The Siren: Issue 9

College Tribune Entertainment Supplement

n e r si the

VOLUME 20 - ISSUE 9 - 5TH MARCH 2007

Film | Bo oks | Music

| Fashion

inside...

the revs aliens

spring styles chic flicks

james baldwin

y g d E w ie v r te In t h g li r o z a R e iv Exclus Page 6

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5th March 2007

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Music

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march 5th

music

“The music is quite bright and colourful. It’s your wildest dreams realised. Obviously.”

Aliens hit Dublin: Page 5

music

“Obviously we’ve got a reputation as being a bit dysfunctional and at some times we are, you know” Razorlight interview: Page 6

health

A pop band playing jazz John O’Flynn talks to Esbjorn Svensson of the Esbjorn Svensson Trio, one of the most popular and exciting Jazz groups in the world

“Complementary therapists offer something that doctors cannot offer – hope”

Alternative therapy: Page 9

film

How can you watch that?! It makes me want to projectile vomit all over the script!”

The scourge of rom-coms: Page 11

Esbjörn Svensson is taking a holiday from all things musical in a small village in the middle of Sweden, “The kids are off from school for one week so we are doing some downhill skiing, playing in the snow, just relaxing with my family. I’m having a Guinness right now,” he adds.

Svensson is the pianist and leader of EST, one of the most successful jazz piano trios in Europe, which also features Dan Berglund on double bass and Magnus Oström on drums.

Their unique approach to improvised music, which Svensson describes as “a pop band playing jazz”, combines various influences from rock, funk and electronica, and has won them many fans across the world.

Svensson’s approach to playing is simple, “To me, playing music is very relaxing. I have the privilege of a job that makes me relax. You forget about everything else and just play.”

He draws parallels between playing music and meditating, “I have been experimenting with meditation and try to bring this focus into all parts of my life. I realised it was something very close to playing the piano, to concentrate. It’s a fun way to live, to always be present, and to enjoy life right now. Life has taught me that instead of pushing myself, I can choose to relax. I also do a little yoga before the shows. It also helps me to stay in good shape, which is important for this job. Playing the piano with this amount of energy for two hours is hard.”

Having played together now for almost fourteen years, the trio is united by the enjoyment and novelty of the music they create together, whether in composing or performance. “Something new is al-

ways happening when we play. This might sound a bit weird, but we try to follow the direction of the music, we try to play, try to improvise. We look for a feel, is this good? Is this what we want to do? It’s the music that guides us.

“Every night we go up on stage not knowing what will happen.

One of us will start to play and the others will listen and play along. We try to look at the whole show as one whole, with all the songs as different chapters in a book" “We have never had a set list. Every night we go up on stage not knowing what will happen. One of us will start to play and the others will listen and play along. We try to look at the whole show as one whole, with all the songs as different chapters in a book.”

The track listing of their albums are peppered with humorous names like ‘When God Created the Coffee Break’ and ‘Dodge the Dodo’. “The music is

always born without titles. During the process of rehearsing, Magnus will come up with a title. I really like Magnus’ titles; he’s like a little poet. It’s like he’s putting lyrics to my music, even though it’s only one sentence.

“The title of the new album ‘Tuesday Wonderland’ was inspired by Magnus’ grandmother, who became senile. She couldn’t remember anything, and as a result, she became constantly curious, everything was new to her.

To me, the title is a reminder that life is constantly happening and that I try to be present. So Tuesday may be a boring day to our common way of thinking, but forget about that, Tuesday can be a wonderland.”

This last album was recorded and mixed by their personal sound engineer Ake Linton, arguably the fourth member of the trio. “Before I started EST, I was playing in normal jazz bands and nobody cared about the sound going out to the people.

“In the early years of the band, we had to take care of the sound ourselves and just told the local engineer not to touch anything. Ake has been with us for six years and is one of the reasons for our success. It doesn’t matter what shape the band is in on the night, because the sound will always be great.”

Svensson explains how he is looking forward to the upcoming series of concerts in Ireland, “Last time I was in Ireland was for the UK tour, we also played the Jazz Festival in Cork a few years ago; we had lots of fun and received a prize. We had a very good time in Cork.”

The Esbjorn Svensson Trio plays Dublin’s Vicar Street on March 16th.

Music

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5th March 2007

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Revving it up Darragh O’Donoghue speaks to guitarist John McIntyre from the Revs ahead of their imminent comeback performance at the 2007 UCD fashion show The Revs have always been one of the hardest working and most durable touring bands around, so when they announced, via their website over Christmas, that they were taking an ‘indefinite break’ from music, it came as a shock to many, including their dedicated fan-base.

“The band demanded an awful lot of our time and there were other things that we wanted to do”, says McIntyre, “Last year in particular was very disappointing, because we were receiving lots of radio play, but we were with a big agent and kind of got swallowed up.

“Basically, we didn’t get over at the right time and ended up swapping agents. Then we fell out with the agent, and everybody else, so I think it came to a head for us when we pulled out of our European tour in November and to tell the truth, I think that’s why we’re taking this break. We’d all had enough.”

Things seemed to be going well for the band, as the aforementioned radio play had given the impression that everything was working out nicely. These impressions were misleading, however, as McIntyre concedes, “I suppose you’re only ever as big as people think you

are,” he sighs, “It never really happened for us here. It might have looked like it was going to for a while, but it never materialised.”

When talk turns to the band’s earlier days, McIntyre admits that their baiting of manufactured pop and Louis Walsh in particular, was perhaps unwise; “It was probably impassioned at the time, but it was childishness really.

“I think that kind of music is always going to be with us, you just have to make space for what you love. Really good music is going to be swallowed up by money, so you’re always going to have to look a bit harder to find what you love, and that’s part of the charm.”

He is also und e rs t a n d ably dismissive of the awards and acclaim that the band received. “The only person that’s worth pleasing is yourself. I think that it doesn’t matter who says, ‘the band is really good’, if you don’t believe it yourself, it’s not much use to you.

“The awards were good for our exposure, but I don’t think they mean anything. I’d be very surprised if anyone who’s any good at all would think dif-

"We fell out with the agent, and everybody else.

To tell the truth, I think that's why we're taking this break. We'd all had enough"

ferently.”

McIntyre remains upbeat about the situation however, and maintains that even if the worst-case scenario materialises and the trio call it a day, he is thankful for his experiences.

“Everything feels so unfinished right now, but I don’t think I‘ll have any regrets.

We’ve toured all over the world, we’ve

seen an awful lot of places, and we’ve met people that I would have dreamt of meeting as a child.

“People like Dave Grohl, Billy Corgan, Radiohead, all these legends, and even though they’re probably the small things, they’re experiences we would never have had were it not for the band. They’re the things that you take away.”

For fans, the good news is that the Donegalman is likely to have a chance of adding to these memories, as he revealed that although the band members have been working on solo material and enjoying their time off, “Hopefully it won’t be too long more. There’s talk of touring Australia and Asia before the end of the year.”

Classic culture John O’Flynn attends RTE’s Living Music festival, dedicated to contemporary composer John Adams Now in its fifth installment, RTE’s annual living music festival was focused this year on the music of prolific American composer John Adams.

After the great success of last year’s celebration of Steve Reich, artistic director and jazz composer Ronan Guilfoyle (http://www. ronanguilfoyle.com/) chose to offer a weekend of varied music, both composed and improvised.

