Play V.32 Issue 1 by London Student

PLAYER ONE PRESS START. 2

CONTENTS

EDITORIAL

4-5 Music +interview: moroka +review: amanda palmer

This has been an unprecedented year. Not only has the Arab Spring thrown the poles of US imperialism off course and seen the galvanised masses seize democracy from puppet dictatorships, but our very own dark overloads, the ConDem Coalition, look set to reign over a similar set of events. And perhaps even face a similar fate to the Egyptian mummy! Furthermore the marvellous Outlook Festival 2011 has just passed us, an exciting break in the sun for London’s dance music scene gone forevermore. Until next year.

6-7 Literature +The summer poetic +interview: tripwire

8-9 screen +review:before the revolution +review: Tyrannosaurous

17. Review: The Waste Land Ipad App. 10-11 stage +rogue writers +review:top girls 12-13 centre +play magazine a-z

4. The Best Festivals of the Summer

14-15 arts +Pablo bronstein +Review: Contested zones

But there is more to come. 3 million public sector workers are set to strike in November in the largest industrial action since 1926 - the year after Charlie Chaplin’s comedy classic The Gold Rush. The potential for this not-so-silent action to draw in students to a united action is high. Many of our own University of London students are now experienced marchers and proud boilers of kettles. And let’s not forget the London Film Festival is almost upon us; cinephiles and critics are everywhere to be found in the capital so keep a look-out! In other news; this month also finds the tenth anniversary of the War on Terror. Its passing could be seen on the front cover of almost every publication - and indeed on the back of ours. In times of tragedy and in spite of the celebration of culture, it is important to reflect on the common humanism we share. A reprehensible act that killed three thousand was followed by a “war on an abstract noun” that is thought to have created 3 million orphans. With the dictator Ghaddafi deposed and a man with strong ties to the CIA on the ascendency in Libya. With cuts on a scale not seen in the UK since before your grandmother was born and arts funding sliding more rapidly than X Factor records. Better not to think. Better not to look outside. Better to PLAY.

16-17 fashion +london style map +welcome to london fashion

We hope you enjoy this issue. play editorsJake pace-lawrie gwilym lewis-brooke kevin guyan

18-19 food +review: icco pizza +review: falafel

Screen editorsaustin raywood, dakid katz

20-21 travel +outlook festival 2011 +A greek island that hasn’t been sold 22- Listings

PLAY V32 ISSUE 1

stage editormatt williamson

9. Review: Tinker Tailor Soldier Spy

literature EditorsZITA ABILA, ROBERT KIELY ARTS editorTravis Riley

MUSIC EDITORSRICHARD HALL, RINA BUZNEA

FASHION EDITORS KATE VINE, FLORENCE CORNISH TRAVEL EDITOR EMILY RAY

Food Editor Helena Goodrich brand designDanny WIlson

Cover MontageJake Pace-lawrie

PLAY | Volume 32, Issue 1

Best of the Fests

The number of UK festivals has risen hugely over the last few years and the dates now take a prominent place in most people’s yearly calendars. With several happening around the country every weekend, from May to mid-September, it can be overwhelming deciding which to go to.

We have a variety of huge, commercial festivals on offer in the UK, such as Glastonbury, Reading and Leeds (organised by festival tycoon Mean Fiddler) and Richard Branson's V (Virgin-branded) festivals in Chelmsford and Staffordshire. Alternatively, there are a number of creative, independently run events, where the focus is on audience participation and enjoyment rather than profit. This year I experienced the best of both worlds, with Glastonbury, Secret Garden Party and WOMAD on my festival schedule.

Glastonbury always provides because of the sheer size, visual extravaganza and spectacular number of artists and activities on offer. For me, The Chemical Brothers delivered the most mesmerising performance in this year’s line-up, with body-absorbing bass and a light show that would blind any small child. Moreover, Shangri La and Arcadia's wacky fire and bass-laden environments are always an end of night favourite. This year, security cracked down on crowd control so you didn't find yourself suffocating en route- always a nice thing. On the last morning, as the sun rose and we trailed back from the stone circle to our little bell tent at the top of the hill, my Glasto novice friend turned to me with a tranquilised, mournful yet sated look, stating stoically: “It feels like something big has just happened”.

Secret Garden Party isn’t so much about music as it is art, randomness and a general knees-up. Festival organisers provide over £50,000 worth of Art Grants to both grass roots and established artists. The lake and soft rolling hills give the enchanted affair an intimate and almost wizardly dimension. Although I

suspect the endearing conviviality may have had a lot to do with the degree of crowd intoxication. The Secret Garden Party is all round a very seductive encounter, with a touch of exclusivity. However, it seems the secret is out - those who didn’t manage to get a ticket before they sold out settled for foot-ups over the fence and wristbands were being shared around like a good bottle of Bordeaux.

C.W.Stoneking fitted in with the off the wall atmosphere, looking like he'd just stepped off another planet with a banjo in hand, playing what he calls “jungle music”: a mixture of jazz, blues and calypso. Softened by a horn section, his voice sounds like that of a man smoking a twenty pack a day since he was twelve. His life is embedded in his music and he has many captivating stories to tell.

Another corker was Beans on Toast – a singer/storyteller from Essex who provided the audience with light-hearted advice on personal hygiene, festival sex, drugs and falling in love, embedded in catchy tunes.

WOMAD (World Of Music And Dance) was hands-down my favourite pick of the summer. Set in the beautiful Charlton Park in Wiltshire, this non-corporate, s-tress-free event provided a cultured, family-friendly atmosphere with the highest quality of music from every nook and cranny around the globe.

Hailing from the Congo, Gasandji (translating as “the one who unveils the conscience”) laid her soul bare and transported the crowd into the hardship of Africa, while delivering messages of peace and unity. Another female power house was Susheela Raman, who with the presence of a prophet, bewitched the BBC3 stage with songs derived from her Tamil heritage.

I personally fell in love with a French beauty from Metz-Chapelier, Fou Moniker (Mad Hatter) who provided us with a miraculously quirky, classical meets electro set. When deciding on your festival choice for

next year, make sure you have a good browse. There is a fitting choice for every taste and budget on the UK menu. The variety is endless and new festivals continually crop up in empty fields all over the country. ISLA DUPORGE

London Freshers Festival

On Thursday October 6, the legendary Brixton Academy plays host to one of the world’s most sought-after artists, Dizzee Rascal. The internationally acclaimed and often controversial performer will take the stage to headline one of this year’s biggest student nights, alongside many other big names.

Dizzee is undoubtedly considered one of the greatest rappers in the world, and his music, unique performance style and energy have electrified millions of young audiences across the globe. He has collaborated with some of the biggest names out there, including Fatboy Slim and Arctic Monkeys, and blazed a trail around the world, scooping an impressive array of awards and performing in the biggest venues and at all the major festivals. The Brixton Academy opened its doors to London’s music lovers in the 80s and remains one of the UK’s leading

music venues. With a capacity of nearly 5,000 and a vibe like none other, a night at the Brixton Academy really is something special. As one of the UK’s leading club brands, UNION is a name to watch out for; they run their own club nights in every major nightlife hotspot in the country and organise thousands of outstanding events for students. Its legendary events at Fabric are famous throughout the world. But Union have outdone even themselves this year… “This is going to be an incredible moment for us, we’ve been lucky enough to play the main stage at Brixton Academy four times but doing our own UNION show there with our absolute hero will be beyond belief!” - Union RICHARD HALL

PLAY | Volume 32, Issue 1

Live Review: Amanda Fucking Palmer Amanda Palmer and Georgia of Bitter Ruin

Amanda Fucking Palmer, former frontwoman of The Dresden Dolls, has long been hailed the Queen of Punk Cabaret. Her songs strike a chord with the wallowing teenager in us all, harnessing the angst of punk rock within a bold and often theatrical framework. Recently though, it struck me that perhaps the “Punk” in Amanda’s title had gradually been effaced. She announced a string of “rock shows”, but I wasn’t convinced that the dates would fit such a description. Her last two solo releases comprised mostly stripped-down covers and sensitive ditties, while her most recent London gigs had seen her perform with just keys and the humble ukulele. Although raw and emotionally charged, these renditions could never recreate the richness of her epic debut, Who Killed Amanda Palmer. Moreover, hits from The Dresden Dolls’ back-catalogue were always missing the rolling drums and crashing cymbals that gave them their brash intensity. Shortly, I discovered that Amanda was touring with a backing band known as The Grand Theft Orchestra. This line-up finally offered the potential for well-loved numbers to be fully realised, but the possessive fangirl in me was apprehensive about the change. As the set was laid out, with the keyboard to one side rather than centre-stage, it was instantly clear that this would not be “The Amanda Show” we were all accustomed to. But from the opening, slammed staccato chords of ‘Astronaut’, bolstered by electric guitar, violin and drums, it was unequivocally confirmed: change is good. To the screaming crowd’s delight, the band drops sharply into ‘Girl Anachronism’ – a frenzied favourite from The Dresden Dolls’ eponymous debut. As on the album, this leads seamlessly into ‘Missed Me’ – a deliciously twisted tale that subverts the power relations between a vulnerable girl and her perverse suitor. The band comically exaggerates the lumbering melody. They toy with its

tempo, setting traps with pregnant pauses that trick the audience into singing along too soon. Amanda wildly alternates between a vicious growl and a tender coo: “Hope you’re happy in the county penitentiary. It serves you right for kissing little girls - but I’ll visit, if you miss me!” Una Palliser embellishes the tune with a fiery violin solo, almost calling to mind ‘El Tango de Roxanne’ from Moulin Rouge. Later in the set, Amanda breaks into ‘Oasis’ – a catchy yet controversial pop number which interrogates our attitudes towards date rape and abortion. As the crowd dance and chirp along, knowing every vulgar word off by heart, it becomes quite clear that this venue is the closest any of us will get to Heaven… Halfway through, the song unexpectedly morphs into ‘Twist and Shout’ – a phenomenal mash-up lapped up by giddy, shape-throwing fans. In a ‘game of extreme musical chairs’, Amanda Palmer welcomes Bitter Ruin to the stage - an unsigned, Brighton-based duo who floored the audience with their supporting set earlier in the evening. Ben Richards takes Amanda’s place at the keyboard, while Georgia Train joins her centre-stage for a superbly credible and poignant rendition of ‘Delilah’. Wild-eyed, Amanda clutches Georgia by the hair as she belts her cautionary words at close-range: “If you take him back, you get what you deserve.” In delicate soprano tones that counter her husky vocals, Georgia echoes the looping refrain like a soft yodel. This is the first of a whole box full of tricks up Amanda’s sleeve. The Jane Austen Argument are next in a long line of special guests, clutching pink roses as they perform an exquisite cover of Regina Spektor’s ‘The Flowers’. Unquestionably though, the biggest surprise of the evening comes in the shape of Aussie jester Tim Minchin, who bewitches the swaying crowd with his unorthodox love ballad, ‘You Grew On Me (Like a Tumour)’.

MoRoka

GLB: What got you into making music? Mo: I first started using a computer to make music when I lived in my mum’s home town of Atlanta Georgia, USA. I met some people interested in a person from the UK being into rap music and rhyming and they first brought me into a studio environment. I didn't ever do much apart from make rap beats with soul samples for local rappers. I was using acid pro 3 or 4 using only samples to make everything. It stayed that way until I picked up Logic in 2010 when I started making more electronic dance floor oriented music. GLB: Where do you take your inspirations from? Mo: A lot of my inspiration comes from places, situations and people and I try to re-create that atmosphere with simple ideas in my music. I was drawn to club music early on growing up in South Africa listening to tapes recorded live in the club with the DJ chatting over it most of the time in a funny voice. I heard about the foam parties and was drawn to the hidden aspect of the culture as I wasn’t old enough to go and would probably be mostly listening to Shabba Ranks or Aaliyah R.I.P. from the safety of my bedroom. GLB: How do you like to work and where are you at your most creative? Mo: Most of the magic happens where the magic happens if you know what I mean? In my bed. GLB: Do you prefer to work with other people or get in the zone by yourself? Mo: I feel like I get better results when I grind out alone. You could say that I have always had a bit of a lone wolf streak which makes things take longer but probably gets more surprising and original results. I tried weed once at school, but I didn't inhale. GLB: You are soon to be releasing an ep? Mo: I am releasing the Nectah II EP on Polinate records this autumn. It’s ulti Complete with a brass section perched in the balconies, the anthemic ‘Leeds United’ brings the evening to its explosive finale. Fans chatter excitedly as they filter out of the sweltering venue, and the verdict is unanimous: “This is the best we’ve seen Amanda in years.” It isn’t that she necessarily needed the frills of tonight’s show: a bellydancer, a band and a truckload of celebrity pals. There’s a good reason that the same faces have reappeared at her more modest shows over the years. The difference is that tonight, Amanda switched gears and hosted a party rather than a gig. Dancing through the enamoured crowd to the synth-heavy beats of her latest material, she prised the life out of fans who may have taken themselves too seriously in the past. Inhibitions fell to the wayside, and in the true spirit of Punk Cabaret, the rock show ensued - long live the Queen!

