College Tribune Entertainment Supplement
n e r si
VOLUME 20 - ISSUE 7 - 6TH FEBRUARY 2007
the
alth e H | n io h s Fa | ic s u M | s k o Film | Bo
getting inside inside... mcgrath’s choice head music awards
si schroeder the works of
martin scorsese psapp 1990s
the bizarre life of a legend page 12
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6th February 2007
inside
Music
february 6th
music
"People enjoy rooting for an underdog. I think its odd to be the underdog, and yet also joint favourite with Snow Patrol" Si Schroeder: Page 5
books
It would be easy to assume it as a book about football, but that is not the case here Paul McGrath: Page 12
fashion
She has successfully resisted the preposterous standards imposed on models around the world.
Tyra Banks - Page 9
film
He passionately exhausts both his emotional and physical reserves in order to ensure the absolute realisation of his vision. The genius of Martin Scorsese : Page 11
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That’s so nineteen nineties Susan Cahill speaks to Jackie McKeown from 1990s, a band on the steady axis toward success 1990s (a.k.a Jackie McKeown, Jamie problem is finding the time. “It’s hard McMorrow and Michael McGaughrin) to party properly on tour - you have have been compared to greats such to get up in the morning”, McKeown as The Rolling Stones, The Velvets complains. And with a large-scale and The Fall, and there is little doubt tour of the UK and the Irish date in that success beckons for three piece Whelan’s on February 19th it looks like indie pop/rock group from Glasgow. 1990s will be on the road for some Rough Trade Records eagerly time yet. Their debut single ‘You Made Me snapped up the band after seeing only one single performance. “I guess Like It’ was released last May to great we really are that good” laughs Jackie, success and previous Irish dates have “I heard they wanted to sign us the been sold out. This time round the trio minute we walked on stage”, giving are headed for Whelan’s, something an indication of just how exhilarating Jackie McKeown is looking forward to, “I love Dublin, it somehow reminds me 1990s’ live performances are. Their music is unashamedly dumb of like East Germany or something, its party music, great to lose control to vibrant and pretty - its just very difand just have a good time, “we just ferent. You wake up and its like I’m in Dublin - it’s wanted to definitely like make good fun “I love Dublin, it no other city rock and roll” in the world”. he explains. somehow reminds me Already “It’s not supposed to be of like East Germany or s o m e w h a t deep or mean- something, its vibrant veterans of the music ingful, just and pretty - its just b u s i n e s s , dumb songs, 1990s were and party muvery different. You spawned out sic - simple as wake up and its like of two Scotthat”. tish indie D e s c ri b e d I'm in Dublin it's bands: Voddly as playing music like definitely like no other Twin and The Yummy Fur, a blonde gets city in the world". the latter of out of a car, which includMcKeown muses, “that reference has gotten ed Franz Ferdinand’s singer Alex Kaslightly out of hand, we never actually pranos and drummer Paul Thomson. described ourselves as that - it comes McKeown explains, “This band from a lyric from one of our songs and never really intended to play gigs or some bright spark decided to describe in fact be a proper band, but someus like that. I guess it means some- how we got signed”. This explains the thing like we play with style, panache somewhat strange group name - “we and some clumsiness - which kind of just picked a name that was totally is the way we play”. random and particularly dreadful, and Having already supported the likes unfortunately we got signed before of Franz Ferdinand, Babyshambles, we could change it”. The Strokes and The Long Blondes in Essentially a name means nothing recent months, 1990s aren’t short on according to the front man, “a good finding people to party with; the only band shouldn’t need a good name to
make them, the band should make the name, not the other way around”. Though he is quick to point out there is no “The” and no apostrophe, in the name. “We are constantly called ‘The 1990’s’ which alludes to the fact we own something, and that’s just bad English.” “The music business today is hard”, McKeown explains. And it’s certainly not that easy for three wee guys from Glasgow to make it big, but I guess it’s always been like that. The Internet is fantastic though, it appeals to so many more people and at just the touch of a button; you can have people access your music. Once the word spreads you can build a pretty big fan base”. So does 2007 hold the key to this burgeoning rock outfit? It certainly
looks that way. Following the UK tour, their new single, ‘See You At The Lights’, will be released on March 19th, which in turn is followed by the upcoming debut album launch, which promises to be electric. The Scottish trio are then headed Stateside for a New York date in April. So what’s the plan for 1990s future? In a word, nothing. Jackie explains, “This band has never planned for the future, we have never planned more then a week or two ahead and I guess something has been working, so I guess the plan is not to plan ahead,” he muses. www.myspace.com/ 1990sband
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Music
6th February 2007
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Little songs with noises poking out Rebecca Glynn spoke to the weird and wonderful duo known as Psapp after their recent gig in Whelans “I never really grew out of that phase where your mum lets you bang pots in the kitchen. I just do it professionally now,” confesses Galia Durant of Psapp. But then again, their refreshingly quaint, unorthodox experiments in sound are like nothing you’ve ever experienced before. Carim Clasmann makes up the other half of the duo Psapp, a London-based double act of musical bohemia that liken their sound to “A cat let loose with a sampler and some ill children.” They explain that they enjoy “making little songs with noises poking out”, and that they also have an unnatural love for the feline species. Even the pronunciation of their name is enough to send anyone running. Naturally enough then, their live performance is best described as an onslaught of lunacy. Thankfully, Durant and Clasmann verge on the safe side of charming and wacky eccentrics, instead of veering into out-and-out nutter territory. Lazily branded ‘alternative electronica’ by most, their sound is a lot
more specific and avant-garde. Durant remarks on being labelled as such, “I never really understood the use of the word ‘alternative’, because nobody writes exactly the same music as anybody else, so all music is an alternative of another type really.” Think Ross’ inspired keyboard moment in ‘Friends’, or a mad toddler thrashing out his teething-angst on the kitchen pots and pans - but with talent and a lot more thought - and you’re on the right track.
