PartB - October 16th, 2012

The Beaver 16.10.2012

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PartB

FILM REVIEW ON THE ROAD

FOOD & DRINK COCKTAIL CORNER

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16.10.2012 PartB

MEET OUR

EDITORS

ON THE ROAD

PartB (ACTING) VENESSA CHAN

partb@thebeaveronline.co.uk

Fashion

LSESU FASHION SOCIETY fashion@thebeaveronline.co.uk

Film

VENESSA CHAN

೉OP#WKHEHDYHURQOLQH FR XN

Food

LAURA RANDLE

food@thebeaveronline.co.uk

Literature VACANT

literature@thebeaveronline.co.uk

VACANT

PXVLF#WKHEHDYHURQOLQH FR XN

Private B

GINGER WHOREBY

privateb@thebeaveronline.co.uk

Theatre

LAURENCE VARDAXOGLOU theatre@thebeaveronline.co.uk

Television VACANT

tv@thebeaveronline.co.uk

Video Games

PHILIP GALLAGHER

YLGHRJDPHV#WKHEHDYHURQOLQH FR XN

Visual Arts SHYAM DESAI

visualarts@thebeaveronline.co.uk

Web

VACANT

partb-web@thebeaveronline.co.uk

Cover Art

COURTESY OF TOM SPEED AND THE LSESU VISUAL ARTS SOCIETY

Kristen Stewart and Garrett Hedlund, as Dean Moriarty and his wife Marylou, with Sam Riley as Sal Paradise in the backseat.

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here’s no gold at the end of the rainbow’ says Carlo Marx (Tom Sturridge) in one of the many drunken, drug-addled, sexcrazed parties throughout On the Road. In a way that is the sentiment you are left with RQFH \RX OHDYH WKH ೉OP EHKLQG LQ WKH VWXŕłˆ\ FLQHPD 'LUHFWRU Walter Salles has created a worthy adaptation of Jack Kerouac’s semi-autobiographical novel of the same title, which follows the novel in imparting the idea that it is the means, not the end, that truly matters in life. The continued relevance of Kerouac’s tale proves that the thirst for life and hunger for adventure is a common attribute of youth, whether of today or yesteryear.

The ever-observing writer and narrator Sal Paradise— D UHೊHFWLRQ RI .HURXDF‍ݍ‏LV played by the excellent Sam Riley, portraying a nuanced frustration of writer’s block and the fever that consumes any writer given the right muse. Sal’s friendship with FRQPDQ 'HDQ 0RULDUW\ *DU-

FEEL FREE TO EMAIL ANY OF US ABOUT OPPORTUNITIES

PartB

rett Hedlund) is illustrated WKURXJKRXW WKH ೉OP DV WKH NH\ to Sal’s inspiration, the source of all madness, the drive to create. Hedlund presents us with a performance that can only be praised, embodying Moriarty with all his charisma and subtle desperation. Kristen Stewart, in a rather rare non-annoying turn, is Moriarty’s long-time lover and exwife, Marylou. Although, this may be due to her limited number of lines rather than actual acting ability.

Along with these young faces in the cast you have big names such as Academy Award winner Amy Adams, Viggo Mortensen, Steve Buscemi, Terrence Howard and Kirsten 'XQVW (DFK KDV D UHODWLYHO\ small role but contributes to the over-arching story, a story that tumbles from one interesting character to the next throughout this unsettled life of travel. The trouble is none of them are never really developed so the characterisation IDOOV D ELW ೊDW 7KH VFUHHQZULWer, Jose Rivera, had previous-

ly worked with Salles on his PDJQL೉FHQW ODVW HŕłˆRUW The Motorcycle Diaries. The shortcomings in the script thereby limiting character interaction in terms of dialogue; physical interaction on the other hand was not exactly lacking.

On a higher note of praise WKH ೉OP GRHV D SURIRXQGO\ eloquent job of capturing the ]HLWJHLVW WKURXJK UH೉QHG FLQematography and a superb %HDW *HQHUDWLRQ VRXQGWUDFN On the Road is visually stunning, the camera gliding over the wide-open barren deserts, the black ever-rolling tarmac, &DOLIRUQLDQ FRWWRQ ೉HOGV DQG as well as the breathtaking skyline of New York City. The

CELEBRATE BLACK HISTORY MONTH 18 OCTOBER

EXVWHUV 7KLV LV GH೉QLWHO\ D classic that needs to be revisited once in a while.

Victim Support, in partnership with The Cinema Museum, is hosting a special event for Black History Month 2012.

Celebrate with an afternoon of GLYHUVLW\ LQFOXGLQJ VKRUW ೉OPV live acts, special guest speakers and networking opportunities.

