VOL. XXIV, Issue 7, OTWO by The University Observer

SEE INSIDE: ADVICE FROM OTWO PRESIDENT ANDY GEEKS INTERVIEW WITH GRAFFITI ARTISTS SUBSET CAN THE ROCK CONTINUE TO SAVE THE WORLD? WHY KIEV SHOULD BE ON YOUR BUCKET LIST OF PLACES TO SEE

Volume XXIV, Issue 7 27th March 2018

OTWO CONTRIBUTORS ISSUE 7 XXIV EDITOR Aoife Hardesty DEPUTY EDITOR Ruth Murphy ART & DESIGN EDITOR Joanne Olivia OTWO CO-EDITORS Claudia Dalby Dylan O’Neill

CONTENTS

ARTS & LITERATURE EDITOR Mary Sheehan

Greetings from OTwo,

GAMES EDITOR Katie Lalwani

I know what you must be thinking, ‘What? Another issue so soon? We haven’t gotten over the election special!” Well surprise, we’re back, back, back again. While everybody was at home or abroad on a much deserved break from college work, we at OTwo decided to have our own election. We are delighted to say that we won, by a landslide victory, the likes of which would put Putin’s campaign team to shame. As your new OTwo Overlords™, we are excited to share with you, the various manifestos of our new team of section dictators. In Arts and Lit, we discuss the controversy over the Emil Nolde exhibition in the National Gallery of Ireland. Mr. Nolde was a known sympathiser of another certain “right-wing” government, that we at OTwo had no affiliations with. In other artsy news, we interviewed a group of artistic ‘rebels’ known as Subset. Moving along to Games, our review of the game Fe will be sure to leave you speechless. Taking inspiration from real-world examples of people moving from one medium (let’s say television) to another medium (let’s say politics), we look at some of the video-games that failed to successfully transition to the big screen. Film & TV features an interesting look at the deals made behind closed doors between Film & TV and the tourism industry. Like a house of cards, we ask how many times can ‘the Rock’ continue to save the world? This issue, Dylan sat down with the Artistic Director of the Dublin Theatre Festival, Willie White and listened to him explain exactly why Legally Blonde isn’t theatre. In a world dominated by the multimedia industry, where groups fight for those 15 minutes in the headlines, Music discusses the strategies artists use to promote their albums. Putting our political gains in perspective, Music also features an interview with Le Galaxie. Food reviews the popular street foods available in the Dublin City area. Our food editor, Aurora also reviewed Wowburger. Fashion brings us back to the time of the Milli Vanilli lip-syncing scandal, with its 80s inspired photoshoot. This issue we travelled to Kiev, Ukraine to see the aftermath of post-Soviet Ukraine and even go so far as to take a tour of Chernobyl but no so far, that we’re included in a found footage horror movie. Finally, all this campaigning left us in a sorry state, and we all handled our sick days in basically the same way.

MUSIC EDITOR Cian Montague FOOD EDITOR Aurora Andrus FASHION EDITOR Shane Cullen ONLINE OTWO EDITOR Conor O’Boyle

Arts & Literature 5-8 Games 9 Film & TV 10-13

CHIEF OF ILLUSTRATIONS Meadhbh Sheridan

Interview 14-16 Willie White

CHIEF OF PHOTOGRAPHY Phoebe Ireland

Music 17-20

STAFF WRITERS Clara Brannigan Bebhinn Campbell Jack Knowles

Food 21

CONTRIBUTORS Caoimhe McParland Andy Geeks Chris Hansen Veronica Rozynek Kevin Brophy Sarah Burke Vaughan Shivani Shukla Emma Kiely Anna Jackson Rose Doherty Pierce Morton Matthew Derwin Sophia Finucane Adam Lawler CONGRATULATIONS To our Food Editor Aurora Andrus and her fiancé on their recent engagement!

Fashion 22-25 Travel 26 Aperture 28

LETTER FROM EDITORS

FILM & TV EDITOR Alexander Glover

Until next time,

Claudia and Dylan xoxox

Soapbox:

Roommate Politics

Mystic Mittens Aquarius Jan 20 - Feb 18 Enough with the Oxford English Dictionary definitions in your essays, we all know it’s to boost the word count. Pisces Feb 19 - March 20 Remember: an essay shared is greatly appreciated because my notes suck! Aries March 21 - April 19 It’s never too late to turn your GP-D into a GP-A. Taurus April 20 - May 20 Charles Manson, Ted Bundy, Jeffrey Dahmer: Snog, Marry, Avoid? Gemini May 21 - June 22 When the stars align on the 22nd May, you will find your other half. Cancer June 23 - July 22 Remember not to be caught in a three-way phone call. Beware of Libra and Aries. Leo July 23 - Aug 22 What would your drag name be? Virgo Aug 23 - Sep 22 It’s really unbelievable that there are so many psychics in the world. Makes you think that some of them mightn’t be too honest. If only someone would investigate it.. Libra Sep 23 - Oct 22 Don’t stress over the fact that the book shop still hasn’t ordered that novel you needed to write an essay on and it’s due in a week, and oh wait, your parents are still on your back about when your exams finish. Scorpio Oct 23 - Nov 19 When answering an MCQ for your final marks, go with C. Cs get degrees Sagittarius Nov 20 - Dec 21 You know the truth as well as I do: Shangela should have won All-Stars 3. Capricorn Dec 22 - Jan 19 Derry Girls and Buffy the Vampire Slayer should be on your list of binge-watching series this weeked.

When you agree to rent a house with your friends for university you are wideeyed and bushy-tailed about the prospect because it sounds like a dream – you’re living in a house with your five best friends for a year! There’s going to be endless partying, mad craic, and total harmony, right? Wrong. Approximately two weeks into moving in with your new roommates you realise the people you agreed to live with are Neanderthals that were raised by wolves, and they aren’t house-trained. Living with your friends for the first time is enough to damage the strongest of friendships. I live in a mixed house – three boys, three girls, and the experiences with each gender are very different. With the girls, communication is very open, and in the most annoying and clichéd fashion we take more interest and action in the household responsibilities like doing the dishes and cleaning the bathroom. With girls though, there’s also a lot of bitching about the other roommate’s activities (who didn’t come home last night/who left their dirty jocks in the bathroom). This leaves you as an individual worried about every action you make in the house, lest someone complains about it behind your back. You don’t get this with the boys – they are an open, clueless book. They walk around like blind mice, shocked to find their dirty dishes stay where they are for days unless they wash them, and genuinely baﬄed by the bathroom fan (just pull the cord every time you take a shower lads, it’s not that hard). The boys are also more likely to pull out the old ‘it’s not my mess so I’m not cleaning it’ excuse, creating a stand-off between all the housemates, meaning the kitchen becomes a post-apocalyptic wasteland where things come to die. There are a few other gripes that pop up over the course of the year – your food, for instance. When I bring my food into the house, it does not become a communal item, and yet I constantly find my snacks and biscuit packets considerably lighter than I left them the day before. All that I could excuse – it’s just normal roommate politics, right? The thing I absolutely can’t excuse is when people shirk their tea duties. All six of us drink tea, so is it not common courtesy to offer everyone tea when you get up to boil the kettle? Why can’t we just live in a society where everyone shares the tea-making responsibilities instead of waiting for the usual suspects to get up? If we can figure this out, then we’re one step closer to domestic harmony.

Author: Caoimhe Mc Parland Illustration: Meadhbh Sheridan

OTwo //

Advice from Andrew J. Geeks Who should we vote for in the SU elections? Considering the fact that there are more SU sabbatical candidates than most Trinity students have friends, the process of picking your preferred team of lacklustre gombeens should be taken very seriously. While the process of elimination might usually work for these types of situations, if you use this method you’ll only find yourself voting for Re-Open Nominations (RON). In a strange twist, the returning officer has confirmed that the next best thing to RON, not voting at all, actually technically counts as a vote for presidential candidate Rosaleen Aljohmani, who will seemingly only contribute to SU affairs where she stands to gain a boatload of students’ money. If you can’t decide whether to execute liberals or simply chain them up, Ms Amy Crean is probably your best bet. If you consider yourself fickle and have no strong opinions either way, then there may be a John Kerr-shaped hole in your UCDSU dream-team. All LBGT+ members should vote for Breifne O’Brien, because sure aren’t ye lucky to have been given the referendum all the same, ye have it fine these days. Finally, if you didn’t even know that the SU existed, your candidates are definitely McFadden and Roche.

What steps can the University Observer take to be less bitter about the SU? Whenever there’s a breakdown in communications and relationships, it can be helpful to take some time off. Step back and try to gain a new perspective. Remember, you can only be hurt by those you love, so try (oh so hard) and remember why you ever liked the SU in the first place. Was it the promise, year-in, year-out, of cheaper on-campus accommodation or was it the way their lips moved as they told you, in the same breath, that they would reduce student fees and introduce a wave of investment to UCD services including the library, counselling, Ents, and teaching? During this time of reflection, nothing is more important than distance. Though the impulse to re-embrace your favourite sabbatical will be strong, here’s a little ditty you should bear in mind when your local officers come knocking once again: 1.Don’t pick up the phone - Eoghan’s only calling ‘cause he’s drunk and alone. 2.Don’t let Rob in - you’ll have to kick him out again. 3.Don’t be Barry’s friend - you know you’re gonna wake up in his Union in the morning. And if it’s Niall, you ain’t getting over him.

What’s Hot,What’s Not

Hot

Voting – With over 17,000 candidates to choose from in the upcoming SU elections, your vote has never been more valuable or needed. Sit down for Proust-length reads of manifestos, commentary, and of course, the University Observer election special so that you’re more prepared for the vote than you have ever have been for an exam.

Snapchat – The Oxford dictionary has declared the verb “to snap” ineffectual, following the plummet of popular messaging app Snapchat. The app made the grave mistake of crossing Rihanna’s line of fire by making a joke of domestic abuse, and is now suffering user and stock losses since Queen Rih declared the app worthless. You should too.

Soaking up the sun – Ignore the fact that we’ve just had two separate instances of heavier snow than Ireland has seen in over 8 years, spring is here! Soak up the random outbursts of rapidly increasing climate change, and don’t forget to generate tonnes of waste through disposable single-waste plastics – all in the spirit of global warming after all!

Applying for internships – A novel idea! Taking time away from your degree to apply for unpaid internships, so once you are finished your degree you can continue spending your own (or someone else’s) money to inch you closer to being more qualified, in the hopes that one day, someone will change their mind and decide to pay you instead. Who came up with this fun? I hear they’re making it into a ride at Disneyland.

Greta Gerwig – No, dear reader, I did not just use this section of OTwo to talk about the person I have been obsessed with since seeing Lady Bird. I’ll have you know, I’ve been spending my time doing important things, not looking at Gerwig’s entire discography, interviews online, Oscar dresses, and editorials. I’ve been putting time into my other distractions from college work including writing this. Dammit. She’s good.

NOT

Not moisturising – Your mam told you, your grandmother told you, the ads on the TV that tell you you’re ugly tell you, the beauty bloggers “just wanted to tell you, but it just started raining so if you hear little pitter patters on the window that’s why guys! Like and Slugscribe!” You’re an adult now; it’s time to take care of yourself. I want to see some moist faces out there on campus, if it kills me.

OTwo // Arts & Literature

Curating Around Controversy: The National Gallery, Emil Nolde, And Nazi Artwork Chris Hansen reviews the controversial exhibition of the Nazi sympathiser, Emil Nolde, currently on display in the National Gallery of Ireland. seems to depict openly. The other two Martyrdom paintings that flank either side depict various historical persecutions of Christians, and given the time of this creation coupled with Nolde’s Nazi ideology and German national pride, it is not a stretch to say that there is something distinctly dangerous about the principles embodied in this work. While the anti-semitic undertones are not necessarily subtle, the museum’s literature and title cards do not acknowledge it directly. Elsewhere in the gallery, Nolde’s interest in pure breeding can be seen on display. In various paintings of Eastern European men, and especially in paintings of the people in Papua New Guinea, the exhibition makes note that these involve Nolde’s belief in “social sciences” of ethnicity which were popular at the time. A better definition for this belief in “social science” might however involve the term “eugenics,” as these paintings categorise the people of other countries he would have travelled to, always positing Germanic traits as most desirable.

