Volume XXII - Issue 1 - OTwo

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Contents

Letter From The Editors

2 Letter from the Editors 3 What’s Hot and What’s Not 3 Mystic Mittens 3 Soapbox: Healthy People - Patrick Kelleher 4 Kanye’s 2020 Presidential Bid 4 Spitballin’ with Alison Spittle 5 Travel in Cuba - Luka Vukos

FOOD&DRINK 6 Eathos Review - Gavin O’Donnell 7 Lecture Snacking - Sara Pastor Ortiz 7 Diary Dates - Niamh O’Regan

GAMES 8 Mad Max Review - Karl Quigley 8 Gunman Clive - Adam Donnelly 9 Popcorn and Playstation - Adam Donnelly

FILM&TV 10 Revenge of the Nerds - David Monaghan 11 Ian Beattie - David Monaghan 12 Irrational Man - Síofra Ní Shluaghadhain 12 Tangerines - Owen Steinberger 13 LGBTQ+ Oversexualisation - David Monaghan 13 Top 10 Film/TV Openings Leon O’Neill

CREATIVE WRITING 14 Blood Brothers - Sophie Mullins 15 Selection of Poetry

CENTRE 16 Thomas Brodie Sangster - Eva Griffin

MUSIC 18 Christy Moore - Eva Griffin 19 Album Reviews 20 Gig Guide - Aisling Kraus 20 Radar: The Optimists - Aisling Kraus 21 HamSandwicH - Patrick Kelleher 22 Lady Lamb - Gráinne Loughran 23 The Bohicas - Ciara Jane Duffy

FASHION&STYLE 24 Going Up Photo Shoot 26 Living on Stardust Amelia Conophy 27 Dublin De Rigour Lucy Coffey 27 Some Like it Hot Niamh Linehan

ARTS&LITERATURE 28 A Kind of Compass Patrick Kelleher 28 Annemarie Neary Interview Maebh Butler 29 Yeats Exhibition Review Maebh Butler 29 Dinosaurs on Other Planets Gráinne Loughran 30 Marina Carr Patrick Kelleher 31 Fatal Fourway: Worst Family Holiday 32 Fotografie

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THat’s Eva and Karl

Oh hello there, Hello hello, we’re back again. Welcome to the best 32 pages of your life (until next issue anyway). This is of course OTwo: we’re a bit like Carlsberg, because if we did an arts and culture magazine (which we certainly do), we’d probably be the best in the world. Welcome to Volume XXII of OTwo magazine, a magical place of excellent reviews, interviews, and features from the artistic and culture side of Ireland and the world.

In this breathtaking first issue we have yet another visit from the mystical feline Mittens to tell us our future through star signs. We were also lucky enough to get an incredible personal piece from one Kanye West with a few things to say about his upcoming presidential race. We’ll also share our worst family holiday with you in our Fatal Fourway (this got personal. Fast).

In Travel, we get a brief and amazing look at the old-world that is Cuba. We’ve been told that had it not been for the whole Communist thing up until a few years ago, it would have been class.

A quick page over to Food we have Niamh “Such a journalist I don’t even have to be in country” O’Regan filling you in on the food fest hotspots in the months and weeks to come.

Also in this section, tips for Lecture Snacking – literally (or figuratively) the most important thing to come from this magazine in the last decade.

Moving onto Games, Adam “I can’t decide on my facial hair” Donnelly takes a look on what goes wrong between game to film adaptations, which is apparently quite a lot. Also reviewed in Games: pulse-pounding Mad Max and the quickshooting Gunman Clive.

In Film this issue, our own David “Poppy in the Rye” Monaghan interviews Ian Beattie, best known for portraying Sir Meryn Trant in Game of Thrones, who has an exciting reveal of his own to make. Top Ten looks at the best Film and TV openings while Tangerines and Irrational Man are reviewed for your reading pleasure.

Meanwhile, over in our Creative Writing section, Roisin “I have a doppelganger” Murray has a short story filled with suspense for you to read at your leisure as well as a few poems to make you feel very artsy.

The centre of our love-child that is OTwo finds the amazing Eva “I love Christy Moore” Griffin interviewing the one and only Thomas Brodie-Sangster who many would know as Jojen Reed from Game of Thrones (this theme of Game of Thrones was unintented, I swear, but sure look).

Further down the line, Aisling “neo-psychadelic something something” Kraus interviews The Optimists for Radar. Music also contains interviews with The Bohicas, Lady Lamb and HamSandwicH, and the indomitable Christy Moore.

In Fashion, Lucy “Seminars are in Week One” Coffey introduces her first shoot of the year, which will be sure to give you some fashion inspiration.

Finally at the end of our culture trip, Maebh “Ask me about EP” Butler tells us about the recent Yeats exhibition in Arts & Literature. In this section, playwright Marina Carr and novelist Annemarie Neary are interviewed, alongside some book reviews.

Interviews coming out of the walls, reviews galore and a literal (again, figurative) ton of Game of Thrones stuff. So look at what we have, everything but the kitchen sink.

We sincerely hope you enjoy this magazine, and if you didn’t? I mean, it’s not like you paid for it, go on, off you pop.

Plz don’t go, Karl & Eva

what’s hot & What’s not

Soapbox Healthy People

Hot

Not Hot

Being a Fresher

Being a Final Year

Ah yeah, being a fresher is great altogether. Gone are the days of uniforms, homework and being an awkward teenager. Now you walk confidently through UCD, nodding at fellow freshers, safe in the knowledge that they too have joined the ranks. Should we drink cans on a Tuesday night? But of course! Seven quid Centra wine? What a bargain! Becoming a fresher is nothing less than being reborn into a new existence of smelling like you’ve crawled out of Harcourt Street’s black bin and somehow winging that module you discovered only existed in week 12. Enjoy yourselves you meddlin’ kids.

*cue Dylan Moran shouting “Oh Jesus” repeatedly into the sea*. Gone are the days of smelling like beer and chicken fillet rolls and in its place stands this scary, elusive thing called real life and its grotesque sister referred to as long-term goals. Even peering at a can gives you a migraine and the words Black Monday make you break out in hives. While you may try and relive your youth with a Wednesday night out on the town you’ll feel so guilty you’ll have to take a sabbatical. The sesh is over, hun.

Still Smelling Like EP

Culture Night On the 18th September, Dublin city awakens for a night of absolute magic. With hundreds of events taking place across Ireland and overseas, Culture Night is a unique experience that will have you looking at Dublin in quite a different way. Between the Docklands, Phoenix Park and around each street corner there’ll be something to surprise and entertain. So hop on that bus and explore the city on your doorstep!

A week on and you simply cannot get the smell of stale Druids out of your hair. You’re finding it difficult to adapt your ‘festival chic’ look to everyday life. While the floral crown did look good in photographs and you’re so glad you matched the scaldy aesthetic with your fave Raybans, maybe it’s time for an antiseptic bath. Or maybe just clean off the face paint and grab some deodorant #sessionmoth

Click-bait

Kurt Vile’s Hair

“OMG you’ll NEVER believe what this guy did after this other fella said this to your man over there with the scarf!!1!!” Dammit, I don’t care but my curiosity has been riled up so outrageously, I really really really must find out what the guy did after this other fella said this to your man over there. Every time the click bait snares our attention, every time we are resoundingly disappointed with what it unveils. When will we learn.

Any sane lady (and man) would kill for those locks.

Mystic Mittens Aries

Libra

You will fall deeply and irrevocably in love this week only to realise you’re in first year and in first year love doesn’t exist.

You will wake up tomorrow morning with the eyebrow-forehead ratio only likened to that of Marty Morrissey. Much unbuttoned shirts and awkward dad dancing ensues.

Taurus You wonder why your parents don’t call anymore only to go home this weekend to discover they have redecorated your room into the cat’s playroom. We hope you like balls of string.

Gemini You have yet to meet Libro-Cop but when you do it will be in an unsuspecting line for an unsuspecting chicken roll and you will regret your decision for the rest of your academic life.

Cancer This month you will become fluent in Ag-aeilge, the native talk of those who reside in the Ag building. Such phrases as “G’wayouttadah” and “Aragoodlucktoyuh” will soon come in handy.

Leo This year you decided to try something new and against your better judgement. You supported Mayo in the semi-final. I hope you’re proud of yourself.

Virgo The sun is still shining and UCD lake is calling; you’ll be taking a leaf out of 2011’s UCD lake skinny dipper and plunging into it’s murky waters much to the delight of everyone else. Let us know how the E. coli treats you.

Scorpio After all these years you’ve come to realise that ‘The Logical Song’ by Scooter isn’t very logical at all; who matches their peroxide blonde hair with their jacket anyway? Your life is a lie.

Sagittarius This semester the glory is all yours, the Iron Stomach competition will be your conquering and cementing moment in UCD. Either that or you’ll projectile vomit out your nose. Best of luck.

Capricorn A foreboding sense of doom will envelope you this fortnight, followed by some craic but then ultimately more doom. I don’t know what’s going on really, you probably just deserve it.

ARE YOU THE KIND of person that struts around UCD in gym gear, sports bag slung casually over your shoulder? Do you have a salad in your bag right now that you’re planning on eating for lunch (no dressing obviously, imagine the calories)? Well then listen up: I hate you.

Some people would say that ‘hate’ is a strong word, but I don’t think so. I consider healthy people to be the worst people in the world, akin to Satan or Herod, or someone else awful. It’s not that health in itself is a bad thing. I totally admire (OK, maybe I harbour a little bit of hate) for people who strive to be healthy. But what I really despise is people who are successful in being fit and healthy.

The two parts of health that annoy me the most are salads and exercise. Who do these people think they’re kidding? We all know that salad is only delicious when it’s a Caesar salad – coated in fat and oil and delicious, succulent bacon and chicken. I take mine with a side of grease to finish the job. I recently saw a salad in a tiny plastic bowl in a fridge of a shop that shall remain unnamed, and it had grapes in it. Yes, you read that right: grapes. I felt like striding up to the cashier and letting him know that there is, in fact, a sweet, delicious fruit stuck inside a really manky salad that quite frankly looks like the only dressing it was covered in was tears. The tears of sad, lost babies.

I recently made a valiant stab at becoming one of these ‘healthy’ people, and decided to go to the gym. It was my first time ever using around 95 per cent of the muscles in my body, so it was a bit of a challenge. The experience was a horrific one, but what was even more horrific was looking around the gym in UCD at all the washboard abs and bulging muscles. I felt like buying a bag of chips for everyone in there, but only because that would have been a great excuse for me to escape to the Clubhouse and have a serving of their finest chips (tip: if you turn up to the bar with friends to get chips, let them go first; you’ll get the fresher stuff if they run out).

My brief foray into the world of health was short-lived, and quite sad. I had one salad and went to the gym a grand total of three times. I then realised that chips and pints were pretty much the only things worth living for, and decided to retreat to the wide and comforting arms of lethargy. My muscles are perfectly happy to be slumped in various armchairs. This way they don’t have to experience any kind of pain, and can disintegrate in whatever way they feel fit.

So if you’re one of those healthy people – perhaps tucking into your grape salad as you read this – just remember that I (and everyone else) hates you. Go and buy a bag of chips (get me one too please) and we can sit down and have a chat about how you can rectify this situation and change your ways, for everyone’s sake. But mostly for my sake, so I won’t have to nearly faint in the gym again for making the mistake of assuming my body was capable of any kind of physical exertion.

Aquarius You’re pregnant. But it’s okay, your child will be Instagram famous.

PATRICK KELLEHER

Pisces You will converge with the fish symbolism of your star sign this year, simultaneously beating the accommodation crisis by taking up residency in the secret lake.

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SPITBALLIN’ WITH ALISON SPITTLE

As we start into a new college semester, comedian Alison Spittle is here to offer advice on how to be a student

PhotoSHOP Skillz: Alison Spittle

college buddy/mentor. was suffering; I was watching a lot of Sitting at my dining table with a pint of So here is my advice: tinned tomatoes Vincent Browne at the time. tea and the remnants of an elaborate and beans are your friend, learn how MGMT were the floor fillers and bagel, the urge to start cleaning my room to cook them and they will save you so Beyoncé was Sasha Fierce when I met has gripped me, and to be honest it’s so much money for pints in the long run.

Aimee, the best college friend in the filthy that I have to take antihistamines to When you have money at the start of the world. She had been through the college sleep in it. I wish I was lying. year please buy store cupboard essentials system before; she smoked rollies and I’m trying to channel my inner Lois drank pints. She taught me so much more such as soy sauce, curry powder, oyster Lane tapping on this keyboard like a sauce, Sriracha and Chinese five spice. Get than college classes. She taught me the machine gun, which attracted Clark them in the Asian super market Kent to her in the first with a trolley full of noodles and place. I’m not Lois Lane, ''She even lent me coconut milk. Whatever they I’m a comedian from have on offer vegetable wise in Westmeath and my name money to get tights the supermarkets, pick it up. is Alison Spittle. from Dunnes the next Always have garlic and I’ve been to UCD a Parmesan in the fridge and you few times for gigs and day when it became will never go hungry. Get this once impersonated a UCD stuff when your mam does the student to see Judge Judy clear I'm not as good big shop. When I had the big in person. She received the ‘thanks for coming to at aiming as I thought.'' shop done I would spend about 15 euro on food weekly, this UCD for the day’ award. I would leave money for poppers and pizza right term to refer to for a member of the took a poster as a keepsake and hung it hut cookies. trans community. in my room. I would wake up at 1pm to She paid for my taxi when I lost Judy’s face smiling but quietly judging me my purse whilst trying to pee under a for not living up to my potential.

You can find out more about Alison motorway underpass and let me sleep on here: I am jealous of your shops and her Buddha bag. She even lent me money your swimming pool, UCD. I went to @alisonspittle to get tights from Dunnes the next day Ballyfermot College of Further Education, www.alisonspittle.com when it became clear I’m not as good at a place nestled in behind the Tesco where www.facebook.com/ aiming as I thought. She never made me X Factor’s Mary Byrne worked. alisonspittlecomedy My college life started off hard. I would feel stupid, she was patient and most of all a lot of fun. I don’t know how many wake up at five o’clock every morning times we would go in to Chasers pub for and get a lift in a lorry with my mother’s one that turned in to six. We all need that boyfriend to Liffey Valley. My social life

KANYE 2020 REBEKAH RENNICK

Y’ALL MAY HAVE SEEN my lil announcement on that VMA stage. It don’t matter though, it ain’t about me it’s about ideas, especially my ideas and those ideas are now. Forget what you know, forget what you heard, cause Yeezy taught me and Yeezy’s gonna teach ev’rybody in 2020.

I know that there is probably someone out there who deserves this potential presidential spot more than me in five years time, but I just don’t know who they are. People told me bout something called humbleness and humility but I don’t like it, it don’t feel natural so I’m gonna roll with what I got for this campaign and I hope you dig.

In eighth grade I thought I was doing pretty good, but so far I’m doin’ as good as geniuses go. But in 2020 I wanna go beyond, influence y’all like you ain’t never been influenced before. I am a God. I am a President. I am an actor of a Tarantino level, I ain’t no Daniel Day Lewis but hey, no one gonna stop me.

Kim once asked me did her boots match her shirt an’ course they didn’t, but I fixed that right up an’ these the type of changes I gonna make to America.

I feel bad for what I done to Taylor, ain’t nobody deserve to have their microphone grabbed from ‘em but hey I’d probably do it again. I’m not gonna deny my actions but hell if I’m gonna admit that Beyonce didn’t have the best video of all time. Of. All. Time.

I asked North the other day “you proud of your Daddy?” and she just looked at me. She looked at me with that face, the most perfect creation ever to walk on this earth, and she ask me whether or not she can eat ice-cream for breakfast. You see, world? I gotta deal with real life sometimes too. I understand the struggle.

Forest Gump’s mama said life is like a box of

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chocolate. My mama said go to school, get your doctorate and that’s why I ain’t ever liked chocolate but that’s another story. Rap is the new Rock n’ Roll, we the biggest rock stars and I’m the biggest of all of ‘em.

I got twenty one Grammys, but we ain’t here to talk about that. Kim done gone and moved my favourite eight from the bathroom without me knowing, making me realise I deserve more so she can’t do such a thing. But anyway, in my presidency I promise to not only stop Kim from moving my Grammys from the bathroom but to win more, for the good of the cause.

I am a pimp and that presidential sash gonna look better on me then any other Obama or Bush or whoever. People look at me and they say, “Kanye, what you know about being president?” and I say “Hey, look at Gaga, what the fuck she know about polaroids?”. Peace.

If you would like to ask a question or need some general life advice from the future presidential candidate, Mr. Kanye West, please send your queries in an envelope titled “To Kanye” to our office. He will attempt to answer your questions in future issues.

Just don’t enquire about the damn croissants.

Illustrations

by Joanna O'Malley & Aaron Murphy

Havana: A Week in Cuba’s Capital

SHORTLY after a nine-hour stretch of pleasantly air-conditioned slumber, I transferred from Jose Marti International Airport to the Hotel Telegrafo at the heart of the old quarter of Havana. Even the usual banality of a taxi ride became an appropriate introduction to the city thanks to the driver. The Irish couple that shared the ride ignited no conversation. The cab’s interior was struck by the zipping sounds that came from an open window, a bevy of 1950s Chevy Bel Airs and Russian Ladas grating and grinding past us on the wet road of the rainy night.

However, in approaching the transitory spectacle of Plaza de la Revolucion, the driver pointed to that image of Che positioned on the side of the Ministry of the Interior, espousing merely the name with a warm affection that would not be lost on these foreigners in the broken silence. An affection that cannot be sold by the revolutionary’s print on all those T-shirts and memorabilia, but rather conveyed, as it was, by the spoken word of a man in touch with his history.