16-18 OCTOBER RENOIR CINEMA

GHOSTBUSTERS 18 OCTOBER

PRINCE CHARLES CINEMA

Three odd-ball scientists get kicked out of their cushy positions at a university in New York City where they studied the occult. Jobless, they WKXV GHFLGH WR EHFRPH *KRVW-

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%DUEDUD D GRFWRU LQ V (DVW *HUPDQ\ LV GHVSHUDWH WR OHDYH the country to join her lover in the West. However, her application to leave incenses the authorities and results in her relocation to a tiny rural district. Unwilling to remain, she hatches a plan to escape. The latest collaboration between the director, Christian Petzold, and the always excellent Nina Hoss since Yella presents a YHU\ GLŕłˆHUHQW YLHZ RI WKH (DVWern Bloc and, as has come to be expected of this exceptional ೉OPPDNHU LV D ೉QHO\ QXDQFHG drama.

Sarah Mac Rory

IN CINEMAS NOW Director Walter Salles Cast .ULVWHQ 6WHZDUW *DUUHWW +HGOXQG 6DP 5LOH\ 9LJJR 0RUWHQVHQ $P\ $GDPV .LUVWHQ 'XQVW 7RP 6WXUULGJH (OLVDEHWK 0RVV Run time PLQXWHV

THIS WEEK IN FILM THE CINEMA MUSEUM

Write for us!

LIONSGATE

Music

೉UVW SHUVRQ QDUUDWLYH RI 6DO‍ݰ‏V story was emphasized, and its emotions further accentuated E\ 'XWFK DQJOHV DQG FORVH ups. Jarring camera movements that follow the trio add WR WKH LQWHQVLW\ RI WKH ೉OP D quality that matches Kerouac’s short sentences and concise descriptions. The jagged movements reaffirm the pure madness and primal nature of the parties.

Salles’ use of jazz and counWU\ EDOODGV LQ GLŕłˆHUHQW VFHQHV help move the narrative and plot along, giving you insight into a world that is visually and aurally rich with culture.

7KH ೉OP LWVHOI LV WU\LQJ WR EH poetic and literary, naturally, since it is emulating a novel. A goal it almost achieves through cinematography and excellent performances. The ೉OP KDV PRPHQWV ZKHQ WKH pace burns like a match, thrilling and exhilarating for both the characters and the viewer.

In other instances everything slows and you are presented with a painfully dragged out scene that does nothing to further the plot nor develop the characters.

Kerouac’s animalistic tale of youth, wonder, travel, sex, jazz, instinct, humanity, the itch to write and the yearning for life is captured by Salles’ and his well chosen cast. It left me wanting to go on my own adventure. As with The Motorcycle Diaries, Salles leaves you inspired. To put it plainly, go see On the Road.

GIGS PORTICO QUARTET 18 OCTOBER ROUNDHOUSE

ERRORS 18 OCTOBER HEAVEN

REEL PEOPLE 19 OCTOBER JAZZ CAFÉ

BASTILLE &19SWISS LIPS OCTOBER KOKO

CHILLY GONZALES 20 OCTOBER BARBICAN CENTRE

KELLY CLARKSON &20COVER DRIVE OCTOBER WEMBLEY ARENA

DISNEY FANTASIA: LIVE21INOCTOBER CONCERT ROYAL ALBERT HALL

GRIZZLY BEAR 22 OCTOBER

O2 ACADEMY BRIXTON

THE TALLEST MAN ON EARTH 22 OCTOBER

HMV FORUM KENTISH TOWN

The Beaver 16.10.2012

& BEASTS OF THE SOUTHERN WILD

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FOX SEARCHLIGHT

storm of biblical proportions approaches the Bathtub, a shanty village ‘on the wrong side of the levee’ in the bayou country of Louisiana. Beasts of the Southern Wild tells the story of six-year-old Hushpuppy (QuvenzhanĂŠ Wallis) and her father Wink (Dwight Henry) in their struggle for survival.

With his crew, Director Benh Zeitlin painstakingly built the setting of the Bathtub based on his experiences living in New Orleans after Hurricane Katrina. In the film, black and white, old and young live cooperatively in the cut-off community, raucously celebrating each triumph of survival with vast tubs of crabs and crawfish and plenty of beer.

Ben Richardson’s sublime work behind the camera carves an image of a community walking a tightrope between free spiritedness and dependence on the mainstream of society which discards the scraps of hardware that their houses are built from and produces the alcohol that they import to endure the hardships of life in the marshland.