It’s an interesting time for the National Gallery to be hosting an exhibition of Emil Nolde’s work, with far-right movements rising in many European countries, not to mention the surge of post-election anti-semitism that continues to sweep USA. You would think curators at the National Gallery would want to be putting resources to better use rather than displaying a card-carrying Nazi painter. Nolde’s work, for those who aren’t familiar with the relatively overlooked German expressionist, explores natural landscapes: Berlin café scenes, and portraiture of varied groups of people all through a signature colouring for which the exhibition is named “Colour is Life.” Many of the works featured are innovative in their depictions of 20th

Depicting the crucifixion of Jesus Christ, Nolde fills the space around Jesus’ crucified body with four “evil” figures laughing at his pain.

century German life through abstract expressionist methods. While this is all well and good, and was in fact the reason I wanted to check out the exhibition, a second theme runs very subtly throughout the works and deals very much in the realm of anti-Semitism and eugenics. Upon entering the gallery, viewers are told in the introductory text that while Nolde’s sympathies were with the “National Socialist” party, he was ultimately rejected by the party and even featured in the Nazi degenerate art exhibition of confiscated, supposedly anti-German or anti-Hitler art. This is however in many ways a revisionist history and whitewashing of Nolde’s Nazi affiliation. While it is true that Nolde’s work was rejected by Hitler, and by some accounts a kind of centre point in the degenerate art exhibitions, Nolde’s sympathies stayed with the Nazi party, as a letter written during his exile to friends in Switzerland makes explicit. It is well documented that Nolde felt his rejection by the party was a misstep on their part as Goebbels had been a noted fan of his work prior to Hitler’s rejection. At a critical time in history Nolde boasted that his work expressed a distinctly Germanic identity, which goes hand in hand with anti-Semitic ideas as seen in the exhibition. One painting that I want to draw particular attention to is titled “Martyrdom II.” Depicting the crucifixion of Jesus Christ, Nolde fills the space around Jesus’ crucified body with four “evil” figures laughing at his pain. These characters however very much resemble anti-semitic Jewish caricatures that would have been popular in the period. In fact, an anti-semitic idea prominent in this time would have related to the supposed blame of Jewish people in the killing of Jesus, an idea that this painting

His work is still respected and studied in Germany, with the artist Daniel Richter recently citing him as a major influence.

His interest in primitivism especially, while a complicated topic within the scope of art history, has racist undertones that place the Papau New Guineans he painted as a lesser people. While there is some acknowledgement of these on the part of the gallery, again there is a whitewashing of Nolde’s dangerous beliefs and not enough engagement with the dangers of the ideology presented. I do not necessarily think however, that Nolde should be barred from future exhibitions in the National Gallery or others. His work is still respected and studied in Germany, with the artist Daniel Richter recently citing him as a major influence. Indeed, many important contributions to modern art came from the Germany of this time, yet context is key when exhibiting this work. Leni Riefenstahl, for example, is still studied in film history for her contribution to documentary film aesthetics, yet there is a universal acknowledgement of her involvement in creating Nazi propaganda. While much of the work in this exhibition is worth seeing, the gallery’s failure to engage with a greater discussion of Nolde’s role in Nazi-era Germany and the dangerous ideology behind much of the work is incredibly disappointing.

OTwo // Arts & Literature

Dotting the Is and Crossing the Ts Veronica Roznyek looks at all the facilities available in Dublin for people looking to pursue creative writing.

What Ireland Means to Me Veronica Rozynek The disparate shades of green Seamlessly blending in this scene Oh, Emerald Isle So tantalizingly free and mobile In this episodic while For you, I save my smile A milk-making machine This island, my queen Your wispy wind moving Me through this lucid And ﬂeeting Aisling Enveloped By the zealous, oscillating Irish sea Your waves lovingly cradle me

As a city, Dublin is internationally renowned for its continual pursuit of excellence in literature. As the birthplace of James Joyce and W. B. Yeats, the capital is notorious for producing literary talent. Home of four Nobel Prizes laureates, the city proudly displays its merits in the Dublin Writers Museum, celebrating Irish literary tradition. Awarded a place as a UNESCO city of literature, the Irish capital has continued its custom of investing in creative pursuits across a variety of artistic domains. The city additionally offers a vast array of opportunities for novice writers, looking to develop their skills in an organic and encouraging way. The Irish Writing Centre in Parnell Square invites a broad array of writers, from amateurs to professionals, to passionately undertake their craft. Additionally, the centre invites participation from international newcomers to the city with groups such as the New Irish Community Extension. For people, who may be non-native English speakers, this could serve as a way to integrate into Irish culture and become more comfortable communicating in English in written form. Additionally, the centre places an emphasis on poetry as an outlet for creative writing. ‘Words on the Wind’ is a diverse poetry group that meets every second Friday and welcomes poets of all ages to exchange thoughts on their work. On a more municipal level, Dublin City Council has launched a variety of organised writers groups in different public library branches including Ballyfermot, Ballymun, Cabra, Central Library, Donaghmede, Kevin Street, Pearse Street, and Raheny. This opportunity

enables writers to get involved with their community on a local level. The meetings are informal spaces where writers discuss ways to improve their skills through mutual encouragement and constructive criticism.

The organization offers various poetry competitions and submissions as opportunities for poets to publish their work on a local and national level.

For any young published novelists, the International Dublin Literary Award, sponsored by Dublin City Council, serves to annually award a novel which is in English or that has been translated into English. This award serves to promote Dublin’s status as a critically acclaimed cultural hub in literature. Nationally, the Government has launched the Creative Ireland program, which serves to promote cultural, literary, and artistic development in Ireland. This initiative intends to prioritize music,

drama, art, and literature as vital pillars in educational and personal development. For more experienced writers, the Dublin City Writer-In-Residence Program will offer an opportunity for writers with a particular affiliation with Dublin, to submit their work and provide connections with writers across the city. Aside from the diverse array of creative writing outlets, Dublin exemplifies a deep focus and appreciation for poetry. Poetry Ireland, based in Parnell Square, serves to connect poetry with people throughout Ireland. The organization offers various poetry competitions and submissions as opportunities for poets to publish their work on a local and national level. Notable competitions include the Hennessey New Irish Writing Competition, which is published in the Irish Times each month, permitting writers to submit poems and short stories. Annually, the organization also hosts a poetry contest in association with Trócaire Ireland. This competition explores themes relating to global justice issues, including this year’s theme “When Love Conquers Fear.” Deadlines for submission are from January to mid-March and both published and non-published poets may enter the competition. Through the means of its various initiatives, Dublin serves to accommodate all inspired, established, or emerging writers. As residents of this literary hub, but simultaneously as academics, students may find writing for university to be an arbitrary chore. However, creative writing may serve as an excellent means of expressing our thoughts and ideas in an uninhibited way.

It just goes to show There’s more to this mysterious Oileán Than I may ever know

Picture: MEadhbh Sheridan

Picture: Pixabay

The clouds synchronous Swaying low Feeling life so deliciously slow

OTwo // Arts & Literature

An Interview With Subset Joanne Olivia interviews the guerrilla artists known as Subset on their work and goals for the future.

I met with a Subset spokesperson in their studio inside a church building in Rathgar. Preparing for the interview ruled out asking any personal questions, since Subset prefer to be seen as collective, rather than individual people. Despite their work being followed and viewed by over 10,000 people globally, they find social media “unsettling.” This is because their work is carried out illegally, and they, understandably, want to have control over who knows about them. The multidisciplinary art studio is mainly known for its large scale murals around Dublin’s city centre. Speaking about the legality of their work is unavoidable. Over the last year, their paintings have stirred up a lot of discussions about large scale outdoor artwork in Dublin, which is currently regulated by the Council’s Planning and Development Act. This Act requires artists to apply for planning permission for installation of such artwork, which Subset frequently fails to do. Currently, Subset puts up their artwork and paints over it once they have received a letter from the council, asking them to do so. This procedure has taken from as little as three days to as long as one year, making it difficult for them to work as a business. The painting that first brought a lot of attention to the group was a giant photo-realistic mural of the Grime artist Stormzy, painted on a wall just off the Smithfield Market in Dublin 7. The group

had to remove it towards the end of last year. Given the scale of the artwork and the current laws in place, I found it fascinating to learn that they can only recall one or two incidences where people tried to interfere while they were painting a wall, to which they argued, “it is only illegal from the perspective of the Planning and Development Act, but we had permission from the building’s owner.”

Looking towards the future, they hope on changing the council’s policies to be more accommodating. When asked if they have ever

applied for planning permission for any of their murals, they openly stated they have not and that they did not feel it was suitable, “rightly or wrongly that’s just how we felt.” When quizzed for more details as to why it was not suitable, they spoke about long application times and read an excerpt from the current City Art Council’s mission, which encourages the temporary use of unused sites and buildings for art installations. “That is

their current policy, but then if you look at their other stuff [Dublin City Council Planning and Development Act], it is all contradictory.” Looking towards the future, they hope on changing the council’s policies to be more accommodating. To achieve this, they put together a proposal in which they suggest more flexible licenses, with a faster registration process to the council. “Obviously we understand that this is not going to be accepted immediately, but we want to have a conversation, where we are sitting at the table as equals.” Their ideal outcome from the discussions would be for the artist’s community to have the possibility to use council approved spaces, for a determined period of time, at an administrative fee. The most important part is that the space would be signed off by Dublin City Council for all types of artwork (given they are not defamatory, derogatory, or similar) and not just one pre-approved art piece. Another key part, is that the artwork in question would no longer be approved by the department of Planning and Development but by members of the art community. In their ambitious mission to turn Dublin into an outdoor art gallery, they would not only love to see changes for established artists but also believe that outlets and spaces for young people could reduce vandalism and enhance the aesthetic of neglected areas. “Right

now there is no place for people who show an interest in it [graffiti] and want to progress, opposed to just tag a building.” They compare the situation to that of children playing football in a “ball game prohibited” area, due to the lack of football pitches. “We are not saying that it is going to eliminate it [vandalism] but we believe that most people are trying to do the right thing, if they can.” When they discussed some of their other pieces, they preferred to speak about their artistic work rather than their commercial projects, “art is the main thing we want to do.” Since the current laws make that difficult and discussions for change will take a long time, they started a project called “Grey Area”, which is entirely artistic and run without clients. “Just art for art’s sake.” The project runs during the months of March and April and aims to highlight the current situation with the Council through “a revolutionary measure.” Over the last weeks several murals were already put up in collaboration with many other artists, such as the Irish muralist and illustrator Dan Leo. “Grey Area” is planned to end on the 22nd of April with a total completion of 25 murals around Dublin city. To find out more about Subset you can follow @Subset on Instagram or @ SubsetDublin on Twitter.

OTwo // Arts & Literature

My Favourite Book: Journey By Moonlight

Kevin Doalty Brophy reviews his favourite psychological novel and describes its inspirations from the works of Dostoyevsky and Woolf. Published in 1937, Journey By Moonlight is Antal Szerb’s masterpiece pertaining to nostalgia-induced ennui. It is during his honeymoon in Venice with his beautiful wife Erzsi that the protagonist, Mihály, comes to terms with the degree of freedom he has lost to the social mores of adulthood he cannot escape. Yearning to somehow return to his adolescence, Mihály is compelled to reveal to Erzsi the details of his past that he has kept from her.

