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Express
Volume 24 | Issue 4 | Tuesday 10th November 2020
“He thought his Lazarus-like return versus Tyrone in the Super 8’s would earn himself a place on the matchday panel for the 2019 All-Ireland semi-final.” - pg 38 -
UCCExpress.ie
“Social media is an incredible tool in building a movement and a sense of community in an increasingly disconnected world.” - pg 12-
“However. Ireland was built on religion and it has influenced a lot of things here, and what I am trying to create in my art is an Ireland without religion” - pg18 -
COVID-19 BEARS DOWN ON THE WEIGHT ALREADY SHOULDERED BY INTERNATIONAL STUDENTS modation early as a result of the onset of the pandemic, their offer of free accommodation came as a double-edged sword for Craig McHugh, vice-president of campaigns at the Union of Students in Ireland (USI): “The luxury private student accommodation industry has thrived off international students and students who can afford to pay such fees for accommodation ranging between €9,000 and €15,000, so maybe two weeks is really just a drop in the ocean at the end of the day for the amount of money that students have been forking out over the last number of years.” In 2017, the Evening Echo posed a question in one of their headlines: “Is UCC using non-EU students as ‘cash cows’?” The piece surveyed figures released to Fianna Fáil TD for Cork South-Central, Michael McGrath, during parliamentary questions at the Dáil. The data demonstrated that the total national income generated from just non-EU medicine students rose from €7.2 million in the 2010/2011 academic year to €13.5 million in 2016, and that individual fees per international medicine student climbed from €39,200 to ty of Limerick and University College €47,000 during that same time period. Dublin made on-campus accommodation free for those required to restrict International students at UCC pay betheir movements. UCC continued to tween €12,500 to €48,700 depending on charge it’s standard weekly rate of the course they are enrolled in, and Irish €171, despite two Uninest complexuniversities rely heavily on the income es in Cork offering free accommodagenerated. Of the €8.9 billion the seven tion to “ease the burden on students IUA institutions in Ireland contribute who must self-isolate when travelling to the State’s economy, international for their studies,” a spokesperson said. student fees account for €2.1 billion.
into something unfamiliar, on-line and off-campus. Dealing with costs and distance far exceeding that of the average stuAs the university campus and accommo- dent at UCC, international students have dations emptied on March 12th upon been confronted with many challenges the announcement of a global pandem- as the COVID-19 pandemic wears on. ic and college closure, the international student population had more decisions In accordance with government advice, to make than the average student - how students arriving from a non-’Green to get home, and how to return to UCC List’ country were required to restrict when or if the need arose. Students from their movements for a minimum of 14 overseas make up 15.6% of the overall days from their arrival in Ireland. This Uninest had previously come under UCC student population. Now, the col- fortnight of self-isolation required ac- controversy for its refusal to refund lege experience has been transformed commodation. NUI Galway, Universi- students who had to leave their accom-
Writes Maeve McTaggart, News Editor
Cover Story Continued on Page 3...
Editorial
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Issue 4 | Tuesday 10th Nov 2020 | University Express
Editorial Team
When Everything Happens At Once
Writes Fiona Keeley, Editor-in-Chief
Editor-in-Chief – Fiona Keeley (Editor@UCCExpress.ie)
“There are decades where nothing happens; and there are weeks where decades happen” - Vladimir Lenin. You could associate that quote with any number of weeks over the past year or so but I was particularly reminded of it over the past fortnight. The past week in global politics will take their place in the history books of the future. The flurry of notifications, no doubt watched by many with bated breath, lit up my phone screen as news about our modern state of affairs came to light for all to see.
News Editor – Maeve McTaggart (News@UCCExpress.ie) Designer – Fiona Cremins (Design@UCCExpress.ie) Features Editor – Elisha Carey (Features@UCCExpress.ie) Sports Editor – Liam Grainger (Sport@UCCExpress.ie) Opinion Editor – Rían Browne (Opinion@UCCExpress.ie) Eagarthóir Gaeilge – Édith De Faoite (Gaeilge@UCCExpress.ie) Online Editor – Edel Lonergan (Online@UCCExpress.ie) Marketing Executive – Fiona Keeley (Marketing@UCCExpress.ie) Webmaster – Jonathan Hanley (Webmaster@UCCExpress.ie)
I have drank an unhealthy amount of coffee lately, not for the purposes of study, but to keep my eyes open for another ‘Key Race Alert’ to appear on my screen. The phrase was first associated with excitement in my eyes, so I could see exactly where the presidential race was in certain states. However, by the end of the week it became similar to Gollum searching for the ring in Lord of the Rings; something I felt I needed to know, convinced that networks would call the last few remaining states. Finally, on Saturday afternoon the news broke; Joe Biden and Kamala Harris were now President-Elect and Vice-President Elect, respectively. Domestic politics took a turn here at home too, where the Tánaiste was questioned by a number of parties over posting a draft copy of a GP contract agreed with the Irish Medical Organisation in 2018 to the National Association of General Practitioners. After making a statement in the Dáil on Tuesday it led to questions and some fiery exchanges in the Dáil chamber. The issue is set to rumble on into this week as Sinn Féin is set to lodge a no-confidence motion against the Tánaiste. These two weeks of politics on both a national and global scale will be remembered for some time. Incessant notifications on my phone have become the norm now. Whether it is news, emails, deadline reminders, or any number of other notifications that I need to know. What the first lockdown and Lockdown 2.0, as we have taken to calling it, have brought to my attention is peoples’ right to ‘unplug’. While I don’t advocate the right to unplug from the news or what’s going on in the wider world - I believe it is our responsibility as citizens of the world to inform ourselves of what is happening in current affairs - I do believe in the right to unplug from work. The attic in my house has now turned into my office, a place I spend 8-10 hours of my day. The walls now seem smaller than they did at the beginning of my work from home experience. Now more than ever we have to appreciate that the home and work environments have infused into one; this should change the way we look at ‘unplugging’ from the workplace and making the separation between the two environments. There is a fantastic issue waiting for you within these pages, Andrea Horgan writes about Aphasia in our Features section; Liam examines the FAI’s Elite Player Pathway proposal; and Rían talks about the necessity of social media in modern social movements. Enjoy a fantastic paper created by some of UCC’s superb student journalists.
Photographers – Caoimhe Leahy, Célem Deegan (Photographers@uccexpress.ie) Byline Editor – Fergal Smiddy (Byline@ UCCExpress.ie) (Deputy Editor) Food & Health – Maeve O’Keeffe (Food@UCCExpress.ie) Arts & Literature Editor – Imasha Costa (Arts@UCCExpress.ie) Gaming Editor – Hugo Blair (Gaming @UCCExpress.ie) Music Editor – Cathal Donovan O’Neill (Music@UCCExpress) Fashion Editor – Maeve O’Sullivan (fashion@uccexpress.ie) Film & Television Editor – Kyran Leahy (Screen@UCCExpress.ie) Sexpress Editor – Jack Wrixon (Sexpress@uccexpress.ie) Deputy Sports – Sam Curtin (Deputysports@uccexpress.ie) Deputy News – Maebh McCarthy (Deputynews@uccexpress.ie) Deputy Features – Eoghan O’Donnell (Deputyfeatures@uccexpress.ie) Staff Writer: Julie Landers
Until next time,
Fiona Keeley
editor@uccexpress.ie
Learning lines in Lockdown Writes Maeve McTaggart, News Editor My bookmarks bar fulfills the English-student stereotype, because slotted between Canvas and ‘UCC Library Home’ is a slowly-filling folder marked ‘Poetry.’ Mid-way through lockdown (the first), The Cut published an article by Matthew Schneider—’Now is the Perfect Time to Memorise a Poem’—detailing his self-conscious party-trick and grounding-technique of rote learning poems, alongside the prologue of The Canterbury Tales. He writes of the sticky stanzas of middle-school-learned Shakespeare and lines of Merrill he quotes while a ventilator buys his hospitalised father time, between calls where all doctors speak of is time: “How fast or slow he breathes — COVID comes for your breath — and how quick or sluggish his blood pressure, the beat of his heart. There is almost nothing I can do but call his carers, wait, and hope. In that morass of powerlessness, I’ve found myself reciting the snippets of poems I’ve picked up along the way. If nothing else, their meter overtakes the racing of mine... Here in our realms of hazard, we — I — need these talismans.” And almost subconsciously, the bookmarked folder appeared alongside compulsory readings. Paul Durcan’s ‘Windfall, 8 Parnell Hill, Cork’ - a hangover from Leaving Cert English - often plays broken loops in my mind down the Mardyke. It sat there alone until joined by Ginsberg’s ‘America.’ There is then a lot of Boland, and Bishop, and Whitman, but T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ the most technologically dog-eared. As every email of the last 8 months begins, we live in unprecedented/uncertain/uncomfortable/unplanned-for times. The rhymes and rhythms of a lost normality are what help ease the day into sometimes reluctant beginnings, the click of a kettle or hum of heating turning on, but it can’t hurt to have a hidden guard for when the mask slips (no pun intended). See, I can prescribe you Bishop for the disappointments, the short fuses and frustrations; “Lose something every day. Accept the fluster / of lost door keys, the hour badly spent. / The art of losing isn’t hard to master. / Then practice losing farther, losing faster: / places, and names, and where it was you meant / to travel. None of these will bring disaster.” O’Hara for the lockdown burn-out; “In times of crisis, we must all decide again and again whom we love” and loneliness; “I’ve got to tell you / how I love you always / I think of it on grey / mornings with death / in my mouth the tea / is never hot enough.” These lines won’t bring any grand revolution to Levels 5 (or 4, or 3), but they can help articulate a time we maybe don’t have many words for yet. Give into the pretension of poetry, find a space in your bookmarks bar for the little rhymes and rhythms to piece together some of the harder days - whether its vague lines from hurried Romeo and Juliet of Junior Cert, or the inscription of a birthday card.
news@uccexpress.ie #uccexpress
Maeve McTaggart
News
Issue 4 | Tuesday 10th 2020 | University Express
Cover Story Continued... The University Express spoke to a number of international students about their experiences at UCC since the beginning of the pandemic. Although this group does not represent the universal experience of all visiting students at the university, their issues illustrate those raised by the Irish Council for International Students and highlight their presence at UCC.
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UCC achieves second place ranking on national Good University list Writes Maebh McCarthy, Deputy News Editor
One international undergraduate student of Arts at UCC told the University Express: “in a way we are ‘cash cows’, just giving and not getting much in return. I know there are several students who are struggling. Some were not able to even go home, like me.” “I did not get to travel back home when the lockdown was first announced. I have been in Cork for over a year, and I have not been able to see my family since I moved here for the first time.” COVID-19 has resulted in a loss of revenue for higher and further education institutions across the country, the cultural experience and contribution of international students to campus life has largely been lost in the digital transition. Another criticism levelled by students who spoke to the University Express was the loss of adequate lines of communication between the college and students. According to one international PhD student: “UCC has been comically inept at communication in advance of term. Personally, UCC told me they were withdrawing my scholarship and then only when I checked on this was I informed that they had changed their mind. I spent months trying to figure out if I could even return to the program or where I could get the money, and then it turned out to be a non-issue that they forgot to mention.” For another student, at least, the movement to virtual learning has been positive: “As an introvert I am enjoying the anonymity of online learning but at the same time feel a bit robbed of the ‘traditional university experience that I was picturing when I decided to study abroad.”
The Sunday Times released their annual “Good University Guide” on November 2nd 2020. The supplement, which accompanied the main paper, details a league table with the top nineteen third level colleges ranked against one another. For the second year in a row, UCC has achieved a second place ranking in the guide. Universities are ranked on a range of factors that are weighted by points, out of a total 1,000 possible points. The categories taken into account include the student experience, research, employment, leaving certificate points needed for entry and the amount of 1st class and 2nd class honour degrees awarded. The student to staff ratio, the amount spent on facilities, and the progression rate to the second year of their courses are all taken into account as well. It was Trinity College Dublin who took the top spot this year, earning 760 points out of the possible 1000. It should be noted, however, that UCC outscored Trinity College on several indicators, including the employment rate of graduates, the amount of students receiving 1st or 2nd class honours, as well as in the progression rate to second year. The student to staff ratio of 58 points was awarded to both institutions.
UCC won the ‘University of the Year’ title in the Sunday Times in 2016 and has achieved the accolade five times in total. One of the reasons for this is UCC’s record for retaining first year students, 92.2% which is 6% above the national average. The Hub, recently opened in January 2020, was also mentioned in the University’s bio, as well as the plan for a new €25 million business school and a 255-bed student residence, amongst other plans. Featured in the profile of the University, is the opinion of Naoise Crowley, UCC Students’ Union (UCCSU) President. As with every other institution, Mr. Crowley gave answers to key indicator questions posed by the Sunday Times. Mr. Crowley lists the ‘beautiful campus in a vibrant city’ as his first impression of UCC. Conversely, Mr. Crowley listed the price of rent as the worst feature. Separately, it is also mentioned in the profile of the University that private rents can range from €450 to €900 per month. Mr. Crowley added that the facilities were ‘excellent’ and that the ‘deal clincher’ was the ‘incredible experience’ provided at UCC. Due to the ongoing Covid-19 pandemic, UCC was unable to hold its annual open day for prospective undergraduate students, something which usually takes place on the second Saturday in October. As with most other events this year, it is taking place in a virtual realm. This year, the virtual undergraduate open days will take place on December 4th and 5th 2020 from 10am-4pm. According
to a profile done in the Irish Times on virtual open days from nearly all third level institutions in Ireland, UCC are boasting presentations, information videos from their chosen subject areas and student life sections. Prospective students will also be able to take a virtual campus tour to view the University’s facilities. A web-chat function is another key feature that UCC are offering on the day, so that attendees can talk with academic and professional services staff about subjects and supports. UCC will also be featured in a new television series, by RTÉ and the Irish Universities Association (IUA). Chrisdina O’Neill, a Professional Masters of Education student at UCC and a member of the Travelling Community will share her experience of University and the personal challenges she faced. The move to remote learning, due to the Covid-19 pandemic will also be included in the programme. Ms. O’Neill told the Irish Examiner, that sharing her “experience of University was so important to break down the barriers and stigma around University within marginalised communities.” The programme will begin on Friday November 6th at 7:30pm and the series will run for five week, featuring seven different journeys to Higher Education.
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News
Issue 4 | Tuesday 10th Nov 2020 | University Express
Digital learning environment has increased likelihood of plagiarism, USI warns Writes Maeve McTaggart, News Editor Irish Times, there were at least 2,334 third-level students found to be cheating in the eight years between 2010 and 2018. Business students at UCD were noted as the “most likely to cheat” (through smart phones in exam halls, etc.) with arts students the worst offenders of plagiarism whether committed through essay mills, or mere improper citation. Such figures exclude UCC, NUIG and UL - each state they do not collect the relevant data. As of May 2020, UCC has updated its Plagiarism Policy to include remote examinations. “Whether done deliberately or inadvertently, it is unacceptable,” it reads before detailing the procedures and penalties a student is confronted with if suspected of breaching the rules. Suspicion can be raised by the software of TurnitIn or any examiner or supervisor, this is then brought to the attention of the Head of School or Department and later, the Student Records and Examinations Office. A student will fail the exam or module if plagiarism is found. If it is under doubt, the possible marks at a repeat examination will be capped. According to the USI #MyOwnWork campaign, “you can lose your place on your course, have your degree revoked or have your marks downgraded.”
Last semester, the method of testing students migrated from the seated rows of exam halls to the space of one’s own bedroom as a result of the COVID-19 pandemic. With this necessary distancing between students and superintendents, came a further distance from the usual observation and close inspection of an exam hall. The Union of Students in Ireland (USI) have now launched a campaign to help students combat the temptation “to take shortcuts to academic success if you’re under pressure.” Quality and Qualifications Ireland (QQI) released a report in late Au-
gust which studied the impact of COVID-19 on teaching, learning and assessment in Higher Education Institutions (HEIs). The report documented that by “many institutions replacing invigilated, in-person written examinations with online exams there were greater opportunities for cheating in the second semester of the 2019/2020 academic year than normal.” The USI’s #MyOwnWork campaign seeks to create a culture of academic integrity in students which ‘essay mills’ will find hard to puncture; a service which offers custom-written assignments, essays and even
PhD theses for students to purchase and submit as their own work. The increase in the use of essay mills in recent years has led to the introduction of legislation making it an offence to use, advertise or promote such services. UK-based research suggests that up to 1 in 7 graduates have availed of essay mills - known as ‘contract cheating’ - to produce college work. It is estimated that at least six major providers operate in Ireland, with one charging upwards of €15 per 300 words, another €150 for 2,500 words. According to figures compiled by The
If approached by an essay mill service, students are advised to report this to Quality and Qualifications Ireland at myownwork.qqi.ie. In an attempt to dissuade students from turning to cheating and plagiarism, the QQI provides a list of supports available at each HEI to ensure a sense of academic integrity can be maintained at each assessment. Those listed for UCC are the Academic Skills Centre, the University Plagiarism Policy, and the Students’ Union. Virtual writing clinics have been launched by the Skills Centre for the duration of the pandemic, where students can engage synchronously or asynchronously with a tutor to receive feedback on work, as well as how to improve their academic writing.
