Siren Issue 11

college tribune entertainment supplement 3.4.12

Neil Jordan talks to Ciara Murphy Irish Festival Guide

City and sound

UCD noughties orchestra

Dressing for success

2

3.4.12

PLAYLIST: Rebekah Rennick Simian Ghost – Youth In 1972, Sweden gave us Abba. Forty years later, they’ve produced a group with contagiously addictive tunes, minus the jeweled attire of the Eurovision verterans. Smooth guitar riffs and even smoother vocals from this tightnit trio sweep you up into a high spirited chorus that make you believe that these three must be the grooviest guys around.

Gotye – Somebody That I Used To Know (Dumbchild Remix) With radio stations lathering themselves in this song, finding a remix that actually does this genuinely beautiful song justice, but still brings something fresh to the table, wasn’t going to be easy. However, the enigma that is the youtube account dumbchildmusic has done just that. Remixes are difficult to sell to others, but this one is a keeper.

Dananananakroyd – Black Wax Self proclaimed ‘Fight Pop’ Glaswegian band, Dananananakroyd caused some petty controversy between hipster-children-in-theknow and computer game fans by allowing this song to be part of FIFA 10’s tracklist. Aside from such pressing issues, mainly dealt with through Youtube comments, the thunderous drums and guitars that seem to spring from nowhere in this track grip you and throw you headfirst into the sweaty, crowded gig setting that it creates.

The Men – Open Your Heart Brooklyn born group The Men have produced a track that relives the scratchy, chaotic guitar playing of early Libertines and the whining vocals of Smashing Pumpkins’ Billy Corgan - an interesing combination that somehow works very well. ‘Open Your Heart’, a messy proclamation of love, that somewhat captures the awkward emotions of first heartache, envelopes your eardrums and weaves you through the crashing strums of each guitar string, until the abrupt end leaves you wanting more.

music@collegetribune.ie

MUSIC

City and Sound Martin Gilroy In the latest instalment of our series on the inextricability of a style of music and its city of origin, Martin Gilroy puts the spotlight on the home of Motown, Detroit.

“The runaway success of the label coincided with the rising civil rights movement and its position as a blackowned company promoting exclusively black musicians helped bolster the confidence of this ever more assertive race” Apparently, Detroit is home to some pretty important stuff; Ford Motor Cars, Robocop, the world’s biggest burger... oh, and the worldrenowned record company whose promotion of black crossover artists helped alleviate racial segregation while simultaneously dominating the airwaves of 1960s America. Did I mention Robocop?

The Motown record company began as nothing more than an entrepreneurial venture by a disillusioned songwriter. Having experienced moderate success writing for local Detroit acts such as Jackie Wilson throughout the course of the 1950s, Detroit factory operative Berry Gordy Jr. became dismayed with his share of royalties, realising that the truly lucrative side of the music business lay in the hands of the record companies. In 1959, armed with an eight hundred dollar loan from his family and a head full of dreams, Gordy decided to establish the Motown label, signing as his first act Smokey Robinson’s Matadors. 1960 saw Robinson’s band (now redubbed The Miracles) release ‘Shop Around’, followed closely by the number one hit from the Marvelettes, ‘Please Mr. Postman’; the rest is history. Over the course of the next decade, Motown produced over a hundred top ten singles from exclusively black acts such as the Supremes, the Four Tops and Marvin Gaye, creating a signature variation of soul music whose unique sound earned worldwide success and a truckload of dollars.

But what does that have to do with Detroit? Well, everything; even the name Motown refers to the local nickname, ‘Motortown’, based on the presence of Ford, General Motors and Chrysler headquarters in the industrial district. Detroit’s unique culture was central in stimulating the inimitable sound that earned Motown its fame.

The aftermath of the Second World War saw a mass migration of black southerners flock to the city, attracted by promises of manufacturing jobs and bringing northward the gospel sounds of the Deep South.

“The City’ significant and relatively black population helped stimulate a vibrant musical culture while the public schools system boasted a particularly progressive musical curriculum” The town was home to an already vibrant jazz scene and, like many cities across the nation, saw the rise of rhythm and blues in the early 1950s. The convergence of these influences was to herald the rise of soul music; however, Detroit’s gospel tradition had become distinct from that in other cities across America and, combined with a focus on popu-

lar appeal stimulated by the city’s entrepreneurial atmosphere, this helped form the basis of the distinct Motown sound. As soul developed across the nation, Motown maintained its idiosyncratic style, owing much to the fact that the label depended on the same small group of in-house songwriters working with the same creative formula. The Motown sound thus became inextricable from its label and, most importantly, the city.

The industrial atmosphere of Detroit also played a significant role in the success of Motown. The label was selfconsciously run like a factory assembly line, systematically combining the work of the song-writing team, The Funk Brothers (the session band who played on almost all of the label’s releases) and the various acts on the roster to create a sleek final product. Combined with Gordy’s stringent quality control and ear for commercial potential, the Motown industry became the self-professed ‘Sound of Young America’. However, that the label was such an efficient body was but a minor factor in contributing to its success; such a record company depends on a pool of highly talented individuals, fortunately plentiful in Detroit. The city’s significant and relatively prosperous black population helped stimulate a vibrant musical culture, while the public school system boasted a particularly progressive musical curriculum. These factors, unique to the city, fed into the development of the Motown label, illustrating just how inextricable the re-

lationship was between city and sound.

Motown’s impressive musical legacy was accompanied by a particularly potent cultural importance, at least partially indebted to its home in industrial Detroit.

The runaway success of the label coincided with the rising civil rights movement and its position as a blackowned company promoting exclusively black musicians helped bolster the confidence of this ever more assertive race. However, the music was also to become active in the alleviation of racial tension. The systematic employment of inoffensive lyrics and catchy melodies, stimulated by the commercialised environment of the city, helped build the popularity of black artists among white listeners, an intentional commercial aim which inadvertently had a profound social impact. The universal popularity of Motown’s acts led to the attraction of both races to concerts which, under the influence of the music, eventually became desegregated.

This inadvertent bridging of the racial divide loaded the pedestrian message of Motown with distinctly political overtones, the ubiquitous focus on ‘love’ gaining a new meaning in light of the diminishing racial divide.

Ironically, the racial composition of Detroit, so intrinsic to the success of Motown, also helped stimulate its

eventual departure from the city. The poorer ghettos were the site of significant racial tension, occasionally breaking into violent episodes such as the race riots of 1967; this particular occasion saw the company receive a number of threats for its attempts to attract white listeners. Such increasingly violent threats combined with Gordy’s wishes to branch out into the film industry prompted the eventual relocation of Motown to Los Angeles. The label enjoyed a further burst of success with the release of Marvin Gaye’s 1971 album What’s Going On?, but the dizzy heights of the 1960s were never to be relived. This may be attributed to the decline of the civil rights movement, or maybe it was just the candle burning out; whatever the cause, Motown’s move from its home city signalled its decline as a cultural and musical force.

Detroit still boasts a strong music scene, receiving recognition as the home of techno and boasting such artistic exports as diverse as Eminem and Carl Craig.

