This exhibition truly shows the never-ending cycle of recycling which Pop Art is founded on.

the pieces on display, such as the perfectly minute Vitra miniatures. If that’s a bit out of your price range, there’s still an affordable range of stationery, books and posters, so you can keep the cycle of recycling imagery going.

Whilst the exhibition focuses on the important influence of Pop Art upon design, it also looks at the impact of the expanding design culture on society as a whole. A post-war economy helped to start democratise the art world, with mass production enabling all families to display prints in their homes alongside their shiny new machines, as well as contributing to vast developments in the science of materials. With the advent of these new, cheap, materials came endless possibilities: cheap dresses that you

Pop Art Design will be at the Barbican centre until 8th February 2014, entry for concessions is £10. For more information such as opening times and how to get there, please see barbican.org.uk/artgallery

London’s Best Cinemas Words: Jennie Shearman

Aubin Cinema

Prince Charles Cinema

The Aubin Cinema is tucked away close to Shoreditch High Street tube, and shows a small range of recent releases. It is pretty pricey, with tickets costing £15 per person, however once you are inside it all makes sense. You pick up your tickets from the bar, which serves a range of drinks at typical London prices. The bar is all white, new, and fashionable, fitting perfectly in to the upmarket Shoreditch vibe. The cinema screen itself is luxurious, with each sofa-like seat having a footstool, a wine cooler and individual blankets. The Aubin may be pricey, but if you want to see a film in both style and comfort this is the place to be.

This cinema is located just off Leicester Square and is the perfect place for anyone who considers themselves a film buff. Showing all the critics’ favourites, new releases and with regular screening of cult classics the Prince Charles Cinema is perfect for those who want to see something a bit different or have a favourite film you want to re-watch. So far this year they have boosted a London film season, had a Wes-Anderson week, shown a Quentin Tarantino Marathon and held a Pizza and Beer night. There are always special events and experience screenings going on, so be sure to check this out for a different movie night.

Photo: ~Solstizio~/flickr

Photo: trash world/flickr

Photo: kerrypolka/flickr

As you would expect from such a large and historically cinematic city, London has a fantastic set of sites to see films screened, exhibited and discussed, and they extend way beyond the bright lights and red carpets of Leicester Square.

FILM Photo: Kin Chan Photography/flickr

Somerset House One of the most interesting screens in London, Somerset House is a cinema unique to the city. Across the summer months the Somerset Summer Screen shows classic films outside in its courtyard, an event that everyone should experience. The rest of the year is more intellectually challenging; this winter they have a season of previously unaired British documentaries. There are also a variety of film related exhibitions and expert talks which take place regularly so keep an eye on the website especially if youâ&#x20AC;&#x2122;re a film student!

Genesis Most of you will already know this gem, but seeing as it is one of the cheapest and most student-friendly cinemas in London it definitely deserves a mention. On Mile End Road and minutes away from the Queen Mary and Barts campuses, Genesis shows most of the latest releases and even has special screening seasons showing old classics and cult favourites. It may not be one of the fanciest cinemas, but it has its own East End charm and it is one of the only remaining independent cinemas in London (also it featured in an episode Peep Show).

BFI IMAX IMAX (widescreen cinematography that brings a picture 10 times bigger than normal 35mm cinema) has been big in the States for a number of years and we are lucky enough to have our own screen located at London Waterloo. IMAX may seem like a bit of a gimmick but seeing any film in such detail is way more intense than a normal screening: a true cinematic experience. The fact it can make any film look so iconic makes up for the increased ticket prices, and the BFI Waterloo also hosts a monthly film quiz if you want to test out your film knowledge.

IS 3D RUINING CINEMA? CUB Film writers debate the impact of 3D on our cinema-going experience: Helena Kerr argues for a return to 2D, whilst Davey Brett embraces an improvement of aesthetics.

YES In case you needed convincing, here is a depressing Before the release of Avatar in 2009, 3D was largely

list of but a few terrible 3D films released in recent

seen as just a novelty effect, used in theme parks for

years: Piranha 3D, Step Up 3D, My Bloody Valentine

attractions such as ‘Honey I Shrunk the Audience’

3D and Street Dance 3D. There are of course plenty

in Disney World Florida. There was probably a

of other films which you could watch in 2D (at a

reason for this confinement and disregard for the

cheaper price) and enjoy just as much with one less

third dimension: the whole wearing glasses/things

dimension (minus the 3D-headache): Monsters

jumping out at you from the screen would most likely

University, Coraline and Alice in Wonderland. Then

have stopped being fun after anything more than a

there are those bland films that are designed solely

five minute ride in a theme park.

for 3D (such as the afore mentioned Avatar) which to me seem to lack original or interesting plots and in

However, there seems to have been a 3D renaissance

that sense take away the most important aspect of a

in recent years, which seems to be ruining the overall

film: to tell a story.

quality of movie releases, as well as making cinema trips over-priced and unfulfilling. Historically, films

What I find most bizarre is that these films are rated

were written and produced with a focus on strong

so highly by critics: Rotten Tomatoes rated Avatar at

storylines and the demonstration of an actor’s

83%, and yet the cliché story line and wooden acting

performance. However, with the film industry’s

bored me to tears. It seems clear to me that these

recent realisation that special effects entice the

money-spinners are ruining the creativity of cinema:

drooling masses in for the premium cost at corporate

very few 3D films now tell original and inspiring

multiplexes, 3D has become an industry obsession:

tales, and even fewer use 3D to actually enhance any

especially as cinemas can and do charge an extra £3

aspect of the plot. It seems the current 3D zeitgeist

for a 3D ticket.

exists purely to make huge, corporate film companies billions of dollars, at the potential cost of creativity

The death of good story lines in mainstream movies

from everyone from actors to directors.

seems to correlate with the rise in 3D films in recent years, and it seems as though most Hollywood movie

The saddest part is that all these generic, boring and

budgets cannot fund both a good screenwriter and an

monotonous films will keep being produced one after

expensive special effects team. It’s one or the other,

another all in the name of ‘3D’ culture and ‘modern

and Hollywood seems to have chosen the latter,

technology’, so long as the seemingly mindless

unfortunately.

consumerist masses (the ultimate target audience) keep paying through the nose for it.

FILM

NO Before I begin this defence, I feel I must come clean

The whole 3D experience can improve a film’s

about something. I have only seen James Cameron’s

aesthetics greatly. Regardless of where you watch

visually stunning introduction to 3D (Avatar) in

them, some films are just better looking than

two of the three possible dimensions. Unlike most,

others, and 3D can improve a film where perhaps it

my 3D debut came way back in 2003 with 57th best-

is lacking in other attributes such as narrative and

selling 3D film of all time Spy Kids 3D: Game Over.

strong characters (Tron: Legacy springs to mind).

My most vivid memory of this experience was a boxing glove leaving the screen and feeling like it was

That is not to say that 3D is just a gimmick to sell

no more than ten centimetres away from my face. I

below-par films. Regardless of whether films were

left the cinema feeling like I had just watched a film

three to ten ‘D’ there would still be terrible films.

in the future and kept my red and blue lens glasses

G.I. Joe: Retaliation was always going to be made

just in case this cinematic phenomenon caught on.

because people love terrible films. We should also bear in mind that 3D operates in a very specific

Fast-forward to present day and look how far we have

arena. Action and animation films make up the

come! 3D has completely transformed the cinematic

majority receiving the upgrade. We’re not getting

experience for the better, there really is nothing like

an immersive 3D experience of Emmanuelle Riva’s

it!

final saliva splutters in the Palme d’Or winning Amour, nor are most audiences at Sundance wearing

3D has made cinema a truly immersive experience.

disposable plastic glasses. Film is art as much as it is

It’s not just about objects coming out of the screen

entertainment.

anymore; instead it’s about adding another rich To conclude it is fair to say that 3D is most certainly

bringing the audience even closer to the world the

not ruining cinema and if anything, doing quite the

director is trying to portray. For me, saying 3D is

opposite. In the creative corridor that it is operating

ruining cinema is like saying IMAX is ruining cinema

in, cinema is being given another layer that is visually

– just ridiculous. 3D is an enhancement tool and

beneficial in an artistic and entertaining sense. We’ve

already stunning and explosive films such as Man of

come a long way from the blue and red glasses days

Steel and Marvel’s The Avengers are truly brought to

of yesteryear. 3D is a visual masterpiece giving the

life.

audience its moneys-worth!

