Quench - Issue 100 by Cardiff Student Media

VOYEUR...4 FEATURES...6 FOOD... 12 BOOKS...15 FASHION...18 LGBT+...26 PHOTOS...28 Travel...31 ARTS...34 MUSIC...38 Film...46

VOYEUR

Issue 100 October 25

CARDIFF LOVE AFFAIR Cardiff is a small city, tiny in fact. Cowering in terms of area compared to many English towns, incomparable in terms of population to mere areas within such cities. Yet in no way does it shrink in significance in the face of such stats, instead proudly utilizing its massive student population and embracing the homely vibe that makes it so unique. I come from Watford, a mildly offensive to the senses type of place, defined by its ability to possess everything a town is expected to have but simultaneously nothing worth having. When describing it in positive terms, I inform people how close it is to London, hoping some of the Capitals mystique will rub off on this rather drab town. Cardiff is no Watford, but what makes it amazing is the manner in which it doesn’t aspire to be a ‘London’. Unusual events fill Cardiff ’s calendar, as our arts and music scene flourish with new and exciting venues and promoters breathing life into the place we call home. The pretension that scars such scenes in the larger cities has yet to descend upon Wales, allowing all to enjoy the seeds of local creativity, not just those with exceptional hair and nice brogues. Last week, Made In Roath was a buzzing arts festival with all manner of workshops and exhibits, embraced by art critics and locals alike. This week saw the arrival of SWN, a music festival focused on new music of all genres, morphing the alley leading up to Welsh club into a hive of activity as eager music fans milled from venue to venue catching glimpses of the best tomorrows stars. Secret Wars hit Buffalo Bar on Sunday, with graffiti artists battling it out to create the most innovative piece, whilst only down the road Winter Wonderland is being constructed, with the fairy lights and ice rink being a highlight of the chilly season. A small city determined not be left in the shadow of its larger neighbours, there is nowhere I would rather be. Cardiff is bigger than just Cathays, and more interesting than just the Union and St Marys Street, so the lesson to be learnt within this little editorial is to explore. With so many people working so hard to make this an exciting place to be, it would be a right old shame to let it pass us by. Dom Kehat

vouyer@gairrhydd.com

Naomi Her mitage is my official name, but to most I am known as Omi, which is much more original. But with Omi, came Omlet, then came.. Condomi. Drawing is for entertainment, satisfaction and for amusement. My drawings are free from censorship, and aim to tickle your funny bone Omi kindly illustrated our cover, contents and team page. For more of her work head to www.ompom.wordpress.com/

Quench Quickie Halloween is fast approaching, so here thus lies the best EASY fancy dress options we can come up with. -Bunch of Grapes. Dress green and staple lots of purple balloons to yourself. -A Bin. Bin liner and the any wrappers you can find laying about. Truely a scary sight to enviromentalists. - A run over Rabbit. For all those with a slutty bunny costume left over from freshers, spash it with some red paint and prepare to be hated by animal lovers around the world.

VOYEUR

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100 Issues

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Counting

FEATURES

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FEATURES

e r are e h

W nthoey w

Claire Dibben takes a trip down memory lane and catches up with past Quench editors...

GaryAndrews What degree did you do? The BA in Journalism, Film and Broadcasting, and later the postgraduate diploma in Broadcast Journalism. Where are you now? I currently work for the BBC in the blogs and social media team for Vision (or the TV area to you and me). What was your role in Quench? I was the Executive Editor, which sounds rather grand but wasn't really. I was editor of gair rhydd and oversaw Quench. Your biggest achievement so far? Obviously taking Magazine of the Year at the Guardian Student Media Awards was a huge achievement. It made all the late nights and deadlines worth it. The scariest thing you've had to do? On Quench, the magazine was very close to nearly collapsing after we printed a 'comedy' piece on domestic violence that led to lots of protests to the university. Looking back, the article wasn't particularly funny or clever and we fully deserved to have the book thrown at us. Salary when you started out? I got £14, 500 a year when I started at a Yeovil radio station. Media jobs aren't well paid and I can't see that changing any time soon.

Amy Harrison What degree did you do? English Literature And what are you up to at the moment? I'm a Factual Entertainment Development Researcher for Talkback THAMES Television. Basically, I spend my days inventing and developing the TV shows of tomorrow. What did you get up to in Quench? I was the Travel Editor 06/08, Features Editor 06/07 for both Quench and gair rhydd and then gair rhydd Editor 07/08. So, what's been your biggest acheivement so far? Travelling solo in South America for six months. I had a whole continent ahead of me, no plan and I didn't know a word of Spanish but those six months were the most rewarding and liberating of my life. And not fogetting winning the 'Best Magazine' award at the Guardian Student Media Awards 2008. It was bloody epic! What's been the scariest thing you've had to do? Leaving a really good job at one of the UK's biggest publishing companies to pursue a life-long dream of working in TV. It involved taking a pay cut, and going back to the bottom rung of the ladder. Doing something you love and enjoy is so much more rewarding than working just for the money. What sort of salary did you earn in your first media job? £18,500 for my first job after gair rhydd, as an assistant editor at a children's book publishing company.

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FEATURES

Perri Lewis What degree did you do? Communications. Where are you now? I'm currently the Features Editor at Psychologies magazine. What was your role in Quench? I was the Fashion editor 2004/2005, News editor of gair rhydd in 2005/2006, then editor of gair rhydd and Quench in 2006/2007. What would you say is your biggest achievement so far? Becoming a section editor at The Guardian before I was 24. And the scariest thing you've had to do? I was asked to edit a 100-page special supplement by the Saturday Guardian editor, despite never having ever commissioned a real journalist ever before. I just said yes, then worked out how to do it all later! What salary bracket were you in when you first graduated? Back when I first started at The Guardian I got £70 a day for doing research.

James Anthony What degree did you do? I did a BA in Journalism, Film and Broadcasting. Then I completed a PTC PG Dip in Magazine Studies. Where are you now? I worked for The Guardian for four years, I'm now a freelance journalist and social media consultant. What did you get up to at Quench? I was the editor 2004-2005. And your biggest achievement so far? I haven't done it yet! What would you say is the scariest thing you've had to do so far? Job interviews. Can't stand them. There's definitely an art to them, and it's worth spending some time honing your skills. What kind of money were you earning when you graduated and got your first media job? Cheeky. Less than £20,000.

Will Dean What degree did you do? Journalism, Film and Broadcasting What are you up to now? I'm the Staff writer of The Guardian Guide. What was your role in Quench? I was the Editor 2005/06 Your biggest achievement so far? In 2009 I started a episode by episode blog for the TV show Mad Men, this year I edited it into a book which is out on November 4. Whats been the worst or scariest thing you've had to do? Scariest: play my hero Stephen Malkmus of the band Pavement at Scrabble for a feature. He won. Worst: I went on a stunt training day for a travel feature and had to fall down some stairs and then get repeatedly run over by a Citroen Saxo. What salary bracket were you in when you first graduated and got your first media job? I'd rather not say. Sorry!

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FEATURES

Find Your Roots... Cardiff, like any city has many young people out of education, training or employment, Grassroots, also known as the ‘City Centre Youth Project’ helps those in need of guidance who are between the ages of 16 and 25 years old. Many of the people who go to Grassroots for support often are pessimistic, the charity endeavours to instill optimism and promote self-awareness in young people who often see themselves in a negative light. “Not keeping the kids off the streets, but putting them back into society with meaning, purpose and a part to play in the future.” What courses do you run and how do they help the people you work with? Workshops at Grassroots aim to enable our clients to realise their potential through creative stimuli, including video work (documentary, music video and fictional stories) photography, digital arts (image manipulation, flash animation, flyer & poster design for events, greetings cards and promotional material) and music sessions (lyric writing, beat making & composition, music production, marketing of material, support for performances). Some of our equipment is available for clients to hire at minimal cost for their own use away from the building. The aim of all our workshops is to allow young people to build their skills, confidence and self-esteem through expression, and to give them the skills to thrive in the competitive market of creative arts and multi-media work. We also offer our space freely to other youth organisations and youth groups who require a free meeting space in the city centre. In the previous feature on Grassroots it mentioned that in 2003/2004 there was a proposal to create a skate park. What was the outcome of that?

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Grassroots was involved in consultation work for proposed Council-owned skate parks, and we had some skating days in the city centre with mobile skate ramps challenge a negative perception of skaters.

FEATURES

In 2004 Quench unearthed the Grass Roots Community Project. Six years later, Jenny Pearce revists the charity. Along with the views of other groups of young people from across the city, it eventually led to the new skate park on Cardiff Bay Barrage.

group; tell me more about it. Why did you start it?

You are very focused on creativity and the arts. Why is that? Do you still have music studios available for young people to use?

The Loud & Proud group was set up to support young people identifying as lesbian, gay, bisexual, transgender or questioning their sexuality. Staff offer information, advice, guidance and further support around issues of coming out, positive relationships, sexual health, personal safety and gay rights.

Grassroots still engages with young urban artists and young bands. Our music studio has been undergoing a period of refurbishment over recent months and we are hoping that the work will be complete by the end of October or mid-November. We will then be able to offer a high-quality service to our clients once again. Are there any events coming up that showcase the work of those you help? Young people’s creative work is always exhibited and displayed in various areas of the building including the Coffee Bar and our new gallery/meeting space. Once the music studio is complete, we hope to build on our success as a live music venue with performances showcasing our client's work. Recently we have hosted Stay Safe gigs promoting personal safety, promoting anti knife-crime strategies and a launch event for SproutZine – a magazine for young people linked to a Cardiff-wide online information resource. What other facilities do you offer? There is a low cost Coffee Bar where young people are welcome to drop in to socialise, participate in arts activities, life-skills sessions or find out more about current activities or workshops. The Coffee Bar and Advice facilities are accessible to young people with disabilities and we are seeking to engage further with those who inevitably find it hard to access essential services because of their disability. Grassroots Advice Office provides a free dropin service, where youth specific advice is available including employment, leisure, training and education, social welfare, legal matters, advocacy, housing, health and finances. The project aims to listen to young people’s problems and help solve them together.