At the crux of the novel is a psychological case study of Mihály as he reckons with his own impermanence. As if awakening the spirits of the past, an un-

expected encounter with previous friend and rebel, János, in Ravenna, commences an adventure. After abandoning Erzsi at a train station, Mihály goes off in search of his devoutly religious friend, Ervin in a desperate bid to reconcile his conflicting feelings for the past and present. This is merely a stepping-stone to finding the elusive and mysterious Éva, who Mihály

was hopelessly in love with as a teenager and is the only one capable of illuminating his way in life. The language employed in the Pushkin Press edition, translated from the original Hungarian by Len Rix, is masterful. The pacing itself is marvellous, with unpredictable twists and turns to keep the reader engaged. Szerb’s style is whimsical and deft. Perhaps most compelling of all are the characters themselves, fully realised and endlessly intriguing. Regarded as a seminal text of magical realism and modernism, a pinnacle of twentieth century Hungarian literature, I prefer instead to view it as a spiritual successor to Freud and Jung, Schnitzler and Breton, because Journey By Moonlight is, fundamentally, a towering work of psychoanalytical surrealism. In the case of Journey By Moonlight, Szerb crafted a psychological novel on par with the oeuvres of Dostoyevsky and Woolf. Journey By Moonlight blurs the lines between fact and fiction, dreams and reality. At the crux of the novel is a psychological case study of Mihály as he reckons with his own impermanence. His yearning for Éva transcends infatuation - the mystery of her character, the conflation of sexual allure with the promise of death, represents his difficult choice: to continue living his life or submit himself to oblivion? Journey By Moonlight posits that to go on living can possibly contribute to a redemption of the finitude of consciousness.

Traumatised by ‘Fake Theatre’ Sarah Burke Vaughan responds to the ever-growing presence of the musical theatre ‘sub-genre’ in society today. The time has come to address an issue plaguing today’s hallowed and sacred rite of theatre. We must discuss something so underhanded and despicable that it can just downright wreck your whole day, while simultaneously ruining the untouchable and infallible art of theatre. This is the kind of thing that would have made good old Billy Shakes sit right up in his grave and say, “not today you don’t! Not on my hallowed ground, the stage! A place reserved for only the most high brow and important of stories to be told! Take your kick ball changes and be gone!” I am talking, of course, about the disgraceful sub-genre known as ‘musical theatre.’ I was personally victimised by this much lesser form of theatre recently when I attended what I assumed would be a hard-hitting drama about an underestimated law student, overcoming adversity and moving forward to defend the rights of women in a court of law. What I bore witness to was a ridiculous pink and blonde farce, full of people possessed by some unknown force that compelled them to sing and dance in formation, as though the theatre was the place for such things! Any respectable theatre goer knows that musicals are simply a lesser form of theatre. No self respecting actor should express themselves through jazz hands. Real theatre should be gritty and complicated. It should explore important themes and make the audience feel something deeply, to the point of being

slightly uncomfortable. That kind of raw emotion can never be achieved through tacky costumes, coordinated dance numbers and cheesy ‘breaking free of convention’ solos sung by above average looking plucky brunettes.

That kind of raw emotion can never be achieved through tacky costumes, coordinated dance numbers, and cheesy ‘breaking free of convention’ solos.

It’s not as though there are any musicals exploring serious issues like race, sexuality, depression, sexism, religious persecution, the AIDS crisis, or child labour. Musicals are far too fanciful and frivolous to explore anything serious or important. Such things are reserved for the sanctity of true theatre. The very idea that musicals use their expanded platform and extra tools

in the music and choreography to convey deeper messages than we first see could make one laugh themselves to death, if the theatre were a place for laughter,

which it is not. To all you character shoe wearing, toe-tapping delinquents out there, keep your jazz squares off my stage.

OTwo // Games

Review: Fe

Developer: Zoink Games Publisher: Electronic Arts Platform: XBOX ONE, PS4, PC, Nintendo Switch (Reviewed) Release Date: 16th Feb 2018 Reviewed by Katie Lalwani

At first glance, the visually striking artstyle of pastel monotones and whimsical forest aesthetics easily draws you into the inviting fairytale-like world of Fe. The short 3D platformer, sees you play as the title character ‘Fe,’ a fox-like creature, as you explore a vast woodland inspired by developer Zoink Games’ native Sweden. This forest is inhabited by a variety of adorable animals who are under threat from the ‘Silent Ones,’ mechanical beings intent on trapping these creatures and disrupting the life of the forest. The game is set apart by its distinctive artsy style of cool coloured tones and an artfully rendered natural environment. The hostile areas resided by the Silent Ones, on the other hand, are distinguished by their grey colours. At first, the charming environment is highly appealing. New abilities unlocked throughout the course of the game include tree-climbing and gliding, allow you to discover more of the world piece by piece. However, this appeal soon wears off after a few hours of exploring, with the lack of variation across the areas becoming apparent, making exploring the world quickly feel repetitive. The game’s highlight is undoubtedly its music, adding a playful and charming element to the world. With

no words spoken, you befriend other forest creatures through singing. Each animal type has its own unique melody

With no words spoken, you befriend other forest creatures through singing. Each animal type has its own unique melody and must be learned and replicated in order to form bonds with the creatures.

and must be learned and replicated in order to form bonds with the creatures. These bonds will allow you to use

different plants, which open up more areas of the map to explore. With no direct guidance on how to proceed, it’s taking cues from the world around you and your animal allies which allow you to progress through the game. Despite it’s strikingly quirky art style, the game is unfortunately let down by its controls. Platforming mechanics often feel frustratingly clumsy and slow. The gameplay itself is very simple with no obstacle proving too difficult. However, with the lack of any real challenge, it’s easy to quickly lose interest. With the wordless experience of the game, a clear narrative is not present. Instead, it is ultimately left to the player to figure things out for themselves through exploring the world and watching cutscenes. This sense of vagueness and lack of clear objectives can make the story feel confusing and oftentimes aimless, further dulling the experience of the game. While the game has moments of potential, it fails to develop these further. Despite an attractive artstyle, the game’s visuals cannot make up for the lack of substance. Overall, Fe is a game that makes a great first impression but ultimately doesn’t live up to expectations.

Game to Film Adaptations: Are They Doomed to Fail? Katie Lalwani looks into why video game film adaptations continue to fail in the box office. often build their own narratives, making unnecessary changes to characters or disregarding beloved fan favourites altogether. This shows little regard for the fact that many games are successful because of their well-crafted narratives and likeable characters. Changing something they know and love so that it becomes unrecognisable almost certainly leads to a film adaptation failing with fans.

Changing something they know and love so that it becomes unrecognisable almost certainly leads to a film adaptation failing with fans.

Another key flaw of video game films is that more often than not, the film focuses on action sequences and visual effects. A visually stunning film is

not enough to compensate for a lack of script and character depth. Without any real substance, video game adaptations can often feel gimmicky. On the other hand, films influenced by games that are not a strict adaptation on any particular franchise, have found more favour from cinema goers. The recent cinema release of Ready Player One is a prime example, with the film evoking a sense of the virtual game world players love. Meanwhile WreckIt-Ralph, offered an animated love letter to arcade games, featuring references and cameos from popular video game characters. With this in mind, perhaps the only way to successfully bring video games to the big screen is to pay homage to the genre rather than seek to adapt a single franchise. This way, the films can appeal to gamers without alienating non-gamers. Despite this history of failure, video game film adaptations continue to be made. Adaptations currently in the works include an Uncharted film, an animated Super Mario Bros title and even a live-action Detective Pikachu film starring the voice of Ryan Reynolds. Time will tell if these films continue to fall at the hands of negative reviews and poor sales or learn from the mistakes of their predecessors.

Picture: Geograph.org

With a host of mixed reviews, Tomb Raider (2018) has become the latest in a long line of game to film adaptations that failed to win critics over. The film joins the likes of Assassin’s Creed, Warcraft, Hitman, and Resident Evil, with its inability to gain the favour of film goers. On paper, a video game to film adaptation seems like a sure-fire success, boasting a big budget, and star-studded cast along with an already established fan base. Why do video games continue to fail to succeed on the big screen? One prime issue at hand is the fact that video games and films are very different forms of entertainment. Video games provide an immersive experience where control is in the hands of the player. With this sense of freedom, experiences are often individual and unique to the player. This appeal is impossible to replicate in the passive experience offered by cinema. Often, as with any adaptation, filmmakers make various changes to the source material. This is, of course, a necessity. How else can the likes of an eight hour game be condensed into a two hour film. Yet, it’s often the case where too many changes are made, leaving the result wavering too far from the source material. Filmmakers

OTwo // Film & TV

Review: Ready Player One

Picture: Domenico Vescio via FLickr

Director: Steven Spielberg Writers: Zak Penn, Ernest Cline Starring: Olivia Cooke, Ben Mendelsohn, Letitia Wright, Tye Sheridan, Lena Waithe, Mark Rylance Release Date: 30th March Reviewed by: Shivani Shukla

Review: 120 BPM Director: Robin Campillo Writers: Robin Campillo, Philippe Mangeot Starring: Nahuel Pérez Biscayart, Arnaud Valois, Adèle Haenel Release Date: 6th April Reviewed by: Jack Knowles

Based on the eponymous novel by Ernest Cline and set in the year 2045, Ready Player One is a film depicting how humans and virtual reality will plausibly interact in the near future. It starts off with the introduction of a nerdy, seemingly underprivileged Wade Watts (Tye Sheridan), jumping from one campervan to the next in a neighbourhood in Columbus, Ohio, straight out of a dystopian novel. Sliding under a pile of trashed cars to his ‘cave,’ we watch as he plugs into a VR system which takes him into OASIS, a virtual world created by James Halliday (Mark Rylance) where “literally anything can happen.” This seems to be the daily routine of most of the global population, who escape from the bleak, post-droughtand-bandwidth-war real world to be their created selves in OASIS. We see this world through sequences of sensory-overload-inducing scenes aiming for a nostalgic outlook to the 1980s with numerous pop culture references. Gandalf, King Kong, and Jurassic Park’s T-Rex are just some examples of the nods this film makes while scenes from Kubrick’s The Shining and zombies also feature, hinting at a future world still holding on to the past. Halliday puts up a challenge: whosoever discovers the three keys hidden in the OASIS gets to inherit a fortune of nearly half a trillion dollars alongside global fame. This brings into picture the Innovative Online Industries, better known as the IOI, with huge facilities and staff dedicated to the cause of

winning the challenge, headed by the villainous megalomaniac Nolan Sorranto (Mendelsohn).

120 Beats Per Minute is a French film that follows the AIDS activist group ACT UP as they battle to fight against the disease during the height of the AIDS epidemic in France, in the 1990s.

The use of narrative in 120 Beats Per Minute is refreshing. There is clearly a three-act story arc, yet it is not the standard three acts. Each act individually could be its own film. The transition from the first act to the second is smooth and almost unnoticeable. The second transition from act two to three is jarring. It serves a purpose. It is aware of it too. While it is an interesting take on narrative structure, it fails at times and can lose the audience. However, this doesn’t take much away from the film, but a slightly more traditional attempt could have proved more impactful at certain moments. The strong storytelling devices and the unconventional narrative add to the film’s realism. The film tastes like an activist meeting; with their cigarettes and desperate sweat of passion for change. At times during the film, people with AIDS will just faint and it is often unexpected; the reactions are not dramatic, but they are poignant and human. The film depicts homophobia in the world as something subtle and is evidently present in some of the characters’ lives. It is not emphasised or stressed upon but it is present. However, while the oppression aspect is not the focus of the story, it does add a real depth of authenticity to the film. In a Nutshell: An interesting film that realistically tells a part of recent history that many of us will not be aware of.

The strong story telling devices and the unconventional narrative add to the films realism.

Directed by Robin Campillo, a member of ACT UP, the film depicts a raw portrayal of life with AIDS and the reality for those suffering from the disease. The film won the Grand Prix Award, the second-most prestigious honour at the Cannes film festival. 120 Beats Per Minute’s story is a blend of activist meetings and their political actions. The opening is unique in its story structure and it presents us with a political event that went well for some and poorly for others. These perspectives on the event are shown via various viewpoints and are delivered through flashbacks accompanied by a voice over. While not entirely original in its structure, it introduces us to different members and their conflicting opinions. This use of unconventional storytelling strongly serves the story.