It seems that the creative process is a purging, therapeutic experience for the pair – Clasmann remarks, “Making music is more of a compul-
sion than anything. I’ve always made music. I just can’t help it. It’s like an addiction. I get really unhappy if we don’t work in the studio for a while.” Durant adds, “Everything is secondary to making music really, but actually writing music that you’re really into, it’s better than being in love.” Durant’s catchy, warm hooks, flirtatious melodies, and soulful ditties are perfectly offset by Clasmann’s amusingly unconventional percussive elements, “farmyard noisemakers, mechanical ashtrays, and squeaky rubber poultry.” The outcome is a cacophony of weird and wonderful sounds, some more unexpected than others. The strange paraphernalia that feature in the evolution of Psapp’s sound include wooden fish, cardboard boxes, clothes pegs, plastic toy guitars, and a mechanical chicken called Brunhilda who comes into her own mid-song when she lays little tin eggs onstage. Yet, the end result is not as cat-atonic as you might expect, and far more organic. Clasmann explains, “We don’t set out with this grand plan to make this constructed experimental record out of a chair and my grandma, because then it just wouldn’t work. It would just sound awful. Who knows, we might have used the wrong-sounding grandma.” Their live sets have to be experienced to be believed, and that’s despite their farmyard animal solos and cat-flinging antics. On the subject of being rumoured to have a penchant for onstage cat flinging, Durant retorts, “Nah, they’re
not live cats, they’re dead. Our budget doesn’t stretch to it. Yet.” Never fear fellow animal aficionados, they’re made from pipe cleaners - but still deserving of a good home – Durant, endearingly playful kook that she is, hand makes them all herself. Her lunatic narratives and generally mad onstage shenanigans keep the Whelan’s crowd entertained between songs. Mid-set, two members of the audience are persuaded to eat a chocolate-covered giant ant, in exchange for a pipe cleaner cat (one of the infamous feline effigies), which has narrowly escaped an ill-fated end. One of the pair’s best known tracks is ‘Tricycle’, a patchwork of trundling, tinny beats, the whirring of machines, bright and playful guitars and Durant’s soft and gently lilting vocals as she quirkily muses her painful parting from her ex-lover. She says of the darker subjects with in her songs that, “Our music is a mixture of humorous disaster and moving moments, and we quite like to combine those things because that’s our view of reality.” The Whelan’s set ends with a cover of the theme-tune from the Disney classic ‘The Aristocats’ – ‘Everybody Wants to be a Cat’ – a soulful, seductive and jazzy number set against shuffling percussive production - line beats and mischievous strings that snowballs into a rumbling, Yiddish showtune as Durant’s throaty tones harness the madness. Clasmann’s frenetic energy and Durant’s hypnotic stage presence is an eclectic yet successful recipe that merges layered melody and chaotic rhythms, encompassing elements of flamenco, jazz, classical and even a sound that verges on the Hare Krishna-esque. Psapp may be crazy but they’re not headed for the padded cell just yet. But it might be wise to check them out before the men in the white coats beat you to it. www.psapp.net. www.myspace.com/psapp
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6th February 2007
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aural examinations
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hats off to the buskers npppp
Disappointing. Very disappointing. It seems that the music industry's propensity for hype has extended to the ‘new Arctic Monkeys' from Dundee. Despite massive airtime for the standout track ‘same jeans', the rest of the album fails to live up to the promise of the single. Despite that song's innovative upbeat lyrics and feel good tempo, the remainder of the album is filled
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with empty melodies and stale riffs. Perhaps the most disappointing facet of the album is the lack of meaningful lyrics, especially given their billing as a Scotland's answer to the Arctic Monkeys. ‘Hats off to Buskers' is not a horrendous effort - it is neatly produced, well-cut and fairly inoffensive, but head down to any Battle of the Bands and you'll see at least two bands doing the same stuff. If you like bland indie with a smattering of rock you may well like this effort. If you like music that switches your brain off and allows minimal engagement, again this may be for you. You'd be hard pressed too find a compelling reason to buy this album. Apparently there's ways of getting music for free off the Internet these days. Probably be your best bet. www.myspace.com/dryburgh
Eoin Mac Aodha
foo fighters
supershinyspeedgraphic nnnnp
skin and bones
nnnpp
Are you one of those people that's going to be feeling down and miserable this Valentines Day? Well Ben Folds has come to your rescue! Once you get lost in this uplifting and witty album, you'll forget about the fact that nobody has bothered to send you a Valentines Day card. Well, for 50 minutes at least. Chances are, all of Ben Folds diehard fans will have heard the majority of this album already, as some tracks have been available already on four separate online-only EP releases. With ‘Supersunnyspeedgraphic', Folds manages to eliminate the extravagant promotional circus accompanying a standard release, and this sense of liberation is very much in evidence throughout the album, particularly in the brilliantly rousing opener, a cover of The Cure's ‘In Between Days'. Other interesting covers on this album include a stab at The Darkness', ‘Get Your Hands Off My Woman', and The Divine Comedy's ‘Song of Love'. In Fact this album is worth purchasing just for the somewhat “different" cover of Dr. Dre's ‘Bitches Ain't Shit'. The album contains tracks that are lyrically well written, as well displaying masterful musical technique. The only thing to criticise about the album is that one or two songs are somewhat similar to each other. If you're down on your luck and just want to relax to laid-back, humorous and inspirational music, stick on ‘Supersunnyspeedgraphic'. www.benfolds.com
Evident from the latter half of ‘In Your Honour’, Foo Fighters’ latest acoustic venture takes a somewhat predictable format, offering alternative versions of some of their best-known tracks whilst relying on the unfamiliar accompaniment of violins, organs and accordions. The opening track is called ‘Razor’ and it’s quiet pensiveness proves particularly successful under this formula; it’s simple, echoed guitar progression displays an originality which illustrates the band’s retained, ever-present versatility. Performances of ‘Times Like These’, ‘My Hero’ and ‘Best of You’ respectively demonstrate how magically some Foo hits can adapt once semi-unplugged and placed in more intimate surroundings. Nevertheless, over the 73 minutes running time, a very small number of overlong, repetitive songs are inevitable (yet fail to diminish the strength of the album as a whole). Die-hard Nirvana fans will undoubtedly welcome a number of Cobain-era reminiscences; namely the guest appearance of Pat Smear (the little-known fourth member of ‘In Utero’ days) and a somewhat lighter rendition of ‘Marigold’ (the only known Nirvana track written and sung by Grohl). However, the album may greatly frustrate fans longing for the next rip-roaring hit like ‘Breakout’ or ‘The One’, viewing it as another sensitive step away from such contagious, reckless anthems. The less pessimistic should enjoy ‘Skin and Bones’, though. Its live communal enthusiasm and strippeddown, honest spirit shows this sensitive side in a charismatically positive light. www.myspace.com/foofighters
Kevin O'Dwyer
Chris Whelan
black strobe a remix collection n
pppp
‘A Remix Selection’ is a collection of remixes from French electro duo Black Strobe featuring mixes of songs by artists such as Bloc Party, Depeche Mode, and Rammstein among others. Steer well clear of this. Though the CD starts off with
css cansei de ser nnnn sexy p
When an album is re-launched in just a matter of months after a comparatively low-key one, it's obvious there's a reason for the shiny billboards and plentiful CSS gigs littering Dublin at the moment. Quite simply, even though this album rides the crest of the new wave electro rock on offer amongst the crowd of New Young Pony Club-esque bands, CSS still manages to stand out for the most part, marrying the sexy lyrics of lead vocalist Lovefoxxx
