Bad Taste Magazine: Issue 5 by Timothy Ngwena

BAD TASTE UNIVERSITY OF YORK CAMPUS MAGAZINE ISSUE 5 SUMMER ’08

Editors’ Note

Welcome to the fifth issue of Bad Taste, the university of York’s campus magazine. Bad Taste is an ever-evolving concept, but our initial aim remains the same: to provide an eclectic yet enlightening insight into campus life. Worthwhile pit stops this time are the new Good Guys, Good Girls spread, political controversy in Zeitgeist, and the future of expression in Art of the Internet, accompanied as always by our “dirrty” graphics. We’ve also been keeping our ears to the ground so you don’t have to. Check out our new web site launched alongside this release, which will feature up-to-date information on campus activities, previously unreleased content and back issues on the magazine. Register now at www.badtastemagazine.co.uk. Unlike other student publications, Bad Taste doesn’t employ a team of staff writers. We rely on the student community to be our ‘contributors’ - you can write as frequently or infrequently as you like, but without you we have nothing! We have no ‘stance’, and we lost our ego long ago. In short, Bad Taste is the campus soapbox and we hope that the wide ranging set of events and views promoted in our summer issue reflect this. If you’re interested in writing or getting involved in any way, you can find out more by contacting info@badtastemagazine.co.uk, or by logging onto our website.

Contents Lifestyle

Good Taste , Guy & Girl by Andy Young, Charlie Elliot & Nick Scargill I Survived Graduation Day by Matt Grum Cocktails Hoorah by Hannah Smith A City of Many Layers: Warsaw by Magda Assanowicz The Zeitgeist by Despoina Serafeimaki Beer There and Everywhere by Jake Delaney York’s Little Gem by Maggie Aslet

4 8 10 16 28 31 50

Arts Scene it Before by Sarah Jeffery Graphical Book Review by Marius Karabaczek Art of the Internet by Matt Grum Summer in York by Marius Karabaczek York Art Gallery by Tom Stannard Belt Up! by Sarah Jordan Ockham’s Razor by Alicia Walters

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18 19 25 35

Music Idioteque by Charley Davey The Hair by Emma Robson Lo-Fi Revolution by Sarah Ng Infadels by Hugh Morris & Charley Davey Press Remix by Hugh Morris Desert Island Discs

Editors Jake Delaney & Sam Hogton Graphics / Web Editor Timothy Ngwena Photography & Graphics Matt Grum

Managing Director Oliver Blair Good Taste Editor Andy Young Fashion Editors Lauren Clancy & Alice Albery Performing Arts Editor Sarah Jordan Music Editor Emma Robson Features Coordinator Hannah Smith Sub-Editor Lois Ashton Head of Advertising William Heaven Publicity & Distribution Manager Tom Bishai & Elizabeth Priday Graphics Assistants Phil Smith & Marius Karabaczeck Administrator Ola Jeglinska Contributors

Fashion Suits You, Sir! by Nick Scargill Urban Jungle: Fashion Shoot Designer Profile by Sherine El-sayed York’s Secret Garden: Fashion Shoot

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Sarah Jeffery, Nick Scargill, Sherine El-Sayed, Tom Stanard, Charley Davey, Hugh Morris, Sarah Ng, Magda Assanowicz, Despoina Serafeimaki, Alicia Walters, Maggie Aslet, Toby Roberts, Micheal Brunsden, Charlie Elliot, Jennifer McLarney, Lucy Whitby, Lucy Allen, Lisa Wong, Theresa Jones, Dominic O’Shea, Daniel Johnson, David Williams, Anna Elliot, Sophie Pickersgill, Alice Bedford & Louisa Parry Special thanks to: Selkie, The Antique Centre York & Ark The views expressed in this magazine are not necessarily those of YUSU or of the editorial team. Every care is taken to ensure all information published is correct at the time of print. All rights reserved. Reproduction in whole or part without written permission is strictly prohibited. Bad Taste Magazine cannot be held responsible for information provided by advertisers.

If you would like to get involved with BAD TASTE please email info@badtastemagazine.co.uk.

WWW.BADTASTEMAGAZINE.CO.UK

Cover by Matthew Grum

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To the rejoice of all the chocoholics in York, Hotel Chocolat has opened! The gourmet sweet treats store gets its ethically sourced cocoa from special farms in Ghana and St. Lucia where it helps employment, and has helped support health insurance funds for plantation workers. As if that wasn’t enough to tempt you, nobody has an excuse not to indulge when Hotel Chocolat also provide gluten and wheat free goodies and a 5% student discount. All of this makes you feel a lot less guilty when you can’t leave that last caramel until tomorrow...

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It may have a taboo name, but a trip to Orgasmic shouldn’t make you blush. The newly refurbished bar and restaurant is tucked away in an unsuspecting corner of York, but it has nothing to be ashamed of with its thoroughly modern wooden interiors, comfy couches and views of the river. Pop in at lunchtime for an oven -baked gourmet pizza (despite the name, Orgasmic is parentfriendly!), or for a comfortable glass of Chardonnay before hitting the rest of town. Don’t be shy, everybody loves Orgasmic.

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Started over 20 years ago in our very own streets of York, ‘Shared Earth’ is now one of the biggest Fairtrade chains in the UK. Selling a range of stylish accessories, gifts, homeware and stationary buying Fairtrade has never been so desirable. Their new range of designer jute bags makes shopping so much more guilt free, as it can be re-used time after time. Whether your looking for that quirky gift or even just a new notebook for Uni, you can be safe in the knowledge that you have made a difference in the world.

Blackberry Pearl 8810

p until now the BlackBerry, made by RIM was a smart phone reserved only for City boys and celebrities alike. Now however, the mobile operators are scrambling over each other to offer the BlackBerry and its ‘services’ to the every day consumer at an every day price. The handsets iconic push email service allows the user to receive their webmail and other emails before the website does. Internet access on-the-go is another one of the BlackBerry’s many features along with GPS positioning and the ability to open Office document attachments. For a reasonable £35 monthly tariff you get free minutes and texts like any other mobile, the only difference is that you have a BlackBerry and that is a phone in its own class. http://www.blackberrypearl.com

Sarah Coggles

nique to York, this boutique department store is one of the most fascinating men’s clothing shops in the city. Stocking the latest trends, Sarah Coggles always has a fresh, modern feel. The shop sells items from nearly 60 brands including: Paul Smith, Lyle & Scott, Modern Amusement and Vivienne Westwood to name just a few. This translates to a wonderful, varied selection of casual, high fashion and trendy clothes unlike anything else available in York. Sarah Coggles is located on Lower Petergate

All Saints

e-work, re-invent, reverse with ‘All Saints’ Summer ‘08 menswear collection. Helping us dress for the elements and extremes that we face in our rapidly changing natural world : from the wind-whipped high streets to a torrential Glastonbury to the parched acrid streets and beaches of Ibiza and beyond. Victoria Quarter, Leeds www.allsaints.co.uk

Neuros OSD

he Neuros OSD can solve all your multimedia storage problems, allowing you to archive all of your DVD and video content. Simply plug the Neuros OSD into your TV, connect your DVD or VCR and hit play. Then watch on in amazement as your movie is transferred into the digital library on the device. Allowing you to get rid of all your bulky video and DVD cases the Neuros OSD can store hundreds of hours of multimedia, with the ability to access them at the touch of button. It can also store your favourite photos and music all in one place.

Neuros OSD £140 / www.neurostechnology.com

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Philips & Swarovski Active Crystals

Shiva

ucked away in an inconspicuous corner next to the Minster, Shiva is one of York’s hidden gems. Established in 2002, its ethos is to provide designer quality accessories at high street prices. After stepping through the unassuming doorway you’ll find jewellery for every occasion, from Mother pearl sets to boho chic. Their jewellery is sourced from all over the world, including hand crafted bracelets from Israel and quality silver from Italy. Simple metals and crystals are stylish in any season and are the staple of Shiva’s stock. Shiva is located at No.10 College Street 15% Student Discount with a valid NUS/Student Card

hilips Consumer Lifestyle and Swarovski have introduced a new range of products that brings luxury and style to personal accessories. Following on from the range launched in 2007 the new accessories meet the demands of fashionable women on the go. The range has been expanded for 2008 with the new Philips and Swarovski Active Crystals Color range including the dazzling USB Heart Ware Crystal Vitrail Light memory key, the vibrant Space Violet in-ear headphones, the USB Lock Out Jet Hematite memory keys and the Space Jet Hematite in-ear headphones. The beautiful soft tones of the eye-catching crystals add a new dimension to these sensational and practical accessories. www.active-crystals.com

