Platform Magazine - Summer 2010 by Nottingham Trent Students Union

w w w.p l a t f o r m- o n l i n e .n e t

Summer 2010

Barcelona

A guide to Gaudi’s playground

Tarantino vs. Scorsese Foals

The Male Pill

The rising star of contraception

Festival Focus

This summer’s best festivals

A Midsummer Night’s Dream

and their search for the Holy Grail

Shakespeare comes out to play

Mephedrone

Plant fertiliser gone bad

Summer Style

Your guide to this season’s hottest fashion

THe FutuRe is CHaos The Futureheads fight back

www.platform-online.net Editor-in-Chief Glen Davies

glen.davies@su.ntu.ac.uk

Designer Stephanie Combs

stephanie.combs@su.ntu.ac.uk

Deputy Editor Andrew Trendell

deputy-editor@platform-online.net

Online Editor Aaron Lee

online-editor@platform-online.net

News Editor Fraser Wilson

news@platform-online.net

Community Editor Nik Charity

community@platform-online.net

Music Editor Tom Warmsley

music@platform-online.net

Film Editor Becky Wojturska

film@platform-online.net

Pictures Editor Stefan Ebelewicz

photos@platform-online.net

Arts Editor Alexander Britton

arts@platform-online.net

Fashion Editor Laura Morrison

fashion@platform-online.net

Food & Drink Editor Molly Woodruff

food@platform-online.net

Travel Editor Lucia Miyashita

travel@platform-online.net

Gaming Editor Aaron Lee

gaming@platform-online.net

Health Editor Danielle Almond

health@platform-online.net

Sports Editor James Haigh

sports@platform-online.net

Editor’s Letter

ell, this has crept up on me. This time last year, I had just been elected Platform’s next editor, at an odd little meeting in the bowels of the students’ union. I had big plans. We were going to take over the world. Unfortunately, in January this was snatched from us, along with our printing funds, because of NTSU’s deep financial woes. It’s a tremendous shame. If it’s not back in print next year, I’m cracking skulls. Our saving grace was Platform Online, which we set up in November. Taking most local newspapers’ expensive websites and rubbing their faces in it, it’s a brilliant piece of kit which should be used and expanded for decades to come. Our continuing e-magazine service means that readership had multiplied five times from last year’s print circulation, and 15 times from last year’s online PDF version. Tasty. Our world-dominating plans are still appearing. Recently launched is Platform TV, where you can watch video interviews and catch the bits that we cut out in our features. There’s also a new podcast service, where the team debate of their areas of expertise. And so, seven issues down the line, here we are. The last Platform of the year. I’m not weeping uncontrollably as I write this, but it’s odd to think how fast it has all flown by. However, we’re giving it a proper send-off with a summer issue that will curl your hair and straighten your pubes. Between these pages is a super-sized music section, with interviews from The Futureheads, Beverly Knight, Frightened Rabbit, Foals and Huw Stephens. There’s also a look at the festivals we’re most looking forward to this summer, and our usual mix of reviews. There’s a sniff of mephedrone in News, some great theatre reviews in Arts and a full catalogue of seasonal sexiness in Fashion. To top it off, Health has a curious article on the new ‘male pill’ (no, me neither) and some very helpful advice for avoiding exam stress. There’s also a section on the NTSU Awards and a lovely page about all of us and why we are awesome. Frankly, if you don’t want to read on, you’ve failed Darwin. So this is it. The teary goodbye, the Titanic moment. We’re going out on a great high after a genuinely brilliant year doing some pretty awesome stuff. Be sure to keep checking Platform-Online.net over the summer for our arse-kicking festival coverage, and be nice to next year’s team. Unless Glen Davies they’re rubbish, in which case you can give them hell. Goodbye Platform, goodbye NTU. Editor-in-Chief

Platform is an independent publication and any views expressed herein are not necessarily those of the Editor or of the Nottingham Trent Students Union and its Elected Directors and Officers. Companies advertised in Platform are not necessarily endorsed by Nottingham Trent Students Union. No part of this publication may be reproduced without the prior permission of the Editor.

Contents News

Film

Fashion

05 | Mephedrone

28 | Tarantino vs. Scorsese

07 | Academic Answers?

30 | Classic Film Reviews

44 | Fashion Editor’s Intro

Reservoir Dogs, Inglorious Basterds, Raging Bull, Shutter Island

45 | Style First, Action Later

08 | Union News & Events

32 | 3D Films: For and Against

46 | Clean Minimalism vs. Colourful Eclecticism

p16

p40

Music

Photos

Cover Story

34 | Live Music Photos

12 | Platform Interview: The Futureheads

36 | 2009-10 Platform Committee

Ellie Goulding, Gorillaz, Temper Trap, Kids in Glass Houses

26 | Album Reviews Foals, LCD Soundsystem, Stornoway

Arts

p46

48 | NottSoDependent 50 | Fashion photo shoot

Food & Drink 53 | Ropewalk’s Roast 54 | Say Cheese

38 | Theatre Reviews

A Midsummer Night’s Dream, Our House, Hedda Gabler, BBC Philharmonic Orchestra

Travel

42 | TV Adaptations

56 | Barcelona

43 | The Art or the Artist?

Health 58 | The Male ‘Pill’ 62 | Tips on Coping with Exam Stress

News Mephedrone | Academic Answers?

Edited by Fraser Wilson | news@platform-online.net

Mephedrone

As the media screams blue murder over mephedrone, Fraser Wilson discusses the legality of drugs.

Clean up this meph F

ollowing weeks of media pressure, mephedrone – the formerly legal high – is now safely criminalised. And with this reclassification by the government, it seems that the prospect of legalising all drugs in the UK is now as unlikely as ever before. The issue has resurfaced, however, as many of the same arguments against criminalising legal highs apply to this rather controversial debate. Those who are in favour of legalising all drugs – from cannabis to cocaine – claim that it would be beneficial to both drug users and society as a whole to do so. And while there would still be drug fuelled crime and deaths as a direct result of substance abuse, it would be better than it is now. In terms of appealing to the Daily Mail readers of middle of England, the most compelling argument is that the

legalisation of drugs would significantly reduce crime by removing the criminal underbelly. While many may not care about drug addicts, they do care about their home, possessions and family. In theory, by legalising drugs, less users would have to resort to crime to feed their overwhelming, irrational addiction.

For drugs users – whether habitual or casual – legalisation would be greatly beneficial. While both legal and illegal drugs are dangerous – forewarned is forearmed. And by guaranteeing purity, at least a small amount of the danger that currently surrounds illegal substances could be tackled. Indeed, the death of the two teenagers in Scunthorpe, which has led to the criminlisation of mephedrone, seem to have been caused by a contaminated batch and ‘improper’ usage. Tina Hine from Drugsline, however,

www.platform-online.net |

News

believes that legalisation is a double-edged sword as at least their criminalisation makes it unequivocally clear that drugs are dangerous.

“One of the major problems with illegal drugs such as cocaine or heroin is that they are often mixed with unknown substances so people don’t really know what they’re taking,” she concedes. “However, the reason that these drugs are illegal is because of how deadly they can be and also the dangers of becoming addicted to them. So at Drugsline we don’t believe they should be made legal, as this may encourage more people to use them, which could lead to more deaths, more ill health, more crime and more damaged families and relationships.

likely to try it once they heard about it anyway. I don’t think the deaths will convince people to stop or avoid taking the drug. Look at the amount of people who die from using Heroin, Crack, or Cocaine. People still take these drugs. People often think that it will never happen to them. Sadly, sometimes the only way someone will decide to stop using a drug is if something bad happens to them or someone they are in direct contact with.” “At Drugsline, we believe the key issue is education. Drugs education is not going to stop everyone taking drugs, but it does allow people to make informed choice about drug use – we believe that overall, education can have a greater impact on drug taking decisions than stories of deaths in the media.” Dave, an online mephedrone dealer – who has hung up his laptop since the ban – believes that the drug is harmless and that the government is merely responding to pressure

“Look at the amount of people who die from using heroin, crack or cocaine; they still take these drugs, and think that it will never happen to them”

“We feel that making mephedrone illegal will help to highlight how dangerous it could be and may stop some people using it. However, we don’t think making it illegal will be enough to convince everyone and education and information is the key to helping people make informed choices.” Following a barrage of publicity, mephedrone has become the most talked about drug of the year. And while the media have gotten what they wanted through its criminalisation, they have also significantly increased the drug’s profile. And, perversely, this may lead to more people taking the drug than when it was legal. “In some ways the hype about the drug may actually encourage people to try Mephedrone,” admits Tina. “But in my opinion these people would be quite

from the media. For obvious reasons, his surname has been omitted. “The reporting of the deaths and the reaction by politicians has made me question the drugs policy of this country,” explains Dave. “Before I would have read the story and thought a ban would probably been a good idea. What I realise now is that either some new drug will take its place or the violence and crime that comes along with the criminalisation of other drugs will now apply to methedrone. “So far nobody has actually died directly from taking mephedrone. What actually

| Nottingham Trent Students Union Magazine

happens is that someone dies from taking a large quantity of other drugs along with some mephedrone or has underlying health problems, but that doesn’t make the headlines. I realise that saying we shouldn’t ban this drug isn’t going to win many votes, so I can’t see a change in the immediate future.” Despite the strength of his opinion, Dave has decided to adhere to the law and put his money making venture to bed. “It being legal was the only reason that I started to sell it,” he explains. “And I would only sell it to over eighteens – though it’s hard to be completely sure who is buying it over the internet. “It doesn’t really worry me that people have been arrested who are also involved in supplying mephedrone. I have done a lot of research into this – it’s not something I would have ever got involved in if I thought it was particularly dangerous. It’s not any more dangerous than alcohol. I’m sure the arrests will have been for the supply of an illegal drug but reporting that wouldn’t sell newspapers.” While it is clear that neither criminalisation nor legalisation will solve all of the problems surrounding drug use in the UK, the power of the press is undeniable. And so perhaps a more levelheaded approach by the infamous British press would have the most significant effect and, in turn, contribute to a more pragmatic approach to drug use and its causes by both the government and society. For more information or support about drugs, whether legal or illegal, check out drugsline.org

Enyon side steps the question of whether his site is devaluing education in favour of taking a swipe at both student favourites Spark Notes and Wikipedia, and universities themselves. “Undermining education would be charging students over £10,000 for six hours of contact time a week,” Mr Enyon argues. “The idea that organisations like ours have turned education into a consumerised industry is ludicrous – the system has been that way since contact time was cut and tuition fees increased.”

Academic Answers?

To cheat or not to cheat By Fraser Wilson

hen people consider the value of a good education, they are not usually thinking about pounds and pence. But for Academic Answers and their fleet of essay writing experts, the price of success comes down to exactly that. For a pre-determined price – depending on word count and the grade you wish to ‘achieve’ – the Nottingham based company will provide you with the perfect answer to your essay question complete with full references and bibliography. Prices kick off at a paltry £120 for your average undergraduate essay with the guarantee of a wholly respectable 2.1 mark. While on the other end of the scale, a 10,000 word masters dissertation of distinction quality, comes in at a cool £3,200. Amidst claims that such websites are devaluing degrees and making a mockery of education, the company’s CEO, Tony Enyon, is resolute in his defence of the service he offers.

“We’re not here to help students cheat,” explains Enyon. “Our experts provide the student with a perfect answer and encourage them to generate their own ideas from that. Reading someone else’s thoughts is learning, not cheating. Custom essays are to be used as a model answers to help you to write your own

unique piece of work. “Using a custom essay is just like finding your essay question in a text book or webpage – you wouldn’t hand in either of these, as you shouldn’t hand in a custom essay.” There is, however, no way for either the good people of Academic Answers nor universities and colleges to guarantee that the perfect answers, the references and bibliography that is emailed out to the student – once the payment has been processed, of course – is not exactly what they hand in. Indeed, each customer who opts to give a sizeable chunk of their student loan to the website are guaranteed a completely original piece. “We write bespoke essays for each and every customer – otherwise there wouldn’t be any value in our work,” says Enyon. “Almost every student in the country needs a different collection of sources and information, so adapting a set of essays really wouldn’t cater to the needs of our customers.” Your tailor-made essay comes complete with the cast-iron assurance that it is fully custom and plagiarism-free as well as being protected by a mindboggling seventeen comprehensive guarantees.

To defend an apparently legitimate service with the existing shortcomings of higher education seems a rather flawed argument but perhaps it is the only way it can be defended. Enyon certainly seems unwilling to say ‘yes, this is immoral but it’s not illegal and if students wish to devalue their education then I am happy to cash in on that while they watch Neighbours and play on their iPhone.’ It is all very well to be disgusted by this service but surely not many people actually do this? Well, apparently they do. Enyon says that at their peak Academic Answers receive up to 500 requests a week, while over 5,000 pieces of work have been produced specifically for students at NTU. Enyon believes the number of people logging onto Academic Answers will increase even further. “We have a team of over 35 now, but with over 4,000 freelance researchers – many who are doctors, solictors and lecturers – we’re capable of dealing with the yearly increases in demand. We’re currently growing at 50% customer numbers every year and we have a customer retention rate of 80%.” By customer retention, Enyon means that some students are having essays written for them on multiple occasions; perhaps even bluffing their way through their entire degree before being unleashed on the unsuspecting job market. Now that is a truly worrying thought and one can only imagine what a hollow feeling graduation must be for Academic Answers’ biggest spenders. So, if you have money to burn and an essay due then you may wish to check out academicanswers.co.uk.

www.platform-online.net |

Union News & Events

Held in early May, the NTSU Awards Sponsored by rewarded the hardest-working volunteers at the students’ union. From society organisers to charity fundraisers to media officers, every department was recognised for their work. 23 awards in 11 different areas for volunteers’ efforts were presented at a glamourous ceremony at Byron House, with the night culminating in the NTSU Volunteer of the Year 2010 award – handed to the most successful volunteer at the Union this year. Here are some photos from the evening, along with the lucky winners. Check out those grins...