The looming environmental catastrophe threatens the

QuvenzhanĂŠ Wallis is Hushpuppy from the bayou community, Bathtub.

existence of the bathtub. As the storms come, the sound of the rain lashing against the roof leads hushpuppy to imagine polar ice melting and unleashing colossal aurochs.

Her musings tell us that ‘the entire universe depends on everything fitting together just right.’ Zeitlin has been criticized for using the child narrator to allude to poignant issues such as climate change, poverty,

and loss without saying anything meaningful about them.

However the images of the film are driven by the associations of Hushpuppy’s mind, and it is precisely this narrative device that carries the air of magical realism and lack of a conventional plot structure so convincingly.

This is in no small part thanks to the defiance and determination of Hushpuppy’s character, as well as the

of his reggae sound system, and to borrow a relevant term, his trials and tribulations in Babylon.

Director Franco Rosso’s principal success is the incisiveness with which he characterises the lives of his characters.

ished communities that happen also to hold much real estate potential. The parallels to places like Hackney and the Olympics are quite obvious, as LV WKH TXHVWLRQ RI IDWKHU ೉ J ures, a key part of Cameron’s Britain addressed most often to black Britons. Featuring very natural performances from Laurence Fishburne, Ice Cube and Cuba Gooding Jr., -RKQ 6LQJOHWRQ‍ݰ‏V GHEXW ೉ OP LV one of huge importance, not least for America, where it was selected for preservation in the National Film Registry.

strength of QuvenzhanÊ Wallis’ performance in playing her. Aged five when cast and seven upon completion, Wallis’ astounding performance rarely looks as though she’s acting at all.

Along with Dwight Henry and most of the rest of the cast, Wallis was a novice actor. While many young girls auditioned for the role of Hushpuppy, Henry is a baker and father of five who works a short walk from the offices of the production company.

There is no doubt that the life experiences of Henry and others inspired their conviction in taking on their roles, and helped convey the emotional depth of the story.

Wink’s relationship with his daughter is riddled with the frustrations of their situation, occasionally violent, but permanently pervaded by love. As the prehistoric beasts charge relentlessly towards the Bathtub, Wink’s health deteriorates and the floodwaters

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rise to claim the lives of some and the houses of others.

As he battles his sickness, he tries to teach her all he knows about the world. He teaches her to fish with her hands from the back of their raft fashioned from the bed of a truck, while the other residents rebuild their homes into a floating ark replete with animals and plants, which they hope will rise with the waters and float them to safety.

This is Zeitlin’s first feature and is based on a stage production by his collaborator, Lucy Alibar. The film won the CamÊra d’Or award at the 2012 Cannes Film Festival and won a Grand Jury Prize at the 2012 Sundance Film Festival, where it premiered. Emotionally resonant and creatively complete, Beasts of the Southern Wild is an utterly mesmerising independent feature film that restores faith in storytelling and cinema.

Shyam Desai IN CINEMAS 19TH OCTOBER 2013 Director Benh Zeitlin Cast QuvenzhanĂŠ Wallis, Dwight Henry Run time 93 minutes

# BLACK HISTORY MONTH

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o celebrate Black History Month we’ve chosen some of our favourite snapshots of black cinema‌

BABYLON 1981

$ XQೊ LQFKLQJ SRUWUD\DO RI WKH black British experience in broken 1980s Britain, the stories in Babylon punch out to a pulsating reggae soundtrack

by Dennis Bovell and Aswad.

In the midst of a recession, much like now, the pinch was hardest on poor immigrant communities. Thankfully different, however, is the simultaneous discrimination they had to contend with, with the National Front a major presence, but worse perhaps, the institutional racism at every level of society, not least in the police. The existence is a painful and frustrating one, but there is also pride. Culture is more difficult to deny than work or rights, and they have are enriched by reggae music. The central story is of Blue (Brinsley Forde), toaster

BOYZ N1991 THE HOOD

‘Either they don’t know, don’t show, or don’t care about what’s going on in the ‘hood.’ It is home, but surviving it is no easy feat when one in every twenty or so young black men is gunned down. Boyz is essentially the story of a few young men coming of age in Los Angeles. It is elevated above others in the genre by its emotional depth, maturity and introspection. These young men are decent people, but their OLYHV DUH KHDYLO\ LQೊ XHQFHG by factors out of their control: ranging from the identity to SUR೉ FLHQF\ DW VSRUWV DQG DW a much higher level the status of these neighbourhoods, which are home to impover-

CLEOPATRA JONES 1973

COLUMBIA PICTURES

6 feet 2 inches of dynamite.

