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FOUNDER The Independent Student Newspaper of Royal Holloway, University of London
Volume 10, Issue 3
From Paris to Beirut:
Students march for ISIS victims
BY KYLE HOEKSTRA NEWS EDITOR Royal Holloway students assembled to express solidarity with victims of ISIS following unprecedented terrorist attacks in Paris and Beirut between the 12th and 13th of November. Approximately 50 students gathered in Founder’s North Quadrangle on Monday 16 November, mustering by a repurposed bed sheet below Queen Victoria. The group stood for a minute’s silence at 1pm, before lifting the banner and marching together around Founders to finish on Nobles Field. The demonstration was organised by second-year Politics and International Relations student Ryan King, who hoped to emphasise
a disparity in western media in the prominence accorded to the November 13 Paris attacks and the November 12 multiple bombings in Beirut. King said he was worried by the “possibility of further resentment of Muslim and Asian groups” following the terrorist attacks and sought to remind people that "the vast majority of the victims of Islamic terrorist groups are Muslims.” He said that attacks across the Middle East are often marginalized as “routine”. Writing on the Facebook event page, King also stressed the role of “decades of Western interference in the Middle East” in creating the conditions for jihadist movements to “thrive and multiply.” Campus security accompanied the march
and halted traffic as it was led by Ryan King from Founder’s north entrance, around the building. Defying a light November chill, the group then settled on Nobles Field with Founder’s Building behind them, and stood for photographs. Among the attendees were Professors of History Sarah Ansari and Justin Champion, whose research interests include public engagement with academic knowledge. Professor Champion described the attacks as “an attack on all of us,” and said some reaction, calling to close British borders, was a “knee-jerk reaction…just pitiful.” “The asylum seekers are fleeing these lunatics,” he said, adding, “The reason why these things are happening is because of
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December 2015
Inside: News
Founder’s Library Petition Sparks Confusion page 5
Comment Reactions to Paris and ISIS page 9
Features
The Dangers of Sunny Selfies page 14
Arts A Review of A View From the Bridge at Royal Holloway page 15
Music
Top Ten Indie Christmas Songs page 21
Film
Spectre: A Legend Disappoints page 29
Sport
Meet the Captains: Hockey, Rugby, Karate page 30
HL
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Content 3 News 9 Comment 13
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About The Founder The Founder is the independent student newspaper of Royal Holloway, University of London. This means we are not affiliated to the students union or college. We pride ourselves on our investigative journalism and aim to keep our readers up to date with news on and off campus. The views expressed in this publication are those of the author and not necessarily those of the Editors, particularly of comment and opinion pieces. Every effort has been made to contact the holders of copyright for any material used in this issue, and to ensure the accuracy of its stories.
How to get involved The Founder is always looking for contributors - without them, we wouldn’t have a paper! As you’ll see from this issue, we print a huge variety of articles. If there’s a particular topic you’d like to write about and you aren’t sure whether it’s appropriate, just email our editor (editor@thefounder.co.uk) and they will be happy to discuss any ideas you have.
Features
28 Film 30 Sport Our Editorial Board 2015/16 Editor Jasper Watkins Managing Editor Dominic Pini Deputy News Editor Daniel Brady
Editor/Designer Sami Roberts News Editor Kyle Hoekstra Comment Editor Joe Burns
Features Editor Alex Santema
Arts Editor Laura Burnett
Lifestyle Editor Eleanor McCloskey
Sport Editor Sam Williams
Music Editor Natasha Barrett
Film Editor Zak Derler
THE FOUNDER is printed in Cambridge by Iliffe Print
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From Paris to Beirut: Students march for ISIS victims Tony Blair and George bush’s foreign policy.” Professor Ansari suggested that “we should be careful how we respond to [Paris] in case we forget about the people in the Middle East,” stressing the devastation of the “proud, long histories” in the region. Fenadis, a Royal Holloway student from Kenya who attended the event, said that “religion and terrorism are two different things,” explaining that we must take care to differentiate between what is religiously motivated and what is driven by other factors. Within three hours, 130 people were killed at six different locations in Paris and 43 were killed in Beirut after a double suicide bombing, with hundreds more casualties in both cities. Islamic State (ISIS) claimed responsibility for both attacks, in addition to recent attacks in Tunisia, Egypt and Turkey. The events in Paris provoked condemnation and grief throughout the world, with President Obama describing them as “an attack on all humanity and the universal values that we share.” French president François Hollande pledged “merciless” retaliation against ISIS and denounced the attacks as an “act of war.” Police staged 128 raids targeting Islamic State militants in France on 16 November, while French air strikes proceeded against targets in Raqqa, Syria.
continued from front page
Royal Holloway students came together to show solidarity for the victims of the ISIS attacks. Photos provided by Kyle Hoekstra
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Photo provided by Jack Saffers
Thousands Protest for Free Education Clash with Police
BY KYLE HOEKSTRA NEWS EDITOR Thousands of students marched through London on 4 November to demand the abolition of tuition fees and the restoration of maintenance grants, meeting a heavy police presence resulting in 12 arrests. Students gathered at Malet Street in Central London from 12:00 pm before advancing from 1:30 pm, mostly peacefully, through London to Downing Street, Westminster, the Home Office, the Department for Education, and the Department for Business Innovation & Skills (BIS), at which point members of the ‘black bloc’ confronted police officers. Marchers continued past BIS and became disorganised before returning to Trafalgar Square by 4.30pm. Students marched for free education under the National Campaign Against Fees and Cuts’s (NCAFC) slogan: “FREE EDUCATION - NO BARRIERS, NO BORDERS, NO BUSINESS.” Government plans to abolish maintenance grants in exchange for loans were a key focus of the NCAFC, who organised the demon-
stration. They called the move a “concerted attempt to turn higher education into a market system, run like a business, with more and more provision privatised and outsourced.” Such measures will leave the poorest students in “more and more debt.” The NUS, Momentum and Unite were among the organisations protesting. The demonstration was endorsed by shadow chancellor John McDonnell, who offered his solidarity to students in person before the march. “Education is a gift from one generation to another,” he said. “It is not a commodity that can be bought and sold.” “For generations now, one generation has handed the baton to the next, they have tried to ensure that the next generation has a better quality of life than the last. This government is betraying you and future generations. You need to oppose it and I’m here in solidarity with that opposition.” Leader of the opposition Jeremy Corbyn also expressed his support but was engaged in Prime Minister’s Question Time so was unable to attend. As the march continued beyond its designated end-point at BIS, Police made several arrests. Around 6pm, Police issued a dispersal order, threatening to arrest any protestors who remained on the streets. Royal Holloway’s Left Forum was present at the demonstration. Royal Holloway student Patrick Walker told London Student that he was marching to oppose “Tory attempts to turn the university into a private factory” by “pressur[ing] lecturers to prioritise corporate platitudes of ‘transferable skillsets’ and ‘employability’” rather than creating “an open space to share and investigate ideas.” “The treatment of young people by the current government makes me incredibly angry,” said Sinéad Úna Jein in the same article, “only education available to all with no barriers will empower our generation and future generations to do more to stand up for the needs and rights of young people.” In addition to challenging tuition fees and the abolition of grants, protestors argued against the cut to the Disabled Student Allowance (DSA) and voiced support of refugees.
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Founder’s Library Petition Sparks Confusion
BY JASPER WATKINS EDITOR Recently a petition surfaced on the popular campaigning website Change.org titled ‘Save Founder’s Library’, directed at principal of Royal Holloway, Paul Layzell. Started by student Jessica Vonnet, the petition aims counter university plans to convert and remove Founder’s library once the construction of the new library, due to open in2017, is complete. The petition is centred round five key points: that the Founder's library be retained in its current form, that the Founder's library remains for the use of all students, that parts of the library are not sectioned off for a staff restaurant, that no books will be thrown away during the move to the new library, and finally that a clear plan for the library actually be made available to students. While reluctant to reveal from which source she obtained the information that Founder’s library will be closing, Vonnet shared with The Founder her motives behind the petition and the details of her conversations with Paul Layzell. ‘My aim in starting the petition was largely to force the university's hand and make them tell us what's going on.’
‘I know how much Founder's library is loved but I never imagined we'd get to over 4,000 signatures! What I wanted to achieve was a sense of openness from the university so that all students could decide whether they were happy with the planned changes or not and have a chance to get their voices heard before anything permanent happened.’ ‘I've seen a few comments about how the petition is rubbish and rumour - I can understand why people would be sceptical but I think it does a great disservice to us students to fail to properly scrutinise the messages coming out of the university about this.’ As a response to the issues raised by the petition John Tuck, Director of Library Services, released a statement in order to clarify the future of Founder’s library: ‘It is too early to speculate on how spaces around Founder’s West Reading Room might be used once the new library opens. We are looking at the current and potential future needs of people studying, living and working at the College and how we might address them.’ ‘The deselection of stock is as important as its
selection in maintaining the overall relevance of the resources available in libraries. Regular stock reviews of collections are necessary to ensure their quality. The Library team carry out such reviews regularly and always do these in conjunction with academic departments. Any deselection of books as we move into the new library will be part of that ongoing process.’ Tuck also cited the fact that Founder’s library has been, since the start of the College, a varied and evolving space. The Founder’s East Reading Room was a museum from 1886 until the 1940s and the ground floors were used as music practice rooms and a gym. Ultimately, Tuck stated that it is still too early to comment on how the space in and around Founder’s library will be utilised once the new library opens. From her discussions with the Principal as well as John Tuck, Jessica Vonnet has informed us that Founder’s library will not remain in its current format and that only one reading room will remain as a library space.
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Egham Station Riot Leads to Five Arrests BY DANIEL BRADY DEPUTY NEWS EDITOR Officers from Surrey Police and the British Transport Police were called to Egham Train Station around 9:30pm on Friday 6 November, following a ‘disturbance’ by a group of adolescents leading to five arrests. The Tab reported that around thirty youths caused the 20.50 Waterloo to Reading service to be canceled at Egham. A spokesman for South West Trains issued a statement stating the cancellation was “due to disruptive passengers on board the service,” as the disturbance is believed to have been caused by passengers both on board the train and platform.
Surrey Police stated arrests were made after a "large number of youths were located on the platform causing a disturbance." Amongst them were two 17-yearold boys from Egham and a 16 and 14-year-old girl from Woking, who were arrested on suspicion of public order offences and assault. A 17-year-old boy from Addlestone was arrested on suspicion of a public order offence and possession of cannabis. British Transport Police stated the five young people arrested were taken into custody, before being released on bail until 13 December.
University Denies Name Change Rumours BY KYLE HOEKSTRA NEWS EDITOR In a statement directed to Orbital, Royal Holloway's Director of Communications and External Relations, Marie Ennis, denied claims made in the student magazine that the university was considering removing “University of London” from its name. Citing the re-brand from RHUL Sport to Royal Holloway Sport, Orbital published an article on October 26 with the headline "Holloway to drop University of London name," implying in the course of the article that Royal Holloway was considering an exit from the federal University of London itself.