Friday night’s highlight at the National Concert Hall was a breathtaking performance by RTE’s National symphony Orchestra of Adams’ ‘Harmonielehre’ that conjured tremendous volume at the final climax of the piece. Also to be commended are the Vanbrugh Quartet, who performed ‘John’s Book of Alleged Dances’ accompanied by a recording of a prepared piano, and the excellent Crash Ensemble for their interpretation of his famous piece ‘Shaker Loops’.

Despite immaculate performances of Adams’ work, for many the highlights of the festival were to be found in the other artists that were presented. Saturday evening

brought the 17-strong Stockholm Jazz Orchestra to Vicar St. They were led by legendary composer, arranger and pianist Jim McNeely. Together this great ensemble played through a programme of various compositions from his career. There were many outstanding solos from the members of the band including a simultaneous piece trading, which McNeely called ‘The Battle of the Tenor Saxes’.

They were followed by one of the most eagerly anticipated jazz performances: the trio Big Satan, composed of New York saxophonist Tim Berne (http://www.screwgunrecords.com/), French guitarist Marc Ducret (http://www.marcducret.com/) and drummer Tom Rainey.

They produced a set of exciting, heavily improvised contemporary jazz music. Ducret’s eccentric gyrations and inventiveness made him fascinating to watch as he alternately strummed, tapped and short-circuited his electric guitar.

On Sunday, the Irish-based jazz trio White Rocket (www.myspace.com/whiterocket) played a series of modern yet accessible compositions derived from Indian rhythms, singing exercises, numerical series’ and a girlfriend’s phone number.

Pianist Greg Felton’s especially commissioned work ‘Dark Horse’ blended frenetic vamps, free collective improvisation and a starkly beautiful slow passage, which featured counterpoint singing from Felton and drummer Sean Carpio.

Amongst the other contemporary classical work presented was that of Hungarian composer György Ligeti. On Sunday, pianist Rolf Hind played several of Ligeti’s Piano Etudes, some of which are so intricate the composer intended they be played by a mechanical player piano.

He proved to be a charming host: pausing every so often to introduce the pieces to the audience, explain their complexities and

momentarily rest from an audibly demanding performance.

He was followed by Simon Nabatov (http:// www.nabatov.com/), a masterful improviser from Russia. His music was at times delicate and at others ferociously intense - there are not many pianists who can make a grand piano shake while playing.

His curious range of technique, which included pieces of cardboard, electronic devices and well-placed slaps, gave the audience smiles of fascination.

The festival was a great success, allowing fans of contemporary jazz and classical music to sample some of the finest acts in their respective fields.

4

ic M Muussic

5th March 2007

the

siren

College Tribune

aural examinations

tracey thorne

are the comically bad ‘AZ’ and ‘It’s All True’, with cheesy synths and retro drum machines giving the songs a cheap, tacky 80’s sound.

A Primary school English class would probably produce more interesting lyrics than “Turn on the news/ and its somebody else’s news/ and its always such bad news/ and I’m not good with sad news”, so it appears that Thorne’s song-writing ability is somewhat lacking.

‘Get Around To It’ and ‘Easy’ nnppp are a couple of half-decent house tracks, but at no point is the music innovative or inspiring. Thorne’s best chance of commercial success lies with the hope of a DJ remixing one of her tracks into a credible dance floor hit, as was the case with Todd Terry’s hit version of the EBTG song ‘Missing’ way back in 1994.

Tracey Thorne has an excellent voice, and her melodies are well crafted, but unfortunately, the overall production on this album is average at best. Forgettable.

Hugh Fowler

out of the woods Out of the Woods is a mishmash of house tunes and mellow ambient songs courtesy of Tracey Thorne, former singer of English pop duo Everything But The Girl.

The opening track ‘Here it Comes Again’ is one of the stronger points of the album, with cellos, violins, synths and a glockenspiel gently flowing around Thorne’s softly-spoken lyrics. ‘Nowhere Near’ is an easy-on-the-ears chill-out track, though it’s barely better than mediocre.

The definite low points of the album

eoin coughlan

grinderman

grinderman

blood in vein nnnnp

Nick Cave turns 50 this year. Any preconception that this event may be marked by a Greatest Hits cash-in or a quiet album of country standards are obliterated within the first five seconds of ‘Get It On', the electrifying opening track of this furious, hilarious hurricane of an album.

Recorded in one week, Grinderman recalls the raw garage rock sound of Cave's first band The Birthday Party, except the young Cave never sounding this urgent and alive. Regular Bad Seeds Warren Ellis, Martyn Casey and Jim Sclavunos are all having a ball, especially Ellis, freed from his usual piano and violin role to get stuck into some serious guitar.

Stand out track ‘No Pussy Blues' confronts the issue of age head-on; the frustrated, primitive howl of a man made to feel old and pathetic by constant sexual rejection. Cave is highlighting our society's obsession with youth and cool, and its effects on the middle-aged psyche.

The key is that his lyrics are incredibly funny, and musically the song is a thunderously savage rock tune, which makes the whole thing damn cool.

Meanwhile ‘Electric Alice' and ‘Man in the Moon' provide a more ethereal, accomplished depth to the record. Presumably it comes with age.

Aidan Mac Guill

nnppp

Blood in Veins is the debut album from Limerick based Eoin Couglan.

He has a background in traditional Irish music, fronting the internationally acclaimed traditional group Nomo’s, and apparently is recognised as one of the best traditional guitar players in the country.

‘Blood in Veins’ showcases the traditional element of Coughlan’s abilities while attempting to add something of a modern twist.

While the haunting melodies and well constructed lyrics of ‘Blue’ offer the album some respite, it’s hard to shake the feeling that this is nothing that hasn’t been done before (and done better) by the Damien Rice and Declan O’ Rourke’s of this world. The low point comes on the exceptionally awful protest song ‘Cutting Down Laws’, where Coughlan rallies against those who would do harm to Mother Nature, while incessantly repeating the chorus ‘Cutting Down Laws’ over and over.

He sounds remarkably like that old man who sits at the end of the bar in your local pub and starts rambling about all the things that are wrong with the world at about half eleven every night. The experience is just as (un) enjoyable.

There’s a good balance of quiet songs and livelier numbers but overall the album gives the impression that you have just listened to the one long (very long) same song.

Tara Phelan

mick flannery

midnight trainn

pppp

Mick Flannery's timeless folk-rock posturing, fused with a trad flavouring, just does not convince.

‘Evening Train', his second offering of pretentious maudlin keening, is suspiciously reminiscent of the dynamic between a certain Damien Rice & Lisa Hannigan. As a result, it's hard to shake the feeling that he's trying to cash in on the nation's current fascination with any old bearded whinge with a guitar and a beanie - the more melancholy the better.

In ‘Evening Train', Flannery strives towards wistful, lyrical power and profound musings. Unfortu-

nately, the most apparent feature of the album, as he mumbles his way incoherently through eleven tortuous tracks, is his worryingly drugged style of singing, which probably is the most authentic aspect of the record.

Still, he's more successful with his aching melodies, but only in the way they'll have you banging your head against a brick wall.

The album is themed around an embarrassingly clichd narrative of violence, alcoholism, and gambling, set in small town America.

The story unfolds through a nauseatingly uninspired dialogue between a host of shady characters, slurring like bandits in a bad spaghetti western.

At a mere 21 years of age, Flannery's supposed wealth of experience of this seedy gangster underworld is extremely suspect for someone so young, no matter how bearded his smig may be. His world-weary, salt of the earth brand of misery just doesn't cut it.

The result is an arduous and unoriginal effort that's nowhere near as clever as it thinks. Thankfully, Flannery wraps up his surprisingly short album right quick with his title track in just under 33 minutes, but sadly, it just isn't short enough.