Issue 4 | Tuesday 10th 2020 | University Express
News
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Results delayed as COVID-19 obstructs the 2020 race to the White House Writes Maebh McCarthy, Deputy News Editor
The 2020 American Presidential Election in Ireland was defined by five days spent in front of the television, watching the much anticipated results roll in to ‘The Magic Wall’ on CNN. The result of the votes in the Electoral College was projected by CNN on Saturday at 11:28am ET as the voice of the American people spoke and told the world they wanted to see a change in leadership. President Elect Joe Biden and running mate Vice President Elect Kamala Harris received enough Electoral College votes to claim victory after the state of Pennsylvania was projected in their favour. The days, weeks, months, and even years of campaigning for the 2020 race to the White House came to a climax on November 3 rd 2020, as Americans cast their vote in-person. However, due to the Covid-19 pandemic, many Americans opted to use their right to cast a postal vote for this year’s election. The effect that this had on the results of the election was a slow down in the counting process as many states did not receive the postal ballots until days after the election. Dr. Laurence Davis, a UCC
lecturer in the Department of Government and Politics, told University Express that “it will be some time before all the votes can be counted. There are pending lawsuits concerning mail-in ballots, and it is possible that the issue may be taken up by the Supreme Court.” The impact of the Coronavirus pandemic has been a seminal point in the lead up to the election. It’s impact has been broad ranging from being the topic of campaign ads and TV debates; the physical impact it has on the ability to vote; and the effect on the psychology of the nation as they cast their vote. According to Dr. Davis, the slow and “generally dismissive response to the crisis has galvanised opposition to his presidency, including among those who previously supported him.” When asked about the impact of the highly anticipated and analysed television debates, Dr. Davis, who teaches the US politics at UCC, explained how the polls indicated that “most voters in this election had already made up their minds prior to the debates. It is unlikely that the debates significantly altered public opinion, though they may have mobilised supporters.” As previously referenced, the results
from the election took some time to become apparent due to the increase in postal voting and the subsequent delay of counting those votes. These votes were converted into the Electoral College, ‘winner takes all’ system. In Dr. Davis’ view, the Electoral College system is ‘antiquated and no longer fit for purpose, if it ever was.’ Dr. Davis went on to explain a little known fact about the process, that the American citizens are unaware that they are not ‘actually voting for the president and vice president in the presidential elections.’ In reality, votes are being cast for electors - members of the Electoral College - who, in turn, vote for the president in meetings in the state capitals in December. Every state gets two senators, irrespective of their population, and small states are overrepresented in the Electoral College. The electoral system is designed this way to ensure more populous states do not dominate the vote during each election season. Dr. Davis used the example of Wyoming to highlight this point. “A vote in Wyoming carried 3.8 times the weight in the Electoral College as does a vote in California.” The ‘winner takes all’ aspect of the race is also a highly criticised drawback of
the Electoral College. This urges candidates to “focus disproportionate attention on so-called ‘swing’ or ‘battleground’ states, with the result that millions of voters in ‘non-competitive’ states are largely ignored.” President-Elect Joe Biden held a comfortable lead in the polls before the election, however, commentators and analysts were more wary of polls than ever this year, considering the result of the 2016 election. It must be remembered that one candidate can win the popular vote but lose the presidential race, as happened between Hilary Clinton and President Trump in 2016. Dr. Davis shone a light on this by highlighting that ‘it is possible for a candidate to not get a single person’s vote in 39 states or the District of Columbia, and yet still be elected president by winning the popular vote in only 11 states.’ As this article goes to print, the citizens of America have appointed a new President-Elect and Vice-President Elect, they will be sworn in to their respective positions on January 20th 2021.
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Features
Issue 4 | Tuesday 10th Nov 2020 | University Express
Aphasia Awareness Writes Andrea Horgan
Imagine walking into your favourite coffee shop for a cappuccino and a natter with your friends for your weekly catch up or going for a few pints with the lads (when COVID-19 finally departs us that is!). Sounds nice, doesn’t it?
periencing life altering physical disabilities. What we rarely hear about, is the life changing affects these events can have on the ability to communicate. Aphasia is defined as an acquired communication disorder that affects a person’s production or comprehension of language. A perImagine knowing exactly what son with Aphasia may experience you want to order, but sudden- difficulties reading, writing, talking, ly nothing comes out. You know understanding or using technology. you want a cappuccino with a slice of carrot cake. Instead, you Around one in three people expestand there trying to order with rience Aphasia following a stroke a queue of people behind you or traumatic brain injury affecting growing increasingly annoyed one or more of the difficulties menand you are becoming frustrated tioned above. Known as a hidden with yourself. Why can’t I say disability, the chances are, you have what I want? Why don’t I know probably met a person with Aphasia what that coffee is called? This is and you didn’t realise it. People with an example of an ever-occurring Aphasia can become socially isolatproblem for people with Aphasia. ed within Irish society, with many experiencing a lack of confidence to We hear of stroke, traumatic brain communicate with others. This can injury and accidents causing life cause people with Aphasia to avoid changing events, with people ex- going out in public, going for meals
with friends or doing everyday activities such as going to the Bank or post-office. They can feel as though their independence has been taken away from them because when those suffering from Aphasia go out in public, people can avoid engaging in conversation with them because it doesn’t meet their perceptions of how a conversation should flow.
care professions. This provides people with Aphasia an opportunity to practice their communication skills in a safe environment with trained students, staff and access to adapted menus (menus with short sentences, pictures and larger writing) and to also meet other people with Aphasia who have had similar experiences.
To help to reduce feelings of social isolation associated with this communication difficulty, a group of UCC students from the UCC Clinical therapies Society, led by Rachel Boland and in collaboration with Dr. Helen Kelly, established Ireland’s first ever Aphasia Café back in 2017, right in the heart of Cork city in the Haven Cafe! The aim of the Aphasia Café is to provide an accessible, warm, and welcoming environment for people with Aphasia to come and chat with students from Speech and Language Therapy and other health-
The Aphasia Café cannot be sustained without the support of UCC students who volunteer in addition to their own course work and other responsibilities. As such, keeping this café running every month was a challenge. However, last year the UCC Clinical Therapies society with students and staff; myself, Shauna Bell and Dr. Helen Kelly successfully revived the café, until Covid-19 struck. However, fear not. Where there’s a will, there is a way, and we brought the café online! With scepticism at first as
Issue 4 | Tuesday 10th 2020 | University Express to how successful this would be, we were fortunate enough to see uptake from people with Aphasia from all over the country and even further afield! People with Aphasia benefit from using a variety of modalities to communicate, including although by no means limited to, the use of eye contact, body language and using a pen and paper. With the move to the online café, this undoubtedly was a challenge to overcome as there were concerns as to willingness of people to get involved and practice their communication skills in this new way. However, the people with Aphasia attending the café have expressed gratitude towards those involved when we discussed the topic of inspiration. How privileged students must feel to support people with Aphasia to engage in friendly and enjoyable chats and banter without ever judging or becoming frustrated with patrons when a communication breakdown occurs. With the move to online platforms becoming the norm for college, work and socialising, I’m sure we can all think of occurrences where we experienced breakdowns in communication, spoke over each other or didn’t know how to engage through this new medium of communication. This is no different for people with Aphasia who attend the online Aphasia Café. It was more important than ever that the students attending the online café remembered that it can be more difficult to communicate in this manner. It is pivotal to ensure you allow enough time for the people with Aphasia to process and respond to you along with balancing this with any technical difficulties which are likely to happen from time to time. Patience, understanding and using shorter sentences all played a crucial role in facilitating successful conversations in the online Aphasia café. The Aphasia café, fortunately, has been ever-growing throughout the pandemic, with people from across the country reaching out and sharing their stories of feeling unheard, frustrated and misunderstood with their communication difficulties in Irish society. The Aphasia Café has subsequently provided an outlet for people with Aphasia to connect with others whilst separated from those they love during recent times.
Features
Our most recent café saw group members and their families express • The sky is the limit. Once you what they want others to know about are ensuring the person with Aphasia. They want you to be patient. Aphasia feels understood and They want you to give them the time you match them with patience they need to process and respond to and speaking in an accessible you as if you jump in, you are intermanner, you can combat any rupting their train of thought. They communication breakdowns want you to know that their intellior feelings of awkwardness gence is in no way impacted by their you may initially experience. Aphasia and that sometimes, it might take them a little longer than you to People with Aphasia are all unique. order your cup of tea, but that’s okay. Every person’s Aphasia will seem different, with each person havAphasia is an invisible, but ing their own unique story that they life-changing communication diffi- want to share. It’s up to you to supculty. It spans well beyond the effects port and listen to them in doing so. of physical impairments following a Through my time over the past year stroke or brain injury. It affects every- being involved in the Aphasia Café body in it’s path, leaving often devas- with the great help of Dr. Helen Keltating social implications for those it ly and Shauna Bell, we have met meets. It doesn’t care about age, gen- and gotten to know some wonderder, race, ability. What you do can ful people with Aphasia who have make the world of difference for peo- been so kind and generous enough ple with Aphasia, and being a Good to share their own stories with us in Samaritan always feels good after all! confidence. It’s like one big group of friends meeting up every two weeks If you or someone you know is to have a chat, express our anger recommunicating with a person with garding the latest political catastroAphasia (or any other communica- phes and everything else in between. tion difficulty), it is important that you don’t judge or patronise them. To think there are so few people out This could make them feel embar- there who are aware of Aphasia asrassed for their communication diffi- tonishes me. I, myself, hadn’t a noculty. Instead, treat the person with tion of what Aphasia was until I had patience and understanding. There the opportunity to study it in college, might be long pauses in your conver- and on reflection I am grateful I have sation as the person tries to think of been made aware of it. There are so the word or form a sentence that they many people out there whose lives want to say. That is okay. Naturally, have been devastated by the effects your first instinct may be to jump of Aphasia. As such, I think it’s about in and finish the sentence for them time society becomes aware of what or to change the topic to break the Aphasia is and how we can play our “awkwardness” of the conversation. part in supporting these people to fiHowever, what you are actually do- nally feel included in their own coming is interrupting that person’s train munity. People with Aphasia should of thought in processing what you feel welcomed everywhere they go. have said and returning with a reply. People should know how to communicate with people with Aphasia So, what can I do? and support people with Aphasia in being independent communica• Use facial expressions and body tors. It is their basic human right at language when you are speaking the end of the day, and I believe it’s time we ensure this right is met to • Use short sentences. This will the best of our ability. If it were you, allow the person to process what your friend, your neighbour, your you have said more easily, as you family member, you would want evare making what you have said erybody around you to support this more accessible for the person. person with Aphasia to feel comfortable to communicate with others • You should also consider within society. People with Aphaother forms of communica- sia are welcome within our society. tion rather than just speaking. It is time they feel heard in society and provided with adequate support • Write down key points of and understanding to communicate. the conversation or draw, be as creative as you want to be!
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Features
Issue 4 | Tuesday 10th Nov 2020 | University Express
Marine Microplastics - A Macro Problem Writes Aoife Gleeson Plastic has to be the best invention that mankind has ever made, right? I mean it is super cheap and easy to produce, has literally millions of uses, and is both strong and durable but crucially lightweight. So, this has to be a “super-material”? Plastics were first produced commercially in the 1970s and has since quickly led to a 245 million tonne demand worldwide today. However, we are increasingly seeing the negative effects of this “super-material” in the world. During one of my first lectures as a student of environmental science, we were shown a rather disturbing image of a fish with the middle of its body so narrow and tight from entanglement in a plastic ring that it was impossible for that fish to feed. This stark image is unfortunately the reality that marine life is facing today. We are all aware at this stage of the brutal reality of macroscopic plastics through distressing images like this. However, an even bigger problem that not many people are aware of is the huge impact of the marine plastics that we cannot see…microplastics. spillages that can contain plastic pellets and powders. Regardless of how microMicroplastics in marine environ- plastics are formed, one thing is for cerments easily outnumber the plastics tain…they are quickly becoming a macthat we can see with the naked eye. ro-problem for our marine environment. For a bit of perspective, microplastics are around 0.06mm - 0.5mm in It is estimated that plastic debris in diameter which is about the same general affects about 267 species globsize as a single raindrop and usual- ally, with the majority of these species ly arise from two different sources. located in our precious oceans. In fact, The first of which are the purpose- up to 80% of microplastics found here ly manufactured microplastics less originally came from land-based sourcthan 1mm in size. These include es. The intensive production and large cosmetic microbeads found in items volumes of plastic found worldwide has like exfoliating skincare products, inevitably caused microplastic debris abrasives for removing household to become a pervasive marine pollution paint, boat antifouling materials, problem today, with detrimental imand even microspheres in medicine. pacts for marine life. Ingestion of microThe other situation where microplas- plastics by marine species are one of the tics arise from is the breakdown and most common impacts of this pollution. subsequent fragmentation of larg- Microplastics closely resemble marine er plastics that inevitably end up in food sources, such as plankton, due to our oceans. These plastics are broken similarity in size, colour, and even smell. down into microplastics through bio- A consequence of this is that the stomlogical and physical degradation, and ach of the marine organism becomes through the process of photo-oxida- ‘blocked’. It dies from a lack of food intion, where the chemical forces hold- take and a subsequent decrease in the ing the plastic molecules together are amount of nutrients absorbed, resulting broken down by the presence of sun- from the plastic making the organism light and oxygen. Other sources of feel full all the time (it remains fully inmarine microplastics include sewage tact in its stomach). In other words, it is waters containing fibres from wash- so full from eating microplastics that ing clothes, and accidental industrial it doesn’t feel the need to feed which is
obviously very bad! So, when you see a campaign on social media about how certain marine organisms are ‘starving’ to death from microplastics, think again.
to make their own food through the process of photosynthesis. The majority of marine organisms feed on algae, and a reduction in the number of algae available can contribute to A knock-on effect of this reduction in the elimination of some food chains. food intake is that less energy is now This can eventually cause entire available to the organism. This means marine ecosystems to be wiped out. that the organism’s body will allocate what little energy is left to keep itself These many impacts are just a small alive, rather than concentrate on main- sample of the plethora of harmful taining good quality fertility levels or and disruptive effects of microon finding a mate to reproduce. Even- plastics on marine life. No region of tually, a notable decline in the species’ Earth is safe from these effects, with population will ensue causing them to microplastics even found in both become endangered and even extinct The Arctic and Antarctica. It is now if microplastic pollution continues un- a regular occurrence to find microcontrollably. Not only do microplastics plastics in the stomachs of many have an impact on individual species, marine species, with 89.5% of the but also on many marine food chains. stomach content of seabirds studThrough predation, the problem of mi- ied in the Washington and Oregon croplastic pollution can easily spread up coasts consisting of both macro and the food chain and can unwittingly lead microplastic particles. How could we to its consumption by humans. We are have been so negligent to our preat the top of the marine food chain after cious marine ecosystems? We need to all. Furthermore, the chemical contents acknowledge that plastics are not the of many microplastics act as endocrine best invention that mankind has ever disruptors in many marine organisms. made. We need to understand that These affect a range of internal biologi- microplastics are indeed a serious cal processes, such as a reduced metabo- macro-problem. We need to ensure lism. Marine microplastics can also stick that when asked what is found in the to the outside of tiny organisms, like al- oceans, the children of the future do gae, blocking light which is what they use not give “plastic” as their first answer.