Do you have a team of professionals who come in and help or are your team trained? Our staff are all trained and qualified youth workers in addition to holding much experience in their given fields. We also work closely with Cardiff Women’s Aid, Barnardos Cymru, housing providers, Inroads Drugs Project, Careers Wales and training providers including ACT, A4E, ITech and Want 2 Work to offer guidance and voluntary placements to young people. Best part of your job? Undoubtedly the best part of my job is working alongside the team of dedicated and talented staff who have made a huge difference to hundreds if not thousands of young people over the years. I also enjoy supporting young people to achieve their potential through challenging negative circumstances and having worthwhile influence on society. It is great to watch people develop skills and maximise their talents or to just stabilise an otherwise chaotic lifestyle to give themselves their best chance to thrive. If you want to find out any more information about Grassroots, registered charity 1110186 go onto www.grassrootscardiff.com.

Loud and proud is a newly established

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FOOD

FRIGHTENING FOO Jasmine Joynson dares you to try these recipes...

As a whopping excuse to dress inappropriately and get drunk, Halloween is like Manna from Heaven for us students. And even for those of you who feel that after countless catmeat takeaways and nights fuelled by the devil juice they serve in Metros your guts are way too hardcore for the standard cobweb-covered treats that Halloween has to offer, I bet you can't stomach some of the following ghoulish fayre:

CURDLED BLOOD COCKTAIL 1 packet red (strawberry/ raspberry) jelly Coca-cola Orange Juice Ribena Vodka Bowl or jug Make up the jelly according to the instructions on the packet. Keep in mind you will have to allow it time to set. Combine your desired amounts of each liquid (the aim being to make it look reddish-brown). Mash up the jelly with a fork and add to the bowl or jug.

TOFFEE APPLES 8 apples 400g golden castor sugar 1 tsp vinegar 4 tbsp golden syrup hundreds and thousands (optional) chopped nuts (optional) Place the apples in a pan, cover with boiling water to remove the wax. Dry thoroughly, remove stalks and then push a lolly stick or a skewer in the stalk-end. Place a lightly-greased sheet of greaseproof paper onto a surface by your hob. Put the sugar and 100ml water in a pan over a medium heat, avoid stirring as much as possible. When the sugar has dissolved (after about 5 minutes), stir in the vinegar and syrup. Test that the toffee is ready by dropping a little into a bowl of cold water. If it is done, it should harden immediately and snap easily. If still soft, continue to boil. When the toffee is ready, quickly cover each apple and place on the greaseproof paper. Sprinkle with the nuts or hundreds and thousands, if using. Allow to cool before eating.

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FOOD

PUMPKIN TART I have to admit to something. Until this month I had never made any kind of dish using pumpkin. Every year, I quite happily hollow them out and cut Halloween-related designs into their fronts. It seems that, in this country at least, we have forgotten that these fun orange lanterns are, in fact, edible. So I set myself the task of making something (that I was prepared to eat) out of a pumpkin. I considered pumpkin pie and cake and just roasting it, but for some reason this tart seemed like it had more potential in terms of taste. The recipe is slightly more challenging than I would usually suggest for a student kitchen, but I always have faith in our resourcefulness! We, for instance, have no rolling pin; I used the cardboard roll from the inside of the foil. To make it easier on yourself you can buy frozen short crust pastry (or a dodgy-looking mix to which you add water, although I didn't want to risk it) from larger supermarkets. The quantities given make a large tart, so you might want to cut them down if you're not feeding an army: Pastry: 250g flour 50g icing sugar 125g unsalted butter, cold 1 large egg a little milk oil (olive or sunflower) Filling: 1 small (approx. 500g) pumpkin, peeled, deseeded and diced into small chunks 450g full-fat (semi-skimmed works as well, but you might want to use a little less) 200g castor sugar 2 large eggs

To make the pastry, sieve the flour and sugar. Work the cubed butter into the dry mixture with your fingertips (it should resemble breadcrumbs when you're done). Add the beaten egg and milk and gently work it together until you have a ball. Try not to overwork the pastry or it will become chewy. Lightly flour a surface and pat or roll the ball into a thick circle. Sprinkle with flour, wrap in cling film and place in the fridge for 30 minutes. Lightly oil the tart tin. Roll out your pastry to the correct size, prick holes in the base with a fork, and place in freezer for 30 minutes. Preheat oven to 180C. To make the filling, put the pumpkin, milk and sugar in a pan over a low heat. Stir regularly and turn the heat down as it starts to boil. Simmer for about 25 minutes. The mixture should reduce and the pumpkin should cook through. Use an electric blender to whizz it until it's smooth. Set aside to cool (putting a lid on the pan will stop a skin from forming). Place your pastry in the tin and cover with greaseproof paper, weigh it down with rice or another dried pulse. Bake blind for 10 minutes. Take out of the oven, remove the rice (which can still be used) and greaseproof paper. Return the pastry to the oven for another 10 minutes. Set aside to cool. Turn the oven down to 160C. Beat the eggs together, add to the cool pumpkin mixture and whizz with the blender. Pour over the pastry and bake for around 30 minutes. The mixture should have set but still have some movement to it. Allow to cool. You can serve with crème fraîche or some cream. The result is similar to a Spanish custard dessert, but with an interesting pumpkin flavour. Perfect if you are planning a more sophisticated Halloween.

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FOOD

A slice of calm in the Latino maze of Central America...

Yo! Su

shi

Yo! Sushi

Hannah Fillingham thinks she's turning Japanese after a recent trip to Yo!Sushi in St David's 2 'Far' Eastside cafe wing. Tired of opening a menu and seeing the same food replicated in every restaurant you visit? Yo! Sushi offers you something innovative and unique, all revolving around a conveyer belt. For someone who is a complete sushi bar virgin, I initially found the experience hard to grasp, especially using the only available utensil… chopsticks. Luckily staff were on hand to assist me with these complex instruments. If, however, like me you are still rendered inept by such a challenge, spoons are available upon request (although I felt I was cheating on the overall Japanese ambience I was surrounded by). This ambience permeated everything from the murals on the walls to the unlimited supply of miso soup. The conveyer belt not only provided optical reassurance for otherwise daring-sounding dishes such as ‘hairy prawns’, but also meant that you could take your time deciding from the extensive menu of delicacies continuously circling past. If unable to find your dish a button is located on your table alerting waiters of your need for assistance. The slogan, “its not just sushi” relates to both

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the atmosphere and the food. You don’t have to be a raw fish fan to enjoy the experience. Being a vegetarian it seemed almost ironic that I was reviewing a sushi bar, but there is a vast range of vegetarian alternatives and puddings to capture even the fussiest of eaters. Early on you will realise that your menu will be your main source of guidance as you try to match the pictures with the revolving food. A huge sense of achievement is then won when you guess right. Here, they welcome students on a budget, with colour-coded dishes representing the range of prices, easily allowing you to calculate your bill on the go. With no dish above £5 Yo! Sushi provides you with a healthy and cheap alternative from your average fast food joint. Go! Sushi!

BOOKS

Russian Literature

Kevin Jones explains how even through the chill of the Cold War, Russia's influence on world literature has always been pretty hot.

Russian literature can be broadly understood in relation to the 1917 Bolshevik revolution. Before it, writers like Gogol and Tolstoy enjoyed some intellectual freedom under Tsarist rule, allowing them to incorporate social satire into distinctive brands of realism. Pushkin, regarded as the father of modern Russian literature, embarked upon political protest, helping to bring about civil reform. Dostoyevsky wrote scathing satire, criticising early forms of consumer and celebrity culture, while investigating the impact of God’s death upon morality (in this way he anticipated the concerns of writers like Nietzsche and Camus). Dostoevsky’s humour and compassion makes his later work immensely enjoyable. Tsarist Russia’s similarity to some liberal European societies caused some tension. This is seen in Dostoyevsky’s public ridicule of the Anglophile writer Turgenev, who was also challenged to a duel by Tolstoy over his Western sympathies. The late nineteenth and early twentieth centuries saw stricter authoritarian rule in Russia, due to fear of an uprising like the French Revolution. This ended Russia’s literary Golden Age, with many Russian writers finding audiences in the West due to censorship at home. Many works of this period are characterised by a rejection of censorship, espousing individualism in the face of totalitarianism.

Soviet Era Literature Writers during the Soviet era would be dogged by government interference, and occasionally put to death. Authors like Solzhenitsyn and Pasternak won admiration in the West for their work, gaining Nobel Prize nominations despite great adversity at home: Pasternak’s famous Doctor Zhivago

relied on an obscure Milanese agent for its publication. Film adaptations of the works of Mikhail Bulgakov (among others) attracted sizable cult followings. Vladimir Nabokov and Saul Bellow, sons of Russian émigrés, were attracted to a form of conservative individualism made famous by Ayn Rand. Figures like Nobel Prize-winning poet Brodsky and Gulag survivor Solzhenitsyn sought political asylum in the United States. Russian literature throughout this period found appreciation amongst Western readers, and served to bridge the political and ideological gulf between polarised superpowers. Much Soviet-era Russian literature demonstrates how artistic talent often refuses to yield, even under terrible threats, to the demands of oppressive forces.

Contemporary Russian Scene Arguably the biggest name in contemporary Russian fiction is Boris Akunin, whose historical detective novels are very popular. Victor Pelevin is another hugely successful author, writing with a distinctive brand of postmodern humour, citing Aldous Huxley and George Saunders as influences. In the face of crackdowns that seemed a thing of the past, Russian writers like Vladimir Sorokin are continuing to strive for freedom of expression in strained conditions. Sorokin argued in an interview with German magazine Der Spiegel that the end of Communism was merely a smokescreen, since the U.S.S.R.’s machinations were too deeply ingrained into Russian culture. Thus, it could be argued that Russian protest literature simply became dormant during the Nineties, and is perhaps facing a new dawn.

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BOOKS

Venus or Mars?

Gender Orientated Literature.

Becca Eustis examines whether gender-oriented literature is genius or garbage.