However, though many have tried, no-one has ever been able to recapture the Motown sound; it is a product of its generation, some would say the soundtrack to the rising hope of black America in the 1960s, and it’s a damn good beat for marching to.

MUSIC Miike Snow Happy To You

By Geneva Pattison

I

f you’re not already familiar with the Swedish indie-pop collective Miike Snow, this album should provide you with a pleasant introduction.

The trio’s new album Happy To You released on March 23rd through Downtown Records, delivers a more artistic experimental sound than their self-titled debut album

of 2009 and will cradle the eardrums of any connoisseur of chilled electro sounds.

Collaborating with the likes of the avant -garde goddess that is Lykke Li might secure the group with more well deserved air play.

Tracks like ‘The Wave’ with systematic thuds of a marching band-esque snare drum and ‘Devil’s Work’

M Ward-

A Wasteland Companion

By Thomas Cullen

P

ortland singer-songwriter M.Ward releases his highly anticipated seventh studio album this week, which is precipitated by his ever-growing reputation on the indie/folk music scene.

Ward is perhaps best known for his collaborations with singer turned actress Zooey Deschanel in the band

She and Him, which helped catapult his music into the limelight; having been featured heavily on the soundtrack to indie schlop 500 Days of Summer.

Once again on this record, the songwriter’s delicate chord progressions coupled with his tranquil vocals can create both cheerful and chilling atmospheres in his

Bear in Heaven -

I Love You, It’s Cool

By Daniel Nolan

B

ear in Heaven’s third album continues their strong record to date, without wildly altering their sound. It helps itself to a slice of the zeitgeist with its grandly romantic, dreamily detached style, reminiscent of last year’s Zonoscope from Cut Copy, or the electronic cuts from the highly fashionable Drive soundtrack.

However, the band’s songwriting chops make it make it a worthwhile release.

The Reflection of You fairly typifies this, with its bright, shimmering synths and lilting melody.

On tracks such as ‘Noon Moon’ and ‘Sinful Nature’, the album also incorporates other less typical instrumentation in a manner that

breaking into flashes of French horn introduce an orchestral feel to this predominantly modern sounding album.

Even if you’re not a fan or fond of this type of music, a tune definitely worth a checking out (or downloading) is the eerie, extra-terrestrial feeling ‘Black Tin Box’ featuring fellow Swede Lykke Li as mentioned above.

No tracks in particular to avoid in this musical assemblage, however I would recommend you listen to it on a sunlit UCD lake day, lounging in the rays, for the optimum appreciation factor….a chilled beer wouldn’t go astray too.

music, an aspect which is noticeable on his entire discography.

But therein lays this album’s main problem. It is essentially more of the same formula from an artist stuck in the quicksand of the safe zone.

But despite M.Ward’s reluctance to try a new musical direction, the record still contains some gems. Opening track ‘Clean Slate’ sets the soulful tone for the album, whilst ‘The First Time I Ran Away’ is an incredibly eerie track.

Deschanel even pops up to take the lead vocals for the track ‘My Sweetheart’.

Although lacking new direction, this is still a satisfying folk album that’s worth a listen. sometimes recalls Destroyer’s latest, the terrific Kaputt.

‘Sinful Nature’ is one of the record’s stronger tracks, and is refreshing in its relatively confrontational style, allowing it to stand out from the more restrained tracks.

While the tracks remain at worst decent throughout (arguably with the exception of the relative dud ‘Space Remains’), the lack of any great diversity between the majority means the album begin to drag slightly in its final third.

It also tails off fairly limply with the closing ‘Sweetness and Sickness’.

Overall, the album fails to reach Bear in Heaven’s previous peaks, but does just enough to retain interest for their future endeavours.

3.4.12

music@collegetribune.ie

The Mars Volta –

Noctourniquet

By Geneva Pattison

U

sing dogmatic skill, Omar Rodriguez – Lopez the multi-instrumentalist, mastermind and producer behind The Mars Volta has created an album filled with innovative and complex sounds.

Noctourniquet is the sixth studio album from the Texan quintet and promises to satisfy keen prog-rock audio-

philes in full. The dominant opener, ‘The Whip Hand’ is a dark ominous piece, dense in guitar overdubbing that doesn’t fall shy of electronic hums, flattering Cedric Blixer- Zavala’s high pitched howling vocals.

‘Empty Vessels Make The Loudest Sound’ sees a complimentary bond transpire between Lopez’s incessant

High on Fire De Vermiis Mysteriis

By Graham Luby

R

egular as they may be nowadays, the consistent high quality of High on Fire’s work always makes a new record an event to look forward to.

The recent resurrection of founder Matt Pike’s fabled previous outfit, Sleep, has this time rendered news of the release of De Vermiis Mysteriis small potatoes- a

pity, then, as this is quite possibly their best album yet.

To classify High on Fire’s apocalyptic rattle as ‘stoner rock’ would be unfair; while simpler in arrangement than the likes of Mastodon or Kylesa, HOF have honed their sound over the course of six albums to push the boundaries of what a power trio are capable of.

Nicki Minaj –

Pink Friday: Roman Reloaded

By Rebekah Rennick

W

illiam Shakespeare once said “If music be the food of love, play on”, and if that is the case, it’s anyone’s guess what type of metaphorical delicacy Nicki Minaj is serving us with this installment.

Roman Reloaded is everything you can imagine from a woman whose entire life is a pantomime; corny.

Twenty two tracks make up this ‘composition’ and I would like to hear the justification of those who enjoyed it. Supposedly this album is the ‘real Nicki Minaj’, and if that’s the case, she’s really put up a high perception of herself as an artist with such thought provoking lyrics as; “And so I pray you burn in hell and you never find the

3

layering of effects with the fabled lyrical arrangement, especially the chorus.

The manic leading single ‘The Malkin Jewel’ throws a strange vaudevillian spanner into the works, with lyrics like “my ether turns flesh to gravel” and an intro so unmelodic in the classical sense that average curious listeners wouldn’t give it thirty seconds of their time, but hey, guess what?

It works. Contrary to the band’s previous albums, the songs on Noctourniquet are shorter, which could be seen as a disheartening element in the eyes of deep seethed fans, or a blessing to us who possess the attention span of a small insect.

Overall, a very gratifying listen.

Pike has surpassed himself on this album, his riffs and filthy, chaotic soloing eclipsing his stellar work on 2010’s Snakes for the Divine.

Drummer Des Kensel does a phenomenal job here as well- his tribalistic battery on ‘Serums of Liao’ and ‘Fertile Green’ compliments Pike’s Lovecraft-themed verse nicely, and is given full breathing space by Kurt Ballou’s production job.

If De Vermiis… is to be considered “stoner rock”, it surpasses anything Sleep ever did. Matt Pike has struck gold once again.

ocean” and who could forget “You a stupid hoe, You a you a stupid hoe, etc.’ Amazing.

There’s obviously a market for artists like Nicki Minaj, but this mindless jabbering of a plastic woman is completely vacuous. When songs such as Minaj’s ‘Roman Holiday’ and ‘Whip It’ on the album lack substance to the extent they leave you constantly facepalming, it’s never a good sign. Whatever happened to well crafted lyrics provoking something more meaningful in the listener?