Features
Issue 4 | Tuesday 10th 2020 | University Express
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The Celebrity Social Media Mask Dilemma Writes Paul McLauchlan
There’s not much to second guess in images of celebrities Kim Kardashian West and Paris Hilton strutting in and out of a gas station in Los Angeles. It is also no surprise seeing the pair dressed in matching velour tracksuits straight from Kardashian West’s shapewear line SKIMS. Yet, this is a world gripped by a global pandemic, and one thing did look out of place in these images: the lack of face coverings. Even though Kardashian West was one of the first people to advocate for face masks as tensions surrounding the outbreak of the novel coronavirus began to escalate, months later her Instagram feed is less populated with public health information and more concerned with product placement and private island getaways. As the global pandemic took the world by storm in the beginning of 2020 with infection rates climbing exponentially, many countries were forced into government mandated quarantines and mask wearing became an essential act in the fight against Covid-19.
der, as well as to the anxiety and misinformation at play. The mask acts as the emblem of the fight against the virus when we leave our homes or broadcast parts of our lives, despite simply being our modern method of protection. In some parts of the world they are a de facto feature in one’s ensemble. Owning a mask is one thing, wearing one is another. In Ireland, public health laws have now mandated the wearing of face coverings for customers in shops, shopping centres, libraries, and other enclosed spaces. Non-compliance could result in a fine of up to €2,500 or up to six months imprisonment. As a second-wave of infections sweep across Europe and the virus continues to cripple the American healthcare system, the importance of protection is brought into sharp relief. Consider Kardashian West and Hilton, with a combined 204.5K followers on Instagram; these women are not just influencers but image-makers. Their legions of followers pay close attention to content published to social media channels. If they can influence followers to engage with product placements and sponsored content with ease, it is likely that careful, consistent encouragement to equip oneself with a face covering would produce fruitful results.
From pharmacies to luxury brands, discount stores to high street retailers, face coverings have become ubiquitous; with different permutations available for sale almost everywhere—from the sky blue disposable kind for a couple of euros to a reusable cloth branded with the la- It contrasts with the rise of anbel’s logo from Off-White for $105. ti-mask-wearing protests which have become a prominent feature in the The mask has become a loaded sym- discussion surrounding the virus with bol: synonymous with protection thousands congregating in the streets and adherence to the established or- from Dublin to Philadelphia to ex-
press their discontent towards officials and distrust of science. In Dublin, protestors harassed commuters on the Luas. Across the globe, violent outbursts have been posted to social media.
health crisis. The hashtag #wearamask has garnered over 1.3 million uses on Instagram at the time of writing.
In March 2020, American basketball player Stephen Curry invit“With masks, it’s a battle of values. Here ed Dr. Anthony Fauci, the head of we have the values of public health versus the National Institute of Allergy the values of personal freedom,” Dr Lin- and Infectious Diseases to particida Aldoory, a professor in the Depart- pate in an Instagram Live session in ment of Communication and Associate which they discussed the outbreak Dean of Research and Programming at of the novel coronavirus and how the University of Maryland, told the As- to participate in the fight against it. sociation of American Medical Colleges. At the 2020 MTV Video Music Perhaps the most high-profile personali- Awards, singer Lady Gaga used ty to have contested the validity of masks red carpet pageantry to promote is US President Donald Trump. A celeb- mask-wearing. She encouraged her rity in his own right, he downplayed the fans to play their part throughout implications of the virus and delivered the pandemic, “Stay safe. Speak muddled messages about mask-wear- your mind, and I might sound like a ing throughout the year. In one sce- broken record, but wear a mask. It’s nario, he mocked presidential election a sign of respect,” she said during competitor Joe Biden for sporting one. the show. Such proclamations are In a turn of events, he started wearing necessary to shift a wider cultural one during the summer. Vacillation is perspective, as socio-political cleavonly likely to lead to further confusion. ages are increasingly bubbling to the fore in light of the handling of Research points to the benefits of masks. the virus outbreak across the world. If celebrities, a cohort of the most closely watched individuals in the world, are The widespread public health emernot wearing face coverings on social gency shows no signs of slowing down media, do they become just as much in the Western world with America of an afterthought or an optional ac- reaching its highest daily totals in cessory to us as they do to themselves? recent weeks. While there are those using their social media to propagate However, actors like Tom Hanks, Jen- a positive message about the impornifer Aniston, and Reese Witherspoon, tance of face coverings, like publiamongst a coterie of other influential cising the wearing of masks, only a figures in the creative industries, have collective effort can truly have meantaken to social media to highlight the im- ing and instill a sense of real change. portance of staying safe during the public
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Features:Careers Corner
Issue 4 | Tuesday 10th Nov 2020 | University Express
What Now?- Graduating in a Global Pandemic Writes Elisha Carey, Features Editor Class of 2020, you’ve seen it all. Your graduating year will forever be defined by the vague threat of World War III, Australian wildfires, Trump’s impeachment, mass global unemployment and of course, a little thing we call Covid-19 (and this was all within the first three months.) But you didn’t let anything stop you. I’ve never seen more innovation, creativity and initiative from our young people than I did over the few months of lockdown, from Etsy and Depop shops to TikTok recipes and blogs. Faced with the cancellation of internships, work placements, working abroad plans or the loss of a summer job, so many students had to power through gross disappointment to find other ways to make money or pad out their CV over the summer. While a tremendous effort has been made by students to make the most of their situations, there’s no doubt that the effect of the pandemic has left so many uncertain of their career paths, feeling as though Covid-19 is making their career decisions for them. But what is the exact impact of Covid-19 on the graduate job market? And how does the recruitment process this year differ from previous years? I chatted with Emma McConville, a graduate recruitment and marketing executive from First Derivatives as part of my journey to get to the bottom of these questions. First Derivatives is a leading consultation and software company which is currently hiring across their three distinct Graduate Programmes: Options, Futures and Explorers, catering to those interested in data science, software engineering, FinTech, business, marketing and more. Emma joined First Derivatives following her graduation from Ulster University with a degree in Communication, Advertising and Marketing in 2019. Emma’s role involves recruiting technical and finance orientated graduates for First Derivatives on a global scale, including the UK, US, Canada and APAC region.
well-being of our team, customers and partners has been our priority during this pandemic. We have put measures in place to allow our employees to work from home, enabling them to continue delivering services and support to our clients across the globe. We are also leveraging virtual and digital communication methods as much as possible to keep the lines open and teamwork internally and externally going forward. We are proud of the speed, agility and commitment demonstrated by our team despite the disruptions to our lives and work routines.”
are delighted to advise that we still have a huge level of demand from our clients for our consultants, so we have a large recruitment drive planned for 2021.”
The pandemic also prompted FD to revise their graduate recruitment process, which now takes place online;“The recruitment process now involves three key stages – the telephone interview, online problem-solving assessment and video interview. Pre-COVID-19, our problem-solving assessments and final interviews were conducted in person at our global headquarters in NeOn the question of whether recruitment wry, Northern Ireland. We are now has been affected by the onslaught of using an online testing platform for Covid-19 Emma informed me that “the our problem-solving assessments and Emma told me a little bit about First company made the decision to slow our the video platform Zoom in place of Derivatives’ response to the pan- levels of recruitment during the summer face-to-face interviews” Emma tells me. demic and their move to the world of 2020 while we readjusted our plans to of remote working,“The safety and account for the effects of COVID-19. We I know many students are worried about
the prospect of an online interview and are keen to make themselves stand out. Emma advises students to “demonstrate to employers how you have used this time productively. Candidates who have used this uncertain period to their advantage by completing online courses and internships, learning new skills and being active on LinkedIn will stand out above those who have not channelled their energy into making themselves more employable.” Emma recommends using any additional time you have on account of Lockdown 2.0 to optimise your CV or complete an online course. Now is an excellent opportunity to research the employers you might like to work for-take a look at their websites and social media accounts
Issue 4 | Tuesday 10th 2020 | University Express
fluency will have gone through the roof. They will have learned in virtual rooms, they will have learned in isolation from the normal support networks that they would have around them when they are on campus” says Dr Freeney.“This equips them so well for working in global virtual teams which are inevitable in the future regardless of what they enter into. We work in a global village now and we have to be able to adapt to work with people. Students will have dealt with that. They Every cloud does indeed have a silver will have to have negotiated that and lining. Dr Yseult Freeney, Associate found ways to work together as a team.” Dean for Teaching and Learning in the Business School at Dublin City While the Covid-19 crisis is continuing University spoke to the Irish Times to have a drastic effect on the economy about the experience gained by stu- and the labour market in Ireland, graddents during this turbulent time, say- uate recruitment is proving somewhat ing: “Students can say so much about resilient and many employers, just like how they were resilient and agile in First Derivatives, are continuing to how they met these new demands, run their graduate programmes. Aiparticularly as they were approach- leen Waterman of UCC Career Services ing their finals which was a signifi- had this positive message for students: cant milestone in their lives.” As well “Our UCC jobs portal is still showing as this, the move to remote working large numbers of jobs advertised since means that more and more employers the start of the semester and the larger will be seeking to employ candidates firms while numbers are slightly down, with highly developed computer are still recruiting in their usual timeskills. Who better to address this need lines. The market has slowed a little than the Class of 2020? “Their digital now but we expect it to pick up again and peruse their employee reviews. In preparation for future interviews, you could also spend some time improving your knowledge of the industry you’d like to enter-what are the current trends and challenges and who are the major players? Emma and FD really advocate for getting active on LinkedIn! Give companies you’re interested in a follow and make sure you regularly engage with them.
Features:Careers Corner in the New Year as the picture post December becomes clearer.”Although I know that myself and many other students are anxious about navigating the uncharted waters of online graduate recruitment, the benefits of this shift cannot be downplayed. As young people, online graduate recruitment plays to our strengths. We are tech savvy by design, after all. Not to mention, virtual interviews enable you to keep prep material close to hand. When I’m interviewing with a company online, I like to write out each of their values or culture, and parts of the job description on sticky notes and place them behind my laptop. This prompts me to make sure I am gearing all of my answers towards what the company is looking for.
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however, Careers has issued guidelines for reviewing this information. For example, Indeed combines Irish and UK data in their stats and Skills Panorama offers a European-wide perspective which may fail to capture a local context for Ireland. It’s important that you keep your critical hat on when digesting these updates.
As always, please do not forget about the suite of resources offered to you as a student of UCC by the Career Services. Career Consultants are available to meet you remotely to assist you with all aspects of the job application process from writing your CV and cover letters, drafting applications and preparing If you are still worried about your career for virtual interviews and assessplan, UCC Career Services recommends ment centres. I, myself, have availed ‘Skills Panorama’, ‘Indeed Hiring Lab’ of the mock interviews over the and ‘LinkedIn Economic Graph’ for re- past few weeks and they’ve worked sponsive and up to the minute updates wonders to boost my confidence. on the job market. In these uncertain times, having access to labour market Don’t feel like you have to plan information will hopefully make you through this uncertain time alone. feel empowered and informed when you’re assessing your career options. You can book an online conSuch updates are particularly useful in sultation at the link below: these current, unprecedented times; https://www.ucc.ie/en/careers/meet/
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Opinion
Issue 4 | Tuesday 10th Nov 2020 | University Express
‘Woke Aesthetics and Breaking the Cycle’ Writes Rían Browne, Opinion Editor
In the last number of years social media has become a useful tool for gathering momentum and solidarity around social movements and advocacy campaigns. Some would argue the digital realm makes activism and the resources needed to engage in it much more accessible for people who may have limited capacity in being able to do so or otherwise may not be aware of the issues prevalent in society at large. Although valuable in terms of raising awareness outside of activist circles, advocacy via social media can thread a fine line between meaningful engagement with a cause and mere virtue signalling by those who feel obliged to like and share due to perceived social pressure but may not actually meaningfully engage in a cause, to perform ‘wokeness’, without the accountability one would normally experience being a part of a movement ‘on the ground’. Where does the value of social media lie in the context of a society experiencing a huge increase in so-
cial movements and campaigns; does it provide an essential tool to increase accessibility to these causes or does it, only for a fleeting moment, provide engagement and virtue signalling? Social Media and Accessibility In recent months we’ve all probably come across at least one social movement or social justice campaign via Twitter or Instagram. The first that comes to mind is Black Lives Matter. At home we’ve also seen social media utilized as a vehicle for mass social engagement to tremendous success via the ‘Yes’ Equality or Repeal campaigns. Many recent social movements struggled to associate some sort of hashtag or online iconography tied to them. Particularly in an Irish context, the invention of this online forum for social change has massively helped in alleviating accessibility issues previously dogged by campaigns. Particularly in a physical sense, many movements by nature become city-centric, given the usual constraints of time and energy, as
well as a public transport system that’s unreliable and financially inaccessible the online realm offers a fantastic alternative to actively engage with fewer barriers to participation. This being said, this may be a useful tool in terms of finding new avenues for mass demonstrations or acts to initially draw attention to a cause but, can social media also double as a tool for deeper-engagement geared toward the deconstruction of deep-rooted societal inequality? In the height of the Black Lives Matter campaign there was a shift in conversation, beyond awareness raising of police brutality via social media blackouts but in addressing white supremacy, anti-blackness and, doing the ‘work’ as white-allies to unlearn these racist attitudes and white supremacist sympathies. The key to this cultural conversation emphasised doing work beyond sharing an Instagram post or hashtag, going beyond that to seek out Black and POC voices and their works, their stories and using your initiative to educate your-
self as an ally rather than demanding those directly affected by these discriminatory norms relive their trauma or expend their emotional labour and energy to hold your hand in dispelling your ignorance. After following prominent campaigns with a dominant online presence in years previous, such as Repeal or Marriage Equality where both campaigns relied heavily on personal stories and having those directly affected by the issue at hand utilize their vulnerability and trauma in the name of education and awareness raising, seeing this conversation opened up (albeit in an American context) was refreshing. For a while there was a huge energy and effort around highlighting resources such as works from Audre Lorde, Michelle Alexander, and James Baldwin making them accessible to people who may normally continue to scroll or share a black square and call it a day, with
Opinion
Issue 4 | Tuesday 10th 2020 | University Express
the intention that in doing so, they may engage in ‘doing the work’ that is required behind the scenes. News Cycles & Virtue Signalling It’s important to note that, Black Lives Matter as a movement was not just an invention of the circumstances of police brutality and anti-blackness in 2020 - but a movement initially prompted by the acquittal of George Zimmerman for the muder of Trayvon Martin in 2012. The movement has been working since to advocate against police brutality, but has only ever been drawn to the attention of those unaffected by the phenomena following brutal expressions of brutality against black and poc communities in the US hit the news or begin to trend on social media. One factor that plays a huge role in what circulates our feeds is the news cycle. What we consume is often dictated by its cultural relevance and it’s cultural relevance is often dictated by what may encourage the most views or clicks. The way this information is portrayed is often in short and snappy ‘bites’ of information, enough to get the general gist of what is happening but not nearly enough to provide context. Neither does this content demand viewers to engage with content critically or in a meaningful way. This presents a huge challenge to contemporary social movements and the consequences of such is something we’ve seen play out with Black Lives Matter, as the news cycle eventually began to digress to other stories and, in turn, so did many people’s news feeds. The conversation that had begun with BLM (and in turn our own movements here at home around Direct Provision, which also began to gain momentum around this time) continued almost in earnest. Resources still circulated but not to the same extent, black squares began to disappear from users’ grids, while some feeds began to prompt users to think critically about transformation in content being presented to them. This form of virtual accountability from strangers on the internet encourages a similar kind of accountability you might experience in a traditional movement, but in an online setting this becomes largely reliant on the person on the other side of the screen who has the
inclination within them to engage. This holds the potential to venture into ‘virtue signalling’ territory, wherein people engage with a movement by sharing or retweeting information surrounding a cause but their main motivation for doing so is due to perceived social pressure (i.e. seeing their friends post and the fear they may be perceived as disengaged or heartless for not doing the same) and may do little else to engage with the movement. It provides almost an aesthetic of performative ‘wokeness’ characterised by posting the ‘right’ content at the ‘right time without truly putting in the legwork to engage meaningfully with the issue at hand. ‘If your ‘normal,
feed ask
has returned to yourself why’.