By Rina Buznea

mately a mix of the spirit of UK bass music with the foundations of South African Kwaito. GLB: What people have you enjoyed working with in recent times? Mo: I've worked with Johan (The Very Best, Radioclit) and I was fortunate enough to work with Thandiswa Mazwai and Spoek Mathambo on a recent track for the Very Best Supermom Mixtape. Thandiswa is South Africas no.1 diva and Spoek Mathambo is the African Crown Prince of ghetto pop. Hearing Thandiswa on my track I wanted to dance and cry at the same time which was a new experience for me for sure. GLB: What does the London music scene have to offer? Mo: Being a musician in London helps you broaden your horizons and learn to understand what it means to be living in a truly global town. There is something here for everyone, if you want to follow fashion and be happy doing that there are thousands of people like you and you will be happy here, but if you want to find people that are truly passionate about their niche and craft you have a better chance of finding them here. Don't take anything for granted, and look after your Iphone and you will be OK. Catch Moroka play every 1st friday of te month at Pollinate at Notting Hill Arts Club or every 3rd friday at Supermom @ Villain Bar Shoreditch and hear his Deuces radio show on NTSlive.co.uk soundcloud.com/moroka twitter.com/morrokka http://pollinaterecords.com

PLAY | Volume 32, Issue 1

The Summer Poetic

Poetry in two continents

Photo Courtesyof GWILYM LEWIS-BROOKE

This should come as no surprise, but if you think that poetry is written by a wild-haired, anti-social Oxford professor, exiled to an attic, with several bottles of jack and rum, you’re wrong. Actually, it’s that kind of attitude that endangers this art. Poetry is written because it borders on the unspeakable. Good poetry insists on itself, but never to the point of imposition- a delicate status that is hard to achieve if you never show a poem the light of day, if you never allow it to speak to other poems, if you lock it in the attic.

The answer to these issues started in the 1950s, at the University of Iowa, where they coined the concept of a poetry workshop. Of course, this wasn’t actually anything new. Mary Shelley took part in something similar when she wrote Frankenstein with a group of writers in Switzerland- writing forwards, reading passages and gaining feedback, and returning to her work to edit. But in Iowa, they designed and formalized a method of simulating this writing community, carried out in the controlled environment of the classroom, and have since have produced 20 Pulitzer winners, 2 Nobel Prize winners, and 4 poet laureates. An instructor would oversee small groups of writers, who would work together to analyse strengthen each other’s work.

It is this style of teaching I undertook to use this summer. Having previously attended as a student, I returned to the Paris American Academy summer writing program, to run poetry workshops for first-year students. Needless to say, I was petrified. I arrived to an over-subscribed course, and together a plan to run groups of 6-8 poets, each Poetry is writ- knocked bringing 2 poems, at meetings lasting around 2 hours. The success was a humbling shock- we would meet and discuss ten because it our own poetry, carry on talking into the evening about poetry we admire, and even touch on collections students borders on the were working on outside of the workshop. One student wasn’t sure if her poem was a poem at all, while another ran unspeakable” his own collective in Brooklyn and had just been awarded a grant to produce a collection. Regardless of status, an air of respect was always maintained. Workshop language such as “I feel…” and “This doesn’t work for me…” has the ability to leave the poet bruised, yes, but it also has the ability to leave the intention intact, and the poem much stronger.

“

I finished my summer with an ad hoc trip to New York to stay with some of the writers I had met in Paris. While there I went to a reading by the Benington Writer’s group in a jazz cafe in Greenwich village, and found myself back at the loft apartment of the curator afterwards, exchanging reading lists and numbers with the writers who had read. I was a million miles away from the attic of an Oxford professor, nowhere near that image of a poet, but certainly a lot closer to what being a writer is genuinely about.

Review: The Whole Universe in a Glass of Wine When I walked up to the array of brilliant zines displayed on the walls of Tatty Devine’s Brick Lane store (as part of the GIRLS + ZINES show curated by Barbara Frankie Ryan, the brains behind tongue-in-cheek fashion zine BFR Mag), I was immediately drawn to one zine in particular Natalie Kay“A journey Thatcher’s The through time Whole Universe in a Glass of Wine is and space” an intricately designed blackand-white zine that feels as if it has actually shrunk the entire Universe into its few pages. With its beautiful celestial illustrations, The Whole Universe in a Glass of Wine takes you on a journey through time and space, guided by a quietly inspiring poem written by nobelprize winning physicist Richard P Feynman. Thatcher, a recent illustration graduate from Camberwell College of Arts, regularly refers to the scientific world in her illustrations, using her own art to complement and just remind us of the art and wonder and beauty o science. Also be sure to check out her other zine, Howto Make a Feynman, a more comic book style work that employs various quotes from Feynman about his life growing up to produce a sweet and insightful short biography.

Review: Sympathy for the Devil Death, drugs, and suicidal rock stars; the crime fiction novel Sympathy for the Devil is as gritty and alluring as the original Rolling Stones track, from which Howard Marks takes the title for this fiction debut. Marks is Wales’ resident ex-drugs baron, infamous for his reputation in the 90s dope-dealing world, and famous for his autobiography, Mr. Nice. Drawing on this past, Sympathy for the Devil follows PC Catrin Price as she unfolds a mystery beginning with the death of her junkie-ex-boyfriend. Marks’ prose stalks Catrin in and out of Cardiff’s drug underworld, forward and backwards into her troubled past, and eventually leads us to Wales, where lies the haunting solution to the title, and the chain of drug- and cultrelated deaths. As crime fiction this is a compelling novel; it’s a thrilling story, told with a dark sympathy that troubles and haunts.

PLAY | Volume 32, Issue 1 poorly taught so I ended up teaching myself how to pitch to newspapers and magazines. I enjoy it immensely. I am a naturally curious person and I like finding out more about people. It is also very satisfying to see your byline on a piece. It’s also a great way to get to meet the people who you’ve admired and to meet them pretty much on an even footing. I have met scores of creative movers and shakers who I have admired for years, people like Guillermo Del Toro, Ridley Scott, Terry Gilliam and Weta’s Richard Taylor. On the comics side, I have become friendly with Walt Simonson, an artist who I used to read when I was a kid.

Q&A: Tripwire

“I have met scores of crePLAY: It is notoriously difficult to survive as a freelancer and ative movers and infamously difficult to keep a magazine afloat yet you've managed shakers who I Is it beg, borrow, steal every have admired for both. month? years, people JM: It is difficult and it has become like Guillermo more and more difficult. I am lucky Del Toro, Ridley because as well as the journalism, I also work as a sub editor so when the Scott, Terry writing is quiet, I usually have a block of subbing work to keep me Gilliam and out of trouble. There are lean weeks Weta’s Richard and months but work normally does crop up. It is because I have built up Taylor” a network of hundreds of contacts that there

Interview: With Joel Meadows, Time Mag-

azine Journalist and publisher of Tripwire PLAY: I'd like to talk about TRIPWIRE how would you describe it's development so far?

JM: It started life as a fanzine and has become more and more professional as the years have progressed. We first published in full colour back in 2003 but took a four year break thanks to some questionable behavior from our wholesaler. When we came back in 2007, we published the first of our once-ayear chunky annuals. We have produced five of these with the fifth out this summer plus a Superhero Special in February 2009. TRIPWIRE covers comics, Film, TV, animation and genre plus we also interview novelists whose work intersects with all or any of these worlds. We have come a very long way since the first stapled, photocopied issue way back in 1992. I have also sharpened my design skills so I am able to design and put together a 100+ page magazine pretty much on my own, although we do get contributions in terms of writing from a cross section of people from around the world. PLAY: Considering the huge changes happening in publishing how do you envision the magazine's development into the future? JM: We have begun to embrace the digital side of publishing with a digital edition of TRIPWIRE. We put out the first one in April and one will be out in July. It would be short-sighted not to utilize the new technology that is out there so we are looking into making this more frequent. We do have a website (www.tripwire-magazine.com). PLAY: More broadly, what is your view of

the future of journalism and publishing going to be closer to; a dystopian vision of unpaid citizen journalism and unchecked press releases, or a utopia of entwined media with a healthy plurality of viewpoints?

JM: My degree was actually called Writing and Publishing with English but ironically the Writing and Publishing side was very

IPAD APP FABER AND FABER £9.99

T.S Eliot’s The Waste Land captures the anxiety of a man in the throes of a time that is not his own. The ability to move between alternate versions of the text and alternate media adaptations (including an extraordinary video performance by Fiona Shaw) gives a fluidity that makes the various interpretations and critical commentaries piece together almost seamlessly.

isn’t too much of a gap. I have become very good at multi-tasking and thinking laterally, skills that have come in handy for TRIPWIRE and for the other work. In fact, I have made contacts through TRIPWIRE that I can utilize for the other work.

While this new production has a certain elegance it is ironic that a poem rallying against the future should find itself in that future; presented in the most modern of forms.

PLAY: Finally, do you have any words of advice for students aspiring to go into publishing or journalism?

However Faber’s choice is not incongruous with Eliot’s vision. Faber are clearly aiming the release at an aspirational readership, readers not dissimilar to Eliot.

JM: It’s gotten even harder than when I started, what with the worldwide recession and the fact that everyone looks at media and thinks that it’s a profession that they would love to enter. Things are in a constant state of flux with newspapers close to the edge, JM: Unfortunately I have a horrible feeling thanks to competition from online and that it’s going to be more the former than the digital. The boom period in print that I latter. The internet in particular has created worked as a sub editor through couldn’t a group of ‘writers’ who are not happen now. So what I would say is qualified to write about that, if anyone is going to go into anything but feel that publishing or journalism, because they can put they need to have a sentences together, multitude of transferable that makes them skills. They should be qualified to give able to write, to sub, their opinions. to copy edit, to have Names are a basic knowledge of constantly layout and to be able spelt wrongly, to take photos. They facts are not should also probably checked and be able to use video anyone with an and shoot moving opinion feels images. They also need justified to put to have online skills. It out their illAlan Moore photographed by is such a competitive advised drivel. I world that they need to give would like to check Joel Meadows themselves as much of an edge that by pointing out that as they can. It’s still an exciting there are good writers who world to be part of but you have to hustle write online but they seem to be constantly and you need to get very thickoutnumbered by the awful. But perhaps this skinned as most people will turn you down has always been the way. most of the time. PLAY: What was it that first lead you to journalism, and why do you continue to pursue it?

Review: The Waste Land App.

This readership are near identical to those who Eliot knew would grasp the Sanskrit text that opens the poem, or the German dialogue, or the references to Ancient Greek myth, or the many allussions to Arthurian legend. A readership polyglotal and highly educated. While the App is beautifully crafted and is a model of how technology will soon shape texts beyond our current understanding, it does not lend itself to the project of some educators to lowering the draw bridge of this heavily fortified text. Despite Faber’s very reasonable £9.99 price tag. Faber say that the new app is being utilised by one state school presently and perhaps the technology will become more widely available. The potential for the app to break down the density of the poem remains untapped because of the price of teh technology. Despite that criticism Faber’s production is a thought provoking step into the future of publishing. JPL.

