Volume XXI - Otwo - Issue 3

Otwo Volume XXI | Issue 3 28th October 2014

Letter from the editors

Front Pages 2 Letter from the Editors - Shane Hannon & Rebekah Rennick 3 Soapbox: The Trouble With Nando’s - Rebekah Rennick 3 What’s Hot/What’s Not 3 Mystic Mittens 4 Back to School – Conor O’Toole 4 #kantkope – Immanuel Kant 5 Venice – Dos and Don’ts – Vera Mascoli

FOOD&DRINK 6 Sharon Hearne-Smith - David Corscadden 7 Best Hidden Coffee Spots in Dublin 7 Cook’s Corner – David Corscadden

GAMES 8 The Evil Within – Steven Balbirnie 8 1Heart – Aaron Flood 9 Early Access Games – Karl Quigley

FILM&TV HOWIYE… (The North Dublin-esque hello seemed appropriate given this week’s centre interview.)

It’s another fantastic issue of Otwo magazine and what treats we have in store for you, our loyal readers. We don’t mean to blow our own horns, but Otwo truly is a masterpiece (a bit like the one we’ve reconstructed on the back page). The paper’s 20th birthday celebrations are behind us (sigh) and it’s back to normality, but the content is only getting better.

In Games, Karl “That pocket-watch doesn’t go with my suit” Quigley pens a feature on Forest and Early Access Games, while The Evil Within and 1Heart are reviewed by our very talented contributors. In Film and TV, section editor Aaron “Hawaiian Shirt” Murphy illegally hacks the new Simpson’s World online to tell you all about it. Every episode ever in one place with the ability to search for episodes by quote? Yes please. We also have reviews of recent and upcoming films including Mr. Turner, Serena and Standby, with a feature on Spin-Offs and an appropriate Top 10 Creepy Films to Watch at Halloween rounding off that section.

Our centre interview this issue sees Shane “I’m a Space Geek Too” Hannon sit down with Tom Vaughan-Lawlor (aka Love/Hate’s Nidge). Tom is an exceptional theatre actor and has shown his versatility on stage with varying roles over the years – it will also disappoint many fans of the aforementioned RTÉ gangland drama to hear that Tom is a lovely, down to Earth person in real life.

In Music Sean “If it doesn’t have elbow patches or zips I’m not interested” Hayes gives us his essential Club DJs mixtape, while in Radar our next band to watch out for are Keywest. Rebekah “Galway Girl/Mayo Boyfriend” Rennick has an interview with The Antlers, and we also speak with Glass Animals. As if that wasn’t already enough, we review some recently released albums, and that’s not even it. You’ll just have to read on I guess. Oh, you can’t read? We’ve got some really nice pictures, so not to worry.

In our Fashion section, our style guru Sarah “Four Starbucks a Day” O’Shea makes sure you don’t look like an idiot leaving the house this Halloween, while in Arts and Literature our technology genius Patrick “Give Me That Book Back” Kelleher sits down with Eva O’ Connor. Elsewhere we have reviews of Mary Massacre and Tara Flynn’s new book. Furthermore, we have features on children’s authors and profile emerging writer Colin Barrett.

Travel takes us to the beautiful city of Venice, while in Food and Drink we look at the Best Hidden Coffee Spots and David “Organising events is fun” Corscadden sits down with food stylist Sharon Hearne-Smith. In our colours section, 290-year-old German philosopher Immanuel Kant gives us his views in #kantkope and we go ‘Back to School’ with Conor O’ Toole. Our Fatal Fourway sees Megan “I’m an orchid among the weeds” Fanning and Grainne “I don’t sound like I’m from Dundalk” Loughran join the editors for a debate on who had the Best Childhood Halloween Costume, while our usual suspects Whats Hot/Whats Not, Mystic Mittens and Soapbox are back with a bang.

Enjoy the issue. They say ‘First the worst, second the best, third the one with the hairy chest’, but we swear Issue 3 has had a shave.

HAPPY HALLOWEEN! REBEKAH & SHANE

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10 Spin-Offs – Donal Swan 11 Simpsons World – Aaron Murphy 12 Serena – Maeve O’Neill 12 Mr. Turner – Patrick Kelleher 13 The Judge – Shannon Corrigan 13 Top 10 Creepy Films to Watch at Halloween – Saul Fidgeon

CENTRE 14 Tom Vaughan-Lawlor - Shane Hannon

MUSIC 16 The Antlers – Sinead Scully 17 Glass Animals – Rebekah Rennick 18 Kimberly Anne – Stephen Connolly 19 Album Reviews 20 DJ Spotlight 20 Radar: Keywest – Aaron Flood

FASHION&STYLE 21 Street Style 22 Halloween Makeup Special

ARTS&LITERATURE 24 Tara Flynn Book Review – Niamh O’Regan 24 Mary Massacre Review - Shannon Corrigan 25 Children’s Authors – Barbara deKegel 25 Colin Barrett Emerging Author – Rebekah Rennick 26 Eva O’Connor – Patrick Kelleher 27 Fatal Fourway: Best Childhood Halloween Costume 28 Parallax - Photography

what’s hot & What’s not

Soapbox The low point of the high street

Hot

Not Hot

Gorillaz Reunion

Liquid Cocaine Shots

Damon Albarn is a musical genius, sure, but he’s also the least decisive man in Britpop post-history. After previously confirming he was permanently done with former bands Gorillaz and The Good, The Bad and The Queen, last week he changed his mind. The good news? Gorillaz are set to have an album out in 2016. The bad news? Blur have no solid plans to reform. The Queen news? She’s more of an Oasis woman herself. Always has been.

Old Photos of Famous People Partying

So you’ve passed out under a table using a naggin as a pillow again.

Good for you! Before you decide that it’s time to re-evaluate your life, remember that if a famous person does it too, then you’re actually grand.

Pick up Studio 54, the new book from photographer Tod Papageorge, which compiles his stunning photos of the renowned NYC venue from the late 70s.

Just like Garry Winogrand’s celebrated images of the Met Gala, drunken merriment, flashy divilment, and famous bare arses abound.

Reading the name ‘Liquid Cocaine’ from a drinks menu is enough to make you nauseous. Then after the nausea sets in, you’ll find yourself unexpectedly pumped up and ready to punch a hole in a wall. You haven’t even drank the drink yet and you’re body-slamming loved ones and losing your septum faster than most coked-up corporate sharks. That’s just what happens when you mix Jager with Goldschlager and call it something messy. So don’t do liquid drugs, mmkay?

clowns Aside from being unfamiliar and invasive, clowns are the world’s number one cause of un-beckoned goofing. No wonder that both children and adult-sized humans are entirely afraid of them. But according to the president of the World Clown Association, Oxford P. Nuts, it’s the horror characters who give them their bad reputation. He recently spoke out against the alleged cases of illegitimate clowning in a bid to protect the clown’s honour. Unfortunately, everyone’s still too freaked out by him and his association to take his plea for clowning-reform seriously.

Leopards

Leopard print It was hot last week, it’s hot this week, and it’ll be hot every week in the future of humanity. We’ll be damned if we’re told otherwise, especially since we just invested in 5000 leopard print newspaper holders – to offset that monochrome-heavy ‘zebra’ look that the paper usually has. You could coat anything in furry golden spots and it’d increase in value. Try submitting your next half-arsed essay on leopard print paper, then sit back and watch as the grades roll in.

The species of big cat that tries too hard to be on-trend, leopards are constantly churning out cheap and tacky duplicates of top designer collections. What’s worse than ripping off authentic bags and shoes is that leopards didn’t even invent that look – they stole it from jaguars and cheetahs who’ve been fashionably spotted since long before the fossil record - and they stole it from Christian Dior, who in turn stole it from Wilma Flintstone. OMG and would leopards ever stop being so stupid and endangered? Nobody cares.

Mystic Mittens Aries Time makes fools of us all in the end, but that’s no excuse to not bring your clock forward. When the classroom for your midterm is empty and there is no exam paper, you should start to get the message.

Taurus Be wary of that new friend you’ve made. They might not be wearing all black as a bold statement, they may be going into mourning over the demise of Café Brava.

Gemini Your social status will take a downward trajectory as your first attempt at a college essay ends up taking the headline spot at the UCD Comedy Festival. Don’t worry, how were you supposed to know Jane Eyre wasn’t “the love-child of Jane Austen and Ryanair”?

you can’t serve salmon at your Belgrove dinner party.

Libra It will dawn on you that asking your Tax Law lecturer “How can I make up a child to get €5 extra a month for Jager Bombs?” might be an abuse of campus services.

Scorpio Your Ebola patient Hallowe’en costume will make you some strange friends on your night out. Say hello to the CDC for us!

Sagittarius Your attempt at a gritty play about life as a vegan coeliac in rural Ireland will receive poor reviews, but your John B. Quinoa pseudonym will be loved by the three people who get the joke.

Cancer

Capricorn

Throwing a series of exams because “a second final year sounds fun!” will become your worst decision.

Apart from taking Celtic Studies in the first place, obviously.

An unfortunately timed sinus infection will leave you sounding like a Love/Hate character for the next ten days.

Leo The discovery that one of the most powerful men in UCD once had the nickname “The Ping-Pong King” will make you regret not settling for that PLC in Aran basket-weaving.