She is like James Bond, but cooler, with her gadgetised Corvette and her karate. The titular Cleopatra Jones, a secret agent posing as a model (real-life model Tamara DobVRQ LV D JURXQG EUHDNLQJ ೉ OP with its highly progressive characterisation of race and gender. She is a strong, beautiful, black woman—her life, her money and her sexuality are hers and hers alone—yet she is also caring and committed to both her man and her community. Themes typical to the Blaxploitation genre such as community spirit and black unity are very overt, but they never grate. Backed by a funky score and committed SHUIRUPDQFHV LW LV D ೉ OP ZLWK heart that is also a lot of fun.

DO THE RIGHT THING 1989

On the hottest day of the summer, tensions run high in Brooklyn. Spike Lee directs and leads in this marvellous, unsentimental snapshot of racial tensions in urban America.

This average inner-city neighbourhood notably contains Italian, African and Korean Americans, all of them having arrived on Lady Liberty’s VKRUHV DW GLŕłˆ HUHQW WLPHV ZLWK YDVWO\ GLŕłˆ HUHQW VWRULHV 7KH\ KROG GLŕłˆ HUHQW YDOXHV DQG WHQ dencies too, as the characters notice with introspection typical of a Spike Lee joint, and they are citizens of a country that is still, and perhaps always will be, divided at some level. Public Enemy’s Fight the Power, both part of the soundtrack and a recurring motif, is pitch-perfect in capturing the blossoming black consciousness among local youth, which in itself is intimidating to other Americans. By any means necessary? Not all of its inhabitants would agree.

MALCOLM X 1992

Led by an electrifying Denzel Washingon delivering one of the greatest performances of recent decades, this is an epic worthy of the man and his life.

From the humblest of beginnings in a deeply racist country, Malcolm Little descends

into a life of crime and further still into prison, whereupon he rises higher and commands perhaps more power than any black man of his day. He falls because he is black, but he rises also because he is black.

That is the point of Malcolm, the Nation of Islam and black consciousness. Black pride and autonomy. If equality and justice are not granted, they must be taken. Singing, delivering pompous speeches and waiting for heavenly assistance is foolish. Fear is a weapon, love is a shield. Spike Lee skilfully and passionately captures the essence of the man, as found in his Autobiography, written in collaboration with Alex Haley. If anything, Manning Marable’s luminous recent biography reaffirmed his importance and continued relevance. He remains a source of pride, inspiration and a point of reference to millions across the world, of all races.

!Aameer Patel

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16.10.2012 PartB

VISUAL ARTS AT THE LSE

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London. Last year we visited a portrait class at the National Portrait Gallery, the monthly Late at the Victoria and Albert, as well as huge groups of around 40 of us going to visit the Degas and David Hockney exhibitions at the Royal Academy. These trips are always great fun, and will definitely save you a lot of money on tickets! Tickets for the Degas and Hockney shows are normally £14, and we managed to get them for just £2!

he LSESU Visual Arts Society is one of the fastest growing societies within the LSE Students’ Union. We are very active, providing you with opportunities to take a break from your hard working schedules to unleash your creative side (and don’t worry, you definitely have one). Here iss a little taste of what we’re all about.

LIFE DRAWING

We put on life drawing classes every week aimed at people of all abilities. Come and practice your drawing under the guidance of a professional tutor, or feel free to sit and do your own thing.

We provide a variety of media for the classes such as pencil, charcoal, and ink, so all you need to do is bring yourself! Our first class is being run as part of Give It A Go on 16th October at 6pm, in Parish Hall which is next to the Peacock Theatre. This session will be free and open to all, and subsequent classes will be charged at £3 for members

PartB COVERS

The Summer Exhibition in the Atrium Gallery

of Visual Arts Society and £5 for non-members.

WORKSHOPS

We realise that life drawing isn’t necessarily everyone’s thing, so we like to put on other art workshops every couple of weeks. Check our Facebook page (https://www. facebook.com/groups/VisualArts.LSE) and the Student Union website to be kept up

to date. To give you an idea of what these may entail, last year we worked closely with tutors at the Victoria and Albert museum and got them to teach sessions on textiles and paper art.

GALLERY VISITS

Being a large student body, we can often get our members discounted tickets to the world-famous exhibitions in

Every week we give members the opportunity to have their art be the front cover of the Part B section of The Beaver – turn back a few pages and take a look at the current one! Email su.soc.visualarts@ lse.ac.uk if you want your art to be considered. Preferably, it needs to be colour and portrait in orientation but we’re open to anything.

SUMMER EXHIBITION

To round off the end of the

year and show off the fantastic art that Visual Arts Society members produce, we have started to put on end-of-year exhibitions in the Atrium Gallery of the Old Building. The exhibition premiered last year and displayed everything from large scale canvases to photography and video art. It was a huge success, reaching out to audiences both within and without the school and ran for 5 weeks in the summer term.