Engagement & Accountability When information and resources are arguably more accessible now than ever before, the notion of not reading up on a cause, engaging with the work of seasoned advocates and taking action beyond liking/sharing/retweeting might be considered a form of willful ignorance. As the ‘peak’ of the conversation around Black Lives Matter began to subside, my feed took on an interesting dichotomy of black squares, reading materials, voices of Black and POC experience with pepperings of selfies, memes and dog snaps. Some might argue that this offers a prime example of the disengagement that follows on from virtue signalling? For many indivduals fighting for these causes they do not have the luxury of ‘switching off’, the consequences of living as a person of colour in white supremacist society is not a hat you can take off at the end of the day, it doesn’t disappear when you log off. Tackling this phenomena many have highlighted that in sympathy with this lived reality as allies to a cause we must sympathize with this fact by demanding of ourselves that we remain ‘on’ in the same way that they are unable to ‘switch off’. The nature of social media ensures that we are always ‘on’. We know that this can be damaging in a regular context to our own mental health and wellbeing. Being constantly inundated with information, particularly extreme images of tragedy (something massively prevalent via harrowing videos of police violence earlier in the year) can bring us to a point of ‘fatigue’ in that the stream becomes
so normalised, it’s impact lessens and soon holds potential for us to dismissively scroll in order to deal with what is essentially an information overload. With that in mind, is this the most effective way of showing solidarity, engaging in the ‘work’ and sympathising with those most affected? Instead, what if we asked what we can do in solidarity with this reality that simultaneously produces actions that are meaningful and productive to the cause. We can scroll and share and retweet to the early hours of the morning but could it be more productive to take time to engage in reading; local activity around the movement (or if there isn’t any, helping to establish some); and having conversations in your social circle. To do the ‘work’ - be it internal or within your community - that may not necessarily appear online and earn you brownie points but actually extends beyond to both acknowledge and empathize with a cause and hold ourselves accountable as allies in a way that also acknowledges our capacity as human beings. Social media is an incredible tool in building a movement and a sense of community in an increasingly disconnected world. It serves an invaluable function by creating awareness, providing access to education and engaging folks in a way that was not possible before. This is especially true in Ireland where so many causes and campaigns are often quite city-centric making access to ‘in person’ events and community groups incredibly difficult. There is a ‘risk’ in terms of those who engage in preformative activism but in turn it does possibly present an opportunity for those who have a tendency to only passingly engage with content surrounding a cause to fall down the ‘rabbit hole’ of content and have it result in a tangible and constructive outcome compared to binge watching cake videos on Youtube. Our feeds may operate in cycles but the lessons we have learned from movements such as Black Lives Matter is that our engagement with social justice must not. And so it is on us to hold one another accountable in meaningful and tangible ways that stands to benefit the causes we wish to fight for.
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Editorial
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Keeping the Show on the Road Writes Fergal Smiddy, Byline Editor
If there was a single sentence that could sum up the way life has felt throughout just about the entirety of this year so far, I think it would have to be ‘keeping the show on the road’. It’s a humble phrase, one that implies a knowledge of what it feels like to endure, and a willingness to endure nonetheless - probably for that reason, I’ve always seen it as being quite Irish. Google reckons it’s more likely an Americanism from early twentieth-century vaudeville shows and travelling circuses. I think it would have been far more suitable had it been first fallen from the lips of some poor Paddy between sips of copper pot poitín, writhing with the cold in a Pennsylvanian sibín, warming himself with stories from the old sod. “Sure, we’ll have to keep the show on the road”. I don’t think the show will ever really not be on the road, to be honest. Something I’ve noticed throughout the hard time I’ve courageously served on the front lines as an essential worker (working in a petrol station) is that, somehow, there’s always a willingness in people to keep on going. We might be in the midst of a restrictive pandemic, and possibly will be for a substantial amount of time yet to come, but Bridie is still going to come in for her not necessarily-necessary afternoon machine-made latte and to linger around the newspaper aisle for a bit, because that’s what Bridie does - that’s how Bridie keeps the show on the road. I suppose you could argue “what’s the alternative?”. If you’re not keeping the show on the road, then what else is there to do? Curl up into a sobbing ball and let the weight of it all collapse on top of you? Honestly, in these circumstances, I reckon that’s a fair response. But people don’t. Of course you can never know how someone is doing behind closed doors; they might be hitting the floor and falling apart as soon as they cross that threshold, but they’ve kept the show on the road all day, and I’d be lying if I said there wasn’t something in that which I find endearing. Any time you go out, you’re seeing people who cared enough to get up that morning, scrub themselves up and head out into a world that’s been nothing short of unforgiving over the past year. That’s worth something, surely. This week, Irish visual artist Diabhal, who has collaborated with big names such as Kneecap provides the image for our Byline cover, as well as a great interview with Arts & Lit Editor Imasha Costa. There’s a host of other great content in this issue too, from the sexual to the satirical, the saucy to the sobering. Elle Kelleher asks what it means to be a woman in today’s Cork music scene, and Beth Doyle tries to answer what The Sopranos taught us about male mental health. Thank you for your continued support and readership. You keep reading, we’ll keep the show on the road. Enjoy Vol.6 Issue #5!
Fergal Smiddy byline@uccexpress.ie
Gaeilge
Eagarthóir: Édith de Faoite
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Ceartas do Pheig A scríobhann Édith de Faoite, Eagarthóir Gaeilge Le fada an lá, úsáidtear bean amháin in argóintí faoin nGaeilge agus faoi mhúineadh na Gaeilge. Gach cúpla mí, fiú anois, bíonn láithreoir radió soiniciúla ag gearán faoin nGaeilge agus an taithí uafásach a bhí acu léi agus iad ar scoil, cé go bhfuil sí imithe ón tsiollabas Ardteiste le breis is fiche bliain anuas. Peig Sayers. Níl a dara hainm fiú ag teastáil. Peig. Glúin amháin suaite tar éis a gcuid ama léi, de réir cosúlachta. Tionchar éachtach do bhean a chailleadh breis is seasca bliain ó shin, dar liom. Is cinnteacht é go gcloisfí fúithi má tá tú ag éisteacht isteach ar aon phlé ar an nGaeilge (é sin nó “is é an slí ina múintear í’, ach is scéal iomlán eile an ráiteis sin). Bhí mé chomh bréan de na scéalta scanrúla faoin mbean seo gur chinn mé beart a dhéanamh mé féin. Chuaigh mé go Boole agus fuair mé cóip sheanchaite do Peig. Ach cé hí Peig? Cé hí an bhean a d’fhág na céadta dalta le fuath don Ghaeilge? Rugadh í i 1873 i nDún Chaoin in iarthar Chiarraí do chlann bhocht. Bhí go leor tubaistí agus tragóidí ina saol óg, ag maireachtáil i gceantar iargúlta i gCiarraí. Fuair an-chuid dá deartháireacha agus deirfiúracha báis, chonaic sí a múinteoir scoile ag fáil bháis, bhí na tiarnaí talúin fós i réim le linn a hóige agus bhí fadhbanna sláinte aici. Lean an mí-ádh sin í agus í fásta. Bhí deis aici imeacht ó hÉireann ach theip ar a chara an táille a sheoladh chuici. Le sin, ní raibh an dara rogha aici ach fanacht i gCiarraí agus socrú síos ann. Phós sí fear ón mBlascaod agus thug sí aghaidh ar an oileán chun clann a thosú. Faraor, cailleadh triúr clainne agus iad óg. Saol crua d’éinne. Chaith Peig 40 bliain ar an oileán agus sé ansin a tháinig cáil uirthi mar scéalaí agus mar sheanchaí. Moladh í chun a cuid scéalta, an seanchais agus na seanscéalta a thaifeadadh agus, mar sin, dheachtaigh sí a scéal agus a scéalta dá mac. Sin fréamh an oilc ar fad atá ag daoine áirithe don Ghaeilge. Scéalta seanbhean bhocht. Chomh luath is a thosaigh mé ag léamh an leabhair seo, bhí ionadh orm - an raibh an leabhar seo an leabhar céanna a mhúscail gráin agus déistin do dhaltaí Gaeilge an chéad seo chaite? Níl ann ach beathaisnéis mhná agus an seanchais a d’inis sí i slí mealltach. Bhain mé féin
taitneamh as an leabhar. Chuir sé ag smaoineamh mé - cén fáth a bhfuil a hainm beagnach comhchiallach le fuath don Ghaeilge? Tá cúpla smaointe agam. Ar dtús, an chúis soiléir - ní hiad daltaí Ardteiste na léithóirí oiriúnacha don leabhar seo. Bhí sé scríofa nuair a bhí Peig ina seanbhean. Ní raibh saol éasca aici, bhí tragóid agus cruatan go flúirseach ina saol. Anois, samhlaigh go raibh déagóirí ag léamh faoin anró seo i rith na seascaidí agus na seachtóidí nuair a bhí an tír ina praiseach agus bhí na daltaí sin bréan bailithe de scéalta faoi fhadhbanna airgid agus imirce. Déarfainn nach raibh aon ardú meanman ag baint leis an rang Gaeilge nuair scéalta Peig á léamh. Ach cad iad na cúiseanna eile? B’fhéidir go bhfuil mé saghas claonta san argóint seo ach ceapaim nár thaitin le daoine cloisteáil faoi bhean agus na
deacrachtaí a bhí aici ag maireachtáil in Éirinn, ag tógáil clainne agus ag cailliúnt páistí. Ní haon rún é dúinne, go háirithe tar éis imeachtáí na coicíse seo, go bhfuil stair ghránna in Éirinn ina dtugtar an chluas bhodhar do scéalta agus deacrachtaí mná. Thug Peig léargas do dhaoine ar shaolta tromlach na mban in Éirinn ag an am - b’fhéidir go raibh agus go bhfuil sé níos éasca neamhaird a thabhairt ar chruachás na bochtáin agus ar chruachás na mban.
tear an greann i slí mhífholláin chun dul i ngleic leis. Ceapaim féin go bhfuil Peig úsáidte mar leithscéal éasca chun míniú nach bhfuil Gaeilge agat agus go bhfuil fuath agat don teanga. Ní raibh mórán ceana agam do King Lear agus mé ar scoil . Níl fuath agam don Béarla mar theanga mar thortha ar sin, áfach. Ní hionann teanga iomlán agus leabhar amháin. Ceartas do Pheig, bean a d’inis a scéal agus ansin rinneadh ceap milleán di toisc gur raibh sé éasca í a ionsaí.
Dar liomsa, ar aon nós, tá greann ag baint le Peig agus a cuid focal. B’fhéidir go bhfuil mé mícheart, ach tá dúghreann soiléir sa leabhar. Tosaíonn an leabhair leis na focail mhíchlúíteacha sin “Seanbhean is ea mise, a bhfuil cos léi san uaigh is an chos eile ar a bruach.” Cuireann an abairt seo an greann a bhíonn ag mórán daoine anois i gcuimhne dom - níl ár saolta éasca agus úsáid-
Works Cited: Gough, I., 2003. The Student’s Companion to Social Policy. 2nd ed. Oxford: Blackwell Publishing, p.143-144. Hay, C. and Menon, A., 2007. European Politics. 1st ed. Oxford: Oxford University Press, p.294.
INTERVIEW The Diabhal in Disguise Ireland is known for its rich Celtic past, the stories that have slowly been hidden under politics and hatred, tabooed by society; there is a common misunderstanding that faeries are not real and that the Ireland we have now come to know did not come from the pagan folklore that had existed and cultured the island, moulding it into the present day country. But what if I told you that maybe those stories could still be true, and that the old gods are living among us, wearing tracksuits, drinking Dutch Gold cans, smoking fags and gatting on the streets? What if they were – in a way – us, too? Limerick based artist, Diabhal, with an increasing Instagram follower count of 3,500, brings back those ideas with the recreation and retelling of the Tuatha Dé Danann in the art that he creates. Diabhal is an Irish visual artist who studied photography, film and video at Limerick School of Art and Design [LSAD]. He is a homegrown artist, whose art is focused on contemporary folklore mixed with modern culture. Diabhal translates to “the devil” as Gaeilge. Earlier this month, I was grateful to have a chat with the artist to discuss his works and inspirations: What initially got you into visual graphic art? It’s like a weird one, because I did go to art college and I did do photography and I’ve literally always been drawing. I guess it was just learning Photoshop in college which made me realise, oh wait, I can actually draw on Photoshop. I was doing a few little things for my main project and then it kind of accidentally happened that my project ended up being all drawings. How did LSAD help influence you to take the direction that you are going in right now? In college, we loved dressing people up and dressing ourselves up for different projects and creating characters. In a way, that’s what I would have done with my drawings as well. We did like a folklore project in the start and I remember when it was done, I thought, “this is
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Interview By Imasha Costa, Arts & Literature Editor
unreal”. So, it kind of stuck in my head and now I keep trying to push that side of stuff. Creating the characters and stuff like that has always intrigued me. What would you point to as your influences for art? A lot of music, I think. It wouldn’t necessarily be localised music. For myself, female rap is my main thing, I am so into it, and with the UK female rap right now, I feel like they are really honing their culture. I feel like growing up, I had been very Americanised – musically – at the start, but these artists do not hide behind glamour. They express “this is where I am from”. It is the themes that they put together in their music that influence me. You stated in your interview with FAC Magazine that religion plays a big role in your work. Would you care to elaborate on that? I think just being from the countryside is a big factor [in] that. Like, I would have served in mass and all that kind of stuff. The older I got, the more I agreed that religion had become such a bad thing and that there is so much to disagree with. However, Ireland was built on religion and it has influenced a lot of things here, and what I am trying to create in my art is an Ireland without religion. If we had kept the Pagan roots, what would Ireland look like now? It’s the forgotten stories of folklore that I am trying to bring back in. It’s like there is no good or evil with them, like the classification of heaven or hell. I feel like Christianity is evil, but with stuff like Tuatha Dé Danann, they openly show us that as people, we can be good one minute and then evil the next minute – it’s the combining of both together to show that there is an in-between. How did your collaboration with Kneecap begin? It was just literally over Instagram. They were really into my art, and I thought that they were sound out. My art and their music, in a way, blends very nicely. We get on like a house on fire and just bounce back quite nicely as well.
Coming to your Patreon account, it’s something that you have started quite recently. Would you like to share what exactly you are asking your patrons to subscribe to?
own pictures in art and stuff, but there is only so much that you can describe with pictures. Starting this Patreon account, where I am able to make comic strips and include the folklore that I was always interested in, I was able to do more research and make the visual art that I was creating come alive. Since Ireland was always very Christianised, I wanted to depict my art in these stories through the first settlers in Ireland. Right now, I am drawing my sixth comic about the Tuatha Dé Danann, which is about the coming of Lugh.
I feel like I am quite new to it [Patreon] myself, and it was a new project that I started over the lockdown. I wanted to start making something new and bring the folklore into it as well. I do make my
I would usually write out a few facts – now I would not be good at spelling and the sorts, but I would write them out – and get my cousin Seán to proofread them for me, and then put them up
There’s also SpiceBag, another artist who collaborated alongside me for Kneecap. We did cover art for albums [and] t-shirts. I would also collaborate with my friend Orla and do the visual art for when they performed for Electric Picnic and when they went on tour as well.
19 and sort of draw my own style with it. I basically take all the marginalia and medieval art that was shown before and sort of throw it into the modern culture of Ireland, where lads would be wearing tracksuits, smoking fags, and drinking cans – but they are actually the Gods. Coming back to something else that you mentioned in FAC Magazine: your sexuality – is this something that you find yourself still expressing in your art? When I was in college, it was something I always looked towards. Hypermasculinity was a big thing back in the day. In modern Irish culture, hypermasculinity is still such a big thing, with men usually being like “Oh, I’m the big man”. This was something that I grew up around. It felt bizarre but I was also weirdly interested in it at the same time. I bring that in, once again, with the tracksuits and all; however, I do not think I bring in much about sexuality or hypermasculinity into my
art anymore. I am more focused on the folklore part of it and to revive these stories back into the modern world. Diabhal, alongside visual artist SpiceBag designed the poster for Kneecap’s gig which was to take place at the Cork Opera House in May, but was cancelled due to the first lockdown. Diabhal also works closely with other Irish artists such as Róisín El Cherif. She recently released ‘All the Time’, a song that seems to pay homage to the Celtic queen The Morrígan over Samhain, where Diabhal worked alongside her to create the animation for the track. You can subscribe to Diabhal’s Patreon account for only five euro a month and gain access to his current comic series which is an elaborate story of the first Irish settlers, inclusive of the Tuatha Dé Danann in modern Irish culture: www.patreon.com/Diabhal666
You can also find him on Instagram: @_diabhal666_
“I take the folklore of Ireland and throw them into tracksuits where they are smoking fags and drinking cans, but they would be the Gods” – Diabhal
Food and Health
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Achieving Your Five-A-Day in the Best Way Writes Maeve O’Keefe, Food & Health Editor
We all know we’re supposed to eat five portions of fruit and veg daily. It’s a message that has been drummed into us from youth, in the form of the universally traumatic Food Dudes initiative in primary school, reiterated by parents over soggy, overcooked root vegetables at dinnertime. Many of us may have long-since abandoned the premise; more of us will merely be ignorant of exactly what it means to get your five a day, convincing ourselves that two helpings of beans and chips with tomato ketchup is “basically all of your fivea-day”. Where did the notion of fivea-day come from, after all? Is it really as important as we were led to believe? Although you might assume that the concept of five portions of fruit and vegetables daily is a scientifically sound number, calculated based on in-depth nutritional research, this is surprisingly untrue. After all, if you think about
it critically, the entire food group of fruit and vegetables is so vast and diverse, and frequent vegetable consumers’ health outcomes are likely to be influenced by such a host of other factors (like their exercise habits, occupation, living environment and education level, to name but a few), it would actually be close to impossible to establish a certain magic number of fruits and vegetables as the key to a long, healthy life. The links between a diet rich in vegetables and good health are clear, but it is extremely difficult to pinpoint a precise daily quantity to protect us entirely from adverse health outcomes. The premise of the five-a-day was in fact concocted by the American National Cancer Institute, alongside a number of fruit and vegetable companies in California in 1991. Evidently, there was a certain conflict of interest in the guidelines being set by companies
who would undoubtedly benefit from a heightened intake of fruit and vegetables. For that reason, some nutritionists refute the notion of five-a-day, arguing that there is insufficient research to support any link between five portions of fruit and vegetables a day and reduced risk of cancer. They refer to the high levels of sugar (albeit natural sugar) in fruit, and the fact that the nutritional benefits of many fruits and vegetables can be totally negated by the way in which they are prepared, cooked or consumed. For instance, can strawberries dipped in melted chocolate, eaten with marshmallows and fudge really contribute to one’s five-a-day? What about a shopbought smoothie with more sugar in it than a fizzy drink? The figure of five is arguably unjustified, and was merely an arbitrary number decided upon because it seems somewhat attainable to most, and can be counted on one hand, making it easily memorable.