Tyrannosaur

Dir: Paddy Considine / Release: October 7th With his new film Tyrannosaur, director Paddy Considine has joined the ranks of British realist powerhouses Ken Loach, Karel Reisz, Tony Richardson, and Terence Davies. Davies, in particular, seems to have lent an incredible amount of inspiration to the film, with multiple scenes echoing elements from his classics Distant Voices, Still Lives and The Long Day Closes (notably a stereotypical northern pub sing-a-long). Most of those directors were involved in the social-realist filmmaking of the 1960’s, telling stories of the everyday despair and frustrations of the, usually northern, English working class. Critics at the time usually derided those films, labeling them “kitchen sink dramas”, in reference to the everyday banality of working class life. These directors films often told the story of an “angry young man”, who had been chewed-up and thrown away by the system. These were men in deep emotional and existential pain, whose lives seemed to mean nothing to themselves nor anyone else. In other words, the average description of the English working class. What is so interesting about Tyrannosaur is that Considine has created a character, Joseph (an absolutely electric Peter Mullan) that would have been one of these angry young men in his youth. We can certainly imagine that his life did not get any better as time went on. His pain and frustration with the world around him and his self-disgust have created at the beginning of the film appears to be an irredeemable scumbag. After losing money at the bookies, he takes out his frustration on his dog, accidentally killing him in the process. He starts fights around town (throwing rocks through the window of a Pakistani owned postal shop, beating up teenagers who annoyed him, etc…) when he attempts to hide in an Oxfam shop, the clerk Hannah (Olivia Colman, taking a break from her comic stylings in Hot Fuzz) attempts to comfort his pain by praying for him. We learn that though Hannah appears to be living a cozy middle-class lifestyle, she is in fact suffering under the tyrannical watch of her abusive husband (Eddie Courtesy: Getty Images Marsan). Though she attempts to Peter Mullan as Joseph in find solace in Christianity, one of Tyrannosaur the main conceits of the film is that one cannot rely on Jesus to save them, but rather they have to save themselves. Thus they attempt to escape their predicaments by using each other for support. Joseph struggles with self-loathing and the mistreatment of his young neighbor Samuel by his mother’s boyfriend and his pit-bull; meanwhile Hannah endures spousal rape and violent beatings. Eventually Hannah abandons her husband and moves in with Joseph in a last ditch attempt to find solace, and both are given the chance they had long been hoping for. Tyrannosaur will certainly become hailed as one of the best British films of the year, if not the best (and yes that includes the impecable Jane Eyre, and the future cult-classic Attack The Block). Suffice to say that the award nominations will surely be Director Paddy rolling in for this film Considine Considine has proven himself to be an Courtesy: Getty Images incredably powerful filmmaker, if his next film can reach the benchmark he’s set for himself with Tyrannosaur, he’ll be well on his way to becoming one of the best filmmakers of his generation. AUSTIN RAYWOOD

Adriana Asti luxuriating in Before The Revolution

Before The Revolution

Dir: Bernardo Bertolucci / Release: Out Now on DVD

This past year has seen the streets come alive with an orchestra of loud hailers. Once again the social tumult of Bernardo Bertolucci’s 1964 picture Before the Revolution lives and breathes. This DVD and Blu-Ray version proves a very timely re-release. The film is a highly introspective look into Bertolucci’s own ambiguous relationship to his class position. Fabrizio (Francisco Barilli), a young and anxious revolutionary, finds himself at odds both with capitalism and with the class that he is born into. To play a trick against his own bourgeois destiny he escapes into an incestuous relationship with the jaded beauty of his mother’s sister; Gina (Adriana Asti). Bertolucci handles her talent with a precocious craftsmanship. Asti brings the character to life and seduces both the audience and the melancholic intellectual Fabrizio. Ennio Morricone’s soundtrack is married to the expressionistic style of cinematography in its evocation of powerful emotions. In a style that is more verse then prose the director here transcends the materialism of his protagonist and touches upon the sublime of the Romantic visionaries.

Courtesy: Getty Images

In one especially emphatic sequence the camera sweeps across a rural landscape as a farm owner laments his new poverty and predicts the imminent death of his culture. Fabrizio, young and hot headed, condemns the man and his class. The melancholy of the music and the beauty of these frames paint a line across a dying culture and its landscape. Manifest in every part of this sequence is the conflict between Fabrizio’s sloganeering for revolution and his identification with the class that he must destroy in order to realise the vision of The Party.

Fabrizio, with the quick elegant poetry of a youth in love, considers his existence as if he were blowing away a dandelion-head. He muses upon themes as diverse as revolution, class, gender, isolation and romance momentarily and elegantly before his thoughts pass off into irrelevance. Restored to a high quality; this re-release of Before the Revolution, and the Director’s interview that accompanies it, illuminates the film to a new audience that want many of those same things that Fabrizio hungers for; change and stability, passion and love, all conflicting and wrestling in the traumatic time before the revolution. JAKE PACE-LAWRIE

game, and Alfredson accordingly makes it Smiley’s film. Oldman’s performance is remarkable for its mesmerising control and poise, a hard shell of espionage smarts concealing years of trauma fighting a crooked war forged on questionable principles, and worrying after an adulterous wife. For a headlining performance, he often says very little, preferring to mark his presence in the room with an eagle-like watchful gaze. Only in one scene is the veil lifted and we see Smiley loosening up a little, delivering a monologue about his one coming-together with his opposite number Karla. Where the spy genre often goes for the jugular with gun battles and chases, Tinker Tailor Soldier Spy enriches small moments and hushed conversations like Smiley’s monologue with an intensity that reads as far more subversive. As Oldman recounts his speech to Karla, purring ‘we’re not so very different, you and I’, it won’t fail to send a cold chill down your spine.

Gary Oldman in Tinker Tailor Soldier Spy Courtesy: Getty Images

Tinker Tailor Soldier Spy

Dir: Tomas Alfredson / Release: Out Now

Tomas Alfredson’s new version of Tinker Tailor Soldier Spy obliterates comparisons with John Le Carre’s source novel and the Alec Guinness BBC series, emerging effortlessly as truly gripping and invigorating. Much has been made already of Gary Oldman’s memorable turn as veteran spy George Smiley and the supporting cast’s embarrassment of riches, but what really defines this new film as something excellent is the producers’ unconventional selection as director. Tomas Alfredson, who worked in Swedish television before breaking out with the much-loved vampire tale Let The Right One In, may have seemed ill-suited to tackling the mangy intricacies of Le Carre’s narrative, yet he carries the challenge with aplomb and a sense of restraint befitting a more seasoned filmmaker. It’s his command of atmosphere which beguiles: we’re plunged into a forbidding, rainswept 70’s London, bled dry of the optimism and colour that defined the previous decade, and populated by MI6 spies like Smiley scurrying rat-like in its crevices. The tone is at once chilly and stoic like a surveying chess master, and at the next moment, lurching dangerously into backstabbing paranoia. Espionage plots are rarely this handsomely mounted. The year is 1973, the Cold War

is simmering with the British and Russian secret service are locked in a tactical arm wrestle incuring repercussions across Eastern Europe and into the US. Control (John Hurt), head of the MI6 known in Le Carre’s plots as ‘the Circus’, harbours suspicion of a Russian mole in the British ranks - a ‘rotten egg’ as he calls it. He briefs senior agent Jim Prideaux (Mark Strong) on a mission to Budapest with the hope of rooting out the dissident. Soon after Prideaux arrives, he is shot in a cafe, in one stroke exposing the British plot, and Control along with Gary Oldman’s Smiley are forced to step down from the Circus in disgrace. Smiley, however, is soon shuffled back into the fold after a tip-off from an under-secretary, seeking to root out the mole who’s influence is more pervasive than first thought. As the Circus continues under a new regime headed by Percy Alleline (Toby Jones) and Bill Haydon (Colin Firth), monitoring new information from a Russian informant in a secret location, Smiley stalks the affair’s dark corners, assisted by Ricki Tarr (Tom Hardy in a choice turn) and Circus busybody Peter Guillam (Benedict Cumberbatch). The film’s direction is a cautious face-off between the Circus’s old and new ranks (symbolised in the casting choices by an array of celebrated and emerging British acting talent), enveloped in countless layers of deceit and double-dealing. Each cast member is given a chance to shine, with at least one choice dramatic flourish or pithy comeback. However, Tinker Tailor Soldier Spy in all of itsincarnations is very much Smiley’s

Looking at Tinker alongside contemporary international relations, perhaps the innermachinations of Cold War intelligence look a little meek and meagre. Beyond its expert evocation of the time, don’t expect to see the film as any kind of provocative conversation-starter - it doesn’t seek implicate the viewer in its designs, or ask too many uncomfortable, probing questions, which may leave audiences feeling somewhat distanced from the action. And yet aside from all this, it cements its place against some of the greatest espionage films with its seriousminded approach to the material, bringing to life a grey, treacherous world often hidden on screen. You can get lost in the juts and angles of its plot like any great film noir or police procedural, and it’s this kind of immersive experience that makes it one of the year’s best films. DAVID KATZ

Next Issue: •In Review: The Debt •In Review: Another Earth

•Coming Soon: Special Coverage of The London Film Festival

Benedict Cumberbatch checks the books... Courtesy: Optimum Releasing / Studio Canal

PLAY | Volume 32, Issue 1

In conversation with: Rogue Writers Theatre of the Recession In a Café Nero in Balham on a rainy Monday afternoon I met with Cameron Harris to chat about a project far more inspiring than the weather. Harris is the Director of Rogue Writers, a theatre company set up in late 2009 to allow writers, actors and directors to work together and develop outside of the mainstream, where it is common knowledge that jobs are few and far between. This deficit of jobs is particularly pronounced for those who have only recently trained and need to further develop their craft. Although the Soho Theatre and Young Vic, amongst others, offer some schemes for those up and coming in the business, places are strictly limited. With over 10,000 scripts being sent in per year, the 40 or 50 writing opportunities available are like gold dust and places for actors and directors are just as hard to come by. Sick of sitting at home waiting for the phone to ring, Harris - a trained actor himself - and three others, set up Rogue Writers in order to give anyone with the passion and commitment the chance to develop their craft. They hold regular scratch nights to develop contributors’ pieces, then roughly once a month, at the Canal Café Theatre (www.canalcafetheatre.com) near Paddington, four short pieces of no more than 15 minutes each are performed. The process begins each month with the stimulus being sent out via email, Facebook and Twitter (@roguewriters) to the writers. The stimulus can be anything from a quote to a prop, and two pieces based on this stimulus are chosen by a panel along with two

Review: The God of Soho

more of any description. Actors and directors Image from Paper Fortunes, Rogue Writers recent full become attached to a piece via responding length production. For a full review see londonstudent.com with a CV to opportunities sent out through the same communication channels, with auPhoto by Rogue Writers ditions coming in to play for bigger features. Both the experienced and inexperienced are drawn upon for inspiration. ductive environment for those that get inwelcomed, for as Harris puts it: “There is a So if this real life story of Cameron Harris and volved, but against the current financial backneed for continuous development for even the the Rogue Writers has inspired you as an asdrop one might wonder whether an audience most experienced via a process of experimenpiring writer then email them at can really expect quality theatre outside of the tation, experience and feedback that can’t easwriters.rogue@gmail.com with a script (check mainstream. Harris believes that they abily be achieved working in this industry.” this month’s stimulus at www.roguessolutely can. He says that “you can still make Providing a platform for this gallerytheatre.co.uk/blog/rogue-writers). Acgreat theatre on a shoe-string budget” experience and supplying cru“you can still the only requirements being “the com- tors and directors email the same address cial feedback are the Rogue with a few details about yourself and any past mitment of those working on a piece Writers’ main aims. Further- make great experience you may have. If, like me, you and a good working relationship with a more, their commitment to inthink your creative gene was missing at birth theatre space.” However, he doesn’t cluding all that are willing in to theatre on a then you can still go and revel in the talents deny that companies who have had their pool of actors and direc- shoe-string of others by becoming a member of the Canal funding slashed mid-tour and theatres tors, that is made available to Cafe Theatre for a mere £1.50 and £5 per struggling to continue operating across writers, makes their nights budget” Rogue Writers showcase. If you really like it the country have suffered due to the some of the most inclusive then you can go another three times and get deep cuts to the creative arts that we around. The short pieces that feature in the your fifth night out there for free! As Harris have seen as a result of the recession. The monthly showcase serve to allow contributors says: “London Theatre is an intimidating stagnation that this has led to in the creative a trial and error approach so that they can see world so our policy is to always include anyjob market means that where a natural proif their idea ‘has legs’. For those that really one who hasn’t been worked with before.” gression for those who are talented hard shine, the opportunity to take their producWith no reliance on the all too familiar nepoworkers would usually be - from Fringe to tion to a bigger stage or even feature length is tistic links of friends and contacts, this is an Theatre to the West End or TV after - as they a possibility. Next month sees an all female opportunity for all and a great first step in to gain more experience and develop, people are set of shorts (V’s Up to the Budget) taken to the wider world from the confines of student now getting stuck at Fringe level for far longer Leicester Square, which have been developed theatre. than is beneficial to their own personal develafter a showcase earlier this year that aimed to Next Rogue Writers Showcase at the Canal opment. Harris, however, remains optimistic, provide a platform for female writing that didCafe Theatre – September 26 citing the great theatre that came out of the n’t leave characters stuck in the stereotypical V’s Up to the Budget at the Leicester Square sector when it faced harsh financial times in mother, sister, damsel in distress type roles. Theatre – October 3 the 80s, as well as the abundance of real life The company is clearly a nurturing and proFREYA PASCALL stories that abound in such times that can be