Cath Kidston

ath Kidston can help you decorate your student digs in a unique way with her beautiful range of homeware. Her vintage inspired prints are seen across all the products on offer. From beautifully patterned pillowcases and bedlinen to intricately designed storage boxes. If you want your bedroom to feel like a home from home ‘Cath Kidston’ can help you do it with a funky, retro twist. www.cathkidston.co.uk

Reiss

he summer collection has gone back to basics, feeling very modern and clean with sportswear, utility and eighties references. The range includes more casual separates and daywear pieces while maintaining the Reiss signature of elegant party-wear and slick tailoring. Reiss is located on Lower Petergate www.reiss.co.uk

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I S

D E V I V UR

n spite of the result of a recent UGM motion which received considerable support amongst students, it is highly likely that you will not be graduating in the Minster, but instead in a building which having crash landed in the 1960s has yet to phone home. I am of course talking about Central Hall which in some ways makes a fitting graduation venue echoing the core values of the university; that is, it doesn’t look great but it’s not all that bad when you’re there. Your last visit to Central Hall was probably to sit your exams, so this time will (hopefully) be a bit different as you’ll be in fancy dress. This starts with the classic graduation gown, which only just covers your shoulders, so smart dress is required underneath. Not realising this (and presumably not reading any of the instructional material) one of my friends turned up in t-shirt and jeans. I urge you not to repeat this mistake. There are other

Graduation Day By Matt Grum

accoutrements including a hat, which despite coming in different sizes somehow doesn’t fit anybody, and perhaps the biggest disappointment of the day: the colour coded hoods that distinguish different subjects and degree programs. These are not real hoods in the get-you-thrown-out-of-shoppingcentres-if-you’re-15 sense. They’re just pieces of cloth in a sort of diamond shape that go round your neck. This means it is not possible to pretend to be Gandalf the Grey and try to act out your favourite scenes from Lord of the Rings. Gutted. The proceedings kick-off with the parade of the ceremonial mace. For those of you unfamiliar with medieval weaponry, the mace is effectively a stick with a weight on the end, designed for the purpose of braining your enemies. This particular mace is of course a decorative piece, constructed

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from gold and encrusted with jewels. However, if movies have taught me anything it’s that gold is heavy and I’d wager the item is still pretty effective in its original purpose, and thus its presence serves to ensure the ceremony is conducted with due decorum. Your contribution to this piece of performance art is getting up, walking a straight line, shaking hands with a some cockney geezer or his second in command, and then sitting back down while the 400 or so other people do the same. Trying to get your hat to stay level

is about the only thing you can do to pass the time, unless you have the good fortune to be graduating on a scorching hot summer day, in which case you can keep yourself entertained watching out for people fainting in the top rows. Keep your fingers crossed that you do actually get to graduate with Greg his opening speech is actually pretty good; he could definitely be my best man. At some point you will also receive a speech from somebody who is getting a degree despite never having set foot on campus before, presumably some last ditch effort from the university to demoralise everyone walking out of the place with ten thousand pounds worth of debt and a proplus habit. All of this is being broadcast live to the big screen in P/X/001 for the benefit of those unable to get tickets for the main event. No-one really knows what goes on in this alternative viewing but I like to think that away from the pomp of the Central Hall costume parade and threat of the ceremonial mace, there is an atmosphere more befitting of a major sporting event with people on their feet giving rousing cheers and

jeers with every touch of the ball. Maybe. Leaving Central Hall and stepping out onto campus is a surreal experience. The average age has more than doubled. Upon calling in at Vanbrugh for something to eat you won’t find the usual menu (or prices) but instead table cloths and a tea service they seem to have lifted from Betty’s when no one was watching. Fortunately, you are

of your parents/grandparents house every time you visit. If it does go badly you still have the 200 other photos that have been taken of you in front of each and every campus landmark/vertical object. Try to resist the temptation to walk off with the fake degree they give you to pose with, as it actually looks much better than the piece of A4 paper that is the actual reward of three year’s work. So that’s about it. Graduation day. You’re probably not going to enjoy

not picking up the tab so you can sit back and enjoy the good quality service the university seems to have reserved for today only whilst you wait for your photo appointment. Try not to overdo the fake grin on the official photo as you’ll see it on the wall

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it but that’s not really the point; your parents will. And of course, the fact you’ve completed a degree and everything else you’ve done in the last three or four years ought to stay with you for a whole lot longer.-

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Photo by Matt Grum

Cocktails Hoorah! By Hannah Smith For many, a rather lovely summer afternoon is not complete without a refreshing beverage. Personally, my drink of choice will always be a cocktail. They are increasingly accessible to students, (Amen for Dusk’s two-for-one) and complement York’s atmosphere with an eclectic array of cute bars hiding in a network of snickets. When you have uncovered a cocktail bar to suit your taste, do two things: 1) Discover your favourite cocktail. It will become part of you in time, a defining element of your character, and 2) Make friends with the staff. It’s always lovely to have a casual chat, especially when you’re by your lonesome waiting for a friend. What’s more, beverages will inevitably roll your way a lot faster and will be lovingly refined exactly how you like. Hoorah! So, sitting in Café Concerto with my friend Giles Michael Seddon, who illuminates our place of work, Evil Eye with his fabulous knowledge and frivolous flaring of bottles (which does sometimes end in a spectacular crash, followed by a remorseful “sorry”). Giles IS cocktails. So today, boys and girls, I am here to learn. Beginning with his colourful childhood rooted in rural Scotland, Giles recalls living next to the Glen Turret whisky distillery. More than just a stimulus for chaotic, vomit-inducing university days, Giles sees the alcohol we all know and love as part of his heritage. Post-university, the ball really started rolling when Pitcher and Piano spotted a young talent who was eager to learn. Giles ended up travelling the country as a trainer for the company, after learning under the wings of Giles Looker and Michael Butt (Richard Branson’s personal bar tenders and Head Bartenders of ‘The Player’ and ‘Milk and Honey’ respectively). The two have collaborated to offer a sparkly new cocktail experience in their new bar, ‘Trailer Happiness’. Such bars are often the habitat of the elusive ‘grown-up’, a status which we all desire to attain one day. Giles speaks of the complimentary mix of cocktail perfection and social etiquette with two rules: “no name-dropping, no staff-fucking”. In places like these, and for men like them, cocktails are not just to be boshed back willy-nilly at two for £5. Oh no! Lovingly sculpted with the purest of organic ingredients made on site, these cocktails are mixed especially for the lucky person being served at the time.

There are no ‘Sex-on-the-Beaches’, ‘Blue Lagoons’ or ‘Graham Nortons’. Instead, these cocktails combine tradition with a craftsmanship that earns international careers. Recently, The Guardian published an article about high flier Eben Freeman, who was commissioned by Bacardi to design the ‘mojito of the future’. Utilizing a mesmerizing blend of science and theatre, he produced mint and sugar balls frozen by nitrogen oxide and suspended magically amongst the bubbles within the gloopy soda water and rum- all in a shot glass. Such ‘molecular mixology’ is bedazzlingly brilliant; a science in itself that has come a long way. Giles informs me that cocktails can effectively be traced right back to colonial times, when exotic ingredients such as sugar-cane became available. When cultures were exposed to other cultures, they traded their secrets, and their alcohol. During Prohibition (the banning of alcohol in the States in the early 20th Century), people dealt underground in the Black Market and bar-tending was an illicit profession. Cocktails were strong and not for the faint-hearted, and mixers often consisted only of lime, sugar and egg white (yummy). Dark and sordid tales such as these are a far cry from the glamour of the sexy, classic cocktail of the 1950s and 1960s. Indulged by celebrities, cocktail drinking was a pastime of the social elite. A little later, cheap and cheerful cocktails embraced the masses with the use of synthetic ingredients, and the atmosphere became jovial and lighthearted, “sprinkled with umbrellas and shiny glacier cherries” (Giles). Now, fashion is seeking a return to classic cocktails as the bar culture becomes more competitive and bar-tenders greater perfectionists.

as the ‘Manhattan’ and the ‘Cosmopolitan’ sipped casually by SJP during episodes of Sex and the City. Their sophistication remains despite fluctuating trends over time; cocktails exude an electric air of social confidence, good taste, and a lifestyle which is desirable to all. On this note, when asked about particular local hot-spots, Giles anticipates the new cocktail bar soon to open at Harvilles as “reassuringly expensive”. However, the nature of cocktails is in their lack of rigidity and definition, born of experimentation and fun. So instead of buying wine before heading out, next time Giles suggests why not buy some rum, mint, sugar and fresh lime, muddle them together (“don’t be shy with the rum!”) and add soda and crushed ice. It really is surprisingly cheap and formulates an instantly grand social occasion that deviates from the regular. And if they taste hideous, you’ll be too drunk to even care. Hoorah!-

Still, the power of celebrity and the attention of the media have made people aware of cocktails such

