vol. XXIV OTwo - Issue 1

See Inside

Advice from Andrew Geeks Upcoming Cinema Releases to get you Through Semester One A Brief History of Drag Queens Analysis of Hollywood’s Race Issues Interview with Darryl W. Bullock, author of David Bowie Made me Gay

Volume XXIV, Issue 1 19th September 2017

Letter From the Editors

CONTENTS Page 5-8

Arts and Literature

Page 9

Games

Page 10-13

Film and TV

Page 14-16

Interview

Page 17-20

Music

Page 21

Food

Page 22-25

Fashion

Page 26

Travel

Page 27

Fatal Fourway

Welcome... *drum roll*… to the first OTwo of the semester! This year marks the Observer’s 24th birthday, so it’s officially older than most of its readers.

Luckily, we are, as usual, trailblazing towards evoking the coolness of our readers. How do you do, fellow youths?

We’ve had readers ask before why we are called the OTwo. Don’t feel bad if you didn’t cop that it’s “Observer Two.” You’ve made it to UCD, so you must be pretty smart already. But there’s also a second reason: the students’ voices are as important to campus life as oxygen (O2, keep up!). If you thought that English student Claudia’s primary editorial role is to devise seamless metaphors, you’d be wrong because engineer Orla actually wrote that one. English and engineering might sound like a strange combo, but as you can see, we make it work!

But enough about us. Returning readers might have noticed that the OTwo logo and cover have been revamped this year, to reflect the constant change of university life. OTwo is a place for UCD students to share and engage with each other’s ideas on topics and trends that matter to us.

Everything within these pages, from the talented photography to elegantly crafted opinions, is created by students, for students. Our dedicated editorial team strives to bring you the insight, humour and diversity that make UCD so much more than just a layover between the Leaving Cert and your career.

Flick through to find a section that grabs you; amid films to fiction to fashion, there must be something for you. Even the most disinterested among us can enjoy the food and drink section. On top of all that, we have totally-celestially-legit horoscopes, an interview with bestselling author Darryl L. Bullock, and embarrassing confessions from our editors. And if we still fail to entertain you, why not show us how it’s done with an article of your own?

Everybody wants to see their name in print; in our case, we want to see YOUR name in print. Just go onto the University Observer website and click “Join the Team” to sign up for our contributors’ mailing list. That way you’ll hear about the articles up for grabs from your favourite sections, or even pitch your own ideas. This is your magazine too, and it’s waiting for your unique perspective.

We hope you enjoy this, the first of many amazing OTwos (trust us, we’re totally not biased at all).

Looking forward to entertaining you,

Orla and Claudia Volume XXIV // Issue 1 (01) 716 3835 editor@universityobserver.ie universityobserver.ie

Editor Aoife Hardesty Deputy Editor Ruth Murphy Art & Design Editor Joanne Olivia OTwo Co-Editors Orla Keaveney Claudia Dalby Chief of Illustrations Meadhbh Sheridan Chief of Photography Phoebe Ireland Arts & Literarture Editor Dylan O’Neill Games Editor Katie Lalwani Film & TV Editor Alexander Glover Music Editor Cian Montague Food Editor Aurora Andrus Fashion Editor Shane Cullen Online OTwo Editor Conor O’Boyle Contributors Melanie Kelly Daniel Forde Aidan Crilly Fionn O’Connell-Hussey Emma Reidy Gavin Tracey Megan Fennelly Beibhinn Campbell Clodagh Keech

Soapbox:

Gratuitous Sex Scenes

Mystic Mittens Aquarius Jan 20 – Feb 18 We know it, and deep down, you do too; it’s time to take off the Electric Picnic 2012 wristband.

Pisces Feb 19 – March 20 Mammy will forget to make your week’s worth of dinners and you’ll have to live off packets of microwave noodles.

Aries March 21 – April 19 You don’t realise you hate your course until the second semester of second year, and you drop out despite only having one year left and switch to an arts course you could have just done a postgrad in.

Taurus April 20 – May 20 The last pun you made was one pun too many. The consequences are as of yet unknown.

Gemini May 21 – June 20 The only character you relate to on TV is Rick from Rick and Morty, and the irony completely escapes you.

Cancer June 21 – July 22 You never even liked Taylor Swift anyway because you’re super original and stuff.

Leo July 23 – Aug 22 You will fall of a boat and star in a “people falling off boats” video.

Virgo Aug 23 - Sep 22 You will run for class rep and get some nice pizza and a trip away. After one council meeting you will regret your decision.

Libra Sep 23 – Oct 22 You will accidentally match outfits with your lab/project partner in your Tuesday 9am for three consecutive weeks.

Scorpio Oct 23 – Nov 21 Don’t plan to go to 9pm canoeing after the 6pm L&H debate. The free wine will almost certainly get involved.

Sagittarius Nov 20 – Dec 21 You will match with a hot older guy on Tinder, but find yourself ghosting him out of boredom. Spoiler: he’ll be your tutor in second semester of second year.

Capricorn Dec 22 – Jan 19 You will write a great article for the OTwo and it will get the best rates of any article previously.

MODERN media has come a long way from the days when the mere mention of sex would get a show banned. Sometimes it seems, though, that the loosening of censorship has led to a bit of over-compensating on Hollywood’s part. Ever since the likes of Game of Thrones broke ground with graphic on-screen sex, it’s like all the other shows have been scrambling to prove that they’re edgy and modern too.

Watching telly as a family, once a ritual in the Irish household, has now become a minefield. You think you’re perfectly safe with a dry period drama or Oscar-winning biopic, and suddenly the sitting room is full of groans and rhythmic squeaks. It’s hard to know what’s worse: the painful silence as you and your siblings pretend to find the stain on the wall incredibly fascinating; or when your dad tries to break the tension with a joke like “Jaysus, hope you’re not getting up to that kind of carry-on up in UCD now!” Wait, I take that back, the second scenario is way, way worse.

I mean, whatever happened to the sleek camera pan off to the side as two characters embraced? Okay, I admit it wasn’t fooling anyone.

We all knew exactly what was going on, but at least there was a little class involved, as if the camera was politely averting its gaze. Now it just stares like some digital peeping Tom, forcing the audience to join in on its voyeurism.

Sometimes I wish I could become a big-time director like M. Night Shyamalan or Michael Bay, famous for overused signature techniques. Instead of plot twists or crazy explosions however, my trademark would be showing a cup of tea right before every sex scene. This would give viewers a handy excuse to say, “Anyone want a cup of tea?” and then run out to put on the kettle to avoid the otherwise imminent awkwardness.

Even watching shows on your own poses problems, because electronic devices always choose the worst moments to act up. Your laptop could be streaming flawlessly for months, and then during a particularly racy scene in Orange is the New Black, the screen decides to freeze.

I wonder how many computers and phones are smashed up in secret, because the owner can’t bear to face the judgemental smirks of the lads in PC World.

And are these scenes even worth all the stress? At the end of the day, you’re just watching two actors with zero interest in each other, pretending to share a deeply intimate moment in front of a camera crew, for minimal artistic merit. For me it adds no extra enjoyment to watching a film and I wish people would stop adding these gratuitous scenes so the rest of us can watch TV in peace.

Words: Melly Kelly Illustration: Meadhbh Sheridan

OTwo //

Advice from Andrew J. Geeks

President Andy J. Geeks offers his sage wisdom and advice to his student populace.

I parked my car somewhere on campus, now I can’t find it. Where’s my car?

If you are yet to pay the ludicrously low annual parking fee of €50, on top of the other €3000 you pay to UCD each year, you might simply be worried that your car will be clamped before you find it. Fear not, young denizen - your Students’ Union has encouraged you to become your own Ad Astra Vigilante. Take apart your beloved roadster, and remove the dastardly inhibition afflicting it in a manner almost entirely unlikely to be covered by your insurance if you are to damage your car.

Recognising that some students are unfairly hit by clampers despite having paid the annual fee, the SU have provided this information in the hopes that any student who wishes to skirt the fee and simply remove the clamp after each impoundment lacks either the necessary literacy skills to read the section, or the determination and will to finish the two pages of instructions. Civil liabilities abound, stay responsible, kids.

I’ve matched with a guy I like on Tinder, but he goes to Trinity. Should I unmatch him, or string him along?

Students of UCD and Trinity tend to engage in a gentle, mocking rivalry, and nowhere between Belfield and College Green is more fiercely contested than the sodden arena of love. August reader, I suggest that you follow the teachings of UCD’s beloved patriarch, President Andrew J. Geeks. Play the ardent and devoted lover; encourage them to grow and develop as an individual and allow them the space to do so, while simultaneously tugging at the already raw teat of their bank account, if it blisters, you’re on the right track.

It’s worth noting that the collegiate gulf between you doesn’t strictly preclude you from forming a normal and healthy relationship with this boy, however, you’ll have to first set up an elaborate network of spies in Trinity to report back to you on an hourly basis, just to make sure he’s okay. You’ll be doing it out of love.

What’s Hot, What’s Not

From Fresher life to memes hype, Orla Keaveny, gives us a low down and what to look out for and what to forget.

BEING A FIRST YEAR

HOT

UCD has descended into its annual freshers frenzy, as you newcomers are well aware by now. Clubs and societies are showering you with events, free food, and goodie bags, while lecturers are cutting you some slack while you “settle in”. Enjoy it while it lasts, because soon you’ll be buying your own pizza like us old-timers.

DUA LIPA’S NEW RULES

With her cryptic digs at celebrity “enemies”, Taylor Swift was clearly trying to turn Look What You Made Me Do into the most talked-about song on the airwaves. However it’s newcomer Dua Lipa that’s stealing the limelight with her catchy single, New Rules. After a few weeks, we’re probably all going to be sick of it, but for now, we can just enjoy listening to something other than Despacito.

LIDL

Already a student favourite for its cheap food and booze, Lidl has expanded its eclectic range of products to include Heidi Klum’s new fashion line. In true Lidl fashion, the collection throws together an odd assortment of styles (including some particularly garish leopard-print numbers). However, anywhere selling genuine leather jackets for €59.99 is hot in our books.

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NOT DUBLIN

As if to remind us that the freedom of summer is over, the weather in Dublin went from hot to not the moment the first semester started. Now the return to lectures and assignments is made even less glamorous by the gloomy skies and lake-sized puddles. At least we can take vindictive solace in the fact that our smug friends in Trinity will be soaked during their extra fortnight of holidays.

GEORGE HOOK

For years, George Hook has been like that loud, “set-in-his-ways” uncle you avoid at Christmas, only with his own radio show. Last week he finally crossed the line with outrageously ignorant comments about rape, and was suspended amid the resulting outcry.

The controversy has taught us that Newstalk will only stop broadcasting bigoted rubbish when sponsors start pulling out.

DISTRACTED BOYFRIEND MEMES

In a twist as inevitable as any Greek tragedy, the once-beloved “distracted boyfriend” meme has been coldly forgotten. We’ve had some good times, but the internet, like a douchey stock image character, can’t stay loyal to just the one trend for too long.

OTwo // Arts & Literature

Art on the Fringes: Drag Queens

Photo: dvsross via Flickr

With drag’s increasing popularity in mainstream media, Dylan O’Neill looks at the journey of drag queens from the fringes to politics.

IN the 2015 documentary Drag Becomes Him, Erick Hoffer (also known as celebrity queen Jinkx Monsoon) describes drag as an art-form that allows for self-expression and commentary on topics that would not typically be in the foreground of conversation. While its current level of popularity in the mainstream media is only a recent phenomenon, drag has been around for many years.

As far back as the Middle Ages, within the works of Shakespeare and

As far back as the Middle Ages, within the works of Shakespeare and Italian operas, female impersonators have graced the stage.

Italian operas, female impersonators have graced the stage. It was actually Shakespeare who first coined the term “drag” to refer to cross-dressing actors in the theatre. This practice was not considered as revolutionary or gender-defying as it is today, at the time, female actors would have been considered scandalous and inappropriate. Men playing feminine roles onstage set the groundwork for variations on this art form across Europe, such as the pantomime dame – a tradition that is still upheld to this day. The

practice wouldn’t be associated with the LGBT+ community until the mid-twentieth century.