Rebecca Glynn

provide the image of a time-defying Witch Monster stretching from the 70s to today, using unwitting pawns to achieve some sort of much needed fix of the lifeblood of attention.

Why respected artists like The Flaming Lips and The Polyphonic Spree did agree to collaborate with such an amateur sounding and jarring lyricist is the real wonder of this album.

This is painful stuff for the most part, occasionally becoming listenable for a few seconds before she ends up saying something incredibly stupid and ruins the whole thing.

The intro ‘Witch Shocktronica' ranks among the worst songs on the album. Her voice moves from a voice-over style to an ‘impassioned' yowl throughout the album, doing its best to distract from the npppp reasonable back round sounds generated by her Yoko, what are you doing? I mean, just take a moment, and ask: why? A support bands.

Save your money. Do not buy this. You can do so compilation of collaborations with today's ‘top' artmuch better. ists is just the thing we need, right? Wrong. EntiLorcan Archer tling the album ‘Yes, I'm a Witch' really does help to

tracey thorn

out of the woods

the

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College Tribune

MMuussicic

5th March 2007

5

Out of this world Ex-Beta Bander Robin Jones talks to Aidan Mac Guill about his extra-terrestrially awesome new band The Aliens

Listening to ‘Astronomy for Dogs’, the funk-tastically frantic debut album by The Aliens, it’s clear that experience hasn’t dulled Robin Jones’ enthusiasm for music.

Although he can’t fight the inevitable passing of time entirely, “I’m partially crippled; I’ve done something to my back. I’ve been hobbling around like a geriatric. Other than that I’m pretty good.” Fingers crossed the ex-Beta Band drummer can recover in time for The Aliens to unleash their unique and utterly insane live show on an unsuspecting Crawdaddy on March 25th.

Described variously in the press as a “bizarre”, “demented” and above all “exhilarating” show (understandable considering their lead singer has spent time in a mental institution), it will unquestionably be an unmissable live experience.

“We’re just trying to get people up dancing, that’d be the dream,” says Jones, “It’s great live, I don’t know if you saw The Beta Band play live but its much more rock n’ roll, it’s much more like a band.

It’s a lot livelier.”

Emerging phoenix-like from the flames

Gig Watch

of The Beta Band, one of the best bands of the last decade, The Aliens, are made up of Jones and fellow ex-members John Maclean and Gordon Anderson.

Anderson’s story is truly remarkable: a founding member of The Beta Band, he wrote many of the songs that earned them their first record deal. Tragically mental illness got the better of him at their first recording session, and while his friends went on to what is generally described as “cult” success (critical acclaim without the record sales to back it up), Anderson would spend the next eight years in a mental institution receiving electric shock treatment.

Did Jones feel guilty? “No, not guilt, just sadness really. He was cruelly denied The Beta Band right at the very point where it was all going to’ go out. Working with Anderson is almost what was always supposed to happen and what we’d always been looking forward to happening. I’ve always loved his songs. It’s great.”

The album is an infectiously good-humoured treat. ‘Robot Man’ is a ridiculously catchy funky masterpiece; while ‘The Happy Song’ is so frenetic and energetic that it seems to be right on the edge of a complete mental breakdown.

Current single ‘Setting Sun’ sounds like a classic pop song from a forgotten sixties summer. It’s vibrant, warm music to

From

6th March

Tue Mar 6 The Gorgeous Colours

Whelans

Thu Mar 22 Robert Hood

Wed Mar 7 U-Roy

Tripod

Fri Mar 23 Si Schroeder*

Wax

Kennedys of Westland Row

Thu Mar 8 Duke Special* Modeselektor*

Tripod Wax

Sat Mar 24 Stasis DJs, Dark Room Notes Pod/Crawdaddy

Fri Mar 9 Marco Bailey & CJ Bolland

The Vaults

Sun Mar 25 The Aliens*

Sat Mar 10 Subject 13, Eoin Cregan, Tayor Pod/Crawdaddy Mon Mar 12 Kristin Hersh Tue Mar 13 Richard Swift Thu Mar 15 Just Jack Sunil Sharpe

TBMC Crawdaddy Tripod Wax

Fri Mar 16 Complete Stone Roses Clannad Pendulum Esbjorn Svensson Trio Paul Van Dyk

Tripod Olympia TBMC Vicar St Tripod

Sat Mar 17 Kila Muleketu, Barry Redsetta Sharron Shannon

Tripod Pod/Crawdaddy Olympia

Sun Mar 18 The Waterboys Timo Maas

Point Tripod

Tue Mar 20 The Rakes

Vicar st

Point Vicar St

Wed Mar 28 Lionel Richie

Point

Thu Mar 29 Craig Richards (Fabric) James Zabiela

Wax Tripod

Sat/Sun Snoop Dogg/P Diddy

Point

Sat Mar 31 Gruff Rhys (SFA) Vicar st Alex Under* Pod/Crawdaddy Scratch Perverts TBMC Seth Lakeman Whelans FM 104 Help a Dublin child, ft. The Thrills, Director, Duke Special & More* Olympia

*=Tribune recommends

RDS

The Beta Band. It seemed like we were quite a popular band, but for the whole time we were doing it, we were probably on minimum wage. It became embarrassing.”

“I can’t work out what The Beta Band was. It was like one of those educational programmes that used to be on BBC2 very early in the morning, demonstrating what you could do, ‘You could do this, look! Come on, join in! Grab pots and pans!’ Where as this is more of a band, you know? Rocking out and growing our hair long. It’s more honest and straightforward. We’ve nothing to hide.”

It’s reassuring then that the success of this second coming hasn’t gone to his head. Hopes for the album and tour? “Eh, world domination? Platinum records, mass adulation, endless touring, a nice cellar full of fine wines? And a Mani Reach, do you know that?

It’s a bit like a tractor but it’s got a telescopic reach on the end.” Far out. ● The Aliens play Crawdaddy on the 25th March, 8pm.

myspace artist of the fortnight Battles

Crawdaddy

Tue Mar 27 Sugababes Joan Armatrading

Sun Apr 1 My Chemical Romance

play loud while the sun shines, the sound of a band having fun.

“Yeah, we were giggling all day long, it was great. The starting point is loads of very strong song-writing, and then on top of that the music is quite bright and colourful. It’s your wildest dreams realised.

Obviously.”

Jones has no regrets about how The Beta Band came to finish or the rumoured million pounds the band ended up owing their label EMI. “I think because we had gotten quite a lot of critical acclaim they sort of treated us like a pet.

“They could have pursued that money to the ends of the earth but I think they thought we were good enough that they could just say ‘OK, we’ll call it quits.’ But that was part of the problem with

www.myspace.com/ battlestheband

Following the example of avant-garde instrumental rockers Don Caballero (of whom one member is present), US act Battles present blazing, virtuoso compositions to fascinate and gratify in equal parts.

With Battles, the whole mix is fundamental. It is difficult to discern between composition and arrangement, instrumentation and production.

Single instrumental lines steal your attention, as they emerge glistening in the mix - forging intricate paths for themselves through the mass - only to dissipate just as your concentration is again born by a polyphonic swell.

Battles conjure the virtuoso musicality and unpredictability of Mars Volta, the atmospheric magnitude (not to mention electric performance) of their progenitors DC and Slint and (occasionally) that

cut-and-paste, ad lib, lo-fi quality only to be found in progressive jazz and breakbeat hip-hop.

On the Battles’ myspace page, prospective listeners can sample a good cross section of the bands stylistic modes. Atlas – with its unpredictable layering, erratic ornamentation and electronic sampling builds slowly through repetition into a rich, commanding, multi-textured echo of itself before fading away in an instant.