The piece attracted criticism online before being removed from social media, and was then edited to reflect the university's position. The full response is below: “The College community is extremely proud to be part of University of London and we value the benefits this partnership brings. Our registered name is Royal Holloway, University of London and this is reflected in our College logo. We have no plans to change our name, our logo or indeed our association with the University of London itself.”
Photo provided by getsurrey.co.uk
The Petitions Against the Back Gate
BY SAMI ROBERTS EDITOR, DESIGNER
The back gate at Royal Holloway went missing on 19 November, and for a few days it seemed the days of climbing over it at night were over. However, Royal Holloway has plans to replace the old gate with a one 3m higher, making it very dangerous, if not impossible for students to climb over after it is closed. The purpose of the back gate path between Egham and campus is to make it easy for students living in Egham to get to and from campus during the day. However, when this system was established it is clear that student night life and late-night studying at the library was not taken into consideration. Students resort to climbing over it to get home, risking injury, to avoid taking the much longer and less safe route via Egham Hill at night. The Tab and second-year student
Abbie Jenkins both started petitions against the new 3m fence. These petitions proposed that instead of a gate locked overnight, the college implement a gate with swipe-card access, to maintain the security of the university whilst allowing a safer and easier journey for students staying on campus late at night. On the 23rd, The Tab announced that the SU have chosen to support these petitions. They brought the concerns of safety and the swipe-card suggestion to the attention of members of College management. The SU stated that they will be following up the discussion revolving around this fence and, with more than 600 students in support, hope that there will be some significant changes made to the current system of access between Egham and the Royal Holloway campus.
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Remembering Professor David Cesarani: 13 November 1956 – 25 October 2015
Photos provided by www.royalholloway.ac.uk and hmd.org.uk
BY SAMI ROBERTS EDITOR, DESIGNER One month ago, Royal Holloway said goodbye to a valued member of staff, Professor David Cesarani. Cesarani was Research Professor at Royal Holloway and specialised in Jewish History, particularly the Holocaust. Starting at Queen’s College Cambridge, Cesarani earned a first in history, and went on to achieve his master’s degree in Jewish History at Columbia University in New York. He then earned his doctorate at St. Anthony’s College Oxford. Cesarani’s career remained mostly within universities, as he worked at Queen Mary University of London and University of Southampton before his final position as Research Professor at Royal Holloway. He was also a director of the Wiener Library in London, which is home to the oldest Holocaust archive in existence. Royal Holloway administration wrote, “Professor Cesarani was widely acknowledged to be one of the world’s foremost authorities on Jewish history and particularly the Holocaust.” Cesarani sat on the committee for David Cameron’s Prime Minister Holocaust Commission established in 2014, and took part in the task force that established Holocaust Memorial Day in the UK, for which he was awarded OBE. Cesarani’s most well-known works are Eichmann: His Life and Crimes, in 2004, and Arthur Koestler: The Homeless Mind in 1998. For the former, Cesarani received the National Jewish Book Award in 2006. He completed two more works shortly before his death: Final Solution: The Fate of the Jews 1933-1949 and Disraeli: The Novel Politician. Both of these works will be published next year. “His Holocaust work was both scholarly and practical; he was committed to spreading knowledge of it among all communities in Britain and to that end always adopted a broad historical view,” Lawrence Goldman of The Guardian wrote. Cesarani was diagnosed with cancer in July of this year, and died on 26 October, soon after his surgery the month before. In an interview with The Guardian, Cesarani once said, “The study of history is shrouded in half-truths.” Cesarani committed his academic life and career to maintaining accuracy in Jewish history and revealing as much of the truth as possible. By doing so he ensured that Jewish history and history of the Holocaust is preserved truthfully, remembered honourably, and taught thoroughly. Royal Holloway administration wrote, “Those who knew him speak of his warmth and intellectual generosity.” This university considers itself lucky to have had Professor Cesarani on its team.
Students, We Want You! If you are interested in writing about newsworthy events, new album releases, the most recent Marvel film adaptation, how to lose the Fresher’s Fifteen, or anything else that interests you, send an article to The Founder! Writing for The Founder is a great way to get journalism experience, contribute to the community at Royal Holloway, and get your voice heard. For any further questions, email editor@thefounder.co.uk.
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Reactions to Paris and ISIS Words from Amnesty International at Royal Holloway BY COVA CERVILLA Amnesty International demands solidarity, union and especially humanity in the current times. The terrorist attacks in Paris and Beirut, as well as the violence that is waged on a daily basis in other parts of the world by extremist groups, has shown us a dark face of human kind. The main emotions portrayed in social media after the events in Paris consisted of solidarity. We cannot, however, forget that not all the messages were not positive. There have been negative responses on the topic focusing on blaming Muslims and refugees for these events. In the aftermath of the attack in Paris there has been a strong questioning of the acceptance of refugees and the openness of the porous boundaries within the European Union (EU). This issue has been a challenge lasting since the first influx of refugees in the EU but has been put under the spotlight since the Paris attacks happened. There was a panic feeling, claiming that the acceptance of refugees in the EU was an open door for ISIS members. Certain governments, like the United Kingdom’s, have been pressured to focus attention on asylum
seekers and increases in the number of immigrants. There is a petition going around through social media calling for UK borders to close “until ISIS is defeated� with over 400,000 signatures. Realistically, the citizens who signed this petition certainly do not want to close the borders of the United Kingdom indefinitely; it is not a feasible policy for many reasons especially because there is no economic, political or social benefit in confining all the British citizens in the UK. The message is not closing borders for all citizens (as it is an irrational way of thinking), it is however targeting the entrance of refugees into the UK. If this policy takes place, there will be an increased feeling of anti-migration and anti-refugees leading to a rise of
violent the attacks have been and the atrocity of events. The attacks in Paris have shocked the world but many of these refugees have seen these violent events on a daily basis in their homelands. Amnesty International wants to promote solidarity and see beyond religion and origin to promote human rights and the protection of every citizen. Every person should ensure that racist activities towards refugees is stopped, as it is simply an alternative form of imposing terror. Refugees can give positive income as they bring energy and innovation, enrich host countries by cultural diversity and sustain economic growth. Current times demand solidarity, union, and especially humanity. We should protect and socially include in-
This is why Amnesty International wants everyone to accept refugees as they are fleeing the same war that Europe is currently fighting. an Islamophobic society in the EU. Many Islamic communities have already been targeted by terrorist attacks which claim to be in the name of Islam, creating generalities and so challenging the acceptance of refugees in the EU. In France, a migrant camp was set on fire in Calais the day after the Paris attacks and hatred towards refugees is growing as fear expands. However, the message of Amnesty International is that the only solution is the opposite response. As it has been discovered through investigations, one Belgian and three French citizens took part in the attacks. This is why Amnesty International wants everyone to accept refugees as they are fleeing the same war that Europe is currently fighting. Refugees look for freedom and protection in the EU and our acceptance, instead of reluctance, is crucial for them. All nations have to work hand in hand in order to ensure the safety of refugees. We have seen in Paris how
coming refugees. Terrorist attacks are not their fault and closing borders is not a solution. The message from Amnesty International is clear: Compassion, solidarity and commitment to the value of human life and dignity has always been, and will always be, our choice.
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Dance in their Face
BY JOE BURNS COMMENT EDITOR Compassion, patience—it is not what they want to see. We shall be seen living in the same places, watching the same football matches, visiting the same shops, listening to the same music and laughing at the same jokes. While ISIS calls for black and white between Western values and Islam, I say let’s all dance together. What made the attacks in Paris on 13th November so startling for me is that it was the first major attack on music in the West. The individuals that decided it was a good idea to kill people at a rock concert are no more than testosterone fueled kids, drunk on ideology and power. Media outlets have foolishly raised them to the position of warriors and masterminds, but there is no mastermind behind the attacks in Paris because something smart has to have happened for there to be a mastermind. They are a group of lonely, pathetic losers
There is no mastermind behind the attacks in Paris because something smart has to have happened for there to be a mastermind. with no talent or anything to give to the world, and the idea of others living their lives with joy and passion scares them greatly. For some reason, they do not like music very much. Back in February they even released photographs of themselves burning musical instruments in Libya. Also this year, religious police were filmed beating musicians and destroying
“Music is a lifting force. It’s magic. It’s exactly the opposite of war.” their instruments as punishment for playing an “un-Islamic” keyboard. An “un-Islamic” keyboard? Wow––good one guys, you’ve sold me on your ideas with that one. After the attack at Le Bataclan in Paris, the terrorist group said in a statement that it had attacked the concert hall because “hundreds of apostates had gathered in a profligate prostitution party.” I don’t think they know what prostitution is. What this all comes down to is an immense hatred of Western values, and music is one of those values. So, they attack the notion of partying, singing and dancing because it is a symbol of an alleged Western decadence. However, music is not even a Western idea. The heavy rock music that they happened to attack in Paris is very popular in Iraq, of all places. There is actually a rather large community of metal heads in Baghdad (see the 2007 Vice documentary “Heavy Metal in Baghdad” by Suroosh Alvi). Banning music in their ideal world is only going to turn people away. Good people that want to enjoy life will never want to be a part of the world they want to create. To quote David Crosby: “Music is a lifting force. It’s magic. It’s exactly the opposite of war.” You cannot make war against ISIS. To make war, you have to make war against a state. ISIS are not a state, they are small group of idiots that really want Western governments to engage them in a fight. Our government should be
doing the opposite of what ISIS wants from us. Instead of throwing bombs and getting angry, we should stage a music festival in a mosque called ISIS IS SHIT, PLAY MUSIC AND LIVE. It seems crazy to me that several countries have increased bombing on Raqqa, a city still home to 500,000 civilians. In high school, a teacher used to make our class enter the classroom in silence if we were too noisy in the line outside. If anyone spoke before everyone sat down, we all had to go outside and start again. Of course, one person speaks and everyone has to line up outside again. After a while, you begin to get pretty annoyed with the teacher for punishing the whole class because of a few morons. But these morons will never succeed. No matter what they do, the ideas they have are worse than what we enjoy. Music, love and compassion will always trump hatred.
If you would like to respond to any of these articles, or want to offer an opinion on university events, current affairs, entertainment or anything else, please email replies to joe@thefounder.co.uk with the subject line ‘IN REPLY TO’.