Photo: c/o 20th Century Fox.

dimension to a film to make it a visual masterpiece,

Words: Kumari Tilakawardane

Maybe you fancy yourself a film buff - the next-next-next Scorsese. Maybe you hate all movies and think Hollywood should burn. Either way, chances are you use movie quotes more than you realise. Like it or not, film has become a part of our lives in a big way. Virtually every industry now uses the moving-image to help advertise, and the business-we-call-show is thriving at the Box Office. You’ll be hard-pressed to find someone around East London who doesn’t like movies (I mean, you’ll be hard-pressed to find someone in East London who likes mainstream movies, but that’s another story). We’ve all got our favourite movies – guilty pleasures, tearjerkers, make-out movies, little piece of childhood memorabilia (hopefully these last two aren’t the same). If you’re anything like me you’ve likely seen your favourite film multiple times and can quote it on cue. The other day I was talking to a friend who used the phrase “I’m gonna make him an offer he can’t refuse”. That was fine, until I found out he didn’t know that’s actually one of the most famous movie lines in history. Some of the greatest pieces of writing are seeping into the public consciousness and people use them without knowing where they’re from; unless you live under a rock you’ve also probably absorbed some of the most popular phrases in the English language. A lot of these come from film, demonstrating just how far-reaching the influence of Hollywood can be. There are people (culture snobs) who look down on the film business. These people, frankly, are idiots. Film academia has grown rapidly in the last 40 years and there’s nothing stupid about an industry that raked in $10.8 billion dollars in the US alone last year. To my mind just because art is on a screen instead of a page or a canvas doesn’t make it any less intellectual. Case in point: “Elementary, my dear Watson!” – arguably Sherlock Holmes’s most famous line – won’t be found in any of Arthur Conan Doyle’s books; the quote comes from The Return of Sherlock Holmes (1929), the first Holmes film with sound.

We all use movie quotes all the time – without even thinking how weird it is that we’re literally using someone else’s words who were likely made famous by someone else saying them. When people quote Shakespeare pretty much everyone knows the Bard is being busted out – do people recognise the works of Mario Puzo and Charlie Kaufman in the same way? In 2005, the American Film Institute compiled a list of the top 100 lines from American films. A quick browse of that list genuinely reveals about 30% of my conversational vocabulary. I’m talking gems like “Houston, we have a problem” and “I’ve got a feeling we’re not in Kansas anymore!” here. Most of us now quote from a movie without even having seen it: if this isn’t a testament to the massive part films play in popular culture now then I don’t know what is. How many times have you heard someone who looks like they don’t know their Ridley Scott from their Barry Scott say “go ahead, make my day” or “life is like a box of chocolates”? I guess what I’m trying to say is that we’re not giving movies enough credit for how they’re shaping our everyday encounters. More and more films, TV shows and songs are now quoting famous movie lines, and for me if someone can quote lines from Pulp Fiction they simply must be cool. It’s becoming increasingly popular to randomly bark out lines from Anchorman, Borat or pretty much any Tarantino flick. Having a mental store of film quotes to whack out at any given moment is the verbal ‘cool’ equivalent of being the person who always has a lighter. Let’s face it, sometimes you just don’t have the eloquence that those most-loved of movie characters have to be able to instantly sum up emotions. And ok, it’s true you probably don’t want all the traits of Dirty Harry, Dr Frankenstein, Hannibal Lecter et al., but what wouldn’t you give to be able to say “Do ya feel lucky, punk?”, without being severely mocked? Wouldn’t that just be… No? Is it just me with a penchant for movie quotes?

“Well frankly my dears, I don’t give a damn.” 18

FILM

I don’t think it’s too much of an assumption to make

Neverland to rescue his children from his long-forgotten

when suggesting that we all have our own favourite

enemy, Captain Hook. Having to remember his ability

Christmas television film - the one that we look forward

to fly, his old friends- in this case, quite literally The

to, the one that’s on every-single-year-without-fail,

Lost Boys, Tinkerbell (Julia Roberts) and his life as a

and of course, is shown across channels 1-5. Not to

boy before he left Neverland after he decided that it

scare anyone as we still have weeks to go, but in true

was time to grow up. This really is not one to miss.

jolly capitalist Christmas style, lets all take part in the

“RUFIO! RUFIO!”

extremely drawn out lead-up, and reminisce about our Knocking The Grinch (2000) out of the ball park

get to watch them once more.

(excuse the Americanism), is Elf (2003). Will Ferrell is once again hilarious as Buddy, who leaves the North

The Flintstones (1994), is one that I can remember

Pole in search of his real parents after coming to

watching as a child. Brian Levant has managed to turn

terms with his large size and the notion that he is

a much loved, classic cartoon into a brilliant feature

indeed, man raised as elf. Having moved to New York,

length film, bringing alive the characters just as I

we watch Buddy get accustomed with the strange

would have imagined them. The cast is a great one,

normalities of what we might consider day-to-day life-

with John Goodman, the late Elizabeth Taylor and a

providing us with laughs nonstop and huge amounts of

very seductive Halle Berry. The occasional animation

respect for Will Ferrell, who wears a pair of brightly

I think adds to the loveable, cheesy element that the

coloured, yellow tights throughout the entire film.

film carries and for me, it wouldn’t quite be a regular Christmas without this one.

It would be hard not to mention Home Alone (1990). Macaulay Culkin is 8-year old Kevin McCallister who

Going back a little further, and in the same category

is accidentally left home alone for Christmas while his

as The Wizard of Oz (1939) and Chitty Chitty Bang Bang

family travel to France. This film has pretty much been

(1968) is Willy Wonka & The Chocolate Factory (1971).

aired on TV every year since its debut and fingers

Directed by Mel Stuart and written by Roald Dahl, this

crossed this year we will be given equal treatment.

film was fated for a timeless greatness. Gene Wilder is outstanding as Willy Wonka, who of course takes

Of course we cannot mention every single Christmas

Charlie and his Grandpa Joe around his eccentric

film that is aired, although I may attempt to watch

factory amidst a mass of small orange men with green

them all. Here are just few more that we are pretty

hair. One big wish of mine for this years festivities and

much guaranteed to be blessed with: Toy Story, The

many more to come, is for the 1971 original to continue

Polar Express, Edward Scissors Hands, The Sound of

to air and to never be replaced with its strange and

Music, Ghost Busters and E.T. Spread across a good

thinly

three or four days, we hope that you manage to

stretched,

modern

counter-part

sorry

Tim

Burton.

catch a break from work to relax and watch at least

Photo: c/o 20th Century Fox.

one of these. CUB hopes that you have a very merry Not just a Christmas favourite, Hook (1991) provides an

Christmas with whatever you do.

ingenious twist on the time-honoured fairy-tale, Peter Pan. Robin Williams as Peter, is forced to return to

Words: Jessica Pratten

TV CHRISTMAS CLASSICS

favourite sofa-comfy, Christmas-day film, before we

Words: Dandie Debieux “I’m tellin’ ya, when people ‘ear me talk, they put their ‘and to their wallet, reck’n I’m gunna ‘alf inch a tenner.” My mother is somewhat stereotypical of the born and bred Cockney. She’s fiercely proud of her London roots. She’s quick, flooring grown men with her hysterical comebacks. She’ll pipe up with completely inappropriate one-liners that have had me choking on my homemade pie and mash. Most obviously she has a bold Cockney accent imbued with whimsical rhyming slang and curious sayings. A favourite of mine is “cor Blimey!? Ought’a be wearin’ a mask in ‘ere!” In layman’s terms, ‘how expensive! You miWght as well be robbers for the price you’re asking!’ But for all of that, she couldn’t deviate further from the profoundly negative connotations that plague the image of the Cockney. She has raised me with staunch morals, contrary to the stereotype that Cockney’s are a light-fingered, swindling bunch. I remember pinching, or ‘halfinching’ a liquorice-all-sort from the Odeon pick n mix stand when I was about four. Her wrath reinforced in my young psyche that theft, however minimal the object, was always wrong. So then why is it that my Mum, the loyalest and best woman in my world, is immediately decided to be morally corrupt the moment she opens her mouth? What is this accent prejudice, and has it always existed? In short, yes. Discrimination on the grounds of one’s accent is quite as old as sexism. The Norman conquest in 1066 caused not just an influx of French people, but French diction. Because a French rule was established, their language became synonymous with wealth and

power, rendering the Old-English speech of the masses common and inferior. Of course, French is a different language to English, but it was just as much the sound of French that afforded its speakers the collective conception of ‘goodbreeding.’ A parallel can be drawn with this, between how we perceive speakers of Received Pronunciation, or the ‘Queen’s English,’ as oppose to a Cockney, a Scouse or a Geordie. Our only female Prime Minister, Margaret Thatcher, is a beautiful example of how accent is perceived by the masses. It is a little known fact that Thatcher’s flawless Received Pronunciation was a complete facade. In reality, Thatcher was from Grantham, and spoke with a pronounced Lincolnshire accent. Because it was decided that she would be taken more seriously with the ‘right’ trill, Thatcher was coached by the National Theatre in speaking BBC English. This says it all: the public consensus is that a person who delivers a regional accent is not to be heard with the same reverence, not to be considered as qualified to speak. Considering then, how deep-seated the concept of accent discrimination is among us, it is surprising that there is so little rejection of it. If an employer discriminated on the grounds of race, gender or disability, imagine the uproar! Why is the same outrage not extended to ‘accentism?’ The fact that there is no such word as ‘accentism’ I think proves the point quite nicely. ‘Accentism’ is rife in every institution that shapes our geist. Within the mass media it is perhaps the most rife. The influx of reality television programmes like Geordie Shore, TOWIE and Made in Chelsea reinforce the stereotypes that