some nice synths and a decent enough beat, the loops just keep going. Song after song after song, these guys produce the kind of unimaginative, repetitive rubbish that requires the listener to ingest a dose of strong hallucinogens before the can begin to appreciate the monotonous music, made worse by the badly fit vocals droning on like a bad hangover. While the album does seem to have the odd good point, they are scarce and although the album could possibly make a nice backing track for some dodgy art school party, it’s certainly not the kind of thing you would listen to while doing the hoovering or going to sleep. Maybe you are a bedroom DJ, this might be worth a spin on your decks, but out of a scale of one to boring, it might get a sleepy seven. I hear Joe Dolan has a new L.P. out soon. Buy that. Just leave ‘A Remix Selection’ on the shelf for your sanity’s sake. If this is all Black Strobe can come up with, don’t worry, you’re not going to hear much more from them. http://www.myspace.com/blackstrobe
Daniel O' Neill
to the dirty synth and slick production of drummer Adriano Cintra. The energy and simple pop sound sensibilities of ‘Let's Make Love And Listen To Death From Above' and ‘Patins' are remarkably charming, while their lyrics focusing on lust often make no sense but dare you not to be singing them on a second listen. Whilst the explosive nature of the diminutive Lovefoxxx burns on ‘Art Bitch' and ‘Fuck Off Is Not The Only Thing You Have To Show' they showcase the band's entertaining missives on culture and metropolitan living. This is particularly true in the former's “I ain't no artist, I am an artbitch I sell my paintings to the man I eat / I have no portfolio and I only show where there's free alcohol". However, the charm of this Brazilian take on life wears thin on the frankly irritating over-harmonica and electric friendly ‘Alcohol', but that's more than compensated for by the punkily excellent ‘Off The Hook' that precedes it, and the re-issued single ‘Alala'. www.myspace.com/canseidesersexy
Jack Cane
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Music
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Under Schroeder’s spell Hugh Fowler speaks to Si Schroeder, about his cult album ‘Coping Mechanisms’ and his nomination for the 2006 Choice Music award Some music has the uncanny ability to suck you into it’s world the second it hits your eardrum, and Si Schroeder’s music is without doubt abundantly capable of doing exactly that. The debut album ‘Coping Mechanisms’ was a surprise nomination for the 2007 Choice music prize, a competition that aims to pick out the best Irish album of the past twelve months. This nomination sees the relatively unknown Si Schroeder competing with high profile Irish acts such as Snow Patrol, Republic Of Loose and Director. “Its brilliant because its on a small label and there isn’t all this machinery behind me. I think a lot of the other acts up for the nomination are quite established, they’ve definitely got money or management behind them. I’m all homegrown at the moment, very kitchen sink kind of stuff, so it’s funny to be put in that kind of group.” Despite being a rank outsider when the short-list was announced, Si Schroeder has quickly moved to Paddy Power’s joint favourite at 3-1 alongside Snow Patrol and The Immediate. Schroeder modestly plays down the hype, suggesting, “That’s a result of people placing a lot of bets down - people enjoy rooting for an underdog. I think its odd to be the underdog, and yet also
Si Live: Schroder wows the masses joint favourite with Snow Patrol.” Either Si Schroeder has a lot of friends with serious gambling problems, or a lot of people have been cast under the spell of the Schroeder sound. On each track; layers of instruments gradually build up and up, yet at all times; the mood maintains a hypnotic soothing aura that proves to be strangely addictive. Some critics have incorrectly la-
Tue Feb 6 My Brightest Diamond
Whelans
Wed Feb 7 Leman and Vic
Student bar
Whelans Wax
Fri Feb 9 Ratatat
Whelans
Sat Feb 10 Crash Ensemble Ben Taylor Bluetones Meat Katie The Things
Tue Feb 13 Shiny Toy Guns Whelans And You Shall Know Us By The Trail Of Dead TBMC
Crawdaddy
Wed Feb 14 The Camembert Quartet & The Coronas Valentines Ball
beled his music as ‘electronica’, but the incidental use of electronic instruments is more a reflection of the technology available in modern times, and Schroeder himself believes such categorisation to be misleading. “I definitely don’t think its an electronic record, very little of it is purely electronic. For me, electronica has associations with music that I used to listen to
myspace artist of the fortnight
From
6th February
Samuel Beckett Theatre Sugar Club TBMC TBMC Pod/Crawdaddy
Sun Feb 11 Snakes & Ladders Ft. Jape, Donal Dineen, Neosupervital & more* Whelans Badly Drawn Boy Olympia Micah P Hinson Crawdaddy
Wed Feb 14 Pop Levi
effects. Strands of rhythmical sound swell in and out around ghostly, spiritual vocals. Schroeder does not shy from the fact that he does not possess an exceptional natural vocal talent, and combats this by processing his voice in various ways on some recordings. “There isn’t this kind of monotonous feeling of ‘oh it’s the same voice’ for the whole record. You have to have a pretty amazing voice to get away with that. Bob Dylan can get away with it, but I don’t think I would. “There’s a little bit of what Laurie Anderson does with her voice, and Kraftwerk, and maybe what Radiohead were doing on Kid A where Thom Yorke’s voice is being cut up and reprocessed and distorted”. Si Schroeder’s unique mesmerising style might not be as universally appealing as the ballads of Snow Patrol, but this award nomination should give the talented Dubliner a bit more attention, and hopefully with that will come some well-deserved appreciation.
"People enjoy rooting for an underdog. I think its odd to be the underdog, and yet also joint favourite with Snow Patrol"
Gig Watch Thu Feb 8 Royseven DJ Kalif
about five or six years ago, like Autechre and Mice in Mars, a lot of warp records stuff. Its very nice ‘backdrop-to-yourtwenties’ music but it doesn’t articulate very much - it doesn’t say very much about anything really. Its kind of mannerist music, so I’d be very unc o m f o r t ab l e putting myself in that category for that reason alone” S c h ro e d e r is of the opinion that a lot of pop music terminology is, “Arbitrary, - its just journalists making little enclaves for themselves. I don’t know if you’ve heard the term ‘intelligent dance music’? Why would anyone come up with a name like that? It’s just barking mad.” Schroeder would like to see his music sit in the rock and pop section of HMV “along with a lot of other mainstream stuff and stuff that’s quite esoteric and off the wall”, (such as late sixties Pink Floyd). ‘Closing Mechanisms’ is strikingly well produced, with some captivating aural
Royseven Thu Feb 15 Blizzards Iamelectron
Village Wax
Fri-Sun John Adams Festival
Various
Fri Feb 16 Bloc Party* Ellen Allien Judge Jules
Ambassador TBMC The Vaults
Sat Feb 17 Ham Sandwich Bouncing Souls
Whelans TBMC
Starting to get tired of every new band ripping off old Gang of Four and Bruce Springsteen songs? Sick of synths and angular guitars? Sanctuary is at hand in the shape of Albuquerque's Zach Condon, the talented singer/songwriter behind Balkan pop orchestra Beirut. Condon wrote and partially recorded Gulag Orkestar, his remarkable debut album, alone in his bedroom in Santa Fe at the tender age of nineteen. He dropped out of high-school and traveled to Europe, where he was introduced to the Baltic brass and accordion music that so informs his sound. The album features an astonishing array of instruments, including a trumpet, cello, accordion, glockenspiel and a $9 ukulele, all of which Condon himself plays. The more brass-heavy songs can be something of an acquired taste, but songs like ‘Postcards to Italy' are immediately rewarding. And as bands like Arcade Fire have shown in recent times, accordions are savage. His myspace page (the spelling is correct, someone else got Beirut before him) also features the magical ‘Elephant Gun' from his first e.p. While you're there, follow the link to the page of A Hawk and a Hacksaw (in his friend-list). They're two of the guys from Condon's band, and while he makes great music to listen to when you're hung-over, they make great music to get off your face to as well.
Aidan McGuill
Beiruit www.myspace.com/beruit
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The choice cuts... of the Irish music scene
Snow Patrol Eyes Open' is by far the best selling and most popular album on the shortlist. It was the best selling album in the U.K., selling over 1.5 million copies, as well as over 800,000 in the U.S. U.S. sales were boosted massively by the appearance of ‘Chasing Cars' in the season finale episodes of not one, but two popular American TV series, ‘Grey's Anatomy' and ‘One Tree Hill'. Such was the success of this association that the video for ‘Chasing Cars' was re-cut to include clips from the show, furthering the song's popularity among American fans. Snow Patrol are trying to strike while the iron is hot with a tour of the States, meaning the band will not be playing at the awards ceremony on February 28th.