Drag first appeared in North America in minstrel shows, which mocked AfricanAmerican men and women. Straight white men would perform comedic sketches, dances and songs as women in blackface. Nowadays, this is largely seen as an oppressive act on the African-American community and remains a low point in the history of drag. Even though minstrel shows had a rapid decline across America, their use of dark humour and camp style is visible in many drag shows today.

From these somewhat shaky beginnings, drag queens increased in popularity with the introduction of vaudeville shows in the late 1800s. Developing from the European cross-dressing shows, drag moved away from the minstrel shows and adopted a hyper-feminine style of female impersonation. Parodies of female gay icons, such as Joan Crawford and Bette Davis, eventually became a staple in drag shows. It was during this time that drag became associated with LGBT+ culture.

At the same time, drag queens and transgender women were being subjected to severe discrimination outside the LGBT+ community. In 1969, the Stonewall riots began in New York, in response to the frequent arrests of people dressed in clothes that did not match their legal gender. This protest paved the way for international Pride parades, which celebrate and fight for the rights of the LGBT+ community.

Drag gradually moved from the stage to the big screen with films such as Pink Flamingos and To Wong Foo, Thanks for Everything! Julie Newmar. At the same

time, “Ball” culture was beginning to flourish. This was an underground subculture of the LGBT+ community in which young queens would compete in different categories that judged their costumes, dance abilities and attitude. Paris is Burning, a 1990 documentary, showcased the Ball culture of Harlem, New York following the

Drag pageantry has been a prevalent aspect of the LGBT+ community since the 1970s, and has in recent years been used to raise awareness of important issues such as HIV/AIDS. lives of young, queer people of colour.

Aspects of Ball culture began to spill into the more mainstream gay culture, with music, dance (especially voguing) and slang terms being used more and more by many gay men.

In underground nightclubs, there rose a cultural subversion, in which drag queens, such as Leigh Bowery and James St. James, would dress in outrageous costumes that deviated from the typical hyper-feminine looks were prominent

in the ballroom. This was to draw focus on the art of drag by using their bodies as a canvas, and is continued today by queens like Sharon Needles and Sasha Velour, who subvert our expectations, making us question our views on sex and politics.

Of course, a history of drag would be incomplete without mentioning the career of iconic queen Rupaul. From appearing in the music video for The B-52’s ‘Love Shack’ to receiving an Emmy as host of Rupaul’s Drag Race, Rupaul has commercialized drag culture and “launched the careers” of many of her drag sisters. However, she is not the only one to make money out of drag.

Drag pageantry has been a prevalent aspect of the LGBT+ community since the 1970s, and has in recent years been used to raise awareness of important issues such as HIV/AIDS. Having expanded across to Europe and parts of Asia, drag has promoted the visibility of the trans community across the world.

One notable example of queens involved with politics is Ireland’s very own Panti Bliss, who publicly spoke out against homophobia in the Irish media despite facing censorship and legal action. Bliss was also a vocal advocate for marriage equality in Ireland ahead of the marriage 2015 marriage equality referendum and remains supportive of those seeking marriage equality in Northern Ireland and Australia.

Over the centuries, drag has evolved from a method to exclude women and mock marginalized groups, to an art form that represents them, providing a forum for discussions on the society we all live in.

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OTwo // Arts & Literature

From Print to Prestige

The face of comic book characters has changed over the years and Dylan O’Neill analyses their drive from comics to successful film franchises.

Faesong Rhea Cassidy

From the star-spangled shield of Captain America to the menacing grin of the Joker, many superhero (and villain) identities can be instantly recognized, by die-hard comic fans and your average movie-goer alike. Be it for their brilliantly written storylines, relatable character development or just plain shock factor, comic books and graphic novels have not only survived through the generations of readers, but flourished into multi-million dollar franchises.

In 1988, DC Comics published Alan Moore’s The Killing Joke, a graphic novel which featured a glimpse of the Joker’s origin, as well as Batgirl’s shooting and paralysis.

One of the most notable characters throughout comic book history is Batman, who was first introduced

by Detective Comics (DC) in 1939. He provided a more human, morally grey, anti-hero that readers could identify with, as he lacked the superhuman abilities of Superman, who was created a year prior. Over his long run, Batman has dealt with the death of his family, tortured at the hands of his

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enemies, and faced with the task of saving Gotham several times over, all without the help of special powers granted to other superheroes.

In 1988, DC Comics published Alan Moore’s The Killing Joke, a graphic novel which featured a glimpse of the Joker’s origin, as well as Batgirl’s shooting and paralysis. Although the 2016 feature length adaptation was met with large criticism, the novel won the Eisner Award for Best Graphic Album, and Moore won Best Writer in 1989. It contributed to the success of the entire Batman franchise, which spawned 13 films, from 1943’s Batman, to the Oscar-winning Dark Knight trilogy, to this year’s Justice League film, not to mention the television series, video-games, and merchandising.

Moving over to Batman’s Marvel Comics counterpart, X-Men Vol. 1 was published in 1963, the first of decades of comics that have not shied away from social commentary. Despite their superhuman abilities, the characters were a persecuted minority group, surviving in a world of people who did not love or understand them. Naturally, this drew parallels to the civil rights movement and fight for LGBT+ rights in North America. Over 50 years on, the series has stayed relevant, tackling topics such as war in a post-9/11 world.

Following the success of the 1980’s Uncanny X-Men, sales of the comics remained high in the 1990s.

During this time, X-Men animated series debuted and quickly became Fox Network’s top-rated television series.

However, fans began to complain about the on-going series crossovers, known as X-overs, which were seen as publicity stunts with the sole purpose of increasing sales. In 2001, Marvel Comics released the New X-Men, in which writer Grant Morrison brought the series into the modern-era. This

revamp of the series changed crucial aspects of the comics, such as making certain characters, like Emma Frost, more prominent in the comics, and introducing a genocide event on the mutant haven known as Genosha.

This was a clear departure from the brightly-coloured X-Men comics of the 80s and 90s, and presented readers with a grittier world view.

In 1994, 20th Century Fox obtained the film rights for the characters.

The comics and television series remained so popular that in 1994, 20th Century Fox obtained the film rights for the characters. To date, ten X-Men films have been released, with the New Mutants and Deadpool sequel set to reach cinemas in 2018. The films have been heavily based on the comic book franchise, most notably X-Men: Days of Future Past. The movies are currently ranked the seventh-highest grossing film series at the World Box Office, according to The-Numbers.com.

Despite their age, and numerous evolutions, comic book and their adaptations hold a firm place in pop culture history. Their powers may only exist in fiction, yet superheroes also have the ability to connect with generations of real people in the world beyond their pages. Their transference into film allows them to reach a wider audience and gross more income.

The soft fool, that plays in the moonshine, lured by the music of deceit.

Wilful lies, cutting into the flesh of the sole, blades of glass, branches in her curls.

Kisses tickle against her flesh.

Mouth to mouth.

Skin to light.

What it holds is cowardice, senses lulled to sleep by faesong.

“Come dance, come dance.

Feast on our fruits, our fleshy sweet juices.

The apples of sin, the pomegranates of temptation sour.

Picked ripe from the garden of our land.

Don’t be wary, no serpent lies down with us.”

Sugar in the mouth, acid in the veins, poison to the mind.

And kept forever, all in a day.

A glowing waste of youth, but food for their chaos.

Their jealous nature burns.

They waste her body, suck from her fingers her wishes and dreams.

Kisses tell secrets kept.

Her skin mapping her life past and to be.

A waste, heeding no warning given before.

A waste known

OTwo // Arts & Literature

Dead Author Society While characters can live forever writers must die eventually, Aoife Hardesty looks at what this does to the books they leave behind.

How we want the world to remember us after we’re dead and gone is something that matters hugely to the human race.

The legacy we leave behind is all we can pass on to the world and future generations. For many people, their work is passed on after death, the works of filmmakers, musicians and writers continue on. Their work continues to be enjoyed and in some cases re-done to bring new life to a piece.

Recently, news broke that the late author Sir Terry Pratchett’s wishes had been fulfilled; a hard drive containing his unpublished works were destroyed by steamroller. Pratchett is not the first writer to want their unfinished works destroyed, and it is an understandable sentiment to keep your unfinished work safe from view, work which may not be up to scratch and for which you do not wish to be remembered.

Pratchett is most remembered for his 41-book strong series the Discworld and had prepared his work well for his death. He died in March 2015 from early-onset Alzheimer’s disease. Months after his death his final Discworld novel was published, a novel which features the death of a major character and the story of how all the other characters deal with that death and move forward.

Pratchett gave custody of the Discworld to his daughter Rhianna Pratchett, a game-developer, she has stated that she has no plans to publish his unfinished works or to release any further Discworld novels.

Writers’ work often becomes left in the safe-keeping of their children, a notable example of this is JRR Tolkien.

More work of Tolkien’s has been published posthumously than during his lifetime. Tolkien left extensive notes on Middle Earth, on myths and legends and his son Christopher Tolkien has been compiling and editing his work since his death in 1973. Earlier this year, The Tale of Beren and Lúthien was published, Tolkien completed a translation of the epic poem Beowulf in 1924, it remained unpublished until 2014, 90 years later.

Tolkien saw The Lord of the Rings and the Hobbit published in his lifetime, but the Silmarillion tells the complete history of Middle Earth as an epic saga, it was published posthumously in 1977.

As Game of Thrones captures the attention of the world, and as people await the next book with bated breath, the question has arisen “what happens if George RR Martin dies before completing it?” When asked this question his repsonse was “fuck you.” This issue arose for another epic fantasy series the Wheel of Time written by James Oliver Rigney under the pen name Robert Jordan. The complete series is made up of 14 books, but Rigney died in 2007 while writing book number 12, which he intended to be the final installment. Rigney announced a diagnosis of terminal cancer a year and a half before his death, and within that time, compiled extensive notes of how he wanted the series to play out. After

his death, his wife and editor, Harriet McDougal, selected Brandon Sanderson to pen the remainder of the series.

Sanderson looked at the notes, and the unfinished novel and said he’d need to write more books, and so he split the final book into three separate ones. Debate is common amongst fans of the series as to whether Sanderson did a good job finishing the end, and shows how the continuation of a series posthumously may not always be considered the best decision.

Prior to her death in 1976, Christie established a company, Agatha Christie Limited, which would hold the rights to her works after her death.

Moving away from the world of Fantasy and to the world of Crime, Dame Agatha Christie remains the best selling novelist of all time. Over a billion copies

of her books have been sold in English, and over a billion copies have been sold in translated languages. Prior to her death in 1976, Christie established a company, Agatha Christie Limited, which would hold the rights to her works after her death. She left a 36% share in that company to her family, and the company is organised so that the 50% of the board, and its chairperson is appointed by her family, ensuring that they have control over any adaptations, re-publications, or changes to her work.

A surprising move by Christie’s family in 2014 granted permission to author Sophie Hannah to continue the adventures of Christie’s Belgian detective Hercule Poirot. Christie’s Poirot series was her largest with 33 novels including the Murder of Roger Ackroyd and Murder on the Orient Express, and the series ended with the death of the moustached detective. Hannah has written two Poirot adventures, the Monogram Murders and Closed Casket.

What is clear for many writers, is the need to have their work protected after their deaths.

Many authors leave their work in the hands of their families - people they loved the most who they could trust and depend on to do what was in the best interest of their work, and their own legacy.

In this way, perhaps they leave the world feeling that they have left the worlds they created in the safest possible hands.

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My Favourite

Book

Elizabeth Smart

Daniel Ford War and Peace

By Grand Central Station I Sat Down and Wept

Examining one of the longest novels in existence, Daniel Forde explains why War and Peace is worth a read.

In our new series on favourite books, Maeve Costello’s choice of book is an exploration of the intricacies of love.

I feel there are numerous reasons why War and Peace would be an unlikely choice for a favourite book. First of all, it’s well over a thousand pages long making it a daunting task for the most accomplished reader. Furthermore, it’s a novel about life in early 19th century Tsarist Russia, a period most readers would know little about.

One more reason against it is that it’s a very dense novel, conceptually speaking.

To those who have read it: I’m sure we can all agree that we wouldn’t miss those very last chapters. You know the ones.

shine: his characters. The novel hosts a large ensemble of characters, but Tolstoy succeeds in making them all unique.