The Globe Theatre warns that its latest production, The God of Soho, is “bursting with dirty language and filthy content.” In this, at least, they have succeeded. In a move away from traditional Shakespearean fare, Chris Hannan’s new play involves a promising mixture of kinky sex, homelessness, divine intervention and celebrity worship. Clearly, the writer is not afraid of provoking controversy. Yet while you have to admire the production for the bravery of its subject matter, the play itself is sadly disappointing. Things kick off well enough with an exuberant turn from King Porter Stomp; a megaphone wielding, dance-inducing, seven-piece ska band. The group provide incidental music throughout, and are a definite highlight, emanating energy and excitement. The design, meanwhile, skilfully blends the modern with the traditional. The Globe’s sixteenth century style pillars are adorned with neon signs and bright lights. The incongruity seems appropriate, reflecting the bewilderingly diverse selection of elements which have gone into the play and immediately impressing upon the audience that they are in for a very different experience from the theatre’s usual output. Moreover, the production is not without strong performances. Edward Hogg gives a jaunty rendition of celebrity rock star Baz, and a strangely underused Phil Daniels is excellent as Big God. Emma Pierson’s Natty gets all the best lines, and gives an appealing performance as Baz’s estranged and violent celebrity wife. Yet while Hannan’s script has moments of hilarity, the play as a whole is sorely lacking in drive. It is as if Hannan was so carried away by the thrill of transgression that he forgot to give the piece a plot. The concept and set-up of the play are promising, but it never really develops. There are few surprises and the production seems fragmented and episodic; it is at once overly complicated and ridiculously uneventful. Matters are made worse by occasional attempts to add depth. Hannan is great when he sticks to jokes drawing parallels between sex and scratchcards, or scenes like the one in which celebrity couple Baz and Natty attempt to enjoy a normal sex life. But his attempts to reflect upon the nature Edward Hogg as of celebrity seem somewhat tacked on and unsubtle. His characters are very fond of saying things such as: “What do I mean Baz and Emme by that?” before promptly telling us. The result is a production which looks and sounds great, but which ultimately fails Pierson as Natty in to deliver. The God of Soho. The God of Soho runs until September 30 at The Globe Theatre. Standing tickets cost £5. Photo by Simon MATT WILLIAMSON. Kane

PLAY | Volume 32, Issue 1

Review: The Kitchen At first glance, the subject and setting of a kitchen might not seem hugely suited to the theatre. But the National Theatre’s new production of Arnold Wesker’s 1950s classic The Kitchen demonstrates that this is far from the case. The growing exertion and excitement as the kitchen moves from the calm of arrival, through the hard work of preparation, to the chaos of meal time creates a compelling dramatic arc; and in Wesker’s hands it is gripping stuff. Crucially, this is no small time establishment. Staffed by immigrants from across Europe, and feeding thousands in one day, the place has more in common, the play stresses, with a factory or an office than with what we might think to be a normal kitchen. This is a play not simply about food, but about work. And the picture which it paints is amusing, but often brutally honest. The choreography of the piece is a triumph. The cooking of the food is mimed with intricate precision, so that you could almost believe yourself to be in the kitchen. As the pace quickens, the movement takes on balletic qualities, moving from the naturalistic to the stylised. The clamour of orders and squabbles grows ever faster, and the picture is one of a world out of control. Crucially, although the production occasionally allows us to distance ourselves from the chaos, revelling in the spectacle of it all, it ensures that through moments of stillness and quiet we are reminded of the staff’s humanity. Particularly striking is the use of freeze frames. Perhaps a little overused, the technique is nevertheless hugely effective, emphasizing the simultaneous isolation and lack of privacy for those working in the kitchen; they are never truly alone, but neither are they part of a united group. Of course, there is far more to The Kitchen than its choreography. Tom Brooke is mes-

Review: Top Girls The opening act of Caryl Churchill’s Top Girls jars. It’s obviously the 1980s. We’re in an upmarket restaurant and Marlene, the go-getting boss of Top Girls employment agency wants to get drunk with the girls. But it isn’t your average dinner party. She’s joined by the heroic Patient Griselda from Chaucer’s Canterbury Tales; Pope Joan, who is thought to have ruled in the Middle Ages having disguised herself as a man; Dull Gret, a female warrior from Flemish folklore who was depicted in a painting by Bruegel; Lady Nijo, a 13th Century Japanese courtesan turned Buddhist monk; and the Victorian traveller, Isabella Bird. It’s not just time that gets rough handling. Table manners and decorum are wrestled from the room. The characters talk at cross purposes, interrupting and speaking over one another until all we hear is sound, not words. The first act isn’t enjoyable. It grates – but that’s the point. Written in 1982, Churchill’s play was an affront to Thatcherite individualism. It demanded to be noticed. Yet the play doesn’t feel dated. The second and third acts, more loyal to the conventions

Tom Brooke (left) as Peter and Marek Oravec (right) as Hans in The Kitchen. Photo by Marc Brenner

Theatre on a budget: Fed up with paying extortionate prices for the theatre? Here’s London Student’s guide to theatre on the cheap for the under 25s:

Donmar Warehouse The Donmar Discovery scheme provides regular free tickets to some of the best productions in town. They even throw in a poster and an after-show discussion too. Getting them, however, involves diligent checking and fast fingers. As these tickets get snapped up unbelievably quickly, be sure you have a mobile handy when you receive those emails!

merising as Peter, the dreamer brutalised by his work; and Ian Burfield plays bigoted butcher, Max, to perfection. Above all, this is an ensemble piece, with every character played with a real and convincing individuality. The large cast allows Wesker to construct a myriad of intertwined plotlines, and these are told in an understated, quietly relevant fashion, worlds away from melodrama. From these diverse stories, Wesker constructs a powerful image of exploitation. The play is undeniably witty, but it is a desperate, frantic wit. There is always an edge, hidden beneath the humour, whether it be the repeated intrusions of the proprietor, or the bigotry of Max.

At first, these tensions surface only occasionally, but as the play enters its second act, the tone becomes ever darker, building to a climax which is genuinely moving. Although the play is set in post-Second World War Britain, it still seems hugely relevant. It burns with a savage anger, and despite the five decades that have passed since it was originally written, you can’t help reflecting upon how little has changed. The Kitchen runs until November 9 at the National Theatre. Nearly half the tickets are available for only £12. MATT WILLIAMSON.

of realism, depict the workplace and the Joyce who, held back by her apron strings, home. Retrospectively, they elaborate on money worries and turbulent family life, has and inform the first act. We are ushered inbeen unable to reap the rewards Marlene enside the Top Girls agency where we enjoys. Joyce demands that we treat Marlene, counter job-hunting women striving to her success, her views and perform feats of contortion. They are inTory vote with suspi“An affront her tent on becoming successful in a man’s cion. It’s an unsubtle moworld. But as with the women we met in to ment, but fitting for the first act, traversing gender boundChurchill. aries demands size- Thatcherite I saw Top Girls the weekable sacrifice. individual- end before the riots took Whilst Churchill’s place. In the aftermath, I ism” examination of the was struck by how many predicaments people around me were women face in the job speaking with Marlene’s voice, demonising market holds true today, those involved rather than the structures it was the play’s explothat shaped them and making unquestionration of class that ing generalisations from a distance, like the struck a chord with me. imperious Marlene safe a-top her patent Marlene despairs of her stilettos. People on Twitter were calling for daughter Angie whom the young and poor to loot a suit and get a she gave up to her sister job. But how do you do that in an area like in order to focus on her Tottenham where there are 54 applicants career. She can’t, it chasing every registered job vacancy? Fitseems, have it all. The tingly, Top Girls ends on a question mark high-flyer despairs of and seems to ask: “So, what now?” Angie as she despairs of Stafford-Clark’s production brings out the the working classes. Acfull force of the text’s abrasiveness. It cording to her, they won’t make the cut in – doesn’t caricature the 80s. It presents a reironically - the workplace because they’re vival in the truest sense, not a period piece. stupid and lazy. Marlene has no time for It did throw up a few extra question marks those who, unlike her, have been dealt a disthough. The play, a call for a radical reorderappointing hand by capitalism. She believes ing of society and a reassessment of individin will, motivation and the power of the indiualism, is advertised as “Caryl Churchill’s vidual. The battle between the conservative Top Girls” and Coronation Street’s Suranne insistence on personal responsibility and the Jones plays Marlene. These choices seem to liberal belief in environmental factors is enbelie the play’s message, capitalising on the acted at the play’s close in a kitchen slanging success and celebrity of two women who match between Marlene and her older sister made it. MARY HORGAN.

National Theatre Sign up to the National Theatre’s Entry Pass scheme and you can get high quality tickets for as little as £5. With productions ranging from established classics to the best of new writing, there is a wide variety to choose from. What’s more, you’ll get your first ticket for nothing at all.

The Old Vic While perhaps not as reasonable as the National, the Old Vic offers front row seats to under-25s for only £12.50. With many seats in the house going for as much as fifty pounds each, that’s quite a saving. And there’s no need to sign up to anything, you just give the box office a ring on 0844 871 7628.

Barbican Centre By signing up to the Barbican’s Free-B scheme, you can book up to 2 free tickets to featured events, which included quality productions like the Scottish National Theatre’s Peter Pan, Sheridan’s School of Scandal, and Shun-Kin.

The Globe While seated tickets can be fairly pricey, you can stand for only a fiver. And everyone knows the groundlings have more fun, even if your knees do tend to ache a little during the final act.

Almeida Theatre Almeida Theatre is home to some of the most brilliant works of English modern theatre. Become a ‘Young Friend’ of the theatre for a membership fee of £5 and you can get £3 tickets to the first Mondays of all productions, not to mention access to a wide variety of workshops and discussions.

The Scoop Sadly not a year-round phenomenon, but during the summer months, open air theatre The Scoop - provides high quality drama for nothing at all. Recent productions include Mark Ravenhill’s student protest inspired production of Brecht’s The Mother.

Regent’s Park Open Air Theatre This is probably London’s classiest outdoor venue, staging high quality productions in the idyllic surroundings of Regent’s Park. Though usually a tad expensive, 18-25s can get £8 tickets to selected ‘Breeze’ performances. If that isn’t good enough, you also get a free drink. ZEE YEO.

Play welcomes you to London LONDON STUDENT | Volume 32, Issue 1

Welcome to London. For many students this will be your first sniff of city living and for others a return from family visits, foreign holidays or grim employment. As a gift, Section Editors from across the many tentacles of Play share their suggestions for what to sample across the city. So sit back and enjoy these 26 cultural nuggets as Play brings you its A to Z of London.

Alibi. Ignore the call of the Village People and Go East, specifically making a beeline for Monday night’s Alibi Film Club on Kingsland High Street, Dalston. This weekly free event offers a classic or cult film for your blinkers, alongside drinks, games and general movie merrymaking. See www.thealibilondon.co.uk for more information.

BFI Southbank: The BFI Southbank, formerly known as the National Film Theatre, is London’s epicenter of cinephilia. Showcasing fantastic retrospective seasons from some of the world’s greatest filmmakers, it provides a brilliant complement to anyone following the movements of contemporary film. Tickets are around £6 for students, and the year-long young person’s membership offering presales, special events and discounts is fantastic value at £25.

Citizen TV. Ever thought television was rubbish? Or biased? Or just plain boring? Well now you have the chance to change it. Citizen TV channels such as Hackney based WorldBytes provide you with the knowledge and equipment necessary to produce your own high quality material as part of their multiaward winning internet television channel. Visit http://www.worldbytes.org/ to find out more.

designmynight.com is London’s nightlife price comparison site. It will become your new social best friend as it shows you all the best, newest and cool bars and clubs and pubs London has to offer as well as the 1000s of others in the London nightlife scene. You can also search for happy hours, drink promotions and cheap drinks – perfect for having a great night on a student budget! They even have exclusive drinks vouchers so you can enjoy discounted drinks all over the capital. Voted “Best Nightlife Website” by The independent, it is THE must-use website when planning any sort of night out in London.

Elephand and Castle. Potentially the most quirkyly named station on the tube map, the Elephant has more to offer than its infamous maze of road intersections and brutal architecture. Several quality restuarants dot the area, often appearing on critics’ top ten lists of London eateries.

Food Festival at the Southbank Centre, on 23rd- 25th September. This is taking place on the first weekend during Fresher’s week so should be a great introduction to the London food scene. It promises a huge variety of food stalls, selling everything from cakes to Spanish street food. There will also be cookery demonstrations and entertainment, including a ‘sheep show’. Definitely sounds worth a visit. Check out www.realfoodfestival.co.uk under Harvest Festival for more information.

Greenwich is situated just 20 minutes from central London, but it feels like you’ve stepped back in time. It’s home to Greenwich Mean Time and also the National Maritime Museum, where you can explore the history of the seas. Also keep an eye out around Greenwich University as it’s popular for film crews searching for that authentic period drama setting. Just a few months ago, I spotted a certain Robert Downey Jnr filming scenes for the Sherlock Holmes sequel!

Hammersmith Apollo. Presenting the very best in music, comedy and dance, this entertainment emporium is sure to be on your London itinerary. Everyone who’s anyone has graced the Apollo stage – most notably The Beatles, David Bowie and even Queen. This year you can catch the likes of Adele and Noel Gallagher, while gamers amongst you won’t want to miss the Legend of Zelda Symphony Concert next month. Be warned, though - the bar prices will come as quite a shock after Freshers Week…

The ICA is one of the most exciting Arts venues in London. It’s diverse array of free exhibitions is amongst the best in London. Add to this talks and lectures with plenty of big names from the art world, music, and screenings of any old or new film worth it’s salt, not to mention a lovely café and bookshop. Why aren’t you there already?