Hindu Society performing (Photo: Simon Camper)

| Nottingham Trent Students Union Magazine

Volunteer of the Year 2010 Alice Hallows receiving award from President David Cameron Walker (Photo: Aaron Lee)

Hindu Society performing (Photo: Simon Camper)

Funky Fresh Collective performing (Photo: Simon Camper)

Initi8 Volunteer of the Year Brackenhurst Rachel Brewer

Initi8 Volunteer of the Year City Liana Basham

Funky Fresh Collective performing (Photo: Simon Camper)

RAG Event of the Year RAG Skydive - Nahim Akhtar

RAG Volunteer of the Year Jashan Patel (co-winner)

Stride Trainer of the Year Ellen Funston

Stride Attendee of the Year Kajal Modha

RAG Volunteer of the Year Liz McCluskey (co-winner)

Initi8 Volunteer of the Year Clifton & Clifton Outstanding Achievement & NTSU Volunteer of the Year 2010 Alice Hallows

Presenters Jaye Harrison and VP Student Services Matt Proudfoot

(Photo: Simon Camper)

All award winners’ portraits were taken by Simon Camper of Encompass Event Photo www.eephoto.co.uk

ILM Level 3 in First Line Management Olga Khrushcheva & Marianna Poberezhskaya (Not pictured: Jason Morton)

Course Rep of the Year Beth Bramich

School Rep of the Year & Trent Media Best Newcomer Aimee Lyons

If you’d like a commemorative souvenir or photo, then check out the website for all of the photos from the night, or ring 0800 058 8441 if you’ve got a special event that you’d like to capture with fantastic photos. www.platform-online.net |

Union News & Events

Society Event of the Year (‘Shyaam’) & Society of the Year Hindu Society

(Photo: Aaron Lee)

Platform Outstanding Achievement Andrew Trendell

Trent TV Outstanding Achievement Will Esler

Best New Society - Debating Society

Not pictured: Carrie Maclaren Sound Impact Award Leanne Hannabuss

Fly FM Outstanding Achievement Hannah Lupton

Society Individual Contribution Award Juliet Colley

Brackenhurst Outstanding Achievement James Parker

City Outstanding Achievement Kieran Simpson

Vote for Trent Media

Elect next year’s Platform, Fly FM, and Trent TV Officers. Come along to the Trent Media AGM on Wednesday 19th May at 5pm in Bass Management Centre (City campus, by the tram stop) Room 328.

| Nottingham Trent Students Union Magazine

year after the epic 1st End of Exams/Alternative Grad Ball, RaveTrent is back with a vengeance. This time round, we’ve teamed up with Nottingham Uni’s DnB Soc, Rave Soc and Dubstep Soc to bring you an even bigger party that’s guaranteed to get even Gordon Brown dancing.

This year we have XAMPLE AND LOMAX who are signed to Ram Records alongside Sub Focus and Chase and Status. Their forthcoming album is one of the most highly anticipated DnB releases of the year! We have SIGMA who are about to release an absolutely massive E.P on Breakbeat Kaos, the label which bought us Pendulum and also playing is the incredibly talented Dubstep producer, SUBSCAPE who is signed to Caspa’s Dub Police label. His happy dancefloor vibes make him one of the most in demand Dubstep DJs of the moment.

Get a 10% discount on a full-time Masters course

re you graduating this year and not sure what to do next? If you are considering postgraduate study you are entitled to a 10% progression discount on tuition fees when you study any of the full-time Masters courses within Nottingham Business School, Nottingham Law School or the School of Social Sciences*.

You do not need to apply for the discount as it will automatically be deducted from your fee before enrolment. Just choose the course you want to study, remember it doesn’t even have to be in the area you chose for your undergraduate study and we’ll do the rest!

Finally we have Canadian duo ZEDS DEAD who, having just done incredible remixes of Radiohead and Massive Attack, are playing here as part of their UK/European tour. These guys are supported by none other than Kissy Sell Out who, as well as playing their tunes in his recent Essential Mix Live, also interviewed them for his own Radio1 show. So its time to pack up your pens and calculators and dust off those festival wellies and get down to Stealth for the last party of the year before the Summer takes over! HERE COMES THE SUN!! This event is at STEALTH and is open to EVERYONE. Advance tickets cost £6. You can pick yours up at www.alt-tickets.com. For more info go to the RaveTrent facebook group.

Why study a postgraduate course? • Our courses are structured in consultation with industry and professional bodies and taught by experts in their field, many of whom are actively involved in cutting edge research. • A number of courses also offer work-placements, exemptions from professional examinations and can carry benefits such as membership of professional bodies. • Our courses have direct career relevance, allowing you to develop transferable skills for today’s competitive workplace. • Postgraduate students are well-supported in their studies by the academic teaching team and support services provided by the university. Visit www.ntu.ac.uk/pgdiscount for more information. Postgraduate study is an investment in yourself and your own future, your potential is waiting to be unlocked!

NTSU Entertainments this month: Climax @ City - Every Saturday during term time (9:30pm) Double Vision @ Clifton - Every Friday during term time (9:30pm) Assault @ The Pulse – Fortnightly Fridays during term time (9:30pm) ClubNME @ The Pulse – Fortnightly Fridays during term time (8pm)

See www.trentstudents.org for more info

*This scheme is not applicable to sponsored students either partially or fully and applies to 2010 entry only, terms and conditions apply.

www.platform-online.net |

Music

Interview:

The Futureheads

THe FutuRe By Andrew Trendell

he Futureheads are, in my mind, Sunderland’s answer to James Brown. They are the North’s hardest working men in show business and truly are the band you can trust. After a barnstorming debut album that both preceded and set the benchmark for many of their contemporaries, the band were welcomed onto the indie scene with open arms.

But since then, the odds have never been stacked in their favour. They were unfairly dropped by their major label following the release of their brilliant second album – taking them to the brink which would see most bands either allow their friendship to explode or for their creative will to wither and fade. However The Futureheads bounced back, sticking two fingers up to music industry – forming their own independent record label and releasing some of their best music to date. Now, enthused with a defiant punk work ethic, the band have just released another album by themselves. Their fourth album is aptly titled ‘The Chaos,’ and it’s brilliant. I met up with singer Barry Hyde and guitarist Ross Millard backstage at Rescue Rooms before their sold out show. They are, understandably, in very high spirits. “We’re really chuffed with this record,” beams Barry Hyde, in his trademark sharp attire. “It’s been ten years since we formed and for us to still be holding on to whatever it is that we have and our creativity is quite rare.” The frontman would be the first to admit that the fact that they’re still together and in top form despite all of the turbulence and tribulations is nothing short of miraculous. “Considering the amount of things that have happened to the

| Nottingham Trent Students Union Magazine

band over the years, I think it’s quite incredible that we’ve managed to create such a bombastic and confident record. We’ve proven to ourselves that this is our life and our reason for being here and that takes a lot of time and courage to realise.”

“Oh totally!” chirps guitarist Ross Millard, bouncing with enthusiasm. “There have been a lot of things happen with the band and we feel like the way we release records and operate as a band now is on our terms and we’re responsible for everything, including the amount we get out of this whole process and this way of working. It’s up to us to have a good time and it’s up to us to give other people a good time also. It kind of always has been but I think that doing it independently always brings that home a little bit more.” Indeed, it’s not easy to cut it as an independent band and make yourself heard and appreciated in a sea of noise, but The Futureheads are a band well suited to the lifestyle they have created for themselves. “We accidentally got signed to major during a time when major labels were still powerful,” says Hyde. “They still obviously, but they were a lot more powerful than they are now. We got in at the very end of this era of music industry indulgence. We saw the end of that and watched it die and we were part of that death. Then I think we went back on the path that we were always meant to be on. I think that this is where we belong.” Hyde adds: “It’s a matter of being creative entirely by yourself and playing entirely by your own rulebook and anyone can do that – you just have to have the courage to do so.”

e is CHaos The Chaos is much darker in atmosphere and sound than its predecessor, and anything else they have done before. With sinister and paranoid lyrical themes set to sharp yet menacing 100mph post-punk music, it makes for a fairly gloomy record.

“It has got a bit dark,” admits Hyde, “but the message of the album is very much a positive outlook on quite a negative situation which I think is the way to be in the modern world because it is an absolutely chaotic mess, but if you let that get to you then you go insane very quickly and become very upset with being here. “The ultimate message of the album is that everyone has these major things in their lives that they need to deal with and it’s about doing it in a positive way but do expect life to be a little chaotic. Some people may think that life is supposed to be this very linear and gradual thing with no surprises, but we should all expect the unexpected, as the great Bruce Lee once said.” You’d be forgiven that the chaos of the band’s own journey as a band, existing in the tumultuous and confusing nature of modern times, was perhaps the inspiration behind the record. I put this idea to Hyde. “There seems to be a pattern that has constantly been in motion since the beginning of time which is all about growing and evolving but it’s done in a very frantic and chaotic manner, but there is an order to it. We wanted the music to reflect that – it seems chaotic but it’s a simple linear idea. Combining chaos with straightness and order is what we do – it’s what we’ve always done as a band.”

After rising to prominence and public attention off the back of their smash hit cover of Kate Bush’s Hounds Of Love and their universally celebrated eponymous debut album, the band landed a slot on the NME Awards tour 2005 – alongside The Kaiser Chiefs, Bloc Party and The Killers. Considering The Futureheads have never faltered in terms of the consistent quality of their albums, one may find it obscene that the band haven’t lived up to the same commercial success as the rest of the class of 2005.

“We could have more fans, we could have fewer fans,” shrugs Hyde, “but we’re happy to be here and play for the people that want to come and see us. We’re not trying to become a massive hit band like The Killers or some of our other contemporaries that went on to sell millions of albums, that was never our role or destiny. Even though we had the carrot dangled in front of us, you can never eat the carrot. It’s always in front of you so you just have to enjoy the fact that you’re a donkey,” he laughs with a deep sense of comfort and satisfaction. Then, quite brilliantly and succinctly, Ross turns and smiles to crystallize the entire philosophy of the band: “There’s a great thrill in the chase, its famous y’know – the thrill of the chase.” Amen.

To read more of this interview, including the band revealing all about their plans for a Christmas single and a musical along with live footage and photographs then head over to www.platform-online.net www.platform-online.net |

Music

Dinner with Auntie Bev Interview:

Beverley Knight

Beverley Knight has come a long way since her debut album in 1995. After gaining a degree in Religious Theology and Philosophy, Wolverhamptonâ&#x20AC;&#x2122;s favourite daughter has gone on to release seven albums, work with the likes of Chaka Kahn, Prince and Stevie Wonder, as well as racking up a doctorate and an MBE. Andrew Trendell grabs a bite to eat with the soul sensation, with some food for thoughtâ&#x20AC;Ś

| Nottingham Trent Students Union Magazine

everley Knight is starving. It’s been a long day of press interviews and sound checks for tonight’s gig in celebration of Smooth Radio’s birthday. She is currently in the depths of a campaign for her latest album ‘100%’, the first record she has released independently on her own label – hungry work indeed. “Sebass!,” she gleefully screams, with eyes lit up and arms aloft, before the timid waitress even lets a word leave her mouth. “And can I have some rocket and some parmesan please?” she grins, licking her lips. As she relaxes into the plush and chic surroundings of Tonic bar and restaurant, before tucking into a bowl of olives and letting out a mock sigh of exasperation. It seems that the past few months, although being quite rewarding, have certainly taken their toll. “It’s been hard bloody work,” she sighs, rolling her eyes. “It was also really fulfilling at the same time. I really enjoyed just looking at spreadsheets and working on the technical administrative side. What artist do you know that looks at spreadsheets? It’s a whole new world but I strangely enjoyed it.” As countless other artists grow weary of the greedy approach of major labels who are becoming more and more archaic in a digital world, Beverly Knight also saw this as the prime opportunity to go it alone. “The whole ‘old model’ of big major record labels is dying – they are really on their last legs. That’s been no better exemplified than with EMI, which was my home and I saw the writing was on the wall which is why I got out and decided to do things independently. “Creatively I wanted to take control of the music, the writing, the single releases, the artwork – everything. Not that I’m a control freak, mind!” Spreadsheets and pie-charts aside, ‘100%’ is a joyful album. With traces of soul, funk and disco-pop, Knight comes across on record just as she is in person – comfortable and confident. The album also gave Knight the opportunity to work with some famous friends, including the iconic Chaka Kahn. “I’ve worked with Chaka for a number of years, doing live shows n’ that, and I think she’s just an absolute icon,” she admits. “We got into the same room

which was great because you could really feel the energy there. Working with a legend like her was really just incredible for me.” As well as the established legend of Chaka Kahn, Knight also enjoyed collaborating with the up and coming miniature pop hero Chipmunk on the album. “He’s someone I’ve known a very long time, having watched him since he was a very little kid, as opposed to being a slightly bigger kid, and I just absolutely adore him and wish the best for him. He’s a fantastic little fellow and I loved working with him.

both in music and for charity. “It was absolutely mental,” she staggeredly confesses. “I never in my born days thought that I’d be someone who would ‘enter into the establishment’ and I didn’t even know that people at that level knew who I was, but there I was at Buckingham Palace with the Queen – not Prince Charles or any lower member of the Royal Family but the Queen herself. “My mum and dad were there in tears and there I was worrying about whether I was going to fall over in my platforms

“‘Auntie Bev!,’ he would say, ‘I’m really chuffed that I’m working with you Auntie Bev!’ But bless him, he’s just so talented.” I ask if I could please start calling her Auntie Bev. She lets out a boisterous infectious chuckle. “Oh go on,” she beams, “everyone else does, which makes me feel really old!” The calibre on her list of collaborations is quite staggering, which is hardly surprising considering the long list of famous friends and fans she has gathered. “I’ve been on stage with Prince a few times. We opened for him when he did his 21 nights at the O2. He saw me perform and knew all about me – he’d done his homework bless him. He grabbed me and said ‘I want you to do my after shows, let’s jam together.’ I just broke down in happiness and started dribbling.” She adds: “Then in 2008 he flew me over to Los Angeles to do his Oscars party, in his house with all of the night’s winners and all of these major Hollywood stars like Wesley Snipes and Penelope Cruz. So there I was, onstage, in Prince’s house, surrounded by Prince and all of these stars, singing with Prince and Stevie Wonder – I can’t even explain how it felt.” To most artists, that would be the sign of a dream come true and a life fulfilled, but Auntie Bev is lucky enough to claim that it wasn’t the proudest day of her life. In 2006, she received an MBE from the Queen for the work she has done

(Photo: Callum Kirkwood) as I curtseyed. It was the most incredible day. Since getting my MBE I’ve got a couple of free pairs of shoes and upgrades on my flights, ‘doin’ my MBE thang!’ but all in all it’s been lovely and everyone’s been really happy for me.” But wait, her list of honours goes on even further. She was even given an honorary doctorate in music by her hometown University of Wolverhampton. Does Beverley Knight ever get overwhelmed by having such praise heaped upon her? “I think that when your town bestows an honour like that on you and says ‘you’re our Bev’ then it’s the most wonderful thing to have,” she humbly admits. “My mum was like ‘you got to make everybody call you Doctor,’ and I was like ‘No, they’ll think I’m a bloody heart surgeon or something!’” Just as she finishes polishing the olives, her juicy sea bass arrives. “I very rarely use the ‘Dr’ bit but sometimes I get invitations and they’re addressed to ‘Dr Beverley Knight MBE’ and I think ‘who the bloody hell is that?’” So there you have it. Beverley Knight: Doctor, MBE and soul sensation. But really, she will always be our Auntie Bev.

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Music Interview:

Frightened Rabbit

Now, if you really want misery, you should look further north to Scotland: Glasvegas, Arab Strap and the Twilight Sad are all experts when it comes to sozzled, sonic sadness. Frightened Rabbit have also made a reputation for making morose and melancholic music, but after a tumultuous few years the band have come back not only fighting – but smiling as well. Andrew Trendell met lead singer Scott Hutchison to discuss sorrow, the sea and success… [Live photos: Lucy Bridger]

ife hasn’t been easy for Frightened Rabbit. Since starting out as an acoustic solo project with singer Scott Hutchison, he has gained 4 more members and gone from strength to strength – struggling with a criminal level of under-appreciation and emotional and physical exhaustion. However, the band’s latest album ‘The Winter Of Mixed Drinks’ is a life embracing affirmation of survival. Drenched in a sense of sonic rapture, the album marks a liberating departure from their trademark gloom-ridden, noise-rock as heard on their brilliant early albums ‘Sing The Greys’ and ‘The Midnight Organ Fight.’ So what’s changed for the band?