You’ll find historical characters mixed with fictional beings and you can empathise with them all.

In spite of all this, it is my favourite novel and I have never regretted picking it up. Despite its reputation, War and Peace is actually a very readable novel.

The prose is perfectly comprehensible and the voice of the author is comfortably modern. Upon first reading, I was struck by how different this book felt from other classics. Tolstoy always manages to describe the action with the perfect amount of detail. No matter where the story goes, you feel as if everything is happening right in front of you, whether it’s a high society ball, a battlefield, or the birth of a child. It’s this clarity which allows another of Tolstoy’s strengths to

about the lives of Pierre Bezhukov and Natasha Rostova and upon finishing the book, they felt as close to me as real friends. This was because they grappled with subjects that we still struggle with today: love, maturity, and the meaning of life, among others. It’s that quality which makes this novel perfect to me. I admit it’s long and challenging in parts, but beneath those flaws is a book that is enchanting and brimming with many ideas on life.

Even though I’ve already read War and Peace twice before, I can’t wait to pick it up again.

The prose is perfectly comprehensible and the voice Upon first of the author reading, I was is comfortably struck by how different this book modern.

Tolstoy’s rendering of internal felt from other thoughts gives you a perfect look into the inner workings of many radically difclassics. ferent people. I spent a lot of time reading

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PUBLISHED in 1945, the book is loosely based on Elizabeth Smart’s life and love affair with George Barker, a man with whom she had four children while he was still married to another woman. The subject matter is not ground-breaking by today’s standards, affairs being a common topic found on the shelves of book stores. However, it isn’t the story of By Grand Central Station that I find captivating, rather Smart’s beautiful and tragic recount of love in all its pitfalls.

While the physical world is described in all its horror and beauty, the narrative is driven by the emotional world of its narrator, and how it alters her perception of events.

Told in ten parts of gorgeously flowing prose, the book is full of raw emotion.

The prose follows the mind of the author, within the first few pages, not long after meeting the wife of her lover, she asks herself “Why do I not jump off this cliff where I lie sickened by the moon?”. This is

directly followed by the mundane task of serving breakfast to her guests. While the physical world is described in all its horror and beauty, the narrative is driven by the emotional world of its narrator, and how it alters her perception of events.

The opening to Part Ten (the final part) is placed separate from the rest of the prose, as for the first time our unnamed narrator, who is presumed to be Smart herself, strikes out in defiance at the world and how it has treated her – “I will not be placated by the mechanical motions of existence”. By Grand Central Station is a work of defiance in the face of all that should crush and conquer the narrator’s soul, from having to face the condemnation of a small town as an unwed mother in 1940’s America, to being destitute on the streets of New York. Smart talks of how she is “more vulnerable than the princess for whom seven mattresses could not conceal the pea,” her dogged perseverance r sees her through it all.

Why ‘By Grand Central Station I Sat Down and Wept’ is my favourite book is hard to explain. I accidentally happened upon it in a second-hand bookshop last year, and bought it on a whim. I am forever thankful that I did buy it. It now it’s on my bedside, becoming increasingly worn each time I read it.

GAMES TO GET EXCITED ABOUT During the Rest of 2017

2017 may be nearing its end but, as Katie Lalwani explains, there are plenty more great games to come.

SO far 2017 has brought us such gems as Horizon Zero Dawn, Uncharted: The Lost Legacy, and Breath of the Wild.

However, if you thought that was all this year had to offer, you’d be sorely mistaken. Here are some of the standout games to look forward to during the remainder of the year.

The end of September will see us return to Dunwall in Dishonoured: Death of the Outsider. The stand-alone DLC stars assassin Billie Lurk on a quest to kill the mysterious black-eyed entity known as The Outsider. Equipped with some new weapons and abilities, once again it’s up to the player to choose how they want to play.

October will see the release of lots of big titles, including Middle Earth: Shadow of War. Based on the Lord of the Rings series, you return as Talion and Celebrimbor to fight overlords and siege fortresses. The game further expands the nemesis system which allows enemies to remember you. This time around the player has the ability to recruit orcs and trolls to their army, while your newfound allies can suddenly turn sides and fight against you.

Super Mario Odyssey comes to the Switch on October 27th. SMO bears all the hallmarks of a Mario game, including traveling through pipes, jumping on goombas and collecting mushrooms, all in order to, once again, rescue Princess Peach from the evil Bowser. While the

plot is nothing ground-breaking, what is new is Mario’s bizarre new power, the ability to ‘capture’ people, enemies and inanimate objects, allowing Mario to control them. This interesting new power is sure to add a new twist to an already successful formula.

Also coming our way on October 27th is Assassin’s Creed Origins. Marking a much-needed shake-up to the franchise, Origins sees you take on the role of Bayek as you roam Ancient Egypt, riding camels, exploring pyramids, and bumping into famous historical figures.

The game sees some major changes, including a fresh new combat system, while eagle vision comes in the form of an eagle companion.

Wrapping up the year comes the highly anticipated Star Wars Battlefront II. Based on Star Wars films, SWBII expands on its 2015 predecessor with a new setting, offering a better single-player campaign. Fan-favourite space battles will now become part of the main game.

Multiplayer, on the other hand, becomes a sandbox, allowing heroes and villains from all three sagas, such as Rey, Darth Maul and Luke Skywalker, to come together in one place. The game will keep Star Wars fans pleased while remaining accessible enough for new players to jump on board.

2017 has yet to reach Game Over, with plenty of new, exciting releases heading our way.

Life is Strange: Before the Storm

Life is Strange has released a prequel which Katie Lalwani explores to find new and familiar treasures.

Developer: Deck Nine Publisher: Square Enix Platforms: PS4, XBOX One, PC Release Date: August 31st 2017 AFTER the original Life is Strange wrapped up so perfectly, the announcement of a prequel was met with initial scepticism, and for good reason. A new developer, a change in voice actor for Chloe, and the removal of the rewind ability (not to mention the question of whether a prequel was necessary), had fans understandably concerned. Nevertheless, Before the Storm manages to put all doubt aside, and certainly lives up to its predecessor.

The first in a three-part series, Episode 1: Awake sees us return to Arcadia Bay three years prior to the first game. Just like the original, players interact with the world around them, making decisions which will have consequences later in the game. This time, however, we

see the world through the eyes of Chloe, shedding a new light on an old setting.

There’s a lot going on in Chloe’s life. It’s been two years since the death of her father, her best friend Max has moved away, and her mother’s new boyfriend is an unwelcome presence. This all adds to Chloe’s inner turmoil.

Without the time travel powers of Life is Strange, once you’ve made a choice there’s no going back. It’s been replaced by ‘Backtalk,’ a mini dialogue game where you listen and respond to what is being said, manipulating others into getting your way in an argument.

While it takes a bit of getting used to, this feature suits Chloe, who’s known for her sharp retorts.

While you don’t need to have played the original to enjoy Before the Storm, the game visits locations and characters from the original game which can be appreciated by well-versed players. There’s a cosy element to exploring familiar settings, such as Chloe’s dishevelled teenage bedroom, the prestigious Blackwell Academy and the treasure trove of the junkyard.

Each area is richly detailed, which leaves it easy to miss things.

With characters, old favourites return while new ones fit seamlessly into the world, most notable of which is Rachel Amber. Rachel will be familiar from Life is Strange as being a mystery, only mentioned but never seen. Here, despite her physical presence, Rachel still remains

an enigma. It’s the relationship between popular, perfect Rachel and the unruly, angst-ridden Chloe which we become invested in and one which allows us to see a more vulnerable side to Chloe.

With just over two hours of gameplay, the length of Before the Storm is just about right, preventing it from feeling dragged out. It’s the real emotional heaviness and the heart-wrenching unexpected moments of tragedy which the player will find themselves pondering long after the game is over. After a promising start and the promise of twists and turns to come, Episode 1 leaves us eagerly awaiting more.

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OTwo // Film & TV

Review: Insecure

Review: Return to Montauk

Series title: Insecure

Director: Volker Schloendorff

Written by: Issa Rae

Writers: Colm Tóibín and Volker Schloendorff

Starring: Issa Rae, Yvonne Orji and Jay Ellis.

Starring: Stellan Skarsgård, Nina Hoss, Susanne Wolff and Isi Laborde-Edozien

Release Date: Available Now

Release Date: 6th October

Picture Credits Wikipedia

insecure ACCORDING to the American Census, African-Americans make up 13% of the US population but the representation of black culture in TV has been lacking. The rare appearances of black characters have either been worn-out stereotypes such as criminals and “sassy” friends, or characters with no distinction from their white counterparts. The main reason is obvious: most creators, producers, and writers have been white and had little insight into the unique experiences of real black people.

Thankfully, the tide is turning, and more diverse production teams are leading to more authentic representation.

One prime example of this is the HBO comedy series Insecure. Created, written by and starring Issa Rae, best known for her Awkward Black Girl web series.

Insecure, now in its second season, follows the experiences of two black women living in LA, along with their friends, colleagues and love interests.

Many of the themes, such as navigating Tinder dates and dealing with office drama, are relatable regardless of race.

What distinguishes Insecure from your standard millennial sitcom is the incredible insight into modern black culture. From the natural use of AAVE (African-American Vernacular English) to the honest portrayal of the characters’ hopes and motivations, the difference between this and other shows is striking.

The show allows itself to remain consistently positive, and the weight of inequality that the characters experience is treated with an element of irony and satire. This contrasts with other shows like Orange is the New Black or Dear

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White People, where the similarity to reality can be bleak at times. At its core, Insecure is a comedy, not a political statement.

That’s not to say that the struggles of black Americans are glossed over.

Issues such as racial discrimination, the fetishisation of black culture, and the impact of police brutality are all explored, particularly in the second season.

However, instead of focusing exclusively on these dark themes, Insecure simply portrays them as a part of everyday life for its characters, which makes enough of a point about the state of American society.

At its core, Insecure is a comedy, not a political statement.

As a show, the witty dialogue and skillfully written situational comedy of Insecure will make you laugh as much as it makes you think. It also sets the standard for the depiction of black people as living, multi-faceted humans, who are as varied and complex as the thousands of white characters that have been hogging the small screen for decades.

In a nutshell: A thought-provoking comedy that provides as much insights as laughs.

UCD alumnus Colm Tóibín’s first screenplay, Return to Montauk, is a showcase of European creativity. Directed by German filmmaker Volker Schloendorff, shot by French cinematographer Jérôme Alméras and starring actors from Sweden (Stellan Skarsgård) and Germany (Nina Hoss, Susanne Wolff ), the unique style is catching, but perhaps leaves a lot to be imagined.

The European influence on the film is evident as we follow protagonist Max Zorn (Skarsgård), a novelist in his sixties, wandering the city aimlessly and torn by heartbreak. He has returned to NYC to promote his latest book release, but being back in the city he lived in years beforehand stirs up memories for him.

He is reminded at every street corner of the girl whose love still haunts him.

The film is conveniently divided into chapters for the audience, one for each day of Max’s trip. The author now has a wife (Wolff ) and hasn’t seen his former flame Rebecca (Hoss) in seventeen years.

He ponders the regrets in his life and his week-long stay in NYC offers him the chance to rectify one of them when he gets to spend time with the ghost of his love life.

The backdrop provides a playground for the filmmakers to explore New York City’s beauty and they use it to contrast a few of the socio-economic differences that exist. Zorn is heard asking about money on multiple occasions whenever he enters one of the other character’s homes. We learn that he is struggling financially and the people working for him aren’t paid well. The disparity between those in writing and those in the legal industry is alluded to many times. It is

perhaps best summed up in the scene resembling a Mercedes commercial where Rebecca drives out of the city to buy her second home.

The cinematography is the most striking part of the movie and the film benefits from being shot on location. The music also adds to the movie’s charm. At one point, the main actors can be seen dancing to an Irish jig in an underground New York nightclub. At other times, the music is reminiscent of classic French movies of the 1960s.

Skarsgård is leaned on heavily on a couple of occasions to provide intense monologues in the form of his book readings. However, it is Hoss in Montauk who delivers perhaps the most moving monologue as she reflects on how life evolved without Max. This is the first time the audience experiences real emotion and it comes late in the film.