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Does This Offend You? An Obituary for Freedom of Speech
For a number of years, so-called “political correctness” has played a very active role in shutting down debates that focus on sensitive matters. Dominic Pini laments the passing of freedom of speech in universities and pays tribute to its long and turbulent life. BY DOMINIC PINI MANAGING EDITOR I am an able-bodied, straight, white, middle-class, cisgender male, which, in Social Justice Warrior (SJW) terms, makes me the Antichrist. According to these SJWs, I benefit from all sorts of privilege on account of the characteristics I just mentioned and as such, I am prohibited from talking about any issues surrounding race, sex, or gender. Were I to do so, I could be accused of ‘whitesplaining’ or ‘mansplaining,’ just two of a number of neologisms that have been created with the sole aim of further stifling freedom of speech. For the uninitiated, SJW is a pejorative term used to describe a person who claims to campaign for absolute equality, while blithely trampling on the rights of his/her opponents. Quoting from Urban Dictionary: “The SJW sees him/her/itself as a knight in shining armour who is fighting to right the wrongs of the world. They see the world as divided into two camps - the oppressors and the oppressed.” I am not alone in holding the view that some ‘-isms’ and ‘-ists’ like misogynist, racist, ableist and sexist, are terms that can immediately halt any serious conversation on a topic. Using any of these words in a debate pigeonholes one’s opponent and reduces his/her argument to an ideology that usually is indicative of ignorance or bigotry. In the past, I have had the temerity to suggest that, on a night out, how intoxicated a woman is may increase her chance of being groped or harassed. To me, this is axiomatic; that vulnerability can be conferred by one’s comportment; that attackers tend to prey on the weak. Naturally, I believe that the same is true of men, however the incidence of men being groped on nights out is far less common. I could not have prepared myself for the deluge of abuse that I received in response to making these comments; I was immediately branded a
sexist and rape apologist for daring to venture an opinion about my opposite sex. Typically, this style of arguing is exclusively oneway traffic. Back in April, when Bahar Mustafa, the welfare and diversity officer from Goldsmiths College, was publicly admonished for banning white men from a Black and Minority Ethnicity (BME) event, she proceeded to defend her comments by saying: "I, an ethnic minority woman, cannot be racist or sexist towards white men, because racism and sexism describe structures of privilege based on race and gender... therefore, women of colour and minority genders cannot be racist or sexist, since we do not stand to benefit from such a system.” It is this sort of ill-carpented logic that is rife within the PC movement today; the notion that the unwritten rules of what is socially acceptable need not apply to those who are acting on behalf of ‘positive’ societal change, or who are aiming to rid people of their ‘ignorant,’ ‘antediluvian’ views. In essence: any opponent of a Social Justice Warrior is fair game for derision. In recent months, we have witnessed numerous universities close their doors to speakers with whom the SJWs disagree. Controversial individuals who have been booked to give talks or participate in debates have found themselves banned from campuses, all in the name of protecting students from their potentially harmful views. Manchester University’s Students’ Union (MUSU) recently banned feminist and LGB writer Julie Bindel from participating in the Free Speech and Secular Society’s debate entitled “From liberation to censorship: does modern feminism have a problem with free speech?” One could not have scripted a more deliciously ironic turn of events. As we have come to expect from the PC brigade,
MUSU’s Women’s Officer denied that banning Bindel was an issue of freedom of speech; she claimed that Bindel had brought it on herself by holding views that are "…dangerous for trans people and… dangerous for feminist and liberation movements in general." The irony of this banning was redoubled when her opponent, Breitbart’s Milo Yiannopoulos was also banned from attending, for voicing similar opinions on the same issue. Yet again, we see the self-appointed few acting on behalf of the many. Unfortunately, this is not an isolated event. Students from universities all over the UK have taken public opportunities to tell these apparent demagogues that they are not welcome on their campuses. Germaine Greer and Katie Hopkins are among these figures whose divisive opinions have rendered them unwelcome in Unions. Many of these regulations are forged in SU General Meetings and most moderate-minded individuals steer well clear, which contributes to the problem; when moderates don’t curtail these radical views, SU meetings descend into a competition to find the most obscure, progressive form of ‘oppression’ to ban at university. Are students today really so weak-minded that hearing an alien opinion sends us all cowering into our Safe Spaces? Are students’ critical faculties so poor that watching a talk given by a member of the EDL will result in mass conversion to far-right politics? Are we so unable to distinguish fact from bias that we have to ‘No Platform’ anyone who may upset us? Frankly, it is insulting that our elected delegates think us so incapable of making up our own minds about these matters that they feel we have to be sheltered from them entirely. If this article has offended you, I hear that starting a change.org petition to have me rusticated may make you feel better.
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The Next Generation’s Response to Extremism BY DANIEL BRADY DEPUTY NEWS EDITOR
Terror has unsettled the world this November, as extremists struck a number of targets throughout Europe and the rest of the world. Whilst shootings and bombings took place across Paris, leaving 130 civilians dead, Beirut, Mali and Nigeria were also subjected to acts of extremism to which Jihadi militant group Islamic State (IS) have claimed responsibility – for in recent months the group have escalated the frequency of their attacks. I take this opportunity to offer my condolences to those affected, both globally and within the Royal Holloway community. Reactions to these events are still forming, however an important question hangs over the head of us which demands attention: how are we, the next generation, to react to the works of extremism? I initially believe, as a society, we must refrain from a knee-jerk reaction to these acts of extremism, for a similar reaction to the events of 9/11 provided a catalyst for the turmoil that is engulfing today’s world. While there is not a simple fix, we as a society must assess history to prevent similar occurrences, quite simply to move forward and learn from our mistakes. The misconception is that wars against terror can be fought with weap-
As students we are equipped with the tools to scrutinise and search amongst the rubble of history for reasons and causes; for whilst we are taught to assess consequences, a focus on the cause for
As students we are equipped with the tools to scrutinise and search amongst the rubble of history for reasons and causes. crisis is needed. The causes of the current global crisis have already been uncovered and the consequences are painfully apparent, so quelling ex-
We must refrain from a knee-jerk reaction to these acts of extremism. ons. However, in the 21st Century we must be astute––starting with the everyday citizen. What does this mean for us, students readying to fill the shoes of the previous generation? For us, we need to learn to behave not as a nation that reacts and retaliates to situations of crisis, but as one who has stopped the possibility of crisis for ever existing in the first place.
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tremist forces is seemingly the next stage. We must do what previous generations have failed and break the cycle of crisis, reaction, retaliation, repeat. Rational judgment is rare when we are afraid. It is evident that a new approach and response is needed. However, it is doubtful in the current climate that any politician or government knows what this should be. The very essence of terror is fear amongst individuals, which is what extremists wish to instill in the western world. As we search for a resolution to end extremism, the simplest victory can be optimism. Defeat in a western society like ours starts with the individual, and therefore the simplest reaction to global turmoil is to raise our heads and persist, strive for resolution and ultimately do not let terror into our lives. While it is easier said than done, victory starts with the simplest of behaviour.
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To Immortality and Beyond… BY OLIVER MORRISSEY However close to death one feels, staggering out of the SU at 3am on a Saturday morning after downing a bottle and a half of questionably legal vodka, us students often feel nothing less than invincible. For eighteen long years we have been gratefully mollycoddled by our lovely parents, only to be flung into substandard university accommodation, ready to begin our desperate plight for survival. Just 400 years ago, at a time when blood was drained to soothe headaches, snails were used to heal wounds and gout was treated with a freshly plucked owl, we could have expected to live for another 15 to 20 years past graduation. However, with mind bogglingly marvelous treatments and new ways of life being thrown at us from every direction, it is not too difficult to envisage a world where we could live to 150 or, dare I say it, forever. On a crisp February morning last year, in the depths of California’s Silicon Valley, hedge fund boss Joon Yun gathered 50 of the healthcare industry’s biggest brains and set out his offer of one million dollars to anyone who could ‘hack the code of life’ and unlock the key to the ‘disease’ that is aging. The question is, why do we age and how can we stop it? The Palo Alto Longevity Prize will be awarded to the group which comes up with the answer - whether it’s DNA damage killing us, free radical oxidation or even (according to the Daily Mail at least) the sultry bacon sandwich and its lethal processed meat. Let’s make no bones about it, this is no garden shed project. In late 2013, Google announced the creation of the Californian Life Company (Calico) with a mission to strip back the inner workings of the human body with emerging technologies and get to the root of why we become old and wrinkly as the years pass by. The goal is to devise a nifty, big-bucks, Google-esque solution to help us all live longer. $700 million has already been invested into Calico, with double the amount being pumped into the project in the next few years. Are a few billion dollars all it takes to see us all through to the 178th series of The Apprentice? The truth is that it often takes billions of dollars and around a decade of rigorous testing to manufacture just
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one pharmaceutical drug. Even then, some studies have shown that there might simply be a limit on just how old we can become. On the ends of our DNA are small, non-coding segments called telomeres that get shorter and shorter with every cell division. Once these telomeres are depleted, the cell reaches what is called the ‘Hayflick Limit’ and it will ultimately die. Paypal founder Peter Thiel, recently commented on man’s approach to his eventual demise saying, stating that, ‘You can accept it, you can deny it, or you can fight it.’ This may be true, but despite all our efforts, it seems this intrinsic biological mechanism may be holding us back at every hurdle and preventing us from trundling on much further than Her Majesty’s coveted 100year telegram. There are an estimated 14,000 centenarians across the UK; a question that probably strikes most of our minds is: “What is their secret?” Given that my very own grandmother has managed to reach the grand old age of 80 whilst getting by on a packet of Marlboro Lights for breakfast, lunch and dinner, there must be something going on. Perhaps we should ask the ‘immortal’ Turritopsis Nutricula jellyfish, a species that is found in the seas of Japan and neatly reverts back to its polyp state after reaching sexual maturity – and then repeats that process indefinitely. Unfortunately, the NHS has not quite mastered any Benjamin Button style miracles nor has it mastered jellyfish magic. However, exciting things are happening in 21st century medicine. As old codgers contend with Apple’s latest creations,
more of us than ever before are in touch with new technologies. While digital healthcare is still in its infancy, it is already showing promise in fighting the most common, yet deadly, diseases. Glucose-monitoring contact lenses along with a recent flood of blood pressure, epilepsy and Parkinson’s–detecting apps are almost certainly saving lives, despite being held up by the cash-strapped and somewhat archaic NHS. However, there’s more to living longer than a 79p smart phone app. Firms like Calico are developing radical and often whacky new treatments, one of which is an experiment wherein teenagers’ blood is injected into Alzheimer’s patients in the hope that it contains some miracle antibody that stops the ravages of time. On a slightly more relatable level, there is premise that a molecule found in red wine, resveratrol, has been found to reduce the risk of heart disease. In other words, you could technically be extending your life by ordering a bottle or two of magical Merlot over your next dinner (let us not spoil everything and talk about the alcohol content though). As innovators desperately seek the holy grail of senescence reversal and perhaps the holy grail of life itself, the stark reality is that the first person to live to 150 is likely to be one very lonely antiquity. Despite the allure of witnessing the youth of your great-great-great grandchildren, unless you’re willing to endure a lifetime of kale, yoga and a cache of pills that would make even Pablo Escobar dribble, perhaps we should stick to Lambrini and bacon and their glorious consequences. After all, do we really want to live forever?