FEATURES

accents are attributed. Are all Geordie women as hideously uncouth as Charlotte? No. Are all Essex lads unable to keep it in their pants? Of course not. However, programmes like these

So what is there to be done about all of this? Should we all be Googling elocution lessons in a bid to shirk our imposed identities? I have a better idea.

suggest that there is a causal relationship between accent (as an expression of regional

Why don’t we just become aware of the

identity) and morals. With all this influence, it

prominence

is harder for people to reserve judgement.

is our collective judgement of individuals

accent

discrimination?

that perpetuate accent discrimination. Our On the flipside, celebrity culture has an

collective reserved-judgement of individuals

immense reverse effect on the way accent is

can produce the reverse, accent acceptance!

acknowledged. It wasn’t until Girls Aloud singer Cheryl Cole, nee Tweedy, became

A dropped ‘h’ or a shortened ‘a’ here and

a national popstar icon that the Geordie

there does not depreciate the fact that speech

accent became ‘fashionable.’ Suddenly, it

is a wonderful, unique gift - a gift that unites

was trendy to be a Geordie, and the influx of

us as human beings, the most intellectually

Geordie TV and radio hosts was incredible,

advanced species on the planet. There are

considering only a few decades beforehand,

around eighty different regional dialects that

BBC English was the only speech exhibited

exist in the United Kingdom, and hundreds

in the media, as a kind of national heritage.

more overseas accents that contribute to the

Cheryl Cole is no more a goddess than the

vibrant mix that is the British population. Why

next young, pretty woman, but the media have

should that tiny percentage of BBC English

elevated her to divinity, Geordieness in tow.

take privilege over such a vast spectrum?

To think of Cheryl’s Geordie accent worth So everybody, let’s clamber down off our ‘igh

accent, is just as ridiculous as the privileging

‘orses! As long as we can communicate, who

of BBC English.

gives a monkeys tut...?

Photo: c/o Walt Disney

listening to anymore than another regional

Founder of the Everyday Sexism project, Laura Bates is part of a generation of women using the internet to highlight and tackle sexism. In the past few years she has written for the Independent, worked on Project Guardian [whereby the police aim to tackle sexual assault] and created a platform for women to share their stories.

harassment in the workplace for example, but in reality women still face huge amounts of prejudice and discrimination because those changes haven’t filtered down in practice at a cultural level. We

have

seen

other

forms

prejudice that used to be socially acceptable only a generation or two ago become taboo, so it is possible to achieve this with misogyny too.

So far Everyday Sexism has collected over 10,000 women’s stories of inequality and is helping to expose a pervasive culture of misogyny worldwide.

But it means all of us standing up to it and calling it out where we see it for that cultural shift to happen. This means not calling on victims to react in a particular way or change their behaviour, but instead

Here, CUB interviews the woman behind what has become a global digital phenomenon about feminism, the internet and the work she is involved with. The Everyday Sexism campaign has been going on for 2 years, what do you feel has been its biggest achievement?

appealing to bystanders to step in and help us change what is seen as socially acceptable.

How do you feel the internet and social media are affecting feminist activism? I think they are helping to let us find one another and stand together. For a long time, women and feminism

Generally

really

have been silenced because it is

proud of the way sexism and gender

easy to bully somebody when they

imbalance have become such hot

are isolated - for example previous

topics since we launched the project

protesters

and are now hitting the headlines.

ridiculed and accused of being old

terms

speaking,

I’m

single

against

Page

were

specific

and ugly and jealous of the models.

achievement, I think the biggest

But now that there are over 120,000

would probably be our successful

people behind the campaign those

#FBrape campaign this Summer

tactics simply don’t work any more.

in association with the US-based organisation Women Action and the Media, which won a landmark victory

forcing

change

its

policy

Facebook on

rape

You were heavily involved with Project Guardian, how do you feel the campaign went?

and

domestic violence content.

Brilliantly! I am so excited that the British Transport Police are taking

What do you think is the most important thing young people can do to help themselves in the face of discrimination?

these issues seriously, which have for so long been ignored. We know that

the

increased offences

campaign reporting on

public

has

already

sexual

transport

Be part of the cultural shift we

London by 20% and detection of

need. We have won a lot of the

offenders by 32% so I think it has

big

structural

been a huge success, but my hope is

battles - we have excellent equality

that we can soon work together to

legislation and laws against sexual

roll it out across the country.

legislative

and

@everydaysexism

I certainly hope so! I think a lot of

the

problem

with

so many of our ideas about the world

don’t experience it yourself it’s quite

around us and how we fit into it are

understandably easy to underestimate.

shaped and formed. It’s one of the single

So when somebody says a wolf-whistle is

most important places to take a stand

just a compliment or a catcall isn’t a big

against sexism and sexual harassment

deal, it’s partly because if they’ve never

in all its forms and create the clear

had one. They’ve never experienced,

message, early on, that these things

say, walking down a dark street when

simply aren’t acceptable. We also know

what’s

that university can be a real hotspot for

something aggressively sexually explicit

sexism and assault - the recent NUS

and nobody is around and the fear and

hidden marks report showed that one in

shock and anger you feel - it’s a difficult

seven of the female students surveyed

thing to explain to those who aren’t

had

affected by it. So yes, I think awareness

serious

physical

shouted

you

that

and

sexual

experienced

harassment

sexism

Hugely important - university is where

you

actually

or sexual assault during their time at

raising is absolutely vital.

university.

So many men have written to us after reading the project website to say that

Who are your feminist inspirations?

they had no idea what was going on, or how deeply it was affecting so many

Every woman who adds their voice to

people’s lives, but that having read

the Project inspires me enormously -

women’s accounts of it in their own

their strength, courage and sense of

words they feel their eyes have been

solidarity, especially in the face of some

opened and will be doing their bit from

truly horrific experiences is incredible.

now on to tackle it.

I’m also inspired by all the women working tirelessly in the UK and wider feminist

community,

often

Any parting advice for our readers?

without

much recognition or support, who have

Remember that you’re not alone. It’s

been so incredibly kind and welcoming

hard to stand up to things when you feel

to me and reached out to help the Project

the fear of being ridiculed or accused of

flourish - people like Chitra Nagarajan,

being uptight, or frigid, or not having

Natasha Walter, Holly Dustin and Sarah

a sense of humour. But that fear starts

Green, Ikamara Larasi, Lauren Wolfe,

to fall away when you realise that tens

Soraya Chemaly... I could go on and on!

of thousands of other people are right behind

you,

also

standing

and

wanting a change. And our voices are loudest when we raise them together.

CUB Q&A: Laura Bates Words: Bethan McAulay & Sean Richardson

FEATURES

Many students’ unions are attempting to tackle sexist behaviour. In your opinion, how important is this?

Recent years have seen the rise of gender activism, do you think people being exposed to these campaigns through the media will lead to more accepting and ‘equal’ cultures in the future?

Poland

Photo: Synne Tonil

As term drew to a close last June and the end of my tenancy agreement loomed ever nearer, I was left with an inescapable feeling of boredom. I had spent barely a moment of the year without company, enjoying the near constant binge of partying and chaos that every Fresher should. Now everyone was already packed up and ready for home, or otherwise exhausted by exams and in desperate need of rest. I was alone. I racked my brain trying to remember what it was I used to do when I was on my own, but I failed. I had become so reliant on other people for entertainment that I had completely forgotten how to have fun on my own. It was in this state of mind that I stumbled upon the offer of a flight to Gdansk, Poland for fifteen pounds and in a moment of sheer spontaneity seized it. Given my lack of preparation, it was no surprise that calamity struck within an hour of my arrival. I had landed shortly after midnight without any zloty, so immediately headed for the nearest cash machine to procure some before looking for a hostel. Unfortunately, having no

idea how a Polish cash machine works, I was slightly overwhelmed by the range of options available to me. The offer of “Fast Cash” had an obvious appeal, so this was the option I selected. The machine spat out twenty zloty - just under five pounds. I tried not to imagine the room that would afford me and returned my card to the machine. It was rejected. Thinking nothing of this, I boarded the bus to the city - thankfully prebooked - resolving to find a cash machine there. I found several, though none would accept my card. Panic! I was cold, hungry, and exhausted, in a strange city with no money - and most worryingly, I was entirely alone. I flounced through the streets, desperately racking my brain for a solution. I spotted a small café and, too grateful to question its bizarre opening hours, I stepped inside and spent all of my zloty on a sandwich and a coke. My appetite sated, I was able to think clearly. I decided to return a Hilton hotel I had noticed earlier and ask to use their phone to contact my bank. Eventually I discovered that, due to my sudden arrival in Poland, the bank had

FEATURES

For One

Photo: Synne Tonil

Words: Laszlo Zorya

decided I was committing fraud and had blocked access to my card. My issue finally resolved, I could find somewhere to rest, quickly ducking out of the Hilton first to avoid their exorbitant room prices. Solving this dilemma gave me a rush, a feeling of pride in my abilities that I couldn’t have felt if I had had a friend to help me. That is what solo travel is all about for me discovering what you can do by yourself and discovering how easy it is to get by on your own. At first, asking for a table for one in restaurants, or perching on the lonely stool at the end of the bar feels pathetic, but I found that people are far more prepared to approach you if you’re on your own and I ended up meeting some very quirky characters . For instance, whist helping me navigate Kielce’s rabbit warren of a bus station, a woman who had defected from Poland in the 70’s gave me a fascinating and hugely personal view of her country’s recent history. You may be travelling solo, but as a lone traveller you are inherently interesting, and I can guarantee that both locals and fellow travellers will approach you, no matter how shy you may be. Being alone also have me a real, palpable freedom. Whether I wanted to spend my time attempting to relax on a windy Polish beach or getting terrifyingly lost wandering the countryside, I could. They were my decisions: I couldn’t rely on travel buddies to plan my days or me, nor would I need to debate with them where we should head next. I could go wherever Poland’s transport network could take me. In short, there is nothing I recommend more than dropping everything and boarding a plane to a random country, on an adventure for one. Nothing is more liberating or will do more for your confidence.