More information on this will be given out later on in the year.

Cumulatively, our hard work and the enthusiasm of the LSE student body have allowed us to achieve all of the above and we would like to thank you for that. It all paid off, and we were awarded a Silver Students’ Union STARS award which will be giving us and our members a few perks throughout this year. We are excited to meet you all, and hope to see you soon!

Paniz Gederi

FIVE EXHIBITIONS FOR THIS TERM D

on’t worry if you missed the Frieze Art Fair in Regent’s Park over the weekend, there is plenty of art to indulge in this term. Here are a few highlights of what’s coming up in the next months.

DAIDO MORIYAMA: TIGHTS & LIPS MICHAEL HOPPEN GALLERY UNTIL 20 OCTOBER 2012

Timed to coincide with the upcoming William Klein/Daido Moriyama show at the Tate Modern, this exhibition show-

cases some of the more recent work of Japanese photographer Daido Moriyama, in particular his Tights series–black and white close ups of legs in fishnet hosiery. The display will also include photographs from the Lips series, in which Moriyama homes in on women’s mouths.

BRONZE

ROYAL ACADEMY OF ARTS UNTIL 9 DECEMBER 2012

Bronze has been employed as an artistic medium for over five millennia. It is an alloy consisting mainly of copper,

Lady Lilith, Dante Gabriel Rossetti, 1868. Pre-Raphaelites at the Tate Britain.

with lesser amounts of tin, zinc and lead. Due to its inherent toughness and resistance, the material’s uses over the centuries have been remarkably varied. A section of the exhibition has been devoted to the complex processes involved in making bronze, enabling visitors to explore how models are made, cast and finished by a variety of different techniques. The exhibition offers a unique exploration of artistic practice, an understanding of the physical properties and distinctive qualities of bronze, and the rare opportunity to see the very best examples in one place.

Bruce Davidson, New York City, 1962. Everything was Moving at the Barbican Centre.

also coincided with a golden age in photography: the moment when the medium flowered as a modern art form.

EVERYTHING WAS MOVING: TURNER PRIZE 2012 PHOTOGRAPHY FROM PRE-RAPHAELITES: TATE BRITAIN UNTIL JANUARY 6 2013 THE 60s AND 70s VICTORIAN BARBICAN CENTRE UNTIL JANUARY 13 2013 AVANT-GARDE TATE BRITAIN

The Turner Prize, named after the romantic landscape painter J. M. W. Turner, is an annual prize started in 1984.

The prize, organised by the Tate, accepts art in any medium, but has been associated with conceptual art in recent years. Damien Hirst’s formaldehyde preserved shark and Tracy Emin’s disheveled bed are famously controversial past entries.

This year sees performance artist Spartacus Chetwynd nominated with her piece Odd Man Out in which participants are hurled down an inflatable slide to be met by charred limbs. Another noteworthy entry is Paul Noble’s Public Toilet which is part of his 15 year drawing project. It depicts the inhabitants of a sprawling metropolis as human faeces which engaging in orgies.

This major photography exhibition surveys the medium from an international perspective, and includes renowned photographers from across the globe, all working during two of the most memorable decades of the 20th century. Everything Was Moving: Photography from the 60s and 70s brings together over 400 works, some rarely seen, others recently discovered and many shown in the UK for the first time.

The world changed dramatically in the 1960s and 1970s.

From the Cultural Revolution to the Cold War; from America’s colonialist misadventure in Vietnam to the indelible values of the civil rights movement; this was the defining period of the modern age. It

UNTIL 13 JANUARY 2013

Combining rebellion, beauty, scientific precision and imaginative grandeur, the Pre-Raphaelites constitute Britain’s first modern art movement. This exhibition brings together over 150 works in different media, including painting, sculpture, photography and the applied arts, revealing the Pre-Raphaelites to be advanced in their approach to every genre. Led

by Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais, the Pre-Raphaelite Brotherhood rebelled against the art establishment of the mid-19th century, taking inspiration from early Renaissance painting.

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The Beaver 16.10.2012

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SOHO THEATRE until 20 October 2012 Directed by Joel Horwood, Ivan Cutting Written by Joel Horwood Starring Milo Twomey, Jay Taylor 70 minutes

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THE ROYAL COURT THEATRE until 13 October 2012 Directed by James MacDonald Written by Caryl Churchill 110 minutes

20

16.10.2012 PartB

ŕŠ‚ LUCY AND THE HAWK L

SWITCHBACK PRODUCTIONS

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ucy and the Hawk, part of the Ovalhouse’s new Beside Me collection, is a charming and refreshingly original love story. Lucy and Elliott, played by Abigail Moffatt and Tom Walton respectively, live separate lives. They have never met, they share nothing in common, and yet they are undeniably connected—if not actually, or physically, then somehow else.