“My life has just got much better,” admits singer Scott Hutchison with a gentle smile. “Things have become a lot more settled.” Could it be said then that Hutchison’s new outlook is no better crystallized than on the wonderful ‘Not Miserable’ from the band’s latest album? “That song is a response to the misery of the last album, but it’s sort of a joke as well because I think everyone expects me to be a bit melancholic – even in person as well.” Indeed, the Scott Hutchison I’m sat opposite in Sheffield is a charming, gently spoken cheerful gentleman – nothing like the manic, whiskey-fuelled miserabilist character that shouted poetic tales of sorrow on the band’s first two albums. “People come up to me after shows and they’re surprised that I’m not some kind

LIVIN COLO of dark shadow, hiding in the corner,” he jokes. “Not Miserable Now is just a rebuttal to anyone who assumes that my character exists only of darkness, heart ache and terrible pain. That’s only really about 5% of my character, and the rest is just the same as anyone else.”

The band’s previous album ‘The Midnight Organ Fright’ (a cynical metaphor for sex) was a record clearly fraught with heartache, as Scott wrestled with the demons that followed him after a messy break-up and the never-ending hangover of a gruelling tour. His sense of anxious anguish was almost tangible as he sang ‘Well, I am ill, but I’m not dead, and I don’t know which of those I prefer, because that limb which I have lost, well, it was the only thing holding me up.’ Scott recalls that he couldn’t help but let the trauma of his personal life spill over into his music.

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“At the time I was genuinely feeling all of those things. When writing ‘The Midnight Organ Fight’ I was living between flats and just living wherever someone would let me,” recalls Scott, rubbing his eyes and temple. “I just didn’t know where I was going – I was a bit of a mess really, and I think that comes across on the record.” Luckily, the album was as brilliant as it was dark, earning Frightened Rabbit critical acclaim, international success and a famous following that includes Deathcab For Cutie And Biffy Clyro – who both requested that the band join them on tour. “I’ve become very fond of that record because it’s allowed me to have my own place in Edinburgh and life is a bit more settled. I got to write this record in a lovely place by the sea. I think my

NG IN OUR mental state there helped contribute to the positive aspects of this.”

Lead single from ‘The Winter Of Mixed Drinks’ was the beautiful and euphoric ‘Swim Until You Can’t See Land’ – a real escapist anthem. Throughout the album runs the idea of isolation through clarity, something which Scott himself found very cathartic. “A lot of the album is just about assessing my own mental state at the time. This time round we wrote a record that is more about trying to get back to your former self and figure out who you are. It’s hard to describe it without sounding like a spiritualist hippie or something, but everyone has to do it. The main themes are really about isolation and trying to figure out who you are.” Scott found solace in the remoteness of

the Scottish Coast, and was able to turn his misery into beauty. Through the peace of being able to assess his mental state alone, Scott believes he was able to not only reverse his mental state, but write what critics are calling Frightened Rabbit’s most accomplished and complete album to date.

“I spent six weeks in a village by the sea on the east coast of Scotland and that geographical position of just being isolated and being on my own, helped my filter things through my mind a bit better. I was escaping. Initially I wasn’t even going out there to write, I was just going out there to get healthy again and clear my head but I found myself going into things that I wouldn’t have done if I was with other people in perhaps a more urban environment.” Fans of their old sound should not

despair however, as Frightened Rabbit have still maintained Smiths-esque juxtaposition between sinister lyrical ideas and soaring melodies, to create something truly special. “The thing that interests me is the clash between our kind of refined and even pleasant musical backing to the lyrics which kind of offset it by bringing a darker lyrical edge. The balance between those two creates something slightly more interesting than just straight up indie rock music.” Indeed, you’d expect Frightened Rabbit to produce anything but a straightforward record. Just like their old tourmates Biffy and Deathcab, Frightened Rabbit may have had to walk to long and treacherous road to the top, but it has instilled in them the honest and determined work ethic that comes with years of gradual evolution and dedicated touring. “There is a mark you reach by say, album number three that suggests there is longevity and you can see into a much less shaky future. I think we’ve always been moving upwards and onwards but in a very slow way, which I think is the best way to do it. The past few years have seen us grow stronger and become better at dealing with certain things because we’ve had to deal with so many totally sh*te things as well. That kind of steady and gradual climb is one that suits us well.” No longer singing the greys, Frightened Rabbit are truly living in colour.

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Music

Interview:

Huw Stephens

Music mogul Huw Stephens stops to talk about all things new, life on air and Radio 1’s Big Weekend, Michael Macleod investigates... Michael Macleod: Hello Huw, are you having a festival filled summer? Huw Stephens: Well Radio 1’s Big Weekend is coming up. In the summer I’m with the Radio 1 Introducing stage to Glastonbury and Tea In The Park. I’m also hosting the main stage at Reading at some point which is something I do every summer and is a lot of fun. I’m on stage at Latitude as well, a festival in Suffolk and DJing at Bestival. MM: Where is Radio 1s Big Weekend being held this year? HS: It’s in Bangor. I’m looking forward to it so much it’s going to be great. It’s always so much fun for all the DJs and the crowd. Plus this year it’s my homeland of Wales and Bangor is a lot of fun. There are a lot of big music fans up there. It’s always a great weekend wherever we go, but I think this year’s going to be special. MM: On your show we hear a mix of everything, but is there a particular genre of music that you identify with? HS: I like a lot of rock, in the new sense of the word. I went to see Band of Horses play last night, but also I listen

to a lot of electronic music and all sorts. Like a lot of people nowadays it’s that awful answer: ‘I like a bit of everything’ MM: Even Happy Hardcore? HS: Now and again I put some happy hardcore on yeah, nothing wrong with a bit of that! MM: Isn’t there? Has taking over the new music show introduced to music that you wouldn’t have listened to otherwise or where you this indiscriminate before? HS: I’ve always had a balanced music collection, but there have been new introduction that have come along. I like a bit of Dubstep these days and get sent some grimey hip-hop now and again. Music tastes change with the years and mines no different. I’m much more tolerant of pop music now than I was ten years ago. I genuinely believe there’s some quality in everything really. MM: You must be very busy these days but do you still find the time to go digging through record crates and websites looking for new music yourself?

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HS: I don’t have anyone helping me actually; I filter through all the stuff myself. That’s the main part of my job. I listen to all the CD’s that come in, I’m on MySpace, Facebook, Twitter and I try and listen to every CD I get given. I can’t play it all of course; I don’t even have time to get through all the good stuff! I filter it down so that I feel I’m playing the most exciting new music out there you know. MM: Who is your idol within the music world? HS: Well working with Radio 1 and being a big music fan, my idol has got to be John Peel really. He was a big supporter

pick something outstanding. So I picked Frankie and the Half Strings, a band from Sunderland. That was the band I thought deserved to be heard by this kind of audience the most, so them I would say. They will be on the Radio 1 new music stage at the big weekend. It’s good that bands take their time really and don’t just try to be the next big thing all of a sudden because they can crash and burn. MM: And also with quick success comes pressure to change the sound or to recreate old things. HS: Exactly, the best bands have longevity because they take their time and work hard at it. MM: Are there some names you would like to throw out that might be big in the future? HS: Well there are certainly three bands I’d encourage people give a listen to. Islet are really good. Trash Talk are brilliant. They’re a hardcore band from America who are just ridiculously good live. Also a producer called Toro Y Moi. He makes this beautiful, subtle electronica music which is awesome. So I think those three would be my current hot tips to check out. MM: What’s the worst thing that’s happened to you when you have been on air?

of new music and someone who had such a massive influence on what people were listening to. MM: What’s your favourite act that’s broken through on your music show? HS: Oh, that’s a tricky one! I’m a big fan of Storm Away, who have an album coming out on 4AD soon. Beat Buddies also, who are from Swindon and are on tour with N-Dubz at the moment. Those two I’ve played recently who I think will do really well. I love every track that I play on my show otherwise I wouldn’t put my name on it, but it’s hard to tell which ones will make it. Sometimes I’ll play them once and that’ll be it, but

sometimes I’ll play a band and they’ll go on to mainstream success – it’s hard to know what role the show plays in that really, but I hope that showcasing new bands gives them a bit more of a chance.

HS: Well I took us off air once. We were doing the show on Radio 1 in Cardiff, and I kicked a switch that took us off air for two minutes. It doesn’t sound that long but in radio terms that’s an age. It wasn’t ideal but I didn’t get fired so it was all good. MM: Who would win in a fight between you and Zane Lowe?

MM: If you could force everyone to listen to one act in an attempt to get them the appreciation you believe they deserve, what act would you choose?

HS: Zane definitely, because he works out and I do not. He’s from New Zealand and you know that Hakka that they do. That’s scary man, I reckon Zane could do that and beat my ass easily I reckon.

HS: Well I actually pretty much had to make that choice the other the other day when standing in for Chris Moyles and I got to pick a record to play. I’m thinking, there are 7 million people listening to this show so I have got to

MM: Huw it’s been a pleasure. Hope Radio 1’s big weekend goes well for you. Huw Stephens will be appearing at this year’s Graduation Ball. Tickets are on sale at SU Express and online at www.gigantic.com.

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Music

THE VIR OF FOAL Interview: Foals As indie-darlings and magazine cover stars, Oxford band Foals always fought hard to defy expectations and fulfil the hype. As the band warmed up to release their new album ‘Total Life Forever’ and bring their tour to Nottingham, Andrew Trendell had a quick chat with guitarist Jimmy Smith to talk about math-rock, mass appeal and moving forwards.

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ype can be hard to deal with. As music becomes more and more disposable and fashion sees bands come and go, recent years have seen countless bands crushed under the weight of the expectations laid upon them. Many feared that Foals would share the same fate, as the buzz surrounding them grew more and more deafening. Fortunately, their debut album ‘Antidotes’ was a triumph. It was an awkward yet infectious record, and saw them top many ‘best of’ lists, and gained them the reputation of one of Britain’s most promising young bands. Their new album ‘Total Life Forever’ is an accomplished sophomore album. Vast and euphoric, it shows a clear departure from the dark claustrophobia of ‘Antidotes’, without losing the band’s charm for enigmatic lyrics and idiosyncratic musical flourishes. We caught up with guitarist Jimmy Smith to discuss how the Oxford five-piece made this huge leap forwards. Andrew Trendell: Total Life Forever is an incredible album. It sounds much larger and more ambitious than your last album with a lot more space and atmosphere. Would you

RTUE LS

AT: With the last album it seems as if a lot of lazy journalists were throwing a lot of labels at you and trying to pigeonhole you into some sort of fixed dynamic or scene or whatever, but this album sounds as if you guys are sitting outside any kind of fixed template. How would you respond to that? JS: I think we got used to the whole labelling process pretty quickly, but that’s just what happens isn’t it? Some of the tags were pretty annoying, like the whole ‘math-rock’ thing. No one had really heard of it so I guess people just started to use it all of the time. I think we are a little harder to pigeonhole now, I think we always were a little bit. I think it’ll challenge people a bit more. AT: In light of that, how do the new songs rest alongside the old ones? JS: We just did a short tour of Europe and tried out some new ones and they went down really well. The new songs seem to be working well with the old ones and they’re kind of making the old songs sound better than they used to. We also get to have a bit of a breather with these songs – we’re not just running around like lunatics at break neck speed for an hour. It’s definitely more dynamic and we’ve a lot more different emotions on display. AT: You guys have already achieved an incredible amount, but what do you still hope to accomplish? JS: Years ago I set myself some goals in life; one of them was to release a seven inch single and another was to release an album that I’m proud of. We were really proud of the last one but I think we’re especially super-proud with Total Life Forever which has ticked off a big box for us. I just think that from now on we need to keep getting better as a band and keep progressing and hopefully we’ll be able to do this for a while. AT: How would you say that travelling the world and playing to an international audience has changed the outlook of the band?

say that was a conscious thing or did that just happen naturally? Jimmy Smith: I think that just happened naturally. We were playing the old songs for so long. Not just for the two years we were touring but for a few years before that because some of those songs were written right at the beginning of Foals. This time round we all had an appetite to make some new music. We moved into a house together so we could write music any time of day or night and at quiet volumes, which is why I think the music has a different sound to it now. We had the space to progress and there are no forced ideas on it. AT: It sounds quite euphoric. What inspired that? JS: Just some old acid house tunes! I remember quite vividly when we writing in spring last year, things were heating up and everyone was just really happy and I think a lot of the music reflects that.

JS: It probably has changed us on some kind of subconscious level. It’s always an eye-opener when you finally leave your own country and see how other people do it. It was a big eye opener to discover that we actually had fans in Japan and South America and all of these places. We went to Brazil which was absolutely bonkers. We had a week in Sao Paulo which was insane, they’re great people. We were quite taken aback the first time we had to play a big stage in front of people because the energy is different and it’s not the same as some kind of sweaty little club. AT: To look at the bigger picture, mainstream indie has had a very clear direction for the past 10 years. Where do you think it’s going to go in the next decade? JS: I think its going in the right way in terms of the progression of things with bands like Yeasayer and Caribou who are light-years ahead of everyone else. There are some great bands that blend experimentation with pop music and I’d just like to see it go a bit further towards that. We’re still in search of that perfect pop song – the Holy Grail.

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Music Most student magazines sleep in the summer. Well, so do we – but we sleep in tents in the fields and hostels of the world’s best festivals to bring you the latest up to date coverage. Before festival season really kicks off, Andrew Trendell provides a quick preview guide to a few festival highlights to look out for. Dot To Dot

Nottingham, 30th May Forget SXSW and the Camden Crawl. At the end of this month, Nottingham will once again be holding one of the country’s finest inner-city. Dot-To-Dot looks to be a highlight of the music calendar, bringing together a diverse array of brilliant new music across the stages of Rock City, Stealth, Rescue, The Bodega Social and Nottingham Trent Student’s Union. This year the line up includes: Mystery Jets, Ellie Goulding, Zane Lowe, Los Campesinos!, Liars, Blood Red Shoes, Twisted Wheel, Washed Out, Jakwob, Lonelady, Doorly, Egyptian Hip Hop, Chapel Club and Daisy Dares You. For more information visit www. dottodotfestival.co.uk

Download Festival

Donington Park, 11th-13th June Continuing the 30 year legacy of the legendary Monsters Of Rock festival at hard rock’s spiritual home of Donnington, Download unleashes another historic line up for lovers of all things heavy. “When people think about rock festivals, Donington is one of the first places they think of, if not the first,” says Download Promoter Andy Copping. Download this year is headlined by rock royalty AC/DC, the awesome Rage Against The Machine (with their only UK festival appearance this summer) and the heroic Aerosmith. Also on the bill are supergroup Them Crooked Vultures, Wolfmother, Deftones, Megadeath, Bullet For My Valentine, Coheed & Cambria, Motorhead, Billy Idol, Slash, and many, many more. Visit www.downloadfestival.co.uk for more info

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Berlin Festival

Flughafen Tempelhof, Berlin, 10th-11th September Come September, most of Europe has finished partying and music lovers are in the depths of the post-festival blues. But not in Germany where a stellar line-up is on offer to see the summer off in style. It’s not as if you needed another excuse to visit the aweinspiring city of Berlin, but this little known festival is becoming bigger and better every year. Offering the best in dance, electro and indie, this year the line-up includes: LCD Soundsystem, Editors, Soulwax, 2manydjs, Atari Teenage Riot, Fever Ray, Blood Red Shoes, Peaches, Erol Alkan, Boys Noize and loads more. Ich bin ein Berliner. For more info visit: www.berlinfestival.de

Reading and Leeds

Little Johns Farm, Reading + Bramham Park, Leeds, 27th-29th August The filth and the fury of one of the country’s most renowned festivals returns again with a blistering line up. This year the festival, appearing on two sites in both Reading and Leeds, will be headlined by Arcade Fire, the newly-reformed Blink 182 and Guns n’ Roses.