Or maybe, I’m the ‘stupid hoe’ she seems to have such an issue with.

4

3.4.12

music@collegetribune.ie

MUSIC

Too much of a good thing, or matches made in heaven?

GENEVA PATTISON Supergroups are annoying and self-indulgent endeavours, forums for already huge egos to swell and expand to otherworldly levels and let’s face it…. most of the music they create is a horrendous atrocity that should have never seen the light of day, right? WRONG. As narcissistic and conceited we feel they are, some of the best music around today is created by bands, deemed by the press, as ‘Supergroups’.

So ok, you do have Velvet Revolver who just look like embarrassing dads trying to relive their youth in constricting leather pants and you have Journey (includes members of Santana) who’s lyrics can be heard being bellowed down Dublin’s vomit laden streets at 4am. People forget that well established bands like the Foo Fighters are actually a Supergroup, with Dave Grohl previously serving as drummer for Nir-

vana, Taylor Hawkins working with Alanis Morissette and the recently reunified member Pat Smear originally from the L.A based punk band The Germs. They make exceptional music and have been doing so for just over two decades. Their formula works, but they were never associated with the rather somewhat derogatory term, of Supergroup.

We see new-fangled bands such as The Dead Weather finding success while taking pride in the fact that they’re also a Supergroup.

Although the members are all involved in some pretty eccentric, innovative and feted groups, we can still appreciate the sheer might put into each performance.

Jack White (Raconteurs, The White Stripes) seemed to be the puppet master (in the nicest sense) behind this successful congregation of talent and they’re determination and thought put into both albums released so far is certainly appar-

ent. Another strong willed and unwavering creator to envelop himself into the Supergroup category is Blur frontman Damon Albarn.

Although the band does not have a tangible name, bassist Paul Simonon formerly of The Clash and past Verve guitarist Simon Tong, with Albarn firmly at the helm fashioned a powerful album in The Good, The Bad and the Queen. These guys get a high from beginning with a blank canvas. It’s like a bad habit they can’t quit.

Despite the mild dig above about these musicians putting up a somewhat arrogant front, a wholly positive factor to do with Supergroups is that these people have an innate need to craft and develop their skills, and these side projects give them an outlet for change. It is the seamless fusing of different abilities and styles that really impress and when you look back on how the term Supergroup came to be coined

you really can appreciate in full the scale of the explosive AONGHUS MCGARRY evolution in sound and music production. It’s difficult to fathom that Cream, who were dubbed the original Supergroup in the 1960’s, can be connected in any way to

artists like the hip-hop ambition of Child Rebel Soldier, consisting of Kanye West, Lupe Fiasco and Pharrell Williams. These are all musicians that have, egotistically or not, looked past their creative constraints and,

for the most part, have produced music to stand up with their previous output (just don’t mention Lulu). Supergroups? I’m a fan.

UCD Noughties Orchestra to perform ‘Hits of the Noughties’ AONGHUS MCGARRY Aonghus McGarry spoke to one of the organisers of the most interesting musical event to take place in UCD for years An orchestra consisting of, and managed entirely by, UCD students is set to perform the ‘Hits of the Noughties’ in aid of mental health charity Aware. James Harding, bassoon player within the orchestra and one of the organisers of the event, spoke to The Siren about the event and what to expect on the night; “We have a full orchestra consisting of about 50 players, playing brass, woodwind strings and percussion. We know that classical music wouldn’t appeal to a lot of students and we hope this event would show off what the orchestra can do, as it is full of extremely talented musicians.” Asked about the idea behind the event, James said himself “and Dave (Moloney) were at a music presentation as part of our studying of the theory of music. There we got talking about the possibility of

running this event as Dave’s presentation was based on arranging music for an orchestra. I had experience in this field as in secondary school I helped arrange a Coldplay song for the school orchestra.”

A similar event was held last year by the Trinity Orchestra to great success, in which the album Discovery

by Daft Punk was played in its entirety, and became a viral hit. James is keen to emphasise his respect for their endeavour and it’s organisers, but also emphasises the difference between the two events “They usually do albums from specific artists and often have a pit band. We are just going to use instruments from the orchestra and are doing hits from 2000 onwards.” Having seen the UCD Symphony Orchestra perform, they are undoubtedly an extremely talented set of musicians, and although this ensemble is of a different nature, If this event can live up to its near-equivalent in Trinity, it will be a massive success.

The event, held in conjunction with Arts Soc, is the first

of its kind in UCD, James added that “This orchestra has been created purely for the purpose of this concert.

There are many players in it from the UCD Symphony Orchestra but it is a different thing entirely”

and that the work that has gone into organising such a large scale event has been considerable, coupled with the difficult task of translating traditionally arranged popular music into an orchestral setting,

and that “every song has it’s challenges when being arranged for an orchestra, no matter how simple it may originally seem. It takes anywhere from 6 to 10 hours arrange a song for an orchestra properly as you have to keep it interesting to the audience, and also to the players, figuring out small little things can be a difficulty but it’s all very enjoyable”.

All organisers involved are to be commended for their innovative way of raising money for an important cause, and for the meagre price to students one gets the benefits of a brilliantly arranged orchestra and that warm fuzzy feeling from giving a few euro to a noble cause.

It is also heartening to see the musical talent that UCD possesses being showcased to a wider audience than may have been previously, and a contemporary set of songs arranged in a classical manner can only have interesting results.

James Harding adds that this is “Popular music being played by an orchestra and

sung by brilliant singers, with a concert like atmosphere. It is a first for UCD and something not to be missed.”

Tickets are on sale now in the Arts Block at a cost of 6 euro for students and 10 euro for everyone else. The event takes place in the Astra Hall in the Student Centre on the 11th of April at 7:45.

See your name here! Write for The Siren’s Music section! Contact Music editor Aonghus Mc Garry at music@collegetribune.ie

ARTS

3.4.12

arts@collegetribune.ie

5

The Hunger Games AIFRIC NI RUAIRC

T

he Hunger Games is a good film. It is not a great film, it is not a classic film but it is a good film. Using your powerful perceptive skills you can probably read the surprise behind this statement but surely that’s understandable?

Everything indicated that The Hunger Games was going to be the next Twilight; it was another adaptation of a teen novel where the “prettybut-not-too-pretty” teenage heroine gets stuck in a love triangle and inexplicably every handsome chap she makes eye contact with on the bus falls irrevocably in love with her.

Nobody (except the diehard fans) could have expected that The Hunger Games would make such a good film. A successful film - yes, but a good film? Who saw that coming? Turns out fans were right all along.

Imagine Japanese cultclassic Battle Royale with added Hollywood-style romance, glossy hair and a touch of leg waxing and you’ve got The Hunger Games.

The film is set in a dystopian future America where the twelve “districts” of Panem pay tribute to the ruling “Capitol” by packing off a gang of teenagers every year to battle to the death on live television.

Katniss Everdeen (Jennifer Lawrence) volunteers to be her district’s female tribute in place of her little sister and finds herself heading off to the games (and certain death) alongside Josh Hutcherson’s Peeta but leaving behind her handsome friend Gale.