Jog On. Purge your lungs of the city smog, lace-up your trainers and escape the city sprawl for a jog around one of the capital’s parks. Why not attempt a circular run around Hyde Park and Kensington Park, clocking-up five kilometers on your pedometer and sweating-off the stresses of city living? See http://tinyurl.com/37q5nms.

LONDON STUDENT | Volume 32, Issue 1

krankbrother. Digging-out a reputation as one of London’s freshest underground house and techno parties, krankbrother events pride themselves on their use of unique venues and superior sound systems. See www.krankbrother.com for further information.

London International Festival of Theatre (LIFT). LIFT is a groundbreaking festival which works with artists and theatre practitioners from across the world to bring innovative productions to the UK. As part of the festival’s 30th birthday celebrations, the LIFT team have put together a varied calendar of events, which started earlier this year and will continue until June 2012.

donuts and shots. One tip: It’s worth taking out a membership as you can get discounted ticket prices, along with discounts from a range of stores across London.

Queen Elizabeth Hall. KCL’s lucky Stamford Street residents are just a stone’s throw from the Southbank – a hub of art and culture, bustling around the clock. Queen Elizabeth Hall is the Southbank Centre’s second largest venue. It hosts a spectacular array of music, dance and drama performances, many of which are free. This month, be sure to check out the vibrant rhythms of the African Music Festival (16-18 September). southbankcentre.co.uk

Manic Oxford Street. If you are new to London, you may think that there is no better place to indulge in some retail therapy than Oxford Street. The allure of Oxford Circus can be altogether intoxicating, with the towering flagships acting more like mother-ships to unsuspecting students. However, if you can avoid getting off the tube at the Circus, do. More than 30,000 fashion seekers pour through the doors of Topshop alone each day. It's no wonder that when Primark opened there were cases of severe crushing. For more sane, weather protected browsing, stay on the Central line a few more stops to Westfield, Shepherd's Bush where you can avoid any risk of bruised ribs as well as see all the same stores in West One.

Regular art fix. On the evening of the first Thursday of each month the galleries and museums of East London keep their doors open late, and the streets fill with art lovers. Make sure you don’t miss the galleries and pubs of Vyner Street, the art is great, and so is the atmosphere. If you only make one Art pilgrimage a month, this should be it. http://www.firstthursdays.co.uk/

Shake, Rattle and Bowl. Tempted to ‘Twist Again’, ‘Rock Around the Clock’ and scream from the belly of our lungs ‘Goodness Gracious Great Balls of Fire’? So why not polish-off your dancing shoes and flex your fingers for a night of bowling and dancing at All Star Lanes, Holborn, every Saturday? Booking is advised for use of a bowling lane or table.

Nomad Books. Listed as one of London’s finest bookshops by the Guardian, the beautifully decorated and independent Nomad Books in Fulham certainly lives up to its reputation. It’s a calm and welcoming environment strewn with comfy sofas to be curled up in with a book from their decent-sized and carefully sourced collection in one hand, and something warm from their in-house coffee shop in the other.

Open air Markets, The Borough Market (Thursday, Friday and Saturday). A tourist hotspot, but I still love it, especially the many free samples on offer. Lunch is a good option; my recommendations are the Falafel wraps from the Arabica Food & Spice Company or the grilled Chorizo sandwiches from the Spanish Deli: Brindesa. Neal’s Yard Dairy shop is worth a visit for its delicious cheese and Monmouth Coffee House boasts the best coffee in London.

Prince Charles Cinema is a cinematic gem hidden behind Leicester Square, offering alternative and foreign films from across the globe. Also perfect for catching your favourites on the big screen – Schwing Along with Wayne’s World embodies the cinema’s vibrant atmosphere and involves free jelly

Tate Modern. The Tate Modern is your premier stop in London for new international modern art. One of the most-visited modern art galleries in the world, it’s famous for hosting spectacular and jaw-dropping exhibitions from some of art world’s most notable provocateurs. Upcoming features include a retrospective of Gerhard Richter and new commissions from Tacita Dean. There is also an adventurous, experimental selection of film screenings. Recommended for seekers of the weird and wonderful, and not just artboffins.

Underground Theatre. Believe it or not, the tube’s not just for travelling. The recently opened Old Vic Tunnels is a performance space directly beneath Waterloo station. The 25,000 ft venue is home to theatrical performances, art installations, a bar and even an underground cinema. This cavernous, subterranean space guarantees a night to remember.

Vera Lynn Rocks On. The 1940's are very much alive and kicking in London with countless swing nights going on across the capital. Go in proper costume and even treat yourself to a vintage up do at Nina's Vintage Hair Salon to get in to the swing of things (sorry, cheap pun!) Head on down to The Railway pub in Tulse Hill for cheap drinks and amazing dancing to party like its 1939.

Women's Library. Shoreditch's Women's Library is undoubtedly one of the best libraries in the city. An initiative of London Metropolitan University, the library is not only a treasure trove of women's history but a vibrant cultural centre too, with a museum, a continuous stream of exciting exhibitions and the largest collection of zines in the country all waiting inside. Oh, and guys can come too.

Xinjiang Chinese food at Silk Road restaurant. Chinatown may be the tourist hotspot, but Silk Road has better food and is far cheaper. Located near Camberwell arts college, it is relaxed and popular with students. All dishes are around £5 or less, and food arrives freshly cooked, and piping hot. I would recommend the shrimp dumplings, slow cooked pork and vegetable noodles, washed down with a Tsingtao beer or green tea. Follow your meal with a trip to Hermits cave pub opposite.

Yumping. The tube can be overpriced and walking really is overrated. So, try yumping for size and travel in style! Yumping involves an array of outdoor activities and is flourishing in London. From paintballing to a cycle tour across London you’ll find something to get your adrenaline pumping. Visit www.yumping.co.uk for a range of ideas.

Zigfrid Von Underbelly. Punk meets kitsch in this heady haven, deep in the heart of Hoxton. The Underbelly is open seven days a week, welcoming an attractive crowd of trendy rockers to its gigs and clubnights. With a wide variety of food and cocktails on offer, it’s a refreshing change from London’s dingier rock hotspots. Check it out for yourself on 21st September, as Andy Burrows (Razorlight) launches his new single ‘If I Had a Heart’. www.underbellyhoxton.com

This Place is Everything

Pablo Bronstein and Ryan Gander in London

covered in hand prints and grease patches from the numerous faces of those before you who pressed themselves up against it to try and take in just a bit more of this semi-hidden treasure trove. Leaving Gander’s world you cannot help but be pensive. The lines between reality and fiction seem inexplicably blurred. Your mind wanders over your experience, reimagining what had seemed commonplace and asking for some deeper meaning. Perhaps that drunken man who is still on the same path is in fact the mysterious encounter other reviewers had eluded to and not a symptom of the area we were wandering through? Gander is known as a narrative artist who is a masterful storyteller, and there was a strange juxtaposition in his newest creation. He has created something that feels both clandestinely unconventional and standardly artistic. The smell of fresh paint and Gander’s Labyrinthine corridors. Photo by: Julia Abrams

If you were ever sceptical about the power of the placebo effect you need only spend half an hour in Ryan Gander’s new creation the Locked Room Scenario, a meticulous case study to the power of suggestion.

thority: “Good evening Natalie, you’ve been entered into a prize draw for an art competition…” followed by an unsettling cackling from his companion as I ease further into the exhibition. Actors I conclude, walking quickly away from the foreboding pair, most definitely actors. The would-be office area feels more decidThe whole exhibition is shrouded in a edly staged; the small teller window showing carefully cultivated veil of mystery; much the interior to an office that is reminiscent of like cracking the cover of a Holmesian a museum reproduction, everything from thriller you expect certain components bethe rumpled paper to the magazines posed fore you ever enter the space. It all begins for the viewer’s eyes. On the wall is Gander’s with a text message anywhere from three timeline of the ‘Blue Conceptualist’ movedays before your intended visit to the mornment, supposedly spanning decades and ing of. From other accounts I expected an highlighting the birth and death dates of its enigmatic invitation to a nearby pub to meet key proponents (including the ever one Spencer A (an artist of elusive Spencer A and Mary AuNo one likes to Gander’s creation), but inrory, as well as my invisible correstead received the grammatplay the misled spondent Rose Duvall). ically rooted riddle: “This It isn’t until you wander away fool, and I felt place is everything… This from this staging area and begin a place’s everything… Rose”. myself preparing scavenger hunt to uncover the art Frankly, I was hooked. from the coincidental (although I Walking through Old to overcome am hesitant to say anything was Street to the derelict waretruly in the latter category) that Gander’s curated house space Gander has Gander’s magic begins to reap its commandeered, I passed a mind game. reward. The polite art viewing strange and possibly façade in which everyone has an drunken man asking odd and unintelligible instinctual sense that one mustn’t go too questions, pacing up and down the same close to a piece or touch anything without stretch of road, and was glad I had chosen a some sort of express invitation is quickly pre-dusk viewing time. Arriving at the site, eroded. there was a palpable apprehension; no one You find yourself picking up rubbish to see likes to play the misled fool and I felt myself if it’s a component to Gander’s fantasy (in preparing to overcome Gander’s curated my case the crumpled note was another of mind game. Immediately I saw a skip with a his enigmatic seating charts), and pulling on furry blue piece of material nestled amongst every door handle that comes into your the odd collection of rubbish and a white sightline. My friend felt he was being abspray painted scrawl proclaiming: “Mary sorbed into the piece when two rather insisAurory sorry” on the warehouse wall, both of tent tourists circling the exhibition at which I’d expected, and eased a bit into artroughly our pace tried to open the door to viewing mode. Perhaps it’s not so revoluthe men’s room he was using assuming it tionary after all. was yet another mysterious element of the Entering the dark building you are mopuzzle. mentarily unable to make out much other The pivot point of the piece is the exhibithan the two young figures sprawled out at tion at its center, a selection of sculptures the top of the litter-strewn stairs, the boy and paintings presented as any exhibition in speaking into a white walled gallery but inaccessible to the his phone with general public. Time and again you come a sort of across a window that affords an obstructed heightened atglimpse of the treasures beyond; the glass tempt at au-

One of Bronstein’s fabulously ornate costumes Photo by: Tom Medwell

the new blue carpets allude to his omnipotent presence and your place within his world, while the dereliction implies a haphazard and spontaneous accumulation. The viewer is both put at ease by the exhibition conventions and pushed into discomfort by the new behavioral requirements. The Locked Room Scenario fits perfectly within the catalogue of Artangel projects that have included such immersive works as Roger Hiorns’ Seizure in which the interior of a council house was filled with blue copper sulphate crystals; and Rachel Whiteread’s House, the concrete cast of a condemned terrace house. Locked Room Scenario is an affirmation and a mockery of the modern art world, taking a tongue-incheek approach to the history of artistic movements and the expectations of art in today’s world. It is particularly interesting to look at Gander’s work in relation to the current ICA exhibition by Pablo Bronstein entitled Sketches for Regency Living. Bronstein’s works look at the role of architecture in personal identity, following the ICA’s home, Nash House, back to its Regency roots. As we entered the exhibit, the decadently adorned dancer sat reading as though a

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LS Arts Highlights

ICA: Bronstein and more We have already told you why you should visit Pablo Bronstein’s exhibition. But with the institute’s added film screenings and more lectures/events than you can shake a stick at, I have no problem telling you again. ICA, SW1, until Sept 25 Christian Jankowski’s Casting Jesus An hour long reality show in which members of the Vatican cast an actor to play the ideal Jesus. Why aren’t you there already? Lisson Gallery, NW1, until Oct 1 Phyllida Barlow’s RIG Barlow’s Arte Povera-like everyday material sculptures here are used as deliberate obstructions to the viewer’s path. The sculptures are fun, and the use of space is excellent. Hauser and Wirth, W1, until Oct 22 room attendant, his lavish golden clothing stark against the pure monochrome backdrop. While the area is cordoned off to visitors there is no need for the pointed exclusion Gander cultivated, we are afforded un-obscured views from the raised corridor that places the entire scene into a singular image more akin to a painting than a performance. The Gander hangover truly took effect when circling the Regency Box, a striking white construction whose black surroundings and long sides give it a similarly labyrinthine feel. The large arched doorways at either side are open but there is a weighing sense that you aren’t meant to go inside, decorum on overdrive after the titillating sense of transgression the day before. The stairwell to the upper floor was one of the most humorous and aesthetic moments of the show, the length of the corridor lined by Designs for the Ornamentation of Middle Class Houses (2001). This piece was a collection of sketches of exteriors that differ in subtle and then increasing increments, the buildings gaining width and floors the higher up the staircase you climb. To me, this part encapsulated Bronstein’s intentions and tone, lifting the viewer and interacting very acutely and conspicuously with the surroundings. There was a comfort to Bronstein’s show that was purposefully lacking in Gander’s but also an interesting thematic contrast in their focus on, and use of, architecture. In both instances we are drawn to examine the structure, the buildings, the details that alter social interactions and impact on us as individuals, but where Gander attempts to alienate and intrigue, Bronstein welcomes the viewer warmly into his lightly humorous world where we are encouraged to laugh at ourselves and society without feeling at the butt end of the joke. That two such connected and opposing creations are coinciding in London is wonderfully fortuitous. Individually the two are dynamic masterpieces of their respective creators, combined they are a fascinating thesis of art and the individual. VICTORIA YATES Locked Room Scenario, Until October 23. Nearest tube: Old St. Sketches for Regency, ICA, Until September 25, Nearest tube: Charing Cross.