Latitude

Henham Park, Suffolk, July 15th-18th Latitude festival is one of the British Summer’s best-kept secrets; but not for much longer. Now in its fifth year, Latitude has an ever improving line up as well as becoming ever more renowned as an idyllic yet bustling hive of art and culture. From 15th – 18th July the serene and picturesque Henham Park in Suffolk will play host to a comprehensive bill of musicians, bands and artists across twelve stages. The festival comprises elements of theatre, art, comedy, cabaret, poetry, politics and literature. Run by the organisers of Reading/Leeds and Glastonbury, Latitude is certainly a jewel in the shimmering crown of Festival Republic. We spoke to organiser and head of Festival Republic Melvin Benn, who said that his intention was to inject a sense of culture, alongside cutting edge music into Britain’s festival circuit. “It’s really about the breadth and style of offering that really makes it so unique,” said Melvin. “It’s not predominantly guitar bands or electro bands, there’s quite a strong singer-songwriter influence. It’s just got a Sunday broadsheet feel to it in essence – that’s what I was aiming for when I started it.” He added: “Traditionally you go to a festival and the music is the main thing and to find the other arts you have to wander far and wide, but at Latitude I’ve tipped that on it’s head.” The festival will be headlined by Florence & The Machine, Belle & Sebastian and Vampire Weekend, with the Uncut stage headlined by The National, The XX and Grizzly Bear. The bill also sees a rare festival appearance from Empire of The Sun, as well as Laura Marling, Yeasayer, Frightened Rabbit, The Maccabees, Frank Turner, The Temper Trap, Mumford & Sons, Wild Beasts, The Horrors, Jónsi and many, many brilliant more.The line up also boasts an incredible array of talent from the world of comedy, literature and theatre, including Rufus Hound, Richard Herring, Brett Easton Ellis, Sebastian Faulks, Peter Hook, Adam Buxton, John Cooper Clarke, Mark Lammar and countless more. Go to www.latitudefestival.co.uk for more information.

The last time Guns n’ Roses appeared at the festival was their infamous performance back in 2002 when the band were over two and a half hours late in making their way to the stage, resulting in festival organiser Melvin Benn grabbing their tour manager by the throat. “It’s just one of those things where one gets very frustrated,” said Melvinn of the altercation. “The stage was ready and so was the audience but Guns N Roses weren’t ready to perform but they should have been. That was the agreed time, the clock was ticking and the audience were getting frustrated and I think it’s fair to say that I was just venting my frustration on behalf of the audience.” Also on the bill are LCD Soundsystem, Paramore, Weezer, Limp Bizkit, Klaxons, Foals, Dizzee Rascal, Modest Mouse, The Gaslight Anthem, Mystery Jets, The Futureheads, Queens of The Stone Age and many more. The line-up also boasts an exclusive performance from those likely lads The Libertines. Speaking of the band’s appearance, Melvin Benn said: “It’s been something that a lot of people have been suggesting to us for ages. We’d looked at a few times before but never really made an offer and we thought this year was the right time to try, and so we did and coincidentally they thought it was the right time to reform as well. So we made them a nice offer to reform exclusively for these festivals and that suited them well. I’ve been told that Carl and Pete are getting on really well at the moment.” For more information visit www.leedsfestival.co.uk

For more information on this summer’s festivals, including exclusive interviews with organisers and artists as well competitions, photos and our oh-so thrilling festival diary, visit www.platform-online.net www.platform-online.net |

Music Ellie Goulding @ Rescue Rooms

06/04/10

y first thought when standing at the bar in Rescue Rooms was not who are the support band, what time Miss Goulding would be on, or even what drink I might order; I was thoroughly perplexed, and still am, about the swarms of OAP’s that seemed to be piling in. Billions of them. Surely they misread Nu-Folk for old folk?

Live Reviews

Goulding finally emerged on to the stage, all sequins and blonde flowing hair, with a guitar strewn round her body. Surprisingly this was less of an accessory and more of an actual instrument for Ellie, uncommon with most of the recent chart toppers. But the star definitely knows how to play it and put it to good use in her opening number, Lights, one of the more pop-ier tracks from her album. I was surprised by the strength and clarity of her voice. This was even more astounding given her later, throaty admission that she has been ill with bronchitis and is still recovering from it, followed by some pleasing comradery between her band as her drummer tells her to “man up”. And man up she did, putting all her energy into crowd winners, Under the Sheets and Starry Eyed, her two big hits. Warbles of “Oh-Uh-Oh” and her banging on a drum as she tossed her thick mop of hair about, whipped everyone into a frenzy, and her vocals even on these faster tracks, continued to impress me. Whilst she definitely possesses the raw materials a lot of pop stars lack these days, she does lack something in stage presence. Hopefully over the next year she will work on her stage craft, and then with her hand penned songs, clever lyrics and strong vocals, Miss Goulding will be unstoppable. Laura Morrison

Gorillaz @ London Roundhouse

30/04/10

p till very recently the opportunity to see Gorillaz performing live has been a rare experience to say the least. In the past, some of the band’s live appearances have relied heavily on complicated setups and lots of electronic trickery. And then, if you managed to get into their show, chances are most of the band would be shrouded in darkness or silhouetted behind a screen. So, in contrast to the band’s gigs of old, it’s difficult to imagine how they might forge a more honest, genuinely protonic live experience than the one exhibited tonight at the London Roundhouse. The masterminds behind the fictional foursome – Damon Albarn and Jamie Hewlett – have finally come to the conclusion that keeping things human is best. And what a revelation it was for all present. With so many contributing artists (did I mention Bootie Brown, Shaun Ryder and Rosie Wilson were there?) the potential for some of them to underperform was high. But amazingly this capable crew of musicians never stooped below excellence for an instant. Closing with crowd favourites ‘Feel Good Inc’ and ‘Clint Eastwood’, Gorillaz first London dates of 2010 were incredibly well received. It was a less technical affair, but one that still required military-like timing to pull off. Damon and company should be pleased they have finally struck a happy balance between the anonymity of Gorillaz’ studio albums and a newfound intimacy for the band’s live shows. Forget smoke and mirrors, because Gorillaz are as real as they need to be. Aaron Lee (Words and photo)

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Temper Trap @ Rock City 03/05/10

ustralian bands, where shall I begin? I’m sorry reader. I’m afraid I may have to pander to a few music journalism clichés. It’s a rare feat for an Australian band to crack the international audience and then achieve longevity. A few have succeeded: AC/DC and Jet have done alright for themselves, and Empire Of The Sun show promise. The Vines were once dubbed as ‘the next Nirvana’ but have since vanished from radar and Silverchair are now only referred to in the most derogatory terms. Will the spark of Temper Trap continue to glow brightly or will they burn out and fade away?

General Fiasco/Kids In Glass Houses @ Rock City

After a whirlwind year of capturing the hearts and ears of fans around the world with the debut album ‘Conditions,’ Temper Trap found themselves soundtracking many a summer last year. It stands to reason that being married to everything from E4 to (500) Days of Summer should attract such a confusing middle aged audience.

The band’s set is short but more than sweet. Naturally the evening’s highlight is the overplayed ‘Sweet Disposition,’ infused with a sense of beautiful atmosphere that breathes new life into the song – making it sound as fresh and majestic as ever. In this live setting ‘Fader’ becomes a far more infectious moment of shimmering disco-rock and ‘Fools’ offers a neartangible sense of tender intimacy. ‘Science of Fear’ is executed with deft Bloc Party-esque passion and precision whilst ‘Drum Song’ is extended into ever lasting orgasmic wall of sound. Tonight should boast a good test for the band’s durability. Pulling off a decent headline slot to an audience of this size after just one album will be no mean feat – especially as said album only clocks in at little over 45 minutes. Yet, with energy and aplomb the lads from Down Under blow the roof off Rock City. May they forever reign as sunshine kings. Temper Trap are truly the sound of an endless summer. Andrew Trendell (Photo by Sarah Louise Bennett)

08/05/10

rriving to an ovation more fitting of a headliner, it is clear Irish trio Northern General Fiasco have a rapturous fanbase. I thought I was seeing the second coming of Busted, only with more angst – and greasier fringes.

Hits ‘Something Sometime’ and ‘Ever So Shy’ whipped the under-16s into frenzy, and no one could deny their talent. But lead singer Owen Strathern’s nasally vocals grated, and songs like ‘We Are The Foolish’ lacked the ingredients to appeal to anyone other than their target teen audience. But the pop punk lads are held in high regard by those ‘in the know’ at the BBC and elsewhere, and acoustic track ‘Sinking Ships’ was the best of the night. Kids In Glass Houses proceeded to shake the main room of Rock City with ‘Artbreaker’, the opener from new album ‘Dirt’. Frontman Aled was his typical nonchalant self, half-singing the lyrics and letting the lovesick ladies in the crowd finish the job for him, while gushing about the opportunity to emerge from the confines of City’s basement. It was a solid set from the boys from Cardiff, tainted only by the reliance on plugging their new LP, and leaving out firm crowd pleaser ‘Easy Tiger’. But as the show wrapped up at the unusually early time of 9.30, the kids and all their kids when home happy. Drew Heatley (Photo by David Bullock)

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Music

Album Reviews

Our pick of May’s Best LP’s LCD Soundsystem – This Is Happening

Released: 17/05/2010

“Y

ou said you wanted a hit,” sings LCD Soundsystem frontman James Murphy, “well maybe we don’t do hits.” His tongue may be firmly in his cheek, but the DFA founder has every reason to display such brazen self-awareness. Having produced two incredible albums which find themselves ranked as two of the best records of the last decade, Murphy returns to a world of high expectations. Having recently announced that this will be last album as LCD Soundsystem, has Murphy gone out with a bang, or is this hit more of a miss? Opener ‘Dance Yrself Clean’ starts as a slow burning signature of clicks and claps before climaxing in a superb and grand synth line. The track wanders into a meandering Wurlitzer of schizophrenic post-disco before Murphy screams “don’t you want me to wake up?” Lead single ‘Drunk Girls’ is everything its title suggests – a short but intoxicating one night fling of dance-rock majesty. Lyrically Murphy reveals the same mature yet decadent voyeurism of metro-sexual nightlife that he previously shown on ‘All My Friends.’ “Drunk girls know that love is an astronaut – it comes back but it’s never the same,” sings Murphy with the profound wisdom of an NYC’s elder statesman of hipsterism. ‘One Touch’ is Murphy channelling the dark spirit of Talking Heads into an eight minute odyssey of glitches, tribal beats and magnificent electronic instrumentation., whilst ‘All I Want’ is a contemporary techno-rock translation of Heroes era Bowie drenched in heavenly yet melancholic guitar resonance and set to undeniably infectious rhythm section – perfectly illustrating the juxtaposition of a drunken love. Have LCD Soundsystem topped Sound Of Silver? No, but he was never going to and that was clearly not his intent. This Is Happening is an altogether new approach for Murphy - offering the sound of an artist comfortable and wise in his own skin but still willing to grow. Make no mistake Murphy still is and always will be someone great. Andrew Trendell

Stornoway – Beachcomber’s Windowsill Release date : 24/05/2010

he BBC’s annual ‘Sound of…’ poll is the perfect tool for lazy music fans to appear relatively knowledgeable about the bands who will be garnering more attention over the course of the following year. This exercise in musical clairvoyance rarely throws up any surprises with many of the acts receiving their allotted 15 minutes before the turn of the year. That said, Beachcomber’s Windowsill, the curiously titled debut album from nominees Stornoway, lends itself to a more enduring appreciation rather than flash in the pan success – because it is a beautiful, beautiful album. Beginning with lead single ‘Zorbing’, complete with vocal harmonies reminiscent of Fleet Foxes, Beachcomber’s Windowsill is a summery, pop-folk masterpiece with delicate instrumentation complementing strong, heartfelt vocals. This is instantly apparent in the aforementioned track, with a monotone bassline and Brian Briggs’ delicate voice giving way to a melodic slice of pop, complete with strings and brass for good measure. The eleven tracks of Beachcomber’s Windowsill flow together seamlessly, with the gently whimsical lyrics suggesting hints of Belle and Sebastian, delightfully accompanied by an organic folk sound that can only come as a result of recording in bedrooms and garages rather than professional studios. But Stornoway are not merely pretenders to the twee crown. Tracks such as ‘Fuel Up’ add another dimension to the album, with its gentle, acoustic chord progression and unimposing percussion demonstrating that they are capable of doing stripped down with as much ease and delight as heavily orchestrated pieces.Beachcomber’s Windowsill is not an infectious album. Rather, its strength is in the fact it is subtly beautiful and completely uplifting throughout the course of the album, something which certainly requires more skill than writing a catchy eight note sequence. The sheer charm of this first album and its light, joyous songs will ensure that Stornoway’s 15 minutes last all summer long, if not longer. Alexander Britton

To read these reviews in full, along with a whole load more live reviews, interviews and features, head over to www.platform-online.net

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Foals – Total Life Forever

Released 10/05/2010

oals have been away at the drawing board for quite a few years. In 2007 they left an array of complicated sketches and mind-bending equations to calculate their universally acclaimed debut ‘Antidotes.’ Now it seems as if the band have wiped the slate clean and made a record as huge and ambitious as the white space before them.

The album opens with the dreary-eyed folky sweetness of ‘Blue Blood’, still twitching with that familiar sense of math-fuelled eccentricity but textured with an intricate yet airy arrangement; it accurately sets the tone for the rest of the album. ‘Miami’ is the sound of Foals possessed by the hip-hop spirit of The Wu Tang Clan. It bounces with an infectious U.S. West-Coast groove, as if powered by the hydraulics of one of Snoop Dogg’s low-riders. ‘Spanish Sahara’ is a sprawling and haunting moment of minimal ambience. It begins with a sparse ethereal haze before it gradually comes to a triumphant dark crescendo. “Leave the horror here,” harps singer Yannis Philippakis, with a gossamer vulnerability we’ve not heard from him before. This is the sound of Foals not only spreading their wings, but soaring high above anyone’s expectations. ‘Total Life Forever’ is a complete and accomplished sophomore album. Vast and euphoric, it shows a clear departure from the dark claustrophobia of ‘Antidotes’, without losing the band’s charm for enigmatic lyrics and idiosyncratic musical flourishes. They have abandoned a strict math-rock template, and as a result this release may divide some fans, but ultimately Foals have retained their formula for compelling and experimental music rooted in a warm pop sensibility – they have multiplied the possibilities. Andrew Trendell

WIN!