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BOOKS Everyone needs downtime from the hectic whirl of life, and we all like reading something you don’t have to work too hard to enjoy. Many turn to chick lit and its male equivalent, lad’s lit, but what is it about these genres that we find so enticing, and is it actually damaging to get too into them? Chick lit arguably has its roots in the work of Jane Austen and the Brontë sisters, but the genre’s recent popularity stems from Helen Fielding’s Bridget Jones’ Diary, which spawned a generation of stories about single professional women and their relationships. For over a decade this type of fiction has experienced enormous success, with chick lit novels regularly becoming bestsellers and many, such as P.S. I Love You, being adapted into Hollywood blockbusters. However, the question of why such self-confessedly fluffy fiction is so enduringly popular is to some a puzzling one. Chick lit is usually light as popcorn and just as palatable, and can be enjoyed a little bit at a time or gorged on for hours on end. Most books focus on 'real' women- usually professional singletons looking for love- and their battles between a desire for independence and a desire to settle down. However, not all chick lit novels are trivial, as many canonical works (especially those by Marian Keyes) deal with major issues that affect women, such as depression and domestic violence. Through some chick lit novels, taboo subjects are explored in a way that could really help people who find themselves in those situations, yet feel unable to discuss their problems. This is the crux of the popularity of chick lit: identification. The ability to empathise with the characters and see echoes of their stories in your own life is what makes chick lit so enjoyable. It is this combination of realism and fairytale endings that has made chick lit so beloved by women. Yet it is those fairytale endings that are often held up as the strongest criticism of chick lit. Everyone living happily ever after is trite and predictable. Even when the protagonist can’t see who’s Mr. Right and who’s Mr. Wrong, the reader always can, so why bother finishing the book? It’s often hard to separate chick lit plots in your mind because they are all essentially the same: girl meets boy, they faff around a bit and then live happily ever after. In fact, the one thing that helps to separate different chick lit novels is the big issue that the author has shoe-horned in to make readers feel less intellectually guilty. This jamming-in can be jarring when the rest of the novel is a frothy rom-com- like having a rape scene in the middle of Four Weddings and a Funeral. Lad’s lit as a genre is trickier to define than chick lit. If one took lad’s lit as the direct equivalent of chick lit, assuming that it dealt with emotions and relationships in the lives of men, then it would include writers such as Tony Parsons or Nick Hornby. However, these lack some of the gender-specific appeal of chick lit. Likelier candidates for the lad’s lit canon are authors like Tom Clancy, Chris Ryan and Andy McNab. Where chick lit focuses on emotions and relationships, lad’s lit goes in for thrills and spills, a blend of twists and all-guns-blazing action. Rather than the literary equivalent of chick lit, true lad’s lit is actually its diametric opposite. In that sense, lad’s lit dates back to Ian Fleming, and arguably to Arthur Conan-Doyle in the 1900s. The difference between chick lit and lad’s lit is that the latter is often completely removed from reality and therefore from its readers’ lives. It is unlikely that readers of Bravo Two Zero will lead an SAS patrol in Iraq, or that fans of Patriot Games will ever save the royal family from an armed attack, and that’s where the enjoyment lies – in reading for pleasure with no other purpose. Lad’s lit is escapist; as far removed from day-to-day drudgery as you can get without wandering into the realms of fantasy or sci-fi. Perhaps this is where its flaws lie too. Just as chick lit can give women false expectations of love, lad’s lit can give men false expectations of life – not everyone can be the hero, save the day and get the girl. Failure to emulate those literary heroes can leave some men dissatisfied with the banality of real life. Lad’s lit arguably has a much greater female readership that chick lit has a male one. Today, when many gender barriers have been broken, it’s still very unlikely you’ll see a bloke reading Confessions of a Shopaholic on the train, not only because of the social stigma but also because it just doesn’t appeal to the majority of men. Hollywood adaptations may tempt men to dip a toe in the waters of chick lit, but even then it will likely be on the sly. Gender-specific literature is flawed not only in its attribution of certain preferences to a gender (which even when they’re dead accurate are still a little patronising), but also in its attempted exclusion of half the world’s population. This is why truly unisex books are often more successful. A great example is Dan Brown’s work: a scintillating blend of action, drama, and thriller, with a sprinkling of emotion and relationship-orientated distractions. In cinematic terms, if you mixed the action-packed A Team with the emotion-filled 27 Dresses, you might end up with a good old-fashioned adventure romance such as Raiders of the Lost Ark. In literary terms, The Hunt For Red October plus This Charming Man equals The Da Vinci Code – a novel that, although not flawless, appeals to both genders. In short, even though both marshmallows and steaks are delicious on their own, you couldn’t live off them, and sometimes the balance of a good sweet and sour stir-fry is best of all. books@gairrhydd.com books@gairrhydd.com

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FASHION

Opposite: Vera blue cardigan £42, 50s style capri pants £35, vintage hat £12 Below: Vintage luggage £20 + £16, vintage gloves £6, St Michael knitted cardigan £38, vintage style dress £49

Et Voila... Vintage Photographed by Tom Armstrong and Chris Griffiths Styled by Gwennan Rees and Lucy Trevallion Hair and Makeup by Jess Wretlind Modelled by Errin Leigh McGrath Clothes from Looby Loo's Boutique Special thanks to Garlands

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Below: Vintage style dress £70, necklace £12 Opposite: Vintage fur coat £45, shift dress £59, Red court shoes £15

FASHION

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FASHION

If you asked me, I could write a book, about the way you walk, whisper and look.

FASHION

Venture Vintage Fashion explores why it’s worth venturing vintage, and scouts out the best places in Cardiff to find those one of a kind pieces. Ever been to a party when you can spot at least one other person wearing the same thing as you? I know I have! That’s the dreaded curse of shopping the high street. All that careful planning and attention to detail that went into my ensemble was made irrelevant in one clean sweep as my dress sauntered past me on someone else. I felt cheated, wronged and betrayed. All night long I was looking over my shoulder, trying to avoid the inevitable moment when my dress twin and I would be standing side by side! In an attempt to make sure this never, EVER happened again, I discovered the magic of vintage. Just typing ‘Vintage Cardiff ’ into a search engine generated a whole hoard of results. Suddenly there were boutiques filled with gorgeous, one of a kind items. Most importantly, there were dresses I knew would never cheat on me with someone else. I had wandered into the land of unique fashion. And I loved it! From 30s skirts to 50s dresses to 80s brights, ‘vintage’ offers more than you may think. Not only is there today’s fashion to choose from, but a range of items and styles from throughout history. And since fashion is cyclical, vintage still has the ability to be on trend. It may seem to some that vintage is just a fancy word for a pile of old junk. Admittedly, some of what’s classed as vintage isn’t for everyone. But looking for that item to fall in love with is half the

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fun. Be playful, be quirky, be daring when wearing vintage, and experiment with styles and shapes that you wouldn’t expect. If you’re not yet brave enough to wear vintage head to toe, opt for accessories to complement your existing wardrobe. You will soon find that your vintage items are your most treasured and the most sought after. Vintage Treasure Troves in Cardiff: Head to Looby Loo’s for vintage inspired clothes from independent labels as well as handpicked, original vintage clothes and accessories from the 1930s to 1980s – High Street Arcade. Browse around Hobo’s for fabulous 50s frocks, vintage shirts and quirky accessories – High Street Arcade. Be first in line for the Blind Lemon Vintage Fashion Fair on the 7th of November where stallholders from around the country will be descending on Cardiff and bringing with them a myriad of vintage gems - The City Hall . For those with deeper pockets check out the newly revived Biba range at House of Fraser. The brand was a global phenomenon in the early Seventies and fashion has mourned its loss since it closed in 1975. The new range has encapsulated the brand of the past but with a modern twist– House of Fraser.

The strange origins of style

FASHION

Satchel

Then Believe it or not, the satchel reigned supreme in the 16th Century. Always emblemic of the perfect English schoolboy, the association between being clever and carrying leather was once acknowledged by a certain Mr. William Shakespeare in that 'All The World's A Stage' play...somewhere. Well, never mind, a satchel can still make you seem highbrow on the high street, so grab your man bag and strut. Now The mighty satchel is still being honoured, this time perhaps in the modern Shakespeare equivalent: Hollywood films. In The Hangover, the character Alan Garner wisely announces "it's not a purse, it's called a satchel. Indiana Jones wears one." Tell that to the man-bag haters.

Bow ties

Then In the 17th Century, Croatian mercenaries (men hired for service in a foreign army. Yes, I googled it.) headed to France to show their support for King Louis. You know the uncontrollable shudder when rain trickles down the back of your top against your skin? Well, imagine that shudder mid -fight when guns are a'thundering. Understandably, the soldiers wrapped a tie around their collars to prevent this minor inconvenience and keep the top of their uniforms closed. King Louis was so impressed with the soldiers' bravery and their fashionable ties that he made them a requirement for upperclass formal functions. Now Still suited to formal functions, bow ties bring a grande whack of glamour and a petit beet of geek chic. Instead of the classic black why not pick up a patterned, tweed, or even cord number. Live dangerously.

Braces

Then In 1850s a man whacking out his braces was like a woman whacking out her thong now. Braces were underwear and considered so unsightly that they had to be hidden with a waistcoat. But as men's fashion developed, waistcoats fell out of fashion, waistlines lowered, and braces evolved into the belt. Now After a 180 degree turn, braces exist to be exhibited. Proving braces are all about fashion rather than function, Topman has brought out a classy selection. Embrace them with a shirt, polo or t-shirt, daytime or night time. Just be careful not to wear them too tight. Self-made wedgies are not a good look!

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LGBT+

the

Lworld

SHUH-MYON-CHKO INTRODUCES

This week, yelding fashion in her skillful hand, Beth Crandon bravely ridicules the many overstereotyped images of lesbians, proving the point that what is so dyke, may not necessarily be so. Scrutinizing both straight and gay wardrobes, Beth managed to challenge our perception of who is a modern lesbian and if the image in our heads falls anywhere near the reality. In the meantime, taking on board issues very much irrelevant to his own self-being, Hector Roddan, inspired by the many Gaga nights on the scene, analyses the only geographical common ground of both gays and lesbians, posing a cheeky question of why the boys and the ladies stand and fight together, but may be less inclined to dance together. Anna Siemiaczko

WHAT THE HEC? EXPLORES We all have friends. Don’t we? I hope you do, but if you don’t, I’m sure there’s a support group or something you could join. What I mean is that we have all been in social situations with people we like, or at least tolerate. Including that smug bastard who makes comments about support groups. We all recognise that some individuals get on better, and consequently (or perhaps, hopefully) spend more time together. The same (shock horror?) is true of us, the LGBT+ community. Except there is, potentially, a complicating factor. After all, for one lesbian, the prime advantage of the scene is its relative proliferation of other lesbians, in contrast with wider society. All those gay men, what are they here for exactly? The intriguing thing about any room with a large number of LGBT+ people in is that it can throw all our subconscious gender expectations up in the air. But, perhaps this is to be expected growing up in what sociologists tell me is a largely hetero-normative society. Of course, this is a massive generalisation. Reality teaches me that all sorts of people are, not to put too fine a point on it, friends with all sorts of other people. This isn’t the schoolyard and last time I checked, Pulse definitely wasn’t the staging ground for the final all-out war between boys and girls. Hector Roddan