This is a world where children are forced to kill each other for sport and Lenny Kravitz runs around in gold eyeliner giving out make-overs. The look of the Capitol, a futuristic city is

nothing new but District Twelve, where our heroine hails from, is beautifully portrayed, contrasting new technologies with the essence of the Deep South.

There is a great supporting cast with Woody Harrilson and Elizabeth Banks giving it socks in wigs but it is the two young leads who steal the show vying for your affection as you try and pick which one you hope survives.

Lawrence gives an amazing performance, ensuring Katniss comes across as hard but not unfeeling, with no hesitations about killing, focussing only on her need to survive and to protect her family.

Katniss is a hunter, a warrior and she takes no prisoners. When Peeta expresses his hope to remain true to himself and his beliefs throughout the games, Katniss replies “I can’t afford to think like that”.

The film doesn’t shy away from the fact that children

are dying. There will be violence and Katniss understands this.

Despite his charm and innocence, Josh Hutcherson as Peeta seems an odd choice at first for a romantic lead, he’s still quite baby-faced and known mainly for his roles in kid’s films.

He is hardly a heartthrob, whereas Robert Pattinson in Twilight made everyone from your pre-teen sister to your Great-Auntie Maisie fall in love with him, Hutcherson is the type of boy Great-Auntie Maisie will be offering sweets to. Your preteen sister might still like him though.

Happily Liam Hemsworth (younger brother of Chris “Thor” Hemsworth) turns up as Gale, Katniss’ jealous friend from home, with a face so beautiful poor old Maisie may have to hobble off for a lie-down.

The Hunger Games has brilliant performances and a great premise which sends

Have You Read This Yet? EOGHAN O’ RIAIN You’re a college student.

You’re reading the Arts section. You should by all accounts be an intelligent, capable person. So, the question is…have you read this yet?

Every issue The College Tribune will bring you a featured literary work that you should read in order to solidify your position as an intelligent, to-be-takenseriously academic.

(If you’ve stumbled upon this section on your way to Sport, this goes for you as well!)

So get your spectacles out and read on.

Catch 22 – Joseph Heller Why should you read Catch 22? While it is certainly a very highly thought of book, frequently appearing in the top ten lists of greatest books of the 20th century what does it really mean and why should you read it as opposed to hundreds of other “classics”? What is it that makes Catch 22 so important that it warrants reading over other titles?

One way of justifying it would

be looking at its influence on the world. Catch 22 is a book which has imprinted itself into the English language.

The fact that is has changed the way we speak and write.

The catch 22 as a phrase is one which addresses a no win situation, in other words you’re damned if you do and damned if you don’t.

Focusing on outside plaudits and coining of a term though don’t allow you to truly appreciate what it is that makes this novel so fantastic. The novel which is set during the second world war at a US airbase on a small island off the coast of Italy follows a 28 year old bombardier named John Yossarian who’s main goal in the war is to stay alive. Hardly an incomprehensible desire, yet it is quite a difficult one to realise when one is fighting in a war and is hardly helped when your squadron is commanded by someone like Colonel Cathcart who “had courage and never hesitated to volunteer his men for any target available”.

The plot of the novel then isn’t one with an overall narrative arc, rather a way of reflecting the lives of

the soldiers who fought it while also approaching the harrowing subject matter with a biting satirical wit and an appreciation for the absurd. This appreciation of the absurd while also of course being so critical of the bureaucratic systems which create such absurdity is what gives Catch 22 much of its

charm. The titular Catch 22 is memorably explained when Yossarian is asking to be grounded as he is so terrified by the idea of flying anymore missions “There was only one catch and that was Catch-22, which specified that a concern for one’s safety in the face of dangers that were real and

us off questioning the future of reality television and the multiple ways in which the media is manipulating us.

Despite this it is restricted by its young fan-base and never quite lives up to its own hype,

it’s never violent, viscous, tragic or romantic enough.

Apparently there are three more films on the way and hopefully they’ll be able to make the transition from a good film to a great one.

immediate was the process of a rational mind. Orr was crazy and could be grounded.

All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions.

Orr would be crazy to fly more missions and sane if he didn’t, but if he were sane he had to fly them.

If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.”

Yossarian’s whistle in awe of the ridiculous yet logical nature of the clause is a way which the author and even the reader manage to be present in the protagonist as looking at it as a source of absurdist humour is the only way for Yossarian not to become insane.

These paradoxes then can be seen as quite central to the novel yet they are not the only source of humour with one notable source of humour being Milo Minderbender the mess hall officer for the island. Milo is a striking satire on the privatisation of

war as he with his “syndicate” makes huge profits in the black market and eventually bombing his own airfield as he is contracted to do it by the Germans. He escapes treason charges due to his reason being capitalism which is obviously a biting attack on the McCarthy era which was ongoing while Heller was writing the book.

This book is not just a humorous black satire though, as in contrast to the absurd and ridiculous circumstances that the characters find themselves in there is the contrast with the very real threat of death.

As the novel progresses the majority of Yossarian’s friends begin to vanish from the novel while the detestable and insane characters carry on and continue to succeed.

The very striking contrasts between the episodes of humour and heartbreak are what make this book not just an intelligent and witty satire but one of the all time great books as it confronts the loss of humanity which is forced onto us in not just times of war but in an increasingly bureaucratic world.

6

3.4.12

arts@collegetribune.ie

With the cancelation of this year’s Oxegen festival many students will be looking for an alternative. The Siren have complied a selection of some of the lesser known but very well run, good value festivals around the country this summer.

Sea Sessions Surf and Music Festival A wide variety of music acts have been announced for Donegal’s biggest music festival which is held every year in Bundoran.

This year’s line-up boasts well known acts such as The Kaiser Chiefs, Happy Mondays and the Coronas along with various other dance, hip-hop and indie artists.

The location boasts alluring ocean scenery and is within the boundaries of a pleasant coastal town.

The surfing orientated event site is located beside the seashore and offers many activities such as BMX, football and surfing competitions to keep festival-goers entertained throughout the weekend.

The festival camping is only a three minute walk away from the main event site, and is located near shops, pubs, restaurants and nightclubs which help people satisfy their needs

and wants throughout the weekend.

The event is held over three nights and with great acts and affordable ticket prices it is easily one of the best alternative music festivals in the country.

Dates: June 29th -July 1st Price: Day Ticket €50, Weekend Ticket €88.50

Galway Arts Festival Ireland’s biggest international arts festival returns this summer with many music, theatre, art and comedy events being provided over a two week period. The festival was first started in 1978, and now has an outstanding reputation for showcasing the best of Irish and international arts.

This year Blondie, James Vincent McMorrow, Lisa Hannigan and Bressie are scheduled to perform at various locations in the city, whilst popular comedians David O Doherty and Jarleth Regan will also be entertaining audiences during the festival. The annual Macnas parade is a high energy and atmospheric spectacle that is one of the main highlights of the festival.

The event also attracts acts and audiences from abroad with 27% of the people at the festival last year coming from overseas. The social and cultural life during the

festival is astounding, and is one of many reasons that Galway should be amongst any festival-goers lists this summer, especially if arts is your type f thing.