Tickets to see Kele Okereke After ten years and three brilliant albums with Bloc Party, Kele Okereke returns with his first solo album ‘The Boxer’. Lead single ‘Tenderoni’ suggests it’s going to be a barnstorming electrodance affair, unlike anything he’s recorded before. To be in with a chance to win a pair of tickets to see Kele perform tracks from his new album at Ultra! Gatecrasher in Nottingham on 13th July, just answer our oh so simple question:

Which flower, much loved by the Dutch, lends its name to one of Bloc Party’s early singles? Send your answer along with your name, NTU student number, address and contact details, via your NTU student email account, to platform@ su.ntu.ac.uk with ‘Kele competition’ as the subject. The competition closes on Tuesday, 15th June. Good luck.

EXTRAS! EXTRAS! EXTRAS!

Be sure to keep checking the music section over at www.platform-online.net for our brand spanking new episodes of Platform TV starring The Futureheads and General Fiasco, as well as lovely new podcasts, competitions and a whole lot more.

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Film

Tarantino vs. Scorsese | 3D Films - For and Against Edited by Becky Wojturska | film@platform-online.net

Here at Platform we are pitting two of the most respected directors against each other. Both are Hollywoodâ&#x20AC;&#x2122;s finest yet have managed to keep their own trademarks in an otherwise demanding business that only wants perfection. Yet unique perfection is what these two often deliver. We look at the men themselves and their films, past and present, to see who has stuck to their guns more; Tarantino, or Scorsese.

Tarantino V Martin Scorsese By Kane Basterrechea

artin Scorsese is the greatest director alive. Unquestionably. With a body of work spanning nearly 40 years, he is certainly one of the most prolific. However, a quick glance at his resume reveals that he has achieved that rarest of things: the perfect balance between quantity and quality.

Mean Streets. Taxi Driver. Raging Bull. Goodfellas. These four films alone, arguably his best, would be enough to secure him a place among the greats. With Mean Street (1973), his breakthrough feature of small time wise guys trying to make a living, he created a blueprint that others would attempt to emulate for years to come. Streetwise characters, surreal dialogue, inventive camera angles, explosive violence and a jukebox- like soundtrack did more than just create a fantastic movie; they provided a bible which directors like Quentin Tarantino would use to form the backbone of their entire career. Crucially, Scorsese did not follow his own blueprint. His next major film, Taxi Driver (1976) abandoned the careening, free form spirit of its predecessor in favour of a darker, more apocalyptic tone. Along with Raging Bull (1980) and Goodfellas (1990) it remains one of

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Quentin Tarantino By Emma Breward

arantino’s films have made him a cult hero, a geek genius and a superstar. As a director he is monstrously gifted, unleashing terrible but exciting images on his audience. Although his films are extremely graphic and violent he still manages an air of accessibility, which is pivotal in what makes him a great. This is done through his ability to see the humorous in the vulgar. Tarantino manages to get the audience laughing at subjects which really they shouldn’t. Take for example, Kill Bill: Vol 1, the final duel between Lucy Liu and Uma Thurman. This scene is incredibly solemn and on a level, beautifully poetic

but when you see Liu’s head you just can’t help but find that funny when accompanied with the line ‘that really was a Hattori Hanzo sword’. Tarantino wants to shock, but ultimately is creating films that treat the audience as intelligent. It’s his use of words and his consumption of pop culture intricately woven into the dialogue, which create this dynamic so intriguingly. His creation of intelligent films extends beyond the writing itself into the stylistic features deployed in an attempt to create something interesting. Often, unconventional storytelling devices are used, almost an echo of the narrative style used within books. This can be seen within the non-linear approach taken in Pulp Fiction. The film jumps about in time integrating plot upon plot to create the final product. These interruptions are what make Tarantino’s

style distinct, his ability to break the ordinary for a viable purpose. The defining quality of Tarantino is that he is creating films he wants to watch. His love of all things cinematic has lead to the recreation and development of film standards in his quirky and ultimately unique way.

Vs. Scorsese the definitive, iconic films if its decade. Even Scorsese’s ‘lesser’ films (Cape Fear, Casino, The Aviator) are films that any director would be proud to have on their resume. Films like the underrated satire King of Comedy (1982) and the Bob Dylan documentary No Direction Home (2005) show off his remarkable range. Meanwhile recent hits like The Departed (2006) and this years’ Shutter Island reveal that age has not diminished any of his talent. Though he is well into his sixties, Martin Scorsese remains one of the most vibrant and passionate directors around. The number of iconic films, scenes and characters he has created is almost uncountable. Plus, he has fantastic eyebrows. What more could you possibly want?

Conclusion: This is a close one and it would be easy to call it a draw, but Tarantino’s Inglorious Basterds keeps all of Tarantino’s directorial trademarks, such as long takes and plenty of gore, whereas Scorsese’s Shutter Island sticks to the conventions of a thriller and wasn’t as “thrilling” as it could have been. Not a clear win, as both directors are innovative and legendary, but a win for Tarantino nevertheless. www.platform-online.net |

Film Inglorious Basterds (18)

Starring: Brad Pitt, Christoph Waltz, Diane Kruger, Mélanie Laurent Directed by: Quentin Tarantino Released: August 2009

Classic Tarantino Films Reservoir Dogs (18)

Starring: Tim Roth, Harvey Keitel, Michael Madsen, Chris Penn, Steve Buscemi, Lawrence Tierney, Quentin Tarantino Directed by: Quentin Tarantino Released: 15th January 1993

eservoirs Dogs brings another brilliant Tarantino instalment. The second, and perhaps most defining films of the Tarantino franchise, it weaves together the story of six strangers who are code-named by colours and brought together by mobster boss Joe Cabot (Tierney) to carry out a diamond robbery. However, when the police unexpectedly show up during the heist and the criminals are forced to fall back to their secret warehouse it soon becomes clear there is a “rat” amongst them. From the professional Mr. White (Keitel) to the sadistic Mr. Blonde (Madsen) we are shown all their integrated stories through flashbacks that gel together to form the tense, heated ending. It could be argued that Reservoir Dogs is Tarantino’s finest film. Often shadowed by Pulp Fiction, this hidden gem is much more understated but with just as much trademark Tarantino touches. The car-boot shots, the imagery and the gore, along with a talented cast and a wondrous use of Stealers Wheels ‘Stuck In The Middle With You’ all serve to make this film memorable, and a classic.

My verdict? This diamond is much more perfect than the Dogs’ failed attempt to steal one. Subtle, perfectly paced and with the perfect amount of action, this diamond is cut and formed to perfection. Becky Elizabeth Wojturska

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he film opens in Nazi-occupied France, and we are introduced to the calculating and cruel Colonel Hans Landa (Waltz) as ruthlessly pursues a Jewish family and executes them. The only survivor is Shosanna Dreyfus (Laurent), who flees to Paris and starts afresh with a new identity but still harbours plans of revenge. Shosanna’s fate quickly becomes entwined with Lieutenant Aldo Raine (Pitt) and his band of men, ‘The Basterds’, as their business of killing Nazi’s leads them to a full blown plan of murdering key figures of the Nazi party at a film premier hosted by Shosanna’s cinema, with the help of German actress-turneddouble agent Bridget von Hammersmark (Kruger).

As you may have gathered, Inglorious Basterds is not your average war film. The characters are quirky but darkly sadistic; actor Christoph Waltz is mesmerising to watch as Nazi Hans Landa, and is truly the film’s glittering gem, as without him the film would lack the right amount of terror that it needs to make the audience stay on the edge of their seats yet still contain enough gore and violence to make it recognisable of Tarantino. However, the violence at times did feel a little “overdone”, as it took the attention away from the storyline and turned scenes more into a gore fest suited for a slasher flick rather than a thriller/ war movie. Overall, Inglorious Basterds is a must see for any Quentin Tarantino fan; the inventive killing techniques and bizarre characters are there, just don’t expect the same level of comedic dialogue as seen in Pulp Fiction or Jackie Brown. Sophie Birkin

Raging Bull (18)

Starring: Robert De Niro, Joe Pesci, Cathy Moriarty Directed by: Martin Scorsese Released: 19th February 1981

ne of Martin Scorsese’s definitive films, Raging Bull is frequently hailed as the best film of the eighties. With good reason. Based on the biography of boxing legend Jake LaMotta, Raging Bull is an uncompromisingly bleak tale of one man’s rise to glory and subsequent fall from grace. Perhaps what’s most alarming about the film, even to this day, is just how unpleasant a character Jake Lamotta is. A violent, volatile and paranoid man, Robert De Niro’s performance is almost uncomfortably intense. Though not “evil”, he remains one of cinemas most flawed characters. Indeed, one of the film’s most remarkable achievements is the pity we come to feel for this vile character as he gradually loses everything he loves and ends up a pathetic and lonely man. With its black and white visuals, sweeping score, elegiac boxing matches and decade spanning story, Raging Bull is an almost operatic experience. However it is a frequently brutal one as well. The superbly directed boxing sequences are unlike anything else ever filmed, both beautiful and painful to watch and containing some of the most dynamic camera work ever seen. With Raging Bull, Martin Scorsese managed to create that rarest of things; a film that is frequently hard to watch yet remains utterly compelling. Kane Basterrechea

Classic Scorsese Films

Shutter Island (15)

Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams Directed by: Martin Scorcese Release Date: 12th March 2010

e’ve had to endure four long years since The Departed, Martin Scorcese’s last cinematic offering and an epic one at that, now five months on from its intended release, the legendary film-maker has retreated back to thriller territory with Shutter Island. As was Robert DeNiro, Leonardo DiCaprio is Scorcese’s modern-day protagonist, collaborating on no less than four of his recent projects, Shutter Island certainly depicts an ominous tale fraught with depth and genuine visual style. Based on Dennis Lehane’s 2003 novel, the year is 1954 and

U.S Marshall Teddy Daniels (Dicaprio) alongside his partner Chuck (Ruffalo) are summoned to an offshore Mental Asylum to investigate the mysterious vanishing of an insane “patient” from her cell. However, with sinister on-island personnel and an impending storm ruling out an early exit it appears Daniels’ may not be on the island for a routine investigation… The high-security hospital is plagued with a downright eeriness, portrayed with a grainy effect rarely seen since the Hitchcockian era, which works to great effect. It’s not quite as frightening as perceived, nor is the supposed ‘twist’ ending hardly unforeseen, but nevertheless, Scorcese’s latest outing is still highly entertaining. A neatly woven tale convulsed in insanity. Michael Corrighan

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Film

Films:

For and Against For:

Against:

It’s not hard to see why people are so sceptical of 3D. Clunky glasses and the gimmicky use of things flying out of the screen at you seem more like fairground distractions than the dawn of a new age of cinema. However, slowly but surely, things are beginning to change. Avatar and Up are two examples of films that utilise 3D technology in far more effective ways. In Avatar for instance, none of Pandora’s ferocious creatures leap off the screen and into the audience’s faces. Instead, 3D is used to create an unrivalled sense of depth and scope. The effect is subtle but the results are breathtaking. Now Avatar and Up still look fantastic in 2D and would be great films even without cutting edge special effects. However 3D definitely adds a certain magic to the experience and makes these fantastical worlds seem that little bit more tangible. For that, the glasses are small price to pay. Kane Basterrechea

The last thing I want when I go to the cinema is something flying out the screen and giving me a heart attack, not to mention wearing ridiculous glasses that would make Elton John look fashion-forward (not quite on the same level but nevertheless scarring). Now, I must admit 3D has calmed down and as seen in Avatar can be used to create fascinating depth and scope, but I am still scarred by the gimmicks used in earlier 3D films such as Journey to the Centre of the Earth where tape measurers, bugs and pretty much anything with motion was used to scare the audience into thinking it was a good film … which it wasn’t. It’s hard to look past the gimmicks in such films and even in non-gimmicky films such as Alice in Wonderland, one word is always in my mind – unnecessary. The films would be just as good without the use of 3D technology and they ask for more than they give; they ask you to pay more for the ticket and to pay for a pair of glasses that you are bound to forget the next time you need them. All you end up with is more pairs of 3D glasses than limbs and digits, and a niggling sense of disappointment. Yes, Avatar has shown us 3D can be visually stunning but still I always leave with that one word in my mind – unnecessary. Becky Elizabeth Wojturska

What do you think? Let us know at www.platform-online.net

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Against: For: 3D enhances the depth perception of film and it’s this that creates the experience of the action, which makes film more enjoyable. In 2009’s The Christmas Carol, Scrooge has been shrunk and is being chased around London by a carriage. In 3D, the audience feels the tension of the scene, which adds to the excitement for children. For the adults, there is the almost breath taking depiction of the London skyline. The audience is astounded by an animation, which has captured the character of London almost perfectly. 3D allows the filmmaker more scope and more investigating in how to tell the story. It allows for the beauty to be captured in things almost unexplainable in 2D. The numerous death scenes in The Final Destination seam almost astoundingly poetic, even if it is disturbing! The audience for film has become more demanding and with the evolution of image, this pushes the audience further into wanting to see something more stimulating which 3D provides. And anyway, Avatar. Enough Said. Emma Breward

It’s official: 3D movies are Hollywood’s new plaything. First there was Up, Pixar and DreamWorks imaginative story of discovery, then of course the big blue abyss that is the groundbreaking Avatar, and inevitably Tim Burton’s new gothic fantasy Alice in Wonderland got the three dimensional treatment. All three films are achievements in their own right, with or without 3D; and that is precisely the point I’m making. By creating and marketing a film in 3D takes some of the magic and attention away from the storylines; do you really think that the Disney film G-Force (about ninja guinea pigs) would have enthralled audiences in on the narrative alone or that the 3D aspect helped? 3D films are allowing more and more projects to become gimmicky. For example, when the idea for Clash of the Titans was conceptualised there was no mention of making it three dimensional. It was only when the film was finished that the big powers behind it saw the cash cow that is Avatar and decided to bank in on the success. And what was the difference? Ticket prices are raised by £2.10 and you get to see Sam Worthington (Avatar, Clash of the Titans) once again brandish a weapon but in high definition. Please don’t think I have a personal vendetta against 3D, because in fact I think it compliments certain films. But the fact remains that 3D technology is inevitably going to be over-used, over-applied and over-distracting for most projects. Would you rather be fuzzy eyed and disappointed or in focus and engrossed? Sophie Birkin

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Photos Temper Trap @ Rock City | 03.05.10 Photo: Sarah Louise Bennett

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Futureheads @ Rescue Rooms | 27.04.10 Photo: Sophie Draper

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Photos

Platform Committee 2009-10 @ NTSU Awards | 05.05.10 (Pictured L to R: Commu Stephanie Combs, Fashion Editor Laura Morrison, Travel Editor Lucia Miyashita, Danielle Almond, Arts Editor Alexander Britton, Food & Drink Editor Molly Wood

Glen Davies Editor-in-chief

This year has been one of great change for Platform. We have morphed from just another student magazine into an allsinging, all-dancing media service of which students can be proud. The year has, for well-documented reasons, been as smooth and calm as a spiky vibrator. Yet it has been one which I have enjoyed immensely. Seeing something which my team and I have made appear each month is not unlike giving birth. To a brainchild of words. Rather than seeing it disappear along with our funds, we found ways around it and refused to give up – like an annoying wasp buzzing around the accountants’ heads. Instead of shuffling into oblivion, readership has increased fivefold, proving just how much we are the balls. There have been too many all-nighters to be modest about it. So I’m not. It’s an awesome way of spending a year.