Standout, Dance, kicks straight into the thick of a breakneck drumbeat and unusual guitar layering quite reminiscent of a heavier Redneck Manifesto.

Battles - expounding a unique and paradoxical aural dialectic of order and frenzied chaos - come with a glowing recommendation.

Ronan Dempsey

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5th March 2007

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siren

Razorsharp music Steuart Alexander catches up with Andy Burrows of Razorlight shortly before their recent sell-out gig in the RDS Razorlight are a band in tur- from school. Obviously we’ve erile arrogance. For example, moil. They hate each other got a reputation as being a in his first major interview in and the lead singer Johnny bit dysfunctional and at some NME magazine, Borrell reportBorrell is a narcissistic, self times we are, you know? We edly claimed he is the greatest righteous egomaniac, and a spend every fucking waking songwriter of his generation, talented one at that. minute together. comparing himself to Bob DyIf you believe what you read “In the States and certain lan in the process; cocky is an in the papers, that’s Razorlight parts of Europe where we’re not understatement, ass is perhaps in a nutshell. So this leaves that big yet, we have to be on on the button? Andy defends Andy Burrows, the drummer, the bus together 24/7, so if we his front man with resolute with some pressing questions have an argument or there’s a honesty. to answer: Are the members slight falling out with someone “It upsets me when I read friends? Is Johnny a total ass? the furthest you can get away that stuff but at the same time Can a band which doesn’t get from them is four yards.”

I can understand why that kind along, go on for long? Some unIt’s a rock and roll band baby, of thing has come about. He did expected answers came back. not a boy band. These guys decide to start off his career The stylish surroundings of have real emotions, real per- by being incredibly bolchy and the Morrison Hotel set the stage sonalities and get pissed off up front, but he grabbed a lot for an explorative interview, but from time to time. Burrows’ of attention, which you need Andy Burrows is late these days to make it big.” (so rock n roll). Finally “I mean, we're not four It’s easy to agree. With so he arrives. First imnew bands breaking mates from school. many pressions is he is an in one week and fading extraordinarily grate- Obviously we've got a away the next, his behavful and humble charsucceeded in cementreputation as being a iour acter. ing Razorlight’s name in the And well he might bit dysfunctional and press. Is this one big clever be: his own story has self promotion game with all the marks of a at some times we are, the media? modern day fairytale.

“If it was a conscious you know? We spend decision, Low on self esteem, it would’ve been trudging from one fail- every fucking waking genius. I remember reading band to the other ing that article that he did minute together" and playing to bored in the NME before I was crowds of 25, in early in the band. I remem2004 he put himself forward to honesty is refreshing, “As we ber I picked it up, read it and replace the dumped Razorlight get bigger as a band it’s fair to threw it down and thought, drummer Christian Pancorvo. say that things sometimes get ‘what a wanker,’ and walked The latter had fallen out with a bit easier, obviously in the off but that had an affect. I the group immediately after UK and Ireland at the moment mean I only called him that becompleting ‘Up All Night’, their we have that luxury where we cause I was basically jealous. first record. Only three months can stay in nice hotels without “But it made you want to listen after his successful audition, seeing each other all the time.” up and when I heard ‘Golden Burrows took the stage at the Razorlight’s brash frontman Touch’ I was like ‘fuck that’s a Reading festival to the spine- Johnny Borrell has earned a really good song’, making him tingling roar of thousands of media reputation as being an even more of an arsehole. But sweaty fans. He went from opinionated git and there was a now I know he is a very sweet playing dingy pubs to living out well publicised run in with Bur- guy and a good friend, but yeah his playground dream in a mat- rows last year. he can be a bit fiery at times.” ter of months.

“I’m quite lucky me and This fire has lead him to reNow in 2007, he is an es- Johnny have the relationship we cently launch a very public spat tablished member of one the do now. We had a thing in the with The Kooks in the run up to hottest bands in the world. All press about four or five months the Brits, calling their album the of which leaves him feeling “in- ago where he hit me and stuff. most horrible thing he’s ever credibly lucky”. Indeed, luck is It was all over the papers say- heard. He courts controversy a word he leans on a lot. Here ing we all hate each other, but so he deserves the bad press. is one of the most Once again Burrows supthankful men in muhis front man.

“I mean I only called ports sic.

“I get very upset when The other members him a wanker because I I read bad stuff about him of Razorlight are two because anybody with that Swedes, Bjorn and was basically jealous. much charisma and artisKarl, and the swagger- But it made you want tic ability as Johnny has, ing front man, Johnny gonna be a bit lippy, to listen up. when I he’s Borrell. that’s the way it should be.

This band did not mean he’s so inspiringly heard ‘Golden Touch' Idriven, organically evolve in I’m not a lazy perthe garage or bed- I was like ‘fuck that's son - I work quite hard, but room; instead they makes me feel lazy. He a really good song', he formed in 2002 just doesn’t stop.” making him even through a newspaThis drive and hard work per ad. Although the has produced two highly more of an arsehole" Swedish members successful albums, ‘Up All were friends before joining, ru- the thing is in a band you spend Night’ and the eponymous secmours persist that they don’t so much time with each other, ond effort, ‘Razorlight’. get on with Johnny, and Andy I challenge anyone not to occaThe latter has surprised readily admits that there is ten- sionally fall out.” many fans as it represented a sion.

Borell’s boisterous self be- move away from raw rock to a “I mean, we’re not four mates lief often comes across as pu- cleaner pop sound, as Burrows

explains, “Up All Night is a very ing’, and the anthemic ‘America’ ing he can give it everything.”

However, the writing credits sort of youthful record, its very from the second album.

Although all the members of for ‘America’ (the song that angst.

“It’s quite reflective of the the band are involved in writ- secured the band’s first UK #1 in October 2006) are way Johnny was feeling shared between Borell at the time and the fact that we were three years "I think what we do is and Burrows. Gossip column rumours had it that younger than we are now.

It’s fantastic because it’s very sort of old school Burrows wrote the mubut Borell wouldn’t full of balls, absolutely, style of live, where sic, write vocals unless he but the second one is full of a different kind we never really know was given full credit for the whole song. Burrows of balls, bigger balls. Its about songs, you know, what's gonna happen. reveals the inspiration not being afraid of hav- Sometimes you might for the song and reveals it was in fact writing that pop element acsee Johnny climbing that ten by both. centuated but still being an unbelievably passion“That was our song, all over the place, ate energetic live band.” that was two people it's quite scary" Theirs is a modern brand writing a song togethof rock and roll which er that was a genuine fuses pop sensibility with musi- ing, Burrows reveals that the down the middle effort. Me and cal integrity. Their most notable primary creative force comes Johnny are heavily influenced, songs include the breakthrough from Johnny, “He writes most like most people, by our childsingle ‘Golden Touch’ and rau- of the songs. I’d rather most hood. When you’re little you’re cous ‘Rip It Up’ from the first of it came from him because so much more ignorant, so if album; the catchy ‘In the Morn- I know when he’s perform- you did like a song there was

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Film

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living on the edge and we don’t know where he’s gone.”

As a result, expectations were high for the gig that evening at the RDS, with the fans ready to revel in the passion and energy that is Razorlight live, but unfortunately the RDS gig was not the memorable experience hoped for.

This can largely be attributed to the venue: the drab RDS, essentially an empty warehouse with speakers.

Any atmosphere generated wafts and wanders through the high tin roof, which also contributes to poor acoustics. Nay, the electricity wasn’t there that night. Borell did try the odd dash across stage, and he even shed his famous white vest in attempts to get in the groove.