Hugh Fowler takes a look at the recently announced shortlist for the Choice Music Prize 2006 Now in its sophomore year, the choice music prize is a competition aimed at promoting homegrown Irish music through highlighting the cream of the crop of Irish albums released over the past year. Similar to the Mercury Music Prize, nominees will perform at the awards ceremony before the overall winner is announced, and this year's event is taking place in Vicar Street on Wednesday February 28th. The Judging panel is taken from various corners of the Irish music media, from radio DJs to newspaper critics. After an excellent year for Irish music, there are some real gems in the running, but who will claim the 10,000 cash prize, plus the exposure and publicity that comes with it?
9/1
Duke Special Belfast born Peter Wilson, aka the dreadlocked Duke Special, is a musician with an undoubtedly original style. His songs centre on his talented piano playing, which combines a variety of playing styles with superb technique. Chord changes range from the arrestingly unexpected, to the strangely beautiful, with one often coming straight after the other. Songs from the Deep Forest is full of strikingly touching songs, and the Duke's passionate vocal delivery really conveys his emotional plights, with his Belfast accent both instantly recognisable and pleasantly memorable. A recent appearance on the Jools Holland show in December gave his profile in the U.K. a considerable boost. This performance displayed his prowess as a live performer and the entertaining show he provides onstage with his oddball band. One band member looks like a homeless man banging a big stick and a dustbin lid to create some unconventional yet effective percussion. If the award is going for originality of style, then it should definitely go to the special one.
20/1
Eyes Op lyrics, suc opener ‘Yo as sentime ‘Make This ‘Chasing C case with e ballad sing revolted ag citing a lac and for ma replaced C they love t Snow P benefit the award, giv cess to da alone it is named win Still, given have boug there could fans on th
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pen is full of catchy ch as the chorus of the ou're All I have', as well ental dreaminess on s Go On Forever' and Cars'. As is often the extremely successful ging bands, some critics gainst their popularity, ck of formal innovation, any Snow Patrol have Coldplay as the band to hate. atrol would probably e least from winning the en their massive sucte, and for that reason unlikely they will be nners on February 28th. n that so many people ht Snow Patrol albums, d easily be a couple of e judging panel.
College Tribune
Music
6th February 2007
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Fionn Regan
David Kitt ‘Not Fade Away’ is a return to top formfor the singer-songwriter. As usual, Kitt mixes acoustic and electronic with a subtle sprinkling of electronic sounds. This album has a nice blend of character, from the softer songs (With You, Grey Day) to the driving energy of the single ‘Up to You’.
Kitt has also included a couple of more upbeat rockers - ‘I Know the Reason’ and ‘say no more’, with the latter a commentary on Irish drinking culture that would be right at home on the soundtrack to a Diageo ad. A pleasant album with a sense of warmth flowing through it but not innovative enough for Kitt to win it.
16/1
Fionn Regan was the standout newcomer Irish act of 2006, and ‘The End Of History’ is nothing short of brilliant. The young singer-songwriter from Wicklow has been described as being similar to the great Bob Dylan, and the comparisons are not unjustified. Regan commands absolute attention with his simple folk songs and subtle strumming. The opener ‘Be Good or Be Gone’ sets the captivating tone of the album from the opening chord. In ‘Hunters Map’ and ‘Snowy Atlas Mountains’, Regan paints poignant imagery, and combines it with some ambiguous lyrics that allow the listener to conjure their own meanings. This album can accompany almost any activity play it while relaxing, while working, play it anywhere. Having ‘The End Of History’ on your ipod while walking along provides a strange uplifting detachment from reality, and it gets better every time. If it were my choice, ‘The End Of History’ would take the prize, and it is unfortunate that Fionn Regan will be in Australia for the awards ceremony and as a result will not perform on the night.
3/1
The Immediate One of the biggest indie albums of 2006, ‘In Towers and Clouds' is an adventurous display of creative diversity. The Immediate's live shows are remarkable in the way band members share drumming, guitar-playing and vocal duties amongst themselves, chopping and changing between songs. This democratic practice is continued on the album, and what results is a mixed bag of tricks. By varying the instrumental personnel, The Immediate can sound like a different band from one song to the next. Their ambitious approach has benefits, but also some drawbacks. The benefit is that the album amalgamates a broad range of rock styles, from punky choruses (‘Don't You
Ever') to much poppier numbers (‘Big Sad Eyes'), meaning there's something for everyone. The drawback is how these changes of style are not restricted to the space between songs - on many tracks the mood of the tune has changed direction so many times that the end product is like mashing loads of skittles into your mouth at the same time. There are loads of different flavours in there, but you're not really left with a definite taste - there's just too much variety all at once. ‘In Towers And Clouds' is a promising debut album from a talented group of musicians, but the best of The Immediate is yet to come.
6/1
Messiah J & The Expert
9/1
Director After the success of their first single ‘reconnect’, expectations were high for the debut album from the energetic young Malahide-based quartet. The album sounds fresh, with a good balance between subdued ballads and dance-floor stompers. Lead singer Michael Moloney’s distinctive vocals are top-notch, with thoughtful lyrics
25/1 that fit the melody as snugly as Borat’s one-piece leotard. Unlike the aforementioned piece of clothing however, it gives the overall sense of being a little unadventurous and maybe a bit too clean. That said, ‘We Thrive On Big Cities’ is a great CD, and one that improves with repeated listening.
The Divine Comedy Throughout Neil Hannon’s career, The Divine Comedy has persistently received critical acclaim, without comparative success in terms of sales. ‘Victory for the Comic Muse’ is not as light-hearted as some of his earlier work, featuring arguably his best song writing to date on the poetic portrait ‘A Lady of a Certain Age’. That said; Hannon’s wit still shines through on
tracks such as the single ‘Diva Lady’ where he pokes fun at C-list celebrities. The Divine Comedy are the veterans of the competition: people have heard what Hannon has to offer, and by and large they haven’t gone for it. Despite all the well-crafted melodies and lyrical witticisms, barring divine intervention, Hannon hasn’t a chance.
Ireland has never been renowned for its hip-hop talent, but with ‘Now This I Have To Hear’ Messiah J aims to lead Irish hip-hop into the light with the help of The Expert. As far-fetched as that may sound, this album actually has the potential to put Ireland on the International hip-hop map. Once you can get your head around the fact that this is credible rap, despite being in a South Dublin accent, Messiah J’s clever lyrics flow smoothly over The Expert’s eclectic hip-hop stylings. Its not outrageous to proclaim this to be the best Irish hip-hop album ever, but it’s probably too left of centre to win the choice prize.
Republic of Loose Led by the enigmatic character of Mick Pyro, Republic Of Loose are Ireland’s very own sleazy funk band. Aaagh! is a slick fusion of funk, hip-hop, rock and soul. Pyro takes the funky falsetto vocal style of Prince, throws in a bit of drunken Irishness and a layer of smut, and then combines it all with the backdrop of some savage sounds from the band. ROL are excellent live, though Pyro’s unpredictable stage behaviour occasionally sees him insult the crowd if he doesn’t feel they’re reacting with enough enthusiasm (e.g. UCD Ball 2006). The live show’s energy is rampant on this, their second album. From the electro-funk of the title track, to the strut of Break!, through to the snappy groove of the hit single ‘ComebackGirl’, ‘Aaagh!’ is quality.