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Christmas is nearly upon us. With the advent of rainy holidays, unhealthy food and unwelcome family members, some of us may decide to escape our cold island and spend it somewhere warmer. Holidays in sunny resorts are popular this time of year. Moreover, with smart phone that can store everything from e-tickets to holiday photos, travel is becoming increasingly efficient. In the heat of the moment, it is easy to forget about the importance of your digital security. Tactlessly posting on social or losing your beloved technological device could royally spoil any break in paradise. Social media are a great platform to keep in touch with family and friends, but over-sharing information or being careless with what you post has many risks. There are a lot of automated scripts running on the Internet – they look for keywords that are posted to social media. This means that updating your every move can increase the chance of your home being burgled or you being targeted while on holiday. Some insurers are now rejecting insurance claims if people are burgled because they announced their travel plans on social media or publicly provided dates for when they will be away. Similar cases have already occurred for people who allow their phone or tablet to automatically update their location on social media pages, thereby revealing where they are at any given moment. There are already a number of known cases concerning the use of such automated scripts by the US Department of Homeland Security, who in 2012 detained two British tourists for twelve hours and interrogated them for five of those. The trigger for their detention? One of them jokingly tweeted ‘I’m going to destroy America and dig up Marilyn Monroe’ a few days before they would
The Dangers of Sunny Selfies BY VIKRAMJEET SOKHI
fly to the United States. So, in addition to reminding you to pack your toiletries, as a postgraduate information security student and social media security advisor, I suggest you consider the following. - Be responsible about what you are posting on social media before and during your trip. Moreover, if your posts are set to public, be aware of the fact that any government party could be checking your content. - If you are traveling in a party, you should realise that what your fellow travelers post can affect you too. Many border forces rigorously check social media content and you may be considered suspicious or at least worthy of their interest by association with somebody else alone. - Consider disabling geotagging or block specific social media apps from using geolocation services. - While abroad, if you decide to connect to a free and open WiFi hotspot, avoid opening banking apps purchases in general. This simple measure alone greatly reduces the risk of identity theft. - If you have connected to any free WiFi, make sure you configure your device to “forget the network” when you leave. This is especially important if you own an Apple device, as it is very difficult to do once you are no longer connected to or in the proximity of the WiFi network. If you do not do this then your device will constantly beacon out, looking for the network you previously connected to. This can drain your battery, but, more importantly, it can allow someone to establish your locations.
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Measure for Measure at The Globe They say tion is key to the play’s appeal, the t h i n g s comedy is at times forced. Dean Nocome in lan is suitably physical as Elbow and threes, and Measure for Measure has mostly amusing but his heavily modbeen one of the Bard’s most performed ern mannerisms detract from the othplays of 2015, with a Russian language erwise traditional production. Petra Massey’s Mistress Overdone production at the Barbican and a refreshed adaptation currently on at the is delightfully vulgar, literally ‘overYoung Vic featuring acclaimed actress done’ in her portrayal as the bawdy and boisterous brothel owner and Romola Garai as Isabella. In his final summer season at the Brendan O'Hea provides further comGlobe, Dominic Dromgoole provides ic edge with his camp portrayal of the an unutterably traditional take on scheming Lucio, whose posturing alShakespeare’s problem play, demon- most lands him in panto territory. Among this carefree comedy howstrating the complex reality of the huever, Dromgoole accents the more seman condition. Set in a vice-ridden Vienna, the play rious aspects of the play with a punch. follows the rule of puritanical deputy Gale’s severe Isabella distracts attenAngelo (Kurt Egyiawan) as he begins tion from the outset, with the play takridding the city of brothels and unlaw- ing on a radical change of pace as she ful sexual activity in the place of Duke begs Angelo to save her brother from Vincentio (Dominic Rowan) who has execution. Indeed, Angelo’s violent attraction recently fled. Angelo’s moral mission is driven by the exploits of Claudio (Joel to the pious nun is revealed painfulMacCormack), arrested for unlawful ly at the close of act II, as he demands activity with his fiancée, Juliet, (Naana Isabella’s virginity in return for Claudio’s life, throwing her to the floor in a Agyei-Ampadu) before marriage. Although clear from the beginning shocking moment of aggression. Isabella’s following soliloquy cannot that this act was consensual, Claudio is sentenced to death in order to serve as fail to ignite sympathy as she cannot an example to the other Viennese citi- bring herself down to such ‘abhorred zens. Angelo’s strict leadership howev- pollution’ and Gale solidifies her staer wavers after the arrival of Claudio’s tus as one of the best young Shakechaste sister, Isabella, (Mariah Gale) speareans of our time. Ultimately Measure for Measure whom Angelo begins to form an illegal attraction to and the moral sanctity of is a study on society’s discrepancy and Dromgoole’s direction showcases Vienna is once again in the balance. The majestic grandeur of the Globe is Shakespeare’s eloquent and insightful verse at its finest. used to full affect in reflecting the elevated moral code of Angelo’s control, while the obscenities of the whorehouses are played out among the groundlings at the very opening of the play, with drunks sprawled over the stage and a chaotic fusion of human voices and traditional Elizabethan music from the balconies. While displaying the variety of human experience and emo- Photo provided by thestage.co.uk BY LAURA BURNETT ARTS EDITOR
Review
A View from the Bridge BY LAURA BURNETT ARTS EDITOR Following a highly successful run at Wyndham’s Theatre earlier this year, Arthur Miller’s infamous tragedy attacking the façade of the American dream came to Royal Holloway this month with Drama Society’s latest offering. In Brooklyn, longshoreman Eddie Carbone welcomes his Sicilian cousins to America: the land of hope and freedom where he lives with his wife and niece. But when one of them falls for his niece Catherine, they discover that freedom must come at a price as Eddie’s unreasonable mistrust exposes an impossible jealousy that violently flares up into confrontation that threatens to tear the family apart. From the opening moments it was evident that this production would capture the intensity manifested in Miller’s writing, an element key to the production directed by Alec Clements. Before the play begins we see Eddie deliberating with Mike and Louis, immediately establishing an atmosphere of urgency. Colin Holland was appropriately domineering as Eddie, giving one of the most intense and captivating performances seen on campus this term and his relationship with Kieran Salmon’s omniscient narrator Alfieri was believable from the outset. Salmon demonstrated skill in presenting the unbiased ‘view from the bridge’ Alfieri endorses throughout the play: an Italian-American with roots on both sides who, like the audience, watches the action appalled. Clarity of speech was hindered at times by the thrust staging which, despite allowing the audience closer into the action, meant that the actors struggled to know which part of the audience they should be facing at once and so a loss of tension ensued. The accents however were mainly good and Charlotte-May Messer and Orla O’Sullivan were both convincing as Eddie’s desperately devoted wife Beatrice and their bafflingly naïve niece Catherine who becomes increasingly aware of her uncle’s hold over her blossoming sexuality. There was not an empty VK bottle in sight as the SU formed the set for the 1950s-set piece, with Stage Manager Alice Findlay opting for minimalist props that did not divert focus from Miller’s script. As the play reached its inevitable deadly climax, a throbbing red light pulsated over the stage mirroring Eddie’s slowing heartbeat as his tragic betrayal finally caught up with him. Ultimately, A View from the Bridge is a tale of unraveling identity and anxiety which was poignantly performed by the cast and crew.
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Playing with the Devil BY ALEX SANTEMA FEATURES EDITOR A square stage, six strong actors, a refreshing range of experimental lighting and a garment or two drenched in blood. It is all The Cockpit’s latest play Faustaff, Or the Mockery of the Soul has to offer – and it is all it needs. The venue, one of London’s most notorious fringe theatres, promises both alternative and experimental quality content. The play, in turn, delivers. The plot is a flavoursome mixture of Goethe’s play Faust and Shakespeare’s character Falstaff from Henry IV and The Merry Wives of Windsor. The latter element manifests itself in a streak of comic relief that offsets the more serious tone of the story inspired by the former source. Goethe’s masterpiece details the life of Faust, a man who makes a pact with the devil. While alive, the devil will serve him in every possible way. After his death, in turn, Faust will forever serve the devil. Faustaff is not an adaptation of either of these tales. Instead, it takes certain elements, blends them up, modernises them and runs an electrifying current through the final product by employing a haunting, unsettling structure. The mixture of concepts in a single play can be attributed to the cultural exchange at the heart of the production. In an attempt to strengthen the bond be-
tween Mexico and the United Kingdom, director Frank Kaye was flown to Mexico to produce the play there, while Mexican director Diego Sossa took charge of the London production. The Latin American influence is recognisable through the theme of magic realism. In fact, it is novels from this specific movement that protagonist Gily Jacoby (Lesley Lightfoot), a successful author, claims to have read. In the play, she denies a close relationship between magic realism and her own novels, but the events that occur tell a different story. She claims to have made a pact with the devil himself (Eddie Chamberlin), in this interpretation a topless male youth who elegantly lounges and stretches across every scene of the play. The deal is simple, the outcome is anything but. The play follows an erratic structure that starts at the end, ends at the start and alternates smoothly yet unnervingly between reality and dream, fact and fiction. In this complexity, it becomes clear that writer Gily can see dark futures with the help of her ever-present devil. Her friend Olivier Simone (Jonson Wilkinson) takes on the role of destructive Ponton in her acted out delusions, while her maid María (Alessia Gotti) starts featuring in an increasing number of different roles.
Slowly, the boundaries between what is real and the alleged product of Gily’s plagued mind deteriorate. It becomes apparent that the famous writer suffers from a mental illness on at least some level, leaving the field open for speculations regarding the exact demons that haunt her. Two detectives, paternal figure Paterson (Bernard O’Sullivan) and not-quite-there Virgil (Charles Timson), are thrown into the mix to provide some much needed structure. Annoyingly, the latter’s silly quirks are somewhat unnecessary and add little to the plot. The highlight of the play comes at the moment where insanity tightens its grip on the story, while violence and death lie knowingly just around the corner. Gilly and Olivier (or is it Ponton? Or still imaginary character Andrew?) engage in a pas de deux of acting, walking in and out of four lights that brightly shine from every corner of the theatre, illuminating narrow streaks across the stage, clouding the rest in darkness. The devil looks on, while characters switch in and out of their respective roles, driving Gily to desperation. If it was possible to visually depict madness, this is what it would look like. 8/10 stars At the Cockpit Theatre, London, until 6 December. Tickets: £14.