Visiting a nation with such an illustrious history of Communist affiliation, it was occasionally comical to note the aspects of Havana’s geography that reflected it, regardless of the poor conditions of many living spaces. The Cine Payret, quoted as being ‘the largest cinema in Havana,’ stands directly across the neo-classical edifice of the Capitol Building. The latter is somewhat of a doppelganger to Washington’s, replete with a similar rib-cage of restoration surrounding its dome. Since 2013, it has resumed its position as the meeting-place of the National Assembly, once again becoming a symbolic watchman over what is seen within the opposite threshold.

But as the cabbie proved, the citizens shape a city’s character. In an introduction to Graham Greene’s Our Man in Havana, Christopher Hitchens recollected his impressions of the people, relating a landscape where

“everybody is on the take… removing their fingers from their instruments as soon as they see a hand drift toward a pocket.” Indeed, every moment is a hustle for many of the fair occupants, while most of the seniors recline in front of their homes beside the emaciated figures of their pets. The offer of a taxi, or any object of sale for that matter, is ignited by a mere glance in the seller’s direction. Some attempt to profit from their distinct visuality, taking advantage of the more powerful CUC (the designated currency for international visitors); those images of well-dressed Cubans with foot-long Cohibas between their lips are often exchanged for a polite tip.

Historically, the Cubans also incontestably regard the Irish with a kinship that is rooted in their historical conflict with a colonial overseer. A street leading right up to the Plaza de Armas bears the title of “O’Reilly,” named after the Dublin-born Spaniard with a bloody record for his Empire. Moreover, the passage under the street’s plaque recounts a more poignant sentiment, proclaiming in the native and universal tongues of both nations, ‘Two island peoples/ In the same sea of struggle and hope/ Cuba and Ireland.’

Meanwhile, much has been made of Havana’s music to the point where one is left repeating what’s already been recounted. The charm of the Afro-Cuban rhythms and impassioned melodies was undeniable, whether heard in a stroll or during suppertime.

Yet, hearing the street musicians churn out more renditions of ‘Chan Chan’ or ‘El Cuarto De Tula,’ is either indicative of the sheer range of Buena Vista’s precise track list, or an innocent pandering to the multitudes of unaccustomed internationals who flock the capital like never before.

Then of course, one is drawn to “Hemingway’s haunts,” as RTE’s Deirdre Mullins has also reported.

And boy, did the man get around. The La Bodeguita del Medio was always crowded, whilst the hefty Floridita (the author’s top spot for Daquiris) is a miniature museum for those in love with Hemmingway’s lifestyle but not necessarily the literature, some in full regalia with thin white shirts and Kakadu hats; modern swashbucklers in all but soul. Thus, I settled for the pink façade of the Hotel

Photography & WORDS: LUKA VUKOS

Ambos Mundos, where one can enjoy a quiet Mojito on its baking rooftop for only three foreign pesos.

On July 20th, the embassies of Cuba and the U.S. became officially open for business, mere months after the former was no longer regarded in league with those ‘on the wrong side of history.’ It’s still uncertain as to what the ‘benevolent’ invasion of capitalism will do to the country, itself an institution that has entered its evening hours. However if, in some time to come, a Big M sets up shop on the intensive sprawl of the Malecon promenade, the Western world will gradually lose a living, breathing postcard of mid-20th century living, but a change that the Cuban folk are probably better for.

A number of young locals have also acquired mobile phones in a city that still has streets occasioned by payphones. But when the dust is swept, the cracks are filled, and the food is fast and in larger portions, Revolution Square will still contain the images of Che and comrade Camilo Cienfuegos, keeping tabs on change (and its terms) like the prescient stare of Dr. Eckleburg. These upright frames will forever serve as emblems of a once-great humanitarian project, ending at the evening shore of the Malecon, the sun briefly hovering in bright nakedness, and finally settling below the Gulf.

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Food and drink

Eathos: “A unique culinary experience” With healthy eating still all the rage, Gavin O’Donnell visits one of Dublin’s new eateries specialising in gourmet salads.

SITUATED in the bustling business district of Upper Baggot Street is Eathos, a modern, minimalist and surprisingly cosy café. Eathos markets itself as an eatery and patisserie, and the sumptuous display of tarts, cakes and other sweet delicacies acts as a hook for the majority of window shoppers who pass by. The beautiful display of the exterior of the building is enough to lure in passing shoppers.

The menu is presented on a single doublesided piece of white card. The price structure is simple: two salads for nine euro, three salads for 13 euro, and with different offers for getting more variety.

The meals are served on oversized brightly coloured plates and psychedelic multi-hued plates, which add to the ambience of the restaurant. For salads there are the Roasted Red and Golden Beetroot, with maple syrup, red chard and goat’s cheese and the roast sweet and rooster potato, with Ardsallagh goat’s cheese and orange bitters.

The beef, served as a portion of three slices, was tasty but spent too long on the pan. It wasn’t quite dry, but was certainly enhanced by the subtle horse-radish cream accompaniment.

The seared tuna was perfectly cooked, and the salad portions were hearty, cleverly thought out and well presented. The beetroot was chunky, sweet and earthy, the goat’s cheese subtle and creamy. The puy lentil and bacon salad was delicious and unique. The cherry was similarly excellent, and was an unexpected surprise, acting as little bombs of flavour throughout the salad. The asparagus salad was crunchy and nicely dressed, but was certainly not the highlight of the meal.

While the salads are excellent, the desserts aren’t quite as appealing. Though the sweets look very appealing and are well placed to lure in passers-by, the brownies are heavy, stodgy and resemble more of a tart than a brownie. It was served with gone off cream, which the staff were extremely apologetic about. A fresh brownie was offered free of charge as a result of this.

Another downfall was the lack of choice for people who suffer from nut allergies. This permeated both salads and desserts, with most desserts containing nuts as well as some of the salads.

The décor of the restaurant is impressive, and it is a beautiful location to enjoy lunch, with furnishing that feels fresh and innovative.

Eathos is certainly a unique culinary experience. The food is impressive overall, with a wide range of options available. The salads are generally impressive and delicious, and the restaurant is very unique, both in the food they serve and the styling of the interior and exterior of the building. Eathos is a bit outside the day-to-day budget for a casual daily student lunch, but is not a bad shout when looking for a place to go for a special outing. It is unique with excellent food, and is a great location for a trip into town with your friends.

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''The seared tuna was perfectly cooked, and the salad portions were hearty, cleverly thought out and well presenteD''

These Photographs are courtesy of Eathos Restaurant in Dublin

Snacking Between Classes When mid-lecture hunger calls the vending machine nearby seems like the best option, but being prepared can ensure you have something cheaper and healthier to eat. Sarah Pastor Ortiz looks at which snacks are the best to tide you over between meals HAVING A BALANCED eating routine as a student can be challenging, which makes maintaining a healthy diet even harder. Late nights, early mornings, lectures all day and different activities which sometimes include work in the evening can make you feel exhausted.

Let’s be realistic; no matter how long you slept or how many coffees you’ve had, some lectures can be long, especially the ones around midday. All you want is to go to bed for a nap.

The truth is that your brain works much better when you eat proper meals and small, healthy snacks. Having the right snack on hand to eat is sometimes the key to absorbing all that knowledge. You may be tempted to leave the lecture and buy some chocolate, but if you already have the healthier snack waiting in your bag you will avoid unnecessary sugary food.

Below are some healthy and delicious snacks to help you going through the lectures, but do not forget: snacks are not meal substitutes.

in omega 3 acids and protein. Buy a nice plastic bottle and enjoy your creations.

Cheese with a boiled egg: This is another easy snack to transport and there many varieties of cheese to choose from.

It’s not one that people would normally think of, but it is delicious cold as well as hot, and will give you the energy and power to battle through the lectures.

Granola bar:

''Having the right snack on hand to eat is sometimes the key to absorbing all that knowledge''

Try making them from scratch instead of buying sugary pre-made ones. It is very easy and fun to bake. Make a big batch for the week, wrap them individually and you will have a super snack ready to go. They are great for grabbing in the morning as you run out the door, especially if you’ve overslept.

Photo: SCREENSHOT FROM YOUTUBE

Mixed nuts: Fruit: Nothing better than some sweet and delicious fruits. Bring easy fruits to eat such as blueberries apples, strawberries, grapes, bananas or any other fruit pre-sliced. Veggies such as tomatoes, pepper, cucumber, kale, carrot, okra, spinach or sugar snap peas will provide the vitamins and minerals that you need for the day.

Smoothies: They are very handy to drink and also easy to prepare. As well as this, the possibilities are endless. You can use fruit, vegetables, yogurts or seeds like chia and flax seeds, which are rich

Almonds, cashews, walnuts and dried apricot are a great source of iron and vitamin E (which will make your skin look perfect). They are also a fantastic source of protein and healthy fats.

They’re ideal for eating in between classes or if you have a busy day where you’re running all over campus.

The key is to plan in advance. If you are the kind of person that finds it difficult to get up in the morning, you may find it easier to prepack it the night before. Remember, by bringing your own snacks you control the nutrients. Make sure you change your snacks every little while to keep them attractive.

DIARY DATES

Niamh O’ Regan looks at food fest hotspots for the months ahead

IRELAND is a nation of eaters, drinkers and talkers.

Strangely enough, people have decided on several occasions that it would be a great idea to bring these three things together, to be enjoyed in one place. While you may have recently missed Dublin’s Coffee and Tea Festival and the West Cork Food Festival, all is not lost.

There are many more to attend, and are dotted all around our small green isle.

Galway International Oyster and Seafood Festival, 25th-27th September: Oyster opening championships and a masked Mardi Gras might be quite a hefty price tag for the average beans-on-toast student, however the Saturday parade and Sunday food demonstrations are much friendlier to a student on a budget.

Oktoberfest, 17th September- 4th October:

39th Kinsale Gourmet Festival, 9th-11th October: Featuring the Cork Heat of the All Ireland Chowder Cook Off, a foodie walking tour and a “Fruits de Mer Luncheon”, the Cork festival lives up to its name. 11 restaurants will be in its Gold Circle Club partaking in the festivities.

Savour Kilkenny Festival of Food 22nd – 26th October:

Taste of Togher, 26th September: While you may not find the same variety of beers on Docklands as you would in Munich, a taste of Germany is still on offer by means of Erdinger, German wines and of course German food. A note of advice would be to skip the hot dogs and chip vans and to get your hands on some soft German pretzels. A Germanic meal is served daily for €6. It’s free into the event but tables can be reserved for large groups.

Now in its fourth year, the Taste of Togher celebrates local produce with local culture. Hosted this year by the Glyde Inn in Annagassan, the festival will see demonstrations using local produce, musical entertainment and local food stalls. With a focus this year on sustainable living, the day will open with a discussion on food sustainability.

Seafood in September, 18th-20th September:

Ballina Food Fleadh, 27th-28th September:

Seafood is to be found in abundance in Carrigaholt this September. Around the Loop Head Peninsula one can go on an evening fishing trip, attend an evening filled with shellfish and craft beer and stuff their bellies on a guided food trail. There will also be an artisan food and craft fair on the final day of the festival.

Following the success of last year, the Ballina Food Fleadh is back for a second time.

Showcasing locally produced artisan food, cookery demonstrations, tasting sessions and farmers’ markets, this year features a celebrity cook off and a “River to Plate” themed cook.

One of the biggest festivals in this list, with over 60 separate events occurring over the weekend, they are as wide in number as they are in content. Everything from Kitchen War stories, Beer and Food pairing contests, and a food photography competition, there is no culinary stone to be left unturned in Kilkenny.

Also featuring but as of yet without a published timetable are the Dingle Food Festival, 2nd-4th October and the Burren Food Fayre, 25th October. Both have previously been highly successful and the same can be expected for this year.

More information on all Irish festivals can be found on www.discoverireland.ie and more information on Oktoberfest can be found at oktoberfest-dublin.de

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Games

Mad Max THE CLASSIC black-on-black V8 Interceptor storms through the devastated wasteland that some called Australia, before the end of the world. In the driver’s seat, a grim, bearded man stares intently at the emptiness ahead. His name is Max, and he is very much on the brink of sanity. Mad, if you will.

Mad Max is a third-person action adventure game that follows the titular character through his survival in the desolate wasteland. Armed with nothing but his powerful car, a sawed-off shotgun, and a rage that can only be sourced from insanity, Max simply moves from place to place.

In this game, he seeks ‘The Planes of Silence’ where he can live quietly. He is haunted by his past, by those who he failed to protect. For him, silence is the only thing he wishes for.

As always is the way with Max, something gets in the way. A warlord by the name of Scaborous Scrotus (son to Immortan Joe in the most recent Mad Max film, Fury Road), halts his progress. He and his men take everything from Max, leaving him bloodied and barely alive in the dirt. The main goal of the game is to build a new car; one that is capable of getting him through the violent wasteland and to the fabled ‘Planes of Silence’.

Max is aided by a hunchback named Chumbucket, who offers him help as he views Max as a saint and saviour to the wastes. Chumbucket offers his greatest possession, ‘The Magnum Opus’. At first it is simply the chassis and bones of a car, but with Max’s help it will become the car that he needs.

The game revolves around Max and Chum building the car, improving it and arming it so that they can survive the trip north.

The main mechanics of the game are based on combat; vehicular and hand-to-hand combat. Vehicular combat is everything one would expect from a Mad Max title: fast, ruthless, and absolutely full of explosions. Chumbucket will Words: Karl Quigley

employ a grappling hook which can pull off wheels of enemy cars and even the drivers from their seats. Max has his shotgun, which he can use to disable wheels or blow up the gas tank most cars have on their backs. There are a variety of weapons to be used in the Magnum Opus which make this fast-paced combat simultaneously frantic and measured.

On the ground, Max is a brutal fighter. The combat system works similar to that of the Arkham games; enemies have attacks that have to be parried in time, there are a number of skills that Max can use like using his fists to break the shields of his attacks, or a vicious gut-shot from his shotgun to terrify his enemies. Unlike Batman, Max is an ‘on-the-fly’ fighter, using a mix-match of brutal moves to take down his opponents.

The world is what makes this game perfect. It is almost empty, but filled with enough people to give it an actual apocalyptic feel. Chaotic lightning and sandstorms fill the world at times, these arrive quickly and are unexpected. The world itself feels good; it feels mad. But the story is lacking, and is the game’s weakest point. The combat however is satisfying on both fronts. The customisation available for the Magnum Opus lends itself hugely to the appeal of the game, and the same can be said for the the upgrade system.

Essential playing for any fan of Mad Max and the perfect companion piece to Fury Road.

Title: Mad Max Developer: Avalanche Studios Publisher: Warner Bros. Interactive Studios Release Date: Out Now Platforms: PC, Xbox One, PS4

Gunman Clive HD Collection Title: Gunman Clive HD Collection Publisher: Horberg Productions Developer: Bertil Horberg Release: 3rd of September Platform: PC, Wii U

''Accessible, streamlined, easy to get the hang of but difficult to master, Gunman Clive is a heftily worded love letter to retro gaming.''

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BACK IN 2012, the indie side scrolling shoot ‘em up Gunman Clive debuted unassumingly on PC, 3DS and mobile platforms. In no time at all it became a critical darling for its tight gameplay and plentiful odes to the retro platformers of yesteryear. 2015 saw the release of Gunman Clive 2 on 3Ds, a delight in its own right and now less than a year later, both games have been compiled in a HD hamper on the Wii U. Players looking to double dip won’t get an awful lot other than the convenience of having both games in one tidy package. The added benefit of high definition is attractive but as both games in the series thrive visually on their art style as opposed to their graphics, the extra sheen is more of an added bonus. This is no failing on the part of the developers, however. Both of these games look stunning thanks to their unique sketched art style and fluid animation.

It’s a true testament to the quality of the visuals that high definition does little to improve upon them.

An intriguing art style is meaningless if the gameplay holds little water, but thankfully Gunman is filled with great gameplay. Accessible, streamlined, easy to get the hang of but difficult to master, Gunman Clive is a heftily worded love letter to retro gaming. All manner of nods, winks and nudges to the classics of yesteryear can be found through play. The running and gunning gameplay begs comparison to Mega Man, with a plethora of unlockable projectile attacks to cleave through the bad guys. The difficulty is tough, with an emphasis on trial and error that may annoy some players who want to get through the game quickly.

The greatest prevailing ailment with both of these games is their length. Though they are cheaply priced, they are absurdly short. It is not an exaggeration to say that both titles can be finished in under an hour. This can be a deal breaker for some, but when the content is so good, perhaps

it’s wise for the developers to bow out while the crowd is still in a standing ovation. They do remain decently replayable, with unlockable characters, varying difficulty modes, and of course the fun factor. These games will no doubt make a splash in the speedrunning community.

For the low price of four euro, Gunman Clive is an easy recommendation. A HD repackaging of two of the finest action platformers around, the appeal and quality is unmistakable. Given their short length, and the small dose nature of the gameplay, it does seem apparent that they were made with portable devices in mind. Nevertheless, everything here is of extremely high calibre and makes the transition seamlessly to console. If the need to play something to tide over the wait for new releases is too much to bear, give this title some of your time.

Words: Adam Donnelly

POPCORN & PLAYSTATION With so many cross-overs between film and gaming, Adam Donnelly looks at this clash of entertainment when games become films FILM AND GAMING reign supreme as absolute titans of pop culture. Each helps define how we perceive and interact with our senses in their own specific ways. One achieves something the other can’t and because of this, both are complimentary to one another. Like all great things in life, wouldn’t it be terrific if the two came together like chocolate and peanut butter? Well in this particular instance the chocolate and peanut butter is mouldy, smushed between the cushions of the couch, and is on fire.