The neat but bizarre stage—tables are sloped and landline telephones multiplied to excess—compliments an eerie production that follows Lucy silently on stage as she struggles to understand her sudden feelings for Elliott.

Meanwhile Elliott provides the corroborating sound from Rŕłˆ VWDJH EHIRUH UROHV DUH UH versed to portray Elliott’s confusion. The pair rotates often enough to keep things moving in what becomes a genuinely ೊ XLG GHSLFWLRQ RI KRZ WZR SHU manently separate lives can seemingly intertwine.

So Lucy and the Hawk is essentially mime but with QRLVHV DUWL೉ FLDOO\ LQMHFWHG WR JUHDW DQG RIWHQ FRPLF Hŕłˆ HFW

/XF\ UXŕłŒ LQJ D QRQ H[LVWHQW newspaper is met by Elliott UXŕłŒ LQJ DQ DFWXDO QHZVSDSHU Elliott’s anxiety is explained as Lucy voices his thoughts with a soft tone that could easily be mistaken for Charlotte Gainsbourg, if the Ăźber cool Gallic actress/singer were from the north of England. The two estranged lovers compliment each other in this way throughout, more or less always perfectly in sync.

Though the performances are H[FHOOHQW WKH Rŕłˆ HULQJ RI WKH characters’ thoughts in particular—like hearing the little voices in their head—make for a much richer production. The audience is given a clearer picture but by no means the entire picture; this difficult balancing act is very well done.

Personally, Lucy and the Hawk explores the space between something and nothing in the way it conveys the real and deep connection between two characters who have no tangible link to point to. The idea that two people can be so close but never to touch is shown too in Damien Hirst’s Loving in the World of Desire, where a stream of air keeps a ball hovering eternally above a box. Despite a world of confusion on stage, it was comforting to notice that both Lucy and Elliott read from scripts when dictating the other’s thoughts – suggesting that maybe some things are just meant to be.

Laurence Vardaxoglou

OVALHOUSE until 27 October 2012 Written and directed by Phil Ormrod 6WDUULQJ $ELJDLO 0Rŕłˆ DW 7RP :DOWRQ 100 minutes

BEAVER BARISTA ~ BEANS

spresso. Not expresso.

For the love of all things that you hold sacred, espresso. Were you to go into a reputable coffee house and ask for an expresso you should be laughed at and told to take a hike. If worse comes to worst, then just ask for a Doppio or a Solo and just try to wing it, there is no need to try and be a hero, just make it out of there with your dignity intact.

This week, your favourite Barista will be taking a look at coffee beans, both the strong espresso variety, for you latte hounds out there, and the more flavoursome beans used to make filter coffee. The more astute amongst you will be aware, of course, that if one were to have finely attuned tastebuds, then differing espresso roasts can give widely differing flavours, but one must cater to the masses here, so I’m hamstrung in that respect.

Espresso roasts don’t only have to be espresso roasts.

These roasts tend to be on the heavier side, but this varies wildly across the UK, with Starbucks beans being roasted very, very, heavily, whereas those at somewhere such as Caffe Nero are much more traditionally and lightly roasted.

Frankly, if you’re going to try and create your own Doppio at home I’d recommend a standard light roast and a traditional Moka pot. It won’t strictly be espresso you’re making, because as we’re all aware, the Italian Espresso National Institute declare that

for espresso to hold it’s name, the shot must be pulled at a pressure of 9 bar (Your Moka pot will attain a rather measly 1.5 bar). But it’d be approximately close enough that most of your friends will let you get away with it. Sometimes one can even manage a broad approximation of crema on their shots, I certainly wouldn’t turn that down!

Now, onto filter coffee, where even the slightest variation in geography, altitude or even seasonal weather can have a veritable world of difference. Coffee beans, broadly speaking, come from three regions across the globe, South America, Africa and SouthEast Asia. I would argue that Hawaii’s Kona beans, and Jamaica’s Blue Mountain beans, would form a fourth distinct region, but it is hard to equate two island groupings as a region compared to continental landmasses.

Each area has their own, broadly distinctive tastes. African coffee is distinctly fruitier than the other regions of the globe, and noticeably sweeter that one would expect, in my experience Ethiopian wouldn’t require even the sweetest of teeth to deploy their sweetener of choice. African Coffee does not have the heaviest of bodies, but the light and delicate flavours make it perfect if you want a good breakfast coffee, without being punched in the face by an espresso shot.