Virgo You will achieve a new level of middle class idiocy as you ask if the Smoke-Free Campus initiative means

Aquarius

Don’t believe the propaganda. Rebekah Rennick has tasted the truth, and she is not impressed Now, I don’t count myself as a particularly lazy person. However, when it comes to one special relationship; one symbiotic, synergistic union between myself and my loving counterpart that is food, and particularly its presentation, I am quite the passive glutton.

Upon stepping over the threshold of a restaurant I anticipate that all of my dietary needs be fulfilled. I’d even ask someone to hold me upright as I masticated my meal but in some establishments that’s frowned upon.

With that personal characteristic firmly in place, stepping into the Peri-Peri encrusted shell that is Nando’s sends me into a convulsive state of physical and mental ataxia.

Sitting into the benched seating, usually welcomed by a past occupant’s abandoned crumbs, the fallen soldiers of a miserable meal, the emotional roller coaster begins.

The menu stares back with a contemptuous smirk while a person donned in black lurks continuously in earshot until finally enquiring “Have you been here before?” The hurdles to be cleared to eventually garner my meal; me, the vulnerable, starved costumer, have firmly been raised before I’ve even become acclimatised to the lacklustre environment.

On these uniformed loiterers, to call them waiters would be unjust, I say. If I wanted to serve myself, I would have donned my favourite black t-shirt and remained within the confines of my own home. Not only must you peel yourself from the groove you’ve indented upon the benched seat and place your order at the till but you also have to attend to your own cutlery, drinks, napkins and sauces of choice. Why don’t they just hand me an apron and spatula and let me man the flame-grilled macabre that is their menu myself?

Successfully dissatisfied before a morsel of food has even been consumed, the nightmare only continues when the lurking individuals eventually decide to help the now undoubtedly emaciated customer and bring them their food of choice.

There are only a handful of moments in my life where I have been heart-wrenchingly disappointed. Two events which are engrained in my memory forever include the time my brother threw my Barbie in the fire when I was six and the other moment was when I ordered that chicken wrap in Nandos. I have never munched so pathetically and reticently on a piece of food in all my life.

The measly child-sized handful of chips and acerbic sauces only add to the bubbling cauldron of emotions within, and if it weren’t for the free refills I believe I would have capsized the very table I sat at.

Nando’s is a false entity of chicken delicacy, with overestimations of customer satisfaction and overpricing. I’d rather stuff greasy curry cheese chips from Babylon on Camden Street into my gob at 3am then consciously decide to dine in that cavern once more.

When your lecturer encouraged extra reading, I don’t think he was referring to all that erotic ABBA fan fiction you have on your hard-drive. Seek help.

Pisces Now that James Blunt has apologised for writing ‘You’re Beautiful’, maybe your parents should apologise for calling you and your sibling Proinsias and Jacintha.

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Back to School with Conor O’Toole

Cast out of the peace and tranquility of greenhills, conor o’toole adjusts to life as a vagrant Living in Ireland is hard. Hard and cold and dumb. I live there, and have for some time. I just moved out of my house, but did not move into a new house. This is an issue. My old address was Conor O’Toole, 32 Fernhill Road, Greenhills, Dublin 12. I can reveal that now, without fear of being posted unsolicited fabric samples or getting doorstepped by fans of this column, as I no longer live there.

My new address is Conor O’Toole, No Fixed Abode, Nowhere-in-Particular, Universe. Feel free to send swatches of cloth to that address, but know that you are wasting your time, and the time of An Post, and a lot of stamps, depending on which parts of the Universe they check.

I’ve been trying to find a new home for about a month now, and it seems that no one wants me as a tenant. Whether it’s because I’m self-employed, unwilling to suck up to estate agents, or because image searching my name gives you more photos of me in the nip than [almost] anyone needs, I don’t know.

I do have options, I can afford a couple of decent places on Achill Island. That could be nice.

I might be able to start up a tiny, twee music festival there if there are any weekends left in the Achill twee music festival calendar. Maybe one specifically for musical saw players. Oh, and we could hold it in a pop up house made from wood

The landperson still shows us around, but you can tell they’re phoning it in. At least with Tinder you don’t have to cycle to Cabra to get rejected

cut by all the saws! Wow! Okay, I just found a recycling angle for the festival. Mayo County Council, if you’re reading this, please get in touch re: funding. Cheers.

Right now I am staying on my friend’s couch and living out of a bag. I’m hounding the internet for houses and slowly dying inside. On the plus side, my failure on Daft.ie is making my time on Tinder feel like a comparative success. Maybe I should go back and check if either of those

girls that talked to me were in fact landlords. Or landladies, I guess. Landpeople? Landowners?

It?s totally a landlord?s market out there at the moment. Every place I go to view, a group of lovely, pleasant girls come out just as me and my unkept friends show up. The landperson still shows us around, but you can tell they’re phoning it in. At least with Tinder you don’t have to cycle to Cabra to get rejected.

I really want to keep living in Dublin. I like it

#kantkope with immanuel kant

D

ear immanuel,

I’ve just moved up to the big smoke for the first time and I just #KANTKOPE! I knew Dublin would be different to my hometown of Loughballykilabbeyport, but I didn’t think it would be this bad. The nightlife is just too much. Back home craft beer meant a can of Harp with some industrial solvent in it, and a hipster was just anyone who wore shoes. Now I keep ending up on class nights out with groups of munned men in velvet short-shorts arguing about IPAs. Everyone in my class just laughs at me when I say we should go bushin’.

I can’t even find a girlfriend to help improve my social standing.

Back home I had mauled every cailín up to three towns over, all four of them, yet up here I can’t even get a look in. I walked up to the loveliest girl I could, in my best pressed GAA jersey, offered to buy her a plate of chips in the bar, and was still shot down. What should I do?

Mickey Joe McManus 1st Year Agricultural Linguistics and Celtic Jurisprudence Hi Mickey, Your predicament is a quintessential one to the human subject.

When faced with an external, phenomenal world that compels one to repudiate the innate validity of one’s own conception of subjective fulfillment, the contingency of our prior engagement with the world is suddenly thrust into the necessary scrutiny of rationality. I would advise that you take the time needed for a reflective judgment that regards your own freedom in a world of otherwise causally determined events as an a-priori truth of being. Do not forget that much that you encounter in this metropolis, while it may provide an aesthetic experience of the sublime for some, has no relation to the supersensible noumenality of moral truth.

I’m aware how obvious all of that may be, but I do hope it aids you.

K

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H

ey immanuel,

I’m only a few weeks into my final year of college and I just #KANTKOPE. Somedays I just wonder why I’m not enjoying it. My thesis on using loopholes in rights legislation to defend police brutality has been a great laugh to write, but I just feel unhappy for some reason. Can you help me?

Also, if there is a cleave between the experiential and mindindependent parts of reality, how do I know that the two are in any correlated?

Aisling O’Gráda 4th Year Oppression Studies and Tax Evasion Hi Aisling, I think there’s an easy solution. Whenever I feel low, I just take a deep breath and remind myself that any concepts lacking corresponding intuition are still thoughts, but an associated object is needed to obtain knowledge from it! It always makes me smile.

As for your latter question, I’ll be fucked if I know!

K

here. Well, I like my friends, and my friends are here. That said, if I continue to wear down the good will of my friends by staying in their houses, I may soon have no reason to continue living here.

Bonanza!

venice – The Dos and Don’ts ‘The Queen of the Adriatic’, ‘The Floating City’, ‘The City of Bridges’. Whatever you decide to call it, Venice truly is one of the most alluring cities on the planet. Vera Mascoli takes you through the dos and don’ts of your visit to Venezia.

San Marco Square

Do

wear comfortable shoes! They will be your loyal partner as you travel up and down all of Venice’s stunning bridges. Venice has more than 400 bridges with Ponte dell’Accademia (which is made of wood), Ponte di Rialto and Ponte dei Sospiri being the most famous. You can only explore the city by walking, and it’s also the best way of discovering the unknown and less touristy areas of Venice. When there is “acqua alta” (high water) it’s better to wear wellies, and never take them off! The most important thing to know is that Venice doesn’t have a sewage system so just don’t take them off...

Palazzo Contarini de Bolovo renowned island where every year the Venice Film Festival takes place. The peculiarity of the beach is the cabins, which go all the way back to the 1930s.

sparkling water, Aperol and a slice of orange.

DO

go to the “Squero”. It’s a place where gondolas are made and repaired. In Venice there aren’t many of these construction sites left, but eat “chicchetti” in a “bacaro”. the oldest and most famous one is the Squero di Chicchetto is a small portion of food (usually San Trovaso, established in the 17th century. It’s a fish) that you eat with an “Ombra” (a glass of wine). Typical chicchetti include baccalà (salt cod), tiny and very characteristic boatyard made from wood, and from here you can see men carrying anchovies with egg, and little octopuses with out maintenance work on gondolas – a truly polenta. They are like contemporary street food, but they reflect the old Venetian culinary tradition. wonderful experience unique to Venice.