LGBT+

Taking you through the letters of LGBT+, this week it's all about the L. LESBIAN CHIC? It was the summer of 2008 and I was being dragged wholly against my will into a particularly garishlooking high street store, only to find myself surrounded by checked shirts, blazers, brogues and Doctor Marten-style boots. And as I gazed around somewhat dazed and confused, I realised for the first time that, what we often associate with the term “lesbian fashion” was having a major mainstream moment. But before you begin your little happy-dance, allow me to ponder this highly interesting development more thoroughly. The term 'lesbian chic' has been floating around the fashion scene since the early nineties, with images of heavily made-up waifs gracing the pages of Vogue while pouting angrily in suits. Since then, any trend or shoot that walked the fine line of androgyny was labelled 'lesbian chic' among the fashion elite. It seemed to me, however, that any realistic diversity in the style and image of actual gay women was more or less invisible in mainstream media. After all, even the majority of characters in Showtime series 'The L Word' were similarly thin and glamorous with long flowing hair. This would appear to clash fairly heavily with pre-existing stereotypes about supposed everyday 'lesbian style'. Who among us has not at some point experienced the stereotyping of gay women based on their style and heard or used terms such as 'butch', 'femme', or 'lipstick lesbian' . These commonplace stereotypes, however, are continuously being broken down on the catwalk. So why the big change? I'd put a lot of it down to the rise of cultural visibility. Diversity of gender in style and acceptance and appreciation of lesbian style conventions is now on the rise. And so the REAL lesbian chic is now here in 2010. Not since the 80s have we witnessed such empowering masculine tailoring (minus the shoulder pads, thank God). Autumn/Winter 2010 is set to be all about minimalist pieces and sharp tailoring. Margaret Howell and Chloe displayed their take on the trend on the catwalks with key pieces including brogues, tapered trousers with men's waistbands and many variations of short cropped hairstyle. Meanwhile on the high street Topshop's tailored trousers have flown off the shelves with blazers, shirts, polo tops and brogues all selling in their thousands. Women are beginning to realise once again that masculine clothing is not only acceptable for any woman, but can also be stylish, empowering and incredibly sexy. Our image is an important part of who we are. It's how we project ourselves to the world and a way of expressing our moods, our thoughts, our interests and, yes, our sexuality. 2010 sees a new freedom in dress-sense - running in parallel to this trend is the ultra-feminine 50s craze that is all about creating feminine figure-hugging silhouettes. Women no longer feel that they have to commit to a certain 'uniform' by which they will be defined by society. And the truth is, there is no such thing as 'lesbian chic' - fashion is what you make it. Whether you choose to embrace your femininity in your style or to dress with a masculine edge, this season gives you room to embrace whoever you are and however you want to dress without any set labels; to have fun, freedom and pride in truly expressing yourself. And after all, isn't that what fashion should be about? Beth Crandon

PHOTOS

This week Tom Armstrong and Chris Griffiths talk you through the Third Floor Gallery and its current exhibition.... For some, it may seem a little strange wandering the streets photographing strangers and every day public space. Well…. I guess it is a bit strange really. But when you think about it, you realise that some of the most iconic photos of the past decade and beyond have been taken by photographers who have prowled the streets, turning even the most ordinary circumstance into something of artistic beauty. By doing so, seemingly genre escaping images have been enveloped by and grouped into the discipline of street photography. If you walk across Roald Dahl Plaza, away from the Wales Millennium Centre and down Bute Place, you may be lucky enough to spot the Third Floor Gallery on the corner. If you then press the buzzer and ascend the expected number of levels, you will then enter a space beautifully suited for the display of contemporary photography. It is here that, until the 14th of November, you can see a little exhibition

showcasing a superb selection of photographs from the incredibly diverse range of photographers who have contributed to the new book Street Photography Now (by Sophie Howarth and Stephen McLaren, published by Thames & Hudson). The small collection of prints on display is a testament to the boundless nature of observational street photography. Spanning from the sinister to the surreal, the images from around the globe present an alternative perspective on the events of everyday life. As you can see from these sample images, the selection of photographs takes its viewer through a number of street shooting styles. The Third Floor Gallery is definitely worth keeping an eye out for, it constantly provides a good insight into the world of contemporary photography both within Cardiff and further afield. The exhibitions held there are free however donations are more than welcome.

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PHOTOS

The entries into last issue’s ‘Urban’ themed competition have been outstanding. Eleanor Hughes won with this striking image . This week’s theme is ‘The surreal moment in everyday life.'

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TRAVEL

PAMPLOMA

Spanish Independence Day: Celia Welham talks of the eclectic opportunities...

As a country, Spain could easily be described as ‘misunderstood’. Say Spain, and many will still conjure up ideas of rowdy holidaymakers looking to escape the dreary British climate in exchange for a boozy week of sun and sangria on the Costa del Sol. However, behind the crowded beaches and noisy strips of Malaga and Benidorm, lies a beautiful country bursting with its own magnificent history and culture. And with Spain’s national day, or ‘Fiesta Nacional’ being celebrated on the 12th of October, there has never been a better time to explore this lesserknown side of the country. While Madrid and Barcelona continue to thrive as cultural hubs, boasting world-famous architecture, museums, restaurants, and much much more, the smaller cities such as Seville, Granada, and Salamanca definitely offer travellers a taste of the real Spain. Possibly one of the best ways to experience the individuality of Spanish culture first-hand is to travel to one of the many festivals which happen throughout the year in hundreds of cities and towns across the country. Although perhaps I could be accused of having a biased opinion, as I was lucky enough to spend six months of my year abroad in the gorgeous coastal city of Valencia, I would definitely recommend heading to the huge celebration of ‘Las Fallas’ which

happens there every March. The festivities last for five days but these all seem to roll into one non-stop party as the constant music and ‘mascletàs’ (a Spanish take on fireworks) carry on throughout the night into the early hours. It is truly an unforgettable experience; although beware of the sky-high wooden figures that are burnt on the final night of the festival Spain isn’t as hot on health and safety as the UK! If this doesn’t sound like your thing, there are plenty of other festivals to choose from, ranging from the bizarre to the extreme. The peculiar food-based celebrations such as the week-long Chorizo-eating competition in San Sebastian, or the famous ‘Tomatina’ festival in Buñol are fun and pretty harmless (depending on the amount of chorizo consumed!), while ‘The Running of the Bulls’, or ‘ El Encierro’, which takes place yearly in Pamplona during the festival of San Fermin is not for the fainthearted as between 200 and 300 people are injured each year! Spain definitely has a lot more to offer other than party spots for the 18-30 groups, and with cheap flights available to most parts of the country, let’s hope that this European gem can continue to thrive as a destination for travellers seeking culture, and definitely excitement!

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TRAVEL

De stina

tion s to

Die For

...

With H we se alloween t off f aroun ast appro ac d the Worl hing, d to fi nd

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us a s

care!

Barcelona

TRAVEL TRAVEL

Barcelona is arguably one the coolest cities in Europe. On paper it has it all: a veritable hot-pot of diverse cuisine with fantastic shopping and outstandingly unusual architecture. But on foot there’s a darker dingier side which is what makes it so remarkable. If you stray from the well- trodden (and now extremely commercial) Ramblas you find yourself in an altogether different kind of Barcelona. The winding, almost-Dickensian alley-ways create a warren for grimy brothel-like bars, tattoo-parlours and vintage clothes shops. The cobbled streets open out occasionally to courtyards where whole troupes of tramps hang out, looking at home against the smoke –blackened walls. What better place therefore to celebrate Halloween, a tradition which is usually favoured by the Americans (resulting in a deluge of plastic pumpkins and radioactive-blue ‘candy’), than here. And Barcelona celebrates Halloween with style. Huge beach parties are thrown by Shoko and Opium (two of the city’s clubs) and Nocturna Halloween festival is also held every year at L’Hospitalet de Llobregat, very near to Barcelona. If you’re looking for something more low–key, there always is an excessive number of parties in bars and clubs. Along with dressing up (there is a multitude of specialist fancy dress shops across the city), food is central to Barcelona at Halloween. On November 1st, the Chestnut Festival is held, a tradition for Catalans who meet in the street and buy hot chestnuts. Although the tradition of the Catalan Halloween lies in the celebration of the lives of the deceased, translated literally as ‘Day of the Death’, modern day Barcelona puts a rather more sinister spin on it. Alex Genova

New York

New York. This mad metropolis will get your blood curdling. The banshee wail of traffic at rush hour, the stampede of fashion- hungry stilettos on 5th avenue and the glowering bouncers on a Saturday night; all these things may make you quiver like a new born deer. But if you’re hungry for the most spooktacular experiences the Big Apple has to offer, there’s only one day of the year that will suffice: Halloween. Whether you care to explore the numerous haunted churches and theatres in Manhattan, search for the ghost of John Lennon or just chill out by Edgar Allen Poe’s crib, Halloween, in accordance with the spirit of the city, provides something for everyone. After dark, the zombies and ghouls really come out to play and can be found among the array of pubs, clubs and Halloween-themed parties dotted across all five boroughs. For those who can stomach it, I would recommend the infamous Mars Bar on the Lower East Side; with its shattered windows, scarred bartenders and grimy-as-hell ambiance, it's monstrously well suited for the occasion. Others seeking slightly less sinister fun could try their hand at pumpkin carving in Central Park, coo at the ridiculously adorable kids parading in Greenwich Village, or befriend bats and other creepy creatures at the annual 'Boo at the Zoo' event in Prospect Park. The zenith of my Halloween experience though was undoubtedly New York City’s Village Halloween Parade. Stretching for more than a mile and featuring some truly outstanding costumes, it was here that I accumulated the most bizarre and brilliant memories of the night. Sharing cigarettes with a teletubby, watching my friend in a batman costume demanding piggy back rides from a host of Disney characters and helping a human grape waddle through traffic were all definitive highlights. At one point I even caught a glimpse of Bernie Madoff hugging it out with a zombie and it really doesn’t get spookier than that! Maya Acharya

Mexico In the sky, streams of coloured bunting flutters in the cool October air, decorative skulls line the streets, and personal altars appear honouring the dead, as families gather to celebrate the deceased. Occurring shortly after Halloween, Day of the Dead is a spiritual holiday of the indigenous Mexican people, and for all those eager backpackers in desperate search of that authentic experience, a less commercial, but way more elaborate alternative to Halloween. As with everything in Mexico - be it food, weather, or people -location is the key, and towns celebrate the day (and night!) very differently. Aim to find yourself in a small town, struggling with the language barrier, sleeping on a friendly local's floor and, at midnight, standing bewildered as people with devil masks dance around you, thousands of candles bewitching their movements. Dom Kehat

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ARTS

Modern dance group and award winning company, the Alvin Ailey American Dance Theater, lit up the stage at the Millennium Centre last week.