Si Schroder - Page 5
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Stem Cell research on the up In the wake of new developments in stem cell research, Alex Murphy investigates the controversy surrounding what could revolutionise the future of health care The term ‘stem cell’ has become somewhat of a buzzword recently; there has been much hype in the media surrounding the issue. Stem cells were first isolated in 1998. Millions have been invested since then, but there are many legal restrictions surrounding this controversial subject. The ethical concerns are hazy and many people do not fully understand the potential of stem cells and what they might mean for the future. In Ireland, there is no specific legislation surrounding stem cells or even IVF. Stem cells have a unique ability to grow and multiply into any sort of specialised cell that you need, including muscle cells, red blood cells, liver cells and bone cells. This is the magic behind them; their potential is amazing, and may mean a dramatic medical breakthrough in the future. Scientists believe that with the help of stem cells, they may be able to prevent the human body’s immune system from rejecting a transplant. Bone marrow transplants are already commonly used to treat leukaemia, and scientists anticipate being able to treat other forms of cancer, Parkinson’s Disease, spinal cord injuries and Alzheimer’s in the fu- Michael J Fox: Former actor is suffering with Parkinsons ture with the help of stem cells. Parkinson’s (PD) is a disease that there is currently no cure for, only treatment, but stem injuries, heart disease, Alzheimer’s and count- generative Medicine Institute cells may become that long awaited cure. Dr less other illnesses.” NUI, Galway, shares Quin’s opinQuin who runs a Parkinson’s clinic in Tallaght A popular misconception is that stem cells ion, declaring, “There are many Hospital thinks that stem cells may eventually are only taken from aborted foetuses but this reasons to be optimistic about be the answer that PD has been looking for. is not the case. Stem cells can be sourced stem cell therapy in the future, In PD, dopamine cells (which control smooth, from many parts of the fully formed human but a lot more research and inco-ordinated movement) are destroyed and body, including umbilical cords, bone marrow, vestigation will be needed for in fact, by the time Parkinson’s is diagnosed, inside the nose and the human brain. How- success to be achieved.” 60-70% of dopamine cells have already been ever, they are also taken from embryonic and We must decide what is the destroyed. foetal tissue, often from surplus IVF embryos. worth of an embryo? Is it worth However Quin adds: “It is far more compli- Blastocysts, human cells of five days, yield more or less than the suffering cated than people think. You would have to the most potential for researchers and at the of millions of people inflicted inject the cells into a part of the brain which same time are causing the most debate. with disease worldwide? And is very difficult to access, where dopamine All sorts of difficult questions are raised; even though people object now, is low and this would technically be very dif- mostly revolving around the belief that hu- would they be willing to refuse ficult.” There are approximately six to seven man life begins at conception, meaning the a treatment that could potentially cure Richard thousand people in Ireland with the condition embryo is a human being with rights that are them personally in the future? rsial move, launch of e In a controve th d ce and millions worldwide. Quin adds “As soon being abused for others’ benefit. On the other Is the only difference between un anno 00 will Branson haslth Bank which for 1,5 babies' as the difficulties are overcome it should be hand, stem cell research may help many long- a five-day blastocyst, a child and rn ea H bo n w gi ne ir r V ei e th possible to harvest the patient’s own stem term sufferers of debilitating diseases such a fully-grown adult, really just s to freeze th ide the child allow parentrd blood. This will prov be used in the cells for use which would overcome any ethi- as PD. time? Does that blastocyst n co ca al at lic th umbi at he/ of stem cells diseases th cal problem.” Many of the stem cells used for research possess the same rights as with a sourceany life-threatening ately 75 conditions of Michael J. Fox, the actor and a PD sufferer, are taken from embryos fertilised by IVF that the adult? Stem cells may treatment during life. Approxim and some experts em cells s in that is passionately involved in stem cell research would never have been used anyway. Is it bet- revolutionalise medical pracshe develops more result table with st are now treature research will yielded will be donated by as he views it as a cure and not a treatment. ter to use them to further research in this tice, yet there is certainly a fu ct believe thate of the stem cells collee the cells freely avail-he He was diagnosed with young onset PD when field rather than discard them? long way to go. mak Som . ill w ea ar ch stated that hi w he was only thirty years of age and set up The UK laws surrounding this matter dicEven with full public supnk em. Bransonportant role to th s parents to ba ed ne ne who ‘The Michael J. Fox Foundation for Parkinson’s tate that embryos can be stored for up to port and government fundconank has an im able to anyo that ethical gin Health B Research’ in 2000, which has raised over five years but then must be allowed to per- ing, there are many years believes Virem cell technology anddealing with adults e al $90 million since. In a letter urging Congress ish or donated to another couple. Therefore it of research ahead of us that play in st put to rest. 'We ar from umbilic e cells takenscarded after cerns can be os members to vote in favour of the “Stem Cell is not a question (for the majority) of ‘if’ the may be fruitless. With so many th h it w , di themselves d, which is normally lls as treatResearch Enhancement Act” he writes. embryos die, but ‘when’. However, some peo- conflicting opinions and so many cord bloo born. Using these ce es and the “I am pro-research, pro-science and support ple believe that there is a subtle difference people sitting on the fence, it is a child is ents no ethical issu widely all forms of stem cell research. Embryonic between allowing an embryo to perish and imperative that the issue is explored ments pres r patients today are benefit fo stem cells may hold the key to better treat- actively bringing about its death. through rational investigation so that accepted." ments and cures — not only for Parkinson’s Meanwhile, Scientific Director and Stem someday in the near future we can andisease but for cancer, diabetes, spinal cord Cell researcher, Prof. Frank Barry of The Re- swer these important questions.
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College Tribune
Fashion
6th February 2007
9
You call this fat? IN As new guidelines are put in place to protect underweight models, statuesque beauty Tyra Banks has been unjustly slammed by the media for gaining weight, writes Cathy Buckmaster
Since the first broadcast of the hit series ‘America’s Next Top Model’, it’s producer and presenter Tyra Banks has become a household name all over the world. Former supermodel Banks, 33, left the catwalk in 2005 to concentrate on her career as a chat show host and presenter of a reality television show. Nowadays, fans of this addictive show see her as the well-groomed mentor to hundreds of wannabe supermodels. As the contestants struggle to achieve perfection, Banks is on hand to offer advice and criticism, at times reducing the aspiring models o tears. Her criticism is well intentioned however and her young protégés look up to her as the epitome of style, grace and beauty. Banks has always been notable for her voluptuous physique, a rarity among models and has resisted pressure to lose weight in the past. However, in the past weeks, Banks has become the laughing stock of many a tabloid magazine after gaining weight. Recent unflattering pictures taken of her on a beach in Australia have circulated the Internet with nasty headlines such as ‘Tyra Pork Chop’ and the even more malicious ‘Americas Next Top Waddle’. Banks, who is 5’ 10” and weighs about 160 lbs, has stated that she was hurt by the comments. “It
was such a strange meanness and rejoicing that people had when thinking that was what my body looked like. It was really hurtful to me.” She voiced her worries on how this recent slander would affect her young fans. She regularly receives letters from young girls commending her for not conforming to the size 00 (or UK size 2) standard demanded by the modelling industry. “When they say that my body is ‘ugly’ and ‘disgusting’, what does that make those girls feel like?” Some models in the USA and Europe have gone too far to meet the dangerous demands of designers and have resorted to illegal diet products, emetics, diuretic pills and amphetamines to achieve the required look of a pre-pubescent boy. Their unhealthy eating habits make them look increasingly similar to lollipops. Disturbingly, in the past year, four Brazilian models have died from eating disorders. Ana Carolina Reston started modelling when she was thirteen and was told she was fat by a modelling agency while weighing eight stone. She died in November of last year from kidney failure weighing just six stone after managing to survive on a diet of apples and tomatoes. Luisel Ramos suffered a heart attack in August after maintaining a diet of lettuce leaves and Diet Coke for three months. College student Carla Sobrado Casalle, 21, died in November with symptoms linked to anorexia. She was 5’ 9’’ and weighed 99 pounds. Beatriz Cristina Ferraz Lopes Bastos, a 23- year-old teacher was 5’ 2” and weighed just 77 pounds when she died of anorexia related problems in December. European and American health authorities are now focusing much of their attention on the fashion industry. Organisers of New York’s fashion shows have released guidelines to tackle the issue of underweight models and last month Milan fashion houses officially banned underweight and underage models from its February shows. There is now an agreement between the city of Milan and its powerful fashion industry to ban models under the age of sixteen and those with a body mass index of less than 18.5 from Mi-