The film makes for a dynamic visual experience. Meanwhile, Wade’s avatar in OASIS, Parzival, meets Art3mis, a pixie-haired, anime-doll-eyed, rad girl and (unsurprisingly) falls in love with her. The film follows a predictable plot as we see the evolution of Wade as a hero. Having said that, the young actors do a commendable job. Rylance delivers yet another perfect performance as geeky genius game-maker Halliday. The film makes for a dynamic visual experience, though it takes a few minutes to settle with the overzealous sensory input from the OASIS. The back-and-forth movement of the film between the virtual and real world, forces the characters to make a genuine connection with the audience, exploring loneliness and love along the way. One can tell it is a Spielberg movie quite early on. The graphics are unbelievable, advanced even for the present trend, and the soundtrack will keep you engrossed in the plot. In a nutshell: Ready Player One is a must-watch for tech-nerds and Spielberg fans, so basically everyone.

OTwo // Film & TV

The Implications of Typecast

Picture: L: Jean-François Gornet via Flickr, M: Wikimedia, R: Wikimedia

Emma Kiely delves into the pros and cons of typecasting in Hollywood.

Since the film industry began, actors have always been typecast. Humphrey Bogart was always our pained mysterious hero. Audrey Hepburn our beautiful mysterious female lead. Now, in 2018, nothing has changed. From horror to comedy, actors across every genre are being typecast. Typecasting can be effective and helpful for the audience, as they have associated what actor goes with what particular genre of film. Jason Statham - action-packed; Keira Knightley - elegant upper-class beauty from a different century; Lucy Punch - another iteration of Cinderella. Typecasting is one of the most effective marketing tools used by studios, but we forget that typecasting can be one of the most destructive devices in an actor’s career if they want to branch out. Some actors are happy to sit in the self-made restrictive box and be typecast their whole career, however, some breakthrough and cross the horizon, and when successful, the results can be revolutionary.

Some actors are happy to sit in the self-made restrictive box and be typecast their whole career.

Comedy is the typecast-favourite genre and female actors constantly face the same problem of being typecast as the slightly overwhelmed woman, who somehow manages to land on her feat and land a love interest by the credits roll. You only need to look at Drew Barrymore, Katherine Heigl and Meg

Ryan. Due to typecasting, much like juicy tracksuits, misogynistic Rom-Coms should be left in the 2000s.

When looking at modern successful comedic actors, it would surprise people how hard some have worked to break the mould and switch between genres. One of the first being Eddie Murphy, who gave us a holiday favourite in Trading Places, the Beverly Hills Cop franchise and Coming to America in the 80s and 90s. Coming into the late 1990s and 2000s Murphy was staying close to over-the-top humour with Dr Dolittle and The Nutty Professor. However, in 2006 Murphy shocked audiences with his dramatic supporting role in Dreamgirls garnering him an Oscar nomination. Similarly, the late Robin Williams

went from playing Popeye and the hilarious radio DJ in Good Morning Vietnam to giving two of the best supporting performances of the 80s and 90s in Dead Poet’s Society and Good Will Hunting establishing him as not only an iconic comedian but one of the best dramatic actors in recent years. Williams and Murphy inspired a whole generation of comedic actors to break out of their roles and broaden their horizons and those who answered were Ben Stiller who crossed over into directing, Jim Carrey who gave a surprisingly sensitive performance in Eternal Sunshine of the Spotless Mind, and Jonah Hill who has earned himself two Oscar nominations. There is no doubt that comedy is restrictive, but when you peel back the prosthetics and stand-up, great dramatic actors can be found.

He took home the Oscar for his performance which gave rise to the ‘McConaissance.’

A prime example of breaking typecast is Matthew McConaughey. With his tall slim frame, sallow skin, and husky voice he was the dream lead of Rom-Coms with Failure to Launch, How to Lose a Guy in Ten Days, and Ghosts of Girlfriends Past. His performances never went beyond the hunky love interest until 2014’s Dallas Buyers Club, when the whole world realised that a terrific actor was being caged by horrific roles. He took home the Oscar for his performance which gave rise to the ‘McConaissance’ coined by the New Yorker and we saw him give a stellar performance in True Detective, then

followed by the monumentally successful Interstellar. Dallas Buyers Club really set a caged bird free and, boy, did that bird sing. Typecasting is always seen as an unwanted, uncontrollable aﬄiction, but in reality, there are hundreds of actors who are happy to sit in the small corner of cinema made for them. Take action icons Jason Statham and Vin Diesel. Both fifty-years-old and both consistently banging out box office hits with their joint success from the Fast and Furious franchise, Vin Diesel’s Xander Cage films and Statham’s major success in his native England, with the cult favourite Snatch and a supporting role in the 2003 remake of The Italian Job. However it is not just the male actors who are typecast in action roles, Michelle Rodriguez has often been cast in hyper-masculine roles in films such as The Fast and The Furious and Resident Evil. All have ventured into the sub-category of action-comedy with Diesel’s The Pacifier and Statham’s Spy. Rodriguez even appeared in Smurfs: The Lost Village (2017), yet all seem to fall back on the comfy beds of action hero, villain and the physically strong female character, respectively. It may not ever get them an Oscar or Golden Globe, but they have most definitely assured themselves a place in the history of the action genre. Typecasting can no doubt be damaging to one’s career, but it can also be seen as a useful device in the film industry. Typecasting can make an actor a genre favourite which can result in monumental success, and even better, when broken, typecasting can reveal the true colours of actors and allows them to prove their real talent. It’s time to get dramatic Adam Sandler.

OTwo // Film & TV

How Many Times Can The Rock Save the World? Anna Donnelly explores how action movie fans find themselves between the Rock and a hard place, as Dwayne Johnson’s reign continues indefinitely. Picture the scene: A large room with hooded figures sitting menacingly around a table. “A new action movie is coming,” one of them declares. “You know what to do,” rasps the voice from the head of the table. The figures understand the command and rise in unison, ready to scour the land in search of the one they need, the chosen one: Dwayne ‘The Rock’ Johnson. He who is destined to play the leading role in all action films until the end of time. As it was written in the ancient scrolls, so shall it be.

The Rock is constantly rolled out for the same action-packed roles as if washboard abs are going out of style.

Dwayne ‘The Rock’ Johnson is always the hero and we are the helpless spectators, forced to be entertained by this symbol of Hollywood’s mindless formulaic repetition. It’s possible we have become complacent with the reliable performances of Dwayne, who although is at an age where most have passed their physical peak, remains just as fast and furious as always. In this unstable political climate of nuclear threats and bad wigs, is a bit of escapism from our good old friend DJ really all that terrible? If the huddled masses derive comfort from a familiar face shooting at giant bloodthirsty reptiles, the beloved memory of Steve Irwin be damned, then who are we to judge? Personal preferences aside, it’s hard to deny that Dwayne Johnson hasn’t become unashamedly overexposed within the action genre. Hopefully, he will be able to cool the jets while his one-trick-pony style remains mildly amusing, before crossing into the bounds of outright annoying. Like the Batman quote loosely says, “he’s the hero [we] deserve, but not the one [we] need right now.” I think its safe to say that, whether we deserve him or not, Mr Johnson has become the hero that no one needs, let’s just hope he realises it before it’s too late.

Picture: David Shankbone via Wikipedia

This may not be what springs to everyone’s mind when they see that our pal DJ has been carted in yet again to flex his muscles, arch his eyebrow, and shoot at some indistinguishable goons. However, it is safe to say that no one is blissfully ignorant of how ‘The Rock’ is constantly rolled out for the same action-packed roles as if washboard abs are going out of style. It seems we are collectively living in the parallel universe of the film Groundhog Day, a universe in which we are all Bill Murray and every day we wake up hoping for things to be different, but no. Dwayne ‘The Rock’ Johnson is always the hero and we are the helpless spectators, forced to be entertained by this Hollywood symbol of mindless formulaic repetition. This is the reality we have built for ourselves. With only a chiselled wifebeater-wearing man to protect us from whatever ensuing radioactive/ninja/outer space threat that’s ready to destroy the guaranteed setting of America, therefore, humanity. We only have ourselves to blame. If you think this is one big, unfounded over-reaction, take a quick look at the outfits Mr Johnson dons in two of his latest flicks Rampage and Jumanji. I would bet a Centra chicken fillet roll that he wears the exact same pair of shorts in those two films. Now, maybe this perceived coincidence is underestimating ‘The Rock.’ Maybe pointedly reusing this item of clothing is a political statement against the wasteful nature of the fashion industry or maybe it’s an incidental reflection of the monotony of his film choices. Who’s to say? All this being said, maybe Dwayne’s limited array of roles isn’t entirely his fault, as the possibility of typecasting cannot be ruled out. Ironically, maybe him constantly being forced to play the hero has made him the ultimate victim, resigned to the monotony of his own greatness. Even as he has been cast as Black Adam, DC hero Shazam’s enemy, we are told he will play an ‘antihero’ and will get his own film; never truly playing the bad guy. Although his admirable characters secure victory, that may not stop him losing a part of himself along the way. It remains within the realm of possibility that right now, somewhere in the world ‘The Rock’ is in his film trailer, pumping iron before his big action sequence of the day, while holding back tears as he thinks about how he didn’t get picked for that role of the inner-city school teacher trying to make a difference to the lives of vulnerable children. He ramps it up another 10kgs every time he feels himself welling up. It’s difficult to throw cars at bad guys when you feel this down, he thinks to himself, while absentmindedly balancing a small child on his pinkie.

OTwo // Film & TV

Film & TV as a Tourism Device

Pictures: L: Wikimedia, R Top: Wikimedia, R Bottom: Horslips5 via Wikimedia

Alexander Glover uncovers how film and tv can inspire tourist desire.

The Dark Hedges

Skellig Michael The power and influence of film and television are well-known. They can influence the music we listen to (Black Panther), the clothes we wear (Clueless, Peaky Blinders), and even our travel destinations. Theme parks and attractions such as London’s Wizarding World and the Warner Bros Studio Tour are major drivers of tourism that have stemmed from popular films. However, die-hard fans and those just looking for an excuse to travel come from far and wide to visit shooting locations too. Recent research suggests that films have a strong influence on tourist decision-making. The image a viewer garners from a production can have a great impact on tourism to the area, despite films and tv shows depicting fictional representations of areas.

Recent research suggests that films have a strong influence on tourist decision-making.

The world’s most filmed-in location is Central Park, New York City, with Hawaii and Las Vegas also being popular spots. However, these locations would receive a lot of tourism even without films and TV shows being filmed there. On the other hand, many cultural and heritage sites benefit as they acquire specific meaning through the

GoT in NI productions. Without these, stately homes such as those featured in Downton Abbey may be indistinguishable from others. At home, Tourism Ireland has said that up to 35% of visitors from overseas are influenced by film and TV. It makes sense; who doesn’t want a photo outside the house from Father Ted on the fictional Craggy Island? (Actual location: Co. Clare.) Many films have featured scenes from Ireland’s beautiful countryside. Most of Braveheart’s exterior scenes were shot in Meath and Kildare, Curracloe beach features in both Saving Private Ryan and Brooklyn, and The Wind that Shakes the Barley was filmed in various locations across Cork. However, certain films drive a more noticeable increase in tourism. One hypothesis is that the cultural importance of a text leads it to having more sway in attracting tourism. There are three productions which have driven more tourism to Ireland than the rest. Firstly, two Star Wars films have transformed locations along Ireland’s west coast into scenes from a galaxy far, far away. In The Force Awakens, the historical island of Skellig Michael, off the coast of Co. Kerry, is where Rey tracks down the long-lost Luke Skywalker. In the following film, The Last Jedi, scenes were filmed along the coastlines of Donegal, Clare, Cork, and Kerry. Tourism Ireland has done an excellent job of capturing this unique opportunity by getting Skywalker himself, Mark Hammill, to talk about Ireland’s beauty. Hammill praises the beautiful vistas and the welcoming Irish people before

delivering the money shot: “I would urge anyone planning a vacation to go to Ireland. You’ll never find another place like it... I wish we could have shot the entire film there.” Many local tours have since popped up near filming locations. Secondly, is the ‘most popular TV show of all time’ Game of Thrones. Much of the HBO series is filmed in Northern Ireland and Titanic Studios has been the main studio and post-production facility for all eight seasons. Other external locations such as the Dark Hedges in Co. Antrim (known by fans as ‘Kingsroad’) can be seen all over Instagram, posted by fans of the show. Like Star Wars, the tourism board has done an excellent job of using the show to drive tourism to the area. Discover Northern Ireland has created a tour around the country that brings visitors to ten intricately carved wooden doors in various pubs. The doors were carved from trees along the Dark Hedges that were felled by Storm Gertrude and each depicts the plot of a season six episode. When tourists take on the tour they are told of all the nearby filming locations. The final property that has driven considerable tourism to Ireland is Harry Potter. Co. Clare’s Cliffs of Moher feature prominently in the Half-Blood Prince and the cliffs are now Ireland’s most visited natural attraction. Of course, the cliffs in all their glory would draw tourism without Harry Potter, but the wizard has helped to bump the numbers up even further. Even Trinity College’s Long Room has benefited from Harry Potter. The Old Library gets in excess of half a

million visitors a year and many believe it was the inspiration for Hogwarts’ own library. However, it was Star Wars the college had a problem with: in 2002, Trinity almost sued Lucasfilm due to a striking resemblance between ‘the Jedi Archives’ in Attack of the Clones and the Long Room. The Jedi version even had busts of Star Wars characters where Trinity has busts of historical figures such as Shakespeare and Homer.