Andrew Trendell Deputy Editor

This has been a crucial year for Platform. With the print budget butchered we could have withered away and died but I’m chuffed to have been part of team that carried the magazine from strength to strength. The design, enthusiasm and quality of journalism have been astounding. Having had the incredible opportunity to interview The Futureheads, Foals, Editors, Beverley Knight, Idlewild, Courteeners and many, many more as well as chasing up press accreditation for the best gigs and festivals I think the music section has been one to rival many professional magazines. Starting Platform TV and the Platform podcasts, and judging by the rest of the team’s online ideas, it seems that Platform is not so much a flimsy student rag – but a high standard multi-media feast of awesomeness. All in all, we really kicked it in the tits.

Aaron Lee

Online & Gaming Editor: This year I’ve spent more of my time devoted to Platform that I even thought possible. I’ve reviewed the latest games, interviewed creators, reported on events and meet an abundance of amazing people along the way. I’ve also had the added responsibility of managing our new website, and this has brought its own complications and trials. It’s been a struggle, I must admit, but there’s nothing I’d rather be doing than working for an exciting media organisation, like Platform, where every day brings with it new surprises, new opportunities and new faces. Zai jian!

Stefan Ebelewicz Pictures Editor

Being part of this year’s editorial team has been a challenging yet enjoyable experience. It has given me the chance to put into practise what I am studying, whilst giving me a valuable insight into the industry I want to work within. Platform has given me the opportunity to photograph a variety of subjects. Including Nottingham Contemporary, the Varsity series, and a number of gigs around Nottingham. This year has been a great experience and I would recommend anyone to get involved with Platform.

Laura Morrison

Fashion Editor

This year at Platform has seen the fashion section improve tremendously. I’m glad we’ve managed to include a monthly photoshoot which wouldn’t have been possible without an incredible team to help me. There have been increasing numbers of contributors too who each have raised the quality of the section. I think fashion benefitted from our fortnightly meetings which helped the section look pulled together and more consistent. I’m really pleased with the direction we gave to the section and hope it will continue to improve in a similar vein next year.

Nick Charity

Community Editor This year, Platform magazine has been a great team to work with and a great publication to work toward. Working at Platform has given me incredible opportunities to expand my field of writing experience, a chance at editing, a sense of responsibility when facing real deadlines and loads of other great things that look good on my CV. Much more importantly it turned my curiosity about journalism into an ambition and gave me a scope of the kind of writing career I would like to pursue in the future.

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Becky Wojturska

Film Editor

Working at Platform is an amazing experience. It has just the right amount of professionalism and excitement that a magazine needs to create amazing opportunities for students. Effort, patience and confidence are all traits that are invaluable to being a subeditor and it gives a sense of satisfaction to bring a section together. In my role as Film Sub-Editor, I frequently attend press screenings and sometimes have the privilege of being invited to film events such as Cinema Days. Such experiences are invaluable as it is perfect for building contacts which can aid my own career path and also aid the magazine; whether it is in the next issue or in the future. To put it simply; the experience as a whole is exciting, useful, and unforgettable.

Thomas Warmsley Music Editor

The journey into 2010 for Platform Music has been a somewhat gruelling but rarely unpleasant. While changing to a monthly/ online issue may have upset the flow of the CD review section with more neglect that it had ever deserved, it did offer more scope in producing hearty chunks of music features, live reviews and interviews. Having the kind words of Greg James, Tinchy Stryder, The Saturdays and Count & Sinden grace the music pages, it seemed to keep you lot happy for the time being. With the website in full force, may 2011 be the year of Platform-Music online. Onwards and upwards in cyberspace.

unity Editor Nick Charity, Film Editor Becky Wojturska, Pictures Editor Stefan Ebelewicz, News Editor Fraser Wilson, Editor-in-Chief Glen Davies, Designer Gaming & Online Editor Aaron Lee, Sports Editor James Haigh, Deputy Editor Andrew Trendell. Not pictured: Music Editor Tom Warmsley, Health Editor druff.)

Fraser Wilson

Alexander Britton

Molly Woodruff

News Editor

Arts Editor

Food & Drink Editor

I think that this year in the news section we have established a good balance between the magazine and the website in order to provide student news in an interesting and engaging way whether as a new story, feature or comment piece - without leaving huge gaps in coverage. Rather than churning out poorly written pieces from press releases on fees and dull findings from NTU studies, we’ve sought to package the important issues - like voting and the election - in a way that is easily digestible and relevant to students. Getting contributors to write has been a bit of an issue but hopefully the new academic year will see a whole bunch of new writers getting on board and writing about the issues that matter to them.

Everyone is a critic these days, what with a million different channels for opinion, informed or otherwise. It is therefore with something akin to faint jealousy that I have offered my thoughts on the latest exhibition at Nottingham Contemporary through to the latest Playhouse production over the course of the year. I am no better placed to judge than any other. Yet, the experience as a whole has been mostly fun, occassionally stressful but completely rewarding. As horribly cliched as it sounds, I’ve enjoyed writing and editing the arts section, I hope you’ve enjoyed reading it too.

Working for Platform is a great experience and is really easy to get involved with. As food and drink editor I have a lot of fun as I get the opportunity to try out all the many great bars and restaurants in Nottingham for free – which, as a poor student living off beans on toast, is definitely a perk to the job! I have also made some great friends and do lots of fun activities like hosting my own Come Dine With Me night. It is definitely a worthwhile opportunity and it looks great on your CV.

Danielle Almond

Health Editor

The health section of any publication has a great deal of responsibility to its readers. This is particularly true for the health section of Platform which has over the last year attempted to inform readers whilst not scare mongering. As well as this there is a lot of scope within the health section to write large investigative and informative articles on issues particularly prominent both within both the student community and to a larger audience. The health section is also of importance as rather than leaning towards a particular interest it has a practically universal breadth unlike other sections which may simply just not be of interest to a reader.

Lucia Miyashita

Travel Editor

There is a lot I could say about how truly enjoyable it has been to work as travel editor for Platform this year but I will stick to just a few significant points, as I will most likely lose myself in what could be a painfully long and boring speech. The fact that Platform has expanded this year and has double the number of pages to fill has given each section the chance to get a lot more content in while being a lot more creative in the process. I particularly enjoyed being able to decide what goes into each issue of the magazine while having the possibility of writing my own articles and showcasing my own work as well. There are always new ideas to develop and you have the chance to really get your voice across – it’s been a great magazine to work on.

James Haigh Sports Editor

Well, what a year it has been in the unpredictable world of sport– marital affairs, World Cup hype, Jenson Button finally winning something and, to top it all off, my favourite football team has won the Premier League. Of course it is the season-long journey full of ups-and-downs that provides the entertainment, but it is always nice to have something special to celebrate at the end – here’s looking at you, Man Utd. As the world turns its view onto South Africa, there’s a strong feeling that nothing else can go wrong for England between now and the beginning of the biggest football tournament on Earth – oh wait, John Terry has broken his foot! Oh well, we weren’t going to win it anyway... Here’s hoping to another action-packed year without dominant sex scandal headlines. Thanks for reading.

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Arts

Theatre Reviews | TV Adaptations | The Art or the Artist? Edited by Alexander Britton | arts@platform-online.net

Theatre Reviews A Midsummer Night’s Dream Nottingham Arts Theatre

here was but one shining light on a dreary evening in Nottingham this Friday; that being the superb production of A Midsummer Night’s Dream by the NTU drama society. In a quaint little theatre in the Lace Market, Nottingham Arts Theatre to be precise, I watched a collection of students that study such diverse subjects as broadcast journalism and building surveying, band together to put on a classic Shakespearean romantic comedy, and do it more than justice. Their budget was small, their director inexperienced and their time ever eaten into by the burdens of student life. All this did not show. The set design was simple, but elegant. The costumes were magnificent from the suave Theseus to the scantily clad fairies. The actors chosen for each role could not have been more impeccably done, and for this the director Nick Charity must be praised. Out of the many stars in the play there were, of course, the few that shone brightest. A stand out performance from slapstick Duncan Collins, whose exuberant personality really came through as Nick Bottom is one such star. However the sweethearts of the play I feel also won over the affections of the audience. The effortless grace of Pippa Richardson as the beautiful Hermia was a particular highlight. She made a challenging character her own, and for that she should be applauded. Laura Ward was the equally beautiful, but slightly less fortunate in love, maiden of Athens, Helena. Helena’s temperament throughout the play changes as she is loved by neither of the two eligible bachelors, and then by both - a most challenging array of emotions for any actress to have to portray to her audience, and she did this naturally. If she continues acting, and we should hope that she does, she is one to watch. A special mention should also go to Will Buttery as Lysander and Matt Barlow as Demetrius, who had great chemistry together as they fought for the love of both maids. As with any performance it is far easier for the big characters to hog the spotlight. But as we all know with any great production it is the lesser known characters that really make the distinction between a good play and an excellent one. This play was no exception. A few comic lines from Oberon and the well placed fairy dust that Puck obviously sprinkled over the audience really did complete this play. I could go on and mention every character individually – and trust me I want to – but this is simply not possible. I will close by mentioning the current president of the Drama Society who played Titania. She showed that she is, as ever, professional onstage as she must be off of it; in her foremost role in making A Midsummer Night’s Dream a triumph. Shane Russell

| Nottingham Trent Students Union Magazine

Our House

Nottingham Arts Theatre

recent production at the Nottingham Arts Theatre, Our House proved to have little in the way of theatricality. The story portrayed the encounters of city-boy ‘Joe’ as he follows two parallel lives based on the outcome of one childhood decision. Based around a selection of songs by the band Madness, the musical managed only to find enjoyment in its choral fashioning our old favourite hits, such as Baggy Trousers, It Must be Love, and, quite predictably, Our House. Comprised by members of TV Workshops, a group that supply actors for extra roles and some leading roles in television and film, it was surprising to see such amateurism in the way of acting. Large chorus pieces were uplifting and fun, in the same way that your mum finds Doctor Who ‘fun’, but solo and duet numbers lacked range and volume, despite the group’s use of microphone equipment (which failed, miserably). Dancing accompaniments were also well produced, in timing and choreography. Notably in the staging was the use of a stunt double to cover for the leading man, during his excessive number of dress changes as he went between one of his paths of life and the other.

The set and costume, however, devised by third year members of Nottingham Trent University excelled in producing a symbolic and intuitive environment for the world of the play - encumbering a set of doors that spun to change from white to black and so portrayed the different storylines of good Joe and bad Joe. Also included was a purpose built replica of an old car out of polystyrene, ‘skrimmed’ to a fine finish and not overused by the players. Technical effects, including a projected image of a rolling skyline, were impressive, safe for the futile use of microphones for singers to fight against the volume of the live band. Overall the musical was disappointing, but not a complete failure. Some actors proved to have real natural talent, such as the young man playing baddy, Reasey, and some of the voices in the choral accompaniments were misplaced, and deserved leading roles. Nick Charity

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Arts

Theatre Review Hedda Gabler

Nottingham Theatre Royal

y most anticipated attraction on this year’s calendar at the Royal Centre was Henrik Ibsen’s Hedda Gabler. The play’s arrival in Nottingham promised nothing but success, staring the fabulous and gorgeous Bond girl, Rosamund Pike, noted for her recent film successes in Pride and Prejudice and An Education, and in a personal favourite, The Libertine, with Johnny Depp.

To those unfamiliar with Ibsen’s play, Hedda Gabler envisages an aristocratic social scene of principal tradition and institution over the tedium of profession and engages the main characters in a satirical and engrossing tragic drama as their social standards are broken down. With themes of behaviour and control, sexuality and suppressed feminine identities - it is entertaining and culturally aware, but also sinister and heartbreaking. Ms. Pike’s representation of Hedda was enchanting in her hateful, spiteful and fragile demeanour. She was both impartial to life and destructive as a force against it, and successfully portrayed a woman crossing the brink of self-harm, dragging everyone around her down to the dusty floor.

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In the supporting roles were mesmerising performances all around, especially the leading men of Robert Glenister (TV’s Hustle and Spooks) and Tim McInnerny (Darling in TV’s Blackadder). Glenister gave the play a weave of extra strength with his subtext running alongside Hedda as George Tesman, playing it aptly with discomfort, immaturity and desperation when needed. McInnerny’s Judge Brack was demeaning and fruitful but lacked any distinction from my last experience of him as Iago at Shakespeare’s Globe. His crucial and famous last words in response to the climactic death seemed forced and uneventful, but it was not to the audience’s loss as they awkwardly fought against themselves to laugh when faced with the closing line of ‘But people don’t do such things.’ Technical aspects of the play was perfect with an intuitive use of lighting, especially with a heavily lit, dark, blood-red back wall at an appropriate moment – that could have spelled danger of overuse but was accentuated with acute discretion and gave the play a new twist that was macabre and exhilarating. Overall the play fulfilled my every hope and expectation. The names on the bill may have sold the tickets but each actor lived up to his or her name. Nick Charity

BBC Philharmonic Orchestra

Nottingham Royal Concert Hall

s part of their classical season this spring, the Royal Concert Hall blessed our city with a performance by the BBC Philharmonic Orchestra. Nestling comfortably among a long list of national and international class orchestras that tour to Nottingham, this lot continue to fight for their place with the big boys of baroque and the clans of classical.