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Student Workshop’s Vernon God Little BY LAURA BURNETT ARTS EDITOR Considering the Columbine High School massacre in Colorado of the 1990s and the recent events in Paris, Tanya Ronder’s 2007 adaptation of D.B.C Pierre’s award-winning black comedy seems especially poignant. The Colorado massacre sparked debate over gun control laws in the United States, particularly the accessibility of firearms for youths in a high school environment of cliques, subcultures and bullying. With this serious subject matter in mind, the Student Workshop’s production of Vernon God Little perfectly demonstrates the exploitative quality of human nature, highlighting the wit and clever symbolism of Ronder’s past-faced script. The story revolves around the victimised Vernon: a teenager wrongly accused of being accessory to a schoolroom murder in the fictional town of Martirio in Texas. The grotesque nature of modern-day media culture is on full display as Vernon’s neighbourhood all try to capitalise on his supposed guilt, staging a hoedown in honour of the dead. Vernon has a particular tormentor in the figure of corrupt TV repair man, Lally, who poses as an on-thespot reporter documenting Vernon’s movements at every turn, framing him for further crimes. Vernon’s ‘serial killer’ status is imprinted on him and as he winds up on death row after trying to escape to Mexico, the cruelty of reality TV is thrust upon him as viewers are invited to vote on which of the several murderers should be executed. Performed in the Drama department’s intimate Caryl Churchill Theatre, the cast used every inch of the spacious stage area with the comical set and prop design by Stage Manag-
er Tammi Humphyres which included a shopping trolley-come-police van, complete with blue flashing light and a sandwich bag of ‘poo poos’ that helped save Vernon from his fate. The light and sound design by Drew Tucker and Kate Green respectively helped emphasise the dynamic nature of the play: a simple hazy red light to reflect both the vibrancy of Mexico and also Vernon’s growing realisation that the law will catch up with him. Music was interspersed throughout, with acoustic performances from the cast including Pepe Reyes Conseco as Jesus, adding to his hauntingly silent and passive presence in his scenes watching over Vernon. Under the direction of Dan Jones, the performance of the 11-strong ensemble cast was impressive and totally believable throughout, with characterisation pitched at faultless levels by every actor. Alex White excelled as Vernon Little, identifying entirely with the frustrated yet intelligent victim of an unjust society where you are guilty till proven innocent. Matty Green’s Lally was suitably charming and sleazy, manipulating the public and Vernon’s mother, played by Clare Mills, into believing his claim as Vernon’s protector. Commendations must go to the ensemble actors, particularly the performance of Michael Greenwood as the inappropriate psychiatrist Dr Goosens, whose skin-crawling mannerisms induced both humour and horror. While the speed of the play meant that costume changes between scenes were not entirely successful – the odd sock remained on at times – the play was highly professional, well-rehearsed and a showcase in the talent the Student Workshop has to offer.
Photo provided by Courtenay Johnson
By Malika Favre, one the featured artists at the fair. Photo provided by www.thelondonillustrationfair.co.uk
The London Illustration Fair
BY LAURA BURNETT ARTS EDITOR
The London Illustration Fair marks its third anniversary this year relocating to the Bargehouse on the South Bank this December. The fair will showcase the work of 50 young, emerging illustrators, selected by an esteemed judging panel made up of some of the UK’s leading figures in the illustration and graphic arts. The exhibition will also feature pop-up shops displaying the freshest products from a handpicked selection of creative agencies including Outline Editions and Art on a Postcard. There will also be a three-dimensional installation by graffiti legend Thierry Noir, the first artist to paint the Berlin Wall and a packed programme of artist-led talks and workshops, live DJs and a fully stocked winter-warming bar. Whether you fancy yourself as an art connoisseur or just a curious Christmas shopper, the fair’s relaxed ethos means that there is something for everyone from original pieces to small stocking fillers. The fair runs for a limited time from 4th-6th December and tickets are available online at £5 from the London Illustration Fair website.
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Medea at the Almeida Theatre BY PAULA ROBINSON
O
rdinarily the ‘mighty curse’ of Greek tragedy leads to murders, rapes, and more specifically, gore. Yet this is far from the case in the Almedia’s final Greek tragedy of the season: Rachael Cusk’s new adaptation of Euripides’ Medea. Whilst Greek plots are often unbelievable and thus emerge as irrational in the modern world, adaptations that internalise the traumas of Greek tragedy through present day issues are nonetheless must see pieces of theatre. In Cusk’s Medea, the action has been transported from ancient Corinth to a chic Islington flat where the ‘new’ Medea (Kate Fleetwood) is a writer attempting to use her pen rather than her sword to take revenge on her cheating husband. Chariots are substituted for post-natal classes and the children overdose rather than being brutally killed by their mother. Although Fleetwood offers a gripping performance of a woman’s life crumbling after her hellish divorce, the use of interpretive dance by the toga-clad desperate housewives to clear the stage, revealing a gaudy yet insignificant setting sky, revealed that the balance between the original Greek play and modern interpretation to be somewhat askew. Euripides’ original Medea, performed in Greece almost 2,500 years ago, ends tragically with Medea taking the ultimate revenge on her husband, who has publicly cheated on her and subsequently had her banished from ancient Corinth. Her ‘gift’ to Jason’s new wife ends up melting her flesh, yet this act of revenge fails to satisfy Medea who later leaves her husband devastated by the slaughter of their sons. Cusk’s performance, however, omits the new wife entirely and splits the responsibility of the children’s deaths by ending the play with a
final phone call from the odious husband (Justin Salinger) at the hospital, where we learn of the children’s overdose due to their parents’ arguments. Cusk’s witty script is shown at full force through the presence of the Hispanic maid (Michele Austin) whose misandry fuels Medea’s plans for revenge. This is futile however as the women’s murderous plans result in nothing, somewhat disappointing for a bloody and brutal Greek tragedy. Whilst seeing the psychological effect of the divorce is interesting the ending does fall somewhat short. The heart-breaking scenes of divorce from the eyes of the children compensate partially the lack of gore and horror of the new performance, something that Cusk would have struggled to achieve in the intimate space of the Almeida without risking cheesiness. Guillermo Bedward and Louis Sayers, act seamlessly to demonstrate the emotional side of the divorce from a child’s perspective. As Guillermo Bedward utters the piercing ‘I hate you’ after
the realisation that he will no longer be going on the family’s annual ski trip, the stage falls quiet whilst the devastating words sink in. The arguments between Medea and Jason are contrasted with her arguments with her children, with the audience uncomfortably and constantly caught in the
middle. We are expected to hate Jason, to feel sympathy towards this poor wife attempting to translate the horrible situation to her kids, while simultaneously being unable to reconcile Medea as a ‘good’ mother, especially in her final and cowardly decision to flee at the end of the play.
Photo provided by theguardian.com
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Live Review
Foals @ The Hippodrome, Kingston BY CERI-ANN HUGHES
Hot off the release of their latest album ‘What Went Down’ and their title of ‘Best Act in the World Today’ at the Q awards, it’s fair to say that Foals are rocking the music scene right now. As a pretty die-hard fan, I’d found myself questioning how I’d got this far in life without actually seeing them live, which made their gig at the Hippodrome in Kingston so perfect as I could see Foals in a relatively small venue. Foals signified their presence with attitude as they opened with ‘Snake Oil’ – a track which is comparable to early Black Keys with raw edge and roaring vocals. I don’t think I’ve ever seen a crowd go so wild
before as Foals played through ‘Olympic Airways’ and the ever-popular ‘My Number’ to reach the new(ish) ‘Mountain at My Gates’; every word being screamed back to them by the crowd. The (surprisingly) powerful new single ‘Give It All’ played through to an extended version of the mighty ‘Providence’ from Foals’ ‘Holy Fire’ album which allowed front man Yannis Philippakis to play in the crowd and absolutely milk the love that you could feel in the venue. Nothing, however, could top ‘Spanish Sahara’, which, as one of my favourite songs couldn’t have been much more beautiful if they tried, showing a softer side to Foals and Yannis’ gorgeous but haunting vocals. For me, it couldn’t have got any better, but after ‘Red Sox Pugie’ and ‘Late Night,’ Foals pushed the tempo back up with a raucous ‘Inhaler’ before their encore. ‘What Went Down’ was of course part
of the encore, bringing what could be Foals’ newest arena anthem to mix with ‘Two Steps, Twice’, in which Yannis jumped off a balcony and guitarist Jimmy Smith broke the ceiling (as if we didn’t know they were rock and roll enough). ‘Two Steps, Twice’ was played out for a good 7 or 8 minutes to end the gig, but this was mainly because there was an AWOL frontman. One thing I’d say is that I’d like to have seen classic Foals track ‘Cassius’ and new track ‘London Thunder’ (which is one of the most beautiful Foals tracks, second only to ‘Spanish Sahara’) on the set list, but when you put an already incredible set list, crowd surfing and broken ceilings, together there wasn’t time for that! Foals are genuinely the best band I’ve ever seen – the only band to ever beat the Black Keys set I saw back in 2012 – and I can’t wait to see what is next in store for the band – I’m looking at festival bills!
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Sarah Briggs COUNSELING
for adults and teens
07907 361372 sarah@sarahbriggscounselling.co.uk www.sarahbriggscounselling.co.uk
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Reviews Sundara Karma in My Living Room
EL VY Return to the Moon
BY CERI-ANN HUGHES
BY SAM BARKER
Where do I start with this one? I’ve been chatting on about Sundara Karma for ages on Insanity, so was delighted to have them play at my house and share the love in early November. Recently signed to Sony Music, the quartet from Reading are hot off the heels of their UK tour with the release of their new EP, EP II (a really thought-provoking title) which is a really lovely listen and even features the haunting vocals of Marika Hackman. After a couple of hours of setting up and sound-check with a whole van full of stuff, the band were ready to show my friends and fellow residents of Nightingale Shott what their game was. The set kicked off with new track ‘Run Away’ which established the upbeat and fun mood for the rest of the set for the intimate crowd of about 35 people squished into my living room and corridor. Apparently they only played to about six people at the house party they hosted in Reading, so go Egham! Track ‘Freshbloom’ was the first of Sundara Karma’s music to attract my attention back in 2013 with its mellow instrumental and catchy riffs, though the band have livened it up more in the re-master which makes it sound great live. Also in the same neck of the woods is track ‘The Night’, which is the band’s slowest offering and certainly gave us the feels when it was played in the set. The band then turned to newer material such as track ‘Flame’, an arena-ready track which grabbed the attention of big media and radio stations across the country earlier in the year. ‘Vivienne’ is a beautifully melodic track about youth and love (what else are tracks ever about?) which was great to hear in the set as the band’s new music is really demonstrating how they are progressing as artists. I’ve been to a lot of gigs in my time, and this was the strangest, most fun experience by a country mile. Without a doubt, these guys are my number one tip for the big time in the music scene, and they’re already putting out 2016 tour dates. Their passion for their music shows–it’s not half-hearted or boring indie, but music that really flows and means something rather than an empty track that hasn’t been invested in. Sundara Karma’s music creates an atmosphere that pulls you into the music, leaving you hooked after the set. We only wish that the set could’ve been longer. They can play at my house again any time! EP II is now available to download and stream.