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Scene it Before

By Sarah Jeffery Illustrations by Phill Smith

odern movies are dead. This may be the only possible conclusion when the upcoming releases of the next few months induce a sinking feeling of déjà vu. This is the era of that sickening prospect: the remake. The list of films released in the last few years makes for a depressing read. Starved of fresh ideas, Hollywood has been forced to recycle, reclaim and remake old films and concepts. At first they were labelled as something new and exciting: updating a classic film for a new generation. So when sprinkled in amongst new films, the remake was a harmless, even fond, notion. Sharing a film already enjoyed by many and with a new audience was the first motive that spurred on the moviemakers, but it didn’t last long. Since 2003 the standard of remakes has gone steadily downhill. The appalling Fun with Dick and Jane and excruciating Stepford Wives signalled a downturn in their production. The fact that they attract large audiences and are simple to make, requiring little or no imagination, only stands to appeal to Hollywood directors. Why waste valuable time thinking up an original idea and spending years perfecting a unique script when you can just rewrite a dead 50s, 60s or 70s TV series and stick Jessica Simpson in hot pants? Why do we end up seeing them in the first place? This is because the disease that is the remake has infected every genre of film, not one is safe from the creeping fingers of the greedy director or the poor acting of a lazy former starlet. They have taken over children’s films (Willy Wonka, Cheaper by the Dozen (1, 2 and 3); hijacked horror (The Hills Have Eyes, The Amityville

Horror); poisoned musicals (The Producers, Chicago) and even reached to the furthest, darkest corners of cinema: the political thriller (The Manchurian Candidate). Many think that there will be nothing left to remake, thereby forcing directors to find something new; however because films such as Freaky Friday and Dangerous Liaisons have been remade many times it appears more likely that all the cinema-goer will be left with in the near future is remakes of remakes. A frightening thought. However, all is not lost. Most of this year’s Oscar winners were powerful, serious films based on novels (No Country for Old Men), real life events (Michael Clayton) and biographies (La Vie en Rose). Remade movies also won awards: notably Hairspray and 3:10 to Yuma. This is proof that, in some cases, updates do work. Yet films that are truly original never seem to get the acclaim and praise that they deserve. Films such as Juno and Be Kind, Rewind (a movie that focuses on two guys remaking blockbusters) are such examples. So yes, the next year looks, once again, to be crammed with remakes and sequels, including such delights as The Mummy 3, Batman: Dark Knight and The Incredible Hulk (again) but don’t forget: there is better cinema out here. It may be hiding in an obscure location or come with subtitles, but it is far and away superior to the reconstituted drivel forced down our throats. Remakes strip away the essence of good originals; only new films can quench the parched outlook of modern cinema.-

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of the Internet By Matt Grum The great thing about the internet is it’s free, as in you don’t have to pay for it. You have to pay for the connection, but everyone has that anyway. As an artist, sharing your work with the entire world, and viewing the work of others doesn’t have to cost anything at all. But the really great thing about the internet is that it’s ‘ free’, as in free speech. Contributions are not subject to anyone else’s opinions or preconceptions; they are simply there for anyone who wants to see them, and are exempt from

limitless flexibility - traditional media, once scanned, can be recombined or mixed with digital elements to produce new and distinctive visual styles. This allencompassing nature ensures that genres become blurred. Comic book art, film backgrounds (mattes) and even typography are not only present but cross over from their particular niche into the mainstream. Online art obeys no specific set of rules, and subsequently represents visual art at its most fundamental level.

neti20.deviantart.com

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clichéd arguments along the lines of “what is art, anyway?”. Not everyone can have their work exhibited in an art gallery or even sold in a high street shop - online art removes all barriers to participation. Online communites such as deviantart‌.com, voodoochilli. net and conceptart.org allow users to set up accounts and upload original artwork in a digital format. This is not to say that everything featured is purely computer generated. Paints, pencils, inks and collages sit happily amongst photographs, vector graphics and 3D models. Indeed, one of the greatest strengths of the digital medium is the near

Not everyone would be convinced by these arguments. With such a wide and universal intake, how do you ensure the quality of what you are viewing and locate the true masterpieces amongst the doodles? Most

sites provide some way of rating content, and provide a shortcut to browsing the most popular recent submissions, but it is still possible to find yourself getting a little bit lost. It is also easy to criticise the internet as a method of delivery. Onscreen, it is simply not possible to reproduce the level of detail in a painting or large format photograph, nor can you appreciate a sculpture or immerse yourself in a surrounding installation. Whilst many of these sites offer visitors the opportunity to purchase prints, the vast majority of work remains bound to the confines of a 17-inch screen. The vista you are presented with is inescapably flat but it is one that promotes interaction to a greater extent than has ever been possible before. Alongside the image itself, you will often find comments written by the artist describing the inspiration or even giving details about how the work was produced. Visitors leave comments which are read by the artist and responded to. Users with accounts are able to bookmark pieces from their

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favourite contributors for others to see. This leads to a strong sense of community which to some is as important as the art itself. The membership of these sites comprises both amateur enthusiasts and professional graphic artists alike, something which is difficult to find examples of elsewhere. The nature of online galleries makes it possible to go back sometimes years through a userâ&#x20AC;&#x2122;s portfolio and watch how their style changes and develops over time. All of these aspects provide the experience with far greater depth than you would have initially expected. With this in mind, and the growing trend towards moving products and services online, where does this leave the traditional art gallery? This question can be answered

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by looking at one of the great establishments of art both classical and modern, the Tate. Visitor numbers have tripled since 2000, due in a large part to diversification and expansion into new areas such as the internet, promoting art and bringing it to a wider audience than ever before. Whether this trend will continue is yet to be seen, though whatever happens in the future, there is one thing which can be relied upon: the relentless desire of individuals to create.nujabes.deviantart.com

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By Magda Assanowicz

nce upon a time, Poland played a great role in European history. Immersed in foreign affairs, it was not only considered important but also highly respected. Over time however, this image has changed. Affected by two World Wars, Poland has suffered at the hands

of Nazi and Communist rule. With high unemployment rates and post-communist economic instability, significant numbers of Poles left their native land in search for work. Great Britain was one of their destinations, as were France, Germany and the U.S. However, since becoming a member of the European Union community, Poland has witnessed a dramatic rise in the number of Poles returning home. So what exactly is the allure of this country, this land which entices its citizens back? What secrets does the Polish capital city Warsaw hold? Warsaw is made up of many different layers. From time to time, a layer is added, another layer is destroyed, and when the dust settles, yet another one is re-discovered. Dictators, businessmen, communists, fascists, modernists and conservatives have all shaped this curious city in one way or another. With over 80% of its buildings destroyed during the Second World War, now more than ever, it is trying to rebuild itself and find something long lost: the elegance and power of a European city. At its centre, stands the Palace of Culture and Science, a gift received more than 50 years ago from Stalin. Overlooking all other buildings in Warsaw, it acts as a

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looming reminder of the past- something which the citizens either adore or despise. Further afield, this history is celebrated in the antiquated part of the city, known as the ‘Old Town’. For tourists in Warsaw, it is hard to believe that almost all of these ‘old’ buildings were rebuilt just after the war; an entire movement of Warsaw citizens did it with their bare hands. With the quaint Old Town Square and the reconstructed Royal Castle, the city attempts to recapture its past. However, Warsaw is far more than this. Whilst the myriad of modern skyscrapers gives the impression of a haphazard architectural plan, it is also a sign of progress and modernity. Home to the three best universities in Poland (Warsaw University, Warsaw School of Economics and Warsaw University of Technology), Warsaw today is a youthful, cosmopolitan metropolis. From the rooftops of the University Library, there are breathtaking

views of the beautiful Library Gardens and the buzzing city below. Embracing a growing café culture, the city centre hosts a multitude of coffee places and bars. The best cafés however, are hidden in the shadows of Warsaw University, such as Café Kafka, Czuly Barbarzynca or Café Tarabuk. Oozing with bohemian opulence, these are places where you can not only have a coffee with your friends, but also attend a meeting with writers and artists, or simply buy a book. It is at night however when the fun really begins, starting off with a pint of beer and heading to one of Warsaw’s clubs. Dotted around the centre and near the ‘Old Town’, these clubs suit a variety of tastes. Nevertheless, the best ones are not easy to discover; you have to enter many strange gates and dubious buildings to experience something special. In particular, Dobra Street and the infamous Praga district are home to Diuna, Aurora, Hydrozagadka, and Saturator. Although the biggest surprise is a location of Klub 55, reknown throughout Warsaw for electro music. Entering through the Palace of Culture’s gates, and straight through the huge doors, you find yourself in a former ballroom, almost reminiscent of the 1930s. So what is Warsaw’s appeal? I dare say it is its complexity, and the many layers which need to be discovered and correctly understood. A former PR of Warsaw’s Chamber Opera - Jessica Meuriot - used

to say that, from a cultural point of view, Warsaw is even more diverse than Paris. Indeed, with a blend of the new and old, Warsaw can’t help but draw people closer. Foreigners in particular praise its variety, the mosaic of different architectural styles, and cultural events which take place in Warsaw almost every day. Visitors however, need to be prepared for a cultural shock, and be aware of Poland’s, and especially Warsaw’s, history. On the one hand, they will find marvelous sights, such as Old Town or the surroundings of Warsaw’s University. On the other hand they will experience the cramped, overpopulated districts. Nevertheless, there is something special about this city. Warsaw is not pretentious, perhaps a little chaotic and disorganised, but constantly developing and gaining another layer.-