lan’s shows. The Council of Fashion Designers of America has recommended that models with eating disorders seek treatment and young models work limited hours. Healthy food will now be supplied backstage and smoking and alcohol banned during shows. President of the council, Diane von Furstenberg said designers “share a responsibility to protect women, and very young girls in particular, within the business, sending the message that beauty is health.” “Although we cannot fully assume responsibility for an issue that is as complex as eating disorders and that occurs in many walks of life, the fashion industry can begin a campaign of awareness and create an atmosphere that supports the well-being of these young women.” The fact that an obviously healthy and beautifully curvaceous role model like Banks has been vilified in the media is a sad sign of the current state of society’s obsession with weight. While the tabloids routinely condemn celebrities such as Nicole Ritchie and Victoria Beckham for their extreme fixation with staying thin, they feel no compunction about featuring someone like Tyra Banks the following week under vicious headlines and contributing to the weight obsession that they apparently despise. Along with a handful of celebrities, Tyra Banks is one example of a woman with a healthy body image who has successfully resisted the preposterous standards imposed on models around the world. She puts her weight gain down to not being the worlds healthiest eater and no longer being required to diet for her job because she is a business woman now and not just a pretty face. In fact, it seems that gaining a little weight isn’t such a bad thing for her career. Banks the businesswoman has earned some credibility. Her talk show is now entering its second season, and the most recent season of America’s Next Top Model delivered its strongest ratings ever. Banks herself claims “(TV Executives) think it’s better when I’m at 155 pounds - at 145, they feel I’m not as relatable.” In reply to the recent comments about her weight, Banks was recently featured on the cover of People magazine looking confident and sexy with the caption ‘You call this fat?’ She has stated that she will not allow any future photos of herself to be digitally retouched; rather she will rely solely on makeup and hairstyling to enhance her appearance. Maybe Tyra Banks’ admirable attitude combined with the new guidelines introduced by Diane Von Furstenberg will be the start of a positive move towards health and well being in the industry. These contributions may be the motivation that is needed to bring about some much-needed change in the media’s outlook on beauty.
Diane Von Furstenberg
The President of the CFDA has released the new guidelines aimed at protecting the health of models. New initiatives include research into eating disorders and the provision of healthy meals and snacks backstage. “It is very important that we encourage and promote good health as beauty.’’
Ethical Chic Its fashion with a conscience from designers like Katharine Hamnett, Edun and Noir who donate a percentage of their profits to worthy causes.
The Rise of the Retrosexual 2006 was the year of the metrosexual but 2007 will see a return to good old-fashioned manly values. Hairy knuckles and rough skin will be celebrated and cosmetics for men will be banned.
Sportswear Lurex and nylon, shiny tracksuits and metallic runners…luxury sportswear is very hot at the moment apparently but here’s hoping not for very long.
Cropped Jackets They’re really cute but I’m sorry, it’s just too cold.
Ugly Betty ‘Be real in a superficial world. Be true. Be ugly.’ The problem is, Betty’s not ugly. She just has braces. This is not a groundbreaking show. It’s just mildly entertaining.
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6th February 2007
Film
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Spinning a not so impressive web It has become a test of a person’s emotional integrity, whether or not they cried at the ending of Charlotte’s Web, EB White’s 1952 book. For decades children have been inspired and moved, moved to tears even, by this classic of children’s literature. Any child crying in the cinema watching this film however is more likely to have spilled their coke, or felt a pang of guilt in their tender hearts for having convinced a parent to part with the money for their ticket. Fern Arable is a young girl with more empathy for the suffering of animals than the ways of people. She saves a runt piglet from the axe of her farmer father and promises to protect and care for it. The focus of the story then shifts to the pig, Wilbur, and the animals he shares a barn with. At first enthusiastic and friendly, Wilbur learns early the mortal truth of life for all spring pigs – that he shall be eaten at Christmas. The other animals in turn make ineffectual attempts to raise the spirits of the disillusioned and scared Wilbur, but it takes Charlotte (Julia Roberts), a spider, to grant him the second promise of his life: that she shall protect him. And Charlotte doesn’t break her promises. She becomes as Fern’s representative in the animal world, and devises a brilliant plan to save Wilbur’s life. Understanding that her webs can beguile bugs, and “bugs are smarter than people”, she begins to attract the attention of the local humans by spelling words in her web. “SOME PIG”, her threads announce to the farmers one morning.
Charlotte began humble, simply working her web, and through the power of friendship comes to spread words across her home; the farmers, convinced of their importance, start big, spreading word of the “miracle” through their community. It is now the humans’ turn to get caught in a web, weaving their way through the roads for miles around to come and gaze on a simple spider’s web. Eventually, when money is made and fame assured, the attention shifts from the words themselves – after a few more have been tried – to their subject, Wilbur. The sadness of the story is that Charlotte is ultimately sacrificed, her work of revelation done (and the Christian message is spread thickly in this tale); the hopefulness is that Wilbur lives on and the miracle of life continues. The sadness of the film is it’s disjointed portrayal of the narrative, the unfortunate choice of leading child actress, and its complete failure to capture any of the touching, even beautiful, tone of the book. Dakota Fanning (I Am Sam, War of the Worlds), who plays Fern, is devoid of charisma for most of this film. Given the nature of most children’s films, she is given no chance to overcome this, her character left undeveloped and the audience thus left without feeling for her except whatever default sympathies we hold for a sweet child with missing teeth. Although it is Wilbur that most of the narrative is centred on, it hardly says much for her that she is rendered less appealing than a pig. The banter of the animals, who are given voice by, amongst others, Oprah Winfrey, Steve Buscemi and Robert Redford, might have saved the film were it not so lacking in wit (with the exception of the brilliant pair of crows, voiced by Andre Benjamin and Thomas Haden Church.) What is impressive however is the CGI used to show Charlotte’s acrobatic construction of her web. We see her, close-up, cutting and connecting lines; in the midst of it, they appear only as a complex pattern of threads; before, in the next morning light, we share the farmers’ ex-
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College Tribune
Charlottes Web
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perience of seeing them all at once, heralding news of the special pig to the farmers. Charlotte’s Web has nothing more to offer an adult audience. It is far too innocent to include any of the subtle allusions intended for more mature viewers, which are to be found in Nick Park’s films. Search for subtle innuendo and you might start to imagine an affair between Fern’s mother and her doctor, but this was hardly the intended suggestion. Nor does the film ever threaten to engage an older viewer in the way that 1995’s Babe managed, traces of whose pig hero can be found in Wilbur’s demeanor, without the charm. We cannot expect the filmmakers to aim the film at anything other than its intended audience of children; but we can nonetheless feel disappointed in their failure to offer anything to those of us who once read and loved the book, and attend in the hope that our heartstrings might be twanged to that old childhood resonance once more.