For one reason or another, game to film adaptations rarely pan out successfully, being bludgeoned by critics, tanking at the box office and being wrung out to dry in development hell. In fact, a lot of video game adaptions fester in complete infamy as being some of the worst movies to ever come out of the woodwork, with such gems as Super Mario Bros, Resident Evil and Alone in the Dark glistening with notoriety as the jewels in the “how to not make a movie” crown.

Anybody familiar with either industry is well aware of this troubled cycle. Whenever a game property is to be given the big screen treatment, more eyebrows are furrowed in disdain than raised in curiosity. Even movies that just so happen to be affiliated with gaming and its many classic characters seem destined to be stinkers, with theatres still writhing from the launch of Adam Sandler’s ‘Pixels’. Yet video-game to movie adaptations are on the brain again, with the recent and predictably awful arrival of ‘Hitman: Agent 47’, the news of a silver screen debut for Capcom’s classic ‘Megaman’ and the recent rumblings that Nintendo has opened its doors to Hollywood once more. Could it be that the masses are in for game to film renaissance? Or is this vicious cycle doomed to repeat itself? The outcome could swing drastically either way, but perhaps it’s time we arm ourselves with an understanding of both mediums and see why video game movies are so consistently bad.

The first element to consider is the most obvious one: the clash of components between what makes a great game and a great movie. Games thrive on interactivity, going a step further than film when it comes to illusion and immersion. One may prefer a horror game to a horror film, because in the film, they are merely expected to sit and spectate as the hapless person goes into the basement where the monster lurks. In the game however, they ultimately make the choice to go down into the basement whereby the consequences of doing so are expended upon them entirely. The tension and the terror is uniquely theirs, and when studios remove that from the experience to turn something like ‘Resident Evil’ or ‘Silent Hill’ into a box-office popcorn fest, they are directly diluting much of what makes those titles so iconic in their own field.

The second big problem stems from directors not understanding the source material in the slightest, or not having the original creators involved somehow.

How else would ‘Super Mario Bros’, a game with a minimalist plot featuring a stereotypical interpretation of what the Japanese think Italian people are like, suddenly morph into an Orwellian dystopia flick? Even some of the more genuinely decent films out there, like Prince of Persia are serviceable as a motion picture but absolutely fail at capturing the spirit of the games.

It could be called by any other name and the world would be none the wiser, which is almost even more tragic. The best films based on games are those where it is completely evident that the original masterminds have made a clear stamp on the creation process. The Animal Crossing anime movie (released only in Japan) is a scattered stream of references to the game but these references are smartly applied to their new form and woven together to create a shallow but enjoyable plot that will entertain the casual spectator and enthral enthusiasts of the game. It looks like Animal Crossing, it sounds like Animal Crossing, it feels like Animal Crossing. It is as perfect as Animal Crossing can be as a film. Similarly, the ‘Professor Layton’ movie combines the right elements from the game with the new medium in order to create something unique, yet distinctly Layton-esque that fans will appreciate.

It respects its limitations as a game when entering the new form, and plays to the strengths of what a film can do, to convey the spirit of the original to an audience that may not necessarily be familiar with it.

The last problem seems kind of anticlimactic, but it is perhaps the most damning of all. And it’s that the people who make these movies generally don’t seem to care. Film is a business, and if studios can repeatedly scrounge profits off hopeful fans for relatively little, then they’d be foolish not to. Uwe Boll, a German director culpable for the lion’s share of lousy adaptations, is completely infamous in this regard. Under Boll’s dubious stewardship, gaming adaptations became the victim of a tax break loophole in the German film industry, and that’s not a sentence you can make up. Essentially, Boll made his fortune making film adaptations of popular titles on the cheap, turning any box office revenue at all into a tidy profit. Eventually the loophole was amended and critics of Boll blasted him for his scrupulous schemes.

In response to the pressure, Boll challenged his critics to a boxing match, recorded in the fantastically named documentary “Raging Boll”.

Is there hope for the beleaguered game to film adaptation? It depends. Nintendo, a company that is typically protective of its properties, being open to the silver screen once more gives hope that there is potential for more faithful productions of a higher standard. Time will tell. There’s only so many times you can make the same mistakes over and over again.

Photographs: - Hitman: Codename 47 - Pixels - Super Mario Bros

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Film and Television

Revenge of the Nerds

David Monaghan looks at how the archetype of the nerd has changed in and outside of Film and TV

human beings, and for society as a whole, sci-fi is and replicates many shots from, his favourite films, WE ARE ALL familiar with the trope of the nerd: a important because the fantasies of today become the including Psycho, It’s A Wonderful Life, and The Great bespectacled, basement-dwelling mess, usually realities of tomorrow, and the proof of that is Star Trek!

Train Robbery. ‘Nerd’ characters are no longer the depicted with horn-rimmed glasses and a love for I mean, Captain Kirk had the original flip-phone. We all socially-awkward, loud, annoying tropes we expect niche science-fiction. This image permeates nearly use a video screen of some sort nowadays. And now them to be, but instead they have become the people every aspect of popular culture, from movies to with the 3D printing, that’s the start of the replicator! we see everyday; the man in the corner shop or on TV, comic books to literature. Almost anyone can And there are writers of the past – Jules Verne, HG the street. In Tarantino’s case, becoming obsessive identify these characters through appearance Welles, and to some extent George Orwell – I mean, over something will not lead to derision, but instead alone, but how true is this archetype to reality?

1984! We have CCTV everywhere. Big Brother is here.” will lead to a successful movie career. Indeed, with Typically portrayed as outsiders, traditional Many of our anxieties about the future are the development of the internet and the ability ‘nerds’ are usually defined by their difference reflected in the popular media we consume. Bryan to share information with a mass of people, these to other more ‘normal’ characters. Steve Urkel, Singer’s X-Men films look at persecution through filtered versions of all things ‘nerdy’, once thought protagonist of the long-running American sitcom, the mutant metaphor. The Dark Knight examines impenetrable, have now opened up to allow more Family Matters, wears braces, a striped cardigan, terrorism through the anarchic Joker, and every and more people to feel welcomed. and speaks in a shrill, high-pitched voice, much Fantastic to the chagrin of Four film the Winslow family. '''Nerd'' characters are no longer the successfully Comic Book Guy in The reminds Simpsons displays more socially-awkward, loud, annoying tropes us how negative characteristics, we expect them to be, but instead they terrifyingly using his differences bad and love of niche have become the people we see everyday'' superhero subjects as a means to films can still be.

It would not be strange to suggest, then, that belittle other people.

While the trope of the isolated nerd will never truly this only opened the gate to the development of A brief visit to both Dublin Comic-Con and go away, more and more people feel welcomed now more comic book and sci-fi films. No longer seen as its sister event MCM Comic-Con, will tell you that than ever before by media once deemed inaccessible. something alien or strange, people now flock to see the archetype of the nerd, which will be forever Despite protestations from hate groups like films that would not have been made as often or as embedded in our collective pop culture conscience, Gamergate, people of all races, genders, backgrounds regularly nearly twenty years ago. Speaking to Simon holds very little bearing in reality. Or rather, the and sexualities find comfort in attending conventions Fisher-Becker, Doctor Who’s Dorium Maldovar, at MCM reality is a little more complicated than one might and speaking about their love of games, movies and Comic-Con, he offered up a different view: “I totally initially imagine. Movements like ‘Gamergate’, a comics. The nerd is no longer an outsider. The nerd is accept that there are a lot of people who think sci-fi campaign of harassment against female games now the everyman. is just phooey and they don’t understand it at all. For journalists, seem to only reaffirm the standards set by characters like Comic Book Guy. Events like aforementioned conventions show that the communities can be both welcoming and warm.

“It’s okay to like [comic books] now. It’s the cool thing to do,” says Trudie Mitchell, a student, dressed from head to toe in Captain America’s familiar red, white and blue. “Due to the movies and the popularity of the video games, it has gotten big for all generations,” says Darragh Gallagher, complimenting Trudie’s outfit with his very own spin on Peter Parker. One glance around the halls at both events proves them right. Parents and children, dressed as a selection of characters from the world of popular culture, like Groot and Rocket from Guardians of the Galaxy, or Geralt the Witcher from the eponymous video game, run from stall to stall buying a mix of comic books, games, and movies – a far cry from the basement-dwellers of popular myth.

So why has attending cons become the ‘cool’ thing to do? Why has a nerd gone from a subject of derision to being dominant in popular culture?

This might have a lot to do with how accessible certain niche media has become. In the 1980s and 1990s, the ‘nerd’ character in fiction typically had an encyclopaedic knowledge of certain subject areas, like science fiction or comic books. This knowledge was often obtained with great patience and difficulty (for example, finding a copy of the difficult-to-source Star Wars Christmas Special, or obsessively watching episodes of a TV show), and was therefore inaccessible or alien to most other characters. This was the perception of nerds in and outside the land of film and TV. In the 1990s, however, we begin to see a shift.

Filmmakers Kevin Smith and Quentin Tarantino, amongst others, use their love of comic books and movies to litter their own films with pop culture references. Smith’s Clerks and Mallrats contain normal, everyday people discussing, without irony, the architecture of the Death Star, as well as their favourite Star Wars films. Tarantino’s Pulp Fiction contains numerous references to,

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Spoilers, Barbarians, and the Circus Ian Beattie takes time out duing MCM Comic-Con to chat with David Monaghan on his experience in Game of Thrones and a future role.

As the conversation progresses, it becomes FANS OF GAMES OF THRONES will be readily familiar clear that, despite becoming an integral part with Ser Meryn Trant, member of the Kingsguard of one of the biggest fantasy shows of all time, under King Joffrey. He is a sadistic, brutal and all-round vile character, appeasing those he serves Beattie remains a fan at heart. Speaking about through nefarious means. So it was lucky that Ian conventions, he says, “I absolutely love them! I love interacting with people and finding out what Beattie, the actor behind Ser Meryn, could not be their theories are, because I’m a huge fan of the more different. Bouncing around in his seat at show as well.”

MCM Comic-Con, he enthusiastically shared how In order to avoid spoilers, Beattie did not read the show has impacted his life, how he attempted, rather unsuccessfully, to avoid spoilers on set, and full scripts. Instead, he only read passages that contained his scenes. “One of the funniest stories all that he has in store now that his time on the I experienced in Game of Thrones [was when] we show has come to an end. were in season four, and it was the last day of “It has made a huge difference to my career, filming in Belfast. I was filming with Jack Gleeson certainly,” says Beattie, looking very relaxed and Nikolaj Coster-Waldau [King Joffrey and Jaime now that he has ditched the Iron Throne for a Lannister, respectively]. We finished the scene and seat in the RDS. “Before Game of Thrones, I got Charles Dance was there and he said, ‘well, the occasionally very prestigious jobs, but they were little bastards have finally killed me,’ and I said, also not as regular. Game of Thrones just took ‘No, you’ve just given me the end of the season!’” me up to a whole different level and got me into With the rise of social media websites like many, many more rooms than I previously would Facebook and Twitter, spoilers for popular TV have gotten into.” He has showrunners David shows like Game of Thrones are becoming harder Benioff and Dan Weiss to thank for that. The pair have overseen the show since its inception in 2011 and harder to avoid. Beattie notes that it’s not just social media that causes such a common problem; and have developed its memorable storylines.

BBC News, one of the biggest news outlets in the “Anyone who has seen season five will know that United Kingdom, posted an article on the ending I was given a ridiculously good send-off,” Beattie of season five shortly before the episode was due says.

mimicry of Adams’ recognisable Belfast accent, Now that he has left the show, Beattie can to air. “Many people want to know what happens you only have to close your eyes to imagine that finally appreciate it without fear of encountering next, but most people don’t,” says Beattie. “And spoilers (unless he has a Facebook page). Speaking it is not the enthusiastic Game of Thrones actor the reason I think Game of Thrones has been so before you, but the Sinn Féin leader himself. about where he thinks the series is going in the incredibly successful is, no matter how invested From the circus tent to one of the biggest fantasy future, he notes that there are many characters you are in a character, nobody is safe, and that franchises of all time, Beattie’s career has gone alive in the books who have died in the show. makes for the most compelling television.” from strength to strength. And with a plethora “I’ve got a funny feeling their days are numbered.

The figures for the last season averaged of projects in the works, this trend seems set to The genius that is George RR Martin knows what approximately 8 million viewers per episode, and continue the season’s debut alone was downloaded illegally happens in the shows. He and David and Dan obviously spend a lot of time following storylines.

13 million times. Game of Thrones is showing I strongly suspect that anyone who didn’t make it no signs of slowing down. Beattie feels another ''the reason I think Game to the end of season five will not be making it to reason for the show’s continued success is its the end of book six.” filmic quality. “It’s a game-changer for television. of Thrones has been so Now that Beattie’s time in Westoros is at an It is film quality. And the attention to detail! You end, what has the Northern Irish actor got in don’t even see it all, you have to pause the TV incredibly succestsful is, store for the future? “Quite a few things actually,” [and say], ‘look at that, look at that, look at that.’

They have created a world, and they have created he assures. “The first thing [is] a series I’ve just no matter how invested finished for the History Channel called Barbarians it so well.”

Rising. It’s the Roman Empire versus different Beattie’s start in acting began at an early age, you are in a character, Barbarian tribes that went against them. It’s an when he used to tour Northern Ireland in a circus eight part series that’s coming out early next with his father. “From that age I always wanted nobody is safe, and that year. Very excited about that.” Exciting indeed, to act, there was never any question.” Speaking directly to anyone with an interest in entering the but it’s what Beattie says next that will intrigue most. “Next month, I start filming a film in Belfast makes for the most business, Beattie says, “if they know that that’s with Timothy Spall as Ian Paisley, Colm Meaney what they want to be, then that’s what they’re compelling television'' as Martin McGuiness, and I will be playing Gerry going to be. Simple as that.”

Adams.” With the glasses, the beard, and a

11

Film Reviews

TANGERINES

DiDirector: Zaza Urushadze Starring: Lembit Ulfsak, Elmo Nüganen Release Date: 2013, now with an exclusive release at the IFI from the 18th of September, 2015

IVO, played by Lembit Ulfsak, is harvesting tangerines. He has been hardened by time alone in Apkhazeti, the rest of his family having fled home to Estonia, and he faces the coming war with cool indifference. He has partnered with Margus, the only other local still around, in order to crate and sell as many tangerines as possible before the front lines reach their land. After a small skirmish erupts outside of their homes, Ivo and Margus go out to inspect and find two soldiers still alive, one Chechen and one Georgian. Ivo takes both men into his home, caring not for the political and cultural divide between them, and nurses them both back to health. Conflict erupts when one vows to kill the other.

Tangerines gets most of its emotional weight from Ivo, the melding of writer-director Zaza Urushadze’s dialogue with Ulfsak’s excellent performance. The character’s inward strength is conveyed through his soft-spoken demeanor: he seems to only say what absolutely needs to be said, with precisely the right tone of voice. Ivo makes for a memorable, sympathetic, and lovable

character by the end of the film, and even though he hides much concerning his motivations, we are compelled to respect him regardless. He stands tall as the film’s moral anchor, mediating when the soldiers attempt to harm each other. The supporting cast is less impressive, however. The soldiers’ attitudes towards each other change over the course of the film, but this transformation is not made entirely believable, and their dialogue can at times feel stilted.

This feeling persists throughout the film; the feeling that some moments are being ‘played up’ for critical appeal, and that the film is holding its audience’s hands. In one scene, Ivo, Margus, and another man are pushing a van over a cliff, and when it lands the characters make jokes about how, in a movie, there would have been an explosion. While entertaining, the scene felt out of place and ruined the pacing entirely. The beautiful soundtrack, which can be reduced down to a single sawed violin piece, manages to wear out its welcome due to overuse. When, during an emotional

moment, the camera not-so subtly slides over to focus on the branches of a nearby tangerine tree, the music swelling, it may make you want to roll your eyes. Moments like these feel like nods to a panel of judges, rather than injections of comic relief or artistic expression.

In a nutshell Tangerines is a heartfelt and honest film, for the most part. It is about human decency, about love, and about the harsh realities of war and about those who are left behind to witness them. It is flawed, however, in that it overreaches for your attention. Cliché moments stick out like bright, orange tangerines throughout, and they may try your patience.

Owen Steinberger

Irrational Man – Woody Allen WHEN writing reviews, first impressions are often important. In the case of Irrational Man a first impression is composed of heavy dread as the opening sequences rolled. This impression turned out to be the feeling that remained for the next hour and a half – awkwardness and discomfort are not reactions that any viewer wants to have, let alone for a solid 94 minutes.

It was a combination of factors that brought on such a negative reaction: a wandering and outrageously unbelievable plot, acting that lacked both chemistry and conviction, and most of all, a failure by the film to lure the audience into its world – Irrational Man failed to suspend reality for its duration.

Throughout, there was a constant awareness of sitting in front of the screen, watching this awkward nightmare of a production unfold.

The film deals with an alcoholic philosophy professor named Abe Lucas, and the havoc his presence wreaks on a college campus. This havoc takes a sharp turn for the ludicrous when Lucas (who is characteristically blocked up, both as a lover and a writer) turns his mind to plot and execute the perfect murder of an absolute stranger.

Casting was another troublesome part of this chaotic jigsaw.

Joaquin Phoenix, Emma Stone and Parker Posey formed the centre of a cast that consisted entirely of cardboard cut-outs, and if there was any real chemistry to be found, it was buried so deep under the typecasting of alcoholic and demure virgin that it was obscured to all but the most attentive viewer. By the halfway mark, there was no desire to care about any of these characters.

Director: WOODY ALLEN Starring: EMMA STONE, JOAQUIN PHEONIX, PARKER POSEY Release date: OUT NOW

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Drawing towards the end, there was a definite sense of wishing them all gone.