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Suits You, Sir

By Nick Scargill

ith many students starting jobs or internship placements this summer in offices across the country, a suit is high up on the list of priorities. Unless you wore a suit for 6th form the last time you stepped out in one was probably half a decade ago. Beware the illfitting suit, unless you’re going for used-car salesman chic. It is vital to find the perfect fitting, so that when you turn up on the first day you impress upon the minds of your employer why they hired you. Don’t really know where to start? Well fear not, read on and absorb as much as you possibly can.

breathe as well in the summer like wool. Wool is the ideal material for suits as it doesn’t absorb odours and hangs better. There is a gauge for the wool used in suits similar to camera mega pixels. The starting point is called ‘Super 100’ which refers to the 100 threads per square inch. Next is ‘Super 120’ which as the name suggests has a higher number of threads (and a higher price). The highest thread count Moss stocks is ‘Super 200’ and can be found on the magnificent Zegna and Canali suits starting at £500 a piece. Its not only the fabric that is important when choosing a suit, the colour is key and as with the whole suit buying experience the final choice is down to personal preference. However, the classics of Navy, Charcoal and Black are classics for a reason. With a plain suit in any one of these colours the choice of shirt and tie combinations are endless, as nearly all will work perfectly.

Most designers believe that “Price and Style” are the two most important things to have in mind when buying a suit. Purchasing a suit requires some careful consideration, and, here at least, you won’t have to sell your grandmother for the privilege (although you should be open to this option should the need arise).

The Moss suit at £99 gives you a choice of several polywool fabrics with three or two buttons. If your budget is slightly larger then a Ted Baker Endurance (the number one suit maker in the UK) or a Savoy Taylors Guild, just shy of £300, offers you a ‘Super 100’ fabric with a fitted cut and some impressive technology woven in, that ensure the suits maintains its shape for longer. Between the Moss and Ted Baker are some very stylish Pierre Cardin pieces with ‘Super 100’ wool for around £200 and the option to buy extra trousers.

These days there is really only one main style of jacket: singlebreasted. The older, bulkier doublebreasted is considered DEAD. This is probably a good thing, as the former flatters all figures, even that of the most morbidly obese nachoenthusiast. Damian Ingram, at Moss, has worked in the suit retailing business for over 10 years and can highlight the different features on any of the 60+ styles that are kept in store. He remarks that the price of the suit is based primarily on two things: the fabric and the cut. Designer suits may not be the most suitable for everyday wear and it is suggested that owning two suits and rotating them is best (plus, there’s discount at Moss when you purchase two).

The most important thing to take with you when shopping for a suit is a friend who will be honest about how it fits. Whichever style, fabric or cut you finally decide on, it is only a suit worth wearing if it induces that wow factor!

Suits should be made from wool, with some lower priced examples being made from a blend of wool and polyester. The only downside to the poly blend is with time it has a tendency to go ‘shiny’ and doesn’t

Moss is located at 5 Stonegate and at www.moss.co.uk They offer a 20% discount to students with NUS.-

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We found all of these lovely outfits in ARK, one of the countryâ&#x20AC;&#x2122;s leading retailers of branded fashion, stocking favourite labels including Superdry, Carhartt, Fenchurch, Gio Goi and Bench. Find them at 9-10 Colliergate, York, Y01 2BP, (01904) 622 844Models: Lucy Whitby, Lucy Allen, Lisa Wong, Theresa Jones, Dominic Oâ&#x20AC;&#x2122;Shea, Daniel Johnson, David Williams, Hugh Morris. Photography: Matt Grum and Toby Roberts Special effects: Matt Grum Stylists: Alice Albery and Lauren Clancy Assistants: Charlotte Davey and Louisa Parry

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Although ARK stock a whole host of popular brands, their eclectic choice of styles means that you can really have fun with their clothes. We kept the looks bright and fresh, choosing patterns and colours that inspired the transformation of some of campusâ&#x20AC;&#x2122; drabbest corners.

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Price-wise, Pop’s Retro Plimsoles were a nice surprise at £9.99. We also loved their selection of belts, which range from £7.99 up to £34.99. ARK’s Strappy Star Dress (title page) comes in at £29.99, while their fantastic selection of jeans starts from just £24.99.

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Pop in to ARK to check out their summer collection now.

Hubbard Dress”, after the popular nursery rhyme. Undeterred by the criticism, Caine justifies her creation, claiming, “I wanted to make something most girls could relate to; all of my female friends owned a sailor dress when they were little- I still remember mine!” The boldness of the fuchsia accents a more modern and daring edge, which, mingled with the novelty of “childhood memories” emphasises the fact that Becci Caine clothes are essentially “children’s clothes for grown-up women”.

ranging from £35-£90. She is part of “The Young Northern Designers” collaborationa small group of independent designers based all over Yorkshire, whose clothes are sold on Selkie’s first floor. Working full-time in Office shoe store by day, and then sketching designs and sewing by night, Caine confesses the process can be somewhat fatiguing. Nonetheless, her passion animates her, as she brandishes a floral patterned material, proclaiming, “this is my favourite pattern: this is me!”

Despite a “Little Girl Lost” look inspiring her designs, Caine professes that her clothes are supposed to be experimented with: “I make my clothes so that things can be added to them- a belt for instanceso that they can be worn again”. Caine’s collection mainly consists of: dresses, skirts, shorts, tops, and jackets, with prices

Mary Queen of Shops will be broadcast on BBC two throughout May and June. Visit Selkie to see more of Becci’s work and other young northern designers at: 45 Low Petergate, York, YO1 7HT. Tel: (01904) 626242 -

Designer Profile: Becci Caine By Sherine El-Sayed Photography by Matt Grum

lice in Wonderland, fairytales, childhood memories, a nostalgia for the jollity of the playground21-year-old designer Becci Caine explains how a romance of the fantastical captures the essence of her clothing collection, currently on sale in York’s fashion boutique, Selkie. Caine recently graduated from York College with a HND in Fashion Design, but only considered creating her own fashion label after being approached by the producers of BBC Two’s reality television programme, Mary Queen of Shops, in November 2007. The programme features retail guru, Mary Portas, who attempts to increase the sales of a struggling independent fashion store by re-launching its image. Caine was one of four finalists chosen by Portas and a panel of fashion experts to design and produce several items of clothing aimed at female students aged 18-21 years old, within a four day period. The finalist’s clothes were then displayed in Selkie’s shop window for members of the public to buy. One of Caine’s key pieces when auditioning for the finals was a doll-like smock dress, with a fine navy pin stripe and a fuchsia sailor collar. She laughs as she reminisces about Portas christening this the “Mother

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The Zeitgeist Conspiracy By Despoina Serafemaki Ever wondered whether the 9/11 attack was not really a terrorist act? How can a plane crash into the Pentagon, and not leave behind any signs it? What was happening in London during the time of the terrorist attacks on the buses and trains in 2005? Have you ever noticed that Christianity shares common mythological structures with religions starting 3000 years before Christ? Well apparently, “We only know what they are willing to tell us.” Or do we? According to our fellow Germans, ‘zeitgeist’ refers to the “spirit of the time”. The eponymous online movie produced by Peter Joseph and released by Google video wants to expose and attack this very spirit. Divided into three parts, it discusses how religion and terrorism are used by the elites to destroy civil liberties and allow the creation of a one-world government. Too much to digest? Then let’s take this slow… “Religion is slavery”. The movie explains that the story Christianity uses for Jesus (born by a virgin mother on December 25th, adored by 3 kings, had a star in the east accompanying his birth,

was crucified, buried for 3 days and was resurrected) is one that had been used for God-myths since 3000BC. According to Peter Joseph, the God Horus from Egypt shared those very same characteristics. And he is not the only one. Others include Attis from Greece (1200BC), Krishna from India (900BC), Dionysius from Greece (500BC) and Mithra of Persia. Coincidence? According to the movie, the reason why religions share these characteristics can be found in the sky. All these elements were

originally based on astrological patterns. A constellation called “the three kings” forms a straight line leading to the “star in the east” (Sirius) on the 24th of December. On December 25th, this line points to the sunrise. This is why, in the stories, three kings follow the star in the east to locate the birth of the ‘Sun’. The twelve disciples are the twelve constellations of the zodiac, which Jesus, being the sun, travels around with. The Virgin Mary is in reality the constellation of Virgo, also referred to as the ‘house of bread’ (which is the literal translation of the word Bethlehem). Could this be any more coincidental? Moving on, the second part of the movie refers to the terrorist attack of 9/11. By examining each of the official facts, it explains how they are not true. For example, it shows how molten steel was found in the remains, leading experts to believe they were executed in the style of planned demolitions. Peter Joseph says that they knew about it long before the attack took place. It draws a parallel between the way the twin towers fell and a controlled demolition, with identical results. As for the Pentagon attack, according to experts appearing in the movie, no plane could crash there as it is “scientifically impossible that 12 tonnes of steel and titanium was vaporised by jet fuel”. More relevant to us, his findings for the 7/7 London attack are rather shocking. According to Zeitgeist an anti-terror exercise was taking place dealing with the exact bombing