Tickets: Prices vary for each event, Pay as you enter Dates: 16th-29th of July

Cahersiveen Festival of Music and the Arts Cahersiveen is a picturesque coastal town located on the Ring of Kerry.The festival has attracted some big acts this year including Mundy, who will be performing an open air concert in the middle of the town on the Friday night, Ryan Sheridan who will be performing on the Saturday, and a Gareth Brooks tribute band “Friends in Low Places” who will close the festival on the Sunday.

Aswell as the main acts performing on the festival stage throughout the weekend there will be live music in all of the town’s pubs, which stay open into the early hours of the morning, and students have two nightclubs to choose from.

On Friday night a massive fireworks display will take place along the banks of the town’s river.

The weekend offers plenty to do for families and students alike. Entertainment during the day includes street entertainers and the infamous barman’s race which will be followed this year by a

3.4.12

arts@collegetribune.ie

7

Craic agus Ceol Dunfanaghy Jazz & Blues Festival

samba marching band, to create an even better festival atmosphere. You can also enjoy a complimentary pint of Guinness while sampling some local Oysters available on the Saturday, and for the more active, hill-walks and other activities will be organized.

The musicians amongst you are welcome to enter the busking competition held on the Saturday and artists of all genres and styles are invited to display their art along the walls of the O’Connell Church (named after Daniel O’Connel who was born in the town).This

has been a gateway to success for many artists in the past.

Prices : Armbands cost 10 euro and grant access to almost everywhere Dates: August Bank Holiday weekend, 3rd 4th & 5th

And now for something different. Tired of electro, dance and hip-hop? why not head up to he fifth annual Dunfanaghy Jazz & Blues Festival which will take place from Thursday 13th September - Sunday 16th September 2012. The line up of musicians set to play at this year’s event will be bigger and better. After a successful four years which saw jazz and blues musicians perform a series of free concerts in the popular Donegal town, the organisers are expecting even more music fans to visit Dunfanaghy for the 5th festival in September 2011.

The Dunfanaghy Jazz & Blues Festival will feature a series of free live gigs from 24 bands in 10 different music stages in pubs and bars throughout the village of Dunfanaghy and extending to Creeslough for the third time.

Donegal is known for it’s rugged beauty and Dunfa-

naghy is no exception.

Located between the hills and the Atlantic Ocean Dunfanaghy boasts a Blue Flag beach, the spectacular Hornhead cliffs and much more. So if the craic agus ceoil is getting too much, there is always something different to do.

Price : Free entry Dates : 13th September 16th September 2012.

Belsonic 2012 Yea, this one is the biggest of our selections, but it does represent great value for moneyeturns to the unique surroundings of Belfast’s Custom House Square for a two week period this August! A hugely successful Northern Irish music event, Belsonic in association with ABSOLUT is set to bring an array of world class talent to this beautiful Victorian Square in the heart of the city’s revitalised and historic Cathedral Quarter.

Among the first phase of this year’s headline announcements are Tom Jones, Skrillex Two Door Cinema Club, Madness, James Morrison & David Guetta. Two Door Cinema Club will also be joined by special guests Noah & The Whale, while many more headline and support act announcements are expected in the coming weeks.

For the money pent in one of Irelands most vibrant cities with cheap drinks and accomodationn being frequent

and affordable, Belsonic offers fantastic value for money in comparison to other festivals of it’s size and stature. Tickets are selling out fast with David guetta’s night sold out already Price : ranges from 2030 euro per night of your choice Dates: 15th to 26th August 2012

8

3.4.12

ARTS

arts@collegetribune.ie

“This country is so small. The only escape is through one’s imagination.”

Neil Jordan is an academy award winning (The Crying Game - Best Original Screenplay) film and television director from Co. Sligo. Previously a UCD Student (Irish history and English literature) and best known for films such as The Butcher Boy, The Crying Game, Michael Collins and Interview with the Vampire, Jordan talks to Ciara Murphy of the College Tribune about his new television series, The Borgias, his most recent book; Mistaken, his new film Byzantium and what it means to be Irish.

S

peaking about making the transition from film to television, Jordan admits that it was lack of money rather than original intent that lead him to make the move; “I had written the Borgias as a film, and found it impossible to finance. So when a cable series was suggested, it seemed exciting to me.

I began expanding the script, and placed back all of the possible scenes I had cut, to get it down to feature length. Then the possibility of a large, 40 hour long film emerged.” Jordan, one of many film directors making his way to the small screen, Martin Scorsese, Michael Mann and Gus Van Sant to name but a few, admits that there are some advantages to working on television. “The cable series format is actually better for some types of material – historical fictions, for example. Also, cable is the only place at present where challenging writing is even considered. The world of movies is shrinking by the minute. A lot of people are flocking to cable series, actors, writers, directors, because of this.”

Not only content to delve into the worlds of film and television, Jordan is also an accomplished author (The Past, Shade) with his recent book, ‘Mistaken’ getting great reviews among the press. One of the main comments that re-occurs in relation to ‘Mistaken’ is the book’s accurate portrayal of Dublin as a place, and of Dubliners as people.

When asked if he strived to always stay true to Ireland, and representations of Ireland, Jordan stated that he did not but that he “wanted to paint a portrait of the world of my youth. I don’t really remember this priest-ridden place everybody writes about.

The city I grew up in was one of the most elegant places in the world. Its gradual destruction began in the 70’s.”

Not only represented in his literary works, Ireland, and Irish issues are a common theme and backdrop for his most famous cinematic works. In films such as ‘The Butcher Boy’, ‘The Crying Games’ and ‘Michael Collins’, Irish history and culture is an important backdrop. Rather than attempting to constantly frame Ireland and ‘Irish-ness’ in a certain way Jordan believes that “what’s more important is to write what’s true.

I don’t think artists should try to represent anything in particular.” One could argue that this is the reason why his work is so successful both at home and abroad. Jordan creates work in a way that is both true to the people he is representing but timeless in a way that generations and nationalities all across the globe can continue to enjoy.

When asked if he preferred Irish actors, or did he try to include Irish actors as much as possible he stated, “Irish actors are perennially good.” One of the special and enjoyable aspects of Jordan’s work is his ability to make accessible, what could be seen as inaccessible.

One of his most famous films, ‘Michael Collins’, brought the story of the Easter Rising

and the Irish Civil War into the sitting rooms of a new generation. I asked him was he conscious of this and if so was it difficult to tick the boxes of what makes a great, entertaining film and also remain true to a history that is precious to so many.

Jordan replied that “Michael Collins was a very specific film, as much about the presence of violence in Irish political culture when I made it, as in Collins’ time. I wanted to tell a very specific story there, about a man who built an armed force, and found it almost impossible to de-commission it.

To make an interesting film about historical events, one has to choose one’s themes, and stick to

them. If I had made a cable version of that story, as I’m doing with the Borgias, I could have included much more material, many more themes. But the film I wanted to make was about the subject of political violence, the reasons for it and the consequences of it.

What

was interesting about the experience was the public dialogue it gave rise to.”