These are valid concerns, and it is clear that the messaging surrounding the five-a-day needs improvement. That said, the benefits of fruits and vegetables generally are well known to us – as excellent sources of certain vitamins, antioxidants, and fibre. Fruit and vegetables are generally low in fat, salt, and cholesterol too. All of these benefits contribute to our immunity and general wellbeing, and lower our risk of suffering from obesity, type two diabetes, coronary heart disease and bowel cancer. Although the figure of five-a-day may be somewhat random, eating lots of fruit and vegetables is undoubtedly a good thing to do for your health, so I wouldn’t be throwing away the idea of five-a-day too hastily. Aside from the nutritional benefits of eating fruit and vegetables, they can also serve as vibrant and versatile additions to one’s diet, adding colour, flavour and texture to meals.
Editor: Maeve O’Keeffe Most fruits and vegetables are available quite cheaply too, and are time-efficient to prepare, making them all the more essential in the diet of a student. Really and truly, the benefits of consuming your five-a-day all come down to how you do it, and knowing how to get the most out of the fruit and vegetables you eat. Here are my five tips to achieving your five-a-day in the best way. 1. One of the primary flaws of the messaging around five-a-day is people not knowing what counts towards their five-a-day. We are told to strive towards five “portions” of fruit and vegetables daily without fully knowing what constitutes a portion. The general rule is 80g of fresh, frozen or canned fruit or vegetables, or around 30g of dried fruit. The BBC Good Food website has an online resource with helpful infographics of what one portion of different fruits and vegetables look like, so that’s well worth a look if you’re uncertain about whether or not you’re consuming enough. Unfortunately, our beloved potatoes do not contribute to your five-a-day, although sweet potatoes do, due to heightened levels of vitamin A. 2. The key to benefitting from your fivea-day is variety. Although you might like the idea of tucking into an entire trough
of cauliflower cheese or sweet potato fries, it’s important to eat an array of different types of fruit and vegetables to fully reap their many rewards. A good tip is to try and “eat the rainbow” – incorporate different colours of fruit and vegetables daily, as fruits and vegetables of the same colour often share properties. For instance, dark green leafy vegetables like spinach and broccoli are good sources of Vitamin E, folate and iron, whereas orange coloured fruits and vegetables like carrots and oranges are rich in beta-carotene, which is converted to Vitamin A for healthy vision, skin and immune function. By mixing up the colours of the fruit and vegetables we consume, we can maximise their wide-ranging health benefits, and enjoy a variety of flavours and textures, so eating our five-a-day feels like less of a chore. 3. Limit your intake of heavily processed fruit and vegetables. We should try to reduce our intake of heavily processed food products anyway, but when it comes to fruit and vegetables, many convenience products that promise a fast-track to your five-a-day are really just loaded with preservatives and flavourings to prolong their shelf life. Shop-bought soups and sauces are particularly guilty of being high in salt, which can contribute to high blood pressure, so they are best avoided, especially when making your
own is so much cheaper and healthier. Obviously, however, fruit and vegetables are perishable, and there’s nothing worse than an overly ambitious trip to the supermarket, in which we resolve to buy loads of healthy vegetables for the week ahead only to be left with soggy salad leaves and brown avocados a few days later. For this reason, you must be smart with the types of processed fruit and vegetables you buy. Frozen fruit and vegetables are perfect, for example, as freezing preserves the product while retaining most of the flavour, texture and nutrients that are sometimes lost during more extensive processing or preserving methods. As well as that, tinned tomatoes or pulses like kidney beans or chickpeas are handy time-savers to stock up on, with little change to the nutritive value of the vegetables. Stocking up on tinned tomatoes and beans, and a couple of bags of frozen peas and berries can be a real time-saver for students, without missing out on the health benefits of fresh fruit and vegetables. 4. Just as some nutrients can be lost during extensive processing, the method in which you prepare and cook your vegetables can also affect their nutritional value. Vitamin C in particular is easily destroyed by light, heat and dissolving in water. For that reason, it is best to eat
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your fruit and vegetables raw, or at least cooked al dente (meaning “with a bite”). Steaming, microwaving or roasting are good alternatives to boiling vegetables in order to hold on to as many vitamins as possible. This also prevents soggy and bland vegetables, so they will taste better too! 5. Finally, if you’re still daunted by the thought of so many portions of fruit and vegetables, just try to think of one way to add them into one of your meals each day. Why not add some fried or grilled cherry tomatoes to your scrambled eggs in the morning, or mix in some peas with your mashed potatoes, or add peppers to your pasta? Embrace new vegetables in stir fries, curries or bolognaise, and experiment with different salads. Better still, trade in fruit and vegetables for other less virtuous snack options. Try bringing some raisins with you the next time you head to campus for study, and enjoy them on your breaks instead of a chocolate bar. Embrace fruit and vegetables entirely by grabbing some cheese, crackers and grapes, alongside some cut raw carrots, peppers and hummus for your next Netflix session. And remember, if you’ve got any food or health related thoughts, I’d love to hear from you! Email me at food@uccexpress.ie
Film & T.V.
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Borat’s Back! How Satirical Comedy and Politics go Hand in Hand Writes Kyran Leahy, Film & TV Editor He returned when the world needed him most. Borat Sagdiyev, a Kazakhstani journalist brought to life by the mind of comedian Sacha Baron Cohen, has made his comeback after a fourteenyear-long exile in the Kazakhstan gulags with his latest documentary Borat: Subsequent Moviefilm (the actual title would take up a lot of the word count for this article). The sequel to the beloved 2006 mockumentary sees Borat return to the United States with the task of sending a gift to mend fences between the US and Kazakhstan. That gift? At first it was a monkey, but then it became Borat’s daughter, Tutar, who Borat is attempting to offer to “Vice Premiere” Mike Pence as an underaged bride. The film follows Borat as he explores the underbelly of America as he encounters some… unique characters along the way. At a time when the world is at uncertainty and the eyes of the world are glued to the 2020 United States Presidential Election, Borat allows us to forget about the seriousness of it all and just have a laugh. Borat is an uneducated man. He is misogynistic, racist, homophobic, antisemitic, you name it. Cohen, obviously, is not any of that. There is a fine difference between making racist or misogynistic jokes yourself, and parodying people who make racist or misogynistic jokes, and Cohen goes for the latter in all of his movies. Borat’s unfiltered, blind comments about touchy subjects allow him to get close with the people who agree with Borat’s views, but not Cohen’s views. Borat is used as a device to get the honest thoughts out of unsuspecting individuals, and whether you agree or disagree with their beliefs, it is amazing how Sacha Baron Cohen can play along with their unscripted thoughts to make amazingly entertaining content. Sacha Baron Cohen’s shows and movies are amazing for just how much information he can get out of unsuspecting people with his silly characters. Ever since the Ali G interview days, Cohen has always been a top-class troll and his talent is to make a mockery out of serious issues. He targets hardcore Trump supporters and mingles with the racists, pro-lifers and conspiracy theorists of America. Tutar, played by breakout star Maria Bakalova, aids the cause as
she speaks with sugar babies, radical feminists and “Karens”, amongst others. Both of them stoop as low as Rudy Giuliani to get enough information out of all these different people with different beliefs and it is very impressive. Politics is always a topic that gets heavily lampooned in the media. It is a serious topic that sees different political parties go against each other with different ideas in the hope of making a change for their country, so why not take the mick out of it? Ever since the old political cartoons with clever punchlines found in newspapers since the late nineteenth century, satire has become a part of politics and can play its part in political views or elections. Starting at the beginnings of sketch comedy series Saturday Night Live, where Chevy Chase’s portrayal of then US President Gerald Ford as a bumbling klutz hampered his image and helped Jimmy Carter win the 1976 election, a lot of
television shows started to connect politics with comedy, which became a hit. Saturday Night Live’s portrayal of political figures continues to garner millions of viewers even in the present day. Alec Baldwin and Jim Carrey currently play over-the-top versions of Donald Trump and Joe Biden respectively, and while the humour is not my cup of tea, their portrayals are so well done that they seem more professional than the actual debates. South Park is another show that continually rips into politics, turning adored Mr. Garrison into a Trump clone and convincing a generation that Al Gore was some nutcase town crier who screamed about ManBearPig. The UK has recently revived Spitting Image, where puppet versions of politicians such as Boris Johnson and Vladimir Putin appear prominently. While Ireland still mostly uses the cartoon newspaper for their political satire, impressionist Mario Rosenstock brought
his Irish politician impressions to The Mario Rosenstock Show on RTÉ 2 a few years ago. The current Irish government is enough of a comedy show anyway. Politics may cause a division because of people’s differing opinions, but comedy is a great way to bring us back together and laugh at them. These shows and movies that take these big issues and squash them down into something that we do not have to take seriously are very needed in this time, and that is why Borat has come back at such an important stage. Borat: Subsequent Moviefilm is another fine piece of work by Sacha Baron Cohen that helps us relax and generate second-hand embarrassment from those unsuspecting individuals involved. We can laugh about Borat and his interactions with strangers. We can laugh about his approach to the coronavirus. A comedy is supposed to make us laugh and this movie does that in abundance. Great Success!
Editor: Kyran leahy
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How The Sopranos changed how we view Male Mental Health WRITES Beth Doyle
Renowned writer David Chase initially conceived The Sopranos as a feature film about “a mobster in therapy having problems with his mother”. After some deliberation, Chase decided to turn it into a television series drawing heavily from his personal life, specifically his relationship with his mother and his experience growing up in New Jersey, a state with a substantial level of organised crime. The influence of these aspects of Chase’s life creates the overarching theme of the series; the effect that family and work have on an individual’s mental health. The Sopranos is probably most famous for its use of dream sequences; these are used as a tool to portray the inner workings of the protagonist’s mind. Tony Soprano, the protagonist of the show, is a mob boss who suffers secretly with anxiety and depression because of both the abuse he suffered as a child and the pressures of balancing his home and work life. The show is presented to us as a kind of idyllic family sitcom with the ironic twist being that everything that brings the family together - their home, possessions and education - are all funded by the New Jersey Mafia. This juxtaposition be-
tween the perfect suburban lifestyle that the Soprano children live compared to the gritty lawless life their father and his “colleagues” live highlights that struggle of work/life balance which eventually drives Tony to seek psychiatric help. The show also portrays the way in which toxic masculinity affects men’s mental health. According to a Eurostat report done in 2015, about one in ten Irish men report having a depressive disorder; and according to The Journal, there were almost four hundred reported suicides in Ireland in 2018 in which eight out of every ten were male. Studies have shown that a common cause of depression in young males is the feeling of failure or an inability to meet expectations. These expectations are often stereotypical masculine ideals like the need to provide, to get a good job, and make lots of money. This is a common theme in the Sopranos. Tony struggles with the pressure of providing both for his biological family and what is referred to as “The Family”, meaning the wives and children of his fellow gang members. When a member dies or goes to jail, it is the responsibility of the head of The
Family to provide for them and theirs. It shows how men are put under savage pressure to go out and make money to provide for and protect the ones they love. Tony suffers with panic attacks throughout the series. Oftentimes, these are triggered by his overbearing mother whom he can never seem to impress, but as the series progresses (without giving too much away) it becomes apparent that those oppressive characteristics his mother expressed were carried on to him either genetically or through conditioning, so despite the fact that Tony seeks help for his abuse and tries to leave it behind him, the cycle carries on to his children vicariously. The series also deals with this idea of genetics as a means of developing mental disorders. Did Tony develop depression because his mother was abusive, or did she pass it on to him? And will he, in turn, pass it on to his children? “When you blame your genes, you’re really blaming yourself” (Jennifer Melfi, The Sopranos) The show raises questions regarding nature versus nurture and asks if any one person or trait is responsible for someone’s psyche. “Depression is rage turned inward” ac-
cording to Tony’s psychiatrist, Dr Melfi. She offers a voice of reason in the show – the only main character who is totally removed from the crime syndicate – Melfi allows Tony to open up and audibly share his feelings with the audience. Their therapy sessions are intense and dialogue-heavy, offering stark contrast to other scenes of mindless violence. The very man we see several minutes earlier murdering his best friend is sitting in a psychiatrist’s office fighting off an impending panic attack. The show highlights the universality of mental health; it’s something that everyone struggles with, even alpha-male mob bosses. It shows us that no matter who we are or what we have done, we deserve to be heard and suffering is never warranted. The Sopranos normalised male mental health issues before public discourse acknowledged their existence. In a time when men can only strive to be the strong silent type or the bumbling comic relief, Chase presents his audience with a third option: the emotionally attentive modern man.
Music
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Making Electronic Music: The Lowdown writes Fionn Kelleher
If you’re interested in producing electronic music but don’t know where to start, here’s the lowdown. I’m going to focus on setting up an environment for you to start experimenting, as well as providing some essential resources and pointers. The only prerequisites are a laptop, a pair of headphones, and a bedroom.
more creative in one over the others, so it’s worth spending some time exploring your options. Some of the most commonly used are FL Studio, Ableton Live, Logic Pro, and Cubase; unfortunately, they all cost money. Luckily, they do offer free trials and some provide student discounts, so they’re worth looking into.
Let’s start off with the brains of your set up: the Digital Audio Workstation (or DAW), a piece of software that runs on your computer. A DAW is akin to a workbench: It’s where you assemble all the bits of your track, tweak individual parts to make every sound fit together nicely, and it houses all the tools you’ll need. Picking a DAW is as personal a choice as picking a comfortable pair of shoes — while every DAW has a common purpose (to help you create music), each has a different workflow. You may feel
Synthesisers are the heart of electronic music — from drums, to leads, to pads, to droning notes. A synthesiser starts off by generating a continuous waveform that creates a sound, and lets you tweak various parameters to shape that waveform into your desired sound. When you drag a virtual instrument into your track, chances are the sound is being generated by a synth. You’ll likely notice you can select from a number of ‘patches’ within your DAW, which are pre-configured sounds for the instrument.
Even so, It’s worthwhile being able to understand how each parameter influences the sound so you can create unique sounds of your own. There’s no better resource than Syntorial. Syntorial is an interactive lesson-based guide to sound design, training your ear to notice how different options influence sound. The first twenty lessons are free; after that you’ll need to pay a one-time fee to unlock the rest (a 40% student discount is available, however). Sampling is an important part of many genres of electronic music, especially hip-hop. Sampling involves taking a recording — which could be a full song, an excerpt, or any arbitrary snippet of audio — and manipulating it into other interesting sounds and arranging them as the basis of a song, or to complement other elements of a song. Your DAW
should have a sampler, and the best way of learning to use it is to consult the manual and experiment with different clips. If you find yourself enjoying music production, a worthy purchase is a MIDI controller or MIDI keyboard. One recognisable example of a MIDI controller is the Novation Launchpad. They hook up to your DAW and let you control it without needing to touch your mouse/ keyboard. Reference headphones are worth the money if you plan on releasing your music; they provide a flat sound profile, so you can mix your music to sound great on any sound system. The most important thing is to have fun! Don’t beat yourself up if you’re not the next Daft Punk overnight; so long as you’re creating, you’re learning.