One hypothesis is that the cultural importance of a text leads to it having more sway in attracting tourism. To date, filming has also taken place on UCD’s campus. However, it is unlikely RTE’s Striking Out or the Pierce Brosnan-led thriller I.T. will draw much tourism to the Belfield campus. Both travel and film & TV offer those who enjoy them a way to escape reality. The temporary relief from the real world that may be achieved through travel is mimicked when we are transported into film and TV. Marrying both recreational activities makes perfect sense.

OTwo // Interview

The State of Theatre:

An Interview with Willie White By Dylan O’Neill

For many, the idea of pursuing a career in theatre, or even the arts, is often dismissed as fanciful and unrealistic. For Artistic Director, Willie White, it’s not only a reality, but a full-time job. He first realised that he had an interest in the arts from a young age, devouring piles of books from his early childhood to late teens, “I was reading books from Sweet Valley High to more precocious things like Lolita in my teens, but it was more like consuming words than being a great producer of words.” However, given that his father was a successful solicitor, White was discouraged from even attempting to study arts at third level education, “I wanted to study English, but my career guidance teacher said I could read books in my spare time. At the time, I wasn’t aware of other options, so I went and I studied Science. I was unhappy and it wasn’t my first choice, I had actually put down to do law.”

I’m just saying I’m not really interested in theatre that’s just for entertainment, I think that’s just a waste of time. Despite not receiving the support from his parents, White got involved with Dramsoc in UCD, discovered a love for directing and worked his way up to the position of Auditor in 1993. “That’s one of the great things about UCD, you build these life-long friendships, you have the opportunity to do whatever you want, even though what people do tends to be conservative, and you have these resources available to you.” After graduating from Trinity College with a Master’s degree in Irish Theatre, White initially worked as a reporter/ researcher for RTÉ, for the arts review show Later On 2, hosted by John Kelly. “RTÉ were looking for new talent, I went to one of these group auditions to try and somehow distinguish myself. It would have been in autumn of ‘97. I was on the panel, I presented this programme Later on 2. It was

an arts/youth review programme.” Following his time with Later On 2, White trained as an assistant producer and returned to work on the new version of the show, The View, for two seasons. “The first time I went to a professional play was with the father of a girlfriend of mine, he brought us to the Gate Theatre. I was four years in Dublin before I went to the Abbey Theatre. I already didn’t know I could study drama, so I had no idea that these were careers that were open to me, and that they were jobs people did.” Deciding it was time to branch out from behind the small screen, White applied for a position with Project Arts and was Artistic Director for nine years until September 2011. “With Project Arts, I encountered it in the 90s, through a theatre company I founded with friends after graduating from university. That was when I became exposed to, in a real way, other disciplines like dance and contemporary music and visual art and so on.” From his time and experience with Project Arts, White eventually applied for and became the Artistic Director and Chief Executive of the Dublin Theatre Festival. Working for the Dublin Theatre Festival has really shown White the level of professionalism of theatre-makers on an international level. “Similarly with the festival, there is much more than the project on an international level. It’s a platform, where possible to show people what’s going on in the rest of the world as well as what’s going on in Ireland.” White admits that the seemingly glamorous artistic career he has is not all fame and holidays abroad. “The festival is made up multiple relationships. There are about 20 performances that we invite the artists, whether they’re Irish or international, pay fees, rent the venue etc. Then there are about another ten between the Theatre for Children programme at the Arc, or working in the suburban venues of Tallaght, Dun Laoghaire, Blanchardstown, Ballymun, or… working in the Abbey or the Gate. So, that all adds up to around 30 productions.” There is a lot of emphasis on maintaining and developing relations both at home and abroad for White, as part of his day-to-day routine. “I’m involved in the theatre community in Dublin and internationally, so I go and see work. Either work just to keep up with what’s going on in the theatre world in Dublin, sometimes younger or newer

companies invite me to see their work, with a view to somewhere down the line having a show being involved in the festival.” On top of that, White is also responsible for the business running aspect of the Dublin Theatre Festival. “It’s about asking: ‘Do we have the right venue?,’ ‘How many people in the company?,’ ‘Is this a show that I think an audience in Dublin will appreciate?,’ ‘Does it need to be translated, or is there already a translation?,’ ‘How many people travel with it?,’ ‘How much will hotels cost?.’” Recently the theatre company THISISPOPBABY hosted the WhereWeLive festival, at which, White hosted talks as part of the events. Looking back White felt that the festival was an overall success, despite not receiving much media attention. “WhereWeLive was an artistic response to the idea of home and living in Dublin, obviously there is a lot of talk about homelessness, which is a very visible social problem in Ireland, in terms of rough sleeping.” Recounting how he first met the co-founders of the group while working in Project Arts, White recalls, “what I really like about THISISPOPBABY is that they have an artistic sensibility but they also have a queer sensibility and a pop culture sensibility, and they manage to bring all together into something that is fun, intelligent, appeals to a different audience.” White also noted that among the regular contributors to THISISPOPBABY, was Panti Bliss. “Look at something like Riot, that was more successful in the Fringe [Festival] than the most successful show in Dublin Theatre Festival and I would say by a fair bit too.” White believes that presenting social issues to a wider audience has always been a function of theatre, going so far as to prioritise it over entertainment. “I’m just saying I’m not really interested in theatre that’s just for entertainment, I think that’s just a waste of time. If you look at Dublin Theatre Festival in recent years, you have work like Anu Productions, who did an absolutely amazing response to the scandal of the Magdalene Laundries, in a former laundry, with a piece called Laundry in 2011.” Theatre offers a way to connect with its audience, providing both emotional and intellectual experience, “that you could not have gotten from reading a newspaper article or watching a documentary on television.”

OTwo // Interview

However, White feels that Irish theatre is not exploring all the subject matter that is relevant to a Dublin audience in today’s Irish society. For a city, and for a country, as multicultural as both Dublin and Ireland are, White doesn’t see the stories of, “types of people living in Ireland, that weren’t here 20 years ago.” Instead, theatre still perpetuates the, “long-standing, traditional Irish story of our identity… We’ve cast ourselves as victims, but we have to acknowledge that we are prosperous, and with the prosperity I think comes a demand, as much of me as of the government, to be hospitable.”

You have work like Anu Productions, who did an absolutely amazing response to the scandal of the Magdalene Laundries, in a former laundry, with a piece called Laundry in 2011. Acknowledging that more recently there have been some, small movements to increase the representation of different backgrounds in society, White strongly believes that there are newer stories emerging and it is our responsibility to provide a platform for these identities to be validated. “If you think about Zainab Boladale who is from Clare, but I think Nigerian born. She is a presenter on RTÉ kids television. That’s the thing I want to see. Not an Ireland that’s about the past and about old stories and old identities, but an Ireland that is about the present and about the future, and makes room for, not just ethnic, but also queer identities and people who have always been here.”

That’s the thing I want to see, not an Ireland that’s about the past and about old stories and old identities, but an Ireland that is about the present and about the future.

I ask him, both out of my own curiosity and for the purposes of the interview, what advice he would give to someone considering a career in the arts. He laughs and reassuringly answers, “don’t give up!” No stranger to the reality of the hardships of pursuing a career in the performing arts, he adds, “You’ve made a lifestyle choice that will probably have long standing repercussions, but you’ll probably be happy in the end, if not wealthy.” He admittedly has no deep, philosophical, or new advice to give me, but instead aims to reinforce the passion with which he felt going forward at the early stages of his career. “If you want to be a writer, write and read, if you want to be a director, direct and go and see plays and so on. We need artists. Don’t be discouraged by the logic that commodifies it. It’s not about value, things like Oscar Wilde’s quote: ‘The price of everything, the value of nothing.’” As I gather my notebook and check the bus times back to UCD on my phone, White shows me to the door with a final word of advice,“ if the theatre is to have a future, you need to go to the theatre.”

OTwo // Music

Le Hitchhiker’s Guide to Le Galaxie With their third album about to drop, Le Galaxie talk to Cian Montague about new beginnings, nostalgia, and repealing the eighth. Purveyors of slick electronica and scifi aficionados, Le Galaxie, have every right to be pleased with themselves. Pleasure, their polished third album and follow-up to 2015’s Choice-nominated Le Club, is set to finally be released next week, after sitting on it for nearly eighteen months. Mary-Kate Geraghty, a.k.a. MayKay, remarks, “I’m getting really excited today for the first time… the train has now left the station.” When I meet Geraghty and fellow vocalist Michael Pope, they are certainly in good form. Relaxed and talkative, the two crack jokes and riff off each other throughout our conversation. They’re quick and eloquent, and pop culture references abound in their speech: we talk about Martin McDonagh, Black Mirror, The Chemical Brothers, Pope’s reviews of Murder, She Wrote, and the ethics of playing R. Kelly and Azealia Banks. It’s clear that they’ve been doing all this for years. A few things are new for Le Galaxie. Geraghty, frontwoman of the now-defunct Fight Like Apes, has collaborated with the group in the past, but only recently became an official member. “I’m a lot more comfortable now that I’m ‘in the band,’” she says, “When you step in the door to something completely established, with very set ideas of what they’re doing, it’s a lot easier.” Pleasure is also the first album Le Galaxie will release on US label Red River, as well as their first time working with a producer, Blende, from Sweden. “We didn’t know if a producer was supposed to be a dictator, or a collaborator or if we were basically handing over demos to have them done by this third

party,” says Pope. “It was very different, but we definitely picked the right guy.” Pope praises his “crazy good skillset” and Geraghty his “silken hair.” “It didn’t hurt that he was an absolute sweetheart, too,” adds Pope.

Yeah, Drive was good, the soundtrack was good. Does it have to become a way of life? The press release for Pleasure suggests a stylistic move away from “dance floor bangers,” but Pope describes it a little differently: “I would say [it’s] not less something, but [it has] more melody, more heart. The only thing I would say there’s less of is nostalgia. We’re far less interested in nostalgia now than we are in making a progressive dance record. There’s enough of that stuff out there now. Yeah, Drive was good, the soundtrack was good.” He stops dead, “Does it have to become a way of life?” This adjusted sonic direction fits with the themes of Pleasure. “It’s about choices and relationships, and about not fetishizing the past anymore, about going forward and sticking with your decisions,” says Pope. “The songs, to me, sound like love and lust and an excitement about the two things… and a reawakening,” Geraghty adds. Le Galaxie have another reason to

be happy: they’re about to head off to Austin, Texas for SXSW, although they stress that this is not just a holiday. “You can’t take the piss with the opportunity you’ve been given,” says Geraghty. As well as the gigs, there is lots of networking to be done; a lot of it is simply about meeting other bands. At the same time, says Geraghty, “we’d be lying if we said it wasn’t built for parties!”

We have to do exactly the same thing as during the marriage referendum, which is to show love, and show what love means to us.