South American coffee is much more nutty, almost to the point of being chocolaty, than

the other regions that produce coffee beans. This is probably the most robust of the regions, simply because of the many varying bean types, you could drink this in your filter coffee at breakfast, lunch or even as a larger cup of coffee after a good evening meal. When you imagine filter coffee, this is probably the flavour you’re imagining. A great type of bean for those taking the first, burgeoning, steps out into the wider world of caffeine.

Finally, South-East Asian coffee beans. Possibly the most polarising of the beans we’ve discussed in this little

column. With their distinctive, heavy, earthy tones it is often the case that the uninitiated do not taste much more than a smoky aftertaste. Often leading to the joke, ‘Is this coffee fresh?’ and then the inevitable, terrible response of ‘Of course, it was fresh ground this morning.’ If you must insist on using this tired, and frankly terrible, joke then do so ironically. With the correct guidance, or several years of hard training it is possible to truly appreciate the more subtle tones of this coffee roast, and it would be well worth your while to do so. Of particular note is Indonesian

coffee, once the heavy curtain of smoke is lifted, the bright and delicate notes of flowers is a joy to behold.

So, hopefully you can put this knowledge to good use.

And if that hipster in your local coffee bar starts talking shit about different types of coffee bean, and how they affect his aura, or other bollocks like that, you can give him a good old fashioned verbal curb stomping.

Beaver Barista

21

The Beaver 16.10.2012

Â? HONEY & CO. H

ummus. Or is it houmous? Or hoummos, humos or hummous?

Whilst in a lecture the other day and idly thinking about the plethora of spellings of this ancient food, the craving to dip some warm pitta bread in a chickpea purĂŠe overcame me and I realised really needed to eat some immediately. After all, students and hummus are well known to be strongly linked. Foods that manage to be vegetarian, vegan, gluten free, cheap and still relatively tasty are few and far between: hummus transcends all barriers, everyone loves it.

So where to go to sample this wonderfood? I emerged from my lecture into a drizzly, dark evening and made for Honey & Co., a Yemeni cafĂŠ and restaurant that is guaranteed to brighten up your day.

The window array of lus-

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cious cakes and jars of interesting preserves tempt you to step across the threshold, luring you inside with the promise of irresistible things to eat.

The room itself is small, cosy and simply decorated with a gorgeous blue and white MoURFFDQ WLOHG ೊ RRU 7DEOHV DUH topped with paper, and the cutlery and napkin are held together with a wooden peg.

I started with—of course— the hummus, alongside four other small dishes as part of a meze which changes daily.

(DFK ZDV D PRXWKIXO RI ೊ D vour, easily mopped up by the accompanying pitta bread: sweet beetroot with Greek oregano, crunchy little radishes with a creamy labneh, a spicy tomato and pepper concoction, and a fragrant pumpkin and sultana dip. The hummus had a light, smooth texture, and certainly satis-

o celebrate the EU controversially winning the Nobel Peace Prize this past week, we here at Food & Drink desk are giving you three EU-inspired cocktails.

M

PRESIDENTOFTHEEUROPEANCOUNCIL

FIRST UP

THE PARISIAN 60ml dry gin 30ml dry vermouth 20ml crème de cassis Combine in shaker with ice.

Strain into martini glass.

WARSAW ROSE 40ml Polish vodka 30ml cherry liquer 15ml triple-sec A dash of Angostura bitters Combine with ice in shaker.

Strain into martini glass.

Try these!

LAST BUT NOT LEAST

BARCELONA FIZZ

40ml sweet sherry 30ml gin 15ml lemon juice 7ml simple syrup 110ml soda water Combine sherry, gin, lemon juice and simple syrup in a shaker. Fill highball glass halffull with ice and strain sherry mixture over top. Garnish with lemon and cherry.

With these three European cocktails you can now celebrate your next celebratory bailout party in style!

Beaver Bartender

They climbing through our legislative windows snatching our sovereignty up.

lemon, vodka, and poppy seed cake. Both were dense and moist, and equally delicious.

Neither lasted long.

Honey & Co. Rŕłˆ HUV D ZLGH range of drinks, with house wine served in quaint tumEOHUV DQG WHD LQ PDJQL೉ FHQW silver pots. I had a homemade orange blossom iced tea, which was refreshing, although very sweet. My friend had a totally unsweetened but wonderfully aromatic mint tea.

Owner and chefs, Sarit and Itamar, describe their fare as

village food, simply food remembered from their childhood and inspired by their friends, things they have imagined or just heard about.

However, do not let this humble front deceive you. As protĂŠgĂŠs of the esteemed Yottam Ottolenghi, both are immensely accomplished chefs.