Matthew Parkinson-Bennett
SC OR SE SE
Not another chick flick ‘Music and Lyrics’ revolves around our leading man, Alex Fletcher, played by Hugh Grant. Fletcher is the eighties ex-band member of ‘Pop!’ The washed-up pop star has stumbled blindly from his days of featheredhair and obscenely tight pants into celebrity has-been oblivion. Propositioned to write a hit song for Cora (Haley Bennett), a hussy-hybrid of Shakira/Britney/ Paris in heat, he hopes to regain his pop notoriety in the process. Aided by Drew Barrymore’s character Sophie Fisher, Fletcher must write a brilliant song to save his almost dead career within a matter of days. A coming together of Hollywood’s two biggest Rom-Com staples, it does exactly what it says on the tin – Grant does his foppish, bumbling and inarticulate British leading male thing, Barrymore does her eccentric, cutesy, and attractive in a quirky I-fall-over-a-lotand-talk-to-myself kind of way. This Rom-Com is arduously formulaic and frustratingly predictable, and seems to lack the sparkle of the other films that keeps this genre thriving. Barrymore, the film’s only real saving grace, is a breath of fresh air. Her amiable on-screen presence lifts the tone of the film from the moment she appears. Although also confronted with a weak script, she seems to overcome this hurdle by developing her standard ‘unusual’ peculiarities into full-blown eccentricity,
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carried off with oodles of charisma and a cracking wardrobe. Fisher’s friendship and inevitable romance with Fletcher is, admittedly, quite sweet, and Grant and Barrymore genuinely do have a rapport of sorts, though one that fails to convince as full-blown chemistry and is nothing compared to that between herself and Adam Sandler in ‘The Wedding Singer’ or ’50 First Dates’. The emotional depths of these characters are merely skimmed over superficially, leaving several of the script’s interesting avenues unexplored. For example: Alex Fletcher’s tenuous relationship with his ‘George Michael’, his more successful ex-bandmate, Colin Thompson (Scott Porter). Loaded with sitcom stars from Brad Garrett of ‘Everybody Loves R ay m o n d ’ fame, to Kristen Johnston f ro m ‘ 3 r d
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College Tribune
Film
6th February 2007
11
A statue for Scorsese He is no stranger to controversy. Since the 1970’s, Martin Scorsese has been hitting the headlines, shocking critics and audiences worldwide with his dark, violent films and their grim portrayal of life. Taxi Driver, Raging Bull, Goodfellas, Gangs of New York – throughout a career that has spanned over three decades, the legendary director has famously tackled the grittiest of subject matter. Now, with the recent announcement of the 2007 Oscar Nominations, Martin Scorsese is once again in the spotlight. Receiving his sixth Best Director Nomination for ‘The Departed’, the expectation is that this year Scorsese will finally be honoured with the gold statuette that has so far, astonishingly, eluded him. Born in New York in 1942 to Catholic ItalianAmerican parents, Michael Luciano Scorsese certainly wasn’t born with a silver spoon in his mouth. His was a depressed background and the young boy first developed his passion for film as he lay at home recovering from asthma. Taking control of the illness that has continued to plague him to this day, Scorsese entered New York University, eventually graduating in 1966 with an MA in film and a phonebook stuffed with contacts who would prove to be invaluable collaborators in years to come, including Harvey Keitel and editor Thelma Schoonmaker. A quick glance at the short films he directed while at university reveals them to be prophetic of the gritty, subversive perspective that his future feature length films would also assume. His dark, short ‘The Big Shave’ depicts a young man shaving himself until he begins to bleed profusely and carrying on regardless, this being representative of Scorsese’s view of American action in Vietnam at the time. It’s a clear example of his willingness to tackle unpopular subjects and refusal to sanitise gruesome issues for his audience, a trait Scorsese became well known for, particularly when ‘Taxi Driver’ burst onto 1970’s cinema screens. Widely regarded as one of the most iconic films in cinema history, Taxi Driver is a perfect example
The genius of Martin Scorsese has lit up the world of cinema for many years, and his latest masterstroke ‘The Departed’ is set to earn him that elusive Oscar for best director, writes Orla Kenny
of Scorsese’s willingness to tackle horrific, disturbing scenes of violence in order to achieve the resolution he wants and was instantly controversial because of Jodie Foster’s stunning portrayal of a 12-year old prostitute. The film, which follows loner Travis Binkle on his downward spiral into insanity, catapulted Scorsese onto the international stage and began his partnership with Robert DeNiro, a partnership that has been one of the most productive and creative ever seen by the film industry. He followed Taxi Driver with yet more stark, raw films often detailing the plight of young men who feel isolated from society, desperate to fit in and craving social acceptance. He continued to work with DeNiro and also developed a rapport with Joe Pesci, casting him alongside DeNiro in the famed Raging Bull, the boxing film that became an instant classic and earned
Scorsese his first Best Director nomination. The duo also appeared together in gangster mob films Goodfellas and Casino. Aside from such films as The Age of Innocence and Kundun, Scorsese has largely stuck to the genre of film he is best known for - gangster films and psychological thrillers. In all these films, Scorsese ensures the camera takes on an emotional, reactive role, making use of slow motion, montages of aggressive motion and long tracking shots thus giving the audience an incredible insight into each character’s psyche. His revolutionary and original techniques are instantly recognisable, and he continued to shock audiences with the levels of violence and profanity in his films. Casino, for example, contained more profanity than any other American fictional film at the time of its release, containing the word fuck 398 times. Yet, despite churning out such a remarkable cat-
alogue of masterpieces, Scorsese’s career hasn’t been all plain sailing. Renowned for putting his all into every film he makes, he passionately exhausts both his emotional and physical reserves in order to ensure the absolute realisation of his vision. The huge strain this must place on him has in the past manifested itself in the form of drug addiction and recurring health problems. With constant support from colleagues such as DeNiro however, Scorsese has overcome many difficult obstacles that faced him. His family has also been seen to be a huge source of encouragement and Scorsese was always particularly close to his parents. Before they passed away, they even made appearances in a number of his films. His mother Catherine played Joe Pesci’s mother in Goodfella’s, while Scorsese’s father made an appearance as an inmate in the same movie. As for having a supportive partner, well, Scorsese has been divorced four times, with his ex-wives including Isabella Rossellini. The general consensus is that this is Scorsese’s year, but the question now is, does Scorsese really need this Oscar. Accepted as one of the most influential and important directors, having had a huge impact of film landscape, Scorsese’s work stands on its own merit and certainly doesn’t need a golden figurine to prop it up. In fact, should he not win, he’ll be in good company, as one of many superb directors to have missed out on ever winning a competitive Oscar including Ingmar Bergman, Orson Welles and Stanley Kubrick. More, it is the Academy who will benefit by awarding him this Oscar, for if they are to retain any sort of credibility they need to recognise Scorsese’s amazing talent as one of greatest film directors of all time.
chick flick It’s no Rock From The Sun,’ the supporting cast is all good solid actors with potential to be much funnier had the script allowed it. They enable the film to retain a likeable factor and save it from its fate in the XtraVision bargain bin. That is, except for the character of Cora, who, right from her opening lines, floats past amusing to bizarre. Although she is clearly a figure of comic
relief, she never really says anything humorous and is taken far too seriously by the actress playing her. No, we don’t like Cora. It’s slow pace, and nothing really happens, but that may be just that required characteristics of the genre. It’s grand.