Max is based on Schloendorff’s friend Max Frisch, to whom the movie is dedicated. The film is an indirect adaptation of Frisch’s novel Montauk.

In a nutshell: A beautifully shot movie with a bland plotline that doesn’t live up to the creative genius of Tóibín.

Max is based on Schloendorff’s friend Max Frisch, to whom the movie is dedicated.

OTwo // Film & TV

Upcoming Cinema Releases for Semester One

The big budget blockbusters this side of Christmas all come from bankable, established franchises. The first one up is sci-fi film Blade Runner 2049 in October which is the long-awaited sequel to 1982’s Blade Runner. Harrison Ford returns as Rick Deckard and Ryan Gosling plays the new guy tasked with tracking him down.

Next up is The Lego Ninjago Movie, the third installment in the series spawned

by Lego toys. This time the story focuses on six young ninjas who must defend their homeland. The cast of voice actors is impressive just like the first two films, this time starring Olivia Munn, Justin Theroux, Dave Franco, and Jackie Chan.

Thor: Ragnarok, the next Marvel film, also has an October release date. This, the third film, sees the hero face off against the Hulk in a seemingly more light-hearted take on the superhero showdown.

The big release of November is the hotly anticipated Justice League. DC fans have been waiting for this film for so long and, yet, it stills feels rushed.

This is the marquee event that will bring six of the company’s hottest commodities together in one big superhero team-up.

Unfortunately, audiences still haven’t had a lot of facetime with each individual character. Storytelling and character development have lacked in the previous films in the DCEU, hopefully Joss Whedon can rectify these issues.

The only critically successful entry in the latest slate of DC films is Wonder Woman. Capitalising on this, Professor Marston and the Wonder Woman opens in cinemas a week before Justice League.

This is the true story of Wonder Woman’s creator, psychologist Dr. William Moulton Marston who drew inspiration for the character from two women, his wife and their lover.

Stories following the lives of artistic creators seem to be trending for this upcoming quarter. September offers us the release of Goodbye Christopher Robin, a film set in the 1920s which focuses on British author A.A. Milne (Domhnall Gleeson) as he is inspired by his son to write Winnie-the-Pooh. Margot Robbie stars as the author’s wife.

Storytelling and character development have lacked in the previous films in the DCEU, hopefully Joss Whedon can rectify these issues.

Adaptations are big as always in the coming months. Books-turned-films on their way to the screen include Jo Nesbø’s the Snowman, Charles Martin’s The Mountain Between Us and Agatha Christie’s Murder on the Orient Express.

Disney’s next animated feature Coco doesn’t reach Irish screens until January, clearing the stage for Fox’s Ferdinand in December. The film is an adaptation of The Story of Ferdinand by Munro Leaf, the children’s story of a bull who would rather smell flowers than be in bullfights. The feel-good family film may also appeal to older audiences features the voice of John Cena.

Cena also plays a prominent role in another big film this winter, Daddy’s Home 2, which hits Irish cinemas on November 22nd. Will Ferrell and Mark Wahlberg reprise their roles as warring fathers in the comedy sequel which also introduces John Lithgow and Mel Gibson as their own respective fathers .

More sequels coming our way are Pitch Perfect 3, Paddington 2 and A Bad Mom’s Christmas. Not to mention, Jumanji: Welcome to the Jungle and the next Star Wars installment, The Last Jedi. Amidst these, look out for originals like The Killing of a Sacred Deer and Roman J Israel, Esq. With so many films heading our way, between classes, college stress, and assignments be sure to take time out for yourself and treat yourself to a cinema night to check out your favourites.

Photo Credit Junidrao via Flickr

The big budget blockbusters this side of Christmas all come from bankable, established franchises.

James Franco also tries his hand at this biographical genre by directing December’s The Disaster Artist. Focusing on the production of 2003’s The Room, which is considered one of the worst films ever made. Also in December, we’ll get The Man Who Invented Christmas, detailing the six weeks in 1843 when Charles Dickens (Dan Stevens) penned his classic A Christmas Carol.

Loving Vincent paints the picture of the mysterious death of Vincent Van Gogh, literally. Robert Gulaczyk plays the famous artist in the first fully-painted feature film, and it is truly like no other.

125 painters worked on the production and the creative development took six years. The film will have a limited release in Irish cinemas on October 13th and has roles for two of our biggest homegrown stars, Saoirse Ronan and Chris O’Dowd.

A couple of other biographical flicks to look out for are Borg/McEnroe (Shia Labeouf), which tells the story of tennis’ greatest rivalry, and Stronger. Stronger depicts the struggle of Jeff Bauman (Jake Gyllenhaal) who lost both of his legs during the Boston Marathon Bombings in 2013.

Photo Credit via Wikipedia

ESTABLISHED franchises have dominated the box office during the first three quarters of 2017. A look at the highest grossing films shows Beauty and the Beast on top, followed by the likes of Wonder Woman, Despicable Me 3, Logan, and another Transformers film.

If action films get you reeling, you’re in luck because there’s more coming before the year is out. Hollywood, however, is becoming a little bit less predictable in its output and there are some original ideas sneaking out of the cracks. Here are the films to watch out for during semester one, be they good or bad.

Photo Credit Kieran Lynam via Flickr

Alexander Glover looks ahead at the film releases we can expect before Christmas.

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OTwo // Film & TV

Is Hollywood Racist?

Photo Credit via Twitter

With characters of colour being played by white actors, Ruth Murphy, analyses whether Hollywood has a race problem.

LAST month, it was announced that star of Deadpool, Ed Skrein, would play a character in the new Hellboy adaptation.

This resulted in a backlash from fans of the original comics as the character that Skrein was to play, Major Ben Daimio, is Asian-American in the comics. Ed Skrein subsequently stated that he had been unaware of this and dropped out of the film.

He posted a statement on twitter stating that “It is clear that representing this character in a culturally accurate way holds significance for people and to neglect this responsibility would continue a worrying tendency to obscure ethnic minority stories and voices in the Arts.”

Does it prove that the white person will always have a greater chance in Hollywood than an Asian person, regardless of gender? Can a film only fit so many women and minorities?

Skrein’s comment points to a much wider issue than the casting of this one film. Is this a single mistake or a tendency?

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Asian characters appear to be more common in comics than in books and some do make it into film, such as the character of Katana in Suicide Squad but many are eclipsed. Doctor Strange faced criticism when Tilda Swinton was cast to play a character who was an Asian man in the comics. The director Scott Derrickson and writer Jon Spaihts defended the casting as a triumph for women. Is this really a positive or does it prove that the white person will always have a greater chance in Hollywood than an Asian person, regardless of gender? Can a film only fit so many women and minorities? In the 2017 film Ghost in the Shell the Asian main character of Motoko Kusanagi is played

by Scarlet Johansson, a casting that is difficult to defend though easy to explain when you think of her fame.

While some might describe the choice to use actors that do not seem to match their original characters as simply an artistic decision this issue exists in other films where it is more difficult to ignore. Watching historical films you might start to believe that Asian people simply did not exist until recently and that black people’s only role was the slave.

Christopher Nolan’s recent film Dunkirk, an American-British-Dutch collaboration, sparked discussion when it failed to feature actors of colour. These criticisms then faced an even greater backlash from those who claim that only white people fought in Dunkirk. The Royal Indian army is known to have fought on the British side and on the French side there were many troops from African colonies. This counter-backlash gives reason to question ourselves as cinema-goers as much as the film-makers. The choice of actors for this film can be defended not just by ignorance of who was at Dunkirk but also

by Nolan’s decision to feature characters that were not based on real people.

Nevertheless, this defence is lazier than simply featuring people of colour.

Watching historical films you might start to believe that Asian people simply did not exist until recently and that black people’s only role was the slave.

One film in which white-washing is impossible to ignore or understate is the film Stonewall about the 1969 riots of the same name. The event itself was known to feature many gay and trans people of colour but the film is mostly about white cisgender males. Marsha P. Johnson who self-identified as a “gay transvestite” is often named as the person who threw the first brick at the police at the Stonewall riots. Many promotional images for the film show the main character, fictional white male Danny Winters throwing the first brick. The director of the film Roland Emmerich, defended the character, in conversation with Buzzfeed News stating that “I kind of found out, in the testing process, that actually, for straight people,

[Danny] is a very easy in. Danny’s very straight-acting... [Straight audiences] can feel for him.” Can white straight people only relate to characters that look like them? Emmerich also said “As a director you have to put yourself in your movies, and I’m white and gay.”

It may be that Hollywood believes that to appeal to the white audience you must show them themselves. This can explain why original screenplays are even less likely to feature people of colour. The most successful recent films featuring people of colour are based on true events or already written stories: Moonlight, Twelve Years a Slave, and Hidden Figures to name a few. It is more difficult to write a person out of a film than to never invent them.

It is notable that these films do not feature Asian leads and only one Asian man has ever won an Oscar for Best Actor. Ben Kingsley won twice for his roles in Gandhi and House of Sand and Fog. Hollywood has an issue with race.

New films are proving both that films can be successful while featuring actors of colour and also that the industry will continue to avoid casting people of colour despite this. It seems that casting directors are asking themselves “Why feature a person of colour when you can feature a famous white person? They’re much better known and we can relate to them.”

OTwo // Film & TV

Factual Awakening – The Rise of Documentaries

Picture Credit: via Flickr

Picture Credit: Wikiedia

Picture Credit: Wikiedia

Alexander Glover uncovers the audience’s desire to stay woke.

BLACKFISH. Super Size Me. Making a Murderer. You’ve probably seen at least one of these.

Our desire for facts over fiction is increasing at a steady pace in the last few years. You could look to 2004’s Fahrenheit 9/11 as a focal point in this shift to a larger demand for documentaries. The film arrived at a time when the public was confused and angry at the government and wanted to know what was going on.

Michael Moore, known as “America’s favourite whistle-blower”, directed Fahrenheit just two years after the equally provocative Bowling for Columbine.

Bowling was Moore’s rally against gun laws in the US. The director takes serious issues like war and violence and delivers them in easy-to-digest forms that appeal to mass-market; one review even labeled Bowling as ‘hilarious’.

Ava DuVernay’s documentary 13th, released last year, reached audiences at a time of similar confusion and anger.

The documentary focuses on the racial inequality that exists in the United States.

The message conveyed is harrowing, impactful, and even enraging. The truth of its tale makes it especially brutal.

Such is the power of the documentary. A good documentary can be funny or infuriating; either way, they make the audience feel. The lack of depth in news media, and the detached nature of fiction means that documentaries can often evoke far more authentic emotion from us.

Documentaries are much cheaper to produce than studio features and with more demand for facts than ever before (see: John Oliver, TED talks), there should be a lot more documentaries coming our way. In fact, the number of documentaries at Cannes doubled in five years to 16% in 2013 according to the film festival’s director, Jerome Paillard.

Netflix are at the forefront of this trend. After the huge success of 2015’s Making a Murderer, latest news from the

streaming giant has announced that an eight-part series about the disappearance of Madeleine McCann is on the way.

Crime documentaries are certainly at the forefront, due to their investigative and thrilling content, but it’s not just murders and kidnappings that grip audiences. Nature documentaries that explore the hidden wonders of the world such as March of the Penguins and David Attenborough’s Planet Earth capture the audience using beautiful imagery. Nature documentaries allow access to sights we wouldn’t get to see otherwise. Planet Earth, regarded as one of the best TV shows ever made, illustrates what can be achieved with a large budget.

Big name artists and stars draw more attention to the genre. This was seen by the popularity of Amy, the documentary detailing the downfall of Amy Winehouse, and Exit Through the Gift Shop made by graffiti artist Banksy which received critical acclaim. Netflix is now

A good documentary can be funny or infuriating; either way, they make the audience feel. full of movies and series by well-known documenters such as Louis Theroux, Reggie Yates, and even Russell Brand.

The streaming service offers a larger platform than ever before for documentary makers. With viewers eager for new viewing material, filmmakers can spend more money creating documentaries, as they know there is an audience waiting.

Nevertheless, unknown creators with smaller budgets can still make an impact as seen by Brave Miss World, A Syrian Love Story, and Dark Days. All that’s needed to succeed are interesting

Maybe documentaries make us feel smarter in a time when we are looking for enlightenment of the facts.

facts. If you can express them in a way that’s dramatic, funny or thought-provoking, people will listen.