But it would be unfair to re-examine their excellent reputation as a live act on the basis of one lacklustre show. Instead, look forward to Oxegen 07 (which they are booked to play) to make a definitive call.

All this leaves us with an interesting insight into the world of Razorlight. Can we now rebut or confirm the opening perceptions? Firstly is this a band in

Edgey: Razorlight members (L-R) - Bassist Carl Dalemo, drummer Andy Burrows; Singer Johnny Borrell, lead guitarist Bjorn Agren,

never any reason for it, you didn’t know why.

“It wasn’t because of the guitar sound, or because of the lyrics because when you’re little you don’t know these things. I think what we were trying to do is make songs that have that same effect on people, i.e. they like it for some unexplained reason, because of an indescribable feeling.

“It’s like you don’t even listen to the lyrics or what it’s about, but in a real childish innocent way you connect with the song.

“That’s what America is for me, it’s like a pop song that makes me feel like a kid, going out to play football with my friends in long summer evenings - that innocence. That’s not what we’re all about, but some of the songs come from there.”

Live performance is also a very big part of Razorlight. They’ve built up a solid reputation as being a highly entertaining live act, with stellar shows at Live8 and many a UK festival behind them.

Borell is the source of all their magic, with his onstage antics drawing comparisons with Mick Jagger and Freddie Mercury.

Burrows can confirm, “I think what we do is very sort of old school style of live, where we never really know what’s gonna happen.

Sometimes you might see Johnny climbing all over the place, it’s quite scary, we might lose him in the stalls

turmoil? The relationship appears more a marriage of necessity than a match made in heaven. But as long as they are making good music and selling out shows, they are happy to keep staying together.

Though Andy admits to occasional dysfunctionality, the awkward dynamic works at the moment

because the music does. However, there are visible cracks - by Andy’s own admission they’re not ‘school mates’, and while they may not loathe each other, there is not enough evidence to confide in long term predictions.

According to Burrows,

Borell has “his heart set on the world.” History suggests that to secure sustained success, a band needs a pillar of friendship or similar social roots.

The Beatles, the Rolling Stones, U2 all formed in school or through mutual friends. Razorlight were however, rather sloppily formed with a random fusion of cultures and backgrounds.

Burrows concedes, “I know exactly where me and Johnny are musically, I’m not saying I don’t know where Karl and Bjorn are, those two bring so much to the band, we really pull in different directions and put a lot into it.”

It appears a subtle division and so far has resulted in healthy creative tension. However, one can’t help feeling that the strain may eventually pull the band to pieces. For the sake of great pop music, let’s hope not.

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5th March 2007

Health

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What’s the

alternative?

When health problems hit, people turn to drugs and conventional medicines. But there are other options, writes Caitrina Cody Ireland is a nation of drug-users. For the average person however, cocaine is not their drug of choice. Instead, our medicine cabinets are stocked with a colourful supply of over-the-counter drugs: Advil, Tylenol, Ibuprofen, Benadryl, Uni-Flu and Calpol - to name but a few.

Many of us reach for the Advil as soon as we experience even the faintest hint of a headache and rely on cold suppressants to see us through the week during winter. Busy lifestyles leave little time for recuperation in bed and so it becomes necessary to depend on drugs to enable us to function.

In recent years however, there has been a move away from this over-reliance on pharmaceutical drugs and society has begun to look elsewhere for cures. We have begun to realise that antibiotics can have an adverse effect on our immune system and that drugs should perhaps only be used as a last resort.

What are the alternatives out there for someone prepared to question the dominance of drugs in healthcare?

Homeopathy is perhaps the most wellknown alternative health practice with over 200 registered homeopaths in Ireland. Based on a principle that is over 2,500 years old, it is an individual and holistic treatment, designed to treat the patient as a whole and not just certain symptoms.

When deciding on a course of treatment for a patient, a homeopath will consider the person on several levels: their mental, emotional, physical and spiritual wellbeing.

By thoroughly understanding the background of the patient, the homeopath is then able to select a homeopathic remedy with the aim of restoring health.

By using minute amounts of carefully selected medicines, homeopathy aims to stimulate the patient’s own healing responses. In this way, conventional drugs can be seen as akin to bandaging a health problem, rather than attempting to cure it properly.

The remedies are natural and non-toxic with their most common sources being flowers, plants, minerals, metals, insects, animal milk and venom. While the idea of ingesting venom might seem off-putting to some, these ingredients are usually only present in trace amounts.

The advantage of homeopathic treatment is that it takes into account factors that would seem irrelevant to a general practitioner, such as personality and lifestyle.

For students who are generally fatigued

and prone to headaches, this may be a good method of getting to the root of vague health complaints without resorting to drugs.

Homeopathy is claimed to treat conditions such as acne, asthma, allergies, colds, flu and anxiety.

However, treatments can be expensive with the average appointment costing around 50 euro. The world of medical opinion is ambivalent about the use of homeopathy with many doctors claiming that it has no medical benefits whatsoever. It has gained a certain amount of credibility in recent years as a complementary treatment.

Acupuncture is a traditional Chinese medical system that is over 4,000 years old. It is based on the theory of the energetic system of the body or “chi” as the source of all health and vitality in the individual. When

“Complementary therapists offer something that doctors cannot offer hope" one’s chi becomes disrupted or blocked, illness can result.

By inserting fine needles into specific points on the body, practitioners believe that the body’s innate power to heal itself can be stimulated and the energy flow can be restored.

Treatment styles can vary according to practitioner but according to experts in the field, any person suffering from anxiety, depression, asthma, high blood pressure, menstrual cramps, skin problems, allergies or hair-loss can be relieved by the process of acupuncture.

Under the BUPA and VHI health plans a certain amount of appointments will be subsidised as long as the practitioner belongs to a recognised organisation. Otherwise the treatment can be expensive, at approximately €50 per consultation.

Hypnotherapy involves the total relaxation of the mind and the body of the patient in a state of semi-consciousness.

According to practitioners, it can have a beneficial effect on patients who suffer from migraines, anxiety, sleep disorder, stress and alcoholism. It is usually found to be an extremely pleasant experience and patients wake feeling refreshed and energised.

It permits the patients to connect with their own subconscious, where all our deepest, thoughts, feelings and emotions are held and to effect changes in their bodies.

Alternative medicines have their devoted fans but also their vehement detractors.

UK cancer expert Professor Jonathan Waxman has criticised the industry claiming that there is no real foundation for belief in complimentary therapies.

He declared that any results were psychological. “Complementary therapists offer something that doctors cannot offer – hope.”

He emphasised that measures must be put in place to regulate the practise and said that it is now time to focus “on a particularly vulnerable section of our society and do something to limit the exploitation of our patients.”

The major difficulty involved in any assessment of complimentary treatments is the lack of obtainable evidence. It is impossible to accurately gauge their effects on patients and to separate the psychological impact from the physical impact.

Do people turn to alternative health for psychological reassurance? Or do they perceive it as a viable alternative to conventional medicine?

According to Jane Brody and Denise Grady, authors of the Consumer’s Guide to Alternative Health, patients want to be treated not as a list of symptoms, but as whole people.

“They want to actively participate in their own healing and to collaborate with someone who genuinely cares about their wellbeing.”

The book explores the positive features of alternative health but emphasises the need for continuous investigation. It is important to make sure that alternative health practitioners have recognised qualifications and are registered with the appropriate Irish organisation.