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scenario, on the exact day, at the exact same train stations and at the exact same time. How can this be possible? As Ted Gunderson claims in the movie, “the CIA is behind most if not all of these acts”. Terrorism is an inside job. It is used in order to create fear - the same way Hitler used the theoretical threat of communism. The Zeitgeist producers claim that through this fear campaign, the American government is given the right (or authority) to decrease all human rights and increase control over its citizens, in the name of religion and terrorism. And that’s not only it. The final goal is to create a one-world government, either justified through fake terrorist attacks (which cannot be really proven) or by offering very poor education. People don’t know, and when people don’t know, they can be manipulated to believe anything. Too much entertainment and too little thinking - that’s what’s going on. People’s minds are kept busy and filled with useless information, and are not given the opportunity to look beyond what’s spoon-fed to them.

But, wait a minute! Firstly, the argument the movie wants to get across makes total sense; this is because it is in fact common sense. The government mechanism does try to find chances to employ anti-liberal acts in order to increase control. And they had a really good chance to do so after September 11th. Does that mean they directed the whole thing to get this result? Does that make 9/11 an inside job? Well, this really is an insane argument. Not because governments don’t have the power

and capability to do it, but because this requires so many people to be involved, over such a long period of time that such a ‘plan’ could not have been kept secret. When a lot of people know, nothing is a secret for

long – it’s as simple as that. Moreover, if indeed everything in society is pre-planned and pre-organised, then we have no hope of ever defeating such a powerful, controlling force. Even though the documentary maker tries to convince people to fight for their rights and induce ‘anarchy in the UK’, it subliminally teaches us to lose all sense of hope, like most conspiracy loonies

fers, in the same way that people used to watch trivial movies such as American Pie, terror sequels such as Nightmare on Elm Street, or pseudo reality thrillers such as the Blair Witch Project. Now, conspiracy uses the exact same techniques (good editing, good voice-over, special effects etc.) in order to provide fascinating viewing for an audience. A documentary is supposed to be based on verifiable facts. To assert facts, we need reliable sources. But the slick, unrelenting in-your-face presentation of this ‘documentary’ masks the lack of truth. Real documentaries provide their audience with both sides of a coin and let them draw their own independent conclusions. In Zeitgeist, however, no opposite or dissenting views are presented, making the film extremely biased. Whether or not this makes sense to you, I believe that movies like Zeitgeist make you think. Conspiracy is effectively propaganda, and just like Nazi re-education tapes, should be viewed suspiciously and critically. It is very easy to accept what is being ‘revealed’ to you, whether you are trying to find some meaning in the world or simply get off on the knowledge that you know something everyone else doesn’t.See for yourselves. It certainly is intriguing stuff. -

Irrespective of its points, what this movie really does is introduce us to the new types of mass-culture entertainment that technology of-

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York Art Gallery By Tom Sannard York Art Gallery has always left me feeling fairly unsatisfied, and not simply because the work it houses is of generally average quality. In all but the best galleries really great art is rare, and so anything

eye-catching will make a visit worthwhile. The problem here is the limited size of the collection, which doesn’t contain enough interesting pieces to reward wading through everything else. The broad range which the website boasts of actually contributes to the problem, as there’s not enough material for any of it to be adequately followed through. It’s organised as though it’s much more extensive than it actually is, and the inclusion of so many different styles therefore feels rather shallow and perfunctory. The lacklustre general set, however, is hardly cause enough to avoid the place. The nice collection of religious artwork demonstrates how much a unified theme makes up for the small space, as do the varied exhibitions put on throughout the year: I regret missing Madman and the Minster last summer, and

By Hannah Smith

n the shadow of York’s beautiful Clifford’s Tower lies an arty little gem that you will feel lucky to stumble upon. I popped in, simply because I adore art galleries in general, to be greeted by an electric whirlwind of a fellow called Greg - the owner. I ended up staying for a good hour, and leaving with a very reasonably priced 21st birthday present for a friend. The Artspace is a treasure trove exhibiting some beautiful work by local artists; a feast for the eyes showing a dazzling array of pieces full of colour and texture, but also some interesting, rather dark little sketches if that’s more your taste. It is a refreshing break from the endless typical galleries found in a characteristically

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the Passed as Present show was great. So go and take a look – increased patronage can only improve things.-

beautiful city - nowhere in sight was a mediocre sketch of the sodding Minster. Some originals are obviously far out of reach of the student loan (though always something to aim for as a grownup!), but are wonderfully inspiring anyway. Stacked neatly on the floor are prints and collages that are not so fantastically expensive. Such images are unique and different, and would add a lovely touch to the drab student bedroom, or a really thoughtful present. An additional bonus is the warm and fuzzy feeling only felt in the knowledge that you are supporting a local small business, and your purchase reflects York’s quaint air. The gallery also hosts life drawing classes and fun workshops, so the atmosphere is always one of an interactive buzz.-

Beer There and Everywhere By Jake Delaney A bespoke occasion??

beer

for

every

bottle of Dom Perignon. After being brewed in Belgium, it’s actually matured in Champagne. Yeasty, dry and fruity, its makers recommend that you drink it from a flute, if only to reassure yourself that you have spent more than £15 on a beer!

We’ll drink to that …. Late night essay writing Innis & Gunn 6.6% ABV Beer and whiskey are classic partners, well in Scotland anyway, in the deadly pairing of a half pint with a shot. This oak aged beer is warm, caramelly and so rich it’s almost meaty, and more than a match for the smokiest malt.

£15.95 from beerhere.co.uk

It takes a truly mighty beer to stand up to a giant bloody steak. Stand up, it does. Live-bottled, it keeps fermenting until it goes down your gullet, and is so earthy, deep and fruity it almost tastes like a bitter marmalade. A perfect beery substitute for a hefty red wine.

To cool down

Kasteel Cru 5.2% ABV The only champagne you can pop for under £2, Kasteel Cru is a lager, brewed with champagne yeast. Perfect for garden drinking in the summer, it’s fresh, subtle and superb when chilled to the point it nearly sticks to the lips. Not the fizziest beer out there, but sophistication has its price

£2.09, Waitrose With curry Little Creatures 5.2% ABV This Australian ale is so ridiculously full of fruit, it’s almost like chutney, and it goes dangerously well with Madras. Tasting almost like a fruity wine with a head on, it’s a welcome change from the usual brewedin-Birmingham ‘Indian’ lagers you’ll be served to accompany the poppadoms.

£1.29 from Waitrose For popping the question / Difficult times Samichlaus 14% ABV The world’s strongest lager, Samichlaus, which means ‘Santa Claus’ in Swiss German, is brewed annually every December and matured for ten months to attain its liver-destroying strength. It matures in the bottle, and tastes more like Sauternes wine than Stella, and costs about the same.

£1.49 from selected bars and restaurants. With seafood Grolsch Weizen 5.3% ABV

£10 from utobeer.co.uk bonus

and

With steak Worthington’s White Shield 5.6% ABV

£1.54 from supermarkets and off licences.

Celebrating your Celebrating your loan Deus 11.5% ABV

utobeer.co.uk

The citrus finish of wheat beers makes them perfect partners for fish, and you don’t need to decorate it with a slice of lemon. Grolsch Weizen has a fresh almost tropical taste, and is the perfect accompaniment to any kind of seafood.