Sport documentaries are also gaining popularity, with ESPN’s 30 for 30 series leading the way. The likes of Iverson, Hoop Dreams and biopics about Lance Armstrong have also been well-received.

Dramatising some of the biggest moments in sport allows fans to relive them and younger generations to discover their magic through a new medium.

One of Michael Jackson’s last contributions to pop culture was 2009’s This Is It. The production crew followed Jackson as he prepared for sold-out shows in London scheduled for summer 2009. Its success demonstrates the rich and famous’ ability to capitalise on the growing popularity of the medium.

Record labels have since been pushing for more “rockumentaries.” Cinema audiences have been given Justin Bieber: Never Say Never, One Direction: This is Us and Katy Perry: Part of Me. Then there are the documentaries trying to change how we think. Super Size Me came out in 2004 and caused a storm in the food industry. By calling out the market leader, McDonalds, the documentary created a ripple in the fast food sector, the effects of which can still be seen today.

Others have followed suit with the

likes of Food Inc. and What the Health questioning our diets while Cowspiracy and Earthlings highlight the impact of our consumption. Many of the filmmakers behind these docs use shock tactics to startle an audience, something which can’t be achieved as easily through alternative channels. We have also seen positive influence from documentaries

Crime documentaries are certainly at the forefront, due to their investigative and thrilling content, but it’s not just murders and kidnappings that grip audiences.

such as Blackfish. Since its release in 2013, SeaWorld’s profits have fallen dramatically thanks to what the company calls ‘brand challenges’.

Maybe documentaries make us feel smarter in a time when we are looking for enlightenment of the facts. The best documentaries will stimulate constructive conversation amongst viewers who oftentimes feel compelled to spread the message further.

Perhaps the world’s obsession with reality TV has further blurred the lines between fact and fiction. Regardless, in a world where we often can’t decipher factual news from satire, it makes sense to create documentaries that remind us that “you couldn’t make this stuff up.”

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OTwo // Interview

An Interview with

Darryl W. Bullock

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OTwo // Interview

LGBT culture pushes fashion and music forward, and we should be really bloody proud of ourselves for it.

Claudia Dalby talks with author Darryl W. Bullock, whose book “David Bowie Made Me Gay” examines a century of LGBT+ recorded music.

Darryl W. Bullock had originally planned his latest book to be about the process of recording music, a fascination of his since his days working in record shops.

He thought the book would be about recorded music from a gay perspective or a look at the development of music, or how genres influence each other.

However, an event happened in the middle of his writing process, one that would change music, the world, and his to-be-published book forever. Shocking him and the rest of the world, David Bowie died on 10 January 2016.

Bullock, however, was not anticipating his own reaction. He regarded his favourite band as the Beatles, not Bowie, and experiencing John Lennon’s death when he was sixteen had felt like the death of a parent. However, it was Bowie’s constant presence in his life that caused Bullock to go into mourning for days after his death. “He was always there.” Bowie released his first record, 1964, the year Bullock was born. “There was always Bowie. Every time you turned around, when there was nothing to listen to, there was always a new Bowie album.

I hadn’t realised it until he died, but he was the soundtrack to my life.”

From this moment, his book idea was now clear to him. After seeing the outpouring of grief from social media, it was evident that Bowie was not just influential, he was culture-changing. This got him thinking about the history of LGBT+ music, and about how influence occurs from act to act, and genre to genre and so on in a chain from the 19th to the 21st century. “It was like a bright light going off,

almost like marking out tube stations on a map, a very clear line from act to act.”

That was how his book happened.

David Bowie Made Me Gay is a look at how LGBT+ musicians have pioneered musical development over the last 100 years, and helped music evolve into what we listen to today. Of course, there are the big name acts like Bowie, George Michael, Elton John, that have been widely successful, but the domination of LGBT+ acts throughout the history of recorded music has been largely ignored, with artists either long forgotten or unappreciated during their lifetimes. The literary market features few books that focus on this phenomenon. While books about disco, glam rock and punk fill discourse of influential artists and the effects they had on their respective periods, there is no recognition for the monumental and constant influence of LGBT+ artists.

The blues and jazz era is not generally associated with the LGBT+ community in the same way as other eras. This is contrary to the fact that LGBT+ artists were “in the maternity ward during the birth of the blues”, however, “they are lucky if they get a mention,” says Bullock.

Contrary to popular belief, the musical history of the gay community did not start with Stonewall. It was here that Bullock saw the perfect opportunity to delve into an uncovered world, and see what he could find.

And he struck gold. David Bowie Made Me Gay is a deep and dense history, examining in rich detail the progression of artists and their musical expression, following smoothly from period

The political struggle from the 50s and 60s hasn’t gone away, it just changed borders.

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OTwo // Interview

to period. I found it utterly engrossing, as each story connects to the other like a timeline. I read rapidly from chapter to chapter with growing eagerness to understand ths with more, and it was understood you had a space where you could be queer.” It may surprise some to read about LGBT+ influence on such masculine-dominated genres as hip hop, rock or reggae, but the book calls attention to the disparity between belief and reality.

Take, for example, the story of Ma Rainey, known as the Mother of the Blues who lived and sang during the Harlem Renaissance. “For the most part, gay men, lesbians and bisexuals were an accepted part of the Harlem Scene.” Ma Rainey herself was bisexual and many of her songs, most notably ‘Prove It On Me Blues’, were obviously and outlandishly bisexual. Her music attracted throngs of people, black and white, craning to listen. Blues and jazz were primarily sung by black women, and fellow bisexual and lesbian artists such as Bessie Smith and Lucille Bogan showcased themselves as out and proud in their songs.

The most important part of writing, Bullock says, was being able to ensure these people are remembered and put back into public consciousness for what they did and the influence they had.

David Bowie Made Me Gay makes it evident that many musicians’ sexuality and influence has been blanketed over by a straight-washed past. “They put music where it is today.” In reasoning this phenomenon, we can look to fashion, one of music’s biggest influences. “We, as a community, have always pushed fashion forward. We’ve always pushed the envelope forward a bit, and have always been looking for the next thing, the next high.

Fashion-wise, we’ve always lead the way.” LGBT+ artists have always been the ones speeding it up, or slowing it down, dressing it up and making it raunchy or exciting. “LGBT culture pushes fashion and music forward, and we should be really bloody proud of ourselves for it.”

The necessity of celebration is abundantly clear, particularly when it comes to looking at countries today where being gay is still illegal. LGBT+ people in those countries can be arrested, attacked or outlawed because of their sexuality.

Bullock studies countries like Russia, Kenya, Saudi Arabia, and Jamaica, in the chapter ‘Hope and Homophobia’, where there are varying degrees of injustices against LGBT+ people being committed.

“Our community stands up for these people. There is an emergence of political clout in the west, and we need to use it to our advantage, and helping other places to change for the better.”

Music can be an incredibly powerful agent. It can carry a voice of hope in a hopeless world, through an accessible medium. “Music empowers and nurtures people. For a young, poor LGBT person living in, say, Kenya, and all they have is a radio. This radio can be their lifeline.”

Where the government controls what goes on the airways, there are many brave gay and gay-friendly musicians from these countries who upload songs to Youtube where they can be found by anyone who wants, or likely needs them. Songs can talk to you and make an impression on you, they can be there to tell you who you are when there’s no one

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else like you. “For me, it was discovering Tom Robinson’s angry, acoustic performance of Glad To Be Gay when I was a teenager. It made me suddenly realise that LGBT music was more than just disco. It was something that I could relate to, and it was such an awakening for me.” It can be a voice from another world, a world you didn’t even know existed.

In the western world, the abundance of apparent freedoms can be easy to take for granted. “It would be so easy for us to lose so many of the rights we’ve won over the last 50 years. It’s exactly what happened in 1930s, and it’s exactly what’s happening all over the world.” However, if anything can be taken from this book, it’s that no matter how much hardship is happening to the LGBT+ community, through silence, violence, shame and prejudice, the community always pushes through. “I do think things will get better. Things are very, very slowly getting better in Russia and Jamaica. But we as a community need to be there, to offer support and nurture communities. We need to be opening our arms. The political struggle from the 50s and 60s hasn’t gone away, it just changed borders. We need to be there.”

The smallest moment can be a catalyst for change. 13 million people watched the historical performance on Top of the Pops in 1972, where Bowie slid his arm onto the shoulder of his guitarist Mick Ronson and stared deep into his eyes.

Although this moment seems strange to comment on now, at the time it was a huge watershed moment of television.

“As an artist, he was always playing with gender fluidity and identity. What he did so subversively, was push it a little bit further for the audience. He brought it into people’s homes.” Bowie, turning his stare directly into the camera, towards the viewer, as if directly communicating with everyone watching. This was a moment for young viewers grappling with their sexuality, to see his stare, which seemed to say ‘I believe in you, and it’s going to be ok.’ Bowie legitimised, through his music and his career, celebrating difference, and empowered people to not be afraid of it.

David Bowie Made Me Gay is a deep and dense history, examining in rich detail the progression of artists and their musical expression, following smoothly from period to period.

OTwo // Music

A Brief History of Sampling

Photo Credit: Free Photos vis Pixabay

With sampling now becoming a common feature of the music industry, Aidan Crilly, looks back on its rise to popularity.

OVER the past few decades, sampling, the act of reusing parts of pre-existing recordings in new music, has become a staple tool for contemporary producers and musicians. While once an obscure, underground and even controversial method of creating music, today it is featured in many chart hits and accepted as the norm.

The first appearance of recorded sounds being used as samples, in the way with which we are familiar today, was in the genre known as musique concrète.

Though often seen as a modern invention, the concept behind sampling has been around for many decades and in multiple genres. From the early twentieth century, jazz artists would routinely pay homage to their peers and influences by borrowing licks and progressions. This happened so often that certain clichés and trends developed: certain melodies and lines even became inside jokes between musicians. This was not seen as stealing another artist’s work, but as an act of respect and acknowledgment.

The first appearance of recorded sounds

being used as samples, in the way with which we are familiar today, was in the genre known as musique concrète. Led

by French composer Pierre Schaeffer, from the 1940s, this experimental movement used the newly commercialised tape recorder to create music from various recordings. These recordings commonly consisted of instruments being played, the human voice, and even sounds from nature.

Musique concrète shrugged the restrictions of usual musical etiquette and routinely ignored traditional rules of melody, harmony, and timbre. Early compositions often sounded more like audio tracks from films than independent songs of themselves. The eclectic sonic palette from which artists like Schaeffer worked meant that compositions lacked the type of coherence that we are use to today. Practitioners of musique concrète made use of many early oscillators, filters, mixing desks and others processing systems used commonly today. While the genre was extremely innovative in its ideas, it never hit the mainstream, perhaps unsurprisingly. Nevertheless, its influence can certainly be heard in contemporary sample-based music.

In the 1960s, the Mellotron, a tape-relay keyboard, considered to be the predecessor of modern samplers and synthesisers, was invented. The Mellotron took over from the previously-used Chamberlin, as it was cheaper and easier to mass produce. In contrast to modern samplers, the Mellotron was used rather like a traditional instrument: its sample tapes were used to embellish existing melodies and rhythms, rather than act as a musical structure around which to build a piece. It was most notably used by the Beatles on ‘Strawberry Fields Forever’,

by Led Zeppelin on ‘Kashmir’ and by

David Bowie on ‘Space Oddity’. The Mellotron was featured quite heavily in progressive rock, before it was phased out by more modern polyphonic synthesizers and samplers.

The Mellotron took over from the previouslyused Chamberlin, as it was cheaper and easier to mass produce.

Jump forward to the late 1970s and early 1980s, and we can observe the rise of the sample in hip-hop. DJs in the early hip-hop scene in the South Bronx used live mixing and skilful vinyl manipulation to acquire their samples, rather than using actual samplers. Most of these early samples were taken from funk songs, and from artists like James Brown, Leon Haywood, and Barry White. The most important type of sample to these early DJs was the breakbeat, which was essentially a rhythm break in the song. This type of rhythm was good for MCs to rap over and for people to dance to.