Jordan’s time in UCD was important in framing his literary background, when asked, if he thinks the education he received in UCD allowed him an avenue into the successful career he has today, he responded that “There was a great history department then, and a really rigorous department of English. The creative end of things was not really considered, which is the big change from then to now.”

When asked what advice he would give to students presently who would like to follow in his footsteps he stated that “The cultural world is changing so rapidly, it is really hard to say.

The In- ternet is changing ever y thing, book publishing, film production, music and journalism. I would say, find some way to grapple with that, a n d keep

culture alive.”

Jordan’s most recent production ‘Byzantium’ delves into the fantastical land of vampires and is a return to the supernatural.

This is not the first time we’ve seen Jordan deal with vampires and the supernatural, in ‘Interview With The Vampire’ we saw Brad Pitt, Tom Cruise, Antonio Banderas and Irish actor Stephen Rea take to the big screen for what was a huge success.

When asked if he liked getting away from making realist films and getting his teeth (pardon the pun) into something a little more supernatural? He responded that “I think my interest in the supernatural comes very specifically from my Irish background. Stories from beyond the grave, so to speak.

When I grew up, the culture was full of them.

The Gothic, non-realist tradition in Irish literature is so strong. It is only recently that the realistic novel has emerged in Ireland, as a force to be reckoned with.”

Irish artists are truly something that we are proud of.

Despite the difficulties we are all facing now, Irish peop l e always seem to remain invested and proud of their own culture and their own artists.

One of the most imp o r - tant questions I asked Jor- dan if Ireland still inspired him creatively.

His response; “The problem, and the beauty of Ireland, is that one is forced to live in one’s mind.

The paralysis that Joyce spoke about in Dubliners is still a force everywhere.

The country is so small.

The only escape is through one’s imagination.”

ARTS

3.4.12

arts@collegetribune.ie

Seeking Justice DARRAGH O’CONNOR 18, 1 hr. 44 min.

Directed By: Roger Donaldson Starring: Nicolas Cage, Guy Pearce, January Jones, Jennifer Carpenter

N

ot one but two new Nicolas Cage films have been released to DVD this week, Seeking Justice/Justice and Trespass.

Most would see this as a bad thing, I however do not. The man who brought us Knowing, The Wicker Man, Season of the Witch, and Bangkok Dangerous is back, and it’s fairly amazing.

The plot of Seeking Justice follows a mild mannered English teacher Will Gerard (Nicolas Cage) whose life is drastically altered after his wife is brutally raped. One night as Will waits at the

hospital, he is approached by a mysterious man named Simon, (Guy Pearce). Simon apparently represents an organization of a “a few citizens seeking justice”.

Simon proposes an offer of retribution for Will and his wife, in which Simon will arrange to have a complete stranger exact vengeance on the attacker, in exchange for a favour in the future. Will accepts and sets down a trail of betrayal and murder, one which forces Will to unravels a grand conspiracy, in which every action has a reaction.

Now folks, straight up this is a bad film. It got 25% on Rotten Tomatoes, and in every sense of the word it is terrible. The plot makes no sense, the dialogue is just silly, and it is shot like a four year old with a camera.

The performances of the cast is disjointed and poor.

Pearce is the worst offender , in every scene he doesn’t care at all and this was clear for any viewer to see. The script

9

in mind, the good work of Cage is turned into a parody.

The whole film becomes a parody of the actor himself and of films as an art.

There are bad films, and films that are so bad it makes them great. Plan 9 from Outer Space is the ultimate example of this. In fact any Ed Wood film would be worth a watch, one shot takes, no editing, poor acting, bloopers, distorted audio, plot holes etc.

They set the standard for ‘fantastically bad films.’ With that in mind, I would recommend this film to anyone for this purpose. Grab this film, sit back and enjoy the insanity of another ‘Ridiculous Cage’ film.

is contrived and detached from the story it is trying to tell.

It made $0.4 Million in the US Box Office, well below its massive budget.

This film was an epic failure both commercially and critically. That said, it is a Nic Cage film. Once you accept that, you can actually enjoy Seeking Justice(formerly known as The Hungry Rabbit Jumps. Yes. You read that right!).

This is the latest in a long series of films starring the Cage, that I refer to as the ‘fantastically bad films’ of Nicolas Cage. Seeking Justice is a film with phoned in performances of pretty much everyone involved, except Cage. Like others in his long list of his terrible films, Cage delivers his lines with passion, and you remember that he is a good actor.

I must remind you, that this is a bad film, and was formerly known as The Hungry Rabbit Jumps. With this

Have You Seen This Yet? - Game Of Thrones Donal Lucey Television is getting better, there’s no doubt about it anymore, with HBO, AMC and Showtime allowing for a renaissance in great programming we are truly living in a golden age for television. Following this we have been struck by the fact that we aren’t doing enough to promote these great shows in our arts and culture section. Starting with this issue of the Siren we will be bringing you reasons to watch television instead of reading books. It’s never been so good to be a couch potato.

“Game of Thrones” was one of the most talked about shows on TV last year, with fans and critics alike captivated by what became a cultural phenomenon.

Trailers have been released over the last number of weeks previewing the award winning series’ return to the small screen.

If you are among the unlucky few that still haven’t checked out the “Game of Thrones” experience, I urge you to right that wrong. April

is coming.

“Game of Thrones” features several characters fighting for the crown of the mythical “Westeros”. They all have claims which they believe entitle them to the position. Politics is a strong theme and throughout the season we saw many of the lead men and women lying, betraying and fighting in order to survive.

Outside of this, there is also a supernatural element for the audience to sink their teeth into. Beyond the wall in the North we are told something is stirring and that leaves us wondering and excitedly waiting for every detail we are presented with.

There was always going to be a solid fanbase for fantasy and action but there is so much more to this show. The show runners, David Benioff and D.B Weiss, spend more time emphasizing characters and their story arc than anything else.

The reward in this is that the characters are presented in a way that makes the very relatable to a contemporary audience, despite its medieval Europe-esque setting. Another invaluable

asset at their disposal is the fact that they work closely with George R.R Martin, whose acclaimed book series “A Song of Ice and Fire” is what the series is based upon, and that helps immensely with dealing with the fans and bringing the adaption to life.

“Game of Thrones” is an

experience like no other you will find on TV. Its remarkable look, cinematography and wonderful musical score are unmatched by any programme.

It has a very film like feel and draws obvious comparison with “The Lord of the Rings”. Unlike the modern 20 plus episode

orders of most modern series, HBO adopts short episode orders for their shows and this suits “Game of Thrones” perfectly.

With only a small number of episodes the characters and stories will always remain fresh and interesting.

There is such a wealth of detail packed into each episode that it is impossible to miss one. Another fantastic quality is its unpredictability.

Most shows, for longevity sake, cannot afford to lose main characters and usually keep their main plot points until pivotal moments – usually near the season finale. But the “Thrones” writing staff don’t need to worry about running out of material because each season is based on a novel and Martin has written a number of books with a wealth of characters, places and events.

One thing which has had fans and critics’ alike raving about is the opening credits.

The credits are usually tedious and the bane of most audience members viewing.