It’s not a coincidence that this beer looks like the dead spit for a £90

£4.50 in pubs and bars.-

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lot of heckling from the locals. Why was that? JC: Well we were on at midnight and it is a play originally from Edinburgh. The locals expected to see the film version and basically we…didn’t give it to them. (General laughter) JW: But we did have a lot of great audiences and a lot of people were really impressed. It was a great thing for the company. So for those of us who don’t know much about the Fringe, how do you get involved? NM: Anyone who can put up the money can apply and go along. There are hundreds of venues and there are even more shows, about 1500 usually. The C venues are the most famous probably; that’s where we did Trainspotting. JC: It is a fantastic place, unlike anything you will ever experience. Everyone sleeps in until around 2 in the afternoon. Tell me a little bit about what Belt Up is doing at the Fringe this year. JW: We have created a totally immersive style of theatre. In Edinburgh, we are creating this kind of run down, Victorian, bohemian, burlesque, boudoir called the Red Room, which is going to play host to four main plays: The Tartuffe, The Park Keeper (written by Nikolaus Morris), Volpone (where all the characters will be based on animals and wearing full masks) and finally Women of

Belt up By Sarah Jordan

Photography by Matt Grum

elt Up is a semi-professional theatre company founded by University of York students whose past productions include Trainspotting, The Trial, Metamorphosis and Morbid Curiosity. They aim to create a more physical and intensive style of theatre whilst getting the audience more involved through clever and intricate set design. This year’s big summer term production is A Clockwork Orange, an insightful and stylised adaptation of Anthony Burgess’s original novel and the 1972 film directed by Stanley Kubrick. I spoke to Jethro Compton, Nikolaus Morris, James Wilkes and Nicola Carter in order to find out more.

So first and foremost, why the name Belt Up? JC: Alex Wright came up with that a long time ago: we started doing shows under that name and it kind of stuck. Apparently it means shut up in the north? (Cue mocknorthern accents) Can you tell me a bit more about some of your previous productions? JC: Well we did Trainspotting in York and then took that to the Edinburgh Fringe Festival. It got some mixed reviews and a

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places to try things out. It’s a comfortable environment where you can make mistakes and learn from them. If someone came forward and said they knew how to make dresses and costumes, for example, then they’d just get snapped up. JC: If you said that you were interested in designing a show but had no experience you wouldn’t just be thrown in at the deep end. You would always be paired with someone who you can learn from. This is what I did. NM: The drama barn is the most active student drama society in the UK.

Troy, which is about the aftermath of the Greek storm in Troy. We have this really luxurious room that we are going to plunge into total darkness as part of the show. JC: There will be loads of other secret plays and Dreamscape, which is a sensory experience. JW: Yeah we basically just blindfold members of the public and fuck around with their minds. We call it a ‘professional mind fuck’. What would you say to people who want to get more involved in the production side of theatre rather than the acting? JC: People come to us asking if they can get involved and that is great. People who used to just help out are now key members of the team. This is how we have managed to become a company.

that it is sort of going back to the roots of Trainspotting: in- your-face, violent and brutal theatre. However, we really want to bring it up to date and give the show an edge. It’s going to be a combination of aggressive theatre and all the things that we have learnt whilst doing Metamorphosis and The Trial. It should be a totally mind blowing experience. Q. What do you think is required from the actors of Clockwork? A. In Metamorphosis there were some really physical fight scenes, which lasted about eight minutes and involved people climbing up vertical planks, hanging from lampshades and flipping over. It was crazy. A Clockwork Orange is going to be like that but in the form of a full-length production! Obviously, there is a lot of violence and rape, but it is going to be done in a very stylised, physical, almost dance-like form. This is our way of getting round the brutality of it, I guess. Characters will come in and out of the chorus to play different parts. Q. Finally, what is the appeal of doing a show like A Clockwork Orange?

JC: If not the world! (General laughter) This summer Belt Up are performing A Clockwork Orange. Q. Tell me a little bit more about the stage production. A. The thing with Clockwork Orange is

A. Well, it was written and originally performed back in the time when gang culture and gang violence was really peaking. I think we have gotten to the next stage of gang violence at present. It is a really worrying thing, so I think this is one way of confronting and looking into it, rather than rejecting it. A Clockwork Orange will be performed at the York Theatre Royal in Week 9. Tickets can be bought online at www.yorktheatreroyal. co.uk.-

So you don’t necessarily need a huge amount of experience? JC: You don’t really need any. Obviously if you have some then you can get into it quicker. All you have to be is keen and dedicated and you will be snapped up. Everyone needs people to help. NC: All shows need a team and bearing in mind there is a show every week in the drama barn loads of people are needed. Are there any places off-campus where you can get the same kind of experience? NM: The drama barn has such a big turn over of plays that it is probably one of the best

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This 1930’s peach night-dress as worn by Anna was a bargain at £24. The Victorian black jacket (p40), decorated with purple pansies and lace trim is truly unique, and surprised us at just £45.

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ay 2008 is an exciting, thrilling and, literally, uplifting time for the theatre scene in York. Three aerial artists, Alex Harvey, Charlotte Mooney and Tina Koch, bring us Ockham’s Razor, a drama company with expertise in physical theatre. By using numerous innovative pieces of aerial apparatus, the group signals that our experience of performing arts is about to undergo a radical change. An interesting, and on the surface, bewildering mélange of circus, dance and visual theatre, Ockham’s Razor has revolutionized our understanding of performance, with overwhelming success and popularity. The group’s first piece was an intimate duet, performed on a simple suspended metal frame and was entitled Memento Mori. Inspired by the idea of The Dance of Death, in which death is illustrated as a skeleton dancing each of us towards our grave, Memento Mori portrayed the personification of death with, what critics called, a “deliciously eerie feel”.

By Alicia Walters Successfully grappling with such a key theme, physical theatre proves itself to be an equally, if not more, expressive and worthy form of theatre than what one usually expects to see on the stage. This piece even went on to win the ‘Jeunes Talents Cirque Award’ in 2004, testimony to the esteem of this inventive genre of theatre. And this esteem has gone from strength to strength. Ockham’s Razor’s brand of physical theatre is becoming a veritable part of the theatre psyche. Their perilously expressive third piece, Arc, took place on an aerial raft rigged almost 4 metres above the stage and sold out for two nights at the Linbury

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Studio at the Royal Opera House as a part of the ‘London International Mime Festival’. The group’s unusual name adds to the arresting and enchanting allure of their performances. The logical principle of the medieval philosopher, William of Ockham, states that when confronted with two plausible theories, the simpler of the two is always preferable. ‘Razor’ highlights how the group cuts out any unnecessary elements, eliminating ambiguities and redundancies from the stage. Ockham’s Razor, then, opts for a simpler approach. Yet this simplicity is far from detrimental to our viewing experience. We have less distractions and more to concentration on, paying due attention to the intensely elegant and expressive qualities of the performance. ‘Dazzling’, ‘daring’ and ‘dauntless’ is what York should expect from Harvey, Mooney and Koch later this term. Far from leaving us up in the air, Ockham’s Razor provides an exciting change of direction to the world of theatre.-

By Charley Davey

nfortunately, electro is still struggling to breach the York city walls. Whilst clubs do claim to have genre-specific rooms, the presence of electro is still lacking. This is where Idioteque steps in. “We’re just filling the gap in the market”, say the four-piece team who founded and now run Idioteque. This is certainly true. Idioteque doesn’t try to be exclusive; “we’re not alternative, we’re just alternative for York”. The inspiration for Idioteque struck, obscurely, in Jerome Walker’s grandma’s house, after he, Mary Fostiropoulos, MingDat Chan and Daniel Sitkin returned from seeing Faithless at Brixton Academy. They got talking about how, although it wasn’t the greatest gig, it was nice to be able to listen to that type of music on a night out. Something that York chronically fails to provide. Discussing the idea further with friends, it became obvious that there was demand for such nights – demand that would soon turn into success. The first night was held at Judges’ Lodgings. Judges’ has hosted other independent music nights, such as ‘Burn The Jukebox’, and has a reputation for encouraging the alternative music scene. However, with a sold-out capacity of 300, Idioteque’s popularity demanded a bigger venue. The next Idioteque was a hiphop and dubstep night, impressively featuring Metropolis and DJ No Names from Foreign

Beggars. This event was held at the St. Lawrence Working Men’s Club - normally frequented by less-than-glamorous locals – forcing the group to go to much further lengths to decorate. And it paid off. With relevant changes, the team were able to turn the WMC from a scratty dive into a suitable venue. It is a shame that Idioteque is seen as so ‘different’. In any other city, this playlist would be found on a standard night out, something the Idioteque team knows all too well. Essentially, they aim “to bring Leeds to York”. Theirs isn’t a ‘Toffs-indie-room’ type of watered-down playlist; pleasing the masses is irrelevant. This is electro by electro fans. By definition, electro has a strong beat with rhythm patterns tending to be electronic emulations of breakbeats, with the inclusion of kick drums, and usually a snare or clap accenting the downbeat. The group make clear than an emphasis of Idioteque is getting people dancing and, arguably, you can dance to most electro music, making this perfect genre for nights out.

ranging from minimal techno to electro. Artists they want played include The Whip, Riot in Belgium, Nathan Fake, SebastiAn and Boys Noize . It must be mentioned that although electro is the focus of their next night, Idioteque is not exclusively electrospecific. The group plan to hold successive events which will focus on other music genres that the group feel are otherwise neglected in York’s music scene. Essentially, as the Idioteque tagline states, “Idioteque is a group for anyone who wants to escape the monotony of York”. Whether you love electro music or simply want to avoid cheesy pop, Idioteque offers a welcomed alternative. Hopefully this student venture will encourage others. Surely the great success of Idioteque is an indication that York can be a good night out musically, provided the supply of events matches the level of demand from music enthusiasts.-

The upcoming event later this term, will see a return to electro. The previous electro night played what you might expect; Justice, Digitalism, Klaxons, Daft Punk and Simian Mobile Disco, to name a few. Tracks were played as originals or mixed by DJs. When talking to the team about the future playlist, it’s clear that they want to play more of their own music,

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The Hair By Emma Robson

Photography by Matt Grum

he Hair, perversely, do not have spectacular bouffants. What this four-piece do have is enthusiasm and a quest to burst out of York, spreading their brand of “danceable Indie” further afield. This certainly explains their recent album release – in Japan. Entitled Indecisions (lead singer Sam quips “we can’t decide whether or not we’re pleased with it”) they achieved surprising success, selling out their first print. So, what’s next? - The Hair are turning their attentions to a release in the U.K.