Some of the most notable DJs of this time were DJ Kool Herc, who is often considered the ‘father of hip-hop’, and Grandmaster Flash. The latter’s 1981 track, ‘The Adventures of Grand Master Flash on the Wheels of Steel” was created using three turntables, allowing a large variety of sounds and samples to be put together to form a sonically coherent composition. This track in

particular includes samples from Queen, Blondie, and even Flash Gordon, among many more.

Sampling became much more accessible in the 1980s when brands like Akai and Roland started producing affordable digital samplers. The Akai S900, released in 1986, has left a legacy as one of most influential pieces of technology ever, in terms of shaping how music is made. This sampler allowed artists to store and edit over 30 sound files at once, and made looping these sounds extremely easy.

Throughout the 1990s, sampling continued to remain at the forefront in hip-hop, with notable producers including Pete Rock, DJ Premier and RZA. There was no longer anything subversive about its use, and even outside of hip-hop it had become part of normal practice. This is largely the situation which we have today.

Sampling has its roots in some of the most influential and sometimes obscure genres in modern history, but has risen to become one of the most used methods of creating music today. So, the next time you hear Jay-Z sample Frank Sinatra, Kanye West sample Aphex Twin or Rihanna sample Michael Jackson, perhaps have a think about the history of this unusual tool and how different music would be without it.

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OTwo // Music

Electric Picnic Recap

Picture Credit by wikimedia

From pirate ships to techno, Fionn O’Connell Hussey, recalls the strange world of Electric Picnic.

THE first weekend in September saw over 55,000 people make the annual pilgrimage to Stradbally for Electric Picnic.

Their mission: to watch performances, camp, eat, and most importantly, have a bit of craic.

Friday kicked off with something truly rare: sunshine, a delight for all those struggling to erect a tent sturdy enough to last until Monday morning. The fields of coloured tent-tops look endless.

After settling in, the first thing that

Lost amongst the trees are UFO stages, pirate ships, and laser shows with music ranging from reggae to house to techno, all blaring until sunrise.

impresses about EP is its sheer size.

Aside from over 40 stages, the grounds are packed with countless stalls to cater to the festival goer’s every need, be it knitted ponchos, craft decorations, or the necessary midnight snack. There is even a full-blown carnival for a quick shot of adrenaline between acts.

The Main Stage started off strong with the xx and London Grammar giving solid performances, as did RTÉ Orchestra at Rankin’s Wood. However, it is often the smaller acts who provide Picnic’s hidden gems. The band Munky, who jammed at the Play the Picnic stage, are just one of the many up-and-coming bands given a chance to perform at the festival. Fans of rock with a funk vibe would benefit from giving Munky a listen, but with the host of

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smaller bands available at Electic Picnic, it would be a loss not to delve deep into the line-up.

Once the main acts finished up, the crowds flocked to the forests to let loose in the infamous rave in the woods.

Lost amongst the trees are UFO stages, pirate ships, and laser shows with music ranging from reggae to house to techno, all blaring until sunrise.

There was plenty to see on Saturday too. UCD native’s Foil, Arms, and Hog brought their entire tent to stiches. A Tribe Called Quest performed a great set, as did Run the Jewels. The latter had hands down the most electric crowd of Electric Picnic. Saturday also provided the weekend’s show stealers: Phoenix.

Not only was the music outstanding but frontman Thomas Mars had plenty of fun with the audience, managing to crowd surf on his own two feet.

A heavy storm forced Saturday night’s rave in the woods to take a back seat. People rushed to their campsites in the hope that they would find a dry tent and not an indoor paddling pool.

Sunday dawned on collapsed tents, scattered gazebo debris, and damp campers trading war stories. However, the perseverance of these brave souls was rewarded, for at last, the sun made a welcome reappearance. In the comedy tent, Neil Delamere managed to put a few smiles back on disappointed Waterford faces. The music continued to impress with acts ranging from the funk legend Chaka Khan, to the groovy DJs Boots & Kats. A stand out act was Finnish singer Alma, whose tent was positively overflowing.

As always, the end of the festival was bittersweet. At last people could doze, pack-up, and go home to get a much-needed shower. Despite the desirable comfort, warmth, and dryness promised, there was a notable despondence in looking towards the long wait for next year’s blowout at Stradbally.

Gig Guide NO ENCORE LIVE – 28 SEPTEMBER – WHELAN’S The essential Irish music podcast is back with another live recording. The show, which is part of the HeadStuff network, is presented as part of the inaugural Dublin Podcast Festival. Hosts Dave Hanratty, Craig Fitzpatrick, and Colm O’Regan will be joined on the night by a stellar roster of musical guests, with Overhead, the Albatross, Daithí, and Elaine Mai all set to perform. Expect music news, hot takes, scalding reviews, and air horns. Tickets are available on Ticketmaster for €12.

HARD WORKING CLASS HEROES 2017 – 28-30 SEPTEMBER – CITY WIDE The annual urban conference and music festival should once again prove itself the most important event in Irish music, as it will see fifty of Ireland’s most exciting acts make showcase appearances in five of the city’s best venues, including Workman’s and the Grand Social. The Live Weekend Pass will set you back €35 but will allow you to flit between the various locations. Additionally, discounted student tickets will also be available at each individual venue (remember to bring your student card!). Since its founding, Hard Working Class Heroes has served as a launchpad for many Irish artists and some highlights of this year’s line up include Bantum, Jafaris, Le Boom, and Soulé. During the day, the conference opens up with talks and workshops from BBC DJs, promoters, and more.

THE WILL GREGORY MOOG ENSEMBLE – 1 OCTOBER - NATIONAL CONCERT HALL Presented in association with the wonderful SOUND CHECK exhibition currently ongoing in the Trinity Science Gallery, Will Gregory, one half of the English electronic duo Goldfrapp, will bring his Moog Ensemble to the National Concert Hall.

Consisting of Gregory himself, Adrian Utley of Portishead fame, and ten other remarkable musicians, the group will perform a programme of original pieces, alongside reimaginings of works by composers ranging from J.S. Bach to John Carpenter. This is all done using only vintage, monophonic synthesisers. Tickets from €25.

MELTYBRAINS? – 6 OCTOBER – THE BOWERY After packing out the Academy last November, one of Ireland’s most interesting musical outfits, Meltybrains?, return from a keenly felt absence, with another headline show. While the venue may have downsized to Rathmines’ the Bowery, the band remain as melty(?) as ever. Vague though it is, experimental is the only way to describe the band’s sound: atmospheric-electronica meets jungle dancepop, meets Celtic drum and bass. Their most recent release, Kiss Yourself EP, stands up as one of the best Irish releases of 2016. Tickets are €15 and available from the Bowery website. Get your masks ready, and remember: right arm, left arm, it’s time to do the vine!

OTwo // Music

What Kanye’s Graduation Taught the Music Industry

Picture Credit by NRK P3 via Flickr

Picture Credit byEman Hurtado via Flickr

A decade on from Kanye’s Graduation, Cian Montague looks back at the great album and how it succeeded.

KANYE West’s Graduation has recently celebrated the tenth anniversary of its release. It was his third studio album and the final part of his education-themed trilogy, following The College Dropout and Late Registration. Graduation is not Kanye’s finest album. Although boasting great tracks such as ‘Can’t Tell Me Nothing’ and ‘Flashing Lights’, it also contains clangers like ‘Drunk and Hot Girls’. However, it is arguably his most influential piece of work. Its release would prove to be a watershed in hip-hop.

Graduation represented a monumental shift in rap culture. Under intense media scrutiny, a sales contest developed with 50 Cent’s Curtis, which was released the same day, 11 September 2007.

Recognising the potential for increased numbers, both artists were happy to stoke the fire and encourage the rivalry.

50 Cent went so far as to say that he would retire as a solo artist if Kanye’s album outsold his.

Hip-hop in the 2000s had been, to this point, dominated by the gangsta rap of 50 Cent and G-Unit, as well as by Eminem, whose rhymes never strayed too far from the violent. Kanye’s first two records had both performed extremely well, but in 2007, 50 Cent was arguably the biggest rapper in the game, with two of the decade’s best-selling albums already under his belt. He was a titan in the industry, an unassailable figure, and this image was certainly aided by his imposing physical stature. This was a man, after all, who had been shot nine times and lived to brag about it.

The result would surprise many: in the end, it wasn’t even close. Buoyed by the popularity of singles ‘Good Life’ and ‘Stronger’, Graduation sold 957,000 copies to Curtis’ 691,000. The public had

proved receptive to Kanye’s softer style. They were ready for a changing of the guard.

Kanye never tried to present himself as a tough guy, and his lyrics touched on personal themes such as self-doubt and self-motivation, the impacts of fame, and relationships.

50 Cent’s hyper-masculine raps about drugs and guns could not have been further from the music of Graduation.

Kanye never tried to present himself as a tough guy, and his lyrics touched on personal themes such as self-doubt and self-motivation, the impacts of fame, and relationships. He included ‘Big Brother’, a touching ode to his mentors No I.D. and Jay-Z. He even had Coldplay’s Chris Martin sing the hook on ‘Homecoming’.

This was the antithesis of gangsta rap, and moreover its successor.

The post-Graduation climate saw the birth of an entire generation of new stars, including probably the biggest name in hip-hop today. Just six weeks after its release, a 20-year-old up-and-comer Drake

included a freestyle over ‘Barry Bonds’ on his Comeback Season mixtape. In 2008, encouraged by Graduation’s success, Kanye released the polarising 808s & Heartbreak. Over eerie, melancholic electronic beats, he embraced Auto-Tune and largely abandoned rapping in favour of singing.

Together with Graduation, this work provided a template for future hip-hop stars who weren’t afraid to look inwards.

Kanye’s influence was all over Drake’s breakout project So Far Gone. Drake has built a career on his reputation as a sensitive rapper and crooner, unafraid to get introspective. Tellingly, this mixtape also featured Drake rapping over a Kanye beat; this time ‘Say You Will’, 808s’ gut-wrenching opener.

Several nascent stars also adopted trends set by Graduation. J. Cole, a rapper with more to say about relationships and family problems than the streets, similarly took thematic cues from Graduation and its follow-up. In addition, he directly borrowed lyrics from ‘Can’t Tell Me Nothing’ on two occasions in 2009 and 2010, and his 2011 track ‘Rise and Shine’ included a reverential nod to ‘Good Life’.

Kanye’s protégé, Kid Cudi, an artist who deals with loneliness and mental health in a far more open manner than most of his contemporaries, also found his niche in the wake of Graduation. While no longer a star to the same degree as Drake or Cole, the massive success of his first two Man on the Moon albums in 2009 and 2010, and the popularity of songs like ‘Day ‘n’ Nite’, should not be forgotten.

Graduation’s influence can be seen in many others who rose to fame in the years following its release, including Lupe Fiasco, Childish Gambino, and

arguably even the Weeknd. Chance the Rapper is a much-heralded example of a more recent Kanye disciple, but even artists like Kendrick Lamar, who draw less obviously from Kanye’s music, have benefitted from the post-Graduation willingness to emote. It is certainly hard to imagine ‘Poetic Justice’ from Good Kid m.A.A.d City, ‘u’ or ‘i’ from To Pimp a Butterfly, or ‘FEEL’ from DAMN being written if 50 Cent’s gangsta rap had remained in the ascendancy.

Graduation’s influence can be seen in many others who rose to fame in the years following its release, including Lupe Fiasco, Childish Gambino, and arguably even the Weeknd.

With Graduation, Kanye West toppled a giant, and established a new era.

In the decade since, consciousness and personal reflection have been in fashion, largely to the detriment of gangsta rap.

Themes of drugs and guns never completely vanished, and are perhaps now on the rise, but they have lost the dominance they once enjoyed. This attests to Graduation’s status as one of the most influential releases in modern music.

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OTwo // Music

Album Reviews

American Villains by Love​ ​What​ ​ Dream by LCD Survives by Queens of the Soundsystem Mount​ ​Kimbie Stone Age

By Conor O’Boyle

LCD Soundsystem’s comeback album is one that looks set to be forever entangled in its own mythology. After disbanding in 2011, it was announced in early 2016 that the band had begun work on new material. Frontman James Murphy took to the band’s social media, apologising, and hoping fans would not be offended by the reunion, something which he had previously insisted would never happen. This level of uncertainty signalled a worrying start to the process that would eventually lead to American Dream.