For students suffering from stress or migraines, alternative health may be a viable option. Rather than unquestioningly swallowing pills when we feel ill we should consider the reasons why we feel that way and alternative therapies can help us to make much needed changes in our lifestyle and approach to our own well being.

For more information on alternative health in Ireland visit www.healing.ie To find a registered homeopath or acupuncturist visit www.ishom.com or www.chinesemedicine.ie

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Fashion

5th March 2007

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Spring is in the air Cathy Buckmaster guides us through the new spring trends and encourages us to be imaginative in our approach to fashion this season.

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Sunlight has barely broken through the clouds, but this year’s frivolous spring and summer trends have burst onto the scene and will be hitting the stores very soon. With a few diverse looks - from futuristic metallics to endearing floral print - becoming very popular on the catwalks, no one need worry, there’s something for everyone.

For those of you who equate spring and summer trends with the idea of begrudgingly bearing flesh, there’s plenty of ways to

remain covered up while remain- should be teamed ing cool under the summer sun. with grungy boots and The colour of the season is an fringed shaggy bags. acid yellow, radiating a dazzling Floral patterns will also be a stylish energy after the long dull winter option for this look. Look to Pennys months. In contrast to many of for a wonderfully affordable selecthe more demure pastels emerg- tion of floaty purple smock and ing this season, neon is back with similar pieces. a vengeance and ready to blind Vibrant floral designs were all over fashion patrons everywhere. the catwalks so expect to see flowers Flirty short styles (especially the everywhere. Dresses, skirts, jackets, oh-so-chic mini-dress) are going to there’s no escaping it - femininity is be huge this summer. Flouncy A-line back on the agenda. Enjoy this rare skirts with rising hems in playful romantic take on feminine fashion colours are a must-have. while you can, look out for lace, frills However, more detailed prints and pastel colours as well as large with subtle details are better for flower rosettes to finish the look. the more sophisticated couture A simple floral dress is a versatile look. Look back to the micro-minis choice for either day or night, but of the sixties for inspiration. Foot- big and bold floral prints are particuless tights teamed with vibrant larly contemporary. Try to balance a pumps are a good option for those full flowery skirt with a fitted bodwho hate revealing their legs. ice for a more edgy look.

If skirts are not an option, don’t For the more demure, the preppy worry because high waisted look will also be big this season. jeans have made a bold This clean-cut boyish look comeback. Exposed will include wide-legstomachs are ged trousers or history as this tailored shorts style returns. teamed with Although not smart shirts welcome by and oversized 1) The A-line skirt all, these cardigans. A leg lengthlarge squishy 2) The wide leg denim ening and 3) The micro-mini dress leather bag waist defining would be 4) The flat pump jeans have their great acces5) The metallic bag good points, so sory for the don’t be too quick outfit. to dismiss them.

Also popuThe catwalks lar this seahave been flirtson is the ing with the idea of metallics for sporty sophisticated look, where a while but magpie-like designers the idea is to mix and match casual have finally embraced these futur- items with more sophisticated piecistic gleaming fabrics indicating a es. Chunky zips and parallel stripes brave new sci-fi direction for fash- are the accessories for this look, ion, with an assorted collection however be warned, brands usually of glimmering pieces. Think associated with sportswear are out. to the future with shimmerTo achieve the look, team a viing silvers, luminous whites brant dress with a casual hooded and smouldering goddess-like sweater or stick with the popular golds. jersey dress. Alternatively simply A space-age mini would be a add sporty accessories such as a welcome addition to any fashion bum bag or vibrantly coloured runconscious wardrobe. Keep edges ners. sharp, fabrics shiny and hair sleek.

As for accessories in general, this However head-to-toe metallic can season is all about the extreme, with be too much for most, so a safe op- towering wedges and huge tote tion is to stick with a pair of shiny bags dominating the market. This pumps and a small shoulder bag cartoonish take on fashion brings a with a long strap. Bold futuristic wonderful taste of humour to the jewellery would also be a nice spring/summer collections. touch. Look out for this style in Bright and exotic coloured bags Oasis. are key, with details such as tasA new designer trend to- sels and charms being important. wards attention to detail is Topshop and New Look have some evident in craft-based pieces, great bags to carry off this style. also indicated to become all Pennys and H&M are great sourcthe rage this spring. Think of es of extremely affordable summer it as a more elegant version of essentials such as simple tank tops, Bohemian look. Dramatic em- exciting pumps and funky accesbroidery, patchwork and graphic sories so they should be your first patterns inspired by eastern de- stop in building your spring/summer sign will be teamed with floaty wardrobe. hippie-like dresses and blouses.

With so much This individual and fresh style choice and diversity, at such affordable prices 1: Topshop €60 all over the city, it would 2: River Island €67 be hard to avoid a trend this 3: Penny's €12 summer so just aim to have fun 4: Dorothy Perkins €30 with whatever category you hap5: Topshop €67 6: River Island Gold Dress €56.50 pen to fall into.

Summer essentials:

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Penneys For those of us on a budget, Penneys has the answer: a huge range of colourful dresses at unbelievable prices.

Kate Moss for TopShop We wait with curiosity for Moss’ new designs for TopShop, available in May.

Yellow Acid yellow is set to be the new black. Not for the faint-hearted or pale-complexioned.

Bald Britney She doesn’t look half bad but such an obvious publicity stunt is a sure sign of desperation.

The Oscars Sure, everyone looked just wonderful. But everyone knows the best thing about the whole ceremony is the shocking fashion mistakes that we get to laugh at afterwards. Bring back Bjork and her swan costume.

Samantha Mumba Her Vicar St gig has been cancelled due to lack of interest. Now really, what was she thinking?

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5th March 2007

Film

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College Tribune

Lacks magic A casual film-goer could be easily forgiven for confusing Director Neil Burger’s latest effort, The Illusionist with 2006 release The Prestige.

In fact, it would be bloody easy to do so, as both films concentrate on the unique intrigue and danger generated by performing Magicians at the end of the 19th century. There are several similar motifs: the burning desire to uncover how the tricks work, the leading lady’s implication in the performance and the whole late-Victorian society that buzzes over the wonder of the show.

With rumours abounding of ‘Magicians’, yet another production set in the world of competing tricksters due for release in April, it appears that the mini-genre is reaching saturation point.

So does The Illusionist keep its head above water?

Set in Vienna, and the glory days of Austro-Hungarian Empire, the story concerns the return of the mysterious Illusionist Eisenheim to his home country.

Needless to say, chaos ensues when he rediscovers his childhood sweetheart, the Duchess Sophie (Jessica Biel), who is now due to marry the unworthy heir to the throne, Prince Leopold (finely performed by Rufus Sewell).

Luckily, he has his trusty powers to rely on, and the confrontation slowly emerges, magnifying in scope as the film progresses.

Unfortunately, it must be noted that Norton delivers something quite short of a magical performance, with only the exceptional display from Paul Giamatti’s Chief Inspector Uhl rescuing the film from a sluggish pace and half-expected twists.

Norton’s Eisenheim starts off with a minimalistic performance, before totally disappearing into the scenery for the second half of the movie. Instead the audience turns to Giamatti, who more than vindicates himself for the lessthan-inspiring Lady in the Water with a conflicted and realistic character than really represents the best of the film.

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Uhl is torn between Eisenheim’s appeal for justice and the great promises of power that the Prince gives him, and his best performance since the excellent ‘Sideways’ is assured.

The thick, jowlish Austrian accent he adopts is one of the more impressive aspects of his amusing performance as he is befuddled again and again by Eisenheim. He also serves as the film’s sole narrator, a wise move on Burgers part.