A Bacaro is an old Venetian pub, where you can really taste the true local cuisine. take a gondola trip. Odd as that seems, but it is really expensive to have a little tour on a gondola in Venice, and for the majority feed the pigeons in Piazza San leave Venice without a of the time you won’t enjoy it. If you want to try Marco. The Mayor pushed for a ban in 2008, in an “murrina”; the typical souvenir from this magical a gondola trip, you can use a gondola-ferry in attempt to control the burgeoning numbers of city. You can find a lot of studios on the island of some points of Venice. You can cross Canal Grande pigeons, blamed for spreading filth and ruining the Murano that continue this traditional form of art. city’s glorious facades and monuments. It can be Every murrina is different from the other in terms by getting on board one of these. Trust me, it’s very entertaining having birds eating their dinner of the colours and shape; it’s made by a glass cane brilliant fun and not at all expensive! off your arms, but you can be fined. that is heated in order to be shaped. You must pay attention to what you buy, and ensure that wake up early in the morning and go to Piazza San Marco. The earliest part of the day visit Rialto Market. It’s the real heart of you are getting an authentic piece. Be warned however- original murrinas are not cheap. really is the best time to admire this square in all Venice, where you can breathe in the traditional its beauty and majesty. This will be a fantastic and sincere atmosphere of the city. The mix of experience and you will be spellbound by the colours, aromas and languages make this place take the time to make a boat trip to silence of the lagoon. a melting pot. It’s one of the oldest markets Burano. Burano is a small island in the Venetian in the city where you can buy fresh fish and Lagoon which is very famous for its coloured vegetables. It’s popular for Venetians, tourists houses. The reason for this peculiarity is not camp or chill for too long on and restaurateurs alike; here you can find the clear, but it’s said that it was in order to mark the bridges, on the stairways of churches or palaces, indispensable ingredients for traditional recipes. property. A tale suggests that fishermen painted or in the streets; it’s not appropriate. If you want It’s just in front of Ca D’Oro, so you can’t miss it! their houses to see them in the fog when they to enjoy a picnic in Venice you can go to the few were far away fishing. This island is also known for public gardens that there are in the city which “merletto”, a type of lace made with needles. are far from the crowded areas and as such are dress like you are going to unknown to most. It will be enjoyable to spend the beach. Venice is very hot and humid in the some time there, away from the hustle and bustle summer, but you are always in a city and you have dinner before 8pm. of the tourist trail of Venice. are going to visit churches, so it’s better to wear Between 18.30 and 20.00 is happy hour, and proper clothes. If you do want to go to the beach, in Venice the most popular cocktail is Spritz you can take a vaporetto and go to the Lido, the (pronounced spreets); white wine or prosecco, Photography: Vera Mascoli

DON’T

DO

DON’T

DON’T

DO

DO

DO

DON’T

DON’T

DON’T

Burano

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Food and drink

No Bake Baking Established as one of the top food stylists in Ireland and having released her own cookbook, Sharon Hearne-Smith sits down with David Corscadden to talk food, no bake baking and James Bond movies

When you sit down with the brilliant Sharon Hearne-Smith in her home it is exactly what one would expect when you go to sit down with one of Ireland’s top food stylists. From shelves and presses full of cooking utensils and styling props to an office tucked away in an alcove with photos from her first book covering the wall, it sums up Hearne-Smith’s style to perfection.

And as one would expect, a chat about a career that has seen Hearne-Smith work with some of the top chefs in the world simply cannot begin without a cup of tea and a quick sample of treats left over from filming a segment on Ireland AM. “I started off training as a Home Ec teacher in Dublin” explains Hearne-Smith as conversation turns from chocolate treats on the table to how she started off in the food world. “I never necessarily wanted to be a teacher but I loved the whole idea of the course and the creativity of it. So I did that and I got qualified and went off to London teaching.”

While in London however she started to look for work in food magazines, as at the time that was the only form of food media there was. It was this opportunity that opened her eyes to the world of food styling and being a home economist. “Working on movies, television shows and that whole side of the food world really exploded for me and I just phoned the school and said I wasn’t coming back” she says with a smirk.

Since then Hearne-Smith has gone on to work with some of the world’s top chefs. With a list that reads like the who’s who of the food world she has worked with the likes of Jamie Oliver, Lorraine Pascale, Gary Rhodes, Rachel Allen, Neven Maguire and Donal Skehan. On the different chefs she has worked with in the past Hearne-Smith explains “Their food is often very different. I worked with Jamie Oliver and his food is very beautiful and uses great ingredients but it is very achievable at home and normal compared to Gary Rhodes who is a very high-end chef.”

Hearne-Smith also explains that making a television cookery show or shooting photos for a cookbook involves a lot more work than some would believe. She uses the example of shooting a simple Pavlova recipe with Lorraine Pascale in London and the need to make nine or more perfectly identical ones that can be used at different stages of the filming process. “It is a big process coming up with a half an hour or an hour show. There is a lot of work behind it all.” The end result though is a seamless story that showcases the recipe perfectly with Hearne-Smith explaining “Even when I sit down and watch the show when it airs I think ‘What was all the fuss about?’. When it airs it looks all seamless and streamlined.”

Hearne-Smith’s attention to detail and skills at food styling have not just been limited to television and cookbooks however; she has also worked on a James Bond movie. “We spent three or four days preparing all the food for one of the scenes in the Ice Hotel. It was a big banquet setting and they had big lobster displays and prawns and all sorts of lovely things. Then on the day we got up at four

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image courtesy of sharon hearne-smith o’clock in the morning and travelled there, got everything set up and then no one was around and nothing was happening. We got word a few hours later that the scene had been cancelled as Halle Berry was having some personal issues.” While her exact work didn’t make it on to the silver screen she does have the pictures to prove the work.

Of course now it is not simply about the books she styles for other chefs; HearneSmith has just released her own cookbook No Bake Baking to great acclaim. On getting her own book deal she explains “I have always dreamt of doing my own but I never had the time because I was busy with everyone else. Then an opportunity came up with one of the publishers I work with in London and they offered me my own book. I accepted and grabbed the opportunity even though I had very little time in my schedule and they needed it rather quickly, which was great in a way because I didn’t have time to think about it too much and I just did it.”

As Hearne-Smith explains this cookbook is unlike any she has worked on before and one which was “something different so I would not drive myself bonkers doing the same thing”. The book banishes the oven from the

kitchen and appliances like the microwave, sandwich toasters and the fridge take centre stage. This makes the book in Hearne-Smith’s eyes “more approachable” for those who fear baking or even students who are just starting off to cook for themselves at college.

Still riding the wave of success from her first venture at writing her own cookbook, Hearne-Smith explains “I have always dreamed of building up my own empire or brand. So I have been doing lots of TV appearances so I have a lot of appearances on Ireland AM cooking and I have been working on a few videos for online. Three of the videos I have done are actually for Jamie Oliver’s Foodtube.” The first video for Oliver’s Foodtube will air within the next week to mark Halloween with the others coming in November and December.

With a clear passion for the world she finds herself working in and an infectious work ethic it is clear that Hearne-Smith will no longer just be known for the work she does for others but is fast becoming a food star in her own right.

“I have always dreamed of building up my own empire or brand. So I have been doing lots of TV appearances so I have a lot of appearances on Ireland AM cooking and I have been working on a few videos for online”

Competition: Win a signed copy of Sharon HearneSmith’s new book No Bake Baking. To enter simply make one of the two recipes found either in Cook’s Corner overleaf or exclusively on universityobserver.ie and share a photo of the finished dish on twitter or Instagram using the hashtag #UONoBake. The winner will be the one judged best executed by Sharon. Entry closes on 14th November.

The best hidden coffee spots Looking for an alternative to bland coffee shop chains? Otwo run through the best places for a cup of joe off the beaten track

Beanhive, No. 26 Dawson Street Niamh O’Regan Not tucked or hidden away in any manner, but wedged between the Dawson Lounge and the Little Ass Burrito bar, sits Beanhive. A petite independent coffee shop with a well priced, extensive menu.

Upon entry, you realise it’s more kooky than it appears, but not in an obtrusive way. The hexagonal shelves and the coffee bean bees that decorate the walls quietly reflect the hive theme. Loyalty cards are stored in a brown tray at the front of the till, sorted in alphabetical order. Stretch your neck back and you see that the room is lit by bulbs encased in white coffee cups attached to saucers, suspended from the ceiling. The whirr of the barista’s machine and the low volume of the radio all blend seamlessly into the murmur of conversation.

It’s small, definitely, but not squished. No more than can

be comfortably fit, are forced in, providing a more intimate experience. There’s a great variety of quality hot beverages to choose from, and they now have winter specials, perfect for surviving the cold and battering winds coming our way. All of which come by the way beautifully decorated with a different design on top, and they do taste as good as they look. There is also an extensive range of giant scones and cake slices, which are little bits of homemade deliciousness that are served on red tile plates.

It’s a place where you can happily sit alone inside or out, with a mulled spice chai tea and watch the Dublin public go by.

But also a place that can be enjoyed with company, and not feel you are being disturbed. They have Wi-Fi, but really, why bother? Return to the social side of coffee.

Caffé Italiano, Crow Street Eanna O’Gorduin

Caffé Italiano on Crow Street, just on the edge of Temple Bar, is a wonderful, traditional Italian café and restaurant, just shy of the main thoroughfare of Dame Street.