But not with “Thrones”, here they have developed opening credits that is actually more

interesting than most TV series.

The imagination and attention to detail devoted to the credits is like nothing you will have ever witnessed before. With an ear pleasing musical theme, you are taken on a journey as the camera pans over the intricate map of Westeros. It also highlights the setting of the particular episode. It is the perfect way to start and episode and never fails to leave you excited for what is about to come.

It is a crime to miss this crowd pleasing costume drama –with all the elements of war, honour, pride, lust, power and even humour (especially from Peter Dinklage’s Tyrion Lanaster who steals every scene he is in) that keep an audience enthralled. A series has never seemed so excruciatingly short as when season one ended on the brink of war.

Lords were beheaded, kings killed and dragons were born. Catch up while you can because on April 1st GOT returns to SkyAtlantic to reveal the repercussions and continue the journey.

10

3.4.12

fashion@collegetribune.ie

FASHION

Mixing prints Ladies We Love: Carrie Bradshaw like a pro Emma Nolan explains how to take the prints trend to the next level.

P

rint blocking this season is the radical evolution of last year’s colour blocking trend as maximalist styling is gaining a lot hype and mixing prints is hot on every fashionista’s agenda. As this trend is a tricky one to pull off, certain guidelines should be maintained to ensure that you’re looking effortlessly chic and not like you’ve fallen into the bargain box at Penney’s.

Designers such as J.Crew, Rodarte, Rebecca Minhoff and Carven have showcased this look on the runways and we’ve seen its influence on many celebrities such as Diane Kruger, Whitney Port and Alexa Chung. If we’re not to take inspiration from these chic ladies, then who, I say? The possibilities for this trend are endless. It is a liberal development in fashion which may not appeal to the fashion conservatives, so look away now minimalists, print blocking is here to stay for Summer and Autumn 2012.

As a playful fashion movement, it evokes in all of us a carefree and more creative attitude towards our wardrobes. It allows for us to make new combinations in the way we put an outfit to-

gether, pairing garments which, in the past would have never occurred to us to even think about in the same outfit, to construct categorically stunning and eye-catching outfits by simply mixing prints. So sod the understated approach, embrace your inner Pippi Longstocking and bring her forth to fashion.

However, with a trend like mixing prints, there are some basic guidelines which should be considered to make sure you achieve more fashion genius and less infant who was let dress themself…

Choose one colour story per outfit; it is important that the colours in each pattern complement each other.

Harmonious hues will bring the look together and repeat colours are vital to create a balance and direction in the ensemble, unless one or all of the prints are neutral colours of course. Monochromatic neutrals then, are a great way to ease yourself into this daring trend, when you’re not ready to think about clashing colours and patterns just yet.

Mix a louder print with a softer one; this will provide a focal point to a look which

is essentially made up of different focal points. Competing prints will not work so allow for a softer pattern to blend with the more dominant and act as the neutral in the relationship. This varies the weight of the pattern and allows for blissful agreement between two otherwise leading elements of a look.

It is obligatory to keep your hair and make-up relatively simple whilst mixing prints; your clothing will be statement enough so expressive hair and make-up is likely to suggest a clownlike quality in the finished look. Accessories that match the tones in the outfit may work to complete a specific look but excessive jewellery is unnecessary. The patterns of the clothing itself is the statement so keep the extras to a minimum. The mixing of prints invites, in turn the mixing of textures which adds great depth to an outfit.

Treat some prints as neutrals; prints like leopard, polka dots and stripes are more familiar to the eye so can therefore be treated as solids to offset louder prints like florals and paisleys. Just ensure that you are balancing the prints and creating the right silhouette as you would with any other outfit.

Mixing prints is huge for Spring/Summer and its prevalence will continue on into Autumn, so experiment with different patterns, designs and textures and become comfortable with this concept of excessive visual splendour and break free from the conventional laws of dressing and embrace print blocking and your inner maximalist now.

See your name here! Write for The Siren’s fashion section! Contact fashion editor Cathal O’Gara at fashion@collegetribune.ie

Aideen Conway provides an insight on how SATC icon Carrie Bradshaw has become the epitome of style and glamour.

C

arrie Bradshaw, the fictional narrator of Sex and the City is without a doubt an iconic fashion figure, she lives and breathes style always expressing her own personal taste, wearing things which only she could pull off.

She defies all categorization. Bradshaw is a New York columnist and fashionista.

She looks too the lives of her friends for inspiration for her column and does not shy away from difficult or personal subjects. Her personality and shines through to the people of New York through her column.

What makes her so admirable is her confidence when it comes to fashion. She certainly has quite an eclectic, individual style which reflects her fun, light hearted personality so well.

Bradshaw isn’t afraid to be experimental with fashion. She may not always get it quite right but isn’t that what fashion is all about? It takes one who is willing to take risks to grab people’s attention which she certainly does.

For Carrie any day is a dress up day, she doesn’t wait around for an event to wear something new or unu-

sual. She shows that trends can be a part of your own style or used to expand your style but should not be followed religiously.

Carrie shows that no matter what your age, there is room to have fun with fashion. She does not grow out of her playful style as she becomes older but is all the daring.

She inspires women to be open minded to the world of fashion, to embrace and enjoy it. No matter what comes her way, heartbreak, aging, struggles with writing inspiration for her column she never loses sight if herself and her identity. She shows that personal style is not something which should be sacrificed with the emergence of a new phase of life.

What makes her further admirable to women is she is not a huge earner and so is not constantly splashing out on high end clothing. She shows that one can certainly be fashionable on a budget and is seen taking trips to vintage and discount stores and even markets in when on holiday in Abu Dhabi in the second movie. She shows that true style comes from within and from high spending.

Without a doubt her boundless shoe collection is coveted by thousands of women around the world.

She describes herself as having somewhat of an addiction when it comes to shoes particularly Manolo Blahnik stilettos. Carrie regularly runs herself into financial crisis due to her need for shoes!

She humorously describes her shoe addiction as a ‘substance abuse problem’. She cannot contain herself when it comes to shoes, when she sees them she has to have them. She does not apologise for her love of fashion and shows it is ok to splurge on oneself.

She highlights the independence women can enjoy.

She believes it is ok to spend money on oneself, especially on shoes, as it makes the single girls walk through life a little more fun!

Her attitude towards life is so refreshing and honest it is hard not to fall in love with her, to want to know her. She proves herself as a talented writer, a master of style, a wonderfully dedicated friend and an overall good person.

She certainly is a lady we love!

FASHION

Dressing for success: Interview Style 3.4.12

Laura Donohue shows you how to dress to succeed in landing that job this summer.

W

ith the end of another year of college approaching, and with most of us looking for work over the summer - or life if it’s the final year!

- It’s time to look at what to wear for an interview in the increasingly competitive job market. Before ever setting foot over the threshold of your potential employer’s office, understand what kind of work you’re being interviewed for. Turning up dressed in the wrong way can be an utter disaster.

Clerical, professional, business and sedentary roles generally call for a more business smart or business casual type of attire, and are definitely not something you could show up to with a pair of jeans on.