When EL VY’s debut album was announced, it wasn’t completely clear what to expect. On the one hand you had Matt Berninger, singer and lyricist for The National who is accused of routinely churning out depressing song after depressing song, and is even nicknamed by the other members of The National ‘the Dark Lord’ and ‘the Naysayer.’ In reality his lyrics are punctuated with humour, but it can be hard to defend someone who pens lyrics such as ‘sorrow found me when I was young/ sorrow waited, sorrow won’ and ‘Everywhere I am is just another thing without you in it.’ Then, on the other hand, you had Brent Knopf of Menomena and Ramona Falls fame, both bands of which experimented heavily with different types of styles in song and song writing. What would happen when the two came together? The answer is this ridiculously catchy and wonderful album. The album itself seems to basically be split up into two sides, with the first half being more upbeat and fun, and the second half more introspective. As an example, the third song on the album, ‘I’m The Man to Be’, has a chorus that goes ‘I’m peaceful ‘cuz my dick’s in sunlight.’ And then the last song, Careless, contains the lyrics ‘I really don't know what to do/I don't know what you want from me.’ The songs never quite reach The National levels of sadness, though, almost always retaining some level of lightness, and never has Matt Berninger’s sense of humour been more easily observed than on this album. His baritone vocals combine effortlessly with Brent’s instrumentals, and it’s refreshing to hear what he sounds like in a different sound scape to the one that fans of The National are used to. Throughout the album there are songs that manage to effortlessly change and evolve over the course of their playing. What this does is ensure that not only is the album extremely satisfying upon the first listen, it’s also rewarding upon each subsequent re-listen. It’s a fantastic album, and currently the only one that I’m really listening to consistently. Just set aside 40 minutes and listen to the whole thing from start to finish. Then do it again and ignore whatever you had planned for afterwards.
That One Deaf Music Critic There’s a Lot of Music In this issue you may, or you may not (depends entirely upon the editors’ decision), find an article about the Top 10 Songs of 2015. These songs were chosen either because they were the best songs of the year, or because they were incredibly important, or because they were incredibly pervasive. Were the list longer it would have included the likes of ‘Uptown Funk’ and one of a number of songs by Hozier. The point, though, is that to write the article I felt it best to do a bit of research and look up what albums came out this year. Jesus Christ. Now, I was aware that a lot of music is released. There are probably a fair number of albums being released everyday all around the world, professional and amateur. But it’s difficult to grasp just how many there are until you’re scrolling through a list trying to figure out what you’ve actually heard. The number of albums you’ve actually heard is always much smaller than you’d like it to be, even if (perhaps especially if) you write about music somewhat often. But because of the sheer wealth of music I committed myself to the idea of listening to as much of it as possible. And I did. I started off really well. Then I remember that The White Buffalo had released a new album and ended up listening to two songs from that album (“I Got You” and “Last Call To Heaven”) on repeat for an hour. So I might have failed. But I tried new music. Did I find anything amazing that I wanted to search up more of immediately? Sadly, no, but I know that in the past I have. So, what’s my point? There should ideally be a point here right? Well, it’s fairly simple. Listen to music. Listen to more music. Try more music. Be open-minded. Just listen.
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Top Ten Most Indie Christmas Songs BY NATASHA BARRETT MUSIC EDITOR
Every year, from as early as mid-October, we hear the same standard list of Christmas classics; The Pogues, The Darkness, Elton John and Wham!. Christmas basically provides appreciation for artists that the general public happily forget for the rest of the year. A lot of the bands or musicians that people associate with their Christmas hits actually have a whole range of brilliant songs outside of December that tend to get forgotten about. People will look confused when I mention various names until I begrudgingly explain the seasonal number one that they are best known for. On top of this, by the time you reach the age of roughly eighteen, this adds up to eighteen plus solid months of hearing the same ten or twenty songs which really starts to grate. So this yearly frustration has led me to become the ultimate hipster and put together a list of more obscure Christmas tracks. Some of them may be slightly better known and some might be utterly awful but for anyone looking for something alternative or simply to irritate people at your seasonal events by refusing to play the classic hits, this list may appeal to you.
Zombie Christmas, Emmy The Great & Tim Wheeler (2011)
Christmas Wrapping, The Waitresses (1981) 9
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e Emmy Th re artist I ado Great is an that definitely ith so to begin w a head start. Findack tmas gave this tr ntire Chris the e n a s a h e ‘Jesus ing out sh ks such as c a tr f o e me ll album fu e’ just mad M h ig le ‘S le and . The who e r o Reindeer’ m n e v her e rms appreciate y brilliant both in te rett album is p c themes and quality ristof sarcasti ombie Ch ‘Z t u b , ic s mu be my top mas’ had to pick.
Merry Christmas I Don’t Want to Fight Tonight, The Ramones (1989) 8 Another from ite the fact the 80s–desp era are more my that the 70s ng by so y Christmas n a – e is -w c The si mu be included. to d a h es n o s The Ram way (perhap y n a ic st ta n fa eir Ramones are eople wear th p y n a m so nd this that’s why optimism) a ic st a rc a (S ?) t-shirts down. Of all m e th t le t o n batrack does list, this is pro y m n o s g n the so ven if d listen to, e I’ e n o e th ly b ng about I wasn’t writi it.
Photos provided by www.thevpme.com (Emmy The Great & Tim Wheeler), www.konbini.com (The Ramones), modern-vinyl.com (Jimmy Eat World), jajajamusic.com (The Raveonettes), www.independent.co.uk (Adele), www.rollingstone.com (Amanda Palmer), www.youtube.com (White Buffalo, Walk Off the Earth), pitchfork.com (Sufjan Stevens), www.nbthieves.com (Nothing But Thieves), deadoceans.com (Dead Oceans), www.idigitaltimes.com (Father John Misty), www.idigitaltimes.com (EL VY), www.realtimesmedia.com (Hell You Talmbout), rwdmag.com (Izzy Bizu)
This on e is older tr ack sug an ges me by a friend w ted to I was lo ho hear ok d Christm ing for alterna tive as song s an ously aw esome e d it’s serisp anyone who lov ecially for es outed, pun ky fema datle vocals!
Christmas TV, Slow Club (2009) 7 The first time I listened to this one I did wonder at first whether it would hit the point of tediousness that I mentioned above, however I was pleasantly surprised. I will happily admit that while faster tracks and indie rock are usually my cup of tea, I can cope with slower, more gentle (or cheesy) tracks if they are alternative enough. That is not a conscious decision, just an unfortunately hipster observation that I’ve had to learn to live with. This is definitely a Christmas song that brings out that element of my music taste and serves as a guilty pleasure, but I challenge anyone to seriously hate it. Definitely worth a listen. Very Edward Sharpe and the Magnetic Zeros!
December 2015
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The Christmas Song, The Raveonettes (2004)
I Want an Alien For Christmas, Fountains of Wayne (2004)
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rward Flashing fo rst cene twenty-fi sa again to th st provide o lm a k c a rock tury, this tr e low, indie th n e e tw e low bridge b s and the s my e n o m a R e n tones of Th Emmy The Great. I f o e n and ac ombinatio g ethereal p c t a e r g a is is xin opinion th hes the point of rela c a of the point I find it re id o v a to es sa but manag h is alway ic h w s s e tediousn g! good thin
Santa Claus, Belle & Sebastian (2002) 5
be s to r at a h s Thi scure o o get b t ost o difficult easier m e th st far e mo list, it’s The Son h t t leas on my ions by ou can e of fy ers hold earlier v n, but i worth th w y d ro ays el to fin James B definit are alw ts n r t’s ics o down i Sebastia e a Chri t d av r ei chas . Belle an we can h e winte h hunt stic so if them, t astly v y fanta s song b ould be c a m ths ed. mon improv
Last Christmas, Jimmy Eat World (2001)
Xmas Time Is Here Again My Morning Jacket (2000) 1 in Let’s finish g a th some in 2000 with this g. I think in s s e r p e d totad y introduc m p u s e ti y last track st one of m a le t a t a e th ongs ry promis hristmas s e C e v ti a n r e you’r chosen alt ful. But if w a ly e u g ng a will be v ember hati c e D d n e p s a stiff looking to st nursing il h w s a for Christm is the song is th , k in r d you.
‘He can live in the bathtub’ is perhaps the best line of this song and one you wouldn’t expect from a Christmas song. It might be no ‘Stacy’s Mom’ but it’s damn good, especially if you’re looking for something a little off the beaten track to brighten your December. Classic Fountains of Wayne: top quality lyrics and a beat that makes you tap your feet whether you like it or not.
3 I’m cheating a little bit here by picking not only a cover of one of the Christmas hits, but possibly the most hated of all of them! However, Jimmy Eat World are one of my favourite bands and they seriously improve this track simply by speeding it up a little and subtly adding their own style.
Everything’s Gonna Be Cool This Christmas, Eels (2009) 2
Eels are fabulous and this track is fabulous, it’s definitely one of my top picks, made all the bett er by the line ‘bab y Jesus – born to ro ck’ as if it needed improvement. Any one looking for a lit tle bit of rock or indi e to inject into th eir Christmas playlis t should start he re . This band don’t need imaginativ e lyrics to bring so mething appealing and unique to this time of year.
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December 2015
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Top 10 Songs 10.
9.
Hello Adele
Afterglow Chvrches
Come on, you knew this was going to be on here. The only song in recent history to actually claim back a punch-line from Lionel Richie and make me second guess what pun to go for when someone greets me.
If only the rest of the album could have been as good as this, the easy standout from CHVRCHES’ 2015 album ‘Every Open Eye.’
8.
Bigger On the Inside Amanda Palmer Written whilst trying to cope with her friend’s cancer battle, the song is simultaneously heart-breaking and life-affirming. A paean to the fact that life carries on no matter how shit it gets, and one should carry on with it.
7. I Got You The White Buffalo The gruff guy who sing songs for ‘Sons of Anarchy’ and is a solid contender for successor to Johnny Cash brings us a gorgeous love song that manages to start with “It ain't about your bitching or your devil's tongue.”
6. Fourth of July Sufjan Stevens It’s all but impossible to pick a song from Sufjans’ fantastic seventh album, ‘Carrie and Lowell’, but this’ll do. Definitely check out the album.
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of 2015
5.
4.
Trip Switch Nothing But Thieves
Dark Bird Is Home The Tallest Man On Earth
I wanted to showcase If I Get High, showing the amazing vocal prowess of lead singer Conor Mason, but this does the job while also showing how they can rock. It’s also a massive ear-worm, constantly getting stuck in my head.