Dance has twinkled-toed its way into all of our lives in a variety of forms, from Strictly’s ballroom style to Britain’s Got Talent winners Diversity’s fusion of street and robot hip-hop. But the Alvin Ailey dance group prides itself on its unique format that has led critics to acclaim it a cultural ambassador. With such a famed reputation, I was undoubtedly looking forward to the show. The performance was divided into four dances that were chosen specifically for our UK audience (which I found out at the canapé and champagne pre-show presentation!). The opening routine – named ‘Suite Otis’ after its tribute to a montage of Otis Redding songs – was compelling. Dressed in hot pink costumes the dancers narrated a battle of the sexes to Redding’s sensual classics. The male and female troupes performed alternate routines in a dance-off format that combined witty humour with energetic soul. Unfortunately the following dances did not match its promising flair. The central dances that comprised of an intense, contortionist solo and an eerie piece that depicted conjured dancing spirits became slightly repetitive after over an hour’s effort. The finale and their most famous routine, 'Revelations’, did however reignite my attention. It is a vibrant and lively homage to African-American tradition and presented an interesting and contradictory mixture of jubilance and repression which defines their heritage. The use of props and more elaborate costume also added to the performance. Each routine was distinctive and breathtaking but two and a half hours of dance as well as an interval between each set stretched it out a little longer than necessary. Despite this slight draw back the company is still inspirational with over 50 years since its first performance. Alvin Ailey affirms that “Dance is for everybody. I believe that the dance came from the people and that it should always be delivered back to the people”. It certainly did deliver: 7/10. Lydia Korol-Bluring

Made in Roath is something of a cultural candy shop for artsy types, with scrumptiously creative treats galore displayed in the community’s most darkly delicious art venues over one bitter October week end. Pick and mixing from a delightful selection of events, exhibitions and workshops allows student residents to sample their community’s rich artistic palette for free, and acts as a beginner's guide to the arts world flooding the streets of Roath that often goes unnoticed on the way to lectures. From artists literally opening their own front doors to moody Milgi’s film nights to sultry Sunday night tango classes, Roundabout Roath simply sparkled with artsy options. Elly Barclay, Alexi Gunner, Natasha Brandero and Kirsty Allen tried a few tasters...

Roath’s Dark and Tender Heart Stumbling across a dark and tender heart in Waterloo Tea Gardens, glowing after hours and packed to the rafters with local literary luminaries was quite a find. Although candlelight was promised (and not delivered) this poetry evening was still resplendent with its twisted romantic roots firmly planted in glorious Roath. Favourite French-inspired line,“I’m so cool in the sack, they call me cul-de-sac” shouldn’t make you smile but it just does.

Art Exhibition s at 'M

ade in Roath'

Made in Roath hosted a thriving variety of art exhibitions that ranged from creations of the more unknown to masterpieces by Cardiff born James Richard who has, through the years, gained sufficient kudos to land him a spot at the Tate Modern. No biggie. This year's line up was sure to satisfy all visitors: everything from showcases in textile creativity, to art made by the genius students of a primary school to more renowned creators showing off their portfolio in the cosy backdrop of their beloved hometown. AG

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ARTS

ling Young’ il K ‘ : s n a v E t in a G er Killing Young is based on Evan’s childhood memory of shaking a tree until an unnoticed nest fell to the ground, breaking the eggs within it and exposing the destroyed chick foetus. The exhibition explores events which destroy childhood innocence. Yet, while the subject was incredibly interesting, I was disappointed by the lack of emotional engagement the exhibition had with what it means to ‘kill young,’ particularly for Evans, and also Society. EB

l a r u t l The Cu

Candy Shop

ia Film and d e m ilt u M : g Kim Field in powerful and interesting work emPhotography Fielding’s ploys creative and unusual special effects, inviting us into a sinister and dream-like world of writhing apparitions, trapped in everlasting sequences of constrained movement. The ghostly atmosphere provoked is enhanced by its jarring with the setting of a seemingly empty or deserted flat. Evoked was the feeling of not seeing the world around you, but in fact into your own emotions and subconscious. EB

Evening of P erform anc e an d The Saturday night of the festival saw S o u n d @ Milg i Loung Milgi lounge host a film night. There was e a selection of short films shown, some made by filmmakers from Roath and shot in Roath, plus others from further afield. The films depicted a variety of themes and tones; some were very artistic, others more realistic, some were amusing whilst others dealt with a more serious subject matter. The night was a great way for local filmmakers to share their talents with an appreciative audience. NB

Round ab out Roath

The open house exhibitions were certainly a highlight of the festival. It was wonderful to be welcomed into artists’ homes to view their displayed work which was in a variety of media such as sculptures, paintings and etchings. Some were also selling small handmade crafts. Though it felt a bit intrusive wandering around someone’s house, the atmosphere was friendly and chilled out - I was even offered a glass of wine at one house! NB

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ARTS

We caught up with festival organiser - Rob - and got his perspective on the upcoming events of this weekend's dance showdown at the Welsh

Millenium Centre (October 22nd -23rd)

Breakin' ay the

What inspired the festival? Breakin’ the Bay is a great way to engage with audiences who perhaps wouldn’t normally come to the Centre – this is one of the main drivers behind the event. We want to celebrate the creativity and skill involved in hip hop culture because there’s a lot of talent and dedication in Wales that needs to be recognised. From the outset, Wales Millennium Centre was designed to appeal to people of all ages, all interests and backgrounds. The Breakin’ the Bay weekend really shows how the Centre has arts@gairrhydd.com real relevance and value for young people as well as all other groups.

Are you using it as an opportunity to showcase Welsh talent as well as international acts? Absolutely – we want to bring the best of the world to Wales and showcase the best of Wales to the world. By programming the Breakin’ Convention tour as part of Breakin’ the Bay we are able to show-off international break dancing superstars like Phase T and Sebastian and Raphael on the main stage alongside local acts like Jukebox Juniors, B-boy Sunni and Primal Steps. We’re also really lucky to have a group called Nordic Seals, put together by internationally renowned b-boy Freeze, coming over from Sweden to battle Wales' own SUP, led by Slammo, on the Saturday.

ARTS

What acts do you think will most appeal to the student body? Hopefully there’s something for everyone at this year’s festival – if you’re into powerful breakdancing then Phase-T are one of the best on the planet right now, if you love your graffiti then we have four of Cardiff ’s best writers painting live across the weekend. We’ve got a host of MC’s including Ruffstylz, the world record holder for the longest freestyle rap, and Blaktrix. If you want to get involved yourself then we have graffiti workshops on Saturday and Sunday and workshops in Wacking and Vogueing on the Sunday. It’s going to be a busy weekend! A full list of artists performing will appear on the Breakin’ the Bay website – www.breakinthebay. co.uk – over the next few days.

Can you tell us a bit about your career background and offer any advice to students aspiring to be involved in festival and events organising? I followed a slightly different path to most of the people I work with in that I have no formal academic arts training. I’ve just completed an MBA and have always been more business focused in my studies. This has been a real benefit when it comes to managing events as I can support the artists involved to ensure that everything runs smoothly and they have the best platform possible to display their talent. I also love the arts and it is this that has led me into the job I’m now doing- all of my arts knowledge has been developed independently or through conversations with people who are brilliant at what they do. If there was one piece of advice that I had to give to anyone wanting to be involved in programming or running festivals it is to make sure you get out and see as much stuff as you can – understanding the market is the greatest skill you arts@gairrhydd.com can develop!

MUSIC

MUSIC Swn & other mis-adventures

How Swn is now? Well, at the time of writing it’s very soon indeed, but print deadlines being what they are, if you are reading this then Swn was the weekend previous. Ok, so does that mean I should be writing in the past or future tense? This is going to be a syntactic nightmare. As a way of introduction, Swn (the Welsh translation of noise, sound and/or discord) is the premier live music event in Cardiff and takes place annually at the end of October. Entering its fourth year, Swn has quickly established itself as a cultural event with such gravitas that it attracts bands from all over the globe. At the helm of the Swn ship is Mr. Huw Stephens, every year handpicking a wealth of talent, both domestic and foreign, to descend upon Cardiff and entertain the assembled masses; a fitting segue between the halcyon summer and the cold, cold winter months. To try and fit the entirety of the 2010 line-up here would take up the majority of our space - that is the size of the event this year, as those of you who went will know. And again, we are currently writing prior to the event, so a detailed review will have to wait until our next issue. It seems that a cursory overview is our only option. Let us begin. Swn has quickly established itself as power to be reckoned with. Its influence is not merely concentrated on the festival. Its organisers extend a somewhat omnipresent hand over the Cardiff live music scene, now promoting various events all year round. Recent acts they have had the pleasure of bringing through the city include Yeasayer, Get Cape,

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Wear Cape, Fly, Health, and upcoming acts include Marina & the Diamonds and The Go Team! Well done Mr. Stephens, well done. It seems that any bands who play Swn are graced with a degree of good karma thereafter. Consider some of the acts that have played Swn in the past; Beirut, Girls, The Big Pink, The Cribs; these are but a few who have all been catapulted into the public consciousness post-Swn. But for those of you who were unable to get to Swn this year, there is plenty over the upcoming weeks to keep those mountains of university work place firmly on the bottom rung of the priority ladder. Events taking place on Monday 23rd could prove to be something of a clash of interests for those with a keen interest in both past and present music. On the one hand the Tyrannosauras Rex of rock and roll that is Jeff Beck will be melting yet another fretboard as he takes centre stage at St. David's Hall. On the other is Benni Hemm Hemm, whose bucolic meandering folk is as beautiful as it is heartbreaking. 10 Feet Tall for that one. As Cardiff Arts Institute's reputation grows, so does the calibre of artist it books. The next big night of big bass and even bigger beats will be Mount Kimbie on Wednesday 27th. This will be a very good excuse for a solid boogie. If none of the above appeals then maybe the hardcore stylings of anarcho-punks, Cancer Bats, on November 1st will be more akin to the collective taste. However, Quench cannot accept any responsibility for any bumps, bruises or broken noses sustained therein. And on a final note, A-skillz will be in Buffalo on the 4th. The master of funky breaks will be returning to Cardiff, bringing with him his class-A brand of remixes. This too will be one not to miss.