As well as providing one of the better cups of coffee in an increasingly competitive Dublin market, with cafés such as Kaph and 3FE dotting the city, it boasts authentic and diverse dinner and lunch menus.

One of the best features of both is the dessert section, which includes, but is not limited to; lemon custard cake, tiramisu,

chocolate eclairs and Cassata Siciliana. Its €5 coffee and cake deal certainly makes it one of the better and more reasonably-priced places in the city to meet with friends during the day.

All bases are covered in regards to savoury food as well with a brilliant deal on soup and a Panini for a mere €6.

It has a very relaxed atmosphere, even when tables are full, which makes it a great place to have a cup of coffee, study and get work done.

This, as well as the authenticity and quality of the food, is potentially what places it just ahead of some of the more popular cafés in Dublin.

Earls Café, Mayoralty Street, Drogheda eccentrically presented book collection, are generous Bronagh Kieran Austere decor has become a badge of honour for many high end coffee shops in Dublin. Appealing to a target market of people who have other places to be, high stools and wooden benches retain their comfort for just long enough to enjoy a cappuccino. By contrast, those who sink into the cushioned seats of Earls Café, placed as it is on an alley off a back street, have sought this cosy haven out and as a result, are willing to dedicate a few hours to being merry, be it by gossiping over a latte or by completing the crossword with an Americano.

The relaxed tempo is nurtured by the staff, who aside from maintaining an impressive and

in their time and un-intrusively forthcoming in explaining the providence of their coffee. The coffee in Earls is sourced from the Irish Ponaire Coffee Roastery.

A seven time Bridgestone Award winner, this Limerick based company provides single origin and blended coffees from Arabica beans.

Accompanying the assortment of coffee is a sturdy lunch menu and a collection of freshly baked pastries which include such treats as gluten-free lemon, almond macaroons and marshmallow and white chocolate cookies. Fresh, vibrant and oozing in character Earls have created a space where even the busiest of city dwellers could be coaxed into taking it easy.

Bear Market Coffee, Blackrock Matthew Hanrahan In terms of quality artisan coffee in Dublin, Bear Market Coffee in Blackrock village should be at the forefront of people’s minds when they are looking for that perfect spot for their fix. They offer a variety of coffee blends with different balances of arabica and robustica flavours, which are roasted in Ireland. The baristas in Bear Market Coffee are people who are not only friendly but skilled, knowledgeable and more than happy to discuss their house blends.

Apart from the coffee there is also a wide selection

of blended teas and fresh pastries and scones, both of which are locally sourced. The shop itself is minimalist in its décor with several notable features from industrial iron bars to the plywood tables which creates a trendy coffee house environment.

Bear Market Coffee offers an interesting alternative to chain cafés like Starbucks and Costa. With sparse levels of seating it’s not a sit down coffee shop experience but instead delivers expertly executed artisan coffee at a very reasonable prices. In short, Bear Market Coffee is a coffee shop without pretension that creates a wonderful product at a very reasonable price.

Cook’s Corner Chewy Toffee & Salted Cashew Cookies by Sharon hearne-smith

These cute little cookies have only 4 ingredients and can be prepared in about 4 minutes! They can also be made into fingers by pressing the mixture into a parchment-lined 450g loaf tin (about 10cm x 20cm) and leaving to set before cutting into 16 bars.

1.

2.

4.

5.

Once set, peel the paper away and use a sharp knife to cut into 22 slices about 1cm wide.

Serve in a pretty pile in a paper-lined tin or on a cake stand or in neat overlapping rows on a long platter. Store for 3-4 days, layered between parchment paper in an airtight container in the fridge.

Cut a 40cm length of parchment paper, ready for later.

Unwrap the toffees and place in a medium saucepan with the cream and vanilla extract.

Warm through on a gentle heat, stirring constantly, until the toffees have completely melted into a thick toffee sauce. Remove from the heat and stir in the cashew nuts until completely coated.

3.

Working quickly, spread the mixture out with the back of a spoon into a long sausage shape (about 22cm) in the centre of the parchment. Wearing rubber gloves to protect your hands from the heat, roll the paper up to wrap the mixture, massage it into a neat sausage shape, retaining this length, and twist the paper ends to secure. Lift onto a tray and leave to cool for about 30 minutes, before chilling in the fridge for at least 1 hour until set firm.

Ingredients: (Makes 22 ) 250g individually wrapped toffee sweets 2 tbsp double cream 1 tsp vanilla extract 300g salted cashew nuts

7

Games

1heart It’s nearly Halloween, which means it’s the time when old horror favourites undergo a new burst of popularity, whether it’s a film screening of an old cult slasher flick or, if you’re a gamer, playing old classics such as Silent Hill or Resident Evil.

Appearing from the indie scene comes 1Heart, looking to become a new classic of the horror genre with its creepy story, haunting music and visual style. It’s a bit like the lovechild of Salad Fingers and the artwork from Scary Stories to Tell in the Dark ; all in all it’s the perfect experience for Halloween.

Indie gaming seems to be going through a renaissance of horror, with games like Outlast , and Amnesia and its sequel A Machine for Pigs. This game could not be further from the panic-inducing gameplay of those two terrifying titles; instead it unravels quite like a well-crafted classic horror film that’s not dependant on shock tactics or jump scares. It’s a point-and-click adventure game reminiscent of Sam & Max . Players used to these types of games are going to be very aware of the difficulty that accompanies them.

The puzzles can be difficult, with little or no helpful dialogue to assist the player. A lot of it will involve trial and error, randomly clicking around the screen until something happens. Sometimes it’s obvious by the change in cursor; most times it’s a bit more difficult. This can lead to an ignorance of the games definitive strength, its wonderful atmosphere. It’s hard not to appreciate the gorgeously hand-painted backgrounds when you’re forced to stare at it for a prolonged

Publishers: Chicken In The Corn Developers: Chicken In The Corn Platforms: PC Release Date: Out now

period of time because you’re just at a loss of ideas.

Apart from its incredible atmosphere, what makes 1Heart work so wonderfully is its slowly revealed story. The game opens with two nominees for the parents of the year award leaving their two daughters alone in a dark secluded house while they go off on a holiday.

What could possibly go wrong?

A small gift box is left at their doorstep and it contains two toys, which seemingly have minds of their own. What happens next is pretty vague (which is one of the main criticisms of the game) but the resulting scene shows the two girls lying

the evil within The Evil Within is the latest and reportedly last ever game from horror maestro Shinji Mikami, the creator of the Resident Evil franchise and the godfather of survival horror. Having split from Capcom, Mikami founded his own studio, Tango Gameworks, in 2010, and The Evil Within is the studio’s first endeavour, released just in time for Halloween 2014.

Having diversified by working in recent years on projects such as Vanquish and Shadows of the Damned, Mikami decided to return to the survival horror genre after becoming disappointed by the direction which it had taken since he left the field.

The resulting work not only draws on the roots of the genre but also combines this with more recent developments in horror.

The Evil Within’s atmosphere is tense and genuinely foreboding, taking place in surreal environments with sinister lighting effects, populated by grotesque enemies with distinctive appearances such as the multi-limbed abomination Laura. The sound design is equally effective, with enemies having distinctive audio cues that will put you on edge before you even see the lurking horrors, and the soundtrack utilises classical music to create an unsettling feeling.

You won’t listen to Bach’s ‘Air on a G String’ or Debussy’s ‘Clair De Lune’ the same way again.

The game’s plot is intriguing; you play as Detective Sebastian Castellanos investigating a massacre at a psychiatric institution before being transported into a hellish otherworld, but exposition takes place in an oblique and enigmatic

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manner, with no certainty about what events are real and which ones are not.

In terms of mechanics, the controls are quite straightforward and easy to work out, with the exception of the inventory button which could be better placed. Thankfully Mikami decided not to resurrect the infamous ‘tank controls’ of the early years of survival horror. The game features inventory management, ammo crafting, well implemented stealth mechanics and marks a return of the feature of the GameCube Resident Evil remake whereby the bodies of fallen enemies would need to be burnt to prevent them from reanimating.

The early stages are also well structured to teach you the basic mechanics of the game.

There are a variety of methods for approaching a given situation, whether this is through stealthy assassinations, running and gunning, setting traps and using environmental hazards against your enemies. The game also has a rewardingly hard learning curve and doesn’t mollycoddle the player.

Learning is done by trial and error, with error meaning death more often than not.

This game is by no means perfect however; the camera can at times be awkward to position and lead to irritation while visually The Evil Within has some frame rate and texture clipping issues. If you can overlook these minor technical issues though, you’ll enjoy an unnerving and exhilarating horror experience.

Overall, The Evil Within is the true spiritual successor to the survival horror masterpiece,

Resident Evil 4. However, there are also clear influences from some of the other best horror games of roughly the last decade. In the style of Dead Space, gameplay continues while you use the inventory screen, and similarly to Amnesia: The Dark Descent Sebastian also carries a lantern which provides illumination but also serves to attract enemies.

The chase scenes and sections where you are forced to hide from enemies are reminiscent of Outlast and the game’s throwing mechanic works like that featured in The Last of Us. If you’re a fan of any of the aforementioned titles or are a Resident Evil fan disappointed with how the series has lost its way, then The Evil Within should prove to be a worthwhile purchase.