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Shard Eat Your Heart Out:

only begins to become apparent when framed against the darkness of the far gallery wall. These 2,756 0.02mm thick wires act as the supports for the carbon fibre columns, making the whole structure completely self-supporting and not, as you might Park is the urban monstrosity or architecfirst have imagined, in any way suspended. tural wonder (I can never tell which) of the At the very least, this is an amazing feat of Barbican Centre. It is here that you will find architectural engineering, and of course it is another of London’s most exciting current more than just that. The viewing experience architectural happenings. Nestled away of the work is that of a gradual and magical within the Barbican’s cavernous spaces is revelation, and even when fully apparent the the very showy off-y Barbican Curve gallery. super thin structure looks magnificent in its Its reputation for overblown events precedes uniform complexity. it (one previous show included Weighing in at only 300g the “Architecture live birds inadvertently playing building seems to very much fulfil instruments) and this makes as a transpar- Ishigami’s sentiments about its Junya Ishigami’s current exhibicomparisons to the scale of air and ent structure tion all the more unexpected. water. His matter of fact press reUpon entering the Curve you will stretching into lease states: “This is an attempt to see very little, if anything at all. architecture as a transparAs you spend more time with infinity like air.” create ent structure stretching into infinthe work, very thin wires stretchity like air.” It’s one of those ing up towards the ceiling begin to show statements that sounds much too incredible themselves. You may even notice that they to be credible, and indeed much too are mimicking the curved shape of the overblown to be possible. Usually I don’t gallery. In time you might also notice some think you’re expected to take them seriously, very thin diagonals attached to the central but this time, you might just have to. wires, but it may not be until you reach the TRAVIS RILEY far end of the exhibition that the full truth is revealed to you. These vertical wires don’t Serpentine Pavilion, until Oct 16. Nearest reach the ceiling at all, and are in fact tubes: Knightsbridge and Lancaster Gate. columns made from carbon fibre. The few Architecture as Air, Barbican Curve, until diagonal threads you spotted are part of a Oct 16. Nearest tubes: Moorgate and Barbisuperstructure of near invisible wires that can.

Architecture in London

Imagine this. It’s a beautiful sunny day and you’re strolling through Hyde Park because you’re the sort of day-seizing, get-up-andgo person who would do that.

You’re smart, you’re successful, you’re having a lovely walk, and enjoying nature (of the inner city variety), but then you see it. You turn to your oh-so-very attractive partner, raise your expensive Rayban sunglasses for effect, and say: “Who would want to blight this beautiful, natural parkscape with a disgusting black building like that?” You are of course referring to Peter Zumthor’s Serpentine Pavilion and you are, if I say so myself, completely wrong. Why must you be so quick to judge? Zumthor’s Pavilion is the eleventh in a line of Serpentine commissioned spaces, and though it’s a lot less showy than it’s predecessor - Jean Nouvel’s bright red, eclectic curiosity - it is no less an architectural wonder. The Pavilion is finished in a remarkably distinct matt black scrim that at first seems imposing, but as you wind your way through it’s labyrinthine tunnels to the secret garden found within, you soon find yourself feeling very much at home and surprisingly at peace. This won’t be a revelation to those who know of Zumthor’s previous work, which includes the famous Thermal Baths at Vals, and is always delightfully understated and meditative. The garden itself is a paved courtyard with seating arranged around the outside of a beautiful thin strip of floral artistry, courtesy of Piet Oudolf. The layers of the building abstract the sounds of the park and traffic outside, and the inner-space is a sanctum of calm and relaxation that can easily be described as beautiful. Zumthor’s concept revolves around the creation of a hortus conclusus, which literally means ‘enclosed garden’ but has a greater connotation, that of a contemplative space or a ‘garden within a garden’. Certainly, the plainness of the exterior and walkways and the careful control of the interior light intensifies the experience of the garden within and creates a space for observation and meditation away from the wider park. Miles away from the open spaces of Hyde

Review: Contested Zones

At peace in Zumthor’s hidden paradise. Photo by Walter Herfst

Giulia Piscitelli’s exhibition at Cubitt Gallery read to me like one of those little gems that art critics love to find and rave about. Cubitt Gallery is particularly good for these sorts of things being tucked away at the end of a little mews/building site in Angel. The exhibition, entitled Contested Zones, promised political zeal in droves. It takes a fenced off NATO naval base and detention centre as its subject matter, so how could it not?

Unfortunately, the political punch line never quite surfaces. Piscitelli’s recreation of the fence on the gallery walls speaks very little of the original subject matter. Don’t get me wrong, there is evidently an illustration of a fence on the walls of the gallery, but its choice of material - that of colourful paper streamers - makes it seem positively inviting. The idea here is that of a juxtaposition between the original cast iron monstrosity,

and the more innocent playful gallery version made out of party paper. It’s an interesting mechanism, and it wouldn’t be the first time that something so cruelly constrictive was made to seem more so by its lighthearted reimagining. The problem is simply that it doesn’t happen here. Without the exhibition literature, this fence could truly be any (albeit it quite tall) fence, and you would more likely believe it a nice one than a nasty one. Without any context, and this piece does require a great deal of context, the bite of the original political intent is gone, and we are left with very little besides. Other pieces include a mattress found in a skip, which has been ‘re-domesticated’ with the help of some latex, and a gym mat signed by some of Naples’ immigrants. I simply don’t know where to start with these. I do not, for a second, think that this mattress could possibly represent “a resting place for the unconscious” as is supposed in

the exhibition literature, and I find the suggestion slightly insulting. It looks a great deal like any other mattress that has been found in a skip. The gym mat takes the issue of context to a whole new level. The viewer is presented with a battered, blue foam mat with some writing on. To comprehend this as being about immigration and community is beyond any credible stretch of the imagination. These pieces are frankly amateurish and unremarkable, and in such a promising exhibition, that is unforgivable. Oh, how I wanted to love this exhibition. How I wanted to tell everyone to head straight down to this fabulous, little, out-ofthe-way gallery and see this simple, yet remarkable political feat by an unknown artist. How sad I am, in fact, that I cannot. There will be other exhibitions and they will be marvellous, but I’m afraid I cannot recommend this one. TRAVIS RILEY Cubitt Gallery, until October 16. Nearest tube: Angel.

We Sing, We Dance,We Review Things Who are we to review, to tell you what to like, and what not to like? Do we think we’re better than you? What sort of a self-important, pretentious, upstart would think that their taste is law and yours is malleable? And why do we want to? What arrogance is it to expect you to be interested? Reviewers aren’t always the most popular people. That gives you a sense of what I was thinking when I took over editorship of the Arts section this year. What’s the point of all these reviews we will publish? There is very little objectivity in art. I cannot for a second expect anyone else to take the same experience away from a piece of art as I do, and yet I feel some sense that I may be able to tell you why I like it. What it is that enthrals me about one painting when another leaves me flat. Why I got so excited about Mark Leckey’s talking fridge when countless others slandered it to high heaven. I think Art, at least of the modern variety, is a devilishly tricky subject to get your head around. It was a two-year journey that took me from deriding such modern art filth to being an addict. I went from crying “but he’s just put a fridge in a room with a speaker” to sitting in awed silence as I listened to Mark Leckey anthropomorphise himself into an inanimate object for forty-five minutes. One day I might try and persuade you to do the same. This year the reviews in the Arts section are about exhibitions you can go and see for yourself. We won’t tell you what to think, only what we think. Personally, I don’t read reviews of exhibitions before I have seen them. I prefer to assert my own opinion before I allow myself to consider someone else’s. In the case of some exhibitions such as this week’s feature, Ryan Gander’s Locked Room Scenario, the review will undoubtedly completely change your expectation of the exhibition before you arrive. Half the fun of it is not knowing what to expect. On the other hand, it’s an extraordinary exhibition hidden away in a council estate near Old Street, and I want everyone to go see it. If someone has done something amazing, then concealed it in a far corner of London, I think people should be told, and if I think a major gallery is overcharging to see some overhyped nonsense, I take no issue in supposing that you should be made aware. You can ignore the warnings and you can ignore the recommendations, and I cannot promise that you would not be right to do so. Simply put, we want you to understand why we consider one show to be so fabulous and another so very not. There will be no vitriol and no hidden agendas, hopefully just honesty and a very genuine enthusiasm. TRAVIS RILEY Do you want to add to the debate? Email at arts@londonstudent.net or tweet @LS_Arts

The London Style Map

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North

Camden has come a long way from its Punkyfish wearing pre-teen days and now offers some of the best market stall clothing in London. The market still offers studded belts and leopard print mini skirts galore but if you head to the covered courtyard round the corner from All Saints you can pick up handmade lace skirts, pocket watches and hand made leather belts at a fraction of the high street cost. Sit down by the river and try some of the incredible street food, representing every corner of the globe, once you tire of pouring over unnaturally tapered skinny jeans.

West

Notting Hill offers some of the most diverse shopping you are likely to come across on an average afternoon. On Portobello Road you can buy everything from fake Cath Kidston hold-alls on the markets to authentic Chanel purses circa 1980 at One Of A Kind. Beware though, at £600 a pop these are by no means a flippant purchase. Scarves, satchels, pashminas – they can all be found for less than a fiver down Portobello. But if you feel a little more adventurous, go to Appletree Boutique for local designs at fair prices, as well as a beautiful shop layout.

Just moved to London and wondering where to shop? Or lived here for years but suddenly find yourself in a new zone? Then have no fear! Our London Style Map will show you the best places to buy and sell clothes in the capital, as well as reveal some much loved hidden gems...

South

East

The East End has loads to offer to a younger crowd – just head down Cheshire Street past the Truman Brewery to Beyond Retro to see the hoards of students searching this vintage warehouse for a bargain. If you fancy something a little more personal nowhere is better than Blackman’s Shoes. Set up in 1935 it was the first shop in London to sell Doc Marten’s. Spitalfields Market is a stone’s throw away from Brick Lane and home to some fantastic home wares and fashion stores. You can pick up a pair of mounted antlers as well as some Fred Perry shirts all in the space of an afternoon. If you prefermaking rather than spending a few quid This Shop Rocks, right on the main strip of Brick Lane, will buy your retro garments from as early as 1960. So dig out your parents’ old wardrobe and get trading.

South of the river lie some true fashion gems. If you are looking for a fabric shop with one of the largest ranges of buttons, bobbins and beads then nowhere is better than Atlantic Fabrics in Brixton Market. This is a veritable treasure trove for any London student looking to embellish, customise or create and should not be missed. But, if you feel more inclined towards retro than recreated, Rejuvenate Brixton is a vintage shop with a difference. Offering everything from crockery to crochet this little taste of the past is fairly priced and fantastically located. Head over to Rosie’s Cafe for the best toasted ciabatta sandwiches in London after you finish browsing.

THIS WEEK I’M MAKING... Rockabilly Blouse

Step 1: Lie the shirt down on a hard, flat surface and cut off the sleeves. Make sure you leave about a centimetre of fabric from the join of the sleeve to the main shirt to fold over into the hem.

Step 2: Turn the shirt inside out and fold the fabric over to make a hem. Pin it in place and sew following the natural curve of where the sleeve joins the body.

Step 3: Turn the shirt the right way round and lay it on its front. Then place and pin the lace along the yoke on the back, leaving a little bit hanging over the edge to stitch inside the shirt. The tricky bit here is in the middle of the yoke where it makes a ‘V’ shape. Fold the lace over itself and put an extra pin straight down the middle to hold it in place.

Step 4: Sew the lace along the yoke and don’t worry if it puckers a bit – just tug it gently afterwards to straighten it out. Turn the shirt inside out again and sew the overhanging lace onto the inside, cutting off any excess.

Step 5: Finally, sew the buttons onto the collar of the shirt by hand and you’re good to go! One rockabilly blouse in under an hour. Happy stitching!