At the very least listen to it so you can hear how he delivers the final line “But now I need to go/ oh, fuck.”
3.
I Love You, Honeybear Father John Misty A love song sung by the reincarnation of Jim Morrison, delivered with lyrics such as “Good luck fingering oblivion,” and “getting high on the mattress/while the global market crashes.”
BY SAM BARKER
2.
1.
Return to the Moon Hell You Talmbout (Political Song for (Say Their Names) Didi Bloome to Sing, Wondaland Records with Crescendo) Feat. Janelle Monáe, EL VY Deep Cotton, St. Beauty, Jidenna, Roman GiRidiculously catchy, and fun as fuck, Matt anArthur, and George Berninger’s baritone 2.0 vocals work surprisingly well over Brent Knopf ’s bouncy, constantly evolving instrumentals.
Possibly the most important song of all of 2015. A response to the racism in America, the verses are just the names of black Americans killed by police officers and vigilantes punctuated by chants of “say his name” or “say her name”
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Interview with Walk Off the Earth BY MICHELLE ARCHER Since their viral video of five people covering Gotye’s ‘Somebody that I Used to Know’ on just one guitar back in January 2012, Walk Off the Earth have continued to flourish and gain millions of fans all over the globe. They’re currently on their huge European Tour, and multi-instrumentalist and all around cool dude Gianni from the band even let me interview him.
How did you guys first meet? We're all from the same small town Burlington in Ontario Canada. We all played in different bands in the local music scene. We all had this common vision of starting a band with no artistic rules so we could all have changing roles when it comes to who plays what instrument. So we all put our other projects on hold to join forces!
Who are your biggest musical influences?
taken a shine to music already like his parents?
We love them all and our favourites switch with time. Right now we are all loving ‘Heart Is a Weapon.’
Giorgio is obsessed with music and playing drums and ukulele. He really loves WOTE and his favourite songs are ‘I'll Be Waiting’ and ‘Rule the World.’ He gets to watch our show every night!
How cool does it feel to see other artists on YouTube covering your songs?
When it comes to writing your own It's crazy! We really love seeing that. songs, are there definite roles when it What’s the best audience reaction/atcomes to the music and the lyrics? mosphere you’ve had whilst on tour?
The principle writers are Sarah, Marshall and Gianni. We will all have little ideas and demos that we bring to the table and we will usually finish the song together. Sometimes we will just get in a room together and write something from scratch, this was the case for the song ‘Boomerang.’
All genres of music influence the production of WOTE songs. We all have some favourite artists that we listened to growing up but we don't let them strongly influence this band.
How many takes on average does it take to get a single take of your covers, namely for example your cover of ‘Royals’ or your original song ‘Red Hands’? Anywhere from 10-30 takes. This will usually take 10-15 hours on the day and about 5-10 days of pre-production. ‘Royals’ was about 25 takes to get the final one.
What’s your favourite song on your new Has Giorgio (Gianni and Sarah’s son) album ‘Sing it All Away’?
We played a show in Tokyo Japan for seven thousand people, and every person was jumping to our songs in perfect timing. A lot of the people were singing the lyrics to our original songs. That was a mind blowing moment. That being said, every show that we play has some sort of special vibe to it and after every show it always feels like it was the best one ever.
Any clues about what your next cover song might be? We have a few songs in the works right now but we usually keep that stuff under wraps. You will have to Subscribe to our YouTube channel (www.youtube.com/walkofftheearth or our Facebook page (www.facebook.com/walkofftheearth) to find out!! It’s clear that no matter how famous these guys get, they continue to stay to grounded and awesome to their fans! Go check out their new album ‘Sing It All Away’ or even just remind yourself of where it all started.
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December 2015
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Interview with Enter Shikari BY JESS TEMPLE In the light of their new remix album of their 2014 album ‘The Mindsweep’, released with Hospitalized Records, Enter Shikari have their first headline arena tour of the UK in February next year. An amalgamation of various musical influences, the electronic dance post-hard-core punk four-piece band is renowned for their chaotic live performance and a strong, diverse fan base. They are also a very socially and environmentally aware with their lyrics and spare time being used to criticise the current political structure and lack of action taken against climate change, reacting to the privatisation of healthcare in ‘Anaesthetist’, and preaching the power music and people have to invoke change.
bands are having to split up or resort to using crowd sourcing for funding, but then there are some rock albums making it to the charts. Would you say there has perhaps been a resurge of sorts? I dunno…there’s been various sort of reactionary journalism…there’s always that question of ‘is rock dead?’ And every year there’s some old bastard saying ‘it isn’t like it was in my day.’ I mean I think Radio 1 has really helped recently, especially with their rock show on Sunday which is very accessible and a good time… yeah, it’s encouraging.
What would you say it is that keeps you going? Do you prefer the creative process, performing or having a platform to speak your mind? Well yeah all three of those things really. To be honest I enjoy being the introverted artist hermit [laughs]. The creative process. I mean sometimes when you’re on a long tour, say two months in America it can get really tough touring in essentially a van–it’s nice to just get away from everyone into your own zone and do some song writing.
So you just released your Hospitalised What song would you say you are most remix album - how is that going? So what’s grinding your gears in social proud of? ‘Dear Future Historians’…the sentiment bemedia or politics right now? Yeah, yeah, really good. A year ago it was just a pipe dream really. Great to work with legends such as S.P.Y. and Danny Byrd – drum and bass musicians who we listened to, just a dream really.
You seem pretty busy right now with signings and DJ sets, had a lot on lately, and more coming up? Yeah, we kicked off in Kingston and Oxford Street, which was really cool because it wasn’t just our hard-core fans, but fans of drum and bass too. It’s quite quiet at the moment actually. Rory our bassist is having a baby so it’s just the background stuff we’re doing at the moment really. Programming and lighting for February (tour next year), being the perfectionists we are. I’ve been writing some music (outside of Enter Shikari).
How are you finding it – I mean a lot of
[Sighs] Well to be honest I’ve enjoyed just keeping to myself really and not being the angry person I can be about this stuff you know (laughs). But uh the Climate Summit is coming in Paris soon. It’s Paris isn’t it? Usually I would be hopeful of that. About climate change really being talked about and in the news at the forefront of things, but these things sort of just come and go really. They’ll talk about it, but nothing is really ever done.
Would you say there is anything in film that’s got the same interest you do in your work right now? Yeah, that’s a difficult one. If you mentioned stuff to me I’d probably have a view on it but I can’t think of anything really…I just recently re-watching Star Wars with my partner and mindfulness meditation–I don’t know if you’ve heard of that – but I’ve been doing some of that and it’s good and kind of very in keeping with the Jedi way. Sorry that’s just my geekiness [laughs].
hind the song. It’s very personal – I mean all our stuff is, but this in particular. I don’t play piano all that much so it was good to get that one in. It was all recorded in one take, too! Took quite a bit of time and few glasses of wine but we got there.
Has the support for your February tour been announced yet and as a band do you get much say in who you tour with? Just the main support has been announced so far: The Wonder Years. Still getting sorted, the other will be announced later. For our band, personally we do really sort that stuff out being the control freaks and perfectionists we are [laughs].
So would it be a couple of years for the new album? Yeah, it’s weird thinking so far in the future, but I guess it would be 2017.
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Interview with Izzy Bizu BY FRANCESCA MUDANNAYAKE
Out of the musicians, past or present, The ‘Coolbeanz’ EP was fantastic but who’s really inspired you? your new singles, especially ‘Diamond,’ Well Amy for sure, Billy Holiday, The Black seem to show a grittier side to you – Keys, Antlers, Marvin Gaye and the list goes on. They all have this element of melancholy in their lyrically and musically. Can we expect music and it's very grounding, and I admire the fact that they risk their raw souls. more of this in the months to come? Thank you. Yes I guess so, yet there is still What’s your creative process like – do an element of innocence throughout the album. the lyrics or the music come first? Your first EP is called ‘Coolbeanz’ so A bit of both, sometimes I'll be in with a pro- Lastly, bit of a fun question, what do and they jam with a guitar and I'll improcan you tell us why you decided on this ducer vise over and over until the song is there. Some- you think of Kanye running for POTUS times I write lyrics on the train as it’s a place title? in 2020? where I can just zone out. 2016 looks to be a big year for newcomer Izzy Bizu who is revitalising the jazz/soul genre with her smoky vocals and catchy songs. As a South Londoner of Ethiopian decent, the singer was discovered at an open-mic competition and in 2013 released the laid back, chill, EP ‘Coolbeanz’. Since then she’s played sets at Glastonbury and Latitude and supported the likes of Sam Smith, Jamie Cullum and Foxes. Recently, she’s released singles such as ‘Adam & Eve’ and ‘Diamond’ from her upcoming debut album ‘A Moment of Madness,’ so The Founder decided to catch up with Izzy for an interview.
It's just something I used to say a lot at the time, and since the EP was chilled back and summery I thought it would fit!
Any dream collaborators?
was the job I wanted to do I wasn't sure, but I grew more and more passionate about it as I got older and felt the need to write and sing about what was going on.
For sure, but it's good sometimes. I'm still learning how to handle it. Sometimes I'm more at ease and sometimes I get worked up [laughs].
Well, Mark Ronson, Honne, and Bruno Mars.
How would you describe your music to You’ve had the opportunity to play at Glastonbury and Latitude over the someone? My music? Well I'm inspired by indie, soul summer so what was that like? Any tips and jazz so I guess it's a mix of all but leaning for future festival goers? more towards soul! Yeah, they were super awesome! I really enjoy Was there a turning point when you camping, man! I don’t know I guess baby wipes, a hairbrush, and a Shewee–sometimes those were younger that made you go ‘Yeah toilets get out of hand! this (music) is what I want to do for a Do you ever get nervous before going long time’? onstage? I've always loved writing. Whether or not it
I think music is his forte [laughs].