Perhaps the detached feel of the film was a statement on Allen’s part - a film concerning nihilism leaves the audience feeling decidedly nihilistic, after all. However, even if this was the case, it fell hopelessly flat. Even more problematic than the film’s sense of pointlessness was its showcasing of the raving alcoholic, its strange and pitifully outdated views of mental illness, and a blatant disregard for the concept of consent and objectification of women (and men, it could be argued). This all served to add to the general lacklustre feel of the piece of a whole.

The exploration of a troubled genius is a film trope that would have worked in an earlier time. Perhaps with the likes of Robert Redford in the lead role, the era might have earned it forgiveness. In 2015, however, it appears we have not moved on.

In a nutshell: An incredibly disappointing film with absolutely no depth to the characters. Poorly acted and terribly written, this film is better off being avoided.

Síofra Ní Shluaghadháin

Not Walking Sex Acts: The Oversexualisation of Gay Men on Television

top ten Top 10 Movie Openings

David Monaghan looks at how the TV of Russell T Davies, despite being radical, still perpetuates stereotypes about gay men

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The Dark Knight The opening to The Dark Knight is arguably one of the best scenes in the trilogy. This scene alone shows all the characteristics of the Joker - the meticulous planning, the disregard for human life and the cunningness of the character.

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This Pixar movie probably has one of the most unexpected openings in animation history. It tracks the relationship of Carl and Ellie from youth to old age, and in turn breaks the hearts of children and adults worldwide.

Jaws Just when you thought it was safe to go into the water. A scenic frame is set as a woman goes for a leisurely swim out in the open sea. Suspense is built by the soundtrack as what seems at first to be a serene opening to set the scene is soon discerned as a decoy to lure the audience into assumed safety.

Intermission The camera focuses in on Colin Farrell as he uses ‘the gift of the gab’ to engage a woman on a cash register in a shopping centre café. He comes across as a genuine guy who’s just looking to shoot the breeze about autonomous living and unplanned relationships; just before he “smacks your jaw and robs the register while the place is empty.” Not the worst person you’ll encounter in the service industry.

Scream Drew Barrymore receives a threatening phone call from a home invader in this 1981 slasher film. The home invader manages to lure her out of the house before he grabs Barrymore from behind and stabs her in the chest. Yikes.

in the land of 1990s TV, where writers tip-toed around RUSSELL T DAVIES is never one to shy away from depicting gay people like they were made of broken glass, it is gay life on screen. His radical 1999 drama Queer as Folk certainly most unwelcome today. RTD’s recent trilogy of smashed through preconceptions about gay men and how shows – 2015’s Cucumber, Banana, and Tofu – show that the far we can go in presenting them on television. His 2001 writer-producer has learned a lot since his Queer as Folk show Bob and Rose showed that sexuality can be fluid, days; lesbian, trans, and and when he was tasked with bisexual characters are rebooting the much-loved ''He introduced LGBTQ+ depicted with sensitivity sci-fi show Doctor Who, he and kindness, while gay introduced LGBTQ+ characters characters into men are still depicted into a world that had as overly sexual. For previously neglected their very a world that had example, the show’s existence – an unfortunate previously neglected protagonist, middle-aged rarity in family shows. RTD, as their very existence.''

Henry Best, leaves his he is referred to by fans, has long-term boyfriend in been a vanguard for change in search of further sexual conquests. depicting gay people on TV, so why is it that he continues There would not have been much of a problem with to perpetuate so many negative stereotypes about the this depiction if it did not bleed into every other area of community? film and television. In arguably the best episode of the IT In the 1990s, many people had begun to open up to Crowd, titled ‘The Work Outing,’ the characters go to see a the idea of depicting gay life on television. Shows like production of a musical called ‘Gay,’ which features parody Ellen, Will and Grace, and the ever-popular Friends finally embraced gay characters and storylines, but change did not songs that conform to the stereotype of the promiscuous gay man. In the sitcom Extras, there is a character called come quick enough for some people. Gay characters were Bunny, and one of his character traits is that he is a gay man featured, but were often muted. They rarely interacted with who enjoys having sex. This is not the say the writers of romantic partners and the Lesbian, Bisexual, Transgender these sitcoms are homophobic (Graham Linehan’s support of and Queer peoples of the community were never featured the Yes Equality campaign in May would indicate otherwise), at all. That is why RTD’s seminal Queer as Folk was a breath but rather that they consciously (or unconsciously) of fresh air – it didn’t pertain to the barriers set by TV standards, it smashed right through them. While other parts perpetuate negative stereotypes about the gay community.

And who are we to criticise them if we continue to push of the community remained underrepresented still, gay men these portrayals ourselves? Russell T Davies is, as has been were not depicted as stereotypes. RTD overcompensated said, a vanguard of change, but he still has some work to do for the lack of boyfriend characters in preceding shows by in changing perceptions of gay men on TV. making his characters overly promiscuous. And therein lies the problem.

While such a depiction may have been necessary

Star Wars Episode IV: A New Hope

The now iconic prologue set against a background of stars is followed by two space crafts in the heat of battle. The size of the ship, and the entrance of Darth Vader, shows the audience the grand scale of what to expect.

Seven Psychopaths The camera tracks the discussion of two

Italian-American crime members as they talk about ‘shooting a guy through the eyeball.’ Then a hooded figure approaches from behind and shoots them both through the eyeball. See: Irony.

Pulp Fiction Similarly to Seven Psychopaths, we become immersed in an opening conversation between Tim Roth and Amanda Plummer in this Tarantino classic. They engage in a conversation about robberies before making an informed, educated decision to rob the diner they had been eating in.

Trainspotting Ewan McGregor speeds through the streets of Edinburgh with his accomplices, delivering an incredible monologue over the backing track of Iggy Pop’s ‘Lust for Life’. Mark Renton’s philosophical views on life are outlined in a clear, coherent manner despite him being a heroin addict.

District 13 The action that takes place in the first scene of this French crime drama is incredible in its fast paced, fluid portrayal of parkour in the suburbs of Paris. David Bell’s character runs from the violent gang trying to find him in his apartment complex, jumping across rooftops, sliding down and across walls and hopping between flights of stairs.

Words: Leon O’Neill

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BLOOD BROTHERS A short story by Sophie mullins

Shadows collected in the pockets and crevices of the living room in which Morgan stood. Darkness seeped from the corners as the sun sank lower through the azure July sky. Yet Morgan didn’t, couldn’t notice, so submerged was he in his thrashing thoughts and the endless stream of cigarettes that flew from the fingers of his right hand. His left gripped the ornate fireplace, white knuckled as he gazed, unseeing, into the flickering embers of the fire. His gaunt features, the dragging bags under his eyes, were sharply brought in and out of relief as the light danced across his face.

The living room door opened with a bang, followed by a confident young man and his commanding voice, ‘Good Lord Morgan, you look like something straight out of a Stephen King novel!’ Chuckling, the young man clicked on the various lamps around the room, feeding a warm glow into the place.

Morgan watched him, impassive.

Only when the young man turned to faced him, rubbing his hands together and smiling his Cheshire cat smile, did Morgan blurt out, ‘I can’t do this Ray. I just can’t.

I’ll stay in my room, I won’t say a word - just please don’t make me go through this.’

The gleeful smile dropped, the excited chafing of hands stilled and Ray’s spine straightened as he glared at Morgan.

‘You will do as you are told’, he spoke quietly, coldly, ‘for if you don’t, you know how capable I am at playing the innocent in this Morgan. You know just how equally guilty you are. You will play along, you will smile, nod and laugh alongside me and you will do everything I ask of you. You don’t take a piss without my permission. Are we clear?’ Morgan, of course, nodded assent. Moving to the liquor cabinet, taking down Morgan’s dry whiskey and pouring a glass, Ray continued speaking. ‘This has taken an inordinate amount of preparation and luck Morg; I can’t have you miss it by begging off sick and arousing suspicion now can I?’ Strolling back to the fireplace, he handed Morgan his glass and finished with, ‘My dear Morg, how would I have done it without you?’ He beamed at Morgan, all anger dissipated and replaced yet again by a perverse excitement.

Morgan’s fingers were barely able to hold the glass, so covered were they in sweat. He held the glass and his cigarette and perspired quietly and thought that perhaps he might throw up right there on the hearth. ****** Ever since Morgan could remember, Ray had been the entertainer. That was a long time, considering the two had known each other since the day the nurses placed their cots beside each other in the maternity ward. Their mothers had been sorority sisters, friends of old and coincidentally

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only two days apart in the birthing of their baby boys. Morgan was three weeks premature, a tiny six pounder with a wisp of fair hair and a clutch of eczema on his back. Ray on the other hand, weighed in at a robust 11 pounds 6 ounces, all rosy cheeks and thatch of black hair. The boys grew up together, frequenting each other’s respective mansions in the Hamptons, sprinting down silent corridors and hollering at the disapproving portraits of various ancestors. Morgan’s nanny, Miss Eliza, was a gentle, red haired woman whom Morgan adored, and mostly left

Morgan and Ray to their own devices. Ray’s nannies, however, seemed to come and go as often as the sailboats in the harbour that Morgan’s playroom overlooked. One of these very nannies, Miss Jane, whispered to Eliza one day when she thought the boys’ attention was elsewhere. ‘It’s his eyes. Ray’s eyes follow you everywhere you go, but when you actually look into them - they’re just dead, Eliza. I can’t explain it. He’s just the creepiest kid I’ve ever looked after.’

Ray dismissed the comment when the boys were alone. ‘She’s a moron - Irish I think. You know how they are. She’s sleeping with my father, they all do.

She’s just frustrated because father’s away and she isn’t getting any’. These last words were said as Ray hurled a rock into the sea from the little pebble beach they sat at. Morgan nodded quickly, fearful of inciting Ray’s anger further. At ten years old, Morgan was both impressed and scared of Ray’s clear knowledge of what went on in the bedroom, comfortable enough to use colloquialisms about sex. Their entire lives, Ray knew it all. How to charm, how to win, how to be the best at just about everything. Morgan simply trailed behind, through kindergarten, elementary school, middle school, high school and eventually Princeton; meteorite dust in comparison to this shining star.

Now, as Morgan sat opposite Ray at the dining room table, their guests either side, Morgan realised he was twenty three years old and had never made

an important decision without Ray. How pathetic, he thought abysmally, and poured himself his fifth drink, fingers fumbling with the stopper on his bottle until it came off with a resounding pop.

The conversation around the table paused, everyone turning to look at Morgan. Ray raised an eyebrow. ‘One too many, my old friend?’ The table chuckled and resumed listening to Ray bemoan the fact all his servants but one had taken their vacation early. To hell with him, thought Morgan, old friend my ass.

Four guests sat with Ray and Morgan. Ray held these little

gatherings in his country home rarely, so those attending were naturally overjoyed to receive an invite. To Morgan’s right sat two friends from college. Rachel Grant, a blonde bombshell, whose delicate hand had written many fantastic mathematical papers and who was, of course, head over heels in live with Ray. Next to her was Samuel Adsit, a rich Jew with the curliest hair Morgan had ever seen and a laugh that shook a room.

The other two guests were somewhat unusual.

Mr. and Mrs Halpert were dirt poor, common manual labourers who farmed beets only a few miles away.

They were quiet, laughed when others laughed and were the parents of another college associate of theirs.

His name was John Halpert. Slipping into Princeton on an all honours scholarship, he shied away from the lavish parties thrown in the dorms, preferring instead to spend the evening perfecting some theorem or another in the library. Ray immediately scorned John when he heard of his background, particularly his scholarship. More than once Morgan had heard him refer to John as ‘the lucky peasant’. Harsh, yet in hindsight Morgan had deduced that Ray’s contempt of John was born mainly from jealousy. Ray’s stunning good looks and vivacious charisma had his entire life surrounded him with equally gorgeous, besotted young women. Yet, soon John’s quiet confidence and intelligence also began to garner attention. He was easy on the eye, which undoubtedly contributed to

the tittering gaggles of girls that suddenly seemed to have an avid interest in the works of James Joyce, coincidentally on a bookshelf very near to the table John worked at. Ray hid his fury amidst degrading comments made every day to his group of followers. Morgan and the other boys would roar with laughter, although secretly Morgan believed the two would make a very good duo, so alike were they in their wit and mind-set.

The drink had unscrewed Morgan’s mind a little and he felt the world swim whenever he moved his head. However, Ray’s call for Morgan to fetch more wine from the cellar sobered Morgan up enough to sit straight in his chair and slur ‘The cellar?’ His eyes pleaded with Ray across the table, begged without words. Ray’s electric blue eyes, so enchanting to his many lovers, bore into Morgan, hard and unyielding, with a smile that did not quite ring true. ‘Yes Morgan, the Monet ‘63 should do just fine.’ With his innards turned to lead and trembling legs, Morgan pushed out of his chair, walked unsteadily to the hall and stepped down the cellar stairs.

The glassy brown eyes of John Halpert’s lifeless body seemed to stare straight into the core of Morgan’s soul. He stood, swaying, watching the corpse. Of course, the Monet ‘63 was slotted into the shelf directly below where the body lay. Good old Ray, thought Morgan, always up for a laugh. Carefully, he slid the bottle out, holding it with both hands.

Just as he turned to leave, he caught sight of John’s left hand. Stained rust, the fingers rested a few inches below the gunshot wound in his chest.

Morgan remembered John’s look of disbelief, of utter shock when he touched his blood as it pumped down his shirt, the thud of his knees hitting the ground, the stutter and gurgle of his last breath. Morgan remembered it all, every detail of the dank little alley Morgan had lured John into, with the claim that Ray had been fatally wounded and needed help. He remembered the weeks of planning, Ray’s convincing, his own ridiculous naivety that they could commit something so abhorrent, simply so Ray’s ego could once again be the sole one stroked, just ‘for the hell of it’.

Morgan remembered all this, and more, always more. As the wedding ring glinted in the dim light of the cellar on John’s hand, Morgan felt his knees go weak. With tremendous effort, he pulled his eyes away from the sight and headed back up to the dining room.

As he neared, he heard the tremulous voice of Mrs Halpert. ‘...so unusual for him to stay in the city this long. Three days and no phone call, no letter, nothing.

I don’t suppose you’d know if he has a mistress or anything, would you Ray? Donna’s going out of her mind dealing with the baby alone. You boys were always such good friends whenever your family came to visit during the summer, I know there was that incident when a few years ago with that dog or whatever it was, but maybe he might have mentioned something?’

At this stage, Morgan stood in the room’s doorway, frozen. They had known each other before Princeton?

All Ray’s snide remarks, all the information he had gathered from ‘rumours’. The dog. Morgan suddenly

had a vivid flashback of being in the library in Princeton, exams nearing and hearing John’s low voice tell a story to another fellow in the same year as them.

He heard only parts; something about a psychopath John had known who had mutilated a local dog. He remembered the horrified tone of John’s voice when he heard the word gutted and as he pieced the puzzle together, Morgan’s mind whirled. The bottle dropped from his hands, smashing in a cacophony of glass on the rich mahogany floorboards. The entire ensemble jumped to their feet, Ray’s eyes darting from the floor to Morgan’s colourless face.

‘You bastard’ whispered Morgan. Lurching to the Halperts, he bellowed, ‘your son is in the cellar.

We murdered him, we murdered - Ray was jealous, he must have always been, that or John knew, he knew what he was - go, go you’ve got to go, get your son -’ he was drowned out by Ray’s screaming, filthy curses dropping from his lips as he strode over and lifted Morgan by the throat in one swift motion.

He slammed his friend to the floor, hard. The alcoholic acid threatening to erupt all evening spewed from Morgan’s mouth. He simply lay there for a minute, eyes closed, stunned.

He heard pounding footsteps. A raw, hysterical scream rang through the house and continued - on and on and on. Morgan finally opened his eyes and pushed himself to all fours. The sight that greeted him was Ray’s shoes. Exquisitely fashionable, Morgan had in fact chosen them for himself, but had been persuaded out of their purchase by Ray, who claimed they were ‘far too girlish’. Bastard, thought Morgan, just as a swift kick from those lovely shoes cracked open his nose and brought him once again to the ground.

In agony, he struggled to open his eyes once again.

The barrel of a gun is deceivingly dark, he thought, when something so fatal lurks in its depths.

‘You brought this on yourself, old friend.’ Ray’s voice was hoarse, strained, ‘You should have just done what you were told.’

As always, Morgan nodded his agreement. Ray responded by shooting his other lifelong friend directly in between the eyes as familiar to him as his own.

Lessons Each new day sparks the same bright lights In turn, results in those habitual dull laughs and faded smiles.

But to learn to sit in silence doesn’t mean to sit and suffer, For even the deepest silence can be broken by a hopeful murmur.

It’s those little acts of hinted faith, The flutter of damaged wings, The uncontrollable sense of relief A tear or a sigh can bring.

It’s delightful, easy, but where the fuck is the meaning In the artists fascinating, creative, unique way of dreaming?

As our close friend the nihilist would openly admit We are but worm food in our open pits.

Simple, blatant, clear as the deaf can see, But will what she sees in him affect both of them worse than me?

Is it a drug, can it be cured?

As both know well, it’s not to be ignored.

For this we live, to listen and to learn And it’s from today’s lesson these new ideas are born.

The Sins of the Children The mute, mothball shrieks of children dying under mother’s hands And the fractal bursts of fractured light that hit As the world tumbles over itself, leaving vague moments Like fingernails between the stones While we, like disapproving books on dusty shelves Clasp coffee cups against the precious beating of our hearts Toss cynicism between one another, each drop of sweat a privilege Each breath a human right

Stuffed straw mouths and shining hair Religious freedom weighs more than dead children Leaving corpses littered like cigarettes Colours in a twisted dream of heaven Matchstick ribs jutting, but we stood on the moon How fragile have we made our one, Short and common life? How easily Our complacency is bought.