To open we heard Mozart’s Overture to The Magic Flute, a delightful piece and well known to all. As my companion and I sat at the front of the auditorium, we marvelled at how a single sharp note on a violin, or a quick succession of sharp notes, amount to nothing, even at point blank range. But in symphony these tiny plucks and bows are given great radiance in the collective nature of the orchestra. While listening, however, I found the longing for something more intriguing; Mozart is renowned for producing work that is difficult to play, and when you are confronted with the superior professionalism of an orchestra such as the BBC Philharmonic, such a challenge is met effortlessly. What is rather more interesting is when a production seeks to challenge the audience, by incorporating movements or whole concertos that are less known, and in their unfamiliarity they can be viewed more objectively and sometimes with greater appreciation. Beethoven’s 5th Piano Concerto followed, and despite its familiarity it proved a challenging and engaging piece. The first movement was elegantly and truthfully portrayed by pianist Ronald Brautigam, whose passion and obsession were delivered in his fingering and bodily expression. Merely accompanied by an almost illegible string section, his prowess and humility were marvellous in every bar. From a tantrum filled stepping of his chords to the erratic motion of a confused lover, he acted, performed and excelled. At times, as though out of breath from his aria, he would fall to the keyboard and die for a quick moment, always ready to rise again. With the arrival of the second, more spiritual and more romantic movement, I was interested to see a young child taken from the auditorium, expecting it to be lulled to sleep by its dreamy appeal, and was surprised to turn and find the elderly lady to my left with her head sunk into her chest as she slept soundly. To finish was Nielson’s 4th Symphony. It began as a cacophony, to any untrained ear such as my own, lacking any real movement throughout, interrupted by a reoccurring melody that was received as repetitive rather than redeeming. With respect to its challenge of the audience, it tried and failed – proving only to show the producer’s daring nature and fulfil no pleasure. This was true until the end, where the symphony managed to organise itself and draw to a climactic finish. Despite the questionable choices of music, the orchestra’s performance was flawless as always. There was, however, a violinist persistently chewing gum, which was simply distracting, and conductor John Storgårds, was well mannered, but disinteresting and seemed more angry than passionate with his cheeks bulging intermittently. The BBC Philharmonic approached a classical concert with a traditional attitude. Other touring companies to visit Nottingham have a more modern style and setting, and are more easily approachable to younger, less interested but curious listeners. Nick Charity

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Arts Page to screen:

Lost in translation By Alexander Britton

pon hearing the news that Martin Amis’ 1984 novel Money was going to become a two-part drama, I went through something not too dissimilar to the range of emotions felt after the loss of a loved one. As a starting point, I eschewed denial in favour of full blown anger – I was furious that anyone would ever consider cheapening any novel, let alone Money, by turning a 400-page book into something easily consumable in two one-hour length episodes. Following denial and anger, I briskly swept through bargaining and depression before landing quite squarely in the psychological frame of mind deemed ‘acceptance’. There is, I now understand, very little I can do about it.

I still maintain that I had reason to be irked by this news. You see, the genius of Money is in its details – the delightful one-liners and intricate plot-twists could only ever exist within the context of a novel, because, primarily, it is a piece of writing that relies upon the power of the penned word. Money is one of the darkest satires produced during a decade that needed frequent injections of black comedy; it is a novel that uses language in such a clever fashion that the text reeks of the fatigue of the protagonist John Self’s persistent transAtlantic travel, the disgust with his obscene consumption of junk food and the lurid penchant that Self has for salaried-female company. And I’m not too sure all this can be conveyed through visuals and script with the limitations that the BBC have doubtlessly imposed. I had, admittedly, attempted to envisage how certain scenes would work as a film, as the New York of my mind leapt into action with all the neon signage and beat-up yellow taxis that this vision entails, before I dismissed the whole notion as foolish: it would take a brave person to suggest the idea of a television adaptation and a hugely talented cast to be able to pull it off convincingly. This opens up a whole new can of proverbial worms: why bother adapting books for television when they are, at best, gently flawed and, at worst, an abomination? Television has long relied upon dramatisations of novels to pad out the schedules, as they fulfil the necessary quota of theatricality without having to bother with writing a script from scratch. However, like translations, these efforts can be beautiful or faithful, but never both simultaneously. Take Gangs of New York as an example of this; it is a fabulous piece of cinematography but largely disloyal to the novel from which it was adapted. Adapting novels for television is a flawed art, and I suppose the only reason for my ire is that, deep down, I would, somewhat perversely, love to see all my favourite books on television, Money included, and I want to see them done justice. Whenever any work is transferred from your bookshelf to your living room, there will always be those who cry out, in gently-outraged voices, laden with haughtiness, that “it was hardly faithful to the original storyline…” I hope this is something that cannot be said with any sincerity here.

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The Art or the Artist? Words: Alexander Britton | Photo: Manannan Fanch

omeday all of your heroes will die. Equally, my heroes are not immune from mortality and will eventually shuffle of their mortal coils; they may even die, as Jonathan Safran Foer put it, “of being an artist.” I have this lingering dread that one day I shall look up at a screen, computer or otherwise, to find an austere message saying “Bob Dylan is dead”, “Ian McEwan is dead” or “Anyone you have ever loved is either dead or will die.” This dread exists despite the quite inescapable truth that people have this horrible tendency of dying every now and then – and there is a trend for this fate to befall artists a lot quicker than the average man or woman – so why this melancholy for a truth that is not yet present and even quite distant in many cases? It is largely due to the fact that I am, admittedly, terribly naïve. I, and many others, cannot disassociate the artist from his oeuvre, therefore when the person meets their end, grisly or otherwise, it is almost the despair prevents us from appreciating that which they accomplished during their lives. As far as we are concerned, the work dies with the artist. That is to say, once the artist is dead, their previous work somehow seems dead to us; we cannot appreciate it in the same way we once did.

Works tend to take on more significance following the demise of the artist – one sees ‘Cottage with Thatched Roof’with different eyes following the revelation that it was Van Gogh’s last before he killed himself. By the same notion, no-one reads Sylvia Plath’s ‘The Bell Jar’ without thinking that it insinuates quite heavily that she had lingering thoughts of suicide, whether she actually did the deed or not. But, perhaps most overwhelming of all, is the sense of unease we seem to feel when consuming the product of someone who has died – the thought that they will never create anything again becomes undetachable from any appreciation. Within this society of consumption and branding, perhaps we have become too obsessed by the name attached to the work – it is only time before the maxim “art is dead” transforms itself to “the artist is dead”. Because the work lives on. Because art will continue to be produced until the end of time, despite – or perhaps because of – the legacies of the myriad people who are no longer with us. Detaching the artist from the art is easier said than done, yet as the people whose work I truly admire fade into the annals of history, I feel it is becoming an ever present necessity.

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Fashion

Intro | Style First, Action Later | Clean Minimalism vs. Colourful Eclecticism | NottSoDependent | Fashion shoot

Edited by Laura Morrison | fashion@platform-online.net

Laura Morrison

Fashion Editor:

adly all this is our last issue of the year. We will of course need a new fashion editor for next year so email your applications to fashion@ platform-online.net, including why you think you should be editor and a sample of any work you have done so far, and I will pass them on to the editor. Whilst the term winds down I’m already looking to summer. Planning poolside ensembles and city hopping chic, I am literally spoilt for choice this season. Do I go for Alexander Wang sporty cool, or layered lingerie as seen at Bottega Venetta, or maybe even a Chloe inspired hippy vibe?

And yet with an ocean of choice before us, why do so many of us lose all sense of style as soon as the heat turns up? It has baffled me for years. The thermometer creeps past 25C and everyone clings to their denim minis and block colour tanks. Bizarre. Someone who knows how to work her style no matter what the weather is naturally Alexa Chung. She kicked of the summer season in style at the Coachella festival wearing a fabulous lemon playsuit and espadrilles – as if I needed an excuse to break out mine which were a steal from Primark at only £4! Denim, florals and floaty dresses were the order of the day for the hot Californian sun, adding leather, boots and flannel shirts to take the ensembles through the evening. Go to Topshop for all things flowery, and if you dare, ditch the minis for rose print bloomers a la D&G, the high street store do a considerable cheaper version in pink for a meagre £30.

If you want to continue the pastel trend try ordering online from Uniqlo for pastel jeans. They come in lemon, green, lilac, pink and blue and are a great way to work candy floss chic as seen at Burberry, Marios Scwabb, and Luella during LFW. For denim head to Primark or your local vintage store for key pieces like Levi’s shorts and jackets. The retailer has a cropped pale biker version in for only £13, which truly pales in comparison to Zara’s at £40. However Zara have come through again on the nautical front and are the only place to stock up on stripes and white sheer shirts inspired by our own Stella McCartney. And so with all this choice right on our high street, please remember to pack your style this summer. Unless you’ve got the radiance of a Victoria’s Secret model, a tank top and jeans is just not acceptable. Note from the Editor: Because even we sometimes lapse into utterly inept habits, last month’s New York fashion feature was credited to Laura Morrison, but was written by Dominic Hassall. We apologise for any distress caused. Glen Davies, Editor-in-Chief

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By Emily Hart

he Spring Catwalk was inundated this season with the active dynamism and casual simplicity of sportswear and with the requirement of actually doing a sport gone out the window; anyone can adopt this accessible look. Sportswear is an intriguing trend, a street fashion pioneered by the young that filters upwards and hits the high fashion world who inevitably take it for their own. It works both ways, the sportswear brands realising although their designs must maintain function, style is now the principal purpose. The recent Adidas originals A.039 blue collection includes the iconic Adidas style in casual basics with a retro twist, along with designs from Jeremy Scott, Fafi, James Bond for David Beckham and Kazuki Kuraishi.

All things aqua seems to be a recurring theme amongst the designer’s this spring. Topshop Unique’s collection reflects the laidback beach vibe we’re all craving in these April showers. The 70’s surf inspired gear includes fluro rubber leggings, quirky shark motifs with a vibrant injection of coral. The wetsuit material dress might be more high fashion than high street but the soft denims and pretty prints will suit even the most fashion conservative. Topshop’s not the only designer that’s gone for the scuba look. Gucci have followed suit with the bodycon silhouette and Pucci’s cutaway swimsuits in acid brights go for the big reveal. For those who prefer a preppy look, Alexander Wang is channelling American high school chic, pairing delicate sheers with jerseys and classic knee high socks. Hermes and Lacoste are giving off the more demure, traditional and altogether more grown up look, with classic polos and nude fabrics fit for Pimms filled English summer afternoons. Sportswear’s association with the reinvention of youth is adopted by Prozenza Schouler, whose surf and skate inspired collection was reminiscent of their own childhood influences, reflected in the casual vibe of the collection. And for all you students whose trackies are your staple item in your wardrobe, look no further than Elie Tahari and Prozenza Schouler who have even gone as far to revamp trackies on the catwalk, teaming them with slouchy blazers and heels for instant transformation. The look that the trend promotes, the idea of the “athleticism of luxury” is an appealing idea, that we can be both stylish and comfortable and with the Olympics around the corner sport, has never been so current or cool however sporty you are.

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Fashion

Clean vs Minimalism Dual Options for Summer Style By Dominic Hassall

s we enter Britain’s long-awaited summer months, when the sun begins to claw its way out from behind the persistent clouds that take up more than their fare share of the year, we can look forward with a sense of optimism. No longer will our daily ensembles be dictated by the need to include as many layers as possible - however mismatched - in order to keep the vicious arctic winds at bay – excluding those superhuman students who happily wear nothing but shorts and t-shirts mid-December. We can finally have a bit more fun with fashion as our moods, along with the cloud cover, are lifted. But how best to approach this new found style freedom? Looking to the top designers can give us some helpful tips:

On the one hand we have chic minimalism, as championed by everyone’s favourite returning designer Phoebe Philo, of French fashion house Celine. Other labels committed to this approach include Calvin Klein, Chloe and Jil Sander; the eponymous founder of the CK megabrand is worth an estimated $700 million, sure-fire proof of this look’s success. So what can we learn from them? The key is simplicity: in this case less is definitely more. Paring soft, contrasting colours such as white and khaki, caramel and coffee, and taupe and mint green can yield effective, stylishly simple results with minimum effort. If you feel like adding a dash more colour to proceedings, nude and pale grey make for great contrasts against more vivid

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tones like fuschia, azure, bright orange and lemon yellow – but preferably not all at once! Strong shapes and blocks of colour are essential – no baggy graphic vests here thank you very much! Experiment with layering pieces of different lengths and colours over one another - as seen at Celine, a skirt worn over an outsized shirt and a vest over a longer dress gives the wearer a quirky edge that will stand you apart from the rest of the styleconscious students. And of course, you can always fall back on a great pair of jeans (that means real jeans, not jeggings), killer heels and a plain t-shirt, keeping those sunnies on hand for when the sun finally makes its (fashionably late) appearance.

Colourful vs Eclecticism On the other, more accessorized, nails-painted-green-with-miniaturediamantes hand, we have all-out, elaborate, extravagant dressing. This girl is unafraid to be noticed – she is celebrating summer’s arrival with ribbons in her hair, chandelier earrings and the brightest colours she can find. However to reduce the risk of looking like a circus-bound fashion-train wreck, take a few pointers from fashion luminaries such as John Galliano and Christian Lacroix. As you can see, these designers have gone all out with uncommon colour combinations and lashings of embroidery and embellishments to create fun, energetic and eclectic ensembles. If anything will summon the summer sun to Britain, these clothes will! The moral of this story is to just to have fun; better to go wild and be noticed

than look like everyone else in their J.U.G.G.S uniform (Jack Wills + Uggs everydayers – you know who you are!) Try pinning sets of earrings to a jacket, handbag or pair of shoes to make them sparkle, using ropes of pearls as makeshift belts, or dying tops unusual colours and applying contrasting market-bought lace to sections of them! You could also work flowers or feathers into your hairdo as seen at Lanvin, and layer swathes of tulle or organza over patterns and textures to give them an air of mystery and sophistication. The possibilities are truly endless, meaning you will always have a unique look that will gain you attention and aesthetic appreciation. Just remember – whichever look you decide to go for, don’t forget to carry an umbrella with you at ALL times. It is a British summer we’re experiencing after all!

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Fashion

ew student run fashion shows manage to get sponsorship from a big company, let alone support from such covetable brands as Benefit, House of Fraser and Escucha, but NottSoDependent did just that.

First off was a collection of printed jumpers and t-shirts by Bantum. The prints were playful, yet trendy, and in case you wanted one of your very own the artist himself was at the show offering screen-printing for the guests.

The fashion show, held by Monique Clarke, Michaela Hall and Holly Mc Queen was held in aid of increasing the awareness of the local boutiques and designers in Nottingham.

Pink and Lily had a great collection of floaty floral dresses which brought some fun femininity to the show. This was complemented by Eternal spirits with their great collection of corsets and knickers which finished the show. The models professionally added their personality and some attitude to the outfits that definitely helped towards finishing the show on such a high note.

And whilst the show had the support of companies such as Benefit, House Of Fraser, and Escucha, the event also attracted independent talents like Nottingham print artist Bantum, NKD Boutique, and a score of local designers such as Montana, Blue Cheese, Projects, Pink and Lilly, and Stefanie Smith. The show itself began with a hip-hop dance act. The dancers routine was filled with life and attitude, and engaged the attention of the eager crowd, creating an atmosphere of tangible excitement as we waited for the models to come.