SXSW is full of both small acts and some bigger names; Pope quips that Metallica, who performed in 2009, played the “Napster Stage.” He begins excitedly searching his phone for a video and a few minutes later we halt our conversation to watch it (“It’s gonna annoy me, ‘cause I really want to show you”). It’s a group of men in cowboy hats playing country in a clothes shop, with the lead singer – to Pope’s delight – nonchalantly

rocking on a mechanical horse. “It’s the most Texas thing I saw,” he laughs. I have noticed Geraghty’s ‘Repeal’ T-shirt, Le Galaxie have been outspoken about this issue before, and I’m eager to hear their thoughts. “We’re on opposite sides of the debate, sadly,” deadpans Pope, with such a straight face that I’m taken aback for a moment, before they both start laughing. Unsurprisingly, they have a lot to say about this. Pope states that he doesn’t mind bands not committing to a side: “That’s completely fine, you don’t have to air everything on Twitter, God please! But for us as people, I feel we’d be remiss to have 10,000 people listening and not try to help with this cause, because it’s hugely important to us every day.” “I don’t think you have to engage,” says Geraghty, “I wish you would, but more so than online I wish people would engage at home. The people that I really think are absolute heroes are the ones sitting down with their grandparents and their parents, and not [getting] any high fives for it.” They don’t condone shouting down opinions and not engaging. “We have to do exactly the same thing as during the marriage referendum, which is to show love, and show what love means to us. I do believe that if we all can listen to each other, we can pass it.” This conversation raises plenty to think about, but it ends on a lighter note, after Geraghty has finished speaking. “I agree with what she said… And, I’m a libtard cuck snowflake,” Pope beams proudly, “Put that in!”

OTwo // Music

Gig Guide

Johnny Climax The hardworking Dublin rapper-producer sits down with Cian Montague.

JOHN GIBBONS – 2 APRIL OLYMPIA THEATRE The Irish DJ has enjoyed great success worldwide and now returns to Dublin where he will play an electrifying set with hits such as ‘Would I Lie to You’ and ‘P.Y.T. (Pretty Young Thing).’ His music fuses pop with dance sensibilities, quarter-note beats, and climactic drops. In his biggest show to date, the audience will see exactly how Gibbons has established himself as a one of the fastest rising stars in dance music. Tickets from €25.90. Check it out if you like: Blonde, Disciples, Duke Dumont

BAHAMAS – 6 APRIL THE GRAND SOCIAL The Canada native, real name Afie Jurvanen, brings his hugely anticipated Earthtones World Tour to Dublin. The soothing guitar-led melodies coupled with Jurvanen’s telling lyrics make for a great listen. Jurvanen’s vocals allow him to transcend the clusters of guitar-laden musicians. Taylor Swift gave him a valuable stamp of approval earlier this year by adding his single ‘Way with Words’ to her Apple Music playlist, thereby bringing his music to millions of listeners. Tickets from €15.00. Check it out if you like: Gregory Alan Isakov, The Barr Brothers, The Milk Carton Kids

LE BOOM – 7 APRIL BUTTON FACTORY This Dublin-based duo have been steadily gaining attention for their catchy melodies, futuristic synths, and dance beats that are impossible to stand still to. A regular fixture at music festivals, Le Boom have been rising through the ranks. On tracks like fan favourite ‘What We Do’ and ‘Don’t Need It Now’ they showcase the vibrant Irish music scene in its best light. Christy Leech and Aimie Mallon have proved time and again that they are ones to watch. Tickets from €14.35. Check it out if you like: Tebi Rex, Le Galaxie, LCD Soundsystem

ÁINE CAHILL – 20 APRIL SMOCK ALLEY THEATRE The past year has been impressive for this young artist, who has been gigging across Ireland and gaining national attention. Cahill, who hails from Cavan, will be taking to the stage where she will be playing hits such as ‘Plastic,’ ‘Black Dahlia,’ and newest single ‘Blood Diamonds.’ Fresh from her supporting slot on tour with JP Cooper, Cahill has showcased her more than capable vocals and lively stage presence. Her music boasts impressive production, with songs of a calibre worthy of mainstream artists. All of this promises that Cahill’s name will soon be known in households across the country. Tickets from €22. Check it out if you like: Wyvern Lingo, Saint Sister, Soulé

Midway through a conversation with unassuming hip-hop artist Johnny Climax, he explains the title of his 2017 album, The Electric Dream: “It’s being able to make a living doing what you love… Whatever it is in your life that will spark you to actually go and do it.” It’s a concept to which anyone can relate, but it holds a special significance for Climax. He has been making music on and off since his early teens, but only more seriously in the last couple of years. “I went through a serious depression, and one day I just decided I was going to start writing again,” he says, “I realised how much I had missed [it].” It has helped him a lot: music provides “an easier way of explaining things to people, and even just to myself.” His work eventually culminated in a heartfelt and moving rumination on his depression, the 2016 album I Made This on the Couch Watching TV, and he’s been going ever since.

I will sacrifice everything else in my life if it means getting into the studio. Climax both raps and produces beats, drawing from a variety of sounds including hip-hop, contemporary and

90s R&B, and soul. “I always think, if you’re a painter you’d never paint with just one colour, or just one style,” he says. As to his main influence, it’s “Kanye West, through everything. From creating to perfectionism… I relate to him a lot.” Indeed, much like West, who famously locked himself “in a room doing five beats a day for three summers,” Climax’s work ethic is astounding. Whether it’s making fourteen songs in fourteen days, or the freestyles he uploaded to YouTube every Friday for a year, he is constantly pushing himself. Climax has recently started a day job. “I spent as much time as I could doing music full-time… but then it hit a point where it’s like, I need money to keep this going. It’s hard to do.” It’s a struggle that has plagued artists forever. How does he find a balance? “I will sacrifice everything else in my life if it means getting into the studio. I’ll get off work at 9, I’ll be in the studio till 2, and then be in work at 7a.m.” Does he sleep? “Here and there. It’s crazy, and there are days you feel like shit. But you start to think that if you didn’t do it, you’d regret it. You find the time.” However, it’s not just about having the songs, as Climax knows. “It’s all about reach,” he says. “I’ve got a reach problem. These [songs] aren’t reaching the people I thought, or hoped, they would reach.” It’s a problem he’s trying to address. “With the last single [‘Mood’], I made sure I sent it to blogs, to radio stations. I wasn’t doing that. I was throwing songs out, and then

just leaving them and going straight to the next one.” I suggest that this has worked: ‘Mood’ was featured on Nialler9, and in less than two months has become the most-played song on Climax’s SoundCloud by a stretch. “To a point,” says Climax. “I’m not done working that song. I know it has a lot more potential than what it’s at now.”

Nevertheless, he has big things in the pipeline: a video for ‘Mood’ and two new songs to be released between now and May. It’s hard not to feel for this young, talented guy who perhaps hasn’t caught the breaks for which he hoped. Nevertheless, he has big things in the pipeline: a video for ‘Mood’ and two new songs to be released between now and May. He hasn’t played that many gigs yet, but in the summer he’s “trying to get as many festival slots as I can.” Clearly Johnny Climax is working himself to the bone, but there’s much to be excited about here. ‘Mood’ is available now to stream or purchase.

OTwo // Music

Sweet Release

Picture: http://maxpixel.freegreatpicture.com/

Pierce Morton asks, “How did you like your band’s latest promotional strategy?”

Consuming music that comes with the baggage of a release strategy is not only a novelty, but potentially something memorable shared between artist and listener. There is something special in this idea; that a musician has decided to labour over the nature of their release in order to bring the most excitement to their listeners. At the same time, for the listener, it is perhaps also a little like being in the early stages of a relationship: even though you believe that everything your partner does is golden, you’re still nervous about how it will turn out, and whether your perception of them will hold true.

Is there a level of sincerity that must be displayed or is it a case of “any publicity is good publicity?”

Vince Staples’ recent GoFundMe campaign, to raise $2 million for him to “shut the fuck up forever,” was accompanied a few days later by his single ‘Get the Fuck off My Dick,’ which brought his name to the attention of many prospective fans. After the pledged amount remained stagnant just above $2,000, Staples decided to cancel the campaign, refund his donors, and make a donation matching the amount to the Michelle Obama Library. The correlation between this promotional campaign and the song’s message automatically immersed new fans into Staples’ artistic narrative.

Even those that pledged money for him to shut up would have trouble discrediting the “nice guy” move. However, the results aren’t always positive. How often do we find enjoyment from these playful additions to an artist’s narrative, and how many times can we associate unusual release strategies with a particular artist before the excitement becomes banal? Thom Yorke, earlier a pioneer of the pay-whatyou-want release with Radiohead’s In Rainbows, released his 2014 solo album, Tomorrow’s Modern Boxes, through BitTorrent. Despite a massive number of downloads, Yorke has stated that he considered the experiment to be unsuccessful. He has since dismissed obscure release strategies. Having tried multiple routes of releasing music it seems that even the artists themselves can become fatigued by the notion of creating new platforms upon which their music can be released and consumed. So, why is it that some strategies work better than others? Is there a level of sincerity that must be displayed or is it a case of ‘any publicity is good publicity?’ Is it that the more outrageous the strategy, the more beneficial it will be economically? Beyoncé has been an innovator in the release strategy game, dropping her self-titled album in 2013 without any promotional build up at all, surprising her fans with the bold gift just before Christmas. Remarkably, it yielded the biggest debut week of her solo career to that point. Both album and release are a correlated testament to Beyoncé’s artistic power and her unyielding connection to her fans. SOPHIE, pop revolutionary and PC Music associate, took the artist-fan relationship to the next level when she released what was undoubtedly a sex

toy to accompany her single compilation, appropriately titled PRODUCT. The toy, simply called a “silicon product,” sparked something between SOPHIE and her followers, in addition to a multitude of curious observers, and pushed the boundaries of artist-fan intimacy through the physical release of music and merchandise.

Whilst these release strategies do not immediately affect the musical product, they form a narrative lens through which the music can be interpreted.

Keeping in mind what the fans want, it is also important to consider intertextuality. Logic recently promoted the release of his mixtape, Bobby Tarantino II, with some help from the characters Rick and Morty. The semi-self-deprecating promotional sketch was able to reach a large cross-section of fans, debuting at number one on the US charts. Run the Jewels similarly tapped into this idea barely a week later, utilising the grandpa-grandson duo for the release of their music video for ‘Oh Mama.’ However, there is the potential here to alienate those that feel less excited about certain

fictional characters than they do about their favourite musicians, and it is possible that a source like this could become exhausted. Arcade Fire’s 2017 album Everything Now was discredited by critics and fans alike for its extensive, “ironic” promotion, which critiqued product placement (see also: Wayne’s World) and corporate involvement in the music industry. Among other things, the band issued pre-emptive reviews of their work prior to its release, and marketed individual songs as ‘Everything Now Corp’-branded commodities. It could be that the relationship between fan and artist here has reached a point where attempts for marketing innovation have evolved into heavy-handed gimmickry. The recent release of the music video, ‘Money + Love,’ was, for many Arcade Fire fans, the proverbial nail in the coffin for this musical venture. Nevertheless, the parody promotion creates an interesting arena for new fans to become involved within the band’s mythology. As it often is with art and business, you cannot please everyone. In any case, creating new methods of releasing work will broaden the audience for popular artists. Whilst it may seem tedious to those who have experienced the novelty too many times, or fans that simply don’t want to see their favourite acts change, it will no doubt stir up musical connections with new listeners. Whilst these release strategies do not immediately affect the musical product, they form a narrative lens through which the music can be interpreted. The power of innovative, over-the-top, or simply strange promotional strategies will continue to be adopted within music. It’s something to add a little extra spice to that artist-fan relationship.