CUB’S ALBUMS OF THE YEAR Here we present this year’s finest releases as chosen by CUB Music’s editors and contributors; the result of many hours of strife and personal torment. Drawing on our varied tastes we’ve picked a range of different albums that make up a fantastic swansong to the year. Here’s to 2014 sounding even sweeter!

TALL SHIPS - Everything Touching

accessibility first but is still an interesting listen. ‘Back On The Ground’ is this album’s

Everything Touching oscillates between an all-

centrepiece - a true anthem that mixes pop

embracing tenderness and an unconstrained

sensibilities and LaBrie’s stratospheric voice

volatility.

masterfully

employ

with seven stringed rhythm guitar that gives

dynamics,

exuding

it a genuinely forceful bass punch. The rest

abruptly

of the album demonstrates a mastery over

immersing the listener in crashing waves of

an entire spectrum of the modern metal

catharses. ‘Phosphorescence’ commences with

sound; opener ‘Agony’ is heavily influenced

a prismatic and irrepressible melodic line

by Soilwork’s interpretation of melodic death

before surging into an anthemic chorus charged

metal while ‘Lost In The Fire’ has some of

with a suspended momentum. ‘Gallop’ places

Within

the listener in a Gothic greyscale post-punk

This has resulted in a rich and diverse album,

space, but moves with an unbridled energy to

a true celebration of the state of modern metal.

lead into the insouciant and ethereal ‘Idolatry’.

If you’re already into metal then you’ll find that

With Everything Touching, Tall Ships merge

Impermanent Resonance touches on everything

and mould together the best elements of

that drew you into the genre in the first place.

alternative

If you aren’t, what better place to start?

an a

Tall

extensive

Ships

range

mother-of-pearl

rock:

sheen

the

before

swirling

textures

shoegaze, the cerebral technicality of math rock and the emotional potency of post-rock. With this hybrid, the band create an accessible and engaging sound, producing what is essentially a very imaginative and versatile indie-rock record.

The

album

closer,

‘Murmurations’

enters dream pop territory, building up a tasty looped riff to culminate in a rousing finale, delightfully sounding very much like the epic Danish band, Mew. This is music to stargaze to, or to have playing in the background as you in

contemplate the

infinite

your scale

inconsequentiality of

the

universe.

Temptation’s

symphonic

theatrics.

NC.

KANYE WEST - Yeezus No one proclaims Kanye West’s genius louder than himself, but when he releases music like this I actually cannot argue with Yeezy on this point. Despite my personal dislike of

the

egotistic

and

obnoxious

West,

his eagerly awaited sixth studio album is without a doubt one of my albums of 2013. Yeezus opens with one truly god-awful track, ‘On Sight’, which will make you feel like you’re in some weird Laser Quest room with a scary

TP.

man yelling at you. But the following track

‘Black Skinhead’ soon makes up for Yeezus’

JAMES LABRIE - Impermanent Resonance

awkward start. From there Yeezus matures like a fine wine, getting better with every single

Somewhere in the world, someone has just

track. Although Yeezus is a lot more angry and

put a contract on my head for favouring James

political then any of Kanye’s previous albums,

LaBrie’s side project over his latest album

I’m happy he has not strayed too far away from

with progressive metal titans Dream Theater.

making the powerful hip-hop tracks he is known

While

hyper-technical

for. Recently lost legend Lou Reed called Kanye

noodling definitely has its place in my heart,

“seriously smart… majestic and inspiring” –

I was genuinely stunned at how successful

high praise that Yeezus proves he can live up to.

LaBrie has been in creating an album that puts

MM.

Dream

Theater’s

MUSIC

into the maelstrom of noise. MBV then moves

ATOMS FOR PEACE - Amok

into a completely different mood, utilising pillow-like organs on ‘Is This and Yes’ and

It is a well-established truth that everything

phased guitars in ‘If I Am’. ‘Wonder 2’ (both

touched

pure

delightful and strange), opts for a combination

gold, Amok has restored my faith in laptop-

of drum n’ bass beat and pulsating guitars.

based sound. This time the King of Cryptic

Following up Loveless was always going to be

Sorrow decided to ditch his usual electro-

a difficult task, but MBV delivers the goods and

depression and jump on the groovy dance

does so in a way only Kevin Shields could. It may

music production train, bringing a bunch of

be long overdue, but is certainly worth the wait.

interesting characters along: Red Hot Chilli

CT.

Thom

Yorke

turns

into

Peppers’ Flea, Radiohead’s producer Nigel Godrich,

Brazilian

percussionist

Mauro

Refosco and REM drummer Joey Waronker. One could assume that Yorke’s fragile, jittery vocals would collide with Flea’s sassy, bass slappin’ attitude. Yet the love child of this unexpected

sonic

bromance

something

spectacular. The sound they offer is a blend of melodic bass lines and dubstep throbs embellished with a dash of Afrobeat that create

simultaneously

mesmerizing

and

invigorating backdrop for Yorke’s cathartic croon.

Despite

the

soundscape

Amok

seeming to be quite static at first glance, it is

NINE INCH NAILS - Hesitation Marks Thank god Trent’s unhappy again. It’s been four years since Nine Inch Nails’ Farewell Tour, he’s won an Academy Award and formed How To Destroy Angels with his wife; he’s had plenty to be happy about. But now he’s back. What

fans

have

received

landmark.

Nine Inch Nails is a band that has reached a level where they can only be compared to themselves, not their peers or protégé. This is their best album since With Teeth, possibly

has a refined complexity and rich texture that

even reaching the heights of The Fragile. What

separates it from the standard electronica

Trent has delivered here is an evolution, part

pack. Thom Yorke and his all-star entourage

Pretty Hate Machine and part Year Zero.

have

and

Bravely ditching the harsh guitars that have

idiosyncratic brand of dance music: groovy

dominated his earlier work, he’s replaced

and energetic but also soulful and profound.

them with layered synths that invite repeated

listening. ‘Copy of A’ and ‘Came Back Haunted’

managed

produce

fresh

recall the heavier dance orientated nature of

MY BLOODY VALENTINE - MBV

his earlier work whilst the second half of the album broods with self-reflective chloroform,

It may have been a couple of decades late but

proving Trent still has that subtle dark edge.

My Bloody Valentine’s third album, MBV,

Who else can end an industrial album with a

seems to pick up just where 1991’s Loveless left

saxophone and still be relevant? If this is what

off. It was a bit of a shock announcement for

happens when Trent is feeling down, I wish

fans, who could be forgiven for their thoughts

him pain and misfortune for years to come.

that a follow-up to their brilliant sophomore

MB.

album would never materialise after twentytwo years. Fears that this would turn out to be another Chinese Democracy ultimately proved unfounded; MBV lives up to the weight of

Words: Tim Picton, Nicholas Cleeve,

expectation placed upon it and is a showcase for

Melanie Moran, Zuza Nowak,

Kevin Shields’ masterful sonic experimentation.