And in the dull light of big- mooned skies Ragged lines of blood stutter down, rough Touches underneath a fluorescent fire.

Severed heads belching, toddlers left for flies.

POETRY

my voice, was forever the ocean lost.

Do to ridicule me And in this dark And your bright endless canvas faces I painted the man’s Leaving me one by face one as silently as the Trying to decipher stars do James Holohan what I could make They say women My once sunlit are complicated face could not pass But they have not through it seen man in his true It was translucent. nature The darkness So might’ve taken my Let’s go back to sight when you were first But I could feel it complete coming My eyes squinting Enveloping me into to make sure you I looked at the moon weren’t make believe its arms the way you never did And your energy tonight And I laid there And thought of you drawing me into your silently craters Never knowing what Willing for the sun And for a while, part I might see to come out The universe was The next time we So you would too. stable. would meet They say the moon And almost to But I made a plan is beautiful complement your this time But what is the face I traced the days moon without the The darkness all of back to when we first sun a sudden came came into this mess Because you My extinguishable Into the darkness You with your moon flame that stretched phases Had decided to Beyond my reach You fool everyone.

Fit in back into a And your gravity box pulling me up and Close to my heart down Raneem Saleh The way the waves on The key, along with

Moon Phases

In empty houses seashells wait for pudgy fingers Now bludgeoned shades of navy blue.

And Our tots writhe on the warehouse floor, unable To comprehend a world without Lego.

These shells will not creak in a gruff wind Stretched lopsided over an imagined territory An imagined safety, an imagined, Tender world.

Emma Tobin

Summer Rain in the city Is as wet as rain In the country The wet soaks through The half-opened window As we sit inside discussing Life art beauty meaning The heat is gone For the moment Evening rises And the street sounds From down there Become less important In a world full of poetry How about living life before death Would it be interesting?

Fascinating?

Poetry Makes words come alive When there’s no other way To express what moves us

Sven Kretzschmar

Illustrations on pg 14 & 15 by Louise Flanagan

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Photographs courtesy of thomassangster.com

Loving the magic of movies

Eva Griffin talks to Thomas Brodie-Sangster about Love Actually, Game of Thrones and loving the magic of movies

EVERY CHRISTMAS, families gather around the warmth of the television and sink into the easy nostalgia of watching Love Actually for the umpteenth time. The lasting power of Richard Curtis’ rom-com extraordinaire means that the holidays bring cries of “oh would you look at that baby-face!” Yes, it’s Thomas Brodie-Sangster reducing us all to goo yet again with his endearing grin and steadfast belief in romance as the eternally loveable Sam. Twelve years on and Sangster has finally gotten used to being so recognisable thanks to his seemingly ageless face. “It was an amazing opportunity that I’m hugely proud of, and to be part of something that has such lasting power that large is quite rare.” He assures us that the cute-boy legacy has done the opposite of plague him throughout his career. With his name on the bill alongside such stars as Liam Neeson and Keira Knightley, Sangster was very quickly thrown into the public consciousness, and has remained there since. “People still bring it up an awful lot and it’s still one of the main things I get recognised for but… it’s something that I don’t regret or anything, certainly not.”

Sidestepping the precarious trap of child-star gone wrong Macaulay Culkin, Sangster affords his escape to a healthy surrounding of family and friends. “It’s all about the people who are closest to you whether that’s your family or friends. They’re the ones who keep you grounded, I suppose yeah, it’s really important. I think that’s just important for anyone anyway.” While we don’t all have to contend with the pressures of the constant scrutiny suffered by actors, Sangster seems like the kind of guy you’d bump into on the street, and it’s difficult to picture him walking red carpets and sitting through press junkets. Talking to him is a relaxed affair, and he unconsciously downplays how high profile his roles

to date have been.

When taking on the role of Jojen Reed in season four of Game of Thrones, Sangster was surprisingly unaware of what he was diving into. “It was only when they sent me season one and two to watch that I realised that I was being part of such a really cool show.” Settling into such a high profile show might seem like a challenge, but the biggest cast in television may also be the friendliest. “It was a pleasure to work on and such a fun job to work on.

Everyone involved is so nice.”

Having conveniently fallen into such a colossal production, Sangster also reveals he became involved in voice acting “kind of by accident”. Phineas and Ferb creators Dan Povenmire and Jeff Marsh were fans of Love Actually and “wanted a really young, typically British sounding guy”. Cue Sangster. It’s been five years since he took on the role and his foray into the world of voice acting has led to a childhood dream coming true after landing parts in the animated series Thunderbirds Are Go. His steady rise through the ranks since he first dashed onto our screens as an excitable youngster is admirable, and he has the air of approaching every project with the perfect balance of wonder and wariness.

At 25, Sangster can still be seen playing much younger characters, and his role as the sensible teen Newt in The Maze Runner series continues this trend.

Can he still tap into that mind-set of someone of a different age, or is it becoming harder to relate to? “I think Newt as a character is actually very mature for his age which is probably what made him a ‘leader’ character.”

“He’s also not a muscle guy, he’s not a brute guy, he’s not into violence but he’s well respected, I think he’s kind of old beyond his years.” One can’t help but wonder then, is Sangster itching for the opportunity to don the villain cape and put one fist forward? “I mean yeah why not, I haven’t got any muscles but… motion

capture or something. It’d be fun. It’s fun to mess around and play all different types of characters.”

While he might not be stepping into a pair of particularly devilish shoes yet, Sangster could surprise us. After all, he’s already made the jump to voice acting and dabbled in production roles. If he put his money where his muscles are, we could soon see him turn bad. For now, the worst we’ve seen is his cheeky grin go cheekier for a spin as the naughty kid in Nanny McPhee, but the Brits have always been best as baddies, as showcased by the likes of Tom Hiddleston and Benedict Cumberbatch. As Sangster’s animated counterpart would say, “A hero’s a hero, but everyone loves a great villain”.

Comparing both Jojen and Newt’s duties as mentors, Sangster laughs at his supposed typecasting as the wise guide. Is this a case of art imitating life? “If I said yes then I’d sound a bit arrogant and a bit of a twat and if I said no then I wouldn’t feel very wise so I don’t know. I feel comfortable in myself. I like to think that I’m myself with everyone I meet.” This sense of self-assuredness has no doubt helped Sangster accept jobs he believes in, rather than trying to cling to the public eye by his fingernails.

Many cast members of Game of Thrones have pinpointed their role in the series as a landmark in their career. Nabbing a part in such a well-known and prestigious show can open many doors and truly be the making of a young actor. For Sangster, he’s wary of attributing all of his future success to one moment.

“Every job is a kind of turning point I suppose. It’s a learning process, you know. You always take away life experience and therefore acting experience away from any job.” Not one to compromise on what he wants, but unwilling to brag about what he has, Sangster is a perfect fit to partake in bringing such beloved characters to life.

With turns in Game of Thrones and the The Maze Runner series, Sangster has entered the realm of the increasingly popular fantasy genre. The Maze Runner in particular slots nicely into the ever-growing list of dystopian films aimed at young adult audiences.

Sangster agrees with the dystopian craze being attributed to the relatability of the adolescent rebellion narrative. “At that stage in your life you start to question things for the first time and you don’t just see the world through your parents’ eyes or your teachers’ eyes… You realise that there are some dark sides in this world.”

While not every teen is contending with memory loss and the impending doom of being trapped in a maze for rest of time, Sangster sees the films as an extension of teen anxieties. “It’s about real feelings and very much [about] characters that are in reality; that are grounded, but in a fantastical world that you can relate to the first time that you actually question the world as a teenager.”

The real draw to the film is the connection between the group of misfits tossed together to traverse this strange land. Lying at the core of the series is the bond between the characters as they tackle obstacles together. Drawing from a pool of talented British and American actors including Kaya Scodelario and Dylan O’Brien, the cameraderie develops both on and off screen. “We’re all good friends and stayed in contact between movies… We’ll all go out for dinner and just hang out and that’s great that we can take our relationships and put them into

our films as well and I think it really comes across in the film; the strength in our relationship as a group.”

Bringing page to screen under the watchful eye of millions of bookworms, you would expect Sangster to be worried about legions of fans trampling on the adaptations brandishing keyboards and well-worn copies of their beloved stories. Thankfully, his laidback approach to life is far-reaching, and he distances himself from any potential pressure, viewing the books and the films as almost separate works entirely.

“I mean the books are the books and they will always be there, so fans can always still go and read the books and we try very hard to take everything from the essence of the books and put that in our movie.”

With a little added help, the prospect of angering book lovers around the world disappeared almost entirely, leaving Sangster to focus on his work and turn any buzz into background noise. “We were lucky enough to have James Dashner, the author, completely on board with all of our little changes and that encourages the fans to accept our movies and it’s gone down well. Every fan I’ve met has always been really happy with the way that the story has been portrayed and they understand the changes that have to be made.”

The Maze Runner saw the band of brothers eventually escape the maze, and The Scorch Trials picks up directly after that, with the group thrown into a completely different environment. What does this mean for Sangster’s character, Newt? “[He’s] coming from a place which he had lived in for four years that he kind of understood, where he was second in command and understood the way of life, the way of surviving and looking out for your fellow brother and now he’s thrown into a world in which he knows nothing about. But yet he is free, which I think he’s very grateful to Thomas for but we find there’s a price to that freedom and that is that the world beyond the walls is actually arguably a lot more uninhabitable and quite a scary, horrible place.”

Braving the desert in Albuquerque to film The Scorch Trials, Sangster was delighted with the chance to immerse himself in the outdoors for an authentic performance. “It’s all about I suppose a feeling of claustrophobia and being trapped, it’s about the … of the kind of endlessness, of the vastness, and the dry hot heat of Albuquerque, again comes across really well in the sequels. It’s a very different feel.”

Despite the cosiness of a sound booth, Sangster prefers immersing himself in the outdoor arena of the Albuquerque desert. “Film is still very much my main thing. I just like making movies. It’s very different, it’s best to do both but they’re quite different.”

Having caught the acting bug at a young age has the spark disappeared, or does Sangster still share the childish wonder of the wide-eyed boy we all coo at come Christmas? “I still have the same feeling, I think if I lost that I’d probably stop doing it. I’m still excited to walk onto a film set, hugely. Not every single time, sometimes you’re bored and cold and miserable and want to go home but that’s just how it is sometimes. I still love the magic of movies.”

For the moment, Sangster is taking things easy and not worrying about what comes next. “I’ll chill out and clean my bikes and go for a ride and… yeah, work on them. One of them is a bit poorly at the moment.”

While Sangster nurses his bike, we’ll be waiting to see if he ever gets to be the bad boy riding off into the sunset with his CGI muscles rippling in the wind.

''Every job is a kind of turning point I suppose.

It's a learning process, you know. You always take away life experience and therefore acting experience away from any job.''

''I'm still excited to walk onto a film set, hugely.

Not every single time, sometimes you're bored and cold and miserable and want to go home but that's just how it is sometimes.

I still love the magic of movies.''

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music

Interview: Christy Moore

EVA GRIFFIN SITS DOWN TO DISCUSS MUSIC WITH LEGENDARY IRISH MUSICIAN CHRISTY MOORE

THOUGH he doesn’t cut quite an intimidating figure hunched over his guitar on stage in intimate venues across the country, Christy Moore has begun to take on an almost mythical air. Whispers of him being hard to interview had blown past the OTwo office door, unnerving enough to send a shiver down any student journalist’s spine. Thankfully we managed to glean some information about the man behind 50 years of music.

Born in Newbridge in 1945, Moore began singing as a young boy armed with a delicate soprano. Though he began playing piano shortly after, he “realised that the voice was [his] favourite instrument”. Introducing the guitar to his repertoire in the midst of his teenage years, it soon became used “purely as a method of accompaniment” to his developing vocal style. This forms the backbone of his arrangement, his uniquely Irish tone wafting over driving rhythms spearheaded by guitar and bodhrán alone.

“I was inspired primarily by my mother”, says Moore, and though he doesn’t say in what way, her steadfast presence seems to have been enough to encourage his burgeoning musicianship. His father died when he was only 11 years old, a boy left with a single parent and a passion that he strove to make something of.

At the tender age of nine, he “began to sing at concerts in Newbridge and The Curragh”, making ample use of his surroundings to grow into the performer he is today. Working as

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a bank employee as a young adult, during a strike in 1966, Moore left for England to pursue his dream. Reflecting the modern experience of many young Irish emigrants of today, Moore claims the experience of moving away had a profound affect on his life. “It effected [sic] the way I see the world… hearing Ewan MacColl, Woody Guthrie, [and] Pete Seeger turned me into a songwriter.”

In 1977 he wrote his first original song, ‘90 Miles to Dublin Town’, and went on to write numerous others alongside covers and reworkings of traditional songs, all catalogued across a lengthy discography. The number of releases he has churned out to date are so numerous that they have warranted multiple compilation albums, the latest being Where I Come From in 2013. This collection comprised of re-recorded versions of previously released songs, signalling that Moore isn’t above revisiting old tunes in the quest for near perfection. Rather than sitting on his laurels, however, Moore added a few new songs in for good measure, assuring us that musical inspiration is boundless and ripe for harvest.

In typical Moore fashion, his longest answer pertains to a question about political moments that affected both his personal and professional life. Ever the activist, he’s keen to point out that he is still very much involved in pushing movements that he believes in, and provides a lengthy list of events that stay firmly in his memory. “Witnessing an eviction as a small boy, seeing a drunk man

beat his wife on the street when I was eight, my father dying when I was 11, Bloody Sunday, The Hunger Strikes of 1981, the murders of Pat Finucane, Rosemary Nelson, Clerys shutdown, Water charges, Corruption in Politics, the death of Anne Lovett, Clerical abuse of children, Bob Dylan, The Immaculate Conception, Diageo, Enda Kenny, The L&H… all fleeting moments [that] have shaped my long life which [is being] reshaped daily.” Moore’s life has been as colourful as it is fruitful, with many of the aforementioned landmarks in time being referenced in song.

With a head full of ideas, Moore admits that he can’t always put his thoughts into music so easily. “I have abandoned many more songs than I have completed.” Unfinished pieces probably don’t keep him up at night, since his history of releases, both as a solo artist and a member of Planxty and Moving Hearts, far outrank most artists today.

Moore has seen many musical eras come and go, with constant shifts in genre, popularity and various revivals cropping up throughout the years. Rather than noting the change in styles, Moore points to the way in which music is made as decades go by.

“Perhaps the biggest change is the freeing up of the Recording Process. Back then Recording studios were inaccessible, [they] were owned and controlled by Record Companies. Today a recording studio can be [a] few small boxes.”

This surprisingly optimistic outlook on one aspect of the music industry is matched by his

genuine love of touring, although after this year’s Glastonbury he’s not keen to play any more big festivals. At the age of 70, Moore still feels the buzz of performing live though he describes the feeling as being more “organic.”

“I love gigging more [than] ever… I love the connection with listeners, the emotional charge of a good gig.” The weariness of being on the road, however, is the one pitfall. Despite touring extensively and often, Moore isn’t a fan of the constant travelling or the lonely nights in hotels. He gives the impression of someone uneasy with free time; someone constantly looking for work to do.

Is Moore gearing up for a hiatus and some well-deserved rest soon? Not likely. After all, Moore declares that “inspiration is 90 per cent perspiration”, proving that regular touring is essential for any performer.

When asked if he listens to any other artists in particular simply for pleasure, Moore delves right back into his own concrete work ethics. It seems that music, for him, is something very individual and tied firmly to his own craft. “I work at my music each day for long periods… I go to very few gigs… don’t listen to much else apart from my own work…” In many ways, this makes a lot of sense for an artist as individual as Moore is. His music is truly unique, and his career is likely to continue on this steadfast trajectory for years to come.

''I love the connection with listeners, the emotional charge of a good gig.''

album Reviews

Metric

KWABS

BEIRUT

Pagans in Vegas

LOVE + WAR

no no no

BEN FOLDS AND YMUSIC SO THERE

CHUGGING along since 1998 and finally kicking in the doors of mainstream success with their 2009 album Fantasies, Metric have returned with their rapturous sixth LP, Pagans in Vegas. Riding a new wave of electronic music that eschews traditional labels, they seem to be pulling and pushing against the ever-changing meaning of the words ‘indie rock’.

Bursting with confrontational synths and hypnotic hooks, the Canadian quartet dabble with a whole range of instruments to mould a malleable sound that sounds fresh but quintessentially Metric. Fusing their backbone of acoustic sounds with a tangle of wires and buttons to mash, they seem to have settled snug into their niche. Front woman Emily Haines’ characteristically soothing rasp remains the band’s calling card alongside her trademark daring lyrics, though resident guitarist Jimmy Shaw takes the mic on pop-lullaby ‘The Otherside’.

Underlying tones of Depeche Mode pulse through the discotheque anthem ‘Celebrate’, while glimpses of Metric’s 2005 release, Live it Out, break through the crackling riff of ‘Lie Lie Lie’. ‘The Shade’ is a triumph of hope, with Haines chanting “I want it all” over an 8-bit loop. Though the melodies can err on the side of repetitive, they’re charming enough to avoid slipping into the realm of irritating.

Pagans in Vegas is a contemplation on modernity, tackling the anxieties of urban ennui on self-doubt in a society hurtling towards an uncertain future. Laying all her cards on the table, Haines sneers at this “sinister world” and laments that it’s “too late to leave” on album standout ‘Fortunes’. On ‘Cascades’, she guides us along an ominous trip of surging synths and submerged vocals, whispering sound advice through a robotic feed: “just keep holding on to whatever it is, yeah, that’s compelling you on”.

In A Nutshell: An enlightening hymn book that shines almost as brightly as the garish Las Vegas strip.