OTwo // Music

Mount Eerie

Lil Yachty

David Byrne

Lil Boat 2

Now Only

American Utopia

Review: Matthew Derwin

Review: Fiachra Robinson

Review: Rose Doherty

David Byrne’s latest solo album is deliberately subversive and experimental, as you would expect from the ex-Talking Heads frontman. The first song, ‘I Dance Like This,’ makes this clear from the outset, jumping from the playful tone of the verse into a heavy, electronic, progressive sound in the chorus. There’s a lot to respect and appreciate about this album. Byrne’s constant search for something new and interesting keeps you guessing throughout. American Utopia spans genres from pop to prog and even more folky and Latin material, simultaneously pulling them into one and refusing to be pinned down by any. The production is meticulous, and Byrne’s attention to detail on the accompaniment for each song leaves little to be desired. Unfortunately, this is also a hurdle American Utopia doesn’t entirely overcome. Byrne’s reluctance to be boxed in means that the album never settles. While undeniably ambitious, the constant tonal shifts mean that though the work dips into many pools, it doesn’t manage to submerge itself in any of them. Furthermore, the quirkiness of Byrne’s lyrical style (evident in ‘I Dance Like This,’) makes it hard to truly buy into the more serious tracks on American Utopia, such as the cultural commentary of ‘Dog’s Mind’ or the attempt at a heartfelt love song on ‘This Is That.’ In a nutshell: This album doesn’t quite hit its mark, but Byrne’s honest attempt at creating something original is a triumph in and of itself, and is something we can all enjoy.

The 20-year-old king of ‘mumble rap,’ Lil Yachty, leaves behind his typical singing and Auto-Tune-heavy melodies for this 17-track collection of heavy hard-hitting spits. Yachty attempts to prove that he is capable of changing style and delivering biting and confrontational flows while using deep synths and minor keys. This contrasts with his usual charm and humour-filled sounds. Unfortunately, it all leaves much to be desired. The feature-heavy album showcases artists such as Migos’ Offset and Quavo, Lil Pump, Trippie Redd, and more. While offering some electrifying moments, the features are often wasted as Yachty’s verses pale in comparison to his counterparts. This only serves to highlight his faults. The shining moments in the album include the brief ‘Self Made’ and the piano-based ‘Love Me Forever’ where the listener is reintroduced to Yachty’s nostalgic style of singing. It reminds us that this is where Yachty excels. The clean vocal on the hook shows Yachty’s sensitive side as he professes his commitment in a relationship. These are moments where Yachty’s personality shines through in an album where it is otherwise absent. While providing some enjoyable bars, the attempts at aggressive, domineering rap on the explosive ‘Boom!’ and ‘Das Cap’ fail to hold the listener’s attention and are easily forgotten. The album closes with ‘66’, with a driving beat and trap sound. It closes the album competently, yet it celebrates Trippie Redd’s abilities more than Yachty’s, which again fail to excite. In a nutshell: Lil Yachty provides a tired sound; it’s listenable, but it fails to offer anything new.

Now Only is the ninth studio album produced by Phil Elverum under the stage name Mount Eerie. The loss of Elverum’s spouse, Geneviève Castrée, was the catalyst that drove him to make previous album A Crow Looked at Me, a heart-wrenchingly poignant work. Now Only follows on directly from this: It is a raw, touching examination of grief, love, and the inevitability of death. ‘Distortion’ begins, aptly, with a distorted, repeated note before fading out to an acoustic melody. Over the track’s eleven-minute runtime, Elverum appears to speak to Castreé’s spirit, remembering significant events in the past that he didn’t have the chance to share while she was alive – “That December I was shaken by a pregnancy scare/From someone that I’d been with for only one night.” He lays his soul bare, unafraid of judgment. ‘Earth’ evokes genuine discomfort, as Elverum relates the experience of finding pieces of his wife’s bones as he plays with their child in the garden – “I guess I didn’t bury you deep enough.” He makes a callback to ‘Seaweed’ from A Crow – “Another place I poured your ashes out/Was on a chair on top of a mountain pointed at the sunset.” Now Only is a natural progression of Elverum’s grief – he sings about fond memories of his wife and seems to have made progress towards accepting her death, giving the album a more hopeful tone than A Crow, even if only slightly. The production has also shifted from stripped-back acoustic guitar lines to more layered melodies reminiscent of Elverum’s work in The Microphones. In a nutshell: Now Only is a beautiful, occasionally unsettling album, best experienced back-to-back with A Crow Looked at Me.

What are you listening to? Comedy Soc Jim Christle (Auditor) - Arise by E.S. Posthumus Sarah Shanahan (Secretary) - Closer by the Chainsmokers David Byrne (Treasurer) - Goin’ home by Toto Anjan Venkatesh (OCM) - LMFAO by Rejjie Snow

Pictures: Frédéric Minne via wikimedia, Rebecca Wilson via Flickr, Anton Mak via Wikipedia

Album Reviews

OTwo // Food

Review: WOWBURGER Aurora Andrus reviews WOWBURGER on Wicklow Street. WOWBURGER, situated downstairs in Mary’s bar on Wicklow Street, is proving to be serious competition to the other burger places in Dublin. Its format is similar to Five Guys, you walk up to the till, place your order, select your free toppings and add any sides. This style of ordering gives it a leg up on another popular burger place, Bunsen, which has an extremely limited menu and topping choices.

They are big, juicy, greasy, and cooked to order just as a burger should be.

juicy, greasy, and cooked to order just as a burger should be. There are also mini burgers for the less adventurous eater. The chips are cooked to perfection, crispy and perfect for dipping. You can get regular chips, garlic butter chips, and chilli chips. My cheeseburger with grilled onions, mushrooms, and wowburger sauce was everything I could ever want in a burger, big, juicy and messy. The garlic butter chips are incredible and way better than the traditional garlic sauce

chips. The garlic butter is tangy, sweet, and coats every chip (not just the top ones). Overall the food is delicious and will keep you wanting to come back to try all the different combinations. The price is great for what you get, especially compared to the competition. The decor is that of a retro diner, lots of stripes and 50s decorations. The vibe is great for a date, a quick bite with a friend, or a place to bring the whole family. The target audience is definitely young adults. Catering to this group

there is a bar downstairs serving pints to go with your burger. You can order soft drinks and shakes but there’s nothing like having a nice cold pint to wash down your burger. The classic combinations WOWBURGER offers make it a top contender in the Dublin’s burger scene. The staff are great, the ambiance is fun and energetic, and the food is absolutely delicious. It’s a great burger place that will leave you full and wait for your next burger craving.

The variety of toppings in WOWBURGER make it more appealing to a burger lover. You can choose as many free toppings as you want. In addition to those you can add sauces, the basics like ketchup, mustard, and mayo as well as hot sauce, bbq sauce, and wowburger sauce. The burgers themselves are quite tasty and there are several base burgers to choose from. You can get a hamburger, cheeseburger, or bacon cheeseburger as your base and create your burger from there. They are big,

A Taste of Dublin’s Street Food

Aurora Andrus dives into Dublin’s street food scene. The world of street food has made its way to Dublin and it is booming. Food markets have become a well-known and frequent spot for people on the weekends and lunch breaks. Many of the food market stalls are only available at the markets themselves and when they are good, they quickly get a loyal customer base. These food stalls are making a big impact in Dublin’s food scene. The Temple Bar food market has made a name for itself amongst the city markets. It is hopping every Saturday from 10 am - 4:30 pm. The Temple Oyster bar is a reoccurring stall, and the oysters are some of the best in Dublin. The Irish Village Market on Grand Canal Dock is another great market spot offering a diverse group of stalls on Thursdays from 11:30 - 2 pm. This market is popular amongst businesses in the area with queues piling up over lunch breaks. One of the favourites, Kanum Thai, offers restaurant quality, authentic Thai food. The relatively new food market in Fitzwilliam Square has become increasingly popular in the area since it opened. From 11:30 - 2 pm on a Thursday, it is bustling. There is something for everyone, from Indian cuisines to all kinds of green foods for the healthy eater. The Howth Market has been happening every Saturday and Sunday for the last

10 years. The market is small but jampacked with a variety of stalls. Bart’s Belgian Chocolates are to die for and

Eat Yard, next to the Bernard Shaw, is always busy and offers up some seriously tasty food from burgers to cannolis.

stall, who makes the most incredible, award-winning fudge. This is one of the best places to be in Dublin when the sun is shining, so grab some hungry friends and get tasting! The street food in Dublin has definitely made a name for itself, and the packed scenes and long queues show

how it is catching on to the mainstream. Eat Yard, next to the Bernard Shaw, is always busy and offers up some seriously tasty food from burgers to cannolis. Dublin’s food scene is growing: the food is delicious, the options are endless and Dublin is loving it.

the rich quality is far more satisfying than most mainstream chocolate boxes. People’s Park Market is a personal favourite due to the incredible food available on offer and is open on Sunday’s from 11 am - 4 pm. Food Fiesta serves delicious, authentic paella made by a true Spaniard. The Irish Charcoal Barbeque serves up local meat, barbecued to perfection and smothered in delicious sauces. There are a variety of tasty treats like the Man of Aran

OTwo // Fashion

An Ode to the 80s Relive the 80s disco fever with a collection of sequins and sparkles. Clothing and accessories kindly sponsored by: Siopaella, 8A Crow Street, Temple Bar, Dublin 2.

Stylist: Shane Cullen Models: Kate Lally, Jennie Carr Photographer: Alex Fagan

OTwo // Fashion

Colour Coded Catwalk Bébhinn Campbell explores the bold use of colour in fashion today.

Fashion week has been colourblocked to the point where anything black or burgundy seems strangely out of place.

2017 was all about red: red knitwear, red handbags, red everything and anything. Designers such as Moschino and Maison Margiela have taken this obsession up a notch, sending rainbow-cladded models down the Autumn-Winter

runway. Now, red is being accompanied by its colourful counterparts in a technicolour stream of royal blues, vivid greens, and buttercup yellows. Fashion week has been colour-blocked to the point where anything black or burgundy seems strangely out of place. Burberry proved that bold colours can be carried off tastefully, juxtaposing the fluffy, multi-coloured exterior of a winter cape with its iconic check lining. Other statement pieces included a boxy cobalt blue tunic and a pink embellished coat. Irish designer Richard Malone made his presence memorable with his exciting use of primary colours, enhanced with dramatic shoulder construction and sixties-style boots. The removal of predictable tones for each season has broken down an age-old obstacle in the industry, one that brings to light the temporality of fashion that is problematic in more ways than one. What does this adoption of brash tones in the cooler months mean for the fashion calendar? Can items purchased in December be worn the following July? Hopefully, the breaking-down of seasonal barriers will see fashion become more accessible year-round, and less disposable. So, could it be that colour is the new black? Typically, an all-black look signifies class and sophistication. Think Audrey Hepburn in Breakfast at Tiﬀany’s or Dior’s New Look, but brighter hues

The removal of predictable tones for each season has broken down an age-old obstacle in the industry.

elevate our mood, and there’s a kind of nostalgia attached to Crayola tones. Fashion is best when it’s fun, and London Fashion Week was definitely that. We shouldn’t take style too seriously, and while black may be elegant, it’s not exactly light-hearted. In a world of fear and uncertainty, an injection of sunshine in the form of a canary yellow duﬄe coat might be just what we need.

Picture: Garry Knight Via Flickr

Fashion has few rigid rules. Habits, maybe, but as a global industry it’s as open-minded as they come. This fluidity might be compromised in one particular area: colour. Pastels always welcome spring, white cotton accompanies warm summer evenings, and t burgundies have us cosying vup by the fire when the temperature drops. Last month the world woke up to colour, as London Fashion Week Autumn/Winter 2018 broke down these seasonal stereotypes and painted the town rainbow.

Time’s Up on the Hourglass Clara Brannigan discusses how the lines are becoming blurred in plus size fashion.

The question is: how progressive is body positivity if only one plus size body type is being affirmed.

Plus size models entrance into the fashion industry brought hope that body diversity in main stream media sources was finally happening. Unfortunately, this has barely scratched the surface of body diversity. The problematic issue that hasn’t been spoken about too much, is the ‘’preferred’’ plus size body type that has emerged in the media or on online shopping websites. Ashley Graham is a

Women are bored of being told they should look a certain way, it’s time to empower all bodies. talented model and body positive activist, but she still fits the socially acceptable hourglass body type. When plus size models look more like Tess Holliday, they are met with accusations of supporting an unhealthy lifestyle by promoting obesity. The newsflash is, most plus sized women do not look like this, reinforcing the idea that others hold weight in “the wrong places.” Brands constantly brag about being inclusive without accurately representing plus size bodies. The fashion industry is still celebrating what is deemed as the aesthetically pleasing body with perfect proportions. What is truly angering is models on fashion websites like Boohoo or Misguided who appear to be a size 12/14, but are allegedly wearing plus sizes of 16 and above. This leaves problems for plus size women to find clothes to suit their sizes and various shapes. If these clothes are only flattering

on taught tummies and small arms, this leaves people with few clothing options, causing a feeling of shame about their own bodies. There is a genuine lack of body diversity within the plus size fashion industry. Plus size fashion is an industry that was once progressive, but fashion designers are too guilty of eliminating

many types of plus size bodies from accessibility to fashion that is on trend. Fashion brands like ASOS and Torrid are ahead of the rest with inclusive lines that show you can be the best dressed in the room and be plus size. Women are bored of being told they should look a certain way, it’s time to empower all bodies.