Christopher Thomas, Michael Baker

Ethereal distorted guitars dominate the first three tracks, with ‘She Found Now’ being slightly reminiscent of ‘Sometimes’. Kevin and Bilinda’s dreamy, breathy vocals melt straight

MAKING MUSIC: IN A TINY SPACE

One of the challenges of being a student (particularly in London) is that your living space is at a premium. Whether you live in accommodation or share a house, you’re unlikely to have much spare space especially a problem for student musicians. You wish that you could bring your favourite 50 watt cabinet or grand piano from home, but then you would have to deal with neighbours calling the police if you dared to use them and plus having nowhere to put them anyway. Fortunately, help is at hand! Here are a few ideas on how you can use a bit of technology to make practicing and recording with your instruments in a small space a little easier... GUITARS:

Instead of bringing your practice

to record with. A great resource for this is

amp and pedal collection up to Uni, it might be

dskmusic.com - completely free and boasting a

worth looking into amp modelling. Hardware

wide variety of different virtual synths, you could

like the Line 6 Pod series concentrate almost

happily play around with their sounds forever.

everything you’d want to create a good tone into a box the size of a couple of pedals. You can also use them live, saving yourself a great deal

DRUMS:

of stress either hauling an amp head to each gig

to be able to get a ‘proper’ drum kit into your

or trying to find the right settings on house gear.

room. It hurts, but you’ll have to make do with

It’s very easy to find preset tones online, so even

an alternative. Electronic kits like the Roland

if you don’t fancy fiddling with the settings too

V-Drum series aren’t just useful for Guitar Hero

much you should be able to get a good sound.

parties, they also offer a compact and relatively

Just accept that you aren’t going

quiet way to practice without having to rent out With just a basic MIDI to USB

harder to transport across London than a Pod,

cable you can connect your keyboard directly

they’re similarly useful in a live situation if you

to your computer. This makes them stress free

want complete control over your sound. The main

to record with, but it’s worth remembering that

complaint that people have with E-kits are that

this will only record MIDI data. It’s a slightly

they sound synthetic, so make sure that you get

more involved process to record the audio

a decent set of samples for them - Toontrack’s

directly from your keyboard, but why not turn

Superior Drummer is very widely used. It’s also

this obstacle into an opportunity by using virtual

important that you use a velocity sensitive kit;

instruments (also known as VSTis) instead?

the slight variations in volume will make your

Loads of VSTis that simply plug into your music

drumming sound a lot more natural. Without this

production software are available online, greatly

feature every single drum hit will sound exactly the

expanding the kinds of sounds you have available

same; you may as well just use a drum machine.

Words: Nicholas Cleeve

Photo: Ben K Adams

rehearsal space. While they are considerably

KEYBOARD:

MUSIC

CUB Debates:

Are The Smiths Overrated? Two members of the CUB Music family go head to head to debate whether The Smiths are overrated. Things could get ugly...

AGAINST

FOR

Words: Helena Kerr (FOR) Melanie Moran (AGAINST)

Famous for their repetitive guitar riffs, tuneless

When I hear someone call The Smiths overrated,

singing

depressive-

not only do I question the world we live in, but I

for-the-sake-of-it-to-give-me-some-kind-of-

cannot help feel like someone has insulted my

artistic-depth lyrics, The Smiths, are with a

(musical) Father. With songs like ‘Please Please

doubt the most overrated band of recent times.

Please Let Me Get What I Want’,‘This Charming

and

overly-miserable

Man’ and ‘Heaven Knows I’m Miserable Now’ in

Morrissey, the band’s dreadful lead singer, oozes

their musical calibre, The Smiths are without a

self-obsession and narcissism with his lyrics

doubt one of the best bands to ever walk the earth.

usually revolving around him feeling sorry for himself. It seems as if he has never left that

The utterly distinctive, deep vocal range of

fifteen year-old mentality: he probably still tells his

Morrissey

parents he hates them whilst running upstairs to

Rickenbacker guitar playing has created one

his room to cry about why no one understands him.

of the world’s most influential bands. Morrissey

embedded

with

Johnny

Marr’s

and Marr create a beautiful infusion of rock

And so, it confuses me greatly as to why they

and post-punk, whilst making anybody want to

are so popular, especially amongst the youthful

sing their bittersweet lyrics. There is a clear

hipsters of our generation: to like The Smiths

reason why the iconic Manchester band’s third

these days is in itself a fashion statement. And so

studio album, The Queen Is Dead consistently

with their resurgence of fans in recent years due

tops ‘Best Albums of All Time’ lists. The album

to their ‘coolness’ as opposed to their musical

flaunts Morrissey’s unique voice and poetic

integrity, it seems The Smiths sum up the

lyrics

phrase ‘music for music’s sake’, for they didn’t

Thorn In His Side’ and ‘Frankly Mr. Shankly’.

with

songs

‘The

Boy

With

The

contribute anything original or new to music and with lyrics such as ‘I was looking for a job and then

The only fathomable reason why I think someone

I found a job, heaven knows I’m miserable now’, I

may claim The Smiths to be “overrated” is

would definitely question their so-called ‘poetry’.

because of how often they are played - I say this in a completely positive way. I look at The Smiths

Moreover, their actual sound is boring and

like I look at Shakespeare; by ‘law’ everyone

uninspiring, with simple, already known melodies

in England must have free access to read and

wailed over by a tone-deaf Morrissey. Overrated

experience Shakespeare. This should be the same

and overplayed, the sooner The Smiths are left in

for The Smiths. The Smiths should be re-played,

the decade they were spawned from the better. In

like Shakespeare is frequently re-read, because

this case there is a light that should definitely go out.

it opens up a beautiful musical education for all. There has never been a better match then Morrissey and Johnny Mar, (except for maybe Hall & Oats just maybe).

Christmas is an absolute dead zone for music.

made being forced to the top of the charts.

I promise I’m not some kind of Grinch, I love

The only notable recent exception to this is

Christmas itself! But every year I pray that

when an irony-free movement did exactly what

at least one of the packages under the tree

they were told and bought enough copies of

is a few albums for me to listen to until the

‘Killing In The Name’ to propel it to the top of the

torrent of Christmas cheer that gets pumped

Christmas charts a few years ago. The purpose

out of speakers wherever you go subsides.

of that movement was to remind people that there is music outside of the standard Christmas

My biggest problem with Christmas is that it has

single fodder worth supporting; the whole point

such a repressive effect on music. If you compare

of picking such a confrontational song was to

this week’s chart with one from ten years ago

capture the public’s imagination and inspire

you’ll find that they’re completely different. This

them to look elsewhere for their Christmas

is a good thing - music lives and dies through

lunch soundtrack. Yet now that little anomaly

progression and any style that remains static

has been forgotten, like a clot of foam in the

will soon cease to be worth listening to. So why

wake of the Syco dreadnought. At least the

do we insist every single year on listening to

charity singles that have kept The X Factor’s

the same Christmas songs made by bands that

product from topping the Christmas chart for

CLEEVE’S CHRISTMAS CRISIS WO

RDS: E VE NICHOLAS CLE

haven’t been relevant for a very long time?

the last couple of years have raised a great

Even classics lose their sheen after being played

deal of money for good causes, but the songs

to saturation for two months every year for

themselves aren’t exactly pushing the envelope.

decades. On top of this, the absolute adoration given to them makes it unlikely that anyone

So please, this Christmas, don’t listen to the

will ever break out of the mould for Christmas

same songs you’ve been listening to for the

chart

past decade and don’t support the industrial

success

that

these

songs

have

set.

production

music

that

The

Factor

When we do get new music for Christmas

represents. A few pages earlier we suggested

it’s almost always a set of reheated covers.

six albums from this year that you need to try,

Everyone from Michael Bublé to Motorhead’s

so give them a go. Then how about dipping into

Lemmy Kilmister has had a go at this and my

genre you’ve never listened to before, just to

response to them is never more than tepid. But

expand your horizons a little? Anything but

the absolute worst offender is The X Factor. Its

switching off with ‘The Fairytale of New York’

several month primetime advertising campaign

in the background for the thousandth time.

results in some of the blandest covers ever

MUSIC

My complicated relationship with Kings of Leon Please correct me if I am wrong, but sometimes with

They didn’t give a damn: they were sleeping in

music it is nice feel to like you were there from the

cars, their songs were about whiskey soaked times

start. Regardless of whether you were at a particular

and they were the rebels to embrace in the face

band’s very first gig or you simply stumbled across

of the often drab and predictable music regularly

their debut album within the first few months of

presented to twelve-year-old me. Kings of Leon

release, that early bird feeling of ‘fandom’ is special.

were a band that my best friends and I bonded over and whenever I reminisce about my childhood, my

For me that band was Kings of Leon and sadly,

mind plays the opening minute of ‘The Bucket’. It’s

this summer, that ‘fandom’ dynamic (one which

comforting to shout something as random as ‘salty

was perhaps on the brink for some time) came to

leaves’ out amongst people you know and feel safe

an end during their encore at a music festival in

in the knowledge that they understand you.

Poland. The band have essentially been spiralling into mainstream dilution for some time, and my

Then came the mainstream success. It’s not the

fears were fully confirmed during an encore led by

unforgivable idea of ‘they’re my band, not yours!’,

the end-of-the-night-dancefloor-snog anthem, ‘Sex

but the idea that the music is being diluted and

on Fire’.

shaped in a direction to feed the mainstream appetite. It’s the idea that ungrateful America is only

The set itself was exciting at times but their chances

just waking up to the genius of a band whose most

to drop those early album bangers of my younger

exciting work is in the past. It’s the uncomfortable

days were squandered, with more emphasis on

realisation that if you don’t press the refresh button

slow-burning songs of mainstream success. Their

quickly enough for those £45 standing tickets, the

lack of stage presence also emphasised how far the

chances are that you’ll be paying £60 to sit up in

band had declined since those legendary opening

the gods next to a person drinking hot chocolate…

days.

(I swear those people would have had Horlicks if it was served in the Nottingham Capital FM Arena).

Oh and what days they were! Those first three albums of pure, unbridled rock n’ roll mixed with

It is this mainstream success that causes me so

soft insights into the Southern culture that they

much internal conflict. Should I embrace the new

had left behind! (‘Life goes by, on a Talihina Sky’).

music because it’s the band I grew up with?