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Welcome to London Fashion E

very city has a defining style. The French are renowned for effortless, Parisian chic; Milan is home to minimalist glamour and New York is a Mecca for label loving fashionistas. However, the British capital is also held, by countless top designers, as a fashion capital of the world. So what is London’s unique selling point? The difficulty in defining London style is what makes it such a triumph. London flourishes in its variety and diversity and this September thousands more students are arriving to add to the mix.

London is at opposition with itself. There is a huge corporate presence here, yet it is not a corporate city. There are many creative industries at play, but they do not define the capital. There are multiple universities but it is not a student town. London is made up of a diverse and unidentifiable recipe, and this mixture is reflected in its people, its landscape and ultimately in its style. The shapes, styles, fabrics and prints amalgamate in the same way as the people of London do, in an unforeseen assortment of personalities. Anyone can come to London and any style can be brought to the table. London fashion knows no boundaries. For you students new to London life this can be seen as a chance for you to up your fashion ante. Old rules can be disregarded and your own expression is encouraged. As a member of the student race your tight budget holds the only restraint you are likely to come across on your journey to becoming a Londoner. But fear not, the city also holds the secrets to grabbing the goods for less of your loan, and this season is a winner for discovering your own eclecticism. Moving out of the uniformed fashions of recent years, the Autumn/ Winter catwalks this season embrace the individual, with added focus on interesting prints and new textures while stretching the limits of eccentricity. Dolce and Gabbana’s star prints inspired the extra terrestrial edge of Tesco’s Autumn offerings, while Primark adds flashes of fun to its latest collection with everything from lady-like prints to sparkling knit wear for the fashion conscious magpie. The bright jewel colours of the season are an opportunity to get creative with your look, whether you try out block colours or throw on leopard print. Think of London as your blank canvass and remember – you have to be different to fit in. Photographer: Christ Wright. Model: Maria Mihes. Styled by: Kate Vine. Star Print Dress, F&F at Tesco, £25. Footless Tights, Model’s own. Brown Boots, Primark, £20. Blue Satchel, Accessorize, £30. Black Skinny Jeans, Primark, £9. Patterned Blouse, Primark, £8. Animal Print Blazer, Next, £34. Animal Print Shoes, Next, £28. Camel Knit, Primark, £14. Blue Jeans, Fusion at Monsoon, £42. Colour Block Shoes, Primark, £18. Animal Print Satchel, Primark, £8. TV Necklace, Accessorize, £14. Blue & Grey Dress, Primark, £12. Green belt, Next, £10. Jacket, Stylist’s own. Denim Dress, Next, £40. Pink scarf, Next, £14. Socks, Stylist’s own.

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Bond over a Monster

I’m sure everyone’s been telling you that the best way to make friends at university is to get as battered as a Mars Bar, Edinburgh style that is, but I’d like to venture that the bonding really occurs during the hangover the day after. You’ve already broken the ice, probably made a bit of a numpty of yourself, so hey, what have you got to lose? Roll up your sleeves and have a go at this breakfast for the masses. It’ll be sure to create memories to secure your friendship forever. Promise. One of the advantages to halls is the duplicates of equipment, no matter how basic it is. Luckily, one of the best hangover cures requires lots of pans so use this to your advantage! For the monster fry up, get at least four of you together- divide the tasks up as so: the two least hungover are on hob duty. One pan for bacon, one for eggs, one for sausages and one for garlic mushrooms and tomatoes. The one who normally burns the toast can be on bean duty. These can be done in the microwave as the hob will be taken up with glorious sweating meat. Then there is the deceptively simple toast and tea duty for the leftover person. Here are my top tips:

Get the sausages going first. Gary Rhodes is famous for his ‘and the secret is not to prick them’ line, and as much as I hate to admit that such an irritating Jim Carrey lookalike is right, he is. You probably want to have had them cooking for about ten minutes before you put everything else on. Cook your mushrooms in the butter, get them going before adding the garlic. Garlic fried on a too high heat is bitter and we definitely don’t want that. Maybe sprinkle some dried oregano over the toms too, if you’re splashing out. Fry-Up

Perfection

Crack your eggs low over a 8 sausages medium heat to avoid split8 bacon rash ers ting the yolk, unless you 4 eggs prefer scrambled. I guess you could just say that you 4 tomatoes 12-16 mushro prefer scrambled if your om s 1 can beans yolks break… But this would be a lie, which isn’t a 4-8 slices o f bread great start to the friendbutter ship, but there are worse 1 clove garli c, crushed things to be dishonest Light oil, su ch as groun about. dnu

sunflower

Be adventurous- I’ve kept it simple here but why not try some black or white pudding, kidneys or kippers. Don’t be squeamish, these old-fashioned add-ons are

Pâtisserie Deux Amis

Pâtisserie Deux Amis is a quintessentially French café, where everything from the sugar to the fruit juice is an export of France. Inside, the air lingers with the smell of freshly baked pastries and you’re guaranteed to hear a concerto or two by Tchaikovsky. Serving homemade bread, mini quiches, pains au chocolat, baguettes and chocolate tarts, I find it hard not to love this place. The staff are polite, friendly and eager to advise you on the menu which varies from day to day. Whether drinking an espresso or cappuccino, the coffee is faultless and punchy, just as it should be. Like everything else in the café, it’s full of flavor. The country-esque décor will transport you, so you imagine yourself in a bakery in the Alsace region of France. The intimate, homely feel of Pâtisserie Deux Amis makes a perfect place for first dates, completing university assignments and lunching with friends. The food itself tastes fresh and is of high quality, as

t or

often cheap and delicious! Lastly, put the oven on its lowest setting and pop in your plates when you begin, so

they’re nicely warmed by the time you serve. Remember: this is a marathon and you want everything to be piping hot right until the last bite. EVE HEMINGWAY

Icco Pizza

all goods are baked on the premises even the bread. You need not worry about burning a hole in your wallet either, as all food and drink are reasonably priced- a croissant and latte typically costing £3.60. As Pâtisserie Deux Amis is not a chain, yet another reason why I like it so much, there may be a waiting time for tables. However, don’t be put off by this, for as the saying goes ‘all good things come to those who wait’ and believe me it is worth the wait. Just as the café’s name suggests, I highly recommend a trip to Pâtisserie Deux Amis with two friends for a tasty lunch or afternoon pastry. SAPNA SIAN 63 Judd Street, Bloomsbury, London, WC1H 9QT, a short distance from the Intercollegiate Halls, The School of Pharmacy, UCL and SOAS campuses and the ULU buildings.

The taste of the Rotten Apple in the Big Smoke

In New York the pizza slice is an institution on a par with the Yankees, Central Park and Friends. Locals and visitors alike will be aware of the beautiful aromas wafting from almost every street corner. Generations of Italian men need their own special dough and perfect their tomato sauce recipe. They are places where boundaries are broken down. Prostitutes talk about the tricks they’ve turned while police sit at adjacent tables and turn down their radios so as not to let their 2 slices with extra cheese go cold or their chilled beverage warm up. It is no accident that the New York-centric director Spike Lee based an entire film on the goings on around a pizzeria to study the community divisions within Brooklyn. London doesn’t offer the same luxury. Especially in the centre you can easily come across some overpriced Panini outlets and a bad plate of pasta. If you want a nicer meal you can head

to Charlotte Street. There is a wide variety of culinary treats to savour. However, at a lot of them, you will find that the price reflects the quality of the menu. Step in Icco Pizza. The only pizza I have tasted in London that reflects that same quality you find in the rotten apple. Those thin bases, spicy tomato sauce and sizzling mozzarella roll out the oven like fiends out the projects. You can throw on your extra chillies, oregano or parmesan as you see fit and, starting at £3.50 a pizza, they are cheaper than most things from the nearest global coffee house conglomerate. Just remember, when you go in, turn the boom box down. GWILYM LEWIS-BROOKE.

drinks on offer. Tea is served in china pots, made with real tea leaves and comes in flavours from blue flower earl grey to a fruity strawberry and apricot blend. This is a nice change from Starbucks which charges two pounds for tea in a paper cup with one teabag, what is the point in paying for that? Andy is starting up his own tea business, and will soon be selling his products in the shop, so you can re-create the tea experience at home. Hot chocolate from the gourmet ‘Kokoa Collection’ is also delicious. You select real white, dark or milk chocolate which is melted into hot milk, (no Cadbury’s powder here!) and can be served with your choice of flavoured sugar; rose or orange and cinnamon anybody?

Get Coffee

It’s impossible to walk through London without passing a Starbucks or a Nero’s every couple of minutes. These chains are often overpriced, and the coffee isn’t actually that good. I have been a huge fan of the independent ‘get coffee’ café since they opened last January, and I was excited to meet the owner Andy, and find out more.

Get Coffee

Fill up on caffeine with a free drink from this friendly cafe.

Nestled into No. 3 Fleet Street, conveniently in- between the King’s Strand Campus and Maughan Library, and minutes away from the LSE campus, ‘getcoffee’ is the perfect alternative café for students. Try it out with our exclusive London Student Voucher to receive half price drinks.

The inspiration, Andy explains over a cup of tea in the cosy downstairs of the café, was to create a coffee shop that offered competitive pricing and the fast service of a coffee chain, with the unique products and experience of an independent artisan café. Coffee is sourced from Butterworth’s and Son, and is delicious, on a level with gourmet coffee shops such as the Monmouth. I sometimes find that coffee from chains has an unpleasant aftertaste. Andy explains that this is due to the coffee being left heated for too long, something getcoffee tries to avoid, since they grind coffee to order. They sell filter coffee, made using the featured coffee of the day, as well as a tasty flat white, expresso or cappucino’s, also availiable with soya milk or a range of tasty syrups. The name ‘get coffee’ does not depict the range of teas, hot chocolate, and unusual hot

Andy is a trained chef, which is evident in the variety of drinks on offer. ‘This is the benefit of running your own coffee shop’ he explains ‘you get to experiment and sell what you want to’. How about a matcha latte, made with green tea powder, or a cup of hot spiced apple juice? If you’re feeling peckish, I would recommend the pastries, fresh each day from a local bakery, and the large filled baguettes. Get coffee definitely has the atmosphere of a ‘local café’. They offer loyalty cards, a book swap and free wi-fi, and the walls are decorated with work by local artists. The downstairs seating area would also be great for student society meetings or study sessions. Whether stopping off for a takeaway coffee, or meeting a friend for a chat and a pot of tea, getcoffee is a great student hangout. EDITOR HELENA GOODRICH

Falafel

Even in London, where good Middle Eastern food can be found on almost every street corner, one rarely encounters good Falafel. ‘Gourmet’ Falafel outlets will often disguise an average filling with an artisan wrap and hefty price-tag to boot. Enter Camberwell’s eponymous ‘Falafel’. Just across the road from popular watering hole and art student haunt, The Hermit’s Cave, this Lebanese jewel strikes the often precarious balance between take away and sit-in restaurant. Popular with locals and students alike, it is here that you will find, without a doubt, the best Falafel in London- quite a statement considering the range of up-market Middle Eastern fare on offer, which has recently become hugely popular in the city. You won’t find the usual take-away dross here; forget fried chicken, burgers and other heart attack inducers, bowls of fresh couscous and tabouleh adorn the display cabinet. The Falafel is perfect; biting into the crunchy exterior reveals a rich yet light chickpea nucleus, eschewing the stodge found in most other options. Three of these beauties are wrapped in a flatbread, served with humus, parsley, tomato, lettuce, raw onion and chilli sauce. The ridiculously friendly staff at Falafel will even offer you a free sample of their Lebanese masterpiece whilst you wait very much appreciated after a night out or an evening buried under books! A wrap and three vine leaves (which were also some of the best I’ve had) will set you back a measly four pounds. I almost feel bad. TOM ALVAREZ

Camberwell Church Street, Camberwell Green, SE5 8TR (Elephant and Castle Tube followed by 171 or 68 bus or Denmark Hill rail)

Inside a Language Travel School

This was my third summer working for the world-famous summer school, Education First. With language schools all over the world including California and Ecuador, I was once again in sunny England’s Oxford office. Although, this year, they had finally given me a desk job and a title: Homestay Coordinator. I was now senior staff! While this sounds fancy (or at least it does to me), my job was pretty simple. I was in charge of running a small-scale 3-week course for students who not only wanted English lessons and to experience English culture, but who also wanted to act.

The course wanted to encourage each student to “have the time of their lives and learn a language.” Every weekday was broken down into three hours of lessons and three hours of activities. Half of the lessons were given by a professional actor and were designed to give students the confidence to speak English. activities – such as bowling, cinema, and trips to London and Bath – were in place not only so that the students had an enjoyable

visit, but also so that they could practise their new language skills. Finally, the students put on a performance in English as proof of their progress over the three week period.