MUSIC

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MUSIC

ALBUMS

A rundown of some recent releases

Elliott Smith

An Introduction to Elliot Smith Domino

9/10 On the first of November, Domino Records will be releasing An Introduction to Elliott Smith, a CD compiling tracks from all seven albums of one of the greatest and most underrated songwriters of our era. Overall, the album is an excellent introduction to Elliott Smith’s music; perfectly demonstrating his whispery voice, heartfelt lyrics and somewhat twisted melodies. The album contains Smith’s most successful songs, as well as his less known, yet still hauntingly beautiful songs such as Angeles, which suits Smith’s style more than a typical “best of ” style album. Smith’s full musical range is shown in the album; from upbeat melodies like Pictures of Me to songs chronicling Smith’s battles with depression, alcohol and drug use such as in Needle In The Hay. However, some important tracks seem to be missing, such

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as the latter version of Miss Misery; one of Smith’s most successful songs. Although the early version of Miss Misery is still beautiful, the latter version is a perfect example of Smith’s melancholic lyrical style combined with comforting melodies. This album is brilliant as a start in discovering Smith’s music, and pays tribute to his artistic contribution following his tragic death on October 21st 2003. As an introduction to Elliott Smith, the album does its job perfectly; giving the listener a rough idea of his style. However, it is after all an introduction, and as is often the case with compilation albums, to really appreciate Smith’s music, it is better to listen to his individual albums Luke Bolt

The Fresh and Onlys Play it Strange In the Red

6/10 Play It Strange is the third album by The Fresh & Onlys. An amalgamation of garage rock and psychedelia, a country

twang provides a slightly different take on an oft visited mix of genres. A rather hit and miss effort, tracks such as Waterfall, sounding like a Spaghetti Western soundtrack, crossed with the jangly psychedelia of Sgt Pepper's era Beatles, stand head and shoulders above songs like Tropical Island Suite, a sludgy mess of guitars and vocals. The production of the album is markedly improved from their previous LPs, and whilst it is far from polished, still giving them a foot in the door to the Lo-Fi world, is a change that benefits them immensely. The guitars are shimmery and skip along with a hazy, effervescent swing. The vocals would be my one main point of contention, often the lyrics are far from clear, and whilst this is due in some part to the sonic discourse they are striving for, they would do well to lose some of the reverb, and push the vocals more to the centre of the songs. Overall, this is a decent album, which, although having some fine individual moments such as Waterfall, Plague of Frogs and Be my Hooker, never really reaches the heights that this band promises. James Coop

MUSIC

Antony and the Johnsons Swanlights Rough Trade

8/10 As a fifteen year old lost in the wilderness of popular music, discovering Antony & the Johnsons was a seminal moment in shaping my musical tastes. Listening to I Am A Bird now I escaped into a strange and other-wordly place and every time I’ve returned to it since I’m overwhelmed by the feeling of listening to a record that is bewildering and bewitching. While the follow up Crying Light and Another World EP were never less than beautifully melancholic, they at times failed to pack the same devastating punch as that sophomore effort. Listening to Swanlights you are immediately struck by the new found confidence in Hegarty’s voice; an overwhelming sense of joy and contentment are palpable in his distinctive falsetto. The opening declaratory of Everything is New cleanses the palate with its meandering vocal reading like a repeated mantra. In the piano dominated Ghost,

he sings of a snake shedding its skin and you get the impression that this is him shedding his own. The entwined I’m In Love and Thank You For Your Love give the listener some hint as to the source of this happiness, the latter an exultant ode complete with horns. However, the title track and centre piece show us that with this new light there are still shadows, heavy with animal and afterlife imagery that have been constant in previous albums. More than anything else its striking how Hegarty and his Johnsons have matured within this record while losing none of their mesmerising allure, continuing to bewitch and bewilder. Emily Bater

Chiddy Bang The Preview EMI

8/10 It becomes immediately apparent that Philly duo Chiddy Bang don’t just bend or blur the lines between genres, they effectively throw all barriers out of the window. There is a sense of fun and rejoice in their mixing of

electro, alternative, synths and hip hop which is exceedingly refreshing, resulting in a lively album with no single style, but instead a signature sound in their samples, beats and rhymes. And there are samples aplenty in this album, including Passion Pit, Sufjan Stevens and MGMT on the hit single Opposite of Adults. This could be seen as a negative, depending on whether you know the song, you don’t know it or you don’t care; it is true that rapping over samples may not be the hardest way to make music, but the seamless way that Chiddy Bang do so by making it completely their own is so much more than that.ww The Preview is an album documenting a young band’s journey after finding themselves thrust into the limelight; there are the usual stories of “making it” and striving for the “good life,” whilst dealing with the inevitable hate and hard-ships they encounter on the way. But the album stands out for its irresistible sing-along effect, where most tracks are guaranteed to be imbedded in your brain for days. Its catchiness is undeniable, and I challenge you to listen to it without tapping or nodding along. Eleanor Hughes gairrhyddmusic@gmail.com

MUSIC

Live

Sadio Cissokho

Clwb Ifor Bach October 13th

Cardiff Arts Institute October 9th

HEALTH

On the way to see HEALTH – here promoting their sophomore album Get Color, and the recent DISCO2 collection – I have to admit I felt a fair amount of trepidation. Get Color is somewhat overproduced, featuring dense layers and relentless sonic assaults. Surely they wouldn't be able to reproduce this in a live setting? To a degree, I was right. Though clearly prepared for the show and fairly able to replicate their recorded sound, there was a clear overreliance on pre-recorded samples which took something away from the overall quality. Furthermore, there was a distinct impression that everything was very choreographed and that the band were, despite all their movement, paradoxically static. It was far from a bad show though. Jake Duzsik's vocals were fantastic, using his

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near feminine tones and a touch of reverb to make an ethereal sound. Plus, the decision to push the drums up in the mix made every song feel far more primal – a feeling helped by the tribal, shamanistic performance of the band. Die Slow and current single USA Boys both ended up being towards the end of the (ridiculously short) set. Whilst this wasn't terribly surprising in and of itself, these were the only two tracks that the audience really seemed to get into. It might've been a smarter move to have one of them nearer the start, just to get things rolling for the crowd. As it is though, these were far and beyond the best performances of the night. Ultimately, HEALTH live ended up being quite similar to their Get Color album – somewhat overproduced and stylised, despite their idiosyncrasies, and yet still enthralling. Plus they had banging merchandise. Can't go wrong, really. Dave Sadd

While seeing a Senegalese funk band may sound like a naff hipstery kind of thing to do on a Saturday evening, those present at Sadio Cissokho's electric set at the Arts Institute were left blown away by the funksoul rhythms on display. The 4-piece band's tireless 2 hour set was more than a cultural curiosity; the music charmed on more than a technical level, with songs such as Kide o Kide transparently passionate and traditionally influenced. Music driven by exotic instrumentation connects with the audience with marvellous ease, encouraging the enraptured crowd to twist and shout with unself-conscious joy. And this isn't a throwaway rarity, rather a glimpse into the clearly rich West African tradition Cissokho is part of. Lloyd Griffiths

Singles

MUSIC

Chiddy Bang The Good Life EMI

6/10

Chiddy Bang have happily surfed the immense blog fame of hits such as Opposite of Adults, where their signature sound lay in the recycling of modern day indie pop anthems. The Good Life pushes the duo off safe ground, with original catchy beats produced by Pharrell and flowing rhymes that create an appealing tune, but one that most definitely won't be sending the same repercussions through the internet waves that their past efforts were able to accomplish. Alexi Gunner

Pendulum The Island Warner

5/10

Boasting a much mellower, trance-like sound than that of previous singles, The Island demonstrates a simple electro melody that is likeable enough, but slightly forgettable. The track fails to capture the energetic drive that defines the epic nine-minute album version of the song. Despite this, the band should be admired for delving into this new electro house style, setting the track apart from Pendulum’s more typical drum and bass beats. Lucy Richardson

The Wanted

Heart Vacancy Geffen

7/10

After their upbeat, indie-pop debut single, All Time Low, Heart Vacancy is a change in tempo and sound for The Wanted. This more subtle approach aims to show a completely different side to them and set the tone for their diverse, yet still untitled first album. Not the most inventive lyrics but the soulful vocals are sure to stick in your head. Fraser Isaac

Klaxons

Twin Flames Polydor

6/10 Employing a much more upbeat rhythm than that of Echoes, the latest release from the Klaxons - with its unbelievably catchy chorus - is a fun-loving track that can’t really go wrong. Twin Flames is a likeable yet bland track demonstrating a lack of exploration into new and individual styles. You can’t love it, you can’t hate it, and it’s sure to be relatively successful. Lucy Richardson gairrhyddmusic@gmail.com

MUSIC

The Joy Formidable

Visiting Cardiff for the Emerge NME Radar Tour, Emma Wilford went to visit them to find out more about the elusive band. The Joy Formidable are somewhat of an unusual band, not only musically but also from the career path they’ve chosen to take. It seems that there is ever-growing pressure to ‘make-it’ in the music industry and that means top ten hits and sold out arena tours, yet in such a vibrant music scene it’s refreshing to see a band who won’t sell out to make it big. Hailing from Mold, North Wales, this trio have been around for only three years yet have managed to generate a considerable dedicated fan base. The band consists of the pint sized Ritzy Bryan on lead vocals and guitar who makes up for her height in her stage presence, Rhydian Dafydd on bass and the shy Matt Thomas on drums. Headlining this year's Emerge NME Radar Tour, I went along to have a chat with them before their gig. This was my first interview and I have to admit I was slightly nervous; as I was shown into their tour bus which held a considerable stash of alcohol, my nerves lifted as I realised they weren’t in fact as intimidating as I thought. First things first, you are now over half way

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through the tour, how is it going? Rhydian Dafydd: Very well thank you, the crowds have been great. We just like being on the road anyway so any tour will do us. Do you feel as though you are in good hands as other acts such as Florence and the Machine and La Roux have headlined this tour? R.D: We don’t really concern ourselves with anything other than just getting out on the road and the thing about this tour is we’re playing to some audiences that we might not have done at our own gigs. But to concern ourselves with any hype machine doesn’t feel right. Ritzy Bryan: I think this tour or not we’re certainly ambitious and we’re proud of the album we’re putting out early next year. It honestly feels like we’ve been able to evolve properly as a band and I really appreciate that that’s been our path. You’ve accumulated many loyal fans over the years- do you feel you get a stronger reception