Youtube confirms that the live gigs were a sight to

appreciate artistic direction, but I just can’t help

behold - the hair was long, the moustaches were

feeling that once Kings were elevated to those U2

of the 70s porno variety and the lyrics were often

stadium heights, they just happened to change. I

indecipherable.

understand that they had to grow up and abandon

the x-rated ‘Peter Pan’ lifestyle of alcoholism, but at the same time I can’t help but feel the Kings of Leon I knew and loved have gone. So alas, I have finally got it off my chest, farewell Kings of Leon, your first three albums will always be sacred. Photo: Alterna2

Words: Davey Brett

I grew up in Vienna, but in my twenty years I’ve lived in France, Italy and now in the United Kingdom. Each country has its own dress code, now reflected in my personal style – it’s an amalgamation of everything I’ve experienced during my travels. In Austria, there are no school uniforms;

always

used

think about what I’d wear to school the next day before I went to bed. I wanted to have the same clothes as my friends but my mother didn’t like to buy branded pieces. School is a difficult place to be if your parents

can’t

afford

certain

clothes – uniforms take this risk away. In the end, anyway, every school builds its own uniform because want

children

everything

will

always

their

friends

general

have. Austrian dress

people

quite

homogeneously

– people are reluctant to try new things because they don’t want

stand

out. The

style

is ultra conservative: the girls at

school

used

wear

polo

shirts and blouses with pearl bracelets

and

pretty

flats.

Change is in the air now, but even

popping

into

Zara

unique experience as they seem sell different pieces in Austrian stores compared to other parts of Europe. Everything is much more conservative: loud prints, sequins and platform heels are beige, grey and black – they infrequently wear colour.

Photos: Eleanor Doughty

a rarity. Older women stick to

Words: Anna Freud

Anna Freud embraces her multicultural style.

At home, people are used to spending their But in London, anything goes. This is the

money on things other than clothes. For

first place I’ve lived where people don’t

my grandparents, after the Second World

care about what everyone else is wearing.

War there was nothing – my parents grew

In Vienna people stare at you if you

up with a ‘make do and mend’ attitude. This

pop out in your pyjamas or wear holey

may explain the popularity of more basic

tights; it’s not the done thing.

pieces in Austria, as conservative fashion is timeless, lasting much longer than the

People definitely buy more clothes here

latest trend.

than in Austria. When I first moved here, I was astonished to find Oxford Street

When I’m in London, walking around, I

always crowded, regardless of the time or

look like I dress conservatively; in Austria,

season. In Austria, the shops are closed

on Sundays and during the week opening

always in tights and slightly longer dresses,

times are more limited – there’s no late

I’m still a little ‘out there’ for Austria. It’s a

night shopping until 10pm!

strange cultural adaptation, but one I can call

one

my own.

would

say

that. Although

I’m

STYLE

DRESS CODE

WOMEN’S FASHION EDIT:

Classic prints in classic cuts can be transformed with unlikely pairings; monochrome checks with accents of electric blue and animal accessories will ensure covering up in the colder months stays jazzy.

Words: Daisy Murray

rs,

e rous ed t cker 9 Che 9 . £29 Zara

Checkered cardigan, Zara £59.99

Leo par dp Wa rin reh t gl ous ove e, £ s, 30

Animal print Sunglasses, ASOS £8

Navy stripe wool coat, Topshop £210

Cult loafers,

Clutch, £15 Topshop

Nasty Gal £41.94

STYLE

MEN’S FASHION EDIT:

Keeping in line with the monochromatic theme which overrides most of the A/W trends, this ensemble will keep you nice and cosy from the elements. Combine leather and luxury to keep most of the wind & rain off, meaning you’ll never shiver when having you mid-library fag in the square. Words: Tom Grace

Black skinny jeans, Topman £30

Desert boots,

Wayfarer,

Clarks £79.99

Ray-Ban £130

shir ed T-sleev Long 9 .9 £9 H&M

Rings, Topman, £8

Polka dot scarf, Zara £25.99

WE INVITED FINAL YEAR HISTORY STUDENT ZENNIE THOMAS ROUND FOR A CUP OF TEA, A NATTER AND A PHOTOSHOOT... First things first, what do you try and achieve with your outfits? I aim for a classic look, using simple items, block colours and iconic shapes. In the back of my mind I picture icons like Audrey Hepburn. I wear a lot of black and layer my clothes a lot too. Do you look towards classically feminine icons for inspiration? Yes, definitely, I look to the sixties for a lot of my inspiration – anything from trench coats to oversized outfits. Jean Shrimpton is another big inspiration, and in terms of modern icons, Carey Mulligan is amazing. What drew you to this particular style? I began liking Audrey, and through her I discovered Jean Shrimpton’s autobiography. I love the bold simplicity of sixties eye makeup in particular. Films affect my style too – I really enjoy French cinema, movies like Breathless and others that Jean Seberg stars in. That sort of quirky, romantic stylisation, I feel as though the words ‘classic’ and ‘simple’ are coming up a lot…

Is that how you would describe your look, classic and simple? If I’m going to dress up that’s what I’m aiming for, I always keep it in mind. I do love the grunge look but sometimes layering black with my Doc Martins is as close as I come to that sort of style. I tend to aim for classic and simple, it’s what I aspire to be. I steer clear of patterns – I like colours, especially pink, yellows and greens at the moment but I rarely wear florals and paisley. Where do you shop? Most of the things I own are collected from charity shops, other than the odd bits and pieces from Zara, H&M or Topshop. I’ve gathered so many things from them over the past few years. When I go home to Wales I always charity shop because it’s full of old ladies who give away their great coats and bags, totally unaware of how amazing they are. In London, I usually go to Portobello Road though occasionally I’ll venture to Brick Lane for places like Rokit.

Words: Lizzie Howis Photos: Laura Blair

What kind of makeup do you prefer? I try to wear different shades of lipstick to compliment my outfit – reds, pinks, purples, it depends what I’m wearing. My eye makeup is usually the same – mascara with the classic black flicks on top. My favourite lipstick is MAC’s ‘Ruby Woo’, I love how dry it is. How about your hair? It’s Audrey, again! I do love her. My hair has a lot of volume and has been getting lighter at the bottom but I haven’t dyed it. I’m accidentally on trend! Do you read a lot of fashion magazines? My staple is probably Vogue, but sometimes these days it’s disappointing. I read Dazed and Confused, Love, and Oh Comely too. I used to adore Lula, but it’s a bit kitsch now. I don’t really follow magazine trends but I find myself buying things that are on trend. I suppose everyone is conscious of what’s on trend at some level. When I go into a shop I don’t really pay attention to the ‘looks’ that stores direct you towards, I buy things just because I like them. That sounds like such a cliché, doesn’t it? I think that if a trend is being delivered as the ‘must have’ image then you find yourself liking things that coincide with that. A pink outfit I wore yesterday is technically ‘on trend’ but those items are things I’ve collected over a few years. Sometimes I’ll buy something and not wear it for ages, and then suddenly find myself liking it, I guess because of the continuously change in trends.

with ZENNIE THOMAS. What are your favourite brands? I really like Miu Miu and Vivienne Westwood at the moment. Miu Miu is quite printy though… I know, but I love it! Acne as well. If only I could afford to get my hands on some sweet Acne…

Do you prefer vintage or high street? Vintage, no one else will have it! You can mix and match and there’s a story behind the clothes. When you’ve bought something for three pounds and you’ve worked it into a really great outfit, and then you wander into Topshop and they’re selling the same thing for ten times the price – that’s a great feeling! High street brands are constantly changing the cut of their clothes, probably deliberately so they go ‘out’ of fashion faster. If you bought denim shorts from Topshop three years ago they won’t be the denim shorts that you want to wear now, but vintage is timeless. Have you always had this vision of style? I think I started dressing consciously when I was sixteen. I cut my hair really short and started wearing tartan with white tights. So Blair Waldorf! I could never wear that combination now though. You definitely could, you can do anything you want Zennie… Really? Can I have another cup of tea then?

STYLE

A VINTAGE ROMANCE

BRINGING SEXY BACK. Words: Eleanor Doughty

If you could make yourself over, start again from scratch, what would you plump for? No judgement here, promise. Answers on a postcard. French chantoozie Francoise Hardy is my choice. She’s got all the Gallic sass and no-sex sexy that I’d die to have. But I am as English as it goes and I don’t do sexy. It’s just not in my vocabulary; I don’t know how it works, and no one could ever accuse me of being so. Sexy is the word blokes use to describe Megan Fox, and other such impossibly shaped women. My notion of being sexy is American, borne of Sex and the City, Manolo Blahniks and dressing up to go to Bungalow 8. I can’t think of anything worse than really dressing up to go out; sue me. I’m happy in a cashmere jumper and jeans: no frills, no spills (especially not on that jumper.) And I’m chatty too; chatty isn’t sexy. British girls like me – slightly haphazard and always underdressed are left with Spanish señoritas and Italian alligators – who only have Prada A/W ‘13

to snap their jaws for the boys to come running – outplay dropsy, bumbling Brits. In fashion land, this sexy divide is biannually pearlescent. The Fashions supply hoards of European women oozing the comfortable sensibilities deemed most covetable, while in September at London Fashion Week, British editors turned up in Nike Free Runs. As if to add insult to injury, Paris always has it down pat. Books have been written on how to be a cool Parisienne, without, you know, actually being one. Scores of girls (myself included) have cut brow-skimming bangs into their posh locks to make them more pedestrian. For the nature of séduistane – or, la sexy Francaise, ahem – is effortless. It’s a cousin to British sexiness – the thrown together, tartan x undone shoelace x smudged makeup but it has, pardon the cliché, the je ne sais quoi a Barbour cannot mimic.