By comparison, the film’s love story is pushed into a totally forgetful subplot, despite its essential relation to the entire movie’s storyline. We are also mistreated to a long, drawn-out but ultimately unsurprising twist that justifiably suits the movie’s name.

This is only Burger’s second feature film, and we won’t write him of yet. His first movie, ‘Interview with the Assassin’ fell short as an actual production, but the idea (Burger again had writing credits) of an interview with the newly self revealed ‘second shooter’ of John F. Kennedy in Dallas, 1963, is a pretty cool one. With his latest effort however, the concept isn’t as novel.

Norton scowls, a lot, but not as well as he scowls in Fight Club. And seeing as his character says barely anything, that really doesn’t leave him with much to do, despite any notions of a dark and inexplicable character that the script may have hoped to achieve.

Audience members expecting this to be made up with a stunning display of illusions and spectacle may do well not to bother, as it’s kept strictly to minimal, yet inexplicable tricks of the time.

Far from the best, but still a reasonably entertaining tale of intrigue, The Illusionist manages to stay pretty interesting despite its deficiencies in many areas. And that is perhaps its greatest trick.

Lorcan Archer

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Reconsidering romantic comedies

It’s difficult to understand the lure of romantic comediess; given their substandard scripts, casts and levels of realism, and yet people are still drawn toward them, writes Hannah Koesbroek Girls love romantic comedies, especially really lame, predictable ones with hot guys in them.

Their DVD collections consist mainly of movies that are watched over and over, which means they’re 90 percent romantic comedies. The reactions have been heard a thousand times, “How can you watch that?! It makes me want to projectile vomit all over the script!”

What’s weird is that right from the moment some people hit twenty, they find themselves agreeing.

Having watched romantic comedies for comfort, with pyjamas, hot chocolate and a pillow, one day people curl up to watch ‘Never Been Kissed’ and are left staring blankly at the TV, muttering incoherently.

A similar incident might occur when trying to rewatch some former classic such as ‘Two Weeks Notice’. It becomes clear, in a flash of blinding illumination, that most of these movies are misogynist, devoid of meaning, badly written and badly acted.

Let’s start with ‘Never Been Kissed’. It’s the story of former nerd Josie (Drew Barrymore) who gets a second shot at being popular when she has to pose as a high school student for a newspaper article.

First of all, it’s a ridiculous premise. Her editor wanted to find out about ‘kids today’, so he enrols his twenty-five year old reporter in the local high school. Right, because no one would notice.

The possibility that her young, hot teacher (Michael Vartan) wouldn’t know about the deception is not very credible. Secondly, what exactly is she expecting to find out? American teenagers are not nice to each other. Oh really. We already knew that,

thanks to ‘The Breakfast Club’.

This is, however, what Josie finds out, and what she writes about in her article: that American high schools are divided into cliques and that nasty unfriendly people dictate which one you’ll be in.

The worst part is, despite her speech at the prom (which is weakly echoed in ‘Mean Girls’), Josie does care about being popular. It’s only when she’s popular that she’s able to get the guy (another ludicrous premise: what twenty-five year-old has never been kissed?).

A sensitive, caring guy, who should know better than to dump his girlfriend of five years in order to go out with a teenager. And why are all the popular girls nice to Josie after she’s poured dog-food all over them? They seemed like vindictive bitches for most of the movie, why would they undergo a metamorphosis over someone they only liked because they were told to?

This film abounds in school spirit, and the message seems to be that if you’re a clever girl, you’re incapable of brushing your hair or resisting the temptation to point out grammar mistakes, and you’ll feel compelled to follow a total idiot around, no matter how many times he rejects you in front of the whole school. The film alludes to Shakespeare’s ‘As You Like It’, which is being taught by the hot teacher: “disguise can be liberating.”

At the end of the film, Josie tearfully informs a group of party-goers that “there is a big world out there, bigger than high school, bigger than prom,” which is a hard pill to swallow when it’s wrapped in a high school movie.

On to ‘Two Weeks Notice’ then. The script is not as flat-out ridiculous as that of ‘Never Been Kissed’, but the story is just as unrealistic.

Honest, do-gooder lawyer genius Lucy (Sandra Bullock) meets soulless corporation-owner and notorious womaniser George (Hugh Grant), and the two strike up a business deal.

It’s another example of a film that seems to advocate strong, independent, working women; but in fact does not. Lucy has to give up her position at Wade to make way for George’s massive ego, is left living in her parents’ apartment, filling her emotional void with Chinese food.

George is a stereotypical upper class, rich, selfabsorbed charmer, incapable of holding down a relationship or seeing women as anything more than sex-objects, and yet it’s Lucy, the honest, intelligent one, who is painted as a bitter commitment phobic.

Lucy catches George, half naked, playing strippoker with her replacement, and is understandably angry. Yet, crazily, the directors seem to want us to sympathise with George, implying that Lucy is wrong to be upset.

George has the emotional maturity of a five-yearold, and what’s more, the film seems to imply that it’s okay for men to treat women this way. It’s summed up in George’s relationship with his (older, fatter) brother: he’s the face of the company, but for no apparent reason other than looks and charm. Why is Lucy interested in George in the first place?

One can’t help but suspect it is because George is actually Hugh Grant, who has perfected the as-

shole-who-you-shouldn’t-date-but-my-God-he’sjust-so-sexy role. It has something to do with the hair and the accent. Which is interesting, because if you put Grant next to other Brits, his accent becomes embarrassing, impossible to listen to, whereas next to Americans, he evokes an old-school charisma reminiscent of Cary Grant.

In fact, Grant and Bullock save this film from complete oblivion. Their chemistry and light-hearted approach to what they must have known to be a ridiculous script gently mock the film, which is part of its charm.

Still, the ending gets you thinking. Lucy runs after George after he has delivered a speech about why he likes her (apparently despite her horrendous sense of fashion). He tries to kiss her, and she won’t stop talking.

She’s too busy being the clever woman to shut up and be kissed by George, who, let’s face it, is Hugh Grant. Not exactly a sign of her inteligence – she’s only setting herself up to be put in her place, and to make way for George’s higher authority.

The reality, to be fair, is that in spite of all this, ‘Two Weeks Notice’ and ‘Never Been Kissed‘ still have something to offer, partly because of their brilliant quotes.

If girls manage, for most of their teenage years, to overlook the moral degeneration implied by the plots in order to watch Hugh Grant and Michael Vartan, then perhaps it can still be done into their twenties. Only now, it must be kept in mind that it’s a load of rubbish. But bring on the pyjamas and the biscuits.

Dangerous Minds -but good A young idealistic high school teacher tries to get through to her unruly students from disadvantage backgrounds. Now this, you might recognise, but don't judge too soon.

Freedom Writers' skeleton theme may be identical to a long line of movies born of Dangerous Minds, but the body wrapped around those bones sets it apart from the pack, and deserves attention.

Firstly, lets look at our respective leading ladies. Michelle Pfeiffer led along the earlier movie. But Hillary Swank is a better actress than Pfeiffer and she shows that here, primarily by allowing us to forget that we're watching a film, something Pfeiffer can rarely do.

Secondly, with movies like these you're never going to get a

classroom full of young stars to fill up your cast, so inevitably, there is a reliance on relative unknowns. In Dangerous Minds, one could have been forgiven for thinking that the casting director was an idiot.

With Freedom Writers however, you must take your hat well and truly off to whoever managed to find a young cast full of absolute diamonds in the rough. By far and away, this film's greatest attribute was its young stars. Narration from April Lee Hernandez deserves particular mention.