This album, it must be said, features some of Murphy’s keenest pop song-writing abilities. Lengthy electronic beat breaks have been set aside in favour of more melodic and structurally straight-forward pop epics, such as the title track. Sonically, American Dream is much more unified than the band’s previous effort This Is Happening. Unfortunately though, the euphoric highs of songs like ‘All My Friends’ or ‘Dance Yrself Clean’, with which LCD made their name, are but meekly imitated here by tracks such as ‘Call the Police’ and ‘Oh Baby’. While the album will undoubtedly provide some powerful tracks for LCD’s live set or a potential greatest hits album, as a stand-alone it is their least forward-thinking release.

To some extent, LCD Soundsystem have always traded off the past glories of others, but this time it is their own mythology that they seem to be peddling.

American Dream ultimately comes across as a victory lap of sorts, ground already well-covered by the 2014 live album The Long Goodbye. Sadly, this release furthers the possibility that James Murphy and Co. have finally lost their edge.

In a nutshell: Often flat and unremarkable, but by no means a bad album. A comparison with the rest of the band’s discography makes it appear worse than it really is.

By ​Emma​ ​O’Regan-Reidy

Mount Kimbie’s third album arrives some four years after their last effort, 2013’s Cold Spring Fault Less Youth.

Though the British duo primarily work with electronic sounds, they encompass elements of​​indie​​rock​, ​similar​​ to​ ​bands​ ​like ​Beach​ ​House.

Much like a good leather jacket, Love What Survives seamlessly traverses all twenty-four hours of the day and night. The eclectic mix of rich electronica lends the record a certain malleability, making it as well suited to headphones on the daily commute as to the AUX​ ​at​ ​a​ ​​house​ ​party. Themes of youthful listlessness and angst tie the eleven songs of the album together, creating an unsettling, yet familiar atmosphere. Tracks such as ‘T.A.M.E.D’ include muffled voices and haunting melodies, composed of eerie keyboard notes and sampling.

Particularly central to this release is Mount Kimbie’s continued collaboration with Archy Marshall, under the moniker King Krule. On ‘Blue Train Lines’, Marshall’s unique croon evokes the image of a dull British day. In fact, much of the album exhibits similarities to his 2015 release A New Place​ ​2​ ​Drown,​ ​which​ ​focused​ ​heavily​ ​ on​ ​electronic​ ​beats​ ​and​ ​subdued​ ​lyrics.

Love What Survives alludes to the canon of British rock music. ‘Audition’ and ‘Marilyn’, for instance, are reminiscent of The Cure, especially their songs such as ‘Inbetween Days’ and ‘Boys Don’t Cry’. These references to music history add a​ ​dynamic​ ​layer​ ​to​ ​this​ ​already​ ​ innovative​ ​album.

In​ ​a​ ​nutshell: This release demonstrates Mount Kimbie’s growth as a duo, and fans of electronic and​​ indie​ ​music​ ​alike​ ​will​ ​greatly​ ​appreciate​ ​it.

By Gavin Tracey

Queens of the Stone Age have returned with their seventh studio album. Villains is the follow up to their critically acclaimed 2013 release …Like Clockwork. In typical QOTSA fashion they have come back with gusto.

Mark Ronson’s (of Amy Winehouse and ‘Uptown Funk’ fame) influence is evident throughout the album.

For the most part, the production is stellar, with crunchy, raw guitars, sour synthesisers, and Homme’s distinctive vocals. Album opener, ‘Feet Don’t Fail Me’ starts off with mournful, plaintive whispers, before giving way to a punchy guitar riff that is difficult not to move to. Homme has a distinct skill for songwriting: familiar phrases are alluded to and altered with a supple, clever twist. In particular, ‘Fortress’ is an excellent showcase of his writing abilities.

However, the album is not without its flaws. The sustain-heavy guitar from Songs for the Deaf or Rated R has largely been abandoned, and replaced with a dry, tight sound, like all the air has been sucked out.

This can at times make the mix sound flat or muddled. Furthermore, Villains can feel a little unbalanced.

Despite its strong start, it loses its lustre as it continues, eventually ending in a somewhat dull manner with ‘The Evil Has Landed’ and ‘Villains of Circumstance’.

In a nutshell: A strong album, well worth a listen, but it fails to reach the heights of QOTSA’s best work.

What Are You Listening To? Observer Staff

The editorial team of the University Observer share the songs they currently love most

Joanne

Design Editor “Wetsuit” The Vaccines

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Fiachra

Deputy News Editor “Particles” Nothing but Thieves

Brían

News Editor “Know It All” Hoodie Allen

Claudia

Co-OTwo Editor Every single Lorde song

Shane

Fashion Editor “Don’t Kill my Vibe” Sigrid

OTwo // Food Are we obsessed with photos of food on Instagram?

How Much Caffeine is Too Much?

SINCE the birth of Instagram in 2010, nearly 250 million photographs have been uploaded under the hashtag ‘#food’. In response, the internet is flooded with posts on how to take better pictures of your food. These tips range from the obvious, like using natural light, to the same techniques employed by marketing companies and professional photographers. With people willing to risk their food going cold for likes, the obsession is real, but why?

Perhaps people Instagram their food because they think it’s a discreet bragging technique. Instead of the explicit old school Facebook location check-in, boasting anbout how they’re at said place with said people, they can subtly camouflage their boasting with a pretty picture. Maybe the obsession has a simpler explanation: we just want to take a modern moment to appreciate our food. Think of it as the secular version of

Four cups of coffee with a caffeine content of 185mg comes to whopping 740mg of caffeine.

With caffeine keeping students alive, Aurora Andrus looks at its negative effects.

saying grace. Taking a picture allows our eyes and nose to experience the meal before we taste it.

Food posts provide the photographer with a richer experience of their food but they also provide a distinct pleasure for the viewer. Food is vital to humanity and connects us in ways that no other type of Instagram post can. I might never go see the Grand Canyon, have that beach body or be able to afford that car but I can recreate your avocado on toast. Of all the content on Instagram, food is by far the most reproducible. We are not obsessed with Instagramming our food, we are obsessed with taking photos of things that we know people will like. The obsession is fueled by a need to eat, and an even greater need to be relatable.

AS a new year of college begins, so does late-night studying and last-minute essay writing. While many people rely on the effects of coffee and Red Bulls to keep them focused and energized, they may not realise that caffeine can be a dangerous substance. An adult can safely consume around 400 mg of caffeine a day, which equals on average about 4 cups of coffee or 2 energy drinks.

While four cups of coffee doesn’t

seem that high, the caffeine content can vary between 58mg and 185mg, depending on the coffee. Four cups of coffee with a caffeine content of 185mg comes to whopping 740mg of caffeine – nearly double the healthy dose. Consuming more than the recommended amount can cause some nasty side effects like migraines, vomiting, diabetes and cardiac arrest.

Caffeine intake generally shouldn’t be a problem. However, if you find yourself drinking more than 4 cups of coffee a day, you may want to reduce your intake.

If you do, be sure to cut back gradually rather than all once. Caffeine withdrawals are a real thing and can cause headaches, fatigue, and irritability. The need for caffeine is real, especially amongst students, but there is such a thing as too much.

Restaurant Review: Klaw Pokè Worth a visit, Aurora Andrus tries Ireland’s premier Pokè restaurant.

The fresh ingredients and vibrant colors make the Pokè bowl an Instagramworthy lunch.

EVERY year a new food fad sweeps the world, and this year, the sushi craze known as Pokè has travelled from the islands of Hawaii to the streets of Dublin.

The city’s first and only Pokè restaurant, called Klaw Pokè, opened on Capel Street this year. The food is complemented by the cool beach-inspired decor and reggae music. They have many items on their menu, including fresh oysters and lobster, but the stars are the Pokè bowls.

You can build your own bowl, starting with a base of brown or white rice, quinoa, or noodles. From there you choose your protein, sauce, and three toppings. My bowl not only looked beautiful but I could see that the ingredients were fresh. The salted pineapple added a sweet aspect, and the homemade kimchi was some of the best I’ve ever had. The

fresh ingredients and vibrant colours make the Pokè bowl an Instagramworthy lunch. As Klaw is the only Pokè bar around, there isn’t anyone else to compare it to. Luckily for them, any future competitors are going to need to work hard to beat them.

The only criticism for this place is that they have no menus on the tables.

After sitting down, I realized I had no menu and was informed I had to go back to the menu on the wall (which cannot be seen from every table) and was recommended to take a picture of it with my phone so I could return to my table to order. The food is well worth the money, but for €12 a bowl, I would expect to have a menu to look at. Overall the food was delicious and the staff were friendly. I look forward to eating there again.

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OTwo // Fashion

Back to Business Wearable women’s work pieces that can get you from the desk to the dance-floor.

Photographer

Alex Fagan Models

Kate Lally (left) Jennie Carr (right) Stylist

Shane Cullen Clothing and and accessories kindly sponsored by

Om Diva boutique 27 Drury Street Dublin 2

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OTwo // Fashion

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OTwo // Fashion

The Enninful Edition Shane Cullen discusses how Edward Enninful is the perfect fit for the new era of British Vogue.

When you have already won appraisal from the likes of Michelle Obama and have been rewarded an Order of the British Empire, it is a strong indication that you are something of a big deal.

British Vogue have taken this opportunity to their advantage by hiring GhanaianBritish fashion editor and stylist Edward Enninful as their new chief editor, following Alexandra Shulman’s departure after 25 years. Enninful is no stranger to an editor role, becoming a fashion director at i-D magazine at just 19 years old, as well as writing for American Vogue, Vogue Italia, and most recently working as a creative director for W magazine.

Spanning a 20 year career within the fashion industry, Enninful has worked with the big names such as Giorgio Armani and Marc Jacobs. However, it is the works on his own merit that should be celebrated, namely the “All Black” issue for Vogue Italia in 2008. The issue comprised of a line-up of black A-list models such as Tyra Banks and Jourdan Dunn, aimed to celebrate more inclusion and diversity within the fashion and modelling world. It was an instant success for

Italian Vogue as copies in the UK and the US both sold out in 72 hours. Enninful was also applauded for his “Belle Vere” issue in 2011 where he celebrated plus size models in fashion, teaming up with models Candice Huffine, Tara-Lynn and Robyn Lawley.

While there may be champagne and canapés flowing at British Vogue HQ, Enninful still faces challenges taking on the chief editor position. One of the crucial issues is tackling the lack of diversity at British Vogue, which came to the forefront of attention earlier this year after the editorial staff photo notably lacked any people of colour. The photo sparked heated debate and outrage across social media, including an Instagram post made by Naomi Campbell, where she expressed her excitement for “an inclusive and more diverse” group of staff under Enninful’s newly-appointed reign.

Following Enninful’s official appointment last month, excitement is building as to what new additions he will bring to Vogue. Inclusion and diversity to Enninful are undoubtedly important, but he has also mastered the art of

building connections, having sparked a friendship with Rihanna and worked with some of the most sought-after models of the moment including sisters Gigi and Bella Hadid. Politically and youthfully conscious, British Vogue’s Enninful era may be their boldest and brightest yet.

Enninful has worked with the big names such as Giorgio Armani and Marc Jacobs. However, it is the works on his own merit that should be celebrated

Fenty’s Phresh on the Runway With the launch of Fenty Beauty, Shane Cullen analyses the diversity within the make-up industry.

With high praise coming from women of colour for the darker shades available in Fenty Beauty, brands such as L’Oréal and Estée Lauder have decided to extend their shade ranges After months of anticipation, hype and limited social media previews, Rihanna has finally launched her own make-up line, Fenty Beauty. Having first teased a piece from the collection at her Fenty x Puma Spring Summer 2016 launch, excitement soon built as to what the rest of the line would contain. This is not the first time Rihanna has delved into the worlds away from music or acting. She previously collaborated with make-up giant Mac back in 2014. The pairing of creative forces designed a red lipstick that got her seal of approval, modestly named “RiRi Woo Woo,” a take on the existing shade “Ruby Woo Woo.” Going it alone into a highly competitive industry was a bold move, but this is Rihanna we

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are talking about, what she turns her hand to is never a half-hearted effort.