The activities – such as bowling, cinema, and trips to London and Bath – were in place not only so that the students had an enjoyable visit, but also so that they could practise their new “the students language skills. Finally, had an the students put on a enjoyable performance in English visit” as proof of their progress over the three week period. The students are a mix from all over Europe and Asia, which means there were many interesting cultures that I learned a lot from. Moreover, this is an incredibly rewarding course for the students as they feel they have achieved something.

Interview: Eddie Botsio A BBC journalist tells us about his photography project

CBBC journalist Eddie Botsio is a man on a mission - to raise money for Raleigh International’s new bursary scheme which will fund future expeditions for young people in disadvantaged groups. Raleigh International has been working in communities abroad since 1978, with alumni including the Duke and Duchess of Cambridge. With his first photography exhibition, In and Out of the Public Eye, (at Soho’s The Reading Room until the 30th September) Eddie hopes to widen access to people from all walks of life. I caught up with him at Radio 1 to ask him just what can be gained from volunteering. ER: You’ve been a trustee for Raleigh since 2006, how did you get involved with the charity? EB: I didn’t actually do Raleigh myself when

I was younger – that’s one of the reasons why I’m doing the exhibition and why I’ve become involved. Also, it was partly because my work here at Radio 1 and 1Xtra is about connecting with young audiences and that was the kind of expertise they were looking for on the board. So they asked me if I would like to get involved and I said: “Yeah, I’m more than happy to!” ER: Tell us a little bit about your photography exhibition In and Out of the Public Eye.

EB: It’s all about trying to raise a bursary for disadvantaged groups and if you look at Raleigh’s history, it was set up by the Prince of Wales – the Duke and Duchess of Cambridge both went on that. The people who do Raleigh tend to be future leaders, captains of industry – they do very well in their careers. But if, for example, you’re on the fringes of a gang and if you’re looking for a challenge and you want to do something different, then Raleigh can help. I think, by raising a bursary, we can say: “Well, look, we’ll try and help you get there.”

Indeed, if I wanted to learn a language then I believe this is an empowering and enjoyable way of doing it. The students stay in touch with each other - and when I’ve had students to look after me! It’s amazing how three weeks can bond a group together and end up making friends from different walks of life. The activities – such as bowling, cinema, and trips to London and Bath – were in place not only so that the students had an enjoyable visit, but also so that they could practise their new language skills. Finally, the students put on a performance in English as proof of their progress over the three week period. The students are a mix from all over Europe and Asia, which means there were many interesting cultures that I learned a lot from. Moreover, this is an incredibly rewarding course for the students as they feel they have achieved something.

ER: Whose photos did you take? EB: Trevor Nielson and Tim Westwood...Bill Turnball...a lot of movers and shakers like the director of the Royal Opera House. I lot of people I used to work with and for. I’ve photographed almost 90 people! The girlfriend of Rolling Stones’ Ronnie Wood, Ana Araujo, heard about the project and asked to be involved. There’s the Director General of the BBC, also. A guy called Wretch 32 who’s an up and coming rapper and the actor Vas Blackwood from Lockstock. ER: How much of the bursary gets paid? EB: There are 3 stages – very broadly, depending on your personal circumstances, a bursary will fund a third, two thirds or potentially the sum. We do expect the young

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Students enjoying activities with Education First

Indeed, if I wanted to learn a language then I believe this is an empowering and enjoyable way of doing it. The students stay in touch with each other and when I’ve had students to look after me! It’s amazing how three weeks can bond a group together and end up making friends from different walks of life. EMILY MCDONNELL

person to raise some of the money themselves. Depending on your circumstances and your commitment and your ability to raise the funds, we’re basically saying we’ll help you. ER: Why do you think this scheme would be particularly good for students? EB: I think it’s particularly good for students because the employer market place is so competitive. Raleigh gives you a very good grounding in how to organise yourself – which can be quite a challenge. Raleigh would be a big tick on your CV. I know some employers who, when seeing someone has worked with Raleigh, part of the interview is already passed as they know the type of person they’re dealing with. ER: Have you got any advice for students looking to go into the media? Decide where you want to go, e.g. a programme you want to work on. Critique it, positively, and suggest how you would improve it. If you can’t get practical experience, go out and actually do the job. Networking with whoever you can is a great opportunity. Don’t look gift horses gift horses in the mouth. It might look like just you’re just filling up cups of water, but you never know whose cup you’ll be filling. EMILY RAY

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Interview: Bear Gryllz

Sunsets & Silhouettes

A great man once said that, “After the party it's the after party”, and so it seemed it was as the group stumbled through the hotel lobby to continue the carnage. Hips swayed and bums shook to the vibrations as the heat of the night hung over us . And while the rest danced I sat amused, and drank, until the dawn came and we swam naked in the fresh Croatian surf. Breasts floating like buoys in the young morning waves.

CROATIA CROATIA!!! I arrived in Pula after my transfer from Zagreb, where I had stayed for a night in a cheap hotel with a kind young matradee with an unfortunate amount of facial stubble, to the dull thuds of basslines hitting me in my ear drums while I waited in the blistering heat for the rest of my entourage to arrive. I sat on my suitcase on the dirt path, chain smoking cigarettes, and watching the drabble of snapbacks over clean fades and denim shorts over tattooed legs wander past and through the security gates. This was a rare sober moment, I had just started my first 2 litre bottle of Croatian beer, and I was savouring the weekend ahead. By midnight that night I would be too drunk to think let alone talk. Luckily I filmed some of the times during that weekend otherwise it would be a black hole out of which the only images that could be summoned would be a sweaty blur; an overexposed low shutter speed shot with faces pulled out of all recognition like an acid effect in a low budget film. I think it was about 1am when I stumbled, down crumbling stone steps, across The Heatwave set at the Mungo's Hi Fi, my press pass gone and all my footage of David

The rest of the weekend was much of the same, beach parties, pool parties, boat parties and dirty Bass. Of course, everyone you spoke to said it was nowhere near as good as last year- too big now, too commercial, too geared toward young mess heads who just want to get fucked up and aren't even there for the music- but they didn't bother me. I enjoyed it all.

Rodigan that I had taken earlier in the evening as missing as I was. Benjamin D and Rubi Dan jumped around the stage uniting the crowd in appreciation for the dancehall and bashment that Gabriel Heatwave was unleashing. Only a couple of faces dropped when, faced with the option of dancing with a couple of boys in the crowd or the men on stage, young curvaceous woman climbed the stage to dagger in front of the masses. The song of the set was Palance, a summer favourite, which set people off moving left and right in unison but with all the elegance of a bull in a china shop.

By the time I arrived at Venice airport for my return flight I was convinced everyone was moving in slow motion like sleep walking ants, rats or cockroaches to the point I could feel them on me and I was itching all over. Momentarily lapsing in and out of consciousness only to be thrown back into the middle of a packed out rave, in a moat, with thousands of hands moving up and down in unity. And so I remain. Until, next year. QUIMBY JONES ILLUSTRATION: TRAV ART

He’s a born adventurer, surviving in some of the toughest terrains in the world. I wanted to know what makes him tick and how he managed to land the most amazing career on Earth. ER:You’ve forged a successful career out of your survival exploits. How did you manage it? BG: I've been super lucky really to find a job that has been my life since I was young. I was trained to climb by my dad as a kid and followed a very heavy martial arts background growing up. This lead me to my time with 21 SAS and eventually Everest and beyond. Channel 4 read the book I wrote on Everest and approached me to host a format where I get dropped into the wild and then use my skills to show how I would get out of there! The rest has been a blast! ER:Do you think travelling the world should take precedence over studying? BG: The best is to combine them both! I wrote and emailed back by satellite phone my Spanish essays for university from our base camp in the Himalayas when we climbed the supposedly un-climbable Ama Dablam I love that! ER: Tell us a little bit about the charity Global Angels that you are an ambassador for? BG: They champion the most needy under-funded but incredible children's charities worldwide and 100% goes to saving lives - no admin costs etc. It is a privilege to be able to have a chance to save lives. ER: You hiked across Iceland with Jake Gyllenhaal as part of your show ‘Man vs. Wild’. How did this come about? BG:He was a fan of the show and I dropped him a note to ask him to join me- to his credit he was gutsy and said yes - no questions asked. He is a top guy and good buddy and worked very hard with me in some crazy tough storm conditions. ER:You’re lost in London, with no money, no contacts, no food: just the clothes you’re in. What’s the first thing you’d do to survive? BG:Give something away. It is a law of the universe - to receive you gotta give first. Sounds mad but it is true...

The Museum of Everything: Exhibition #4. Take a break from shopping to have a look at at the collection of art on display at Selfridges. The exhibitionThe exhibition runs until 24 October.

Boardwalk Empire - Season 2 Take a break from going out to enjoy the second season of the acclaimed Boardwalk Empire starting on Sky Atlantic in early October.

Autumn Cheese and Wine Festival The Southbank Centre Square welcomes stands selling cheeses, wines and related products from around the globe. The festival also includes tastings, talks and demonstrations. The festival takes place between 14 and 16 October, for full details visit www.cheesewinefestival.com

LISTINGS Scala Forever Running from now until the middle of October. Scala Forever is a season of films reliving the legendary Scala Cinema’s programming history and celebrating the current repertory film scene in London. See www.scalaforever.co.uk for more information.

The House of Annie Lennox Renowned for her quirky fashion, gutsy vocals and political campaigns, a collection of clothing, mementos and personal items are on display at the Victoria & Albert Museum tracing the career of an icon of British pop music.

Bafta and BFI Screenwriters’ Lecture Series Offering budding screenwriters the opportunity to hear from industry experts. Running until 30 September. See www.bafta.org/screenwriters for further information. Star Wars: The Complete Saga Abandon your social life, close the curtains and savour the entire Star Wars series in Blu-Ray. George Lucas’ includes previously unreleased scenes and documentaries on the franchise. Available from Twentieth Century Fox from 12 September. The Playboy of the Western World Star of hit E4 show Misfits, Robert Sheehan, takes to the stage at the Old Vic Theatre in JM Synge's The Playboy of the Western World. John Crowley directs. The production runs until 26 November. Summer Opening of Buckingham Palace Join the throngs of tourists that descend on the Palace to have one final look at the dress worn by Kate Middleton during her marriage to Prince William. Also on display are a special exhibition of eggs by the Russian jeweller Carl Fabergé. The Palace closes to visitors from 3 October.

Grief at the National Theatre Following the success of ‘Two Thousand Years’ Mike Leigh returns to the National Theatre with his yet-to-be-written play ‘Grief’. Little is known about the production beyond its title and the names of the actors involved, including long-term collaborator Lesley Manville. ‘Grief’ runs at the National Theatre until 28 January 2012. Bloomsbury Festival Not until the end of October but definitely a weekend to pencil-in to the diary, a range of cultural events take place across the area. The festival takes place between 21 - 23 October, see www.bloomsburyfestival.org.uk for further information. Postmodernism: Style and Subversion 1970-1990 Reflecting on the modern age, this exhibition at the Victoria & Albert Museum includes works by Jeff Koons and Jenny Holzer. Runs until 8 January 2012.

PJ Harvey Surely the hottest ticket in town following her recent victory at the 2011 Mercury Music Prize, PJ Harvey takes to the stage at the Royal Albert Hall to peform tracks from her album Let England Shake. The gig takes places on Sunday 30 October. London Bierfest Old Billingsgate Market plays host to a collection of Bavarian beer and food, with musical accompaniment from a traditional 'oompah' band. This event takes place on 5 -7 October, for more information see www.londonbierfest.com

Gerado Tristano

A Minimalist Pop Composer

Topshop, Westfield Stratford City Visit the new Topshop during its opening week and take advantage of in-store makeovers, resident DJs and for those who spend over £60, a London Fashion Week survival kit. The shop will also share many of the perks previously only available at their flagship branch on Oxford Street. The event runs until Wednesday 12 October.

Cool Hand Luke Opening at the Aldwych Theatre, the Strand, on 23 September, Cool Hand Luke stars Marc Warren of Hustle fame in the legendary role once played by Paul Newman. Tickets starts from £15.00 Rothko in Britain Seduced by the Tate Modern’s Rothko room and looking for something more? You’re in luck as the Whitechapel Gallery are running an exhibition revisitng their 1961 show of Mark Rothko. The exhibition will include photographs, letters and other material from the archives, as well Rothko's painting 'Light Red Over Black' (1957). The exhibition runs until 26 February 2012.

Dr Faustus Christopher Marlowe’s classic work continues its popular run at the Globe Theatre. Catch a performance with tickets from £5.00. Closes Sunday 2 October. For more information see www.www.shakespeares-globe.org

Mansion House - a music group based in London that love making instrumental music - play the work of minimalist pop composer Gerado Tristano. With Tristano’s music set against the backdrop of West London’s St James’s Church this is surely a night not be missed. Saturday 1 October 2011, 7pm St James’s Church, Piccadilly, WIJ 9LL Tube Station - St James’s Park Tickets £10.00 and available from www.theticketsellers.co.uk