Louis Vuitton A/W ‘13

a kind of unsexy affliction. The cool, moody French girls,

STYLE

The reine of this style envy is Emmanuelle Alt, editor-inchief of Vogue Paris. She is pictured, perennially, mid-step crossing international streets. She’s the champion of easy cool: ‘You can make very strong fashion pictures without shocking’, she once told the New York Times. Fashion has lately been androgynously indulged, but the autumn season relaunched sex appeal. Marc Jacobs, at both his eponymous line and Louis Vuitton sent out runway models either half-dressed or half-undressed (depending on what kind of cup you drink from). Vuitton girls emerged from hotel doorways on their highly stylised walk of shame, while in Milan, Mrs Prada’s décolleté frocks revealed collarbone and chest, the unsung heroes of insouciant sex appeal. This déshabillé, the state of being partly clothed, isn’t practical in a world without Prada chauffeurs, but it’s just a little undone. And somehow it’s very alluring. It might mean overdressing and then taking something off – running wild with Chanel’s ‘it’s always better to be slightly underdressed’, something that works well for me on a practical level. In a return to the question – who would you like to be? – I am rethinking Mademoiselle Hardy. I always thought I’d be French, if I could be. French and undeterred by the elements, like Emmanuelle Alt in silk during snowy New York Fashion Week. French and gap-toothed, like Béatrice Dalle. French and effortless, like Clémence Poésy. But I that. I know what kind of sexy I can manage, and it’s the British kind. See Bridget Jones, for help. That blustering, saying sorry too many times, just-about-dressed British allure that we’re told is terribly lovely. Awfully charming, accentuated, one imagines, with the use of words ending in ‘ly’. It used to worry me very much, this lack of sexiness. But really, it’s rather jolly; Britishness smoothes the cracks. We can be French – and boy will I pretend to be – during The Fashions. I’ll be nonchalant and coy, and go hands free – clutch under one arm with no second bag. That togetherness will make me feel, momentarily, a little less British. By the end of it all, I’ll be craving constant, unadulterated chatter and the unmistakable smell of a wax jacket. For however British you may be, I am more British still. * Best read with JT in the background

Louis Vuitton A/W ‘13

never will be, and no manner of fringe trimming will fix

PHOTOGRAPHY

All images shot by Phil Brown.

Midnight at Wittering (COVER) I loved this evening. Myself and some friends decided to go on a midnight photo shoot to the beach of my summer holidays. It was my first chance to play around with a new low-light wide angle lens at night. I was pleased with the result, especially the clouds creating an ethereal element to the photo.

Perspective near the Uffizi An unlikely photo from Florence, yet while exploring the Palazzo Vecchio I was struck by the series of rectangles reaching up to the tower and the sense of perspective which this created. Band of Brothers A few summers ago I had the privilege of going aboard one of the air transport planes used in ‘Band of Brothers’. This photo was taken in what I presume to be the navigation desk; however, that said given the space limitations in there, I’m sure it doubled up as many things. Butterfly House This Macro-shot was taken in one of the butterfly houses at Longleat Park. It took ages to capture this photo, and it could certainly be better composed. However, as my first foray into Macro-photography I am pleased with the clarity of focus in this photo. Qutb Shahi This photo was taken in the Tomb Complex ‘Qutb Shahi’ in Hyderabad, India. This place is magnificent; I implore you to visit. It really struck me how serene the location was given its proximity to Hyderabad, some of which I tried to capture in this photo. I opted to make this photo black and white to bring out the contrast between the natural light and the shadows, and to draw attention to the intricate patterns of the shawl on the Tomb.

A NIGHT ON THE STRIP Words: Tim Picton

It was midnight and still thirty degrees celsius on ‘The Strip’, there was no breeze to alleviate the heat, but solely the endless flow of recycled air from the innumerable AC units in every casino. In fact, everything about Las Vegas was too intense, posing a relentless attack on the senses. I resolved that the reason for Las Vegas being incarcerated in the vast and stolid Nevada desert was that it had to be adequately contained. In essence, it was as if Las Vegas was a botched experiment of postmodernity and had to be quarantined. For most of August, I had been travelling across California with my girlfriend and having an awesome time. When planning the trip, we decided to syncopate our itinerary of beach bathing and visiting trendy bars in the gentrified neighbourhoods of San Francisco with a cheeky one night visit to Las Vegas. After a seven hour coach journey, we stepped out of the hotel to immerse ourselves in the insufferable heat, the disorientating glow of neon lights and the unparalleled extravagance of The Strip. In order to win a significant amount of money in Las Vegas, gamblers are required to bet big and impetuously. As we were on a student traveller’s budget, we were stuck on the slots in every casino we visited, cautiously feeding one dollar bills into alluringly prismatic machines. Admittedly, I was rubbish due to the fact that I had no grasp of strategy whatsoever. On the other hand, my girlfriend demonstrated some prodigious talent, making her dollar last for fifteen minutes of enthralling spin action before the inexorable drop to the ‘Game Over’ screen again. In the backdrop of our humble excitement at the slot machines, I could hear the shouts of rich people getting even richer at the roulette and blackjack tables. Despite Las Vegas being a surreal cultural anomaly, it still

TRAVEL

reflects that blatant dichotomy between the rich and the poor. Whilst colossal hotels and replicas of worldfamous landmarks punctuate the Las Vegas skyline, a large number of homeless people are reported to live subterranean existences in the city’s sewers. In the face of all the tumult and insanity of The Strip, we were in need of an adequately strong drink. We went to order two Jägerbombs from one of the numerous bars in Caesars Palace only to find out that the bill would come to an outrageous thirty-six dollars (a far cry from Wetherspoons on Mile End Road). Fortunately my girlfriend, being a woman of science, had a logical solution and so we ordered two glasses of water with ice, emptied them and surreptitiously refilled them with the whiskey that she was carrying in her bag. It can be imagined that for most of secular Middle America, a trip to Las Vegas is a rite of passage - for a smaller proportion, an

annual

domestic

holiday destination. We met two guys, a father and a son, in the lift of our

hotel

who

began

recounting their big win of ten thousand dollars after

necking

fifteen

beers at the hotel bar. After my

laconic

and

congratulatory father

half-sincere response,

progressed

the

impart

some

wisdom and expounded upon his formula of success. He explained that they would choose to stay in a different hotel with each trip and become familiarised with that resort’s casino exclusively, and through this they somehow increased their chances of winning. It seemed more likely that they were afraid of leaving the hotel because of all of the unbridled craziness happening outside. When I told them that I wasn’t much of a serious gambler, an awkward silence ensued for the lift’s descent of the next ten floors: it was a characteristically huge hotel for Las Vegas. They were nice guys, and in retrospect, I realised that I just didn’t and quite possibly could never understand the dynamic of the place.

I admit, it is very easy to be puritanically condemning of Las Vegas, it is the ‘City of Sin’ after all. However, it’s not solely the overt sexual exploitation going on everywhere. The vans that drive around the same route all night advertising prostitutes to professional lads out on stag nights are distasteful. Then there’s the ultra-capitalist agenda that the whole concept of Las Vegas seems to evoke; the tacky aesthetic of The Strip, with its obscene amount of light pollution and billboards promoting the shows of jaded and redundant celebrities. Being itinerant, we made a point of visiting all of the major hotels on The Strip. The opulent interiors of The Wynn, The Venetian and The Bellagio are all as impressive as the guidebooks praise them to be. The jammy people who could afford to stay in these places walked nonchalantly around in suits and designer dresses, sipping cocktails that probably took a mixologist a whole year to prepare. It was all an attempt to capture that abstract ideal of the ‘roaring twenties’ and its ostentatious prosperity: the Vegas style American Dream. I felt slightly inadequate in my denim shirt and jeans from Topman, but I checked my paranoia as I was with my girlfriend who easily outshone the most glamorous of all the celebrities there. Regardless of this, the combination of the desert heat, the grandiose and looming superstructures, and the endless streams of tourists caused me to experience an unnerving feeling of claustrophobia. I’ve seen the Hangover films and I’m aware that

what

you’re

supposed

Vegas

indulge

all

its

craziness

and hedonism. To an extent,

really

did

and for most of the time

was

there

had a lot of fun and at

one

point

even

put down a ten dollar bet, pretending to be a

big-shot.