Steven Balbirnie

Publisher: Bethesda Developers: Tango Gameworks Platforms: Xbox 360, PlayStation 3, Xbox One, PlayStation 4, Windows release date: out now

unconscious on the ground. One of the girls then wakes up in an unknown forest alone and begins seeking out her sister, and this is where the story kicks off. As said before, it is a great story due to its mystery, however the player may find themselves torn on whether they want to progress to merely involve themselves in the story or to figure out what was actually going on. The game delivers on both fronts admirably well.

One other noticeable element of the game is some written dialogue. Given that the game is translated directly from Polish it’s a given

something would have been lost in translation.

There are no major translation flaws leading to a break in the atmosphere but some cheesy lines leave the player slightly bemused.

Despite these tiny flaws it truly is an expertly crafted game and everything comes together to work really well. Should a player be feeling let down by the mainstream horror titles then 1Heart is perfect, and available for a fraction of the price you’d still pay for the likes of Resident Evil 6 . However, you might not be drawn back for another go straight away.

Aaron Flood

An Early Endnight

The Forest developers, Endnight Games, sit down with Karl Quigley to discuss what developing a game is like in Early Access

Games, when in development, progress through three major milestones or ‘builds’.

The Alpha, Beta and then Release builds.

The Alpha build of a game is the earliest stage of the game that it is actually playable by a person outside of the studio. This build, some years ago, would often be released to a closed group for testing to allow for accurate fixes and changes to be made.

This would continue into the Beta build, which would usually involve a larger group of testers. In recent years, the Beta build became more and more an open or public event. While this is often a popular move for developers, to allow players to experience a game they’re excited for, it often results in a core group sending in feedback for adjustments.

With the rise of the indie game and so many new innovative ideas comes “Early Access”. You pay a fraction of the full price game, for a fraction of a game. A game can be released in an early Alpha build or even in its very first Alpha build.

Endnight Games have done just that with their Early Access game The Forest.

An open world, survival horror game, The Forest is set on an island inhabited by cannibals. The player’s plane crashes and his son is taken by the natives. Currently the game has no objectives but is solely based around crafting and survival. The game contains well executed features such as forcing the player to find water and to clean blood off your hands and body as it could cause an infection and damage the player if it gets into open wounds. The player must also hunt for food, to sleep and always be aware of environmental hazards such as freezing to death.

Endnight’s current project was released on Steam as an Early Access game in Alpha 0.01 (the earliest possible build that is playable) on the 30th of May this year. While some games use Early Access as a way to get extra attention for their game, Michael Mellor from Endnight Games said “Without early access there wouldn’t be a game. We

would have made something a lot less ambitious and also less interesting”.

The difference of Early Access to Alpha or Beta testing is that an Alpha or Beta test is a time-specific event in which testing can occur. Early Access is a constant, until the game is released (or in some unfortunate cases, the game shuts down). Mellor responded to this constant, claiming that “Having the constant feedback and community response does make it easier to stay focused” and that the extra income from these Early Access sales aided the games production. “The sales have given us the resources to expand the team and hire some really great people which makes the process smoother and the end product better than it would be otherwise”.

In terms of traditional game design the public would have very little input or involvement, usually gaining snippets of information delivered by the developer.

When Alpha and Beta builds became a private or even an open process games entered a new, far more involving process. It’s an interesting concept; game design is an intricate and complicated process. But the gamers who truly care about a particular game’s design have often been playing games for years and have a subconscious knowledge of game design. Perhaps not to the level of the professionals but the input of dozens of experienced gamers can help with bug-finding and correcting. “Having the public involved with the development is definitely unusual, but overall I think it was a good decision and is helping the game mature into what we envision the final game should be”.

It is a big decision - putting a game into Early Access means constant attention and possible criticism of both the game itself and the developers’ choices. Mellor explains “There’s a pressure to release updates and improve the game, but before release there was also the same level of pressure

Having the constant feedback and community response does make it easier to stay focused

internally amongst the team”.

Updates for the game must be a consistent feature of Early Access or the game will stagnate and lose popularity.

Mellor stated that Endnight made the decision “really early into the process”, and that the plan “was always to release as early access and then update it until final”.

Mellor and Endnight Games knew that “a lot of players are interested in the process of game development and like seeing a game progress over time”.

With regards to The Forest this is quite true. After Endnight released their game in Alpha 0.01, their game rapidly became one of the most popular Early Access games on Steam. “The instant success was a big surprise to all of us. We originally thought of building a small audience over the course of the alpha and then hopefully having this many sales when the final release was out”. But despite the very early build of the

game, players flocked to the game due to its interesting premise but also the quality of the game despite such an early build.

Currently The Forest is in version 0.08, with an improved crafting, survival and stealth system.

Early Access is for the most part a good idea when executed well, but when asked about suggesting it to other developers Mellor opined that “Early access has been great for us, but wouldn’t necessarily suit all types of games”. When a studio is capable of using Early Access to develop their game and of aiming it in the right direction, it is an excellent choice. But as stated it might not suit all types of games. It is a unique direction to take for indie developers and it will be interesting to see what Early Access will do for the rest of the games industry.

9

Film and Television

Breaking Away

With the eagerly anticipated Better Call saul arriving early next year, Donal Swan looks at the elements that make up a great spin-off

Remember that guy with the hat who was friends with that minor supporting character in that TV show you like? Well, the network thought his hat was so cool that they’re going to devote an entirely new show to it! The hat!

It moves to LA and starts a career in animal psychology, and crazy hijinks ensue, of course.

Well actually, I lie. Things are not that bad yet, but many new shows (and films) have their source in old or current productions. One of the most highly anticipated new TV shows of 2015 will be Better Call Saul, a spin-off of the tale of everyone’s favourite high-school teacher turned drug kingpin – Breaking Bad. This new show will focus on Walter White’s shady, fast-talking lawyer Saul Goodman (played with wonderful shadiness by Bob Odenkirk), who was a major supporting character for four seasons of Breaking Bad, and will follow his story several years prior to his meeting Bryan Cranston’s Walter White. So with no Walter, Jesse, Skyler, or Hank, what will make this show a success while at the same time marking it as different from its mega-hit parent?

First, we must look at spin-offs of two of the greatest sitcoms of all time: Cheers and Friends.

Cheers, the place where everybody knows your name, spawned the immensely successful Frasier

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from the constantly lovelorn, elegantly wistful, and incredibly pretentious (radio-) psychiatrist, Dr Frasier Crane. Friends managed to take Joey Tribbiani, one of the most loveable goofballs ever, and give the world Joey. Joey was critically panned and only lasted two seasons.

Perhaps the main difference between Frasier and Joey is how tied up their lives were in the premise of the original show. Joey was an essential part of Friends. In fact, in many ways Joey was always the heart of Friends. He held everything together through an infectious positivity, and was always willing to put aside any divide in favour of his friendships. Taking Joey out of this environment removed a lot of what made Joey who he was. Joey was essential to Friends, and the friends were an essential part of Joey.

Frasier, on the other hand, was always a supporting character in Cheers. He complemented the equally stuck-up and intellectually selfinvolved Diane very well, and their grandiose pronouncements about opera and fine wines helped provide an excellent contrast (and a great source of slagging too) for the bar’s usual beer-swilling, down-to-earth clientele. However, he was never essential to Cheers. He wasn’t the heart and conscience of the bar, like Coach or later Woody, nor was the bar a lifeline for him quite like

it was for Cliff and Norm. At the end of the day, he was just another lonely soul passing through, with his own story to tell. Joey could never break away from the rest of the friends, and with all the good will and positivity in the world, Joey just didn’t work.

It’s an extremely delicate balance. A spin-off needs to pay homage to its parent show and establish a new identity at the same time. Angel was a very successful five-season spin-off to Buffy The Vampire Slayer, and it got this balance just right. By moving its main character to a different city (LA at its most noir-tastic) and introducing a cast mixed of some old Buffy regulars and an interesting bunch of new urbanites, Angel created a whole new setting while still maintaining the tropes of the Buffy universe, with vampires and werewolves and ghosts and everything in between. Angel also managed to set up a very different atmosphere from its predecessor, becoming more of a Philip Marlowe-esque detective noir rather than sticking with Buffy’s Scooby Doo high school action drama vibe.

Ultimately however, Angel kept the sharp writing and deeply human characters (even when they were actually vampires or werewolves) which made Buffy such a success. If Better

Call Saul is to seize the hearts and minds of the TV-watching public the way Breaking Bad did, it needs to shift in tone and atmosphere (even more so since it isn’t changing locations, but is staying in Albuquerque, New Mexico) while still keeping the tragically flawed characters and the themes of duplicity and corruption which made Breaking Bad such a phenomenon.

While TV spin-offs have always been around, we have recently seen a lot of spin-offs and adaptations which try to jump from one medium to the other: 80s TV shows like 21 Jump Street, The A-Team, and Miami Vice have been revived on the big screen and mostly met with a popular clamour for more. TV shows spun out from movies have, perhaps, been less successful (looking at you, Star Wars cartoons).

What is most interesting about current trends, though, is that as TV welcomes more and more cinematic episodic story-telling, previously confined to cinema and pompous BBC productions (God knows what category BBC’s Sherlock falls under), the lines between the two begin to blur.