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That’s a Wrap! Christmas Movies Galore BY CLARE MACK It is happening; the adverts are on the telly, the jingles in the shops, and Christmas is dancing its way through the drizzling autumn to add a light flutter of excitement to a campus crippled by the pressures of deadlines! Oh work, let us kick that aside like the leaves and beer cans littering the unkempt garden paths of our dingy student flats and think about which films we’re going to settle down to watch once we’re inside. Of course there are the classics such as A Christmas Carol, It’s a Wonderful Life and Miracle on 34th Street, which thrust the Christmas message of family, love and appreciation so far down our throats that we’re practically pooping baubles. Then there are the must-sees, the films you watch every year regardless of the tasks that require immediate attention. As soon as it’s December, and although you hate to fulfil a stereotype, you cannot deny the thrill that it’s finally socially acceptable to marathon Love Actually and The Holiday, and then imagine your own adorably awkward encounter with Hugh Grant or Jude Law as you plod along back to the library the next morning. For the children within us Home Alone, Elf and The Grinch are essential. For some reason we all seem to love the idea of someone slightly loopy turning up at the house and causing havoc. Yet when Uncle Al has had one too many Sherries and catches his tinsel scarf in the flaming Christmas pudding, we won’t get a good laugh out of it for at least another year, and it seems Grandma will never forgive him for those scorch marks in her table. Alas, Christmas 2015 is here and with it, new films. Within the necessary flurry of festive treats that will inevitably be forgotten by the New Year comes the admittedly relevant, but frustratingly boring title Christmas Eve. The only fresh spin this film appears to put on the formulaic overdose of cheese, romance, heartbreak and the overcoming of greed, is the fact it is set in a series of elevators halted by a citywide power cut. Seriously, Christmas Eve? Surely there are plenty of better titles involving the wordplay between ‘lift’ and ‘gift’, but it seems wit and subtlety will not sell as many tickets as “Look
Have you made your list? Have you checked it twice? If not, do not fret, here is some advice.
it’s Christmas, this film IS Christmas!” Having said that, who isn’t excited to see Patrick Stewart as some twisted hybrid of Scrooge and Lord Sugar, trapped in a service lift, and forced to rethink his life choices? In other scenarios, an ex-employee is trapped with the boss that fired him minutes before, a group of musicians find solace in playing together, and a Doctor does all he can for his terminally ill patient, who no doubt gives him a profound new outlook on existence. Then of course there is a cute meet between a couple of strangers. This is the film you will claim you were dragged along to by your excitable and less pretentious friends, but by
the end you’ll be glad to be in a dark room when the tears start rolling and you desperately try to hide the emotional wreck you have become. As for Love The Coopers, due to the sheer amount of characters, I doubt we’ll have the exposure necessary to really care about any of them, but it’s splattered with household names and June Squibb shares a spoon with her dog, so let’s assume it’ll be entertaining at least. Next we have Krampus; a Christmas horror movie that is set up like a family comedy. Regardless of the fact the first half could probably have been slipped into Love The Coopers and nobody would have noticed, Krampus does look suspenseful, thrilling and actually quite frightening. A remarkable achievement if we consider that the villain is a glorified giant goat. For the kids, there’s Alvin and the Chipmunks:
The Road Chip, the fourth in a franchise we all expect to dry up as quickly as Rebecca Black’s music career. However for most kids, and let us not lie here, most adults, there is one film to prioritise this winter. Back for a second and hopefully more impressive reboot under J.J. Abrams, Star Wars: The Force Awakens emerges through a haze of lens flare and consumerism. The film that would be a huge commercial success regardless of the time of its release is coming out at Christmas so it can feast on our season of spending and generosity. Assume a Chewbacca toy atop of every stocking in the Western World, and budge over Avatar, your box office title may finally be claimed. For the cinephiles, or more accurately those students who scoff at the notion of studying film, yet assume they know all about it because they can quote Samuel L Jackson in Pulp Fiction, there is the new release from Quentin Tarantino – The Hateful Eight. The only thing remotely Christmassy is the redness of the undoubtable blood splatters, and the presence of the snow which exhilarates the narrative and forces the interaction between these untrustworthy but exciting characters. With guaranteed beautiful cinematography, witty and engaging writing and performance and seriously high production values, this will be the film you told your friends you went to see…when you were actually sobbing in front of Christmas Eve. Lastly there are a couple of buddy comedies, firstly Sisters starring Amy Poehler and Tina Fey as, you guessed it, sisters, whose parents sell their childhood home and in some whirlwind of a mid-life crisis decide to throw the high school house party they never had. They are better than this but at least it will pass the Bechdel test! And secondly, The Night Before – a Christmas spin on The Hangover with a major wish-fulfilment complex. Seth Rogen’s characters is given drugs for Christmas by his wife and told to enjoy one last night before their baby is born - really?! So here we have it; these are a few of the tasty offerings this Christmas, but since disaster seems to be the major theme this year, maybe we should just curl up and watch Die Hard one more time.
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December 2015
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James Bond’s Spectre: A Legend Disappoints
…And why I should have walked out after 15 minutes.
BY CAROLIN WOLFSDORF After three years of waiting it’s finally here; the new James Bond film Spectre. In this newest instalment, Bond encounters a mysterious organisation called Spectre led by Franz Oberhauser (Christoph Waltz), who is responsible for international terrorist attacks. He attempts to stop them whilst M is trying to save the MI6 007-programme because of an arrogant bureaucrat who wants to swap secret agents for a worldwide surveillance government. All in all, it sounds like a typical, action- packed James Bond plot for me; a villain who tries to take over the world with a political reference to current events. If someone would have pulled me out of the cinema after the first 15 minutes and asked me to criticise the film, I would have praised it without a doubt. The 24th instalment of the franchise opens up with an impressive action filled scene that got me intensely excited for the rest! The tense sequence set in Mexico City during the Day of the Dead festival, is one of the most incredible staged in Bond history because of the several minutes of planned action sequences within a singular uncut tracking shot. The intro, accompanied by Sam Smith’s vocals, shows kaleidoscopic visuals of tentacles, which was just breathtaking (whereas my friends said it reminded them too much of tentacle Hentai porn with cheesy electronic pop music)! This was followed by a scene where Bond finds his way into a secret meeting of Spectre which is underlined by appropriate music and well positioned lighting, setting the film’s mysterious and thrilling atmosphere. It is however a shame that the rest of the film
couldn’t keep up with that as unfortunately the duration feels like an eternity and the ending’s outcome is far too foreseeable. Although the villain is played by an actor who is perfectly suited to play a Bond antagonist (Christoph Waltz), the plot was not as in depth as it could have been because Oberhauser has a personal history with Bond, and this was not brought to our attention as much as it possibly should have been. But even Waltz can’t save Spectre as his character’s world domination motives are not comprehensible, which is probably because he has too little screen time; Oberhauser can’t unfold his personality properly and therefore seems uninteresting and without depth. Furthermore Spectre seems less innovative than the other Bond films with Daniel Craig. His performances were always brilliantly different as they have been more serious, more deadly and they let James Bond be emotionally and physically vulnerable. Craig’s Bond has seemed to fight the traditional elements of the franchise by using less unrealistic sci-fi gadgets and more hands-on violence. And who can forget the scene in Casino Royale when Bond is asked how he wants his Martini and his dry response ‘Do I look like I give a damn’…
HOWEVER in Spectre he goes back to ‘Shaken, not stirred’. It seems like the franchise steps back to the familiar elements, degrading Moneypenny to an assistant again rather than a coequal agent and Q as an awkward nerd with lame comedic lines. Also Judi Dench’s M is missing, always serving as moral authority when Bond needed it. Her replacement, Ralph Fiennes, seems dull and without a real persona. But especially the reintroduction of Spectre, a criminal organisation that has a prominent role in the Bond universe since the first appearance in the first film, could be seen as a wish to return to the successful tradition, but for me hints more towards the fact that the franchise may have run out of ideas. Spectre will probably do well in the box office, simply because of its established name. But by returning to old long ago out-dated traditions, the film doesn’t live up to its legacy and loses its charm after the first 15 minutes. Photos provided by www.thehollywoodnews.com, www.forbes.com, and filmforum.org
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December 2015
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Meet the Captain: BY SAM WILLIAMS SPORT EDITOR
Sam Corke, Women’s Hockey First Team How was last year for your sport at Royal Holloway? With the addition last year of an astro on campus it really enhanced how we played as a club. The men in particular did really well with both teams being promoted. The women also did well maintaining their respective positions in their leagues. There was also a really great feeling within the club and I think socially everyone got on a lot better than in previous years!
What are you aiming for this year? To be up near the top of the league battling out for promotion, and to foster a really friendly atmosphere in the team.
What would you say is the best thing about sport at Royal Holloway?
I really like that all the different sport facilitates are in the same area. On a BUCS Wednesday there is a really great atmosphere down by the sports centre, especially if we are all winning!
What do any new members have to look forward to when they join? The Hockey club has a really friendly atmosphere. We are a really social club, and being one of the largest mixed clubs on campus adds a different dimension to hockey that other clubs lack.
What is the best/ funniest thing that has happened to you while playing at uni? I managed to play a whole game last year with my skort on the wrong way and didn’t even notice until one of the girls pointed it out – I was ridiculed for a while about that one!
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SPORT
FOUNDER Sport
December 2015
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Meet the Captains: BY SAM WILLIAMS SPORT EDITOR
Letizia Monteleone, Women’s Rugby Team How was last year for your sport at Royal Holloway? Last year was amazing! We were undefeated for the whole season and had such an influx of good players; it was a pleasure to play with such a supportive and fantastic team. As well as performance on the pitch, we participated in lots of RAG and Volunteering events and held frequent socials.
What are you aiming for this year? This year, we are aiming to remain in BUCS 1A league and win our Premiership LUSL league. This will be a big challenge for all of the girls, but as a team we are developing at an amazing rate and I look forward to continuing our hard work.
The team spirit. #BEARSDAY brings a certain unity to each sports team, we have also had great support from Cheer in our first home game of the season and look forward to working with and supporting our fellow Bears.
What do any new members have to look forward to when they join? Everything! As a club we aim to participate in a huge variety of events including playing, socials, fundraising, volunteering! We also have a great coach (Mark Barry) who is able to cater for all abilities, so if you’ve never played before come along and try out a training session!
What is the best/ funniest thing that What would you has happened to say is the best you while playing thing about sport at uni? a game, my contact lens fell at Royal Hollo- During out into the mud and I spit rinsed it and put it back in! I had to stop way?
the whole game, it was so embarrassing.
Sam Nichols, Karate How was last year for your sport at Royal Holloway? Last year was great for karate, the members were some of the friendliest people I’ve met in my first year and I felt completely welcome. Training was also great fun with a wide array of belts and skill level. The only issue was that the club never reached its full potential in numbers, but we’re working on that this year.
What are you aiming for this year?
Joining sports societies like karate lets you meet people you wouldn’t have otherwise met and it’s great to expand your network of friends.
What do any new members have to look forward to when they join? New members can look forward to keeping fit, regular socials, and the chance to learn a form of self-defense.
What is the best/ funniest thing that has happened to you while playing at What would you uni? say is the best thing Last year whilst practicing some free about sport at Royal fighting my gi trousers came loose and managed to fall down. Needless to say it brought a sudden end to the Holloway? We already have loads of new members but we want more! Our primary aim is to increase the profile of our club across campus and get people interested in karate.
Getting involved in sport anywhere is a great way to stay active and healthy, but at Royal Holloway I think the best thing is meeting a load of great people with a similar interest to you.
fight with me desperately grabbing at my trousers and everyone else laughing (including my opponent).
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