number

Amongst of

other

escapades, we almost got trapped in a giant shoe, had a lot of weird banter with the other tourists and went into all of the inconceivably expensive

shops

boutiques

pretending

that we were rich.

and

TRAVEL

In addition, we made friends with an overexcitable Chinese man who wanted to constantly high-five me and caress my arm. Legend. However, there was invariably a cynical notion at the back of mind that Las Vegas was just full of delusion and as an English student, I began to over-analyse almost everything I saw in its appropriate theoretical context. That’s what the ‘Reading, Theory and Interpretation’ module in my first year at Queen Mary had reduced me to. In the casinos, it is universally acknowledged that you are always being watched by the countless security cameras concealed in the ceilings. Las Vegas is essentially a neon panopticon and despite all of its grandeur and decadence, it is in many ways dystopian. It is strange to conceive of people actually living there. Nonetheless, there are numerous residential areas that envelope The Strip, containing all of the features of a typical, insouciant American suburban town. The locals must acclimatise to it, or alternatively go blissfully insane. By the end of the night, I had decided that Las Vegas had defeated me. Therefore, just before dawn, we wearily stumbled back towards the Golden Nugget hotel for two hours of sleep before having to board the Greyhound bus. In one night of being exposed to Las Vegas, I had witnessed enough to conclude that postmodernist America is really as weird and screwed up as the pretentious French intellectuals say it is, but in small doses, it’s a lot of fun. Ultimately, I was glad that we had made the visit. On our return from Las Vegas, we met a guy in his twenties who had lived close to The Strip for the whole of his life. He seemed excited at the prospect of leaving the neuroticism of Las Vegas behind for a little while, as he was going for a job interview in Long Beach, California. From the way he was talking, he seemed to imply that after having experienced The Strip for

the

first

time,

you’ve seen it all. Photos: Moyan Brenn

Eden Gilby - Columnist.

For a long time in my teenage years I

frolicking around her NYC apartment

took a dim view of people who aspired

in her underwear, trying to reach

to be journalists. I disregarded it, as

that dreaded word count (tough life).

I felt it was too obvious a choice

Bradshaw finds her bimbo gal pal

for an English Literature student to

in none other than Rebecca Brooks.

make. However, recently my view

Every

has changed somewhat (to state the

right?

obvious). So why has my relationship

The second type of journalist we are

with journalism been so hot and cold?

all familiar with is ‘That Guy Who

girl’s

dream

wing

woman,

Will Do Anything for a Story’. Here I A large part of the blame lies with

present to you Bruce Nolan (Bruce

the mass exposure that we have

Almighty) practicing his tag line in

to ‘journalism’, in all its forms. It

his bathroom mirror every morning,

bombards us at such a rapid rate

fighting to the death with his arch

24/7. For some, this causes it to fade

nemesis Evan Baxter and standing

into background noise whereas, for

under Niagara Fools screaming at a

others, it completely consumes them,

little old lady.

seeming

the

only

meaningful

path to take.

The

last,

and

prominent,

type

probably of

most

journalist

We wake up and watch the news

all love to hate is the bad guy.

(ok,

Already touched upon with Rebecca

today’s headlines, whatever). On our

This

Morning’s

round

Brooks, this stereotype is the most

way to university we are offered a

manipulated and never fails to get the

never ending array of newspapers

public’s attention. Rupert Murdoch,

and magazines. We check Facebook

Charles Kane (Citizen Kane) and The

and click on the never changing links

Daily Mail; no one gets us as riled up

to articles about the latest celebrity

as the bad guy journalist.

break-ups, shocking new statistics or a viral video of Boris Johnson

The dependence the general public

twerking. Lecturers often reference

have on journalists is perhaps greater

the latest goings on in the multiple

than we would wish to admit. In a

journals that we’re all meant to have

world of instantaneous connection,

read. The Metro on the last tube

they are the ones who pass on the

at Mile End is probably missing an

information. The things we need to

article or two, ripped out to take

know. The things we don’t particularly

home and reread without the sweaty

want to know. A journalist needs to

guy leering over our shoulder to try

be selflessly aware that their role is

and sneak a peek.

for the people. With this realisation has come a drive to be a part of the

We have been conditioned to think

infamous world that informs us. I

about the idea of a ‘journalist’ or

am currently enthralled in having my

a ‘reporter’ in a few pigeon holed

eyes opened to what I need to know

stereotypes. First up is the ‘Bimbo’.

and am looking to journalism more

The two clearest examples being

than ever: everyone is, whether they

Miss

realise it or not.

Carrie

Bradshaw,

constantly

THE CITY AND THE NORTHERN GIRL NORTHERN DICTIONARY

‘mard-arse’ noun [ma-rd, ar-se]

1) A person that never stops whinging e.g: “Quit being such a mard-arse”

Where’s the line?

students to rate 27 behaviours on a

themselves was classed as cheating.

scale of 0-100, 0 being completely

99.9% of the vote got ‘No, but if it’s

People have always cheated. Just take a

harmless and 100 being on a par with

girl in a bikini then I’d blow my lid’.

look at Tiger Woods, or even the Bible.

Ashley Cole (note: not the official

I’ll admit I’ve had many an argument

But throw in 21st century email, text

terms used by the researchers). They,

with past boyfriends over ‘liking’

messaging and Facebook and the lines

perhaps unsurprisingly, found that

photos

become even more blurred. Not to

men got more distressed over physical

almost all of them claiming that their

mention the amount of opportunities

infidelity, i.e. if their girlfriend went off

touch screen had caused the mistake.

one has to cheat have near enough

and had sex with her boss, whereas

Oh Apple, you scapegoat.

trebled. But the question is: what

women saw emotional infidelity as

actually constitutes as cheating?

the worst kind of betrayal, i.e. falling in

The question of cheating usually

love with someone else. For everyone

boils down to motive. Ask yourself

Infidelity is a minefield – it’s almost

in the study however, sex is always

why you’re flirting with that hot girl

always the surest way to end a

classed as cheating, scoring a high

at work. Ask yourself why you’re still

relationship

the

97.7. No exceptions. Except maybe a

messaging your ex. Yeah, maybe your

messiest. According to a study by the

threesome. So what about the other

intentions are innocent but the best

Journal of Marital and Family Therapy,

stuff? Is it just sex, or does kissing

way to judge it is to put yourself in

a staggering 54% of women and 57% of

another lad on a night out count?

your partner’s shoes. Would you be

and

it’s

always

social

networks, with

happy if they were doing the same as

men surveyed admitted to cheating in past relationships. Does that surprise

Well

87.7, sexting

you? If the answer’s no, you may need

you? It got me. It doesn’t exactly help

scored 82.6 and even holding hands

to change your behaviour. For me, if

that now, more than ever , there are

got a whopping 63.2. My initial

you’re hiding something from your

different ‘stages’ to a relationship. You

reaction was that this might be a little

partner, you should ask yourself why

could be ‘just friends’ (that drunkenly

extreme, but when you actually think

– if you’re hiding something, you’re

sleep together), ‘casually seeing one

about it, why the hell would your

either saving yourself an argument

another’,

benefits’,

significant other be holding someone

or you’re doing something wrong.

‘exclusive’, or even ‘Facebook official’

else’s hand?! And we’re not talking

Fair enough if you’ve communicated

– yes that is an actual stage. Each form

about helping their Grandma across

about it and decided that yes, you are

of relationship comes with its own

the street here.

both comfortable with grinding on

‘friends

with

kissing

scored

strangers on a night out – bully for you.

rules and expectations, and just to complicate it even further, you both

The 21st Century’s addition of social

But if you’re doing it and then having

might not even agree as to which stage

networking to the infidelity mix hasn’t

to assess your friend’s photos before

you’re at.You can see the confusion.

exactly helped relationships either. I

they go up on Facebook? You’ve

put the question of Instagram pictures

probably overstepped the mark.

The University of Michigan did a study

to my Twitter followers, as to whether

on this exact question.They asked 456

liking another person’s photo of just

EDITORIAL TEAM THOSE WHO HELPED PUT THIS ISSUE TOGETHER

EDITOR IN CHIEF: Lauren Cantillon DEPUTY EDITOR: Yuet Ann Chan SUB EDITORS: Alice Harry, Tasha Mathur LONDON EDITORS: Anna Thornton, Samar Malik, Lucy Sutcliffe ARTS EDITORS: Hannah Ballard, Belphoebe New FILM EDITORS: Jessica Pratten, Kumari Tilakawardane FEATURES EDITORS: Dandie Debieux, Bethan McAulay MUSIC EDITORS: Tim Picton, Melanie Moran, Nicholas Cleeve STYLE EDITORS: Eleanor Doughty, Daisy Murray PHOTOGRAPHY EDITORS: Laura Blair, Joy Wamae TRAVEL EDITORS: Tom Wyke, Alice Owen COLUMNISTS: Eden Gilby, Becky Hipkiss ONLINE MANAGER: Fazal Karimi ONLINE EDITOR: Sophie Lyddon PR & MARKETING: Sean Richardson, Hannah Sargeant, Camilla Bass