KWABS’ long-awaited debut album comes off the back of his international success with the hit ‘Walk’, and a tour which included a robust performance at Electric Picnic. The title complements the album’s theme of opposites.

Love + War is a melding of Kwabs’ soulful voice and the cool, electronic score of producers such as Dave Okumu and Sohn. These contrasting sounds complement each other as Kwabs’ raw emotion is kept in check by a powerful synthetic harmony.

Often, however, the electronic tracks take a back seat to Kwabs’ dynamic vocals, like in early hit ‘Wrong or Right’. This is no great shame as Kwabs’ vocals are, as expected, the strongest aspect of his album. His booming choruses are built upon acute, subtle harmonies, mingling nowhere more appealingly than on ‘Walk’.

Kwabs’ jazz roots show from time to time, and on ‘Layback’, vocals are dominated by crackling snares submerged in synths.

The aptly named ‘Forgiven’ throws the spotlight on the instrumentation as it rattles underneath Kwabs’ humming vocals. In the closing song, ‘Cheating On Me’, the slow piano blues are elevated by the versatile vocals which by now are almost gospel in tone.

The title track is another instance where the electronic backing manages to bolster the already impressive vocal display. Kwabs’ raw baritone with its jazzy style takes on a more mainstream vibe by the sparse electro-funk of the production.

It is no mean feat that an established vocal force like Kwabs could be matched by such a subtle yet striking electronic backing. However, it is impossible to listen to a Kwabs track, let alone this whole album, without realising that his crowning feature is his formidable voice.

In A Nutshell: Impressive vocals in danger of leaving the hefty production values behind.

IN THE FOUR years that have passed since The Rip Tide, Beirut’s last recorded album, singer and songwriter Zach Condon has been through an array of significant upheavals in his personal life.

From the breakdown of his marriage to being admitted to hospital for physical exhaustion, it’s not been an easy few years for him.

Musically speaking, however, the album seems surprisingly light at times. Songs like ‘Gibraltar’ and ‘Perth’ positively bop along carefree, with groovy percussive builds and catchy piano riffs. ‘Perth’ in particular employs an ever-rarer horn section that tags in for the vocal line, bringing a livelier energy to the song.

Not wanting to fall back into the meticulous arrangements of his earlier work, No No No is by all accounts a simpler album when compared to his previous efforts.

Clocking in at just under 30 minutes, the album sometimes feels, because of its simplicity, like it never reached the final draft. Songs such as ‘Pacheco’ seem to wander aimlessly before finishing. The album can wash over you inconsequentially if you’re not paying attention as its minimalistic and unworked style almost feels impersonal at times.

In A Nutshell: Beirut are back with a pocketful of cheery songs.

David O’Rourke

Set for release on the day before his forty-ninth birthday, So There is Folds’ fourth studio album. The album is clearly divided into two sections. Folds’ well-developed song writing ability features on the opening eight tracks, backed by the six-piece chamber orchestra yMusic.

Aided by the talent of yMusic, the album remains upbeat and light-hearted throughout, despite some self-searching lyrics on Folds’ part, perhaps related to his four failed marriages in recent years. yMusic provide the perfect instrumental diversity which reinforces Folds’ lyrical ability, as well as bringing them to life. Together, the two parties form the perfect fusion of pop and classical music.

‘Phone in a Pool’ stands out as the strongest pop song of the album, and the most listener-friendly.

Although the classical elements are less evident throughout the song, the catchy, quirky lyrics more than maintain the listener’s attention.

The final three tracks are orchestral pieces conducted by Giancarlo Guerrero, and will most likely lose those listeners who lack interest in the classical music genre. Although these closing pieces fit in well with the overall theme of the album, ‘I’m Not the Man’ could just as easily have been kept for the closing: a soft-tempo song of brutal honesty, in which Folds questions his identity as a musician and finishes on the defining line; “I just wanna be”.

However, the latter half of the album plays out beautifully and So There is a clear reminder that an album should be a cohesive piece of work.

The structure of the album as a whole clearly demonstrate Folds’ expertise as a musician and composer, which has undoubtedly come from years of experience.

In A Nutshell: Pop and classical melodies paired with simple yet slightly obscure lyrics provide a refreshing listen.

JAMES HOLOHAN

JACK O’SULLIVAN

EVA GRIFFIN

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GIG GUIDE

Having formed Seekae / Whelan’s / Wednesday 23rd September

Jacco Gardner / The Workman’s Club / Saturday 26th September

Sydney-based electronic three-piece Seekae take their European tour to Whelan’s later this month, a year after the release of LP The Worry. The group’s third full-length instalment in their already shining repertoire has been met with rave reviews, won them a rake of awards and they have since sold out shows in Sydney, London, Paris and Berlin. Expect to be transported by an ambient mix of otherworldly vocals and percussive electronic house.

Following a positive response to his second record Hypnophobia, released in spring this year, Jacco Gardner will make a stop in Dublin during his extensive European tour this autumn. The accomplished Dutch multi-instrumentalist and producer creates hazy, “stoner pop” sounds, inspired by the clash between dreams and reality. Joined on stage by a full band, Gardner is known for his colourful, psychedelic live performance.

The Strypes / The Academy / Thursday 24th September

The Minutes / Whelan’s / Friday 2nd & Saturday 3rd October

With three of the four members of The Strypes still in their teens, Cavan’s local child prodigies of rock and roll are set to make a lot of noise in the Academy just weeks after their successful performance at Electric Picnic. Get ready to hear material from their second LP Little Victories, which was released in July and peaked at number one on the Irish charts.

This Dublin trio believe in the power of good old fashioned rock and roll, which they blast out from a foolproof trifecta of guitar, bass and drums. They’ve had plenty of opportunities to master the art of live performance, having toured with an impressive catalog of acts including The Strokes, Albert Hammond Jr, Supergrass and Black Rebel Motorcycle Club. Six years after their year-long Whelans residency, The Minutes are back in their old home for two nights, which are expected to be seriously loud.

Leon Bridges / The Olympia / Friday 25th September Leon Bridges’ soulful sound belies his age. Best known for the track ‘Coming Home’, which went viral on Spotify, the Texas-born 26 year old expertly crafts timeless gospel and soul music which sounds like it’s straight out of the 1950s. Since the release of his debut album in June, Bridges has earned emphatic acclaim as both a recording artist and a performer, winning an award for his performance at SXSW. The Irish date has received so much attention that it was moved to a larger venue to cater for the tremendous demand.

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Radar: The Optimists

''What makes us sound unique comes from a constant craving of wanting to push ourselves further and further to see what we are able to create musically''

HAVING formed less than a year ago, unsigned Dublin art pop/rock band The Optimists mean business, having already recorded their first single. Their Soundcloud page includes only two self-recorded tracks, featuring subtle but catchy guitar hooks, memorable melodies, sultry vocals, plenty of attitude and above all, a distinctive style. Both songs demonstrate impressive musicality and hint at major potential.

Comprising six BIMM classmates, the group were “roped together for an audition… and something just clicked musically”. Guitarists Axel and Tom, bassist Ronan, drummer Cheese, singer Heather and singer/synth player Leah soon began writing and rehearsing together regularly. “Things happened very organically when it came to the type of music we were going to write. We just played what felt right… Our music has matured the more we’ve played together.” Constant practice and gigging has served to draw them closer together. “We’ve become tighter as a band and because of this we’ve been able to do things that we couldn’t have done before.”

The Optimists are keen to develop their stage presence. They first performed together in The Button Factory, an unusually prominent venue for a band’s debut, but received a very enthusiastic response from the audience.

The confidence to take on such a task at an early a point in their career stems from a firm sense of belief in their abilities. “What makes us sound unique comes from a constant craving of wanting to push ourselves further and further to see what we are able to create musically. That’s the secret to a great sounding song and a great sounding band — each part lives and breathes to allow the song to surface and come to life.”

As a group of music students, they’re all passionate and extremely focused.

They recently performed on Dublin South FM, and progressed to the final stages of a competition to earn a slot at Electric Picnic. It’s obvious that they’re taking things seriously. “We do have goals, one of them being the release of our first single in November, but we want to see what will happen naturally.

That being said, as a musician most things don’t happen very “naturally”, there’s a lot of work behind it.” Though they have distinct ambitions, they aren’t afraid to leave things to chance and see “what the universe will throw [their] way.”

If things go according to plan for The Optimists, we’ll surely be hearing the band’s name more as time goes by. “We hope to have our EP out by the end of this year and then start gigging with it. Hopefully release a few more singles and just build up a name for ourselves! We all agree that we want this to go all the way because we love the music we make together!” Their end goal is simple and, unsurprisingly, optimistic. “Our ultimate dream would be just to play to as many people as possible… To be sharing our music with as big audience as we can.”

HamsandwicH After performing one of the most memorable sets at this year’s Electric Picnic, Niamh Farrell of HamSandwicH speaks to Patrick Kelleher about the challenges of songwriting and the joys of performing

IN PHOTO: HamsandwicH BY DARA MUNIS IRISH BAND HamSandwicH have always been a group that work to their own beat. Since their early beginnings in 2003, they have been highly individualistic. Everything from their unusual name to their decision to release their music on their own independent label suggests that they refuse to buy into a music industry that doesn’t always value music in the way it should. Despite this, the band has been one of the staples of Irish indie music, and has been consistently popular over the years. Having just finished a hugely successful set at Electric Picnic, the band are still on a high when OTwo speaks to them.

Niamh Farrell, lead vocalist for the band, has been delighted with the reception to their most recent set of songs. Their album Stories from the Surface was released last April, topping the Irish charts in the process.

“When we play the new songs, especially off the new album, it has been getting really good reactions,” Farrell says. “Even at Electric Picnic, for example, at the main stage we would have played a couple of new songs and I don’t think that half the crowd had ever heard those songs before… But they were still dancing, and that’s what we wanted; we wanted people that even if they’re walking by hear a snippet of song and go ‘Well, that’s really cool’. We just want people to have a bit of fun.”

Farrell knew while still recording the album which songs were likely to be popular at the gigs.

“In Perfect Rhymes was the one on the new album that I thought people were really going to grab on to,” she says. “I can kind of see that at gigs, people singing along to the verses and the chorus and stuff, and that’s one I really love singing live, so it’s great to get their response back.”The recording process can be complex for the kind of music the band make, and this is certainly seen in Farrell’s favourite song on the album, ‘Broken (Start Over)’. “It was kind of one of

these songs that was the elephant in the room, and we knew we just had to strip the song apart and kind of build it up again,” Farrell explains. “We set about that, and we done [sic] it, and what we came out with in the end was… my favourite song on the album.

We haven’t gotten around to playing it yet cause it’s quite… it’s the most electronicky [sic] sounding one on the album, so it’s a hard one to translate live, because it’s kind of low and kind of quiet, so we need to figure out an arrangement I guess, so we can do it justice live.”

Making their latest album was a difficult experience in some ways, taking longer than expected. “With the last album it took a lot longer than we thought, because we were very fussy, and we were under a lot of pressure to get it out at a certain time. The pressure wasn’t working to our favour… because when you know something isn’t ready, and people are saying ‘you need to have it out now!’ and we thought, look, there’s no point in rushing something, because if we rush something, we get it out there and you realise… we should have taken at least another couple of months. So we kind of went look, we’ll scrap the date to have the album out.”

While the album took longer to release, she says that she is glad they chose to take the time. Farrell notes that the end result is much better than it would have been if they had caved under the pressure.

Perhaps a part of the reason the making of the album was difficult is because of the personal emotion invested in their songs. “There’s a lot of personal stuff in there,” Farrell says. “We kind of have this thing now where we’ve known each other from twelve years [sic], if Podge starts writing something, I know what he’s talking about without even saying it… Some of the stuff is quite personal, especially for example with ‘Ants’. John was writing about something personal that happened to him, and without even asking him

what it was about I knew what it was about. I didn’t have to ask, so I kind of continued on the vein of that story. I came up with the chorus and he did all the verses and it kind of moulded together; it’s a nice way to work.”

For Farrell, they have been influenced by a wide array of talented and varied musicians. She cites The Smashing Pumpkins as being her “go-to band” when she was younger, and also notes that music was very much a part of her upbringing. “I was always surrounded by music growing up, a lot of Irish traditional music more so. My uncle plays the fiddle, and my other uncle plays the banjo.” Other than The Smashing Pumpkins, she cites Kate Bush as an influence, and says that she has been “really getting into the more female side of musicians and singers”.

The band have been busy touring with their new album and bringing their music to as many places as possible. They have a lot lined up for the next few months. We’re off to New York in October… And then hopefully we’ll be looking over to London and going back over to do a couple of gigs in the UK. We did two gigs over there a couple of weeks ago that went really well for us in a venue called Islington, and we just want to get back over there… Then we’re going to hopefully do another small tour around Ireland in November.”

The band’s status as one of the greats of indie Irish music is perhaps at an all-time high right now. With their most recent release, HamSandwicH has never been so self-assured in their musical ability. Farrell finishes by noting the pleasure of the company of their band. “It’s fantastic that we’ve gotten to share all these times together over the years, you know? It’s nice to do it with a bunch of people that you like being around.”

The strong bond between the members of the band is clearly HamSandwicH’s greatest asset, as they continue to travel the world together with their unique sound.

''It was kind of one of these songs that was the elephant in the room, and we knew we just had to strip the song apart and kind of build it up again.''

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“Gnawing my way back home”: Lady Lamb

Gráinne Loughran talks to Lady Lamb about her extensive US and European tour and the process behind her second studio album

IN PHOTO: Lady lamb

IT’S BEEN JUST over six months now since Aly Spaltro, more often known by her stage name Lady Lamb, unveiled After, her second studio album. After is a combination of existential musings and personal memories. Listening to the album brings one surprise after the next.

There’s no clear narrative to the album as a whole; rather, it’s a collection of moments and memories, each one stylised differently by the self-taught Spaltro. The story goes that she began her musical journey when she was 18, practicing in the basement of the DVD rental store where she worked at the time.

Following days of technical difficulties, we finally get to talk to Spaltro via Skype. She’s in Texas, which she describes as being “really, really hot”, finishing off the US leg of her tour for now, before she comes to Europe next week.

The six months that have passed since her album was released have been jam-packed.

“I’ve been mostly touring, and I haven’t had too many long breaks in between tours, which is good,” crackles Spaltro through the slightly dodgy Skype connection. “It’s been busy, in fact I can’t believe it’s been six months. The time has flown by. “ Spaltro’s music has been described as everything from surrealist folk to rock and roll.

After isn’t easy to pin down when it comes to genre; musical style seems to be decided secondary to the lyrics and the stories Spaltro wants to tell for each individual song. “Indie

22

folk” is perhaps the most straightforward way to categorise what Spaltro does, but she doesn’t like to be described solely as a folk artist. “I couldn’t possibly put a genre on it.

That’s the toughest thing, to try to describe what it is I do because I’ve no clue. I don’t love getting pigeon-holed in the folk category, I guess in terms of being a storyteller that’s fine with me, but musically I think I stray away from that category quite a bit. I don’t really know what I do!”

Storytelling plays a huge part in Spaltro’s lyrics. Songs like ‘Ten’ recount personal memories of her childhood in Maine and the everyday happenings that have made up her life. “I enjoy talking about my memories and my family and that kind of thing. But I usually write lyrics in phrases and not in poetry form so it ends up being a collage of a lot of different days and experiences and thoughts all into one. I like talking about things I care about and things I experience.” ‘Ten’ recounts a mixture of memories from her youth, part of the reason why Spaltro is so lyrically unique. Not everyone has childhood memories of “lifting/ The sandbox in Arizona and catching/ The geckos and keeping them as pets.”

Spaltro recently moved to Brooklyn, New York, which has had an impact on how she devised her latest album. “I’ve had to learn to be a little quieter when I write. With technology today I can plug in my guitar or bass into my

computer and have a distorted loud guitar tone kind of have the live show be full. But I play a couple of solo songs. It’s been fun touring solo in my ears and I can arrange music quietly that on this tour just because that’s where my roots way. That’s basically how I wrote this record, quietly in my apartment, in headphones. Living start, playing alone, so it’s been nice, it’s been refreshing.” in New York kind of helped me to understand ‘Billions of Eyes’ has been the most popular my vocal range a little better, and sing quieter, Youtube hit from After with over 96,000 views, and sing in pretty tones, I guess you could say. but Spaltro has noticed that It opened up my voice a it’s her more personal and bit to new things.” ''I couldn't autobiographical songs that She’s happy with how hit home the most for her the latest album turned possibly put live audiences. “I love to out. “It’s progressed a genre on it. perform ‘Billions of Eyes’. My in a positive way from favourite is probably ‘Spat my last record, and I That's the Out Spit’. But I’ve noticed think people seemed that the song ‘Ten’ really excited about it, coming toughest resonates with audiences, to the shows and really thing, to try which is just a solo song enjoying the record, so I that I play in the middle. It’s can’t complain, it’s been to describe pretty personal, about my great.” what it is I do family. I think people really Touring solo is an something out of that.” unusual way to travel because I've no getShe’s looking forward to around the US and clue.'' the European leg of her tour, Europe, but Spaltro has but by the time she’ll get found it to bring back home to Brooklyn it’ll be time to record some welcome memories of how she began her new material again. “After this tour in Europe music career, playing alone during her teenage I have just under two weeks off at home, and years. “It’s pretty weird that I tour completely by myself,” she says. “This whole year I’ve been then I have about two more weeks [of touring] in the US, and then I think I’ll just be home touring with two American friends as a trio on for part of November and December, just kind this record campaign, which is why I wanted to of recuperating and beginning to think about enlist a couple of friends overseas as well, to

writing new material. And hopefully more touring next year. I’ve had great experiences in Ireland, people are so wonderful and loyal. I played The Sugar Club last time and it was such a memorable experience, so I’m really looking forward to coming back and starting the tour there, and playing with the band.”