Picture: Wikimedia

The norms of modelling have dramatically changed in the last decade. The modelling industry came under severe scrutiny due to only hiring girls of a certain stature, usually very tall and thin. Plus size models have become more accepted with models like Ashley Graham and Iskra Lawrence igniting the path of self-love and self-confidence, showcasing that you don’t have to be one body ideal to be beautiful. The question is: how progressive is body positivity if only one plus size body type is being affirmed?

OTwo // Fashion

Red Carpet Revolution Shane Cullen reviews the designers and dresses at this year’s awards season. affair as she accessorised the look with sparkly earrings and smoky eye makeup. Social media reaction to Stone’s choice was very welcoming with the general consensus concluding that it was a refreshing change.

Ten years on from her first Oscars red carpet appearance, Ronan is now the person that big name designers want to work with.

Black Panther, donned a camel velvet jacket to accompany his smart tux look, accessorising the outfit with a black and rose gold watch. This year’s awards season has made a conscious effort to have the work of female designers’ featured on the red carpet. In an interview, celebrity stylist Erica Cloud discussed her

Other stars who shone on the red carpet at this year’s Oscars included Timothée Chamalet and Daniel Kaluuya. Chamalet, a breakthrough actor known for his role in Call Me By Your Name, wore a fitted off-white suit, with a white bowtie and black Chelsea boots. Kaluuya, who starred in Get Out and

decision to dress most of her clients in female designers only, adding that it was a “tribute” to the Time’s Up movement. Cloud, whose fanbase includes film director Patty Jenkins, said that her clients were happy to cooperate, as the fashion industry had been a “male-dominated” world.

Picture: abrilveja.ﬁles

Awards season has returned for another year in all its glamour and glittery gowns. This year people are paying more attention to the red carpet than ever before, with the ongoing Time’s Up and #MeToo campaigns seeing women speaking out against sexual misconduct in the Hollywood entertainment industry. Black dresses were the main feature of the Golden Globes, whilst recognition of the movement was incorporated in subtle ways at the Oscars. Earlier this month the 90th Annual Academy Awards red carpet grabbed media attention as the stars stepped out in style. Amongst the talking points was Saoirse Ronan, wearing a blush pink strapless gown with a trail detail, which was designed and created by Calvin Klein. Ronan, who was nominated in the Best Actress category for Ladybird, has become a recognisable face in Hollywood and has grown confidence in her fashion choices. Ten years on from her first Oscars red carpet appearance, Ronan is now the person that big name designers want to work with. From her recent career milestone of becoming an ambassador for Louis Vuitton, Emma Stone opted to wear a two-tone two-piece suit, complete with a bow belt. While it may sound like a casual outfit choice on paper, the execution made by Stone was far from a dull

Campus Chic Name: Dalton Course: Radiography Favourite part: “I just woke up this morning and was happy that I found these on the floor”

Name: Colleen Course: English, final year Favourite part: “The coat”

OTwo // Travel

Ukraine’t Help But Love Kiev: Geog Soc Trip Exploring Ukraine’s capital with UCD’s Geography Society, Sophia Finucane embraces the Kiev’s rich history and cheap prices.

Recently, the UCD Geography Society went to Kiev, Ukraine. Kiev is a modern metropolis, with a transport system that puts the current mess of College Green to shame. However, we spent most of the time walking. We walked among the beautiful neo-classical architecture, which easily equals the romance of Paris or Madrid when lit up at night. If we had the faintest air of confusion on our faces a kind, English-speaking local would come up to us within seconds to ask if we needed help. We were never left without something to see or do in this huge city, especially given that for us in the Eurozone, the exchange rate allowed five days of fine-dining, drinking, and constant shopping for under €100! It is the perfect place for a bunch of broke, Irish college students.

It is the perfect place for a bunch of broke, Irish college students.

Certain tour companies offer free tours of the old and new parts of the city which will show you things I guarantee you wouldn’t see otherwise. They are completely worth the walking; you’ll need to work-off all the food you’re going to eat

anyway. Even without a tour, Kiev is a city you can get lost in and discover absolute gems. There is no problem with getting lost as long as you can find the nearest metro, which will return you to familiar turf in minutes. The buildings scattered among the impressive, brutalist Soviet-era blocks contain great nightlife and a thriving food scene. Kiev, like many big European cities, is catching up with the trend of vegan and vegetarian food, and doesn’t just provide “borscht and mayonnaise.” (Yes, someone actually said that to me). For bars and clubs, ask the locals, they couldn’t be friendlier and will point you towards the best spots. The exchange rate means that people used to Euro, Dollars, and Pounds could be eating caviar for the price of our McDonalds. Street corners are often home to a red-signed, Ukrainian ‘fast-food’ chain, which in actual fact is a buffet-style restaurant where you can stuff yourself with delicious Ukrainian food – dumplings, fried veggies, roast chicken, you name it – for a steal. I would recommend the Georgian Mamma Manana. You’ll need to book a table as it is always packed, but when you eat the food you’ll know why. On our third day, we travelled North on a tour of the Chernobyl Exclusion Zone. This wasn’t like anything any of us had done before. We were guided through abandoned villages, Chernobyl town (including standing right outside the

reactor) and the city of Pripyat, the home of the 48,000 people most affected by the 1986 disaster – a haunting reminder of how quickly life can change and a memorial to the victims. The tour was through amazing Ukrainian nature, as we saw snowy coniferous trees with wild mistletoe hanging, wild dogs, an elk and buildings overgrown with plants. Nature is taking the area back.

Kiev, like many big European cities, is catching up with the trend of vegan and vegetarian food, and doesn’t just provide “borscht and mayonnaise.”

For me, however, the most interesting aspect has to be the fact that the area acts as a time capsule of the Soviet Union. In Ireland, many hold outdated presumptions about anything vaguely related to the ‘other side’ of the Cold War. A ridiculous statement for many reasons, coming from Ireland’s supposed

neutrality to the fact that the Cold War has been over for 20 years, but I still hear this kind of talk from my fellow peers. I can safely say that we learned more about the Cold War in Kiev than I ever did in an Irish classroom. We passed a smiling Lenin statue and walked amongst posters of Karl Marx quotes. Every gate, lamp post, and building was adorned with red stars and the classic hammer and sickle emblem. If you like history, the Chernobyl tour is unmissable and will teach you things a Western textbook probably won’t. I was amazed by the story of those who cooled the reactor and prevented a far more catastrophic explosion which would have gravely affected Europe. I’m not one to throw the term around, but these were true heroes and deserve recognition. European city guides forget to mention Kiev as a must-see, because it is still slightly undiscovered by the West. I couldn’t urge a university student more to get there now, while we can avoid the high prices and decreasing safety that often comes with a sought-after tourist spot. Make no mistake, it is a must-see, just as much as Paris or Rome, and it offers its own former-Soviet twist. You could be the second UCD society group (after Geog Soc of course) to visit Chernobyl, or the first in your family to visit Ukraine, and come back with stories to tell for years to come.

OTwo // Fatal Fourway

Fatal Fourway

SICK DAYS Dylan O’Neill

Adam Lawler

Pictures: Meadhbh Sheridan

Claudia Dalby

Mary Sheehan

Having not only “convinced” my parents, but also the GP that I was under the weather (the height of my acting prowess), my grandparents would have to drive to Castlebar to collect me from the doctor’s office. By the time I got home, it was around midday, so my lunch consisted of dry toast and flat lucozade, a staple of the Irish school child diet. Watching the daytime movie on RTÉ2 was always a roll of the die, but luckily during those early primary school days, my Playstation1 with Tomb Raider and Crash Team Racing was a godsend. Many hours were spent trapping the butler in the walk-in freezer (don’t lie, you did it too), and releasing my pent-up road rage on the courses with Naughty Dog’s mascot: Crash. By the time, my parents came home from work, it was time to turn off the Playstation1 and jump back under the covers. Here’s a tip for all you budding actors: if you parents are keen on using a thermometer, because there are trust issues in the family, pop it into a cup of tea for a few seconds just to bring the mercury over the golden line of “flu” status. Of course, if your parents still make you go to college and you have to feign sickness, should you really be in college?

Can I just say that sick days are not worth it. I never did anything too rebellious like the Inbetweeners episode and get locked off whatever was in the cabinet, nor did it all go as horribly wrong. It’s just not worth the effort. There’s the performance in the morning when you have to convince your mam that you’re sick, snubbed by the Oscars but sweeping every category at the Razzies. There’s holding your head to a radiator so it feels like you have a fever. Then, when you’re in the clear, you’ve got to keep it up for a whole day or you’ll get the “I thought you were sick” when you’re caught not looking like you want to die for one second. There’s nothing worse than when you lie that you have something quite serious and you’re brought to the doctor who side-eyes the hell out of you when they realise there’s nothing wrong. All of this for one day away from school (I would say it was grim but it was totally worth it). If I’m honest, I would much rather actually be sick. Doctor’s notes for extenuating circumstances, an excuse not to do anything, and unlike depression you actually feel comfortable telling your friends and family and getting their support! In the words of Owen Wilson, wow!

As someone who rarely gets sick, I had to take it upon myself to grant my own sick days. My criteria for attempting free days off, fell midway on the sliding scale between when I felt I deserved them, and when I felt I was most likely to get away with it. If I hadn’t managed to fit in begging my mum to let me stay home during the morning school run, the performance would have to take place in the classroom, where I could face fierce competition for the title of ‘the one who went home sick.’ Start with a gentle build up. Rub your tummy, bury your head in your arms on the desk, look grumpy and fed up, all for the chance that the teacher will glance your way amongst the lively thirty. To subtly gain more attention, start asking to go to the toilet, looking extra forlorn as you mope out the door. Before break time is the ideal moment to pounce – straight to the desk (not too fast, you’re under the weather, don’t forget) to complain of a sore stomach, aching head, something believable and not too many ailments. The perfect amount of whining. Don’t go overboard – save the tears for the drive home with your mum so she isn’t convinced to turn back around. And it happens! Not every time, but sometimes, it really does. Somehow, your performance was worth a phone call home, a 20 minute wait outside the office, and sympathetic words between your guardians’ trading posts. You’ve done it. Your bed is just as comfortable as you left it, your stack of PC games glowing like mined gold. I do wonder if I was actually good at feigning illness, or my teachers just felt sorry for me. I remember one teacher patting my head and saying “she does look a bit pale,” and I swear, I spotted her wink.

Back in the day, I had a whole system prepared for when I conveniently needed to skip school. This system was particularly handy on days when I had math tests and quizzes. In worse circumstances, such as avoiding the playground bullying, my desperation intensified. Days before I knew something was going down, I’d start coughing lightly. Not hard enough to warrant a doctor’s visit, but hard enough to get someone’s attention. When a parent noticed or spoke off, I would brush it off, saying something about how important it was to get to school that week. Now, I had pretty bad asthma as a kid, and just coughing a little could trigger some sort of attack. Some attacks warranted hospital visits, others were just mild enough that I’d need to stay home with an inhaler. If I really needed to get out of school, I had to walk a fine line. When I got those days off from school, they’d be filled with cartoons, homemade chicken soup, and the occasional episode of “Judge Judy.” While I had to be deceitful to get those days off, I truly enjoyed the time resting and being with my family.

APERTURE City Wildlife

Aoife Hardesty Mark Coyle “Fieldfare “

Joanne Olivia

Kate McBrearty “In Rome“

David Kent “Robin “

Ruth Murphy “Toronto Ducks “