Editor: CATHAL DONOVAN O’NEILL
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“It’s a conversation that won’t end:” Gender in the Cork scene Writes Elle Kelleher In light of recent discourse around women’s place in the Irish music scene, I sat down with two of my favourite artists, Elaine Malone and Abbey Blake of Pretty Happy, to chat about women and music in Cork. University Express: Do you feel as though being a woman in the scene is something of note? Elaine Malone: It’s exhausting seeing the lack of intersectionality and the consistent bias in bookings/airplay. There’s still an element of tokenism and the fact that the question “Is being a woman an issue?” still gets asked signifies that there’s an issue. I see a lot of younger girls coming up that are excellent artists. I hope there’ll be less obstacles for them. Abbey Blake: Of course. I think having more women in music is important. Even down to a few days ago with the podcast [a now-deleted episode of A Drummer In Dublin, where a guest made a number of sexist remarks on the musical ability of women], as much as everyone is so ‘woke’ now, you get [people] like that everywhere. That’s not just their view of women in music, it’s their view of women. UE: Is the gender discussion something we should still be having in relation to the arts in 2020? E: I think it’s a conversation that will not end. I think the terms need to change and the lack of equality is jarring. Plus, the denial of those in power of the gap is the most [messed] up thing. As though we imagine the dis-
respect and the insidious behaviour. The abuse varies from overt to subtle but the damage is huge. It stops people from feeling they can occupy spaces and express themselves fully in their art.
we been here since the start?’ It’s a weirder crowd, but it’s such a nice crowd. If you’re gonna have people onstage drinking gin out of condoms, they’re not gonna look at you twice because you’re a girl.
A: Of course, that just proves it. People have these deep-rooted views which are insane. There’s no place for that in Cork.
UE: What makes a good gig for you?
UE: Do you think experimental and alternative music is open to a more diverse range of people? Women, queer people, people of colour, etcetera. E: Any countercultural or alternative art form whether it stems from an academic or grassroots origin have been spaces for marginalised people. However that’s not always the way. Alternative music is still dominated by white, middle-class boys, either displaying class tourism or pseudo-feminism to appear more diverse. Almost any queer/female/non-binary/ trans person will be tagged with that label in how they’re spoken of in music journalism. The music becomes secondary, as though one’s identity informs the art above all else. Thankfully there’s more of a spotlight on Black Irish artists now, but it’s taken far too long for the structural racism in Ireland’s music scene to be addressed. There’s so much further to go. A: In my experience, yeah. Angry Mom [a collective Abbey co-founded to promote women and LGBTQ artists] was started because of college gigs and that culture. We started playing those Roundy gigs then and thought ‘Why haven’t
E: Usually it’s the right level of being prepared and excited and present. Playing with other people, particularly with Soft Focus earlier this year was incredibly potent mentally. Feeling connection with others and having all of your senses heightened. Everything else fades away. A: As a musician, going in practised and comfortable. I’ve been a lot more relaxed in the last year. I’m comfortable with my pedals and my playing, and we weren’t putting much pressure on ourselves. […] A good sound engineer makes a huge difference. At our last Kino gig, we had Fran, who’s such a good sound engineer, do a long soundcheck with us and really get our sound. As an audience member, seeing people have fun is huge. To go back to Plugd gigs [in The Roundy], there’s a relaxed atmosphere, the staff are nice, it’s the makings of a great gig. UE: Who is the biggest influence on your work? E: Probably Patti Smith. From a literary, musical and visual space she’s completely influenced me. I adored Just Kids when I read it in my teens and that feeling of earnest romanticism I had at that age floods back when I re-read it. The album Horses was extremely important. The William S. Burroughs-esque ‘Land’ and the rejection of religion at the start of ‘Gloria’. Her unshaven armpits on the cover of Easter. The affairs, the reverence for great artists and the uncompromising creative impulse. Reminds me why I bother trying to make anything at all. A: My family. That includes Andy! I got work ethic and creativity from my parents — my dad is a musician and he always talked about the Cork scene growing up, and mom used to make us live off music, it was a huge thing in our house. They encouraged every artistic venture. Arann and Andy were huge then in how I conduct myself, that profession-
alism and just generally being sound. UE: What’s next? E: I’ve recently finished the second Mantua album and I’m working on another album right now. My friend 1000 Beasts is releasing a remix he did of my track ‘You’ from my first EP Land on November 6th. A: Pretty Happy has an EP coming out next year, and should have some singles out. One of them we’re previewing at Spilt Milk Festival, you can watch ‘Sea Sea Sea’ on Twitch on Saturday evening, 28th of November. Myself and Arann wrote a web series called Jag, based on relationships in Cork. Andy produced it and was really hands-on onset. We’re in post-production now. It has queer characters, great female leads, everything I’d like to see in a series. I’m still working away on bits with the lads. I’m also excited for getting Angry Mom up and running, hopefully when the world returns to some degree of normalcy.
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Photos
Issue 4 | Tuesday 10th Nov 2020 | University Express
Cobh, County Cork by Caoimhe Leahy University Express Photgrapher
Issue 4 | Tuesday 10th 2020 | University Express
Photos
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SEXPRESS
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How to Have Sex when it’s Painful Writes Molly Kavanagh
Endometriosis sucks. It’s a chronic illness where the tissue that lines a person’s uterus, called the endometrium, doesn’t shed completely during a person’s menstrual cycle. Instead of exiting the body via the vagina as it’s supposed to, it sheds and grows and attaches itself to the surrounding pelvic organs, including your ovaries, bladder, and bowel. It’s believed that one in ten people with a uterus suffer from endometriosis, but this number is probably a lot higher considering that it’s a condition that is very difficult to diagnose, and one that is often overlooked by healthcare professionals and researchers. There is no cure, and the only treatment is an expensive and invasive laparoscopic surgery that only provides temporary relief. Endometriosis is different for everybody. Some people with endometriosis can go their entire lives without even knowing they have it because their symptoms are so mild, while other people writhe in pain on their bathroom floor every month groaning like
a wounded animal while yearning for death. Some are in pain every single day, not just during their menstrual cycle. Endometriosis can also mean infertility or difficulties conceiving, while for others it doesn’t (the fact that endometriosis can also be hereditary is a testament to its inconsistent nature). For me, endometriosis means a lot of things. It means extreme bloating during my period, which in turn constantly pinches a nerve in my right leg and makes it really difficult to walk. It also means hot flashes, lots of vomiting, and extremely heavy bleeding that occasionally causes me to faint. It means a horrible, sharp pain that shoots down my lower back and chronic fatigue during the days leading up to my period, and during the five to seven days of my period. One time, during a particularly stressful period of college, I had an endometriosis flare-up that lasted twenty-eight days. Can you imagine? Bleeding out of your vagina for twenty-eight days straight? Because I can. And then there are the
rare occasions where I go three or four months without bleeding at all, meaning every time my period is late I have to assure a cycling cast of worried sexual partners that it’s fine, I promise I’m not pregnant (trust me, I checked), this is just something that happens sometimes. The most challenging symptom of endometriosis that I experience is pain during intercourse. Sex is very difficult for me, and I tend to steer away from one-night stands because I find it tedious and uncomfortable to give random strangers a complete rundown of my pelvic health history while we’re trying to do the deed. But having endometriosis doesn’t have to be a death sentence where your sex life is concerned – there are a lot of things you can do to make sex less painful for you, whether you have endometriosis or struggle with pain during sex for any other myriad of reasons. 1. Use lube, and lots of it: The first time my boyfriend and I used lube, it was an absolute
game-changer. For people with endometriosis, it’s normal for the vagina to feel abnormally tight or for natural lubrication through foreplay to be more difficult. I also found it incredibly hard to relax when having sex because I was nervous and would be anticipating the pain and bracing myself for it, so that anxiety and hesitancy played a huge role in vaginal tightness. While lube doesn’t eliminate the pain entirely, particularly if that pain is caused primarily by the male partner thrusting too deeply, it nonetheless makes the experience a lot more comfortable and it’s often an important first step towards finding a method of having sex that works for you. Once you’ve figured out the penetration part, the rest comes relatively easily. If you don’t have any lube, or you don’t find it’s working for you, something that I’ve done in the past is take a hot shower and perform some deep breathing ex-
Editor: Jack WRIXON ercises before sex in order to help myself physically relax. 2. Experiment with different positions: As a person with endometriosis, the missionary position is my absolute worst enemy. It hurts. So. Much. The reason missionary is universally hated by the endometriosis community is because of how your uterus is tilted during it – which is to say, it’s not titled at all. You should try to avoid lying flat on your back – try placing a couple of pillows under your hips and propping your legs on your partner’s shoulders so your uterus is at more of a downward angle. This works really well if you’re not a fan of going on top, which is another great way to have sex if doing so is typically painful for you. When you’re on top, you can control how deep or how shallow the penetration is, meaning you can find the exact point at which penetration becomes painful for you and plan accordingly. Similarly, other positions that I’ve been told are good for those who experience painful sex are face to face, spooning, and doggy style. 3. Communicate with your partner: Having a conversation
about vaginal health with a potential sexual partner doesn’t sound pleasant, and yeah, it’s admittedly a little awkward, but you’re never going to have a mutually enjoyable experience if you don’t openly communicate what your needs are. In my experience, every man I’ve had sex with has been surprisingly understanding and even excited to experiment with the different positions – and if any man doesn’t respond with patience and kindness, then I know they’re not the type of person I want to have sex with or date anyway, so it’s basically a win-win either way. 4. Teach your partner where the clitoris is: A lot of people with endometriosis can not reach orgasm through vaginal penetration alone, but that’s not an issue exclusive to us. In a book written by Elisabeth Lloyd, The Case of the Female Orgasm: Bias in Science of Evolution, published by Harvard University Press in 2006, it’s revealed that approximately half of all women sometimes have orgasms during vaginal sex, while twenty-percent rarely have orgasms during vaginal sex, while five-percent of wom-
en never have orgasms during vaginal sex. So, this piece of advice goes out to everybody with a vagina, not just endometriosis sufferers: teach your partner where the clitoris is. Engage in oral sex, experiment with sex toys, extend your use of foreplay – do whatever is most pleasurable, and assert your sexual needs! Sex isn’t meant to only benefit men – if that was true, then why would the clitoris have 8,000 nerve endings while the penis only has 4,000, in addition to being the only human organ that has no purpose other than to provide sexual pleasure? 5. Engage in mutual masturbation: Although it might sound a little weird to those who haven’t tried it, masturbating with your partner is a very intimate activity that is mutually satisfying for you both. It just means laying down in bed and masturbating beside each other, and since both you and your partner know your own bodies better than anybody else does, it often works quite well. It also circumvents the possibility of any tension or frustration arising if your partner finds that they can’t make you orgasm themselves, while also making it
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so the two of you can still bond and be intimate with each other. Experiencing pain during sex isn’t merely an inconvenience, and desiring a healthy and active sex life isn’t ‘shallow’ or superficial. It would be reductive and an outright lie to say that sexual activity and intimacy aren’t or shouldn’t be an important factor in a relationship between two consenting adults who want to fulfill their sexual needs. Sexual difficulties can put an enormous amount of strain on an otherwise healthy relationship, and being unable to engage in the casual, spontaneous hookup culture of college can be alienating and embarrassing. And when you feel as if you can’t be intimate with the person you love in a way that satisfies you both, it’s normal to feel ashamed or insecure, or even a little guilty, or as if you’re ‘broken’ (even though none of us should have to feel this way). An open dialogue on how common it is to experience pain during sex is an important first step towards eliminating the stigma towards those of us who sometimes need to plan for sexual activity in advance. Trying to have sex with endometriosis is hard. It’s frustrating, it’s exhausting, and it can be a lot of work. But having a healthy sex life while simultaneously experiencing pain during sex is by no means impossible – you just need to get a little creative.
Gaming
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The Rise, Fall, and Rise Again of the 2D Platformer WRITES Hugo Blair, Gaming Editor
The humble 2D platformer, perhaps the genre most synonymous with gaming. Ask anyone to imagine a video game, and the first thing they will likely come up with will be some variant of this tried and tested formula. Take Super Mario Bros as an example. As many will know, this veritable shining jewel in the gaming industry’s crown was released by Nintendo for the Famicom in 1985 (and subsequently for the more wellknown Nintendo Entertainment System in 1987). To this day, it remains one of the most loved video games of all time and is widely regarded as one of the greatest video games to ever grace our screens. The numbers echo this sentiment, as Super Mario Bros still sits near the top of the bestseller charts, with over 48 million copies of the game sold. The game’s release is also frequently cited as one of the key factors in reviving the home video game market, and most importantly, is associated with cementing the 2D platformer in the minds of consumers as the definitive video game genre. The 2D platformer is perhaps the most natural type of video game. The player controls a character who can move, usually to the right, and who can jump – it’s just intuitive. Games in the genre tend not to be overburdened with mechanics, but instead offer satisfying gameplay coupled with tight, precise controls. The simplicity of the format lends itself to a variety of interpretations and derivatives, always set against that backdrop of characteristically precise gameplay. There is almost boundless room for creativity and for expanding upon the basic formula, and providing a basic formula was exactly what Super Mario Bros did. The popularity of the game would of course lead to sequels, imitations, and new releases that would expand upon their predecessors, pushing the envelope for what a 2D platformer could be. In the years that followed, the world entered a golden age of 2D platformers. Players were treated to hit after hit after hit in the genre. Games released at the time developed on pre-existing mechanics, and also introduced new ones. In the mainline Mario series, Super Mario Bros 3 introduced new elements such
as the super leaf and tanooki suit which, together with new terrain elements such as slopes and vines, gave the player even more creative options in their movement beyond the standard fare. Super Mario World, released 2 years later, introduced an overworld that gave players a greater semblance of progression, and increased movement further with items such as the cape feather. This was also the first game in the series to feature our beloved dinosaur friend Yoshi, who would go on to become a series staple. This golden age was not just restricted to plumbers of apparent Italian origin. Oh no. During these years, other de-
velopers flexed their creative muscles to bring us games that went beyond the standard platforming experience. Sonic the Hedgehog released in 1991 brought speed and momentum to the table and introduced us to levels that could be backtracked and explored, with numerous branching pathways. This divergent level design encouraged the player to connect more deeply with the level, and dramatically increased the game’s replay value. The game also treated players to greater diversity in its stage aesthetics, and in its enemy design. Castlevania, a game so influential it spawned its own genre, and could be the
subject of an article in its own right, was also released during this time. While the first entry, along with its early successors, were well received, 1997’s Symphony of the Night received the most critical acclaim. While not really a pure 2D platformer, Castlevania demonstrated further what fantastic experiences the genre could offer. It featured complex, labyrinthine level design, interesting items and enemies, a fully realised story, fantastic boss fights, as well as other RPG elements that are still utilised today. I could go on and on about all the fantastic games and series released in the genre during this time; Donkey Kong,
Editor: HUGO BLAIR Metroid, Megaman and even Kirby. Each brought something new to the table and had their own unique charm, though not all were without criticism. However, this period was not to last forever. The gaming industry had changed dramatically since Mario first donned his signature cap. One of the major developments came in the form of an additional dimension. This major innovation put pressure on the flattened platformers of old – they were faced with new competition, and it had depth. By this time, gamers expected more from their platformers. Titles like Super Mario 64 had started this gradual shift in expectations by showcasing what the extra dimension was capable of, and the trend was furthered with releases such as Super Mario Sunshine, Super Mario Galaxy and its sequel, the Ratchet & Clank series, Prince of Persia, Banjo Kazooie as well the 3D Sonic series (not to suggest that those were any good…). All of these games offered something more in the platforming genre that their 2D counterparts simply could not compete with. In addition to this, gamers now seemed to expect more from their games in general. Developers were creating more complex mechanics, crafting increasingly immersive worlds and narratives, and gener-
ally producing more complete products. This fall from grace as I see it was no doubt aided by the apparent stagnation of 2D platformers that occurred around the same time. Nintendo were consistently pumping out new main series 2D Mario games, however there was not much innovation that could separate one game in the series from the last, and consumers began to tire of playing the same game sealed with a different bow. The Sonic franchise had effectively dropped off a cliff when it came to their 2D endeavours, and there was not much exciting activity in the space from other developers either. Perhaps this was to be the final fall into mediocrity for one of the founding gaming genres?
tles. Shovel Knight, developed by Yacht Club Games, was released following a successful Kickstarter campaign in 2014; one which promised to harken back to the 2D platformers of the NES era. With inspirations including Castlevania, Super Mario Bros. 3, and Mega Man, the game returned to the core ethos of the genre; satisfying precise platforming, while always innovating and developing on what came before.
No. Absence makes the heart grow fonder, and following this multi-year hiatus gamers once again began to crave those stripped back, satisfying experiences that started the genre on its road to stardom in years past. However, unlike during those early years it would not be the AAA developers that would set the stage for this new era in platforming history. Instead, indie developers would rise to the challenge.