MUSIC here in Wales? R.B: Sometimes people don’t figure that we're Welsh because we're from North Wales and we don’t have a broad accent, but we’ve been here a lot of times and we've always enjoyed it and had a good connection with the audiences. What did you feel was your influence for the new album? R.D: So many! I think with the previous EP it was a happy accident, it was a collection of songs we had at that point whereas this album is much more considered and ambitious. Things like going to the Gower where we wrote some of the songs really helped inspired us. R.B: There’s a lot of emotional range running through the album and a lot of personal material that’s been captured. We’ve always been very aware not to fall into being self-indulgent but it’s important something’s passionate and relevant. You’ve had a very busy summer- supporting Sir Paul McCartney at the Millennium Stadium- did you get nervous supporting such an iconic music figure? R.B: It was really boring, it was a really small stage and a really empty audience. There was a slight awkward pause where I thought she might be serious. R.D: It was like the total opposite to that! I was so excited. When we were about to go on I was like, ‘Wow wow this is amazing’ and then just a split second before we started I was like, ‘Oh fucking hell I’m really nervous’. I think it really suited our sound in some respect as it’s such a large arena you get a natural reverb. I know you played several festivals over the summer, what would you say was your festival highlight? R.D: Glastonbury was probably extra special for me as it was my first time there. That along with really amazing weather was great. R.B: Reading and Leeds felt really good because it was our third year there; every year we have played a little bit of a bigger stage and this year the amount of people that came to see us was touching. What advice would you give to other aspiring musicians?

money. I don't think you can give someone passion for what they want to do. If it’s what you need to do 'cos you live and breathe it and can’t do without it then it doesn’t matter what obstacles come in front of you. R.B: Don’t ever fucking ask anybody what they think of your songs. We get a lot of mail from up and coming bands and I feel it’s really important to listen but never ask people if you’re good enough; it’s all about self-belief and getting to that point where you know that your songs are great and that live you’re unstoppable. You’ve got to have full commitment and be convinced by what you’re doing for people to feel it. Do you feel it's necessary to move to London to be a touring band as a lot of people feel they have to? R.B: I honestly believe that if you’re doing something relevant and original you can be based anywhere. R.D: Having said that in terms of a live scene it is difficult in some areas because the infrastructure might not be amazing. Therefore you’ve got to play as many places as possible not just relying on your own back yard as you might not fit in. Don’t feel like if people aren’t taking notice in your town, then that’s the end. If you had to sum up the sound of The Joy formidable in three words what would it be? R.D: Loud R.B: Quiet M.T: Credulous. It was obvious from my encounter with the Joy Formidable that they are incredibly passionate about what they do. Clearly they are not obsessed with the limelight but instead entertaining people, which after all is what music is all about. Most strikingly I noticed how normal they were; there was no pretentiousness, just good friends who love making music together. Their modesty as well as their assurance in their music helps to explain why although not a 'top-ten' band, they have a large following which is surely set to grow after their appearance on the Emerge NME Radar tour. Their currently untitled album is out in Janurary.

R.D: For us it’s about being able to do something you love and do it every day; it’s not about the

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Film. News.

Look out, Spidey: Welsh boy Rhys Ifans will portray Dr. Curt Connors, a.k.a the Lizard, as the villain of a Spiderman reboot tipped for 2012. Since Sam Raimi’s resignation, (500) Days of Summer director Marc Webb has been chosen to save the franchise from further Hollywood arse-rapery. Simultaneously, the role of Peter Parker will be taken up by Andrew Garfield, so fans of the webslinger are no longer required to tolerate Toby Maguire’s meek and generally irritating disposition. Hopefully this new talent will bring with it a streak of individuality that Marvel's greatest export sorely needs. Although Warner Bros. had originally planned to release Harry Potter and the Deathly Hallows in 3D, the studio has had to rethink due to time constraints. If you were hoping to see Hedwig the owl divebomb to her death in three explosive dimensions, we’re very sorry.

The road goes ever on and on! Thank Gandalf for that. The Hobbit is to start filming next year. With MGM finally on board and Peter Jackson nonetheless set to direct, casting rumours are abound at Tolkien’s prequel to the hugely successful Lord of the Rings trollogy. Martin Freeman remains favourite to be cast as Bilbo, but as usual in the self-reflexive showbiz world, there’s little more than smoke and mirrors to this rumour as of yet. Diverse names such as David Tennant (who we think would own), Michael Fassbender and James Nesbitt (Really! Cold Feet, more like hairy feet, ha ha. Ha?) have been bandied around for various roles but Quench can rest easy in the knowledge that Sir Ian McKellen is safe in his Gandalf role. Phew. Matt Ayres & Lloyd Griffiths

TRASH

#14

TRAILER (...in which we

Never Let Me Go Chosen to open at this years London BFI Film Festival, Never Let Me Go is the adaptation of the exquisite Kazuo Isiguro novel of the same name. Kathy, Ruth and Tommy are boarders at the stange Hailsham School, where their fates are hidden from them in an eerie, parallel world much similar to our own. This tale of doomed love is quintessentially English in tone, its sepia hues reminding us of a lost time in this futuristic world. If the film touches the devastating impact of the book it's set to be a thought provoking watch, even if its audiences only come for the impeccable cast, including man and woman of the moment Andrew Garfield and Carey Mulligan. Emily Kate Bater

praise, muse and lambast the latest previews.)

FILM

BEST FOR...

...not messing with a malfunctioning robot.

...most original use of an MP3 player.

Short Circuit 2 (1988)

Primer (2004)

Few film sequels contain the spark that succeeded in igniting the original, but '80s film Short Circuit 2 effortlessly surpasses its slow-paced predecessor. This live action tale sees the return of quick-witted robot Johnny 5, who appears on screen looking like Wall E’s long lost father. In the sequel, our mechanical friend is discovering New York, playing cupid, destroying book stores and is being deceived by jewel thieves. The puppetry of the robot protagonist is so well executed that, like in E.T., the audience is able to care for and commit to the character. The climactic scene, set to Bonnie Tyler’s Holding out for a Hero, is always a joy to witness even after repeat viewings. Watching a robot, dressed as a punk, exclaim that he's ‘really pissed off ’ means, in my eyes, the film’s a classic. Georgina Spriggs

If you always want what you can’t have, what do you want when you can have anything? Aaron and Abe are two engineers who stumble upon something which they weren’t expecting. What it allows them to do is accumulate money, power, knowledge, anything. This film is not just about the implications of control, it’s about paying attention to the little details that spiral out of your control. Primer is smart, but not slick - It’s complicated, but to a degree where not understanding the plot is just part of the plot. It’s purposely made to make you think and make you watch it over and over again because you don’t just want to watch it spiral out of your control, you want to understand every little detail as it does. What do you want when you can have anything? To repair it all. Luke Baker

...skipping to the best bits. Click (2006) Hard-hitting, yet full of the comic genius of Adam Sandler, Click hits all the right spots for sci-fi, comedy, and drama enthusiasts alike. Sandler plays Michael, a hardpressed architect who also suffers from one of the most basic domestic needs – finding the right remote. A visit to ‘Bed, Bath, and Beyond’ sees him introduced to Morty, played by Christopher Walken, who gives him a ‘special’ universal remote control. What’s special is that it can fast-forward, pause, and rewind parts of his life that are boring , which is a dream come true. Things take a turn for the worst though when the remote starts taking control of his life and automatically fast-forwarding through parts of his life like his marriage to Donna, played by Kate Beckinsale, and time with his children .Though Click borrows a lot from Back to the Future and It’s a Wonderful Life, it brings originality through a comedic and quirky perspective on life. Lois Williams

FILM

Buried Dir. Rodrigo Cortes Cast: Ryan Reynolds

8/10 Ryan Reynolds shows he is more than just a one-trick pony in Buried, moving away from his usual comedic roles to play anxious, blue-collar truck driver Paul Conroy who has ended up six feet under through no fault of his own. The film begins with Conroy experiencing a panic attack as he wakes, bound-up inside a coffin with nothing to help him other than a mobile phone, glowstick and the flickering flame from his Zippo lighter. For the entire 94 minutes of the film the camera does not leave the coffin, and instead focuses on Conroy’s plight in real time to try and figure out why he is there, and more importantly, how to get out, before his air supply runs out. Throughout this claustrophobic thriller, we see Conroy experience a whilrlwind of emotions, of fury, despair, and hope (although not always in that order!) as he is forced to put his life into

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the hands of his employers and Dan Brenner - voiced by Robert Paterson who wonderfully plays the British hostage negotiator, who gives Conroy a glimpse of hope, in an otherwise bleak situation buried alive underneath the Iraqi desert. However, after a bomb hits the hostage site, will Conroy ever be found? It is frustrating as we see Conroy frantically call around his friends, family, 911, FBI and employer to try and get help, only to be put on hold a number of times by the somewhat unconvincing phone operators who do not seem to understand his fate. However, Buried is a film that will definitely make your stomach churn as you tentatively watch Conroy’s fight to survive; it makes you feel breathless throughout, at times it will make you want to cry. For a claustrophobic thriller that will have literally gasping for air, choose ‘Buried’. Maz Poynter

Wall Street: Money Never Sleeps Dir. Oliver Stone Cast: Michael Douglas, Shia LaBeouf, Carey Mulligan

8/10 As someone who isn’t too knowledgeable about financial jargons, I was worried this movie would leave me daunted. Well, I was wrong. In fact, I left the movie theatre thoroughly impressed. Oliver Stone’s sequel of the 1987 film, Wall Street, is filled with high calibre talents and a cleverly twisted plot, based on what is allegedly the worst financial tragedy since the Great Depression. In this sequel, Michael Douglas reprises his role as Gordon Gekko, fresh from serving eight years in incarceration due to insider trading conviction. Meanwhile, his estranged daughter, Winnie (Mulligan) is engaged to young Wall Street hotshot, Jake Moore (LaBeouf). In the midst of the economic turmoil, Jake teams up with Gekko to avenge

FILM

the death of his mentor. As the movie follows Jake’s attempt of finding his way through the crisis, I can’t help but realise how this movie criticises the banking industry and how greed inevitably led to the global financial meltdown, which is indeed what we experienced. It is as if Stone was posing the question: When is enough really enough? The question looms on as the movie takes us to an inside look of what happens in the conference rooms during the crisis. The one thing that’s slightly disappointing, however, is the ending. I won’t spill it here of course, but let’s just say, for a movie that left me gripping my seat for more than two hours, I thought it could do better than that. Nonetheless, it's definitely worth a watch. Nandra Galang Anissa