With on the spot beauty treatments from Nottingham based beauticians NKD, live illustrations from local artists and a DJ set by Platnum Sounds, NOTTSODEPENDENT achieved what they set out to do. The show successfully spread awareness of the boutiques and independent designers in Nottingham, and from what we saw at the show they are every bit as brilliant as the larger shops spread around Nottingham. Dania Riad

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Photos: Stefan Ebelewicz & Miguel Torena

NottSoDependent

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Fashion

Photographer: Terence Webb Model: Agnieszka @ London School of Modelling Stylist: Dania Riad Make-up: Leena & Sarah Sharpe Clothing courtesy of Lara Boutique

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Fashion

Photographer: Terence Webb Model: Agnieszka @ London School of Modelling Stylist: Dania Riad Make-up: Leena & Sarah Sharpe Clothing courtesy of Lara Boutique

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Food&Drink Ropewalk’s Roast: How hard can it be? | Say Cheese

Edited by Molly Woodruff | food@platform-online.net

Ropewalk’s Roast How hard can it be? By Brendan Curtis-Burton

ishes can be emblematic of a restaurant’s entire approach to food. None more so, some would say, than the roast. They can be a highly personal affair, surrounded by strange fetishist ideas of authenticity and the old advertising-bastardised cliché of ‘mum’s roast potatoes’. Some think of a cauliflower cheese accompaniment as sacrilege, others think it essential.

Roasts can be symbolic: the Easter lamb in the Christian tradition (the option of lamb on a roast menu has implications. It takes precision and it not easy to cook en masse. There was no lamb here), the Christmas roast, the Sunday roast. They can be symbols of excess and celebration like King Henry’s infamous ‘Five Bird Roast’. A bonding time for family. The roast is a big boot to fill. And so on to The Ropewalk. The Ropewalk greets you with a bouquet of faux bohemian mahogany Laurence Llewellyn Bowen era design – an aesthetic employed to give you the impression that you are paying too much money for the privilege of being there. I once went to their pub quiz. A thousand pints couldn’t have drowned out the irritating man who mumbled blah blah blahs in a selfsatisfied tone. Something was rotten in the state of Denmark. Was this really a pub? Could they prepare a roast? The beef was overcooked. Grey and hidden under a soggy Yorkshire. The potatoes, though brown and hard, were not crisp or floury (the two things that make roast potatoes stand so high in the culinary world) as a vehicle for the gravy and a fetish object in their own right. Unnecessary mashed potato – probably left over from the £9.50 pork belly main – papped around, contaminating the gravy. Who has mash with a roast dinner? Leeks were overcooked but were nonetheless a welcome addition. I admit that doing roasts on an industrial scale, and retain-

ing the deliciousness, is a very difficult task. But where were the sprouts, the peas, the roasted onion? The bit of bacon you wrap round the chicken to keep it moist? The crispy bits? The swede or celeriac? The controversial sweet potato? Gravy should be made from the juices of the meat, not overdoctored. Not a pretentious ‘jus’ that had a long convocation with Bisto or another of it’s incarnations. Everything needed seasoning, fresh herbs and a knob of butter – touches that, on this scale, are difficult to monitor. Being at the Ropewalk feels similar to the American Apparel experience. A student trap, orientated toward making you forget that you are paying too much for not enough. £8.50 for a roast, £36 for a jumper. The rest of the menu, including ‘duo of humus: £4.25’ and ‘handmade beef burger: £8.00’, not forgetting £3.50 for a pint of shit lager, tells a similar story. Saying that, the vegetables were cooked well, everything was hot, the puddings reasonably priced around £3 (including ‘Eton mess’, a great desert) and a nice sounding sharing desert of ‘mascarpone cheesecake, lemon tart and chocolate brownie’. If grandma is in town, take her here. You’ll have to chew her meat for her, but the irritating top hits of the Nineties that play constantly will cover the sounds of her boring stories. The Ropewalk is an atmosphere-less money maker pretending to be a down to earth, cheap but tasty gastropub. I am a victim of my own middle class prejudice in continuing to go here instead of the scary-looking old man pub across the road. So it smells a bit funny, the bloke in the corner likes to stare and there isn’t a load of artsy fartsy antiques on every available surface, but I bet they do a good roast and I bet they have lamb. My advice: Eat your roast at home with some friends. You can feed five for under a tenner. If you don’t have any friends then come here. They just won’t be able to use the broken wifi. 5/10

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Food & Drink

Say

Cheese

By Alex Ward

or many people, that’s all cheese really is. Something you have in a sandwich, or perhaps squeeze from a tube. Many people have no idea how it’s made, or what the real artisan product might taste like.

Martin Moyden is a Shropshire farmer and cheese-maker. His family have been rearing cows for decades, and when milk prices crashed, and supermarket contracts became increasingly ruthless, he turned to making his own cheese. His day starts with early morning milking, his fifty cows grazed on the lush pastures adjacent to the parlour. These are not your usual milking cattle though. Where most herds consist of pedigree Holsteins worked like race-cars to maximise their milk yeilds, Martin’s girls are a different kettle of fish entirely. A mixed-breed herd they bask happily in the sun, wondering close to take a sniff of the alien photographer standing at the gate. They’re playful, curious creatures, and compared to their milk-machine cousins, seem amazingly happy. It’s

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this which makes a better quality milk to make cheese. Plunging his hands into the vat of unpasteurised curds, “It feels lively,” he says, clearly a man who knows his craft. What follows is the process of removing as much whey as possible, pressing the curds into molds, then letting the cheese cure in a specially conditioned store room. The rind forms a thick layer of mould which draws further moisture out of the cheese, and once ready, is washed off to leave a perfectly formed wheel of cheese. The milk that goes into this cheese is completely untreated. No pasteurisation, it’s not even chilled. Within a matter of hours it becomes a wheel of cheese ready for maturing.

“Cheese (noun) [cheez]: a solid food prepared from This is a vastly different product pressed curds of to what you might find wrapped in plastic in the supermarket. His milk.” ‘Wrekin White’ is packed-full of

mellow flavours, subtle aromas and nutty after-tastes. His blue cheese is soft and gentle to the tongue like a Danish blue, but with a hefty punch of flavour that you’d only usually find with a vintage Stilton. Probably not an every-day cheese for a student budget, but if you’re anything of a foodie, it’s the perfect treat to get you through exam-season blues. Martin has been making cheese for around five years, yet he’s won a handful of awards and dignitaries like Princess Anne and Raymond Blanc have sampled and enjoyed his cheese. They say it takes eighty-years to make a master cheese-maker. If that’s true, there are good things still to come from this artisan producer. Mr Moyden’s Hand Made Cheese is available online at www.mrmoyden.com or stocked at Delilah Fine Foods, 15 Middle Pavement, Nottingham, NG1 7DX

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Travel

Barcelona Barcelona

Edited by Lucia Miyashita | travel@platform-online.net

City of sun, passion and culture; Lucia Miyashita guides us through Gaudi’s playground.

s an American, the idea of travelling around Europe is an adventure all-its-own. I have done my share of travelling this past year, and I can honestly say, the charismatic and thrilling city of Barcelona has been my favourite holiday to date.

As a first time visitor, I had little doubt I would be able to communicate with locals as I knew the language well, but I never expected Spaniards to be so welcoming and helpful. Any troubles I had were quickly alleviated with the aid of a helpful stranger. Travelling around the city was also quite easy as Metro stations were everywhere and they would get you to all the tourist places quickly enough. Also, I found the city to be quite safe and had no problem walking everywhere, plus this gave me an opportunity to take-in the city a lot more and enjoy my surroundings. It’s a great city to discover if you’re a student as it isn’t too expensive to experience Barcelona as a whole. From the amazing Parc Guell to the unique Gothic Area, everything in that city is filled with colour and character. The architecture varies from zone to zone, and that was one of the things that I enjoyed most about Barcelona; there was always something new to experience around every corner. The Picasso Museum was one of my personal favourites in the city because the painter’s works are true characteristics of the Spanish culture and this was, as a foreigner, very exciting to see.

| Nottingham Trent Students Union Magazine

As a football fan myself, visiting the Camp Nou stadium of FC Barcelona was overwhelming and in all honesty, a dream come true. It is truly one of the major points of pride for the city, and therefore a popular touristic hot spot. Another one of my favourite locations in Barcelona was Barceloneta because I was able to enjoy the seaside and the beach for a day, and then go to the local bars at night. The nightlife, especially near the university, was great, cheap, and fulfilling. The clubs are filled with people from the early hours of the night to the late hours of the next day, which is bound to make you miss Nottingham a little less. Like any tourist, I could not help myself when it came to the Spanish cuisine, which was absolutely delicious, especially the abundance of fresh seafood as the city is right by the coast. Barcelona has amazing tapas and paellas which can be found in some of the smallest and most hidden places in the city, but which are totally worth the search. All-in-all, my holiday in Spain was truly memorable and a lot of fun. It was a great escape from the gloominess of England and from the heavy work-loads, and soon became an extremely exciting city to experience. Barcelona is definitely a must for any travelling student. With great culture, people, food and location, this city truly has it all.

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Health

The Male ‘Pill’ | Is your health safe in their hands? | Tips on coping with Exam Stress Edited by Danielle Almond | health@platform-online.net

The ‘Male Pill’? After looking at the implications of the pill for women last month, this time it’s the boys’ turn. The Male Pill has been in the news a lot recently so Matt Proudfoot gives us the facts about these hotly debated new innovations in male contraception. [Photo: Stefan Ebelewicz]

t is a topic that men have been very happy to wrap up and leave in a box entitled ‘women’s problems’. To men, the pill is something that has happened to other people, a daily routine that someone else has to remember, with health risks sorted out between girlfriends and their doctors. But that is something that may be about to change in coming years, with the male ‘pill’ now a much talked about topic and one that seems to have been creeping up on us over the past decade. As I casually chat to a few of the lads about it over a Friday afternoon beverage, it is certainly something that seems to divide opinion. Some men, and probably most women, do not think that men can be trusted to take a contraceptive pill every day of the week with the meticulous efficiency that women manage to do so in the current day. Other men are open to the idea of a male ‘pill’, but have not seen any developments as of yet to suggest that it is actually a feasible option. In truth, there still isn’t anything on the market that can offer the level of security that the female contraceptive does when used correctly, and certainly not in

a daily pill form. Despite this, of late there have been some interesting developments. Currently 60 couples in Manchester and 20 in Edinburgh are taking part in yearlong trials as part of a worldwide study. It does not involve the taking of a pill, but requires men to receive two injections every two months at their GP. Nice and easy you’d agree, so how does the injection work I hear you ask? Well the injection contains testosterone (male sex hormone that makes us grow hair in funny places) and a version of the female sex hormone progesterone. It basically works by tricking the brain into shutting off sperm production, and as of yet it has been successful in over 99 percent of cases. Sounds great, so when, where and how? Well according to doctors the injection is still over five years away from being available, but on the positive side there are no serious side effects, although some men might experience hot flushes, mood swings or acne. Doctors also make a point of warning us that it does not protect again Sexually Transmitted Diseases; so for any of us men that are stupid enough to think that this is the

| Nottingham Trent Students Union Magazine

case then a reliable Durex (other brands are available) is still very much needed for all the lotharios out there planning their next conquest. So then, unless the man in question isn’t capable of making a once every two month appointment you would think that the injection puts the topic of trusting yourself to do it completely to bed. Although on the topic of beds the next question on quite a few men’s lips probably relates to the bedroom department. Especially when sperm production has been earlier described as being ‘shut off’ by the injection. Now the expression ‘shut off’ is enough to terrify any man against the injection, but the injection allows men to ejaculate fluid without any sperm produced and has shown a full return to sperm count within 6 months of finishing the injections (much like with the female version). In comparison, there have been developments with an actual pill that with one single dose produces a ‘dry orgasm’. The rather eye-watering, albeit cleaner, notion that the man experiences sexual pleasure but does not produce any semen. This quick effect pill is still a few

We asked some male students if they would ever consider taking the ‘pill’? “Providing any side effects weren’t too bad and it was roughly the same as what a woman has to go through at the moment I don’t see why I wouldn’t do it.” - Dave, 20.

“To be honest I do feel bad on my girlfriend having to be the responsible one so I guess if I set myself reminders I could do it, so long as there weren’t too many side effects” - Mark, 21.

... And some female students if they could trust a man to take the ‘pill’? “I think it’s become a woman’s responsibility and the thought of a man taking the pill is a bit weird. It’s a girl thing plus I wouldn’t trust a man to take it anyway.” - Sarah, 19.

“I think it’s a joint responsibility. A guy and a girl should be able to share contraception if they can share everything else.” - Victoria, 21

What do you think? Share your thoughts on www.platform-online.net years away from development, but does it spell the end of the condom? Unfortunately not; apart from the previously discussed risk of STI’s, the pill does not offer spur of the moment temporary infertility on demand. It takes around five hours to take effect, which might take some of the spontaneity out of a one night stand. And to be honest how many women are going to believe ‘I took the male pill earlier’. Even if that line is a used, surely any woman will be

instantly turned off by the presumptuousness of it all. So it appears that the days of the male head-in-the-sand attitude to contraception are coming to an end. But regardless of whether it appeals as a pill, an injection or a one-dose ‘instant pill’ the advent of male contraceptives will probably appeal more to those in a long term relationship who want to share the contraception responsibility.

In a strong relationship couples do share most things, and with a development of the injection this could be part of it, and in turn take less of a burden from women to hold all the responsibility. For the one-night-stand the drunken fumble with a condom wrapper is still a necessity, but the world is changing fast and a new lease of male responsibility could be on the horizon.

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Health Tips on Coping with

Exam Stress

It’s that time of year again and whilst the sun is tempting us outside to frolic and play, most of us are stuck indoors revising for some pretty important exams. This can be a very challenging time, so Danielle Almond has rounded up the best tips to help you make it through to the other side of exam season. [Photos: Saira MacLeod]

tress is your body’s normal response to a challenge or threat and effects people in very different ways. Some thrive on it whilst others are paralyzed with fear. Stress has been shown to have profound effects on the body it can effect sleep patterns, make you more likely to catch a cold or flu and even gives some people panic attacks or a rash. One of the most important tips for managing with stress is to be realistic about how much work you’re going to do all day. Being a perfectionist and setting impossible goals will only lower your self esteem and reduce your chances of succeeding.

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As well as this there are some alternative therapies which some people find priceless in helping them through stressful times. You can enrol in a tai chi or yoga class for example. Many people claim it helps to release their tension and help them to avoid anxiety. These are also said to help you sleep better so are definitely worth considering if you’re finding it all too much. Your diet is also important to helping you succeed. Replace sweets and sugary foods for more substantial choices like berries, bananas, fish and broccoli. These will serve you much better in boosting your concentration levels as well as energy and mood. Also avoid too much coffee, tea and other caffeine laden drinks. These will make you more alert for a while but your thinking will be less clear and you may just become more agitated. You also don’t want a repeat of Will’s exam disaster in The Inbetweeners. There are also a plethora of complementary therapies you can get help from for your exam stress. Aromatherapy, reflexology and massage are worth considering for those at are finding their stress levels rising. But bare in mind that it’s best to talk to a qualified practitioner about homeopathic remedies. Don’t forget that if things are really getting on top of you, you can always go and see your GP who will try their best to help. Trent student Andrea, 20, said, “Last year I had 5 exams in 4 days. The 2 hardest and longest were on the same day. I went to the GP and she gave me a leaflet about stress with exams which was good and advised me to go to another clinic which helps with stress. I found them useful and still use the advice in everyday life.”

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