In 2015, we were treated to one such innovation: Downwell. While not as popular as some other titles mentioned, this platformer deserves no less praise. Downwell turned the genre on its head, or perhaps on its side would be more apt, as the game has the player constantly falling downwards, delving deeper into a procedurally generated well. Armed with a pair of “gunboots” the player can keep themselves aloft momentarily by firing bullets from their feet, which are also used to eliminate enemies. Descending deeper into the well, the player must avoid falling too far and meeting a sudden end, while dodging and destroying monsters, collecting power-ups that will aid them on their path, and racking up a high-score.
Over the past few years, we witnessed a return to form for the genre, carried to old heights by some incredible new ti-
Finally, in 2017, Canadian developers Maddy Thorson & Noel Berry gifted us with the masterpiece that is Celeste. Im-
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mensely difficult, but oh-so satisfying, Celeste challenges the player to climb to the top of a snowy mountain, simply to prove they can. There is one central mechanic – the mid-air dash – however, the way in which it’s used is far from simple. One minute you’re simply dashing across a small crevasse, then a few hours later you’re stringing a dozen dashes together all while being chased by an evil mirror image of yourself that follows your every move and will destroy you if it can catch up. It’s intense. No game has ever extracted as much from a single mechanic in my view. However, the creativity of indie developers during this time was not completely lacking from AAA studios. We were also treated to great titles such as Donkey Kong Country: Tropical Freeze, while the Mario Maker series gave players the opportunity to craft their own experiences like never before. The latter has even spawned great debate about Mario’s future in the 2D platforming space and has led to further revitalisation within the genre. While the future is never certain, as we celebrate 35 years since the release of the game that defined the genre, I’m confident that the 2D platformer is not nearing GAME OVER yet.
Fashion
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A Tribute to Kenzo Takada and Sergio Rossi writes Selina Dufner Kenzo Takada and Sergio Rossi – two incredibly talented designers that sadly departed this life after catching Covid-19 this year. Let’s look back at their iconic lives and celebrate their amazing achievements. Kenzo Takada “Kenzo was the first competition Yves [Saint Laurent] had in years. They greatly admired each other. Kenzo really invented the laid-back look; his stuff was not so proper” - Loulou de la Falaise Takada grew up in Japan and eventually moved to Paris to pursue his dream of becoming a fashion designer. In 1970, he opened his first boutique in the Gallerie Vivienne called “Jungle Jap”. It wasn’t until six years later that he changed the name of his brand to “Kenzo” to adapt to the wishes of the newly won American customers. Takada was fascinated by exotic patterns and foreign cultures. To him, it was only natural to include various styles from all over the world in one collection, and he managed to do that harmoniously and effortlessly so that it didn’t come across as forced. He told Vogue in 2000 that his work was always about freedom and harmony and that he would like to be remembered as a designer who crossed boundaries. By embracing all kinds of ethnicities, he certainly did achieve that. Partying was another passion of his and in 1977, he held a runway show at Studio 54, where he was often seen. He invited model and singer Grace Jones to perform, and Jerry Hall was one of the models presenting the collection. The models were dancing around and simply having the time of their lives because that is what the brand is all about: Joy, fun, and freedom. In 1993, Takada sold the company to LVHM but was still the designer until his retirement in 1999. He died on October 4th, 2020, aged 81. Sergio Rossi “Sergio was one of the main forces in Italian manufacture and design. I met him years ago and he was so charming - he contributed so much, he was a major talent and very important. He had an incredible flair for what is current, he produced
wonderful things. It’s an enormous loss for the shoe industry” - Manolo Blahnik The Italian shoe designer used to sell a variety of models – one of them being the renowned Opanca sandal – in Bologna before eventually founding his namesake company in 1968. It didn’t take long for Gianni Versace to notice Rossi’s talent and to ask him to work in collaboration. Besides that, Rossi designed shoes for Dolce & Gabbana
from 1989 to 1999. In 1999, he sold his company to Gucci Group. Riccardo Sciutto, the current CEO of the brand, said about Rossi that he “loved women and was able to capture a woman’s femininity in a unique way. He was never over-the-top, always in good taste. The shoes were always wearable, and he was never satisfied until they were perfect. They were not accessories for him. He told me once that he wanted to create the perfect extension of a women’s leg”.
Helmut Newton, who shared Rossi’s passion for femininity, captured some iconic advertising campaigns using a low angle to focus on the heel, at least seven centimetres high, and the woman’s legs with the aim to define the image of women according to Sergio Rossi. The designer passed away on April 2nd, 2020, at the age of 84.
Editor: Maeve O’Sullivan
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Have Gen-Z Killed Fast Fashion? - A look into generational thrifting Writes Maeve O’Sullivan, Fashion Editor
Fast fashion, slow fashion and everything in between. I am beginning to wonder if this is a race of the Tortoise and the Hare; and who will win? If those terms didn’t baffle you already, then welcome Gen-Z, or Generation Z. This demographic cohort succeeds the problematic Millennials yet precedes the younger Generation Alpha. Gen-Z refers to the mid-to late ‘90s babies, born from 1996 into the early 2000s. The children born into computers and phones, fluent in the language of texting. A generation who have the insight of a world ‘before and after’, potentially making them the most educated of generations. This is a generation who see behind the paper straw and the hypocritical corporate greenwashing. What does Gen-Z mean for the fashion industry? To be frank about it, these young adults are turning the multibillion industry 360 degrees. Millennial mindset may have looked upon thrifting and charity shops with an air of snobbery, while Gen-Z now looks at an Enable Ireland with gleaming eyes and a sense of environmental responsibility. According to ThredUP, a sustainable fashion retail platform, one in three Gen-Zs are expected to buy second hand clothing, shoes or accessories. They are not just buying but selling too, using sites such as Depop and StockX to purge their wardrobes into profit. Due to young shoppers’ demand for second hand, the resale sector is ex-
pected to be worth €51 billion by 2023. With the abundance of research at our fingertips thanks to the internet, there is no hiding away from the startling reality of fast fashion. From being complicit in dangerous and detrimental factory conditions, to cutting corners in fair trade. The environmental implications are numerous, with crops such as cotton being water-intensive, and needing 2,000 gallons for just a pair of jeans. Cotton also requires alarming quantities of pesticides and insecticides. To produce one cotton t-shirt, it requires the equivalent of about four years of drinking water for the average person. Then, consider the electricity required to piece together the garments. More often than not, it is done via unclean sources such as coal and diesel generators. From there, train, road and plane fuelling are also to be considered. As a whole, the fashion industry produces 10% of all carbon emissions, and across the world’s ocean, textile dye is the second biggest water polluter. All that environmental debris is before the consumer has even purchased the item. Once bought, it will be worn a handful of times before falling in disrepair or discarded aside as the next trend enters the scene. In Ireland, we send 63,000 tonnes of textiles to landfill per year and half of what we donate to charity shops and clothes banks enters the global textile trade, with often devastating consequences for the
countries they’re offloaded on. If the fashion world does not change, experts predict that by 2050, the fashion industry will consume more than a quarter of the world’s annual carbon budget. Climate change takes centre stage in the mind of a Gen-Z, and the youthful generation are no longer relying on their parents or their governments to make changes for the future of their children’s planet, thus taking matters into their own hands. When at the checkout, 70% of this generation say sustainability is at the forefront of their decision. Second-hand purchasing seems like the obvious choice for the youth; however, affordability is not the sole reason for opting to thrift. What we have here is a generation fuelled by the desire for authenticity and individuality. There is no more flocking to shops for accessories to a look that everyone else is wearing in school. Fashion is returning to its roots of self-expression. By thrifting, shoppers can be guaranteed to have something no one else has, therefore allowing them to stand out from the crowd. Top seller on Depop Tori López from Brooklyn explains: ‘’wearing one of a kind clothing makes me feel special; it makes me feel unique; it makes me feel happy – and if that outfit costs you under $30, all the better’’. For the older members of Gen-Z, who would have been between 12 and 14 at the beginning of the 2007 econom-
ic crash, thrifting clothes is beneficial due to its affordable price point. As financial prosperity emerged, luxury buying has remained on the cards for the youthful shoppers, but in an alternative way. Rather than buying straight from brands such as Prada or Gucci, Gen-Zs will visit resale and consignment companies such as Vestiaire Collective, or Irish business Siopaella, before the heavy purchase. Moreover, buying luxury has become easier on the mind, as consumers know that resale is a viable option down the line, thus emphasizing the longevity of an item. While trends seem to come and go, it is never a one stop visit. Fashion trends are continuously rotating out of decade-long hibernations to resurface and wow our wardrobes once again. While fashion foresting may have fast fashion retailers such as Primark scurrying to recreate iconic statements of the past, a Gen-Z will opt for the thrifted find of authenticity, from the original decade. This is not a trend that will disappear any time soon and it would be in many fashion brands’ best interest to align themselves with the morals of Generation Z, as they are the present and future of the fashion industry. At the end of this race, Gen-Z may be charged with the killing of fast fashion, however there will be no jail time in this court.
Arts & Literature I
By Claire Aherne
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The Switch from Live to Hybrid Festivals – Is It the New Normal?
little mountain, big sheep, eating shepherd alive, each possessive limb
By Claudia Schwarz
little chest, big heart attack, weeping or dying, can’t tell them apart little sea, big fish hunger in a stomach-full of microplastic little man, big black shadow, though when i try to touch, he is nowhere
Do you ever wish you could have seen a live event more than once? Hybrid Festivals might be the answer. They are a combination of online and live events, providing the best of both worlds. The annual Cheltenham Literature Festival was formed in 1949 and hosts millions of brilliant writers, journalists and politicians in the historic town of Cheltenham. 2020 has demanded a new, innovative format and Louise Carles, Operations Team & Volunteer Coordinator/Manager, played a vital role in this change. Here’s what she had to say about the challenges and benefits of a hybrid festival, as well as the marvelous madness of festival season: Could you tell me a bit about yourself and the amazing job you are doing at Cheltenham Festivals? I have always been part of festivals either as a musician/performer or as part of the organisational team. I would always help with the Operations (especially using my language skills – I am fluent in Italian and English) and liaising with artists as well as programming. After an international master’s degree and a path in diverse conservatoires to train as a classical pianist, I finally decided to pursue my dream to settle in England for a bit longer and was incredibly lucky to be selected to be the Operations Assistant at the Cheltenham Festivals for February 2019. After a couple of months, I was then promoted to Operations Team
& Volunteer Coordinator/Manager. Why did Cheltenham Festivals decide to do a hybrid festival? Our organizers had no choice but to cancel three of our four festivals this year due to Covid-19. Going digital, which includes giving access to much of our content to our audience for free, was the opportunity to democratise the arts and give everybody a chance to experience events that would have seemed inaccessible. I believe we all missed live events and the entire world was getting tired of watching a screen. We decided we should make the Literature Festival happen physically while also keeping a digital version for those who aren’t able to travel or just don’t feel comfortable travelling. Securing a digital version
of the festival was also a clever way to make sure that, in case the government announced stricter Covid-19 rules, we had a back-up plan. All our live content was available for free but our replay programme (a subscription of £20) was also an opportunity to outweigh the financial loss we made from the cancellation of the three other festivals. What is your favourite part of the day during the festival season? During the Literature Festival, it is the penultimate day, when no one could believe we managed to do 600+ events and that there’s only one day left – one single day that is all planned, and we had actually made it. And not only that we made this massive Literature Festival, but we actually managed to do four international festivals; we offered incredible content to thousands and thousands of people, and we made it. It all seems surreal, or maybe it is realising that everything that
seemed like a dream is actually all true. What exactly is different from the previous years? Most of it was different due to our new Covid-19 measures. Being part of a festival is also a lot of socialising, meeting new people. This was of course highly affected by the new measures. We needed to respect social distancing and wear a face mask at all times. The preparation phase especially was extremely heavy. We had to make sure we had enough hand sanitiser stations, and seating plans according to our reduced capacity audience. We also worked on a very reduced budget, which was quite a challenge. What would a normal day for you look like during the festival?
Editor: imasha costa I usually start the day about 8am and then go to the morning briefing with the volunteers. Then I start checking the artists transports and make sure all the furniture requests are met. I also have to manage the daily dropouts from volunteers (people forgetting they had a medical appointment and can’t do the shift anymore, for instance), then making sure all the new changes are put into the software we use to manage the festival and update the latest presentations or song texts. Artist Transport is usually taking most of my time as people change their plans a lot and sometimes public transport is not totally reliable (last year at the Literature Festival, the trains stopped for an entire weekend!). A festival day is a troubleshooting day. There would always be things that wouldn’t work exactly as they should, or a speaker who didn’t turn up to their sound check, or a last-minute request from an artist for the show. Then, when the last couple of events are on, we get ready for the next day. Could you tell me a bit about #WeMakeEvents? The movement #WeMakeEvents is extremely important for us in the events industry and also for all the freelancers we hire for our festival days. I don’t want to talk on behalf of Cheltenham Festivals, but we want to support everybody in the Arts and Events industry and make sure the crisis we are all going through will
II
By Claire Aherne kissing pretty girl tasting her back and forwards year of many masks there is no remorse and he would do it again if boredom arose what is appetite how come you smell like flowers i’m dripfed my pride
What challenges have you faced?
You introduced Nikita Gill’s event “Maidens, Myths, and Monsters”, what was that like?
The biggest challenge was that we knew our government could announce stricter restrictions anytime, which could overthrow all our plans. We had to get ready for different scenarios, from a ‘normal festival’ to the complete cancellation of the festival just a couple of days before. Then, of course, we had to rethink all our organisation according to our new Covid-19 measures, which was a huge challenge too.
Nikita Gill is an incredible person and such an inspiring figure! Introducing an event in front of a live audience is already a bit of pressure but thinking that the content is live-streamed all across the globe and will stay in the Player and in our archive was extremely pressuring! Especially adding to this that English is not my native language! We had a fantastic chat about her books, her poetry, about mythology and about life in London.
Does his new format have upsides to it?
And finally, what were your other highlights of this year’s festival?
The free live-stream that ensures that our content is available for all!
Meeting Allan Mallinson again. I met him last year and he was such a gentleman! Then, introducing another event and even having to close it (I felt like I was presenting the most exciting news on TV!), and attending the Kanneh Masons event.
be wisely managed by our government.
How have people responded to this hybrid festival? People were really happy about it as it basically gave them the choice of attending all the events either live if they wanted to or digitally from their sofa. Plus, as the format was not exactly Zoom calls but one with a genuine studio set up, it felt more dynamic and more real.
Look out for the Cheltenham Festivals in 2021. You can also find them on Facebook and Instagram @cheltfestivals.
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Grand Place, Nice Lights By Julie Landers, Staff Writer Stories of a bunker In a Ukranian city you cannot remember Turned into an underground bar. If you know the password Doors are opened to you, song in a language you Don’t understand. I lean towards what lies above ground, Sing the songs I know I Cannot get wrong. For both of us this is a new city With new myths. We walk through La Grand Place where small talk crumbles away, reveals soul. The thrills you seek On these cobbled streets Which give way to nightclub dancefloors where we smoke and sway. Under these red lights there is only you, My confidante, my healer. You smile like you carry plumes of smoke behind your teeth. This moment of night terrors in new tongues. I inhale my new home. I look to you and deduce how light my lungs could feel. Take solace in the secrets that we keep In incompatible dialects, Under streetlights veiled in early autumn’s mist.