Fashion retail stores look for someone with more imagination in their style, and are unlikely to be impressed by someone wearing a penguin suit. Roles in specialty fields are likely to be happy with someone who looks neat and presentable, and are more interested in your ability, qualifications and your achievements.

For a clerical or sedentary role- Just because you’re tossed into a world of suits doesn’t necessarily mean you have to blend in like the rest.

Don’t be so quick to choose black pants, matching jacket and a shirt, the rest of the interviewees will pick the exact same.

Many people opt for a

knee length, plain, black pencil skirt and a white blouse, which can sound boring, but can be adjusted to give a nod to your sense of style with a great bag and shoes.

If you were an employer who had two candidates in mind with similar attributes and achievements but one dressed in a plain black suit and the other dressed in something work appropriate but with a bit of their own style, you’d probably hire the latter.

This is because rather than choosing someone safe, boring and unimaginative, they’ve gone for something less conventional, but which works really well.

Try a fitted or shift style dress that comes to the knee and doesn’t show cleavage, pairing with matching heels.

As bad as the film is, look at what Hilary Duff’s character in Beauty and the Briefcase wears to work and feed from that - she looked über chic at the workplace even if her attire is a bit dated for the majority of the movie!

For a fashion retail roleWhen I went to a group interview for my first job in a fashion retail chain there were four other people there. The first girl wore the bog standard penguin suit; the second wore black pants, pumps, a cardigan and a shirt from that shop; the third, a guy, wore a shirt, jeans and old school shoes; the final girl wore black leather skinnies, a black top, grey blazer and

heels. I wore chinos, heels, a lace top and a blazer. The girl with the leather skinnies and I with my chinos got the job.

Leather skinnies girl and the rest had plenty of retail experience whereas I and the guy were the only two without relevant work experience.

Fair enough, the guy spent most of the time talking about tractors and no one really understood what he was saying, but it really goes down to who dressed the most appropriately in that situation, and not so much about experience.

Keep the type of clothes the store sells in mind before going to the interview, the best thing to do is to have a look at what the staff there are wearing and try to echo that.

Obviously, unless it’s Hollister or something, it’s probably better to put a pair of heels on too, but if you’re not that happy about heels, a pair of pretty ballet flats are perfectly acceptable. This is one interview where you aren’t as limited in terms of dressing as you would be with others.

Other forms of retail and leisure roles - Let’s be real here; most of the employees in retail other than fashion are subjected to a black uniform, so for this case black pants and a blouse will be fine. I’d still recommend wearing a black dress to the knee with a blazer and heels as it gives off a sense of professionalism.

Of course, if you’re going for an interview for beauty advisory or hairdressing, then having your hair and makeup well-done well is a given.

Roles in specialty fields- You’re best to follow advice of the clerical and sedentary if you’re applying for a job within your degree.

If you’re applying for some kind of physical labour, you aren’t required to be very dressed

Chic

fashion@collegetribune.ie

11

Timo Weiland: Musically inspired colourful prints.

Not to mention he’s in the fashion incubator programme this year.

Vogue Festival: This year’s line-up looks promising with everyone from Stella McCartney to Diane von Furstenburg attending.

Carven: If you’re going to splash out, do it on this brand’s luxurious ready-to-wear fantabulous designs.

EEK Viktor & Rolf: Just in case your feet get cold in those heels you can now get a skirt for them.

Kate Spade tote: Apart from its appearance, it’s bound to get lost on your trip to Ascot. up for the interview, it’s something you should wear pants to - but not an event which warrants heels and a fabulous handbag to match.

Always remember to have something in your wardrobe which is interview friendly, as sometimes interviews can be sprung on you with only a day’s notice.

If you’re ever in doubt, err on the side of formality and wear black, it’s always better to be overdressed rather than underdressed.

Household Charge: Can’t pay, won’t pay, rather pay €100 on Crème de la Mer cream thank you very much.

12

3.4.12

FASHION

fashion@collegetribune.ie

Fashion Week’s Beauty Trends

MAC by request

Julie Kirwan gives the lowdown on which trends to draw inspiration from and those ones to avoid like Andy Dick.

JULIE KIRWAN

O

R

ejoice! Have you ever fallen in love with a product only to find it has been discontinued when you head into the halls of Brown Thomas to repurchase?

While it may only be a makeup item, we based our face around a small set of products and for this routine to be pried away from us can be devastating (slight exaggeration, I grant you).

Well fear not, MAC is giving us the chance to bring back discontinued favourites in a voting poll on their Facebook page.

While it’s not any product, and we are given a list to choose from, there is someone out there who desperately craves an item from them.

Whether it be lipstick, lipglass or eyeshadow you want restored, the powers in your hands. Go forth and vote now!

h

Fashion Week, how very inspirational you are, but also how very unrealistic! While one half of us squeals at the intricacy of some of the stunning looks produced by designers to enthuse the masses, the other half rolls our eyes, knowing that we wouldn’t be caught dead in half of them.

Bold, jewelled brows were a massive hit at this sea-

son’s Paris Fashion Week, with beautiful models sauntering down the catwalks for Miu Miu and Chanel with sequins attached.

Now, not for one second can I imagine walking down the centre of Grafton Street to be greeted by the sight of some ‘wan’ with sequins stuck to her ungroomed brows. What we have to remember is that only half, if even, of the looks presented to us at any fashion week will be wearable. And so, we must remove ourselves from the eclectic sequin brow and instead turn our attentions to the other looks that graced the catwalk stage this season.

Orange based red lips are a thing of the future, being heavily featured in the shows of Marc by Marc Jacobs and Zac Posen. The key is to keep the rest of the face bare, with just a slick of mascara and a

CAMPUS STYLE Name: Michael O’Connor Course: 2nd Year Arts Can’t live without:

Name:

Paul Daly

Course: 2nd Year Commerce and Italian

Can’t live without: Airmax

Dr. Martens

natural base. Lipsticks such as MAC Ruby Woo or Lady Danger or Rimmel Diva Red should do the trick; just make sure to use a similar coloured lip liner to ensure it lasts all day. Metallics are still staying strong in the fashion stakes, with an alternative smokey eye being seen on the catwalks for Burberry, Jason Wu and Diane von Furstenburg.

This ‘new’ smokey has a metallic sheen and incorporates colours such as emeralds, purples, gold’s and bronzes along with the classic black or grey, which can be used to make an eye colour ‘pop’. Maybelline’s Colour Tattoos are a brilliant and cheap alternative to their Nars, MAC or Armani counterparts at just over €6, and are long lasting making them perfect for nights out. Try Immortal Charcoal across

the lid with Endless Purple blended into the inner corner and crease for added drama.

Pink cheeks also cropped up a number of times, being used by Mulberry, Temperley and D&G as their highlighted feature. Makeup was kept natural and almost bare, with a flush of pink on the cheeks such as MAC’s Well Dressed blush.

While we could spend hours discussing the other trends that graced the catwalks of both London and Paris Fashion Week’s, I’m afraid it’s pointless as not many were wearable for the everyday. Because let’s face it, I doubt any of us will be waltzing around campus with black smudged eyeshadow falling down our faces á la Alexander Wang and Jean Paul Gautier now, will we?