Another vital aspect of these films is how they deal with the sentimentality that inevitably arises. Pfeiffer's touching little chats with staying youths are

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painful to watch and Dangerous Minds in its entirety is awash with vomit-worthy dialogue.

Freedom Writers tackles this issue brilliantly; Swank is full of the loved-up-do-good attitude that any person seeking to do any good at all in a position like hers would need. But the world around her keeps things well and truly on the grounded. LA in the aftermath of the 1992 riots there, is no picnic.

To be fair, one shouldn't go expecting not to have a single tear bud jerked because that element is there. It's a story about young people who never had a chance and a woman who was willing to do what she could to help them. That's emotive.

Swank claims to have cried down a phone line to Erin Gruwell (Her character's inspiration) when she read the script. After seeing this film, most will agree she's a pretty cool lady.

Barra O Fianail

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5th March 2007

BBooookkss

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College Tribune

siren

Sex and death in Paris Giovanni’s Room is one of the greatest novels of all time, writes Aidan Mac Guill ‘Giovanni’s Room’ is the story of David, an American living in Paris in the 1950’s. He is in exile, like so many of his generation, seeking to escape the social, religious and cultural structures that have shaped his life to that point, and in doing so to somehow gain a better understanding of who he is, to ‘find’ himself.

He drinks a lot, eats very little, and tries to make sense of the new characters and locations that now inhabit his life. He is also waiting for the return of his fiancé Hella, who has travelled to Spain on her own journey of personal discovery.

While drinking in a friend’s bar, David meets bar-tender Giovanni, a passionate and confident Italian. David is immediately drawn to Giovanni in a way that at once terrifies and excites him, and as they begin to fall in love David is forced to confront his darkest secrets and fears, and to re-examine the ideas and beliefs that he has led his life according to.

Giovanni provides for David the catalyst for self-understanding that he had hoped his escape to Paris would achieve.

But gradually the intensity and blind passion of Giovanni’s love begins to repel David. Ultimately he is forced to make a decision that will have catastrophic consequences for all concerned.

James Baldwin wrote ‘Giovanni’s Room’ in 1956. He had achieved a moderate level of success in the US with his only previously published work ‘Go Tell It On The Mountain’, the fictionalised story of his childhood in Harlem, New York.

But that success had been dependant on it being a “Negro” book, dealing with the issue of race and life in the ghetto, and populated by black characters.

Publishing a black writer writing about “negro issues” was fascinating to white America, in the way that the work of a writer from any supposedly alien ethnic background is still viewed today, just read any review of books written

by Arab or African writers and marvel at the reviewer’s patronising “Wow, they wrote a book, good for them!” tone.

But Baldwin’s staggering, ferocious second novel contained no black characters. It was populated entirely by white, predominantly homosexual or bisexual characters. His publisher in New York, Alfred Knopf, regarded a book written by a black homosexual writer about white people as unpublishable.

There was, however, no problem with publishing the work of Truman Capote, a contemporary of Baldwin, who became the most celebrated American writer of his generation.

Capote was openly gay, but he was also openly white. Knopf later wrote, “The sexual-moral light was a hard thing to deal with. I could not handle both propositions in the same book.” Baldwin’s own agent’s advice regarding one of the finest novels ever written was simple - burn it. It wasn’t racism, it was simply business.

What it really was of course was staggering hypocrisy. Mercifully Baldwin recognised this and persevered in finding a publisher, which he eventually did.

Reviews in the press at the time highlight what Baldwin was up against, “The new novel from without doubt the most famous Negro writer of our time, remarkable for it’s challenging assumption that it is as valid for the author to describe the processes of a homosexual as of a heterosexual affair.”

Colm Tobin wrote of Baldwin, “His intelligence, the energy of his wit and his longing for love ran up against history and the hardness of the world, against the prejudices which people had about a man who was black and gay. Everything in his fiction is bathed in the sadness which resulted.”

Throughout his career, the literary establishment persistently attempted to undermine his ability and success by ham-fistedly categorising his work. Bald-

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In fact, he was the most gifted writer of his generation, and ‘Giovanni’s Room’ marks the high point of his novelistic output.

Baldwin wrote of the book, “I sup-

“I suppose what some people have failed to understand, or refused to, is that ‘Giovanni's Room' is not about homosexual love; it's about what happens to you if you're afraid to love anybody." pose what some people have failed to understand, or refused to, is that ‘Giovanni’s Room’ is not about homosexual love; it’s about what happens to you if you’re afraid to love anybody.”

The real question here is the creation of “prisons”, of various sorts, not necessarily homosexual ones, that make love impossible. The book is a profoundly dis-

turbing pre-cautionary parable against the catastrophic consequences of rejecting love.

Love, Baldwin recognises, is never without complications or sacrifice, ever.

It always involves risk, whether of commitment or the casting off of the masks and taboos of society.

Real love is never safe. Giovanni accuses David of being repelled by the “stink of love”. Baldwin believed passionately that his role as a writer was to identify the beauty that he saw in the ordinary, the mundane, the seemingly insignificant details.

What we identify as ugly or repellent is usually what we fear, and Baldwin believed that being honest is impossible without confronting those fears.

“Only within this web of ambiguity, paradox, this hunger, danger, darkness, can we find at once ourselves and the power that will free us from ourselves,” he wrote. Only by being honest with ourselves and daring to explore our inner demons can we achieve real selfunderstanding. And to truly know ourselves is to be free.

In ‘Giovanni’s Room’, David is constantly running away: from his homeland, from Giovanni, from himself. He flees to Paris, he drinks constantly, he gets engaged to Hella. The idea of escaping to another social climate in order to ‘find’ ourselves is one that is still a popular one, much romanticised in fiction.

Baldwin himself indulged it, making the same journey to Paris as a young man as David does in the book. He later wrote, “I think now that if I had had any intimation that the self I was going to find would turn out to be only the same self from which I had spent so much time in flight, I would have stayed at home.”

It seems most of us run until we’re so old and tired we don’t remember what we’re running from anymore, or no long-

er have the energy or the time to care.

David is offered an opportunity to stop running, to turn and face himself, and be held there and reinforced by another.

He is offered love, “the ultimate source of strength” according to Baldwin. When he rejects it: he rejects life, he rejects freedom, and he destroys the lives of all those around him.

The book was inspired by Baldwin’s own personal life. It is dedicated to ‘Lucien’, a young Swiss man living in Paris at the time, that Baldwin fell in love with.

Initially the character of David is Baldwin himself, an American outsider in Paris who falls in love with a foreigner.

Ironically Lucien became David, eventually rejecting Baldwin’s love and marrying a girl who had become pregnant with his child.

The ruthlessness of Giovanni’s attacks on David are fuelled by Baldwin’s own anger at Lucien. Having made his own painful personal journey, he felt a righteous indignation at Lucien’s refusal to do the same.

The book is written in a gloriously controlled and evocative style. “There seemed to be more chatter – in that curiously measured and vehement language, which sometimes reminds me of stiffening egg white and sometimes of stringed instruments but always of the underside and aftermath of passion.”

This is a writer who has truly discovered his ‘voice’. ‘Giovanni’s Room’ is Baldwin’s finest book because it is ultimately a terrific story, absolutely gripping from start to finish. It deals with many philosophical ideas - identity, morality, love – but never loses its readability.

This is one of the finest novels ever written, and that Baldwin is not more widely recognised as the genius that he was is a tragedy. Ultimately that may be rectified when we as a society take some of Baldwin’s advice and stop running away from the dark secrets that lurk in our own past. One day perhaps.