Some TV shows, like True Detective, can be seen as just really long movies; similarly, with the growth of franchises and Hollywood’s constant need for sequels, we can treat certain single movies as being part of great big silver-screen

TV shows. There have been rumours that Luther, the BBC crime drama starring Idris Elba and Ruth Wilson, is set to continue in one of two ways: either as a movie, or as a spin-off TV show focusing on Ruth Wilson’s captivating serial killer character, Alice Morgan. Regardless of how it ends up, the fact that either is just as plausible just shows how much closer cinema and TV are becoming in certain areas.

Better Call Saul has the potential to be a great TV show, and whether it manages to juggle the weight of expectation and the beloved mythology of its parent show successfully with a mix of new characters and themes remains to be seen. Who knows though - the way TV shows and films (and even games!) are merging and being successful, we may see a lot more of the stereotypical, Hollywood, money-making racquets with spin-offs in every direction, like the shameless Matrix sequels and their games, toys, memorabilia and children’s cartoons.

Yellow With Greed

With Simpsons World going online, Aaron Murphy looks at what The Simpsons means to us and what online access means for TV Simpsons World has gone online, and we at the Otwo couldn’t be happier. Essentially, Simpsons World is every episode of The Simpsons ever, online for free. More technically, you can search for episodes or clips by season and episode, main character or by quote. You can also share any clip you want with their clip-maker tool. It is both a website and an app, and the only pre-requisite is that you have an active account with a competing cable company. The downside? It’s only out in America at the moment and there are no hints yet as to when it will be available in Europe.

You can rest assured however that this has not stopped some particularly avid European fans from accessing it already.

The reason for our excitement is that The Simpsons has always been there. It is a show that managed to tell a fun and original story with some moral compass and used interesting and relatable characters to do so.

Not just that, but it was comedy for adults and slapstick for children. The Simpsons swept through the living room and made everyone laugh at different things, but still enjoy the journey together. In The Simpsons you could find really interesting celebrity cameos, like the one where Bart gets involved in a boy-band with Nelson, Ralph and Milhouse and N’Sync arrive in to call them out (as well as providing the voices for the singing). Then it all transpires they were spreading military propaganda (“yvan eht nioj”). That was a really fun episode, even though it was a definite step away from the more grounded, domestic storylines that we had always seen before. Somewhere along the way however, The Simpsons fell off our regular viewing list.

We might blame it on school timetables or work or just that RTÉ stopped playing it at the same time every week, but we never watched more than the occasional episode.

So why did this show that was universally hilarious, had great cameos and clever, engaging storylines stop being a staple of our comic consumption? Well, in all honesty, the show stopped being great. Around season 12 we saw a dramatic decline in how the show dealt with its stories. It comes down to a few elements. The first is that the show began only to operate on one plane of interest.

All the episodes have become Homer-centric, and this is heartless Homer. Homer without the sense of relatable distress or sadness.

This is Homer, the man with a learning disability and a can-do attitude.

Whereas before you would have a cameo and it would be funny for everyone and the story would be thought-provoking, now it started to slip into just one category as the writing broadened to avoid being repetitive. Now as the writers attempted to escape the fitting chant of “Simpsons did it!” they had to lose some of the richness of the episodes. The mind wanders to the Lady Gaga episode which was essentially a plug for her own tour with no real jokes and Lisa learning nothing.

That’s another thing, the Simpsons have all changed. Homer is just a fall guy for laughs and stupidity now whereas once he was the bumbling underdog with anger issues. Bart is no longer a hell-raiser as much as he is the beginnings of a serial killer-come-teenage misfit.

Lisa just gets the crap, soapbox opinions of the writing staff piled on her. Marge is basically just in the show as the nagging wife for some set piece humour or for Homer to “snuggle” with and where the hell has Maggie been? The more you contrast past and present the more your opinion of the show snaps back into anger. All the episodes have become Homer-centric, and this is heartless Homer. Homer without the sense of relatable distress or sadness. This is Homer, the man with a learning disability and a can-do

attitude. Remember Grimey (Frank Grimes who died mimicking Homer’s stupidity)? That was the first time we saw Homer as just stupid, and nothing else. Heartless. So is the show still worth watching?

FXX did a 13 day marathon in the US of all 25 seasons in August. Their ratings went up 540%.

Everyone wants to remember why The Simpsons was so great and so much a part of their younger life. Everyone wants to look at it all again and hope that they missed something, that it wasn’t all The Simpsons’ fault. Unfortunately, as the show expanded, so did the writing staff and the dilution of ideas and jokes and storylines inevitably happened. It became a show that consciously avoided its past storylines instead of embracing them, thus making it even more episodic and disconnected (rather than consecutive) than ever. The good news for FXX however, is that this is exactly what will make the app and website so popular. People can drop in and watch whatever episode they want, anytime. If you’re afraid of change, or just don’t like this setup, then perhaps it’s not for you.

The website launch is a great idea, especially for a show of such fame, and for a show which is more than likely dying.

It’s got some great features; like its search

It feels, in some respects, like this is a very viable future for television. We’ve already seen the beginning of the end, the Frank Grimes of television if you’re into that metaphor

functions and its clip tool. The company continues making money on ad revenue for as long as people watch, which if you love the world of The Simpsons, will be a very long time. Everyone will always love The Simpsons in some capacity. It feels, in some respects, like this is a very viable future for television.

We’ve already seen the beginning of the end, the Frank Grimes of television if you’re into that metaphor, in Netflix and HBOGo. Just a meagre subscription to some company and you get as much as you want, while they make money on commission by ads revenue. The Simpsons’ storytelling technique, certainly it’s later storytelling, makes the website a perfect vehicle for this kind of platform. Its unlikely that we’ve seen the last of it. TV will go where there’s money, and this is a money maker in many other ways than just ads.

11

Film Reviews

serena Following huge acclaim in Silver Linings Playbook and American Hustle , Jennifer Lawrence and Bradley Cooper join forces again in this surprisingly plodding adaptation of Ron Rash’s novel Serena .

Set in 1920s North Carolina, this is a period melodrama describing a story of greed, ambition and a slowly unravelling toxic marriage. George Pemberton (Cooper) closely monitors his self-made timber empire with the help of his newly arrived bride Serena (Lawrence). Serena’s early involvement in the business generates serious antagonism from George’s business partner (David Dencik). Meanwhile George’s ex-lover is visibly pregnant with his child leading Serena to state “Nothing that happened before even exists” giving us an early indication of the self-serving and ruthless nature of her character.

Following her arrival Serena immediately takes an active interest in the control of the business. We see her hunting rattlesnakes and saving a man’s life in the wilderness, and while admittedly, this was unusual for women in the 1920s, the ‘feisty woman in a man’s world’ theme fails to impress simply because it has been done to death so many times. Serena’s involvement in the business generates resentment which eventually puts it at risk, leading to the end of a somewhat steamy honeymoon period.

The real core of this movie is the passionate self-serving relationship between George and Serena, which flares into malevolence under pressure. While we are unsure of George’s nature before his marriage, under Serena’s influence the ruthless side of his character emerges (comparisons with Macbeth are inevitable). Lawrence does justice to the layers of Serena’s character and portrays her as increasingly unhinged, plagued with jealousy and insecurity, leading her to malice and violence. The toxic relationship begins to unravel leading to an inevitable reckoning.

The ever reliable Toby Jones gives a solid

performance as the local Sheriff despite his Deep South accent flashing on and off like a faulty light bulb. Rhys Ifans also delivers a nice turn as a taciturn mountain man with psychic powers whose life is saved by Serena leading to a dog-like devotion, enabling her murderous plans. The film is beautifully shot and Danish director Susanne Bier digs deep looking for emotional resonance and depth, but the film as a whole somehow fails to gel. The symbolism is perhaps a little heavy handed as George develops a dangerous obsession with hunting a wild cat (now I wonder who that could represent!).

Director: Susanne Bier Starring: Jennifer Lawrence, Bradley Cooper, Rhys Ifans, Toby Jones Release: 24th of October

The film wrapped over two years ago and a belated release date has led to some murmurings over quality. Lawrence appeared in person at the film’s London Film Festival premiere where she encouraged moviegoers to embrace the film with an open heart. However, despite, in Lawrence’s case in particular, accomplished performances from the stellar cast, this film simply fails to ignite.

In a nutshell: It’s not bad, it’s just not great.

Worth a look, just don’t expect Silver Linings Playbook II.

Timothy Spall’s performance is the heart and soul of this film. He holds everything together in a performance which grounds the film and allows the director to explore the more conceptual, artistic aspects of the script. He captures the intense loneliness of J.M.W. Turner, particularly in the latter half of his life. His acting is often unsettling, and occasionally devastating as he examines the darkness of the human mind. Perhaps most intriguing are the sex scenes, which are utterly devoid of passion, and instead serve as an addition to the overarching theme of loneliness.

Leigh’s film is a successful adaptation of a painter’s life, a topic that not many directors have chosen to examine. The first half is particularly strong, however it wanes significantly as the film moves towards a slightly limp and tired ending. The plot becomes increasingly meandering and aimless as it progresses, and by the time the credits finally come on, there’s a relief that it’s finally over. This is the conceptualism and the desire to explore that, on Leigh’s behalf, ruined the film. The length takes away from what is an otherwise fantastic film, and results in a boring and tiresome latter half.