(the title of which may mislead – this is not the emo wailing one might expect) – the opening twangy bleeps precede an impolite lurch into a sturdy backbone of drums and guitars, and Sam yells “well it’s a time to make a difference”. And making a difference is certainly what they are doing to York’s music scene. A firm favourite on the Fibbers bookings list, The Hair have also supported bigger names, like the Arctic Monkeys and The Sunshine Underground. The only advantage of an empty venue is the fact that “it’s quicker to get to the bar”; endearingly, the band proclaim that “any gig, any venue” is alright with them, just as long as they get a sold-out crowd and

Elusive to define, The Hair have been (incorrectly, in my opinion) linked to the now predominantly-defunct ‘Nu rave’ scene – it was “a bit upsetting, to be put in that bracket”, says Sam – and their music described as everything from “tribal techno breakdown” to the work of “punk funkers”. Combine all of these, and you’re closer to the truth. Their music is indie heavily inclined to the electro, with smatterings of punk and funk thrown into the mix. And don’t forget the emphasis on the “danceable” – Sam’s sharp vocals virtually invite you to sing along, and the band’s unsubtly raucous culmination of keyboard, guitar, drums, bass, percussion and samples incite, at the very least, involuntary toetapping. Take their next single ‘Blood’

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positive reception. Hailing from in and around York, Neil, Rich, Lee and Sam are now guaranteed a warm welcome in local venues, and are very much appreciative of said support. The Hair have been around for years, but not in as complete a form as we find them today. As a “not very good” young band, who used “really awful” keyboard and guitar as the basis of their sound, audiences were predominantly made up of loyal friends. Since realising their self-professed awfulness, the band began playing seriously, and have been doing so for the past seven years, with their sound maturing to what

it is today during the last three. Seemingly perplexed by our crazy suggestion that they pose with their instruments in the studio for photographs, the band instead suggests “getting into a fountain”. This is how they end up knees-deep in freezing water outside York Art Gallery, to quite an audience, given that their antics coincided with turfing-out time at the Theatre. From this, it’s obvious where The Hair’s charm lies. Sam may be the main ‘spokesman’ for the group – and, indeed, is credited with not only vocals, guitar and drums on the band’s Myspace, but ‘ego’, too – but it is clear that this is a band formed through friendship that just happen to be one of York’s most promising talents. They are keen to go that little bit further – into a fountain, say, or Japan – to get their sound heard. Look out for a release later in the year of the band’s EP, which they intend to release themselves on CD, so as to reach a wider audience. That, and continuing to “play a lot of gigs”. The next venue in their sights is, only semi-jokingly, the Japanese karaoke bar in Leeds – which will be “almost the same” as being back in Japan! So often the desolate state of the York music wasteland is bemoaned. Local talent, like The Hair, who have the potential to change York’s music scene for the better, should be fully supported. Although, if things aren’t as successful as they hope, Sam notes gleefully that at least “being in a band makes girls want to sleep with us”.-

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Photo by Matt Grum

By Sarah Ng

ive performance is playing a larger part than ever before in our appreciation of music in a less-homogeneous market, where online downloads have to make up for dramatic decreases in CD sales. Despite its lo-fi roots, live music is becoming a major business. MAMA Group Plc, which owns venues such as Fibbers in York, saw an increase of 2 million visitors in 2007 from the previous year, with a corresponding revenue increase of 2 million. Meanwhile, the live music site Daytrotter.com has entered into a partnership with Wolfgang’s Vault, a well-established live music website. This is proving lucrative, as artists increasingly look for alternative ways to promote themselves and earn money. In an age of Myspace band pages, acoustic sets have become merely a continuation of the offerings fans demand of their artists. On the internet, this has led to a curious juxtaposition of lo-fi live sets and hightech methods of distribution, inspiring

such sites as Daytrotter.com from Illinois, America, the Takeaway Shows on the French music blog La Blogotheque and our home-grown London Black Cab Sessions. The Daytrotter Sessions strip away everything peripheral, removing the hype and commercialised studio polish, leaving the focus simply on the music being created. This means that the bands play on “borrowed instruments... giving you something you truly have never heard” in the form of four raw, unedited mp3s. And something unique does happen; take folk singer Elvis Perkins’ ‘Good Friday’, where the sheer melancholy tone of his voice seems to bleed through the track, or Architecture in Helsinki’s ‘Heart it Races’, an uplifting track that seems to fill empty space despite its simple use of instruments and voices. The Black Cab Sessions film artists in the most intimate of venues: the back seat of a cab driving through the streets of London. Cult legend and tortured genius Daniel Johnston (championed by none other than Kurt Cobain) sings ‘Grievances’ at the floor, the words rendered more plaintive by his sporadic shaking that almost seems like crying. It’s an experience that manages to be intensely personal, whilst also encompassing all viewers in their communal appreciation of one particular moment. Meanwhile, across the Channel, the Parisian Take Away Shows take eve-

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ryday locations and activities, like walking through the streets of Montmatre, or stepping into a grocery shop or a playground, and turn them into impromptu concert venues on film. One of the best shows follows indie darlings Arcade Fire from their dressing room, through the bowels of the Paris Olympia and into a crowded freight elevator for a rendition of ‘Neon Bible’. The lack of space creates a hushed atmosphere where the sound of paper tearing is loud enough to serve as the percussion to lead singer Win Butler’s sotto voce. Then, a sudden entrance straight into the side of the concert hall and the band launch straight into ‘Wake Up’, now buoyed by the audience who join in gradually, creating a spontaneous ocean of sound. Or watch Of Montreal (in full sequinned regalia) and Axe Riverboy carousing in the streets of Paris with a retinue of fans, swapping old favourites like The Zombies’ ‘Care of Cell 44’, drumming on guitars and swigging from a wine bottle. These songs aren’t perfect by any means. Some parts of the crowd lag a full phrase behind others, and there are many stops and starts and forgotten words. But that doesn’t matter, because what is created is a wonderful party that you can experience vicariously through the computer screen.-

Infadels By Hugh Morris and Charley Davey Photography by Matt Grum

ichie (Keyboard): “You’re going to hate me for saying this, but I really love that kind of total extreme pop music like Girls Aloud.” Bnann (Vocals): “The last thing you were listening to was Holy Fuck though, wasn’t it?” Richie: “Oh yeah, I love Holy Fuck!” It is this marriage of opposing influences that make the Infadels’ music impossible to pigeonhole. The electronic vibe in their debut album, ‘We Are Not The Infadels’, is inescapable within their own brand of indie-fied rock. And yet, whilst the Infadels could be classified within the electro scene, their sound is more Gary Numan than Justice. This is their intrinsic incongruity; having no obvious precedent, offering comparisons is difficult – and, indeed, belittling. Instead, should we not praise their achievement of creating an indefinable sound? The band members convey a true love for music. Whether playing or listening to it, they offer the impression that they are being perpetually influenced, thus creating a continuously progressive, evolving sound. This obvious love of music – which of course includes their own – makes it all the more fun to listen to. Any preconception of the Infadels being ‘ just another’ indie-electro band was exposed as mistaken after seeing just how excited they were when talking

about their sound. Matt (guitar) and Richie (keyboard) tour the country performing their own DJ sets when not touring as part of the Infadels. Matt burned us one of his CDs, talking about each drop and raving to his own mixes, solo, in the middle of the day. Grinning like a schoolboy, he proudly handed us his CD, just as his favourite mix - Vanilla Ice mixed into Soulwax’s remix of Hot Chip - started to play. Surely it is this passion for music that is paramount to how and why they are here today. Famous for their constant globetrotting, this is the first time they have played in England for two years. This commitment to the band is not a result of a want for fame or glory, but more a pure, unadulterated love for doing what they do. “There