And after all of that, I can’t even remember how Honey & Co. spell hummus. Looks like I will just have to go back again to check.

,Gaia Manners-Armstrong 25a Warren Street W1T 5LZ 7.30am-7pm daily Cuisine Middle Eastern Average spend ÂŁ18 (3-course dinner) Meals Breakfast, lunch, or just tea and cake

MUTANT MUDDS

COCKTAIL CORNER

SECONDLY

೉ HG P\ FUDYLQJ This was followed with VWXŕłˆ HG YLQH OHDYHV DV UHF ommended by our charming waitress. This is usually a dish I avoid at all costs, due to unappetizing holiday memories of cold, bland lumps of rice wrapped in slimy leaves. I am glad to say that I now have DQ HQWLUHO\ GLŕłˆ HUHQW YLHZ these were parcels of silkily textured deliciousness, tangy with leek and grape.

The main course was lamb paltican, a sort of stew. The lamb was meltingly tender, and was complimented by the smokiness of chargrilled aubergine and sweetness of pomegranate seeds. Presented in a cast iron dish, it looked almost as good as it tasted.

Finally, it was time to try one of the cakes. I went for the pistachio, almond and plum and my foodie companion had

utant Mudds is a retro-style side-scroller starring the bastard child of Joan Rivers and Millhouse from the Simpsons.

2-D side scrolling is a wellknown genre of classic gaming, having given rise to giants that still exist today, such as Mario Brothers series, and on the surface Mutant Mudds seems to be a decent enough throw back to such classics.

You play a young boy tasked with ridding the world of an invading force of mud like beings, using an inexplicably available jet pack and space age musket. Along the way you will have to avoid spiky pitfalls, collect coins and overcome other obstacles that should really be familiar to a 90s child. There are also points where you will be required to jump into the background and foreground in order to get everything you need to fully complete the game, including a coin quota and a number of secret and ever more challenging stages.

Despite this, the game does not quite amount to the platforming masterpiece that

it is hyped up as online. As I played, I kept getting annoyed by the sluggish movements of the character. The repetitive nature of the enemies and traps just compounded this, and failing a level after being crushed by the last in a line of 8 hammers made me start to miss my experiences LQ 6N\ULP ZKHUH MXPSLQJ Rŕłˆ FOLŕłˆ V DQG XQORDGLQJ P\ TXLYHU into a dragon before landing safely in a 6 foot deep river was an everyday norm. Obviously, playing a small blond GZDUI ZLWK DQ LQHŕłˆ HFWXDO weapon would not be authentic if he could casually annihilate enemies, yet I cannot help but think it would be better if you could. The game’s hub world also seems kind of uninspired, particularly given how D ೊ RDWLQJ SODWIRUP LQ WKH PLG dle of the sky is inexplicably referred to as an attic.

Having said this, progressing further into the game can become very satisfying. At ೉ UVW WKHUH LV OLWWOH FKDOOHQJH DQG WKH ೉ UVW VLJQ RI LW FDQ WDNH the player by surprise. However, if you get further on, get used to the traps and forgive the limitations of the character you can get a real sense of satisfaction. The game appears very simple, but getting farther into the experience becomes a bit like completing a hard Sudoku puzzle: winning

at something you know others will have been too bored or impatient to compete against you in.

Some websites have Mutant Mudds in the top ten lists of games for the 3DS, and this seems a bit undeserved. The game has a fair amount going for it, but when compared to mainstream titles like Mario Kart 7 or Kid Icarus it just feels like it only has appeal for certain niche gamers. I have heard the excuse that the basic level design makes up for the slowness of the character, but again this does not ೉ [ WKH ERUHGRP RQH FDQ IHHO The lack of a story compounds the sense that you could be playing something with more drive and entertainment to it, and quite frankly there are enough options even for the £6 Mutant Mudds can be downloaded for.

In short, Mutant Mudds can best be described as a niche platformer marketed as a charming retro experience.

Play it if you miss the days when it was the most satisfying thing in the world to get every secret on a cartridge game. There is nothing wrong with that, but make sure you remember the aspects of gaming that have improved since then.

Philip Gallagher

22

The Beaver 16.10.2012

DE JESUS GIVES CONTROVERSY A GO Ginger Whoreby

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Kanazawa’s Kocktail Korner

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NUMBER 1

WHITE LADY

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NUMBER 2

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NUMBER 3

WHITE WHITE RUSSIAN COSMOPOLITAN

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Shake ingredients well, and strain into a chilled martini glass.

3RXU YRGND DQG FRŕ­źHH OLqueur over ice cubes in an old-fashioned glass. Fill with light cream and serve.