Mr. Turner is a triumph in many ways. Achieving a mesmerising sense of darkness and self-loathing, it is not exactly enjoyable watching, but makes for

interesting viewing. Its spellbinding acting, and for the most part, superb directing and cinematography make it worth the long running time, however it can be argued that the length is unjustified as it approaches a somewhat disappointing, and much needed conclusion.

MAEVE O’NEILL

mr. Turner

Director: Mike Leigh Starring: Timothy Spall, Dorothy Atkinson, Paul Jesson, Marion Bailey, Ruth Sheen, Lesley Manville, Martin Savage Release Date: 31st October

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The last twenty years in the life of a famous landscape painter may seem like an unusual topic for a film, but then, you probably haven’t seen Mr. Turner. Timothy Spall stars as the famous British painter J.M.W. Turner in this biopic. Strikingly dark and superbly acted, this film is a lot more than it might initially seem.

Turner’s life is not well known outside of British landscape-art appreciation circles. He is remembered for his brilliant marine landscapes, not for the mistresses he had, or his close and perhaps overlyreliant relationship with his father. Mr. Turner seeks to change all of this. The film begins somewhere towards the latter part of Turner’s life, where his lonely and secluded life is beginning to take centre stage. It follows the challenges he faced as he moved into old age, and examines the effects of intense loneliness and grief.

The film is beautifully shot. It is this wonderful cinematography which breathes life into the characters’ actions and motivations. Often shot in doorways and enclosed spaces, an unsettling solitude and silence is injected into the work. Mike Leigh’s direction is enthusiastic and artistic, if at times too conceptual. For the casual viewer, it would be easy to get lost in the deeper meanings of each movement of the camera.

In a nutshell: Worth watching for the acting, but the film is spoiled by its cinematic masturbation in its exploration of themes and light.

Patrick Kelleher

The Judge

Top Ten Creepiest Films to Watch at Halloween

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Insidious

The Saw director’s haunted house film shines for its old-style spookiness, scary ghosts, a scarier monster, screechy violins and a level of suspense the genre hasn’t seen in a long while all serve to make this a modern classic.

Dog Soldiers

It’s soldiers versus werewolves in this action-horror, and it really is done very effectively.

From the misty woods of the first half to the hard-to-defend cottage of the latter, the film piles suspense on its audience as they wait for the next attack. Costumes for the beasts are a little cheesy but mostly creepy; a trait of all good movie monsters.

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Event Horizon

A pioneer of the space horror niche which sees a rescue crew board an abandoned starship, not knowing that it houses a portal to the netherworld. Sacrificing subtlety for gore, it attempts to visualise the unimaginable horrors of hell and does a convincing job.

This film about a hybrid species of super spiders invading a small American town makes sure to put a creepy-crawly everywhere you’re most afraid of finding them: in shoes, behind the curtains and, of course, an army of them hiding in the hero’s house. It’s things like this that make people develop phobias.

Film Title: The Judge Director: David Dobkin Starring: Robert Downey Jr., Robert Duvall, Vincent D’Onofrio Release Date: 17th October

The Judge depicts the slow and heart-warming reparation of an estranged father-son relationship. Joseph Palmer (Duvall), a no-nonsense, emotionally distant, and obsessively law-abiding small-town judge, doesn’t spare any time for his middle son, Hank (Downey, Jr.), a slick defence attorney with a big head and a bigger service charge.

After the passing of his mother, Hank reluctantly returns home to attend his mother’s funeral, much to his father’s chagrin, and finds no way to settle their differences. Then when Joseph turns up with a wrecked car he can’t explain, and the police find a body near the accident that can’t be explained, their relationship has a very unsettling and, for Joseph, unwelcome power-shift. As all fingers are pointed at Joseph, he needs a good lawyer, and Hank is the only one forthcoming.

Hank must face a lot of the life he left behind, including his culpability in the accident that ended Glen’s (D’Onofrio - his older brother’s) baseball career. The return home is beautifully captured and perfectly reflective. From then on the film starts to settle into a slow but steady stride. The true, underlying drama of the story unfolds along with the court case. Though the revelations and the emotions that come with them are surprising and clever, the film unfortunately never loses the sense that it has all been done before, and better.

It all feels just a little bit unoriginal at times. The long, dormant family feud being stirred up again by necessity doesn’t exactly hit home, even with the outstanding cast doing their utmost. Despite this, the legal proceedings are engaging and dramatic, at all times there is character development and just enough plot to stop it wallowing in its own drama for too long, but there’s always the sense that we’ve seen it before. This drawback lies in the laps of the writers who supplied dialogue that brings nothing new to a genre that relies completely on fresh conflict. Though director David Dobkin does a great job facilitating Downey Jr’s performance, there

Arachnophobia

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was little he could do to overcome the issues with the creation of character relationships.

The Judge, although a serious law story set in the courtroom, is also an examination of family conflict in the present day. It is unflinching in the face of emotion, and though very well done, because of its own setbacks with writing, it isn’t an outstanding drama.

In A Nutshell: It’s only fresh contribution was its new look at the courtroom drama, but despite this The Judge is a fantastically well-made drama with a fantastic cast and directorial team.

Shannon Corrigan

The Grudge (2004)

This American remake sees a family of Japanese ghosts terrorizing a foreign social worker.

The creaking motion of the dead mother blends with her perfectly expressionless face to tap into the uncanny valley to full effect. The scares are sometimes telegraphed ahead of time, but picking up on this will just fray your nerves before the ghouls jump out at you.

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The Blair Witch Project

Not the first ‘found footage’ horror film, but it put them on the map. Three filmmakers get lost in the woods making a documentary about local legend ‘the Blair Witch’. The daylight scenes move quite slowly, but the barely lit night-time shots are worth it. There is a gripping tension, fuelled by the shaky camerawork and the ambiguity of the titular monster.

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28 Days Later

Danny Boyle’s zombie apocalypse (or contagion) film sees a small group of survivors flee to an army base in the north of England. From society-destroying viruses, to soldiers torturing zombies for entertainment, the film does well in showing humanity at its darkest and most gruesome.

Poltergeist

Another classic of the horror genre. Creepiest scenes are those of Marty peeling away his own face in a mirror, and the clown doll at the foot of Robbie’s bed (beats Stephen King to terrifying clowns by eight years). Rumours of a curse surrounding the lead actors in the film only add to the creepiness.

Beetlejuice

Most of Tim Burton’s early work could make this list, but Beetlejuice is special for its disturbing imagination. Despite being a comedy, the nightmarish creatures inhabiting the afterlife are enough to give anyone goose bumps. Creepy highlight: the Maitland’s distorting their faces to fit in with other undead.

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Halloween

Let’s face it, this had to make the list. A classic that should be watched every All Hallow’s Eve, the first film in the famous slasher franchise has aged well thanks to spooky, expressionless killer Michael Myers and the chilling piano piece at the centre of the film’s soundtrack.

SAUL FIdGEoN

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Like a second heart

Many will recognize him for his role as Nidge in that (quite) popular RTÉ gangland drama, but he is also an exceptional actor of both stage and screen. Tom Vaughan-Lawlor sits down with Shane Hannon to discuss Love/Hate, honing his craft and the magic of the theatre “The past beats inside me like a second heart.” John Banville’s 2005 novel The Sea made a big impression on Tom VaughanLawlor; he recalls thinking that the pace was very slow with every line extremely dense, but that “the payoff is just phenomenal.”

The novel won Banville the Man Booker Prize, and the aforementioned quote could certainly be altered a little to refer to Vaughan-Lawlor’s own career in acting. He speaks about the trade with such a fervent passion that it’s hard not to see acting as his second beating heart. The fact that his father too was an actor confirms that it really was in his blood.

Surprisingly however, acting was not something that always appealed to the Dundrum-born star. “I never wanted to be an actor. I think it’s that thing of growing up in an actor’s household, it’s a very unstable environment and financially it’s very scary.”

Vaughan-Lawlor would have witnessed this instability first-hand growing up, and it’s not something he necessarily wanted in his own life.

“When you’re training to be an actor, they train you to be the best that you can be, but they don’t teach you about the unemployment, which is kind of a defining part of the job really.”

An inevitable interest in film and drama did ultimately blossom however, and VaughanLawlor’s father was not going to stand in the way of his son following him into the arts. “I just became interested in films, the great films of the 70s, the classics. I remember seeing The Deer Hunter when I was very young, at 14 or 15, on some re-release in the cinema when my Dad took me, and I was just blown away by the power of those performances.” The influence those films had on him is unmistakable, and when it came to choosing a career his mind was set on the world of film. “Going to [Trinity] College I decided to study Drama and Classics, and I did bits and pieces in the drama department acting-wise.

Then I just realised I had a latent fascination with acting and it went on from there.”

Having gone on to the Royal Academy of Dramatic Art (RADA) in London after Trinity, Vaughan-Lawlor garnered a tangible love of the theatre. “There’s kind of a magic to it. Sometimes you leave the cinema and you’re blown away, but memories of theatre experiences really imprint themselves on your brain.” He describes theatre as something that “feeds your soul in a very rich way” and notes how “There’s some kind of communion between the audience, the stage and the performances that’s very magical, I don’t know what it is.”