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really is such a thing as a happy Monday”, said Bnann, the lead singer, who has been enjoying Mondays since the band’s formation in 2003. The Infadels played over 300 gigs across the world last year, ensuring a well-earned reputation for being one of the hardest-working bands around. They have played Fibbers four times before, and they love the atmosphere and tiny size; you can “see the whites of people’s eyes!”. Without the standard gap between band and crowd, Fibbers offers an intimate venue with a “dangerous vibe”, where (Bnann hastily assured us that this comment was not meant in a sexual way) you can “touch your fans and they can touch you”! Later that night, the band proved their live prowess with a faultless, energised performance. If you remain unconvinced by their CD, make sure you see one of their live shows; their passion on stage is second to none. Matt bounces up and down, occasionally gesturing the crowd to “get up/ come on”, while Bnann’s dancing moves (oh how we wish we could recreate them) switch uncontrollably from ‘the robot’ to raving, whilst still managing to maintain an excellent vocal performance. Classics like ‘Girl That Speaks No Words’ and ‘Jagger ’67’ were received with as much enthusiasm as their new songs, suggesting a good future for the Infadels and their fans. From unrestrainedly enthusiastic dancing to their support act at the start of the gig, to catering to the audience’s noisy requests for an encore, the Infadels proved that their passion for music is going to make this band big. -

Press Remix By Hugh Morris the bottom, I hoped to find a fairly simple answer. Other than podcasts and silly ‘hidden tracks’, the next longest track was Frankie Goes to Hollywood’s ‘Welcome to the Pleasuredome’. I thought this particularly unfortunate, so I’ll blame it on my younger brother (although the track does, rather horrifically, belong to me). Anyway, this song has vocals, and is not that good, so we’ll move on. The next noteworthy track is by Sigur Rós. They get away with the lack of lyrics because the song, ‘Milano’, is so beautifully atmospheric I fall asleep. Now that I have found my methods flawed, I skip Smashing Pumpkins, William Orbit and The Mars Volta, to find that 47 tracks down is ‘Another Excuse’ by Soulwax.

Dance music tends not to have too many lyrics. Therefore, it is imperative that the beats, synthesisers and effects are ridiculously catchy to generate interest. ‘Hardcore’ fans are often angered when a DJ or record company take a dance track, overlay an awful vocal, and sell it to the public, who of course appreciate the vocals more than the beat. This brings us to the question of how electro music and other ‘electronic’ music has become more popular. Just what steps must an artist, band or DJ go through to make a track seven minutes long with no singing, appealing? Organising my iTunes so that the longest tracks are at the top and the shortest at

This song is just under eight minutes long, but far from boring. It has few lyrics, which are repeated erratically. The beat is catchy and bouncy, joining the new world of electro with steel drums, and a Daft Punk ‘Around the World’-esque riff. I’m dancing as I listen. This song suits my purpose; Soulwax, as electro and dance giants, demonstrate a strong beat, interesting licks and a vocal hook. My task becomes easier now a Spank Rock collaboration with Justice comes on, fusing the ‘dirty’ electro strengths of Justice with Spank Rock’s cheery dance, and Amanda Blank’s even dirtier rap. What this exercise has shown me about electro music, confirming what I already loved about it, is its versatility. Many

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of these tracks are over 6 minutes long, and many tracks from my own favourite selection are remixes. Soulwax’s recent remix album is excellent. Taking wellknown indie and pop songs, and some more obscure songs, and turning them into great dancefloor tracks with heavy beats and well-placed reinvention, is inspired. Thankfully, a remix can be found for most indie songs these days. Each DJ retains what they want of the original, and then uses their artistic license to manipulate the song in their own style. Justice places heavy distorted beats behind tracks, and in the case of the Franz Ferdinand track, ‘The Fallen’, ruin it. Simian Mobile Disco, for want of a better word, ‘bleep’ the track up, making it seem crazily futuristic. Further afield, all the more exciting, thought-inspiring remixes are waiting to be discovered. Kissy Sell Out creates sounds as if his synthesiser were enjoying wedding-night sex high on acid, whilst DJs like Herve and Busy P make you bounce around involuntarily. The potential in using electro as a means to explore music is what makes it so popular and exciting. It’s only going to get bigger, as remixes are, in turn, remixed (Kissy Sell Out’s remix of Mark Ronson’s ‘Stop Me’ is alarmingly good) and DJs remix their own songs (SebastiAn’s reedit of ‘Walkman’ makes me cry). As for me, I’m off home to take the vocals out of ‘Bohemian Rhapsody’ and overlay it with some synth.-

Photo by Matt Grum

Desert Island Discs.

This edition’s contributors were asked to name their top three life-changing records. Tim Ngwena: 1. Erykah Badu – On & On 2. 2pac – Do For Love 3. De la soul – The Magic Number Sarah Ng: 1. The National – Secret Meeting 2. Magnetic Field – Born On a Train 3. Jens Lekman – Opposite of Hallelujah Matt Grum 1.Incubus – Anti-Gravity (Summer Romance) 2.Red Hot Chili Peppers – Funky Monks 3.Minus the Bear – The Fix Charley Davey: 1. Velvet Underground – Candy Says 2. Placebo – Bigmouth Strikes Again 3. Infadels – Jagger ’67 Lauren Clancy 1. Ian Brown – F.E.A.R 2. Iron and Wine – Cinder and Smoke 3. The Smiths – There is a Light that Never Goes Out Hugh Morris: 1. Brand New – Sowing Season 2. Mark Ronson – Stop Me (Kissy Sell Out’s True Romance remix) 3. Hope of the States – Black Dollar Bills Emma Robson: 1. Michael Jackson – Billie Jean 2. Prince – Purple Rain 3. Head Automatica – Beating Heart Baby

BAD TASTE GIG GUIDE

Fibbers, York. The best of what’s on in Fibbers this term. Monday, May 26. Mystery Jets Soulful wackiness guaranteed to get you singing along. Thursday, May 29. Hot Club De Paris A curiously fantastic mix of mellow guitarstrumming and lary, punky beats. Friday, June 6. The Hair Raucous local talent set for the big time. Saturday, June 7. OK Tokyo Clever electro-disco destined to fill the dancefloors. Sunday, June 8. Black Kids Wailing, chanting lyrics with a Motown feel; infectiously epic. Tuesday, July 8. Cajun Dance Party ‘Dance party’ is about right: talented teenagers producing jangly wondrousness. All tickets available from ticketweb.co.uk

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What’s on the BAD TASTE Stereo?

1. Elle Milano – Meanwhile In Hollywood 2. Dizzee Rascal – Fix Up, Look Sharp 3. Grammatics – Shadow Committee 4. Hot Chip – Bubbles They Bounce 5. The Horrors – Draw Japan 6. Luther Vandross – Never Too Much 7. You Me At Six – If I Were In Your Shoes 8. The Hair – Hooker 9. TV on the Radio – Wolf Like Me 10. Kings of Leon – Charmer 11. T. Rex – Get It On 12. Pete And The Pirates – The Wrong Man 13. The Sunshine Underground – Borders 14. Vampire Weekend – Walcott 15. The Audition – You’ve Made Us Conscious

York’s Little Gem

ituated between The Shambles and Parliament Street lies Newgate Market, one of the biggest open markets the North has to offer. Amid the hustle and bustle you can find most of the goodies you could want for a weekly shop. Amongst the 110 market stalls, you can buy your fruit, veg, meat, fish, pickles, cheese, sweets, and even mobile phone accessories. For the house-proud, you can buy picture frames, posters, and household utensils. And for the really brave and adventurous

amongst you, you can even buy leather jackets, radios, and hair extensions (good luck with that one). One of the beauties of buying from the market is the prices. A week’s worth of vegetables will cost around £3.50, pork steak can cost as little as £1, and a bottle of Garnier sun cream costs £3.50. This is more than can be said for the ever-extortionate Costcutter! If you fancy your chances, there is even room for some haggling. For those looking for a less direct approach to reducing prices, always check if there is a student discount available. For all you food zealots looking for something different, the farmers’ market is just right for you. Found on Parliament Street, this is held every last Friday of the month. Although a little more expensive

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than the daily market, this is a great chance to cook something a bit special for the weekend. Just some of the goods on offer are ostrich burgers (£2.50 per pack of two), venison, mini-joints of lamb (around £2.00 each), and there is even a stall dedicated entirely to game. So if you fancy shopping somewhere a bit different that’s kind to your pockets, Newgate Market is highly recommended. Pop along between the hours of 9.00am and 4.00pm any day of the week, and experience the buzzing atmosphere for yourself.-

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