Aoife Ni Nuallan & Rebecca Glynn
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diamond dillemma
When a film is shown at an Amnestysponsored event, with talking heads telling us how bad conflict diamonds are (and a cringing rendition of John Lennon’s ‘Imagine’ by children from across the world before the film) and the damage they cause, one can get a rough idea what to expect from the next 138 minutes of life. And from that perspective, Blood Diamond throws up no surprises. Evil anti-democratic rebels? Check. Long suffering noble Africans? Check. Western sanctimony and guilt? Check. The intentions of the film are laudable, but as is the case with any entertainment form that ties itself so closely to a political cause it lives or dies by how well it does so. Cue Jennifer Connelly’s journalist character Maddy Bowen chastising (the solidly superb) Leonardo DiCaprio’s diamond smuggler Danny Archer for living off and exploiting suffering Africans whilst snapping pictures of a refugee camp. The film relies on the viewer being appalled by the slaughter of Africans by Africans but also needs us to be entertained by DiCaprio doing the same. These inconsistencies mortally wound the film’s attempt to walk the thin line between moralistic crusade and Hollywood entertainment. However, difficult as it is to detach the film from its surrounding politics, Blood Diamond stands up reasonably well as an old-fashioned treasure hunt action film (very Indiana
Jones even). It unites it’s mismatched pair of DiCaprio and Djimon Hounsou’s solemn Solomon in the goal of finding the eponymous blood diamond of the title, a huge 100 carat gem hidden by the sweet-natured, noble and pacifist Solomon after escaping from rebel militiamen who have his son. Whilst DiCaprio searches for the diamond to buy his way out of Africa, Solomon needs it to get his son back; Connelly’s character, via an ever more ridiculous set of circumstances and coincidences, comes along for the ride to get DiCaprio’s book of evil diamond traders’ names and bank account numbers to bring them to justice. Indeed it is the (visually) stunning Connelly’s leaden speech on journalism and it’s ethics – how to make people care about Africa – that kills off any real care we might have for her character, and although her love story with DiCaprio doesn’t pan out as predicted, the chemistry between the two is laughably nonexistent. The completeness of DiCaprio’s performance – the plot is resolutely focused on his character’s
welfare - pulls this film along however. As do the fantastic action sequences, full of noise, guns and excitement to keep the attention from slipping during awkward conversations about the state of the continent, but keeps all the locations and people other than our heroes firmly in the background. Director Ed Zwick has made a film that tries to focus on the suffering caused by conflict diamonds but ends up with a film that makes DiCaprio’s smuggler/soldier of fortune look utterly glamorous. Ultimately what we get is a film bereft of suspense or surprise. Jack Cane
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6th February 2007
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College Tribune
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back from the brink
Glimpses into the abyss
Paul McGrath’s autobiography ‘Back From The Brink’ is a story that shows the best and the worst of human nature during the most harrowing of circumstances, writes Colin Gleeson He explains that Jack Charlton is standing di- articulate such on the page make his writings a through the book, each more horrifying that the rectly behind him. His arms clasped around his truly unique experience for those who read his last. Before describing one of his most harrowing waist. The mirror of the water is making him work. The pictures unfold before the very eyes attempts at self-harm, McGrath confides in the uneasy. He stands quivering, terrified. Charl- of the reader. He captures that which is beyond reader. He describes the sensation of something ton is explaining that the trout are clever. They the realms of the ordinary writer. beginning to slip. It rings of Emily Dickinson and have an inner ear, he tells him. This is a very human book. It would be easy that plank in reason about to break. And then McGrath can hear Andy Townsend in the to assume it as a book about football, but that is he’s plunging downward. bushes, sniggering. Mick Byrne shushing him. not the case here. The book is as devastating as McGrath speaks about the illusion of normalCharlton’s hands are over his as he grips the rod it is brilliant. It paints the picture of Paul McGrath ity as the book goes into intimate details about tightly. McGrath describes the scene. He thinks the man, not the footballer. It paints the picture his courtship with alcohol. The reader is given he can hear the boys in the bush taking photo- of a chaos that is stunning. A disaster that is an extraordinary insight into the mindset of an graphs. Charlton is lost in the reverie. And Ire- beautiful. And a tragedy that is breathtaking. alcoholic. There is one line that stands out as land’s greatest ever defender is praying that the McGrath’s psyche is in a constant state of flux the Irish team prepared to travel to Italy for the lesson will soon be over. throughout the book. Despite his obvious star- World Cup in 1990. Despite the obvious discomfort Paul McGrath quality as a footballer, the abuses and abandonThe ex-Manchester United man recounts how endured while Irish manager Jack Charlton ment he suffers as a child, (that are detailed at the squad were recording Ireland’s anthem for taught him to fish back in 1993, it was such Italia ’90. The team are drinking pints as occurrences that captured the sheer brilthey rehearse, but before long McGrath’s It would be easy to assume liance and fervour of what human nature is have buckled and he is on the it as a book about football, knees all about. This was about people. Not football. ground. He finishes his account of the And such is indicative of Paul McGrath’s autoevents with a line that acts as a paragraph but that is not the case biography, ‘Back From The Brink’. itself. ‘Glimpses into the abyss’, he here. It paints the picture unto The slightly comical cameo of two of Iredeclares. It is a line that captures all that land’s most prestigious sportsmen at this book is about. It is, in effect, exactly of Paul McGrath the man, this moment represents something far more what this book is. A glimpse into the abyss profound, and far more important within the not the footballer. It paints of alcoholism, and the mindset that drives course of McGrath’s journey through life. Peothe picture of a chaos that it. There is a bright light that shines through ple cared about him. If they hadn’t, he would is stunning. A disaster that the seemingly impenetrable darkness that be dead now, without question. The fishing expedition is occurring shortly this book. It is that of the people is beautiful. And a tragedy shrouds after McGrath has come back into the Irish around Paul McGrath. Those people who that is breathtaking. set-up after “disappearing” before a crucial stood by him when all else was crumbling. World Cup qualifier against Turkey in 1993. There are many of these throughout the Yet, Charlton has chosen to try and provide Mc- the beginning of the book) have a ripple effect book, and they embody all that is good about Grath with another interest, seeing as he doesn’t that he effectively never recovers from. He seeks human nature. Those people who’ll stop to pick play golf. The Irish manager believes that sitting the cocoon. The bubble. The place where he can a stranger up off the pavement. around in his room is anything but helpful for the be himself. Where he is safe. This is a place that Alex Ferguson speaks about the concept of condition McGrath suffers from. The book is full proves difficult to find from beginning to end. the flawed genius in the ‘Tributes’ section at the of such moments. People who saved the life of But there are two over-riding factors that help end. He draws comparisons between McGrath Paul McGrath. him find the cocoon. Football and alcohol. It is and George Best, and the love that people had Irish Independent Sports Features Editor Vin- here that he feels safe. And it is this inability for them. The point he tries to make is that cent Hogan ghosts the book. He puts shape to to cope with life and it’s challenges that lead people love people within whom they can see a story of real intricacy. Hogan’s poise with the McGrath down a path of self-destruction and something of themselves. Perhaps it all comes fountain pen is just as dazzling as that of Mc- unimaginable horror. down to the words of a great man who once Grath’s on the field. He is more of a painter than He is always on edge. Teetering on that brink. said that true perfection has to be imperfect. a writer. His attention to detail and ability to There are numerous attempts at suicide dotted And such is true of Paul McGrath.
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