Aly Spaltro might say of her work that “I don’t really know what I do,” but the rising wave of After suggests that no one minds too much. Not allowing herself to be pigeonholed into any category other than that of “story-teller” suits this wandering songstress as she tours Europe and the US on the back of her stories as much as her songs. We can only hope that she continues to stop in Dublin along the way.

Lady Lamb will be playing at the Grand Social on September 17th. Tickets cost €15 and can be bought on Ticketmaster.

From Support to Headliners: The Bohicas As The Bohicas gear up for their October performance in Academy 2, Ciara Jane Duffy speaks to frontman Dominic McGuinness AUTUMN 2015 has brought success to four lads from Essex who’ve been setting tracks from the West London music scene since 2013. Fresh from their Longitude appearance, the band praises the electricity of the crowd and cites the performance as “one of [their] top five ever”. With this, their Academy gig is highly anticipated by both band and fan alike. The Bohicas have brought their latest offering to the indie-rock collaborative and took time to chat with OTwo ahead of Bestival and the Dublin gig of their October tour.

The Bohicas have come a long way from their origins in the souls of a teenage duo Swanton Bombs who indulged in laid-back sessions of merriment and covers. Now in the fast pace of the modern music industry, the foursome haven’t sacrificed their sound for success. Instead they have brought their tonguein-cheek lyrics with their indie-rock sound in concisely crafted offerings, which ring a triumphant tribute to the sound of influential bands such as the Beatles, the Strokes and Queens of the Stone Age. In conversation with front-man Dominic McGuinness, it’s clear that the friendship in the band has been a key motivator in bringing them through name changes and sound experiments. “I can't imagine what the alternative would be. If you play in a band, you have to be friends first. Otherwise you're standing in a rehearsal room, studio or venue with a stranger who's just into similar music as you.”

Having signed with Domino Records in 2013, the band are still gauging the speed of life in production.

With their debut album released less than a month ago, the band look forward to taking in the feedback from friends, family and fans alike. With the tour and in-store appearances, you can sense the raw passion that these four have for their craft. McGuiness admits that the band focus on taking “each day as it comes” whilst using their downtime to create and rehearse material.

Focusing on keeping the intentions of the young

indie-rocker in their souls is a factor that lets the musicians remain unabashed by the trends of anthemic pop and its manufacturing. Having citied their deliberate allowance of accidental music, it’s hard not to sense the poetry that exists in the lyrics of their songs. As such, McGuiness is something of a scholar of their sound as he expresses awareness of the impact their music can have in delivering the visuals that accompany it by artwork and video alike.

“Dominic John and I came up with it. I think cohesiveness is important in a band's album campaign. However, I love it more when bands totally throw that out the window and go by their own rules. Like The Beatles. But I think for a band's debut album it's wise to keep the palette limited and focused so it's clear who the hell you are.” Staying true to knowing “who the hell you are” is the baseline for The Making Of’s artwork.

McGuiness reveals the influence his upbringing has had on shaping his appreciation of incorporating the same amount of effort in his visual as well as musical art.

“My dad's an artist. He paints and draws and up until I was about 15, I wanted to be one too. Lyrically, if I'm to achieve anything that is a product of visual art as an influence, I'm relying on language and delivery to really scorch that imagery into the listeners’ imagination. So I depend on language as much as visual art for lyrics. Otherwise I wouldn't be able to describe the image. Sounds obvious but when the two of them collide in music it's unstoppable. Listen to the verses of Lucy In The Sky With Diamonds (by The Beatles) and try to imagine anything other than the landscape he's singing about.”

The band use the opportunity to make the most of their music video creations. McGuiness insists that the chance to make a video in its vitality should be “boss”. “We love Tarantino and

we had the opportunity to record a music video, gracing the main stage. The future is certainly which meant coming up with a vague plot for bright for the four London lads as they continue to our songs. hit new heights.

“We came up with a two part idea and our The Bohicas will play at Academy 2 on October manager suggested putting XXX and Swarm 15th. together in one video, instead of part one and part two... I'd say if you get the chance to make [a music video], make sure it's boss because if you like films, and you're hanging out with a director, it's a no brainer. Have some fun with it.”

The influence of favoured director Quentin Tarantino is evident in a scene of the band performing in a red and blue lit bar, reminiscent ''If you play in a band, you have to of scenes from Tarantino’s canonical Pulp Fiction.

The feedback from their live performances is of be friends first. Otherwise you're importance for the band, and the transition from standing in a rehearsal room, being booked as support to headlining their own shows has been successful and a celebration of studio or venue with a stranger sorts for the quartet. who's just into similar music as “We knew at a certain stage that people you.'' were into our stuff and that if we just kept on with the support slots it'd eventually work in our favour. The change from support to headline has been great. It means you can approach the gig with a celebratory sort of mind-set instead of a peacocking one.”

Their live gigs are a central source of energy and inspiration for the band. There is no panic in trying to make their studio sound translate to the stage, as the process is more of the opposite.

The Making Of brings a rawer sound that has yet to leave listeners disappointed in live shows.

McGuiness explains this very simply: “If you're wondering how you're going to translate a bagpipe solo from a recording to your live show, and you play in a standard four piece set up, you need to ask yourself some questions...”

What is most striking about The Bohicas is their drive and determination to succeed. After years of being the support act, they are finally IN PHOTO: THE BOHICAS

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Blurring the Seasons As the weather starts to get colder and wetter, Lucy Coffey looks at Dublin’s hidden niches

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THE HUSTLE and bustle of every city is as daunting as it is delightful at first. We are constantly pursuing hiding places in the hopes of finding a place truly unique; a place away from the tourist areas where we can get our breath back. With winter squalls on the way, this search retreats to the cosy nooks and crannies of Dublin’s bookshops, cafes and bars.

But with remnants of summer days still drifting away, it can be a bit of a struggle to decide on which season you should dress for. Still slightly too warm for the thick and cosy Aran wool jumper, but far too rainy for cotton culottes.

While the muted and wine coloured drapes for autumn stand in sharp contrast to the soft cream silhouettes of summer, that doesn’t mean you have to isolate both wardrobes from each other. September is full of new beginnings for college students. It’s the perfect time to carry over splashes of colour from summer while gradually pulling in more pieces for your Autumn/Winter look.

Damoye sports an aquamarine satin and sheer high-neck top along with a white tulle skirt accentuated with small silver beads. This is the perfect blend of summer and winter as you can pair the top with a pair of jeans and a blazer for a dressed-up campus look, or wear the skirt to a pre-Christmas ball.

Accessorised with a matching statementnecklace and a delicate gold chain, the warmth of the metal allows the cooler tones to liven-up and draws a contrast to the softness of her make-up. Soft contouring helps to blur the lines between seasons and is durable between college and going out as it can be applied softly

in the morning and more boldly at night.

Isaac wears an equally durable assemblage in the form of a royal blue velvet blazer and mint green button-up. Paired with grey chords this outfit can be worn on campus or off, with a simple tie or bow-tie bringing it up to event standard. The wash of grey, blue and green gives an added dash of cool which looks all the more striking amidst the usual crowd standard of black or grey. However, if you wanted to pare back the look without depleting its tapered quality, swap the blazer and mint green for a dual-shirt combo in distressed denim and crisp white. A patterned undershirt accentuates the coolness of the denim and allows more of a relaxed look for rainy days.

An excellent way to counter those wet days is seen on Damoye as she stands in front of the vibrant facing of the Books Upstairs. A simple trench in a vivacious blue alongside a pastel pink dress that disintegrates into a lovely city pattern is highlighted on dreary days and allows the colours to come alive. Such soft colours are easily transmitted to a winter wardrobe, as the dress itself is made of a crisp material that will hold in the heat on chilly winter days.

The vitality of summer can definitely add a few uplifting tones to what can be seen as an otherwise uninspired winter outfit. Mix and match pieces to create a lighter look while you still can – it won’t be long before the cold sets in and wearing anything but wool will be all but impossible.

ISAAC: Grey Chords: €39 Green Shirt: €29.99 Pocket Square: €10 Blue Velvet Blazer: €59 White 50’s Shirt: €25.00 Denim Shirt: €29.99

damoye: Pink Town House Print Dress: €58.00 Blue Trench Coat: Stylist’s own Blue Stripe top: €38.00 White Bead Mesh Skirt: €65.00 Gold & Blue Necklace: €28.00 Long gold symbols necklace: Stylists’s own Nude strappy shoes: Folkster, €78

Damoye’s clothes: Om Diva Isaac’s clothes: Harlequin Make-up artist: Ligi Mazutele.

Photographer: Joanna O’Malley Models: Damoye Areoye & Isaac Gbola Aderogba.

Venue: Books Upstairs.

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Living on Stardust

The unusual style of the 1970s is often a forgotten era in fashion. Amelia Conophy looks at 70s fashion, arguing that it is much more beautiful and important than it is usually given credit for Whilst some people may sneer and call it ‘the era that fashion forgot,’ there’s something about the 70s that simply refuses to be forgotten. We all know that fashion is cyclical, but there seems to be a lasting affinity for this mid-century era and the multitude of styles it has to offer.

2015 has been all about a 70s throwback, with bold patterned wrapdresses and tailored camel suits lining the walls of almost every high-street retailer. Subtle takes on this trend could be anything from shapely suede miniskirts, leather platform heels and romantic, floaty bell-sleeve blouses.

The colours this time around are often much brighter than the muted, sepia tones that dominated the clothes rails of times gone past, so there’s no need to fear resembling your grandparent’s carpet.

Celebrities the world over are trying to encapsulate the style of the era whilst still looking modern and chic.

Take Dakota Fanning in a stunning red suede fringed dress by Valentino at the world premiere of Effie Grey.

Central to the fashion of the 70s was the quashing of gender norms.

Musicians were at the fore of this. This trend continued throughout the 80s and 90s, but has unfortunately appeared to peter out in our almost detrimental pursuit of a politically correct millennium. Stars such as Miley Cyrus, for example, take some of the hardest battering for what are perceived as fashion ‘faux pas’ by those who in turn perceive themselves to be fashion forward. However it could be argued that her provocative public persona and eccentric dress sense harkens back to those revolutionary days of various 70s fashion icons. Many act outraged and take to numerous outlets to scream and shout about how they are offended, but why is this so? A young woman embracing her understanding of sexuality and expressing herself through dress in a way in which she feels comfortable should be celebrated, not condemned.

In short, think of that iconic image of David and Angie Bowie walking with baby Zowie in a pram, his outfit so feminine, and hers so masculine. This is a man who truly dressed for himself, as comfortable in a skin-hugging jumpsuit as he is in a tailored suit, a true reveller in the freedom of the era. These days we are so quick to critique those who defy the norm that it seems incredibly unlikely celebrities such as Miley Cyrus, FKA Twigs or Zendaya will ever be able to make such an impact on the clothes we wear and the trends we follow without some scathing remarks about their appearance. Talking from behind a screen has never made the pursuit of ingenuity so hard, or harsh critique so easy.

IN Photo: DAVID BOWIE

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IN Photo: Dakota fanning

Dublin de Rigueur A slice of Dublin Street Fashion Clinton from Dublin City Bboys: ‘The print of the shirt is just stressing truth.

We chose it because we think it’s good to entertain people and it’s very good to be bad.’

Sarah Roe: ‘I got the Skirt from a Japanese website called innocent world but the skirt had to be altered slightly so a bustle was added. My Mum altered it for me.’

Photos: Lucy coffey

Some like it Hot, but no one likes it burnt As students try to catch the last fleeting remnants of sun, Niamh Linehan looks at how to reduce both the pain and the harsh look of sunburn on your skin SUMMER in Ireland can be a dangerous time.

Before the sun has even had a chance to poke its head out from behind the clouds, people are preparing for its arrival. Crocs are dusted off, the free baseball cap you got at the minimarathon suddenly has a purpose and weather apps are being checked more furiously than the Euromillions results on a Friday evening. Every public park becomes a health hazard, with the risk of being hit in the face by a stray Havaiana, discarded in a moment of sun-soaked euphoria by their owner or getting on the wrong end of a hastily thrown Calippo wrapper, becoming two of the most common lunchtime perils.

Then of course, there is the real problem of an Irish summer: sunburn. Most of us tend to forget that the sun in Ireland is the same as anywhere else in the world – very hot. So, if you’ve over indulged a little too much this

summer and are looking more red than rad, read on to discover some secrets that will leave you feeling a little less hot and bothered.

Natural Yoghurt Natural yoghurt should be applied liberally to sun burnt areas. About 10 minutes should do the trick and then pop in the shower to wash it off with tepid water. The probiotics and enzymes in the yoghurt will take the sting out of your burn and hopefully take it down a few shades, from “recently holidayed on the surface of the sun” to “did you catch a bit of sun?”

Aloe Vera Aloe Vera, whether straight from the plant or as an ingredient in a gel, can provide

immediate relief from sunburn. If you are using aloe direct from the plant, make sure to do a small patch test on your skin first. Aloe vera allergies can be common and may actually end up aggravating your skin. For extra punch, keep your aloe vera in the fridge for about an hour before application. It will bring you sweet relief.

redness, swelling or pain.

As always, prevention is better than the cure. Remember to wear sunscreen whenever you are out in the sun and pop on a hat to protect your face. If nothing else, it’s an excuse to go shopping.

Water and Ibuprofen It’s an oldie but a goodie. It might seem quite obvious, but when you’ve scorched your skin to the point that it is starting to resemble a well-used saucepan, it is really important to rehydrate so your skin can heal. Keeping a bottle or glass of cold water to hand will also help to keep your temperature down. As soon as you’ve noticed that you’ve burnt your skin, take some ibuprofen. This will help prevent any

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Arts and literature

A Kind Of Compass Review As Tramp Press gears up to release their next title A Kind Of Compass, Patrick Kelleher reviews the collection THE LATEST title from Tramp Press is A Kind of Compass: Stories on Distance , edited by the acclaimed Irish writer Belinda McKeon. The book is a compilation of short stories by seventeen writers from both Ireland and abroad. McKeon borrowed the title from Rebecca Solnit’s A Field Guide to Getting Lost. The collection is an intriguing and often beautiful look at the nature of distance for writers across the world.

McKeon knowingly writes in her introduction: “I asked these seventeen writers to think about distance because I am obsessed with it.”

The seventeen writers featured all come from different backgrounds and different levels of distinction. Amongst the Irish writers featured are Irish PEN Award winner Éilís Ní Dhuibhne, as well as highly successful younger writers, such as Sara Baume and Kevin Barry.

What is perhaps most interesting about McKeon’s collection is that it is firmly an international one. All of the short stories explore the theme of distance, and the loss associated with it. Sometimes distance brings elation, other times it is a source of freedom.

Most often, what these seventeen writers achieve is a nuanced approach to distance: one that encompasses all of these feelings.

From beginning to end, the stories are intriguing. Each one brings to the fore a new emotion and experience associated with leaving. ‘Terraforming’ by Elske Rahill is a

beautifully written piece on the confines of loneliness and looks at how sometimes, distance can be imperative. It blows open the parameters of stories on distance, and focuses in on a mother who is making the decision to leave her child behind to voyage to space. Rahill’s beautiful writing focuses on the intensity of the emotions of her protagonist as she makes such a monumental decision.

Each short story is evidence of a strong relationship between writer and editor. All of the short stories in this collection show the writers at the peak of their abilities. Their nuanced and often heartrending perceptions of distance and travel make for compelling reading. Sara Baume’s ‘Finishing Lines’ stands out as one of the most engaging in the collection, displaying a beautiful depth of emotion.

It makes sense for this collection to be Irish based. Published by independent Irish publisher Tramp Press, and edited by the Irish McKeon, this book interprets the Irish experience of leaving in an emotional and personal way.

Since the nineteenth century, emigration has been a major facet of Irish life. The writers in this collection explore the ideas of love and loss, and how love can remain constant even in the face of endless distance. McKeon, herself an Irish emigrant, currently living in New York, writes in her endearingly honest introduction:

“I read these stories as they showed up in my inbox, and I became even more obsessed. With the farawary deep inside; with the faraway glancing off every surface. With the spaces – the acres – between people, between places, between the parts and versions of the self.”

McKeon captures the essence of departure in her introduction. Her team of seventeen writers expertly tear the theme open through their beautiful short stories. Honest and endearing in its exploration of an often-neglected theme, A Kind of Compass is a perfect success.

A Kind of Compass will be released on 17th September 2015.

Annemarie Neary: An Unconventional Path to Fiction Anne-marie Neary speaks to Maebh Butler about how she found herself stumble into the creative writing world, what keeps her motivated and the story behind her second novel, Siren FOR MANY WRITERS, fiction is something that’s been a long-time pastime. For London-based writer, Annemarie Neary, however, it appears that she chose to take the “scenic route”.

Although obtaining a degree in English and French literature, Neary says that it was not until she began to work as a lawyer at King’s Inn did she find her true calling.

“Ironically, it was my work as a contracts lawyer in London that opened up my interest in words as conduits to hidden areas of meaning,” she says. She also notes that she “became more precise, concise and disciplined – those are not natural traits of mine!” Often it is thought that writing is something that one immerses themselves in from a young age, but Neary proves the contrary and admits that a university degree is not the key to every lock. “Get out into the world. Observe, wonder, imagine. Be curious. All that is arguably more important than a degree of any kind.

But reading – anything and everything – is essential.”

All of this is surely no easy task and OTwo ponders over where Neary finds the motivation to keep herself on track. “Deadlines are a great motivator, which is one of the reasons why I’d advise beginner writers to submit to competitions and magazines. There are times (admittedly rare!) when you are writing something and it just soars. Trying to regain that euphoric state is part of the motivation.”