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Sports
Issue 4 | Tuesday 10th Nov 2020 | University Express
Sport: Just a game or something more? The state use of sport as a propaganda tool in Cold War Russia. writes David Breen
Following the conclusion of the Second World War and the emergence of the Eastern Bloc, leaders of these ‘Iron Curtain’ governments felt it necessary to attempt to catch up to and overtake expanding capitalist countries. Given the limited opportunities elsewhere, sport acted as a means of exerting the power and strength of the Soviet Union over Western countries. Following the Second World War, the USSR mobilised a considerable amount of resources in order to expand sports systems and create a system which would produce athletes capable of dominating the West. Soviet (the eastern blocname) leaders saw sport as one of the best and most comprehensible means of explaining to people, the world over, the advantages of the socialist system over capitalism. National sport has always been linked to national pride and this was particularly true in Eastern Bloc countries where when citizens of these nations saw that their national teams were doing well internationally, they were more likely to conform and to agree to the emerging communist regime. The government realised the value
of sport for political aims and realised that sport could be used to forge a sense of extreme nationalism within citizens and they capitalised on this to great success. The dominance of the German Democratic Republic was used by the government in order to reinforce cultural and national identity. Sport provided a global stage which could not only be used to highlight the strength of the system but more importantly, project an array of national symbols and ideas. Flags, anthems and chants were all used to ignite a sense of nationalistic pride which could not be fostered through other means. Soviet teams were impervious to pressure and the ceremony of global events such as the Olympics unlike athletes from other countries who were considered celebrities back home. Russian ice hockey players were a prime example of this. The nicknamed ‘Red Army’ Hockey team was dominant throughout a number of Olympic cycles, winning a medal at every Winter Olympics from 1956 to 1988. Crucially, a number of these medals - including 7 gold - were won over opposition from Western countries such as Canada and the United States of America. Despite this dominance
however, the teams were almost unfazed as shown in commentary of the games:“The players are void of emotion, a microcosm of their society”. These words were used to describe Russian Ice hockey players by a commentator during the gold medal game at the 1988 Calgary Winter Olympics. The team represented the society and the society represented the system. Strong, powerful and superior to everyone else, all whilst being completely devoid of emotion. Soviet governments soon realised the value that sport had as a means of broadcasting their superiority over the west. Millions were spent on sports programmes in order to facilitate training of athletes who would go on to represent the Eastern Bloc countries on a global stage. While employing coaches and building training centers and stadiums is common practice, the Soviet sports teams often used other means of gaining an advantage over the opposition. State sponsored doping was commonplace in the USSR at the time, with athletes as young as 16 being systematically doped with the government in order to ensure they had a competitive advantage. One example of this is Andreas (formally
Heidi) Kriger, who competed for East Germany in the shot put. From a young age, Heidi was unknowingly doped by coaches to such an extent that Heidi began to experience gender dysmorphia and underwent gender reassignment surgery to become a man. To put into perspective the level of steroid use he was unknowingly subject to, Kriger took almost 2600 milligrammes of steroids in the year 1986 alone. This was over 1000 milligrammes more than Ben Johnson who was famously stripped of medals due to positive steroids tests. These were the lengths the government was willing to go to in order to win medals, regardless of the consequences. While sport was a cause of tension between nations and most certainly used to achieve political aims throughout history, there have been some notable cases of the use of sport for diplomacy between nations. The Goodwill Games in the late 1980s were an example of this. The Goodwill Games were an attempt to heal the wounds caused by Cold War Tensions and were a resounding success. This does illustrate however that sport can be a tool used by governments and its role in society definitely transcends its face value as just a game. Something we should keep in mind today.
Sports
Issue 4 | Tuesday 10th 2020 | University Express
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FAI elitism risks underage exodus WRITES Liam Grainger, Sports Editor
The Football Association of Ireland this week released their Elite Player Pathway proposal, which outlined a number of steps that would restructure the underage set up in domestic football leagues in Ireland. It comes as Johnathan Hill was recently announced as the association’s latest CEO, coming into effect on November 1st. The 57-year-old England native takes over from Gary Owens, who held the position on an interim basis; the 4th CEO since John Delaney’s fall from grace in September of last year. Released as an internal memo to association members, the proposal identifies some objectives which have caused much consternation amongst interested parties. The association identifies the U13 age as the demographic to begin their elite player pathway, and that 12 years of age is an appropriate time for young talented players to be introduced to regional competitions with expert coaching. The proposal then continues to lay out a “Long-Term Player Development” pathway which includes access to high quality coaching and appropriately challenging training in a player centred environment. These recommendations have been widely welcomed across the
board, and prove similar to the frameworks already present in both GAA and Rugby set-ups. However, the latter half of the association’s proposal has been the more contentious element. The proposal recommends that at the age of 13, players should focus on one sport (football) in order to increase their chances of establishing themselves as an elite player. They supplement this by advising that 4 sessions a week should be the maximum training time, 400 minutes in total, as well as one competitive match: five days of footballing activity per week. The recommendation by the association of focusing on a single sport at the age of thirteen has proved quite contentious, and so has the association’s defence of the advice. In the proposal, it lists out the disadvantages of playing two sports at Elite level at the age of 12-13. Such disadvantages include pressure from coaches if fixtures clash, little time for socialising with friends and family, increased risk of injury, and little free time for the child to express him/herself in another way. Moreover, the report backs up these assertions with research from Europe that has suggested that playing more football from the age of 12 onwards rather than diluting it with one or more elite level sports leads to the development of higher quality se-
nior players. The crux of the argument against these recommendations by the FAI is that the decision of what sports a child should concentrate on should never be made by the football governing body, especially at such a young age. Towards their later teenage years, it is, of course, appropriate to focus on one code that they may be more talented in or enjoy more, but having this decision made at the age of 12 is an incredibly serious commitment for a child to make at such a tender age of their life. The European research which the FAI mentions is made redundant when you appreciate that Irish sporting culture is a different animal to most of our continental counterparts; just because Italian footballing academies poach their players from primary school doesn’t mean we should. In Ireland, it’s quite common to play more than 2 sports all the way up to 18 years of age, in fact, it’s a lot more common than focusing on a single discipline from a young age. The research is just as strong for those opposing the FAI’s latest proposal, with many practitioners writing on how the combination of more than one skill set makes for a better allaround athlete. Multi-sport involvement should be promoted in Ireland, not shone out. Last year’s report by the GAA’s Talent Academy and Player De-
velopment workgroup proves a stark contrast to the FAI’s elitist approach. Michael Dempsey, chair of the committee commented how the vast majority of stakeholders in the GAA see underage teams as mini inter-county teams, which shouldn’t be the case. Dempsey said with that approach being taken it will lead to drop-out and the overemphasis on winning rather than long-term development. The FAI’s recommendations are all the more egregious considering recent studies completed by bodies such as the LGFA which showed that half of girls drop out of team-sport before the age of 14. At such a young age, it would be outlandish to assume that children have decided what they want to focus on for the rest of their sporting career, and if they have, it’s generally the parents who have decided for them. The FAI needs to recognize that in its efforts to create a pipeline of players to represent their country in Nations League 3rd place play-offs, it may be doing more harm than good. The GAA have learned from their experience with the danger of underage elitism in Ireland, maybe their footballing counterparts should follow suit.
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Issue 4 | Tuesday 10th Nov 2020 | University Express
Lockdown 2.0 - The sports content to binge and avoid writes Liam Grainger, Sports Editor
The four-month hiatus in normality between March and June has proven to be put to good use by many production companies, sporting heroes and commentators alike. The past number of weeks has seen the release of myriad autobiographies, cinematic releases, and sports publications that have been the product of our springtime incarceration, with some of our finest sportsmen and women turning their hand to the page for the first time; some good, some not so good. The growing trend of middle-aged media personalities chancing their arm at podcast production has also been a staple of our media consumption for the last number of months, with Peter Crouch and Bill Simmons getting notable mentions. We’ve assorted some of this year’s finest releases, and best productions, for you to indulge in over the next few weeks, and maybe give you some early inspiration for stocking-fillers. Watch
QB1: Beyond the Lights This three-season instalment is the perfect solution to fill that ‘Friday Night Lights’ shaped hole in your heart. Each series follows three high-school quarterbacks in their senior season, as they attempt to make it into the big leagues. Each series documents the trials and tribulations of high school football, and each player’s attempt to secure one last piece of silverware before progressing to college football. Creator and producer, Peter Berg, is clearly attempting to market it as a real-life edition of the famed Texan exploits of Tim Riggins and Eric Taylor, and credit must be given in what he has produced. Each series offers a flyon-the-wall look into the struggles of each college athlete, giving a level of intimacy not usually associated with these documentaries. The series is realistic and honest, steering away from the flashy exposés that sports documentaries often resort to; instead, viewers are treated to a blunt assessment of young athletes on the verge of making it big in the game.
Last Chance U: Sticking with American Football, Last Chance U released its fifth and final season this year to much acclaim. The latest season centres around Oakland, California at Laney College under the supervision of head coach John Beam. Each season focuses on a different junior college football team, and so viewers don’t need to start from Season 1 to get on board with the action. The show’s premise is charting college athletes competing at the more inferior level of junior college football and documents their last-chance efforts to make it to a bigger college team and potentially the NFL. Similar to Beyond the Lights; Last Chance U brings the viewer right onto the pitch with the athletes, letting them be a part of every success and failure they encounter. The final season is a refreshing look at the enigma that is college football in America, and the changes in setting by creator Greg Whitely have arguably made the final season the best yet. Netflix has al-
ready rumoured a Last Chance U: Basketball in the coming months, but make sure to add this oval-shaped edition to your viewing schedule beforehand, it’s worth every minute. Foxcatcher Steve Carell excels in his portrayal of infamous philanthropist John DuPont in this 2014 Netflix biopic on the murder of David Schultz. Foxcatcher was first added to Netflix during the initial Lockdown but is only now picking up pace, possibly due to being overshadowed by the popularity of The Last Dance and Tiger King. Those unaware of the background of this sports psychodrama will soon be exposed to some seriously chilling storylines. An heir to the DuPont family fortune, the life and times of John DuPont is documented and how it came to such a calamitous end. The action surrounds a state-ofthe-art wrestling facility DuPont set up at Foxcatcher Farm, Pennsylvania in 1984, where many American
Issue 4 | Tuesday 10th 2020 | University Express athletes used the facilities, including brothers David and Mark Schultz. The brothers who grew increasingly close to DuPont, eventually moved in with him and worked on the farm. Carell charts DuPonts slow decline to irrationality and paranoia, with some seemingly bizarre events along the way. Foxcatcher offers a great dramatic recreation of the events of 1996, and although it appeals most to the sports fanatic, it is borderline psychotic in its storylines. A more detail-oriented portrayal of the DuPont-Schultz saga can be found in the 2014 documentary Team Foxcatcher; both will get your mind racing. Read: The Hill: My Autobiography – Bernard Brogan with Kieran Shannon (Reach Sport) A Bernard Brogan autobiography was inevitable since he called it a day on his Dublin career in October last year. In fact, it seems Brogan has been even more present on our TV screen since his retirement; a regular face on everything from supermarket advertisement campaigns to daytime TV appearances. Brogan’s autobiography promised exciting insights into what have been the halcyon years of Dublin football, however just like Brogan’s playing career, it never seemed to rise to the occasion. In what should be a revealing and perceptive piece of writing, ‘The Hill’ was just as dull and tedious as a Jim Gavin press conference. Perhaps the most exciting aspect of the book is Brogan’s injury saga. Brogan writes on his battle to return from a serious cruciate injury in 2018, before regaining fitness ahead of the 2019 season. He details his physical and mental battle to get back up to the immaculate standards expected to retake a position in the Dublin matchday squad, writing on how he thought his Lazarus-like return versus Tyrone in the Super 8’s would earn himself a place on the matchday panel for the 2019 All-Ireland semi-final. After finding out he had not made the cut, Brogan recalls a heated conversation with Jim Gavin, which proves to be one of the few lively scenes in the book. The decision by Gavin to draft in Diarmuid Connolly who had been absent for most of the campaign added salt to Brogan’s wounds, and Brogan
sums the whole episode up as a “knife to the heart”. The book was recently given the nomination nod for ‘Bord Gáis Energy Sports Book of the Year’, which may mitigate the unrest caused by the leaking of a pdf copy of the book over Whatsapp in recent days. Overall, the book never really hooks the reader in, and as expected, fails to pack a punch. Fuel – Seán O’Brien with Gerry Thornley (Sandycove) Accompanying Brogan in the aforementioned award category is rugby juggernaut Sean O’Brien, who for his part, pens a remarkably honest assessment of his life to date. Unlike Brogan’s relatively modest upbringing, O’Brien accounts for an almost lonely childhood, fraught with issues surrounding his Dad’s alcoholic tendencies which was a major factor in his parent’s eventual break-up. O’Brien recalls six years of arguments and fights which
Sports would often see him retiring to his bedroom in tears, or even forcing himself between his parents as a peacemaker. Not until he moved permanently to Dublin at the age of 18 did he escape the drama, from which he could previously only avoid through his involvement in rugby. In the book, O’Brien attributes a lot of his more impetuous behaviour as a young adult to his parents’ tumultuous relationship. He writes how before his involvement in two fights in Carlow at the age of 18, he had never thrown a punch outside the rugby pitch, describing how he had no fear in ‘having a cut’ off people in nightclubs who confronted him. With both of his siblings already moved out, O’Brien’s role of mediator for his parents took a significant toll on him mentally, and he writes how he eventually resorted to a psychologist’s help to get to the root of his problems. With two Lions’ tours, Heineken Cup and international success, O’Brien has plenty to
39 draw on, with some provoking digressions along the way. Worth the read. Listen Second Captains Podcast This former iTunes Podcast of the Year winner continues to prove why it’s Ireland’s most listened to sports podcast. The five former Newstalk colleagues that comprise the team, deliver almost daily podcast editions each week, providing a nice blend of sport, history and everything in between. Soccer, rugby and GAA prove the most popular topics of discussions, but there’s something in there for every sports enthusiast. If you’re looking to sample the repartee, then start with an episode from the latter end of October. You’ll hear anything from movie reviews to input from some of Ireland’s most prominent athletes; this podcast is perfect for the long winter months.
University
Volume 24 | Issue 4 | Tuesday 10th November 2020
Sports
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Identity Rather than Mojo To Be Found After Disappointing Six Nations Campaign Writes Sam Curtin, Deputy Sports Editor Andy Farrell has more questions than answers for his team after Ireland’s Six Nations campaign ended in a disappointing 35-27 defeat to France in Paris. The defeat handed England the title for the third time in five years with Ireland finishing third losing to the new look French side.
It would be fair to say that it has been a mixed bag for Andy Farrell’s charges which will be remembered mainly for the sobering defeat at Twickenham and the defeat against the French last Saturday week. The overall performance was not helped by the 7-month break due to Covid-19 which left new coach Farrell, with limited time with the players to prepare for two crucial games.
There have been positives however for the team with a number of fresh faces being introduced to the team including flanker Will Connors who was man-of-the-match against Italy and Hugo Keenan who impressed against the Azzurri and was harshly disallowed a penalty try in Paris in a game where luck was nowhere to be found; not for the first time in the City of Love. Add to the fact that Dan Leavy has yet to return to the fold as a result of injury suffered last year and players such as James Lowe who is now eligible to play under the three residency rule and suddenly Ireland have a bit more strength and depth with players who are versatile in a number of positions, something which is crucial in the modern game. More will be needed however to match the top teams in this World Cup cycle.
Not only did Farrell introduce several debutants in the campaign but he also appeared to be encouraging the team
to play with a bit more freedom compared to his predecessor Joe Schmidt. Ireland looked slightly more dangerous going forward with line breaks from the likes of Jacob Stockdale and offloads became part of their game. Attack coach Mike Catt will take credit for this as Ian McKinley who worked under him with Italy described the ex-England international as a coach who provides players with a structure but gives them licence to play. This was unheard of under Schmidt who was renowned for his attention to detail but was often criticised for being too narrow and predictable. However, at times it was difficult to see this replicated for the full 80 minutes and there was still a sense of getting to know what system they were trying to implement at both ends of the pitch.
One player that did not leave with much credit however was Jacob Stockdale in what has been a nightmare start to the season for him. Although he has looked as menacing as ever in attack, it was his defensive frailties which left him down and as things stand he appears to be more comfortable and protected on the wing rather than at full-back. As talented as he is, the Ulster man was exposed on Saturday night and needs to improve sooner rather than later if he wants to keep his place within the starting fifteen. With Jordan Lamour currently injured, a safe pair of hands á la Rob Kearney is needed with Munster’s Andrew Conway being the front runner for the shirt. The 28-year-old has gotten better with age and deserves an opportunity to nail down a permanent starting berth and could be a key player going forward for Ireland if given the opportunity. His counter-attacking skills and air superiority more than makes a case for his inclusion.
There has been uproar about the actions of captain Johnny Sexton during the Ireland v France game which is unsurprising. What also isn’t surprising is seeing a player who wears his heart on his sleeve
which sometimes lands him in hot water but with the right intentions. What he did is unacceptable and gives off very negative body language to his replacement Ross Byrne and the rest of his teammates. He was in a team, however, which lacked leadership none more so when no one decided to argue with the captain’s decision to go for the corner instead of the posts with a relatively straight forward kick which would have put Ireland just a point behind at the break. Ultimately Andy Farrell will judged by what happens at the World Cup in France in 2023. Too often have we seen Irish teams peak too early only to fail when it matters most. Yes, the Six Nations is an important tournament that Ireland
needs to do well in especially from a financial perspective with the year that’s in it, but ultimately, teams peak for the World Cup. It is arguably more important that Ireland reach a first semi-final at the World Cup tournament than win a couple of Six Nations titles in-between and if it means a stuttering couple of seasons before the team is ready to tackle the sport’s showpiece, then so be it. If Farrell can re-discover the identity of this team then it will be a chance for the public to reconnect with the side after a turbulent two years. With everything going on in the world at present, now more than ever we need Irish rugby to be a “Team of Us”.