Fenty Beauty was conceived with an intended vision and purpose. It was never going to be a novelty range to decorate a department store. Talking to the media about what she wished to do when creating the product, Rihanna said that this make-up collection would be designed for women “everywhere.” This wasn’t a cleverly-phrased PR statement, the make-up shades do cater to a wide range of skin types, tones and undertones, something which many make-up companies have failed to accommodate.

In reaction to the collection of over 40 shades of foundation alone, Rihanna’s competitors have suddenly upped their game in a bid to combat the success that Fenty Beauty has had so far.

With high praise coming from women of colour for the darker shades available in Fenty Beauty, brands such as L’Oréal and Estée Lauder have decided to extend their shade ranges. L’Oreal are calling it “celebrating diversity.”

Marc Jacobs have also opted to add more shades to their foundation line-up, which was a leap for inclusivity made on Marc Jacobs’ part, following last year’s controversy of Jacobs being accused of culturally appropriating black culture and later saying that he “didn’t see” colour.

The social media reaction to the established brands making the sudden effort was mixed, with many users sharing the same thought: why did it take them so long?

Fenty Beauty has done something which most of the brands before failed to do: include women and men of all colours from the beginning. Creating darker shades should not have to be a “celebration,” it should be essential.

OTwo // Fashion

Dior 70: Seven Decades of Decadence As Dior celebrates their 70th birthday, Bebhinn Campbell looks back on their history to date.

Chiuri has felt inspired to construct Dior’s future in line with its history and hopes to maintain the effortless standards set by her illustrious predecessors.

THE name ‘Dior’ rings a bell to those with even the most basic knowledge of fashion, the iconic name can be credited with some of the best the fashion world has to offer.

From his debut ‘New Look’ collection in 1947, Christian Dior encapsulated perfectly the level of class and elegance French fashion was destined to withhold.

Dior’s history is now being remembered and admired in celebration of the brand’s 70th year of design success in the exhibition Christian Dior: Designer of Dreams, held in Paris Musée des Arts Décoratifs. This eagerly-awaited exhibition celebrates the label’s revolutionary beginnings, its impressive worldwide influence and the numerous people who have successfully carried the Dior name on their shoulders.

With a new vision, Dior’s ‘New Look’ was the end of boxy silhouettes and freed the kind of femininity that was fiercely restricted during the war. Waists were highlighted, hips were exaggerated, and the ‘hourglass’ shape was finally celebrated.

Dior’s departure from the fashion scene was as affecting as his arrival. His sudden death in 1957 sent the Maison Dior into a state of panic, rescued by then 21-year old Yves Saint Laurent in his promotion to Artistic Director. The

deserving title saw him transition the label into softer, more wearable pieces while still complimenting the founder’s own designs. The fashion world was impressed. Changing societal influences saw increasingly daring looks come down the runway, but Laurent never strayed far from the level of sophistication which admirers of the brand had come to expect.

The label’s vast legacy does not intimidate its newest Creative Director, Maria Grazia Chiuri. Chiuri has felt inspired to construct Dior’s future in line with its history and hopes to maintain the standards set by her illustrious predecessors. She has told Vogue that she has decided to ‘concentrate her attention on Mr. Dior’s work’.

This does not mean she plans on playing it safe however. Her status as the first female in the role was enough to make headlines, and Chiuri continued to surprise in her premiere show at Fashion Week SS17. Memorable highlights amongst her “wearable couture” were the “We Should All Be Feminists” captioned t-shirts, which made Chiuri’s presence clear. While the brand has historically highlighted classic femininity, Dior’s new feminist voice challenges exactly what ‘femininity’ means for the modern woman.

Campus Chic Name: Marika Course: Commerce International, 1st yr Favourite part of the outfit: “All of it, simplicity is best”

Name: Aislinn Course: English and History Graduate Favourite part of the outfit: “My dress!”

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OTwo // Travel

Paradise in Poznan

Photo Credit: Clodagh Keech

On a trip organised by “Workaway,” Clodagh Keech gets the chance to explore Polish life and culture.

WHEN choosing the destination for a much-needed getaway, I imagined sunsoaked beaches with crisp golden sand, poolside drinks and plenty of time to top up my tan. I did not for one second imagine that I would be spending my week with a group of total strangers, in a sports hotel located in the middle of a Polish forest. Instead of a relaxing stay in Puerto de sol, I decided to save a lot of money and embark on a life-changing experience – all within the space of seven days.

The actual program took place about two hours outside Poznan, in a rustic village with just one shop, one hotel, one church and dirt track roads!

I found this Polish program on a

site called Workaway. For those of you who have not heard of this site before, Workaway basically enables those travelling to work in exchange for free (yep, that’s right – free) accommodation and

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food for the duration of their stay. The program itself is called ‘JustSpeak’ and is situated near Poznan, Poland. It called for native English speakers to share their language with Polish professionals who wish to improve their language skills. The accommodation provided was a single room in a countryside hotel, with all meals included. I was intrigued, so I booked the flights, packed my bags, and jetted off to this wonderful country.

I arrived in Poland a couple of days before the program, so I had time to scope out the area. I was lucky enough to have picked the charming city of Poznan as my first taste of this huge country. This beautiful city hosts an array of colourful buildings, quaint taverns, and multiple hostels – well within a low budget price range. I ended up paying €8 a night for a bed in a six-person dorm, €3 for breakfast and, wait for it… €1 for a pint of beer in the local pub. The Retro Hostel, where I was staying, turned out to be the pinnacle of cleanliness. The kitchen and bathrooms were cleaned daily and the hostel itself was situated a stone’s throw from the vibrant centre, referred to by the locals as the ‘Old Town’. This hostel, and another called ‘Tey’, (recommended by other volunteers I met) share excellent reputations, and the greatest location €8 will ever get you.

After two days of exploring, it was time to meet up with my fellow ‘Workawayers’.

The organiser arranged for all the volunteers to have complimentary dinner at an Italian restaurant in the centre of

Poznan. There were nine of us in total, and we were told there would also be eight Polish students. We exchanged stories about our homes (which included Australia, the United Kingdom, the US, the Philippines and, of course, Ireland).

Once the meal had ended, we returned to our respective hostels, meeting again the following morning to embark on our shared adventure.

It was so humbling to hear about their personal experiences and how it had affected their lives.

The actual program took place about two hours outside Poznan, in a rustic village with just one shop, one hotel, one church and dirt track roads.

The hotel was engulfed by nature – a shimmering lake, dense woodland, and (unfortunately) many insects.

The days were long to say the least, typically beginning at 9am and ending at about 10pm. The ‘teaching’ side of the program turned out to be structured

conversations. Each native speaker was handed a prompt card and paired with a Polish student. Each hour, the bell would ring and we would all swap partners. The Polish students were eager to learn and there was such a diverse range of individuals that we all became like one big family by the end of it. I learned so much about Polish culture, history, and values.

Most of the students were old enough to have lived through the communist era of Polish history, and so this remained a huge topic of conversation. It was so humbling to hear about their personal experiences and how it had affected their lives.

Along with the structured conversations, organised games were a vital part of the learning experience. Each night, after a hotel-cooked dinner and two free beers, we enjoyed charades, laughter, and fantastic company! Despite the long working days, I found I wanted to stay up late, especially for the night that we spent by the campfire, roasting marshmallows and listening to every song under the sun.

I had a great experience in Poland and cannot wait to return. So many wonderful friendships were formed with both the students and the other teachers. If you are ever considering a visit to Poland, I urge you to drop by Poznan, the people are amazing, the city is inspiring and the accommodation is, like I said, well within the budget of any traveller.

OTwo // Fatal Fourway

Fatal Fourway – Cringiest Fresher Moment

Orla Keaveney

Claudia Dalby

Ruth Murphy

Aoife Hardesty

A few weeks into first year engineering, I was getting confident enough to navigate my building unaided. One day, as I was dashing 5 minutes late to a tutorial, I was spotted by a guy from my chemistry lab, who sheepishly asked where the tutorial was on.

Pitying his lack of know-how, I briskly replied “Room 224 – just follow me”.

He waved over a squad of about five other lads on our course, and I led the group self-assuredly into the small room.

The lecturer paused as we all squeezed in, awkwardly clogging the aisles as we waited for the other students to shuffle along the rows. Finally, we were all settled in, so the lesson resumed – in third-year computer science.

Realising that I’d mixed up rooms 224 and 124, I got up again and tried to slink out discreetly – however, the other first-years had the same idea. The entire class stopped again as we all filed back out the door, deathly silent except for the scrape of chairs and shuffling of rucksacks.

It was a pretty tough lesson, but I’ve checked my timetable twice for every lecture since...

My embarrassing fresher’s story is particularly resonant, because it had actual consequences for my degree afterwards. My second week of university EVER seemed to be going just as well as the first. I was so far running late for 82% of my lectures, so I hadn’t changed that much since 6th year. However, I was trying to be more outgoing, making friends with whomever I sat beside. This is exactly how I met one of my best friends to this day. We were doing most of the same modules and our friendship solidified mainly because we had the exact same sense of humour and could make the other laugh with barely a glance in their direction.

Sitting in the row above me and unable to distract from the monotonous drone of the lecture in person, she sent me a meme. It was the shark one, quite dated at this point but pretty fresh at the time, and it struck me like a bolt of lightning. Hearing her quiet snuffles just above me made me absolutely lose it, and I basically had to remove myself from the room. I just packed up my bags and left midway through, hoping the lecturer wouldn’t notice, and headed for the bathrooms to calm myself down.

All seemed well until the week later, when I had to visit the office of the lecturer to ask for an extension on an already late essay (listen, first year me was a very different person.. kind of) . He took one look at me and said no, absolutely not. I tried to match his stare, and started to ask again, but he didn’t say anything more. He just stared me down, and I left feeling confused, but sure I had been recognised and was now paying for my love of hilarious memes.

Bear with me, as I was a Fresher four years ago and do not remember all that much from that year (I think that may be a good thing). When I was in first year excited and nervous about this big university and pretending to be super cynical and confident I befriended these two guys who hosted a radio show on Belfielfd fm. I used to listen in every so often and send them jokes whilst also criticising them for not being PC enough. Yes, I’m a hoot.

One evening I was at an event hosted by the LGBTQ+ society, which had an alcohol licence. Being a lightweight and having brought some alcohol myself, I got rather tipsy. At some point, walking through the student centre, I looked into Belfield fm and saw my friends. Tipsy Ruth forgot her nervousness about opening doors that appear at first locked and soundproofed and I made my way into the booth and decided it was my chance to be on radio. Perhaps fortunately I do not remember what I said though I am sure that anyone listening could tell who in the pod was drinking.

I am pretty sure a George Hook impression happened at one point but I am at least confident that the imprersonation was not performed by me.

It has been five years since I was a Fresher, but some things you never forget. I remember the excitement of being in a new place, cooking my own food, and being told by everyone around me how exciting UCD was. Peer mentors, Union officers, even lecturers, all urged us new bright-eyed freshers to get involved in campus life, and the start of getting involved was going to Freshers’ week and joining societies.

The Monday morning of Freshers’ week dawned and a big white tent invited us to enter and sacrifice our precious 2 euros in the name of something greater….”Student Life”.

I walked in and quickly became separated from my friends within the crowds.

What hit me first was the cacophony of noise; it came from everywhere, blaring at me from all sides. I tried walking around to find the societies I was interested in (and more importantly to find my friends again) but it was all a bit too much for me.

I stopped in the middle of the tent, struggling to see around people (for reference, I’m on the lower side of five foot) and eventually someone at a stand tried talking to me trying to encourage me to join their society. I couldn’t understand what they were saying (in hindsight I think they were from Kerry) and as I struggled to understand them, and to take it all in, I started to cry. Not gentle lady-like streams of glistening tears; but big gulping-for-air like you might die sobs that rack the body.

I ran away, and ran out of the tent, and there were my friends, waiting outside the tent, their hands full of goodie bags from the best societies.

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APERTURE Hello and Goodbye

Annabelle Nguyen, Entrance

Kevin Quinlan, Albesila

Ciarán Whitehead, Leaving St. Petersburg

Ryan O’Connell

Ruth Murphy, Citizenship in a Box