Mr Nice Dir: Bernard Rose Cast: Rhys Ifans, Chloe Sevigny, David Thewlis

5/10

Had I spent my younger years carefully crafting a self-glamorising drug habit culminating in a cool seven years of incarceration, brooding over what to scribe for this column it might well have turned out a touch more risqué. But sadly for the sake of my readership I am no hedonistic oaf with a penchant for quantum theory. As the Welsh Marks moseys through the red drapes onto his stage to tell all of his epicurean escapades it is easy to forget the nature of his tale, he is, at the heart of it all a drug raconteur. Through the film the essence of his story slips away, and although the character is fully realised it does not make up for the gaping hole in the narrative. The occasional wit welcomes the slight upturning of lips and the odd chuckle; you cannot help but need something more. This is partly due to the self-

indulgent stance that director Bernard Rose adopts: emphasised in Marks’s character, but had Rose deviated from the rather bland memoirs he could have used this indulgence to produce something more substantial, something more rapt in existentialism. However Thewlis as Jim McCann has a subtle characteristic that perfectly captures an IRA renegade and part-time hash mover. Although Mark’s ineffectual wife Judy (Chloë Sevigny) is lost within the story, their relationship could have again been more significant. Marks is your glorified entrepreneur that could have made so much more of himself. But then he was successful in his field, arguably accomplishing what many could not. For all his flaunted faux-naïvety, he possessed no qualms about toying with both MI6 and the IRA. The film has little to say toward the close – Marks puts himself in a position where his wife and daughters are likely to see him behind bars. But seriously, I wish I’d just imported enough Columbian marijuana to get every inhabitant of the British Isles stoned. Luke Slade film@gairrhydd.com

FILM

CLASS OF 1985

Growing up has never looked so cool… Matt Ayres reminisces the cultural impact of '80s filmmaker John Hughes and the Brat Pack.

film@gairrhydd.com

FILM

The 1980s are still fondly remembered as a time of revolution within pop culture. Kids growing up in the ‘80s were a generation exposed to cartoon role-models, 8-bit arcade games, the birth of MTV, far out fashion statements, comic-book collecting and the Rubik’s Cube. However, for millions of nostalgic '80s teenagers, it was the vast assortment of spectacular movies that defined the decade. The Untouchables vs. Scarface. Blade Runner vs. The Terminator. Nightmare on Elm Street vs. Halloween. The Empire Strikes Back vs. Return of the Jedi. Indeed, an abundance of heated comparisons could be made, but with no universal agreement: the ‘80s saw a colossal number of classic cinema releases. Many genres and sub-genres began their rise to popularity and continue rising to this day, perhaps due to the increase of mass-marketed studio blockbusters overtaking the director-led approach of the ‘70s. This cannot be said for all film-types, however. Indeed, one defining ’80s genre rose to fame almost exclusively from the hands of one Michigan born filmmaker: the late and great John Hughes. Conceivably the man responsible for the continuing popularity of high-school romances in film, Hughes has left behind an undisputed legacy of influential filmmaking. His directing debut in 1984 was Sixteen Candles: starring the young Molly Ringwald, Michael Schoeffling and Anthony Michael Hall, it is an almost undisputedly loved film that, whilst riotously funny, is a heart-warming depiction of sophomore drama. The filmmaker's realistic depiction of highschool life was a refreshing push towards realism; something neglected in the comparatively unlikely Porky’s inspired teen comedies. Hughes had created something that was not only popular amongst young audiences, but critics too. His style was approved of in reviews due to a distinct touch of personal influence, with many of his films set in the state of Illinois where he graduated from Glenbrook North High School in 1968. Conventions such as breaking the fourth wall, non-linear montages and additional scenes shown after the closing credits are also considered trademarks of Hughes’, marking him out as a directing auteur. With Sixteen Candles, he had triggered the start of something distinctly youthful: the coming-ofage film. Hughes didn't just direct Sixteen Candles; he was also the genius behind the script. His commitment to the high school genre was especially highlighted in his next film: as a writer, director and producer. The Breakfast Club, released in 1985, has been consistently voted the

best high-school movie of all time – a tale of unity between high school stereotypes that remains fantastically relevant to this day. With the rapturous return of Ringwald and Hall, the film also spotlighted three other young stars: Judd Nelson, Ally Sheedy and Emilio Estevez. All five of The Breakfast Club, along with fellow youngsters Andrew McCarthy, Demi Moore and Rob Lowe from St Elmo’s Fire, went on to form the affectionately dubbed Brat Pack. A tongue-in-cheek reference to the Rat Pack of the ‘50s and ‘60s, the Brat Pack starred in similar films together throughout the 1980s. Pretty in Pink, released in 1986, was arguably the last Brat Pack collaboration with Hughes, although the director is still strongly associated with the group for similar films, namely Ferris Bueller’s Day Off from the same year. Starring Matthew Broderick, the films timeless popularity is further evidence of Hughes’ ability to write and direct hugely accessible teen classics. Ideas from all of these films, including social stereotyping, an emphasis on popular music and the regularly recycled high-school prom scene, remain staples of the modern teen-movie – 10 Things I Hate About You, Mean Girls and the American Pie franchise to name a few. The coming-of-age movie today simply wouldn't be what it is without the work of Hughes; it is hard to image a teen film without some element of ‘80s influence today. This is probably the reason why I and countless other '90s kids left recent retrospective screenings of Back to the Future wishing we'd been born ten years earlier (that, or the flying, time-travelling car with upward-opening doors). We may watch these films through nostalgiatinted-lenses, but the work of Hughes and other genre-defining auteurs continues to inspire filmmaking to this day; perhaps, like Marty McFly before us, we should strive to live in the present, instead of remaining stuck in the past. Lame-o fanboy metaphors aside, here's to looking back in twenty years and remembering Superbad as the voice of our generation - after all, jokes about dicks will never stop being funny. Matt Ayres

film@gairrhydd.com

FILM

Cannibals, Jaunma Carrillo, 2009

The Iris not only controls how our eyes respond to images but is also the Greek God of Rainbows. Hence why Quench was fascinated by Cardiff's aforementioned international LGBT film festival...

Pink Portrait Collection, Donald MacLellan

Iris Prize Although having been familiar with existence of 'queer' or 'gay and lesbian' film festivals, when I came across the IRIS PRIZE, the first question that popped to my mind was, "What for?" I’m all for promoting quality films, regardless of genre or purpose and by any means possible, be it festivals or special screenings. However, the idea of a separate event for LGBT+-themed films seemed a surefire way of further pigeonholing an already quite specialist genre. This theory proved right with certain films; on average, however, queerness in art as a new cultural phenomenon has developed a fresh creative space for new issues, new ideas and most importantly perhaps, new questions. The Iris festival, which is still relatively new to the general audience, has left me enriched by the quality of short films competing for the twenty thousand-pound main prize. And that’s an almighty amount for often debuting filmmakers. Going slightly off course, I see two reasons behind gay and lesbian film festivals: they're a way of highlighting the diversity of LGBT issues through a highly influential medium, as well as perhaps

giving the community the fair representation it often lacks in more mainstream media. Having been granted a lovely pass by Berwyn Rowlands, the man behind IRIS, I for one, focused on the cinematographic side of this landmark event, leaving the sense of pride and empathy to the rest of the audience. Cinematographically, I saw clever ideas, beautiful shots and issues being voiced with grace and talent. Cinematography aside, I saw screaming clichés. The main vice of these was that they catered to the audience's expectations. To me, they opposed the whole point of the festival, which should throw at us everything we refuse to hear and do not want to see. Therefore, not seeing much point in presented features, I focused my attention and subsequent admiration on shorts, most of which were truly a delight to watch. Although I have chosen my own personal picks, I will now leave you with Kate Boddington and her reviews of two festival winners, which I was very unlucky to miss out on. Anna Siemiaczko

My Friend From Faro The Samaritan Dir: Nana Neul Dir: Magnus Mork It’s really hard to find a good lesbian film; either the storylines are implausible, the characters unengaging, or the actual lesbian content minimal. So, when I rocked up to Chapter last week I had only vague hope that I would appreciate My Friend From Faro as an LGBT film. Thankfully, I was wrong. It did have a relatively implausible plot- in that keeping up the pretence that you’re a Portuguese man when you’re really a German girl is possible – but the way the lie fell apart was the most engaging part of the film. In acting as her male alter-ego, protagonist Melanie began to uncover her own sexual identity as she realised her attraction to Jenny, the girl who mistakes her as a man in the first place. In a less traumatic but admittedly similar plot to Boys Don’t Cry, it explored the relationship between gender and sexuality in a moving and sensitive way. This film shows how being true to yourself can expose to others areas of your identity you may not have even realised exist. It’s not surprising that this film won best Feature Film as its exploration of identity really hits home with anyone who has ever questioned who they are versus who they want to be.

When a lonely middle aged man takes in an asylum seeker for a night, is there ever really any hope that this relationship will develop along normal lines? The Samaritan is a bleak portrayal of the consequences of when people may expect something back from what should be a selfless action. I found it dismal and depressing, but it was a poignant portrayal of how relationships can be misinterpreted and misconstrued by those in them, when the reasons for which you choose to do an action are not thought through. The film’s message was spelt out through a palette of dreary colours which along with the choice to limit the setting to one flat, added to the claustrophobic and melancholy feeling of the film. It was these qualities that led to The Samaritan winning the Iris Prize for best short film, Magnus Mork’s skills as director highlighting the complexity of human relationships. Kate Boddington

Kate Boddington film@gairrhydd.com

The Team Editor Dom Kehat

Executive Editor Sarah Powell

Sub Editor Matt Wright

Arts

Katie Haylock and Kirsty Allen

Books Greg Rees

Fashion

Gwennan Rees and Lucy Trevallion

Features

Jack Doran, Claire Dibben and Jenny Pearce

LGBT+

Anna Siemiaczko

Film

Lloyd Griffiths, Matt Ayres and Emily Kate Bater

Food

Gav Jewkes, Jasmine Joynson and Melissa Parry

Music

Michael Brown, Emma Wilford, Jon Berry and Simon Roach

Photos

Chris Griffiths and Tom Armstrong

Travel

Clare Baranowski and Simone Miche

Proof Readers

Rachel Belmonte, Georgia Gratton and Emily Kneane