Undoubtedly, this is sound advice, and it seems

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to have paid off quite successfully for Neary.

With her first short story winning the Brian MacMahon award at Listowel Writer’s Week, it poses the question of the importance of writers receiving recognition for their work. “I realise now how lucky I was to get a confidence boost like that early on. However, it’s important not to get blinded by the light and start thinking you’re wonderful! The most important thing is to edge closer and closer to the truth with each thing that you write. So yes, awards are great but they won’t make you a better writer. You have to do that for yourself.”

With great success over her first novel, A Parachute in the Lime Tree, there is much anticipation over her coming novel, Siren.

Siren is a psychological thriller that tells the story of Róisín, “a woman claiming back her own identity” who returns to Lamb Island to confront her enemy, a career politician named Lonergan.

The novel is due to be published in March 2016

by Hutchinson and Neary says that, although a fictitious place, Lamb Island borrows traits from some West Cork islands that are familiar to her. If some of the landscape is taken from Neary’s life, how much of herself is put into the characters? “Not a great deal, I hope – there are some pretty dark characters in Siren…

Everything you are or have been goes through the blender and emerges in a character trait here, an observation there. I’m not interested in writing about myself, and my work is not

remotely confessional.”

As well as the publication of Siren on the horizon, readers can expect another psychological thriller from Neary to greet bookshelves in 2017. Neary’s career has gotten off to a strong start, and this seems sure to continue as the hype continues to build.

''Get out into the world. Observe, wonder imagine.

Be curious. All that is arguably more important than a degree of any kind.

Trying to regain that euphoric state is part of the motivation.''

Yeats Revisited at Dublin City Gallery The Hugh Lane

The Dublin City Gallery The Hugh Lane hosts a nostalgic and thought-provoking exhibition inspired by W.B. Yeats’ memories in his poem, The Municipal Gallery Revisited. Maebh Butler looks at the exhibition

THE HUGH LANE gallery, originally The Municipal Gallery of Modern Art, was founded by art collector, Sir Hugh Lane in 1908. The gallery notably houses the archives and studio of Francis Beacon, alongside a recent gift of paintings from Sean Scully. As of April 2015, it now also holds an exhibition inspired by the paintings referenced within the poem, The Municipal Gallery Revisited by W.B. Yeats.

The Municipal Gallery Revisited is a sentimental account of Yeats’ memories with his close friends. The elegiac poem narrates Yeats’ thoughts as he views the portraits of his peers who have passed away, while visiting the Municipal Gallery in Charlemont House. The Municipal Gallery Revisited is brimming with a sense of fondness and knowing, and The Hugh Lane gallery aptly exhibits these portraits in a warming way.

The exhibition consists of little more than the portraits, a marble bust, and a slightly bored looking security man in the corner. The

room itself is well spaced out, and the lighting is comforting with its yellowing glow. There is an unmistakable homely sense within the exhibition.

The gallery includes a printed version of the poem on the wall. This allows the visitor to relate the paintings they see with Yeats’ memories. Beside each portrait is a quote from the poem that coincides with each particular painting.

This is a work quite different to any other of Yeats’ poems. Usually steeped in historical and political issues, Yeats’ poetry deals with nationalism and the relation between art and politics. Rather than using poetry as a tool to delve into political problems, Yeats chooses to utilise his poetry as a way of celebrating and remembering his friends. There is no deeper meaning than that. There is nothing radical or political about this exhibition, despite the presence of paintings depicting historically important moments. Under one particular portrait of W.B. Yeats himself, painted by Sarah Purser, are lines from the last part of the poem:

“You that would judge me, do not judge alone This book or that, come to this hallowed place Where my friends’ portraits hang and look thereon; Ireland’s history in their lineaments trace; Think where man’s glory most begins and ends, And say my glory was I had such friends.”

These lines are truly poignant and relevant to the exhibition as they convey the sincerity of the respect that Yeats held for his friends.

Although a small exhibition, it certainly has a big sentiment and it is without a doubt worth visiting. It allows visitors to peer inside the personalities of the people in the portraits, brought to life by someone who knew them well. If this exhibition alone cannot draw you in, there are plenty other exhibitions within The Hugh Lane that will.

With its impressive collection of art and no entrance fee, it’s certainly a pleasant way to while away an afternoon.

Danielle McLaughlin’s Dinosaurs On Other Planets Gráinne Loughran reviews Danielle McLaughlin’s first collection of short stories, Dinosaurs On Other Planets DANIELLE McLaughlin has been on the literary radar for some time now, but with her first collection of short stories, Dinosaurs On Other Planets, she has cemented herself as being in these circles to stay. Most recently the New Yorker picked up her eponymous story The Dinosaurs On Other Planets. However, McLaughlin has also been picking up speed on the awards circuit, with the Merriman Short Story Competition, the William Trevor/Elizabeth Bowen International Short Story Competition and many others to her name. The talk surrounding her is well warranted.

Dinosaurs On Other Planets is a beautifully crafted selection of stories navigating the alien realms of the everyday. On first reading, McLaughlin’s style seems almost bizarrely descriptive. By the time one reaches the second story however, it’s clear that her evocation of particular emotions through her ornamented language serves the purpose of forcing the reader to reimagine the world around them.

The extensive use of descriptors quickly becomes a pleasure, merely adding a welcome sense of naivety and joy in the everyday that literature has lacked in recent years.

The stories are set in Ireland, and feel local. ‘Those That I Fight I Do Not Hate’ for instance is set in Ranelagh, bringing an added dimension of recognition for a Dublin audience.

It is McLaughlin’s innovative use of language, however, that prevents the domestically set

stories from becoming commonplace. The language used to describe the home and the local is poetic, calling to mind the works of Canadian writer Alice Munro.

McLaughlin is still honing her craft, and in places this is also clearly a collection from a still-emerging writer. Occasionally clunky dialogue takes away from the realism of the stories, particularly the dialogue between Becky and her mother in the opening story, The Art of Foot-Binding. In those few places where the dialogue doesn’t work, it really doesn’t work, and comes across as an unfortunate rookie mistake from such an accomplished writer.

The piece-de-resistance is undoubtedly the closing work, The Dinosaurs On Other Planets, which epitomises the humanity found throughout McLaughlin’s work. The issues it brings up are small and personal, but through careful characterisation and well thought-out plot points they are made interesting on a universal scale. The closing paragraph of the story and the collection is a showstopper, bringing the collection to a beautiful finish by reminding humanity of our simultaneous tininess and significance in the expanse of the universe.

McLaughlin has provided some fine work in Dinosaurs On Other Planets. It’s light and easy to read, the stories are not particularly long, and overall it’s a very pleasant way to spend

a few hours. By honing her craft further and gaining confidence in her writing, McLaughlin will improve the tone and fluidity of her work, already to a very high standard. The stories are not what will end up sticking with the reader, but rather McLaughlin’s way of seeing the world and her characters, which by the end of each story will feel like they live just next door.

''The extensive use of descriptors adds a welcome sense of naivety and joy in the everyday that literature has lacked in recent years.''

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Corruption and power on the stage As the latest run of the famous By The Bog of Cats comes to an end at the Abbey Theatre, playwright and UCD alumnus Marina Carr speaks to Patrick Kelleher about what inspires her writing, and discusses power and oppression in modern society TALKING to playwright Marina Carr is a somewhat intimidating experience. Heralded as one of Ireland’s greatest living playwrights, she has written an extensively performed and critiqued body of plays. Amongst these is the famous By The Bog of Cats, which has just come to the end of a run in the Abbey Theatre in Dublin, where it debuted in 1998.

By The Bog of Cats is a chilling play that focuses on one day in the life of Hester Swane.

Above all else, the play is an intense character study. Hester Swane is central to everything that happens. Her actions, her wisdom, and her ability to both love and hate those around her is central. At the core of this is Carr’s chilling, yet often heartwarming depiction of the mother and daughter relationship, which she says she is keen to get across.

“Well I just think it’s a huge part of the equation and it’s pretty much left out,” she says. “Usually it’s fathers and sons, or you have the great coming-of-age stories for young men. The great literature, you have it in Joyce, in a very absorbed sort of way you have it in Beckett, you have it in a lot of fiction, and a lot of literature, and you have the great male mind at work... It doesn’t seem as though there has been as much light shone on the psychology of women, and I find that very interesting to explore that, and also I find it very interesting that it continues to be an addendum, despite the fact that we’re supposed to be post Hedda Gabler and post A Doll’s House.”

The ideas of conflict and the opposing intuitions of good and evil are something that Carr is particularly interested in conveying in her characters. This shines through in many of her works, and notably Hester in By The Bog of Cats. “I mean before we had the great institutions who took care of that for us, but now we’re kind of down to I suppose what Yeats would call personal virtue,” she explains. “We don’t have the Church deciding for us what’s right or wrong or good and bad. So it’s become a very private thing, all of one’s behaviour, how one conducts oneself in the world. I suppose I do believe we are all born with an innate sense of right and wrong.”

At the core of her character-driven plays is a refusal to shy away from issues that perhaps many theatre-goers would rather not confront.

Morality in writing, however, is problematic for Carr. “Well I come across it a lot... because you write, you write characters who are maybe morally questionable. They [the viewers] can confuse the writer with the character or the writer with the play... I suppose your job as a writer is you have to attempt to see all sides, however incompletely or however badly or however you fail to do that, but the attempt I suppose has to be had and the moral hat cannot be on when you’re writing because it’s a killer.”

There is a sense with which Carr is trying to expose an undercurrent in society of self-indulgence. “Most societies are based on lies, and the upholding of those lies,” she says.

While casting a critical eye on this inherently untruthful society is something she considers important, she says it is not central to her writing. “I don’t think I’ve ever sat down to

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IN Photo: Marina Carr

''I start with the heart, what people feel, and what they do. And they're really my two compasses, and whatever comes out of that ends up as the play.''

write a play to try and prove a moral point, to examine a strata of society. I always start with characters. I start with the heart, what people feel, and what they do. And they’re really my two compasses, and whatever comes out of that ends up as the play.”

What comes across most strongly from OTwo’s conversation with Carr is that she has a deeply entrenched discomfort with living in a society that shies away from truth. She references the “denial” surrounding sexual abuse in Ireland. Is the trend in modern Irish writing of dealing with these aspects of the past a part of the process of recovery, or a way to deal with the past?

“Well, one would wish,” she says. “But there are a lot of blinkers still on out there, a lot of denial, a lot of terror around it. And guilt, I presume. I think we all carry a bit of that guilt as well. One of the greatest myths is the protection of the child and the child is sacrosanct. Well I mean this country has proved that that is not the case. They’re the first to suffer when the chips are down, as our history brutally shows. And as all history of violence shows, children are in the front line. And after that it’s the women, and after that it’s the young men.”

Carr feels strongly that power is inherently corrupting. “The sense of being removed from the quotidian, removed from humanity,” she says. “That you have this sense of entitlement, that I find really shocking and repulsive. That you believe you have more of a right to walk the earth than someone else, it’s just deeply disturbing.”

It is perhaps this abhorration of corruption and mistrust of power that draws Carr to explore such dark themes in her plays. One of her major inspirations is Greek myth, which she says she has been reading since she was a child. “The stories are so incredible. They’re so huge, the canvas is huge and the passion is so huge, and the complexity of the characters I suppose is what attracts me,” she says.

“Even the literature, even the drama, these playwrights were absolutely humanist and feminist in the way they tackled these huge subjects. It seemed that there was more attention focused on the feminine principle...

They’re just fantastic stories, they’re epic, huge.

Life should be huge, you only have one. And we tend to live very tightly and very confined and not to think big and to not to allow certain thoughts. They’ve got all of that down.”

OTwo’s conversation with Carr ends on the idea of attaining freedom, and living one’s life to the full. There is the sense that Carr has one central goal in her writing in that she wants to bring otherwise unrepresented characters to life. She aims to enliven characters that have not been written about before, because she recognises the societal impulse to keep them in positions of powerlessness. Perhaps this is the closest readers can ever get to understanding the impulse behind the work of Marina Carr, a playwright who is determined to get to the root of inhumanity.

FaTal Fourway Worst Family Holiday PATRICK KELLEHER I think few holidays, and certainly not those of my counterparts could possibly match the sheer levels of disappointment seen on my first family holiday to Spain in 1999.

It was the end of the 90s, and the craic was ninety. Livin La Vida Loca was the big hit of the day, and I was basically the bee’s knees. Going abroad was initially exciting, but I soon learned the hard way that it was a total pain in the arse. We arrived only to discover that they didn’t provide proper milk that I was used to drinking at home, but rather had some awful warm watery stuff made from the tears of lonely puppies.

As if this wasn’t bad enough, we were in Spain for around ten minutes when I decided it would be a good idea to try and drown myself. Some kind of misunderstanding occurred, whereby my poor flustered mother, in a haze of unpacking, told me I

could go to the swimming pool, which was outside the apartment. Somehow I forgot my armbands, and floated wistfully to the bottom of the swimming pool like a very heavy and very stupid brick. Luckily my father was up at the pool, and jumped in fully clothed to save me (thanks Dad!) The rest of the holiday was a pain too. I got sunburnt. It was too warm. I couldn’t sleep because I was too warm. My parents couldn’t sleep because I was intent upon moaning as much and as loudly as I could. I cried on a daily basis over the lack of drinkable milk. By the time we returned to the shores of Ireland, I was a changed man. The pain of experience had greeted me in the cruellest way.

I learned a vital lesson from that holiday: never go anywhere. It’s probably disappointing, and the milk will never be as nice as it is at home.

EVA GRIFFIN When I used to think of road trips, I envisioned piling into a 4x4 with my closest amigos and trekking out into an exotic expanse of desert in search of adventure. A mix tape or two on rotation, a case of beer and cameras to document the fun, I always thought that one day I’d live out the poster of Britney Spears’ 2002 classic Crossroads, skipping down Route 44 with my besties and laughing at the homeless guy curled up on the street.

Instead, I’ve gone on numerous family excursions squished into a rental car, a sibling snoring on each shoulder and German techno

pumping on the stereo. We’ve covered the twelve or so hours from Sacramento to Las Vegas, stopping into the McDonald’s along the motorway to feed chicken nuggets to the rats in the bathroom, only to pull into our motel and discover suspicious stains on the sheets.

Two years in a row we embarked on trips across Europe, crossing country lines during the day and consistently confusing Slovenia and Slovakia en route. While I can’t remember which place is which, I can tell you that one of them houses a tiny restaurant where you can order ‘balls of the innkeeper’. Delish.

Sounds blissful, right? Not quite the same calibre as chilling with Brit Brit in the vast Americana landscape, but exciting enough to fill countless scrapbooks. Well, it’s all fun and travel sized Scrabble until you cross the Czech border only to realise that dad has done so illegally. It turns out that rental companies don’t let you take nice shiny cars into every country in case you park it on the street and some continental equivalent to your friendly neighbourhood scumbag smashes the windows.

KARL QUIGLEY Unlike my other Fatal Fourwayers, I have experienced such a plight that cannot be described in words. My disgusting experience that can be grudgingly called a holiday starts when I was downgraded from premium first class to a regular business class seat.

How dare they, I was forced to sit in a seat that only had extra leg room. The seats didn’t even recline!

This horror continued when we landed and our private chauffeur was half an hour late! The audacity.

Not only that, he called me by my first name when addressing me. I was so embarrased my parents couldn’t even look at me (not that they usually do but this time I could feel their glaring eyes as I stared

at the top of their heads). We arrived at our villa only to discover the absolutely monstrosity of service available. For the four of us, there was only one butler, and one maid! What the fock like. And as if that wasn’t the worst part, I had to actually talk to my mother for sixty-five seconds as we waited for her personal shopper to show up.

Her day did not improve. The personal shopper forgot four of the six private cards for shopping and my mother’s day had to be cut short (much to the dismay of my brother and I). We actually had to share personal space with our family! What even is that!

In a further attempt to escape the family(I certainly

don’t blame her), she hired a beautician to visit the house. This woman arrived(thirty seconds late mind you) and proceeded to attempt small-talk with us. I literally could not even. I can’t even bare to continue this story, it is a sorry tale filled with terribly trained servants (if they could even be called that) seriously sub-par service, and forced social contact with those I loath to call family. Goodbye, I’m focking done.

As a largely antisocial teenager who would rather have been listening to Evanescence or similar, it certainly wasn’t what I had envisioned. It was not until the last day, when, sick and tired of spending my “break” with all my neighbours, I decided I would ignore them and my entire family completely (ah yes, how I miss those grumpy teenage years). We headed off to the airport, me in full angry teenager regalia. Skinny jeans are apparently not the thing to wear to an airport in 35 degree heat. And because

I’d been totally silent and ignoring my family all day, nobody noticed when I fainted in Lisbon airport from the heat in said jeans. It was a full five minutes before my family returned to me, splayed on the floor of the airport with a bevy of concerned Portugese people fanning me and getting me to drink from a cup of water. A snide brother made a joke about skinny jeans and ‘Bring me to Life’, and I was the laughing stock of the airport. Undoubtedly the lowlight of what was a disastrous family escapade.

GRÁINNE LOUGHRAN Family holidays sound like they should be fantastic. A holiday to someplace warm, mostly free of charge?

Nice food? Beach? Alcohol? Yes please, to all of the above. It turns out unfortunately that family holidays are only fun when your family isn’t actually present on them. Night after night on a family trip to Portugal we were dragged to the nearest Irish pub, where we would speak only to the Irish and English staff and families, meeting what seemed like the entire population of north-Leinster in the process.

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FOTOGRAFIE

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1: Gareth Phelan 2: James Healy 3: Sean Hayes 4: Luka Vukos 5: James Healy 3 4

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