Vaughan-Lawlor has just finished performing alongside Ciarán Hinds and Sinéad Cusack in Our Few and Evil Days at the Abbey Theatre, and it’s a role that he was delighted to be offered.

During the four-week run he played Dennis, a middle-class mature student, and it’s a role that he resonated with; even the play itself will have echoed life in many normal households he believes. “Behind closed doors in all middle-class lives there’s pain and suffering and secrets. It’s a very calm first couple of acts but you know something strange is going on that kind of draws the audience in.” He summarises the play as representative of the bourgeois, “… with an underbelly of something that’s not quite sinister, but very dark, and it speaks to people on a certain level.”

Our Few and Evil Days was written and directed by one of Ireland’s most exciting contemporary playwrights and someone

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Photo: James Healy Vaughan-Lawlor praises highly, Mark O’ Rowe. “I think you’re blessed if you have a kind of a similar sensibility with someone who’s a writer or director in that way and who invites you to be a collaborator in some form with them.”

Tallaght-born O’ Rowe is already a renowned talent in both screenwriting and playwright terms, and Vaughan-Lawlor is keen to see what he does next. “I’m really excited myself as a fan as well as a colleague to see where he wants to go in the theatre next. I think it’s going to be really interesting.” Certain acting-directing duos seem to just click every once in a while, and the Vaughan-Lawlor/O’ Rowe relationship looks set to thrive for the foreseeable future. “I think it’s amazing to work with Mark because you see how he shapes language, how he works is really amazing… I feel very fortunate to have met him and have that kind of collaboration so far and who knows where that will go. I would happily work with him for the rest of my life!”

Next month that relationship is set to continue as Vaughan-Lawlor will star in O’ Rowe’s critically-acclaimed Howie the Rookie at the Olympia Theatre, before moving on to runs in the Barbican in London and at the Brooklyn Academy of Music’s Next Wave Festival in New York. Originally written for two actors, the play has been built around Vaughan-Lawlor’s innate

I never wanted to be an actor. I think it’s that thing of growing up in an actor’s household, it’s a very unstable environment and financially it’s very scary

talent, and is now being described as “… a one-man monologue brimming with ferocious lyricism and coruscating wit.” Vaughan-Lawlor recalls how O’ Rowe “… suggested that I play both parts and you think it sounds like an amazing idea but you don’t know until you’re out in front of an audience if it’s going to work or not.” Considering he won Best Actor at the Irish Times Theatre Awards earlier this year for his first attempt at the role, it cannot be denied that O’ Rowe’s gamble and faith in Vaughan-Lawlor paid off handsomely.

When asked why audiences should take a gamble themselves and buy a ticket for the play, the London-based actor describes Howie the Rookie as “… a full-blooded, dynamic, visceral experience, but it’s also very funny and seductive.

I think the language in it is extraordinary.” The play is undoubtedly a physically tiring role considering the amount of time Vaughan-Lawlor spends alone on stage. “It’s like getting fit for anything, you have to slowly build up your stamina for it. I remember the first time we ran it being a third of the way through the first monologue and being completely fucked and going ‘We’re only a third of the way through?’” Learning the lines was another major undertaking, and it took three months to perfect the whole script. “The language was like learning Shakespeare; it can actually be quite easy

because of the flow of it. There’s a great beauty and pace and energy and fluency to the language; once you’re in it, the language flows and it’s not as hard to learn as you’d think, but it was still pretty intense.”

When he’s not performing to sold-out theatres worldwide, Vaughan-Lawlor can be seen starring as the intense Dublin underworld criminal Nigel ‘Nidge’ Delaney in Love/Hate. Season 5 of the increasingly-popular crime drama series hit Irish screens on October 5th, with an incredible 976,400 viewers tuning in to the season premiere.

Vaughan-Lawlor’s own character is complex and quite different as each season progresses, and this “changing dynamic, depth and complexity” is a blessing in his eyes. “That’s the joy. The hard thing would be if [the role] was being repeated, then you would have to try and make things fresh that are old.”

The part can be challenging and VaughanLawlor acknowledges “I think what’s exhausting is just the pure physical demands of the part in terms of how fast we film, the time we have, and how many lines we’ve got to learn. It all gets quite manic, but you wouldn’t have it any other way

because it’s just such a gifted part.” And although he was confident the show would be a success, the level of that success could never have been anticipated. “I knew it was brilliant. The quality was never in doubt for me in terms of the writing, directing, production and the cast, but I had no idea it would have this impact.” Vaughan-Lawlor remarks how he is “Stopped every day by so many people who just have this amazing passion for the show and want to talk about it.”

This pride and passion people have for the show undeniably bodes well for Irish drama.

“Everyone’s so educated now in terms of the quality of drama because we get so many great shows from America; audiences are clever and intelligent and want to be challenged in that way.

Now we have our own drama at that level, at that top table, and it’s great for future dramas in this country.” Vaughan-Lawlor also points out how Love/Hate “broke the mould” in so many different ways, observing that “… you’d just never see that depiction of violence, that depiction of sex, that depiction of real lives in that bleak way, on the likes of BBC or ITV.” Creator of the show Stuart Carolan has gone out of his way in an attempt to portray the impact of gang and drug violence in Ireland’s capital city in a brutally honest way. “The depiction of that world is absolutely accurate. He’s obsessive in his research and speaking to people. It’s a very accurate and scary depiction of that kind of life in Dublin.” Vaughan-Lawlor himself has seen that drug culture and is amazed by how obvious it is. “The fall-out from that culture is so visible. You just have zombies and dead souls just walking around, destroyed by drugs. The amount of times in the past four weeks that I’ve seen guys openly smoking crack in alleyways, in phone boxes… it’s mind-blowing.”

The secrecy that surrounds the filming of Love/Hate is well-known, and Vaughan-Lawlor reveals how the cast have to “sign non-disclosure forms and shred your script. They’re obviously very sensitive about stories leaking out… It is hard to talk about because you want to talk about the show, but at the same time you can’t give anything away and you don’t want to spoil people’s enjoyment of it, so you have to be very careful about what you say.” This secrecy only adds to the show’s mystique, and those involved with the production are understandably proud of what the show has achieved. “Because the show is such a big thing here and because we’re guests in people’s homes on TV every Sunday, there’s a great sense of ownership and pride. I feel very blessed and lucky to be a part of people’s sense of pride in something and it’s a huge honour.” He also pays homage to the fans’ devotion. “We wouldn’t be where we are if people weren’t watching and talking about the show so we’re very grateful for people’s loyalty to the show.”

Vaughan-Lawlor will also be seen on-screen in the next few months starring alongside Aidan Gillen in Charlie, three 90-minute film instalments about the political career of the controversial Charlie Haughey. Vaughan-Lawlor plays Haughey’s reliable political adviser PJ Mara, whom he met in his research for the role. “He was very forthcoming and honest and very open about me asking questions about that time.” The three-part drama was filmed over a year ago and VaughanLawlor is looking forward to finally seeing its release. “It’s something that’s still very sensitive and quite raw for people in terms of the fallout or hangover or legacy of Haughey’s time… it will be very interesting when the show comes out in terms of the debate it sparks about that time and

The quality was never in doubt for me in terms of the writing, directing, production and the cast, but I had no idea it would have this impact

Photo: James Healy

We wouldn’t be where we are if people weren’t watching and talking about the show so we’re very grateful for people’s loyalty to the show

its reflection on Ireland now.”

It is clear that Vaughan-Lawlor loves talking about all things acting. “It’s an ongoing honing of your craft and an ongoing learning process… you can always learn more, you can always be better and push yourself more.” In terms of actors he himself admires, he believes Joaquin Phoenix is “pretty extraordinary”, referring in particular to his role in Paul Thomas Anderson’s The Master. He sees Daniel Day-Lewis as “kind of a given” for his “fearlessness” and “great sense of humour”, and also refers to Michael Gambon as “mind-blowing in terms of his stagecraft” and Julianne Moore as an “amazing actress.”

In terms of future plans, like any good actor he is keeping his options open. “I just want to have challenges and do parts that stretch me; where

that is I don’t know so we’ll just have to see where that takes me.” One stand-out line from The Deer Hunter advises that “You have to think about one shot. One shot is what it’s all about.” And whether it’s shooting deer or making a career on stage and screen, you have to take that one shot. So far, Tom Vaughan-Lawlor is doing just that – and he’s only getting started.

Tom will be starring in Mark O’ Rowe’s ‘Howie the Rookie’ at Dublin’s Olympia Theatre from November 11th-15th. Tickets are on sale now from Ticketmaster.ie and all usual Ticketmaster outlets.

Tom can be seen as ‘Nidge’ in Love/Hate Season 5 every Sunday night until November 9th on RTÉ One or the RTÉ Player.

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They don’t want love As they prepare to go on stage in Amsterdam, Peter Silberman, lead singer of indie rock band, The Antlers, speaks to Sinead Scully about their current tour, the ever changing music scene and the comfort of releasing flawed music

Only two shows into The Antlers’ world tour, lead singer Peter Silberman is already enjoying being back on the road. Silberman describes the “adventure” of touring as they currently take in most of Europe. “Everything is so different and unfamiliar. I think it’s kind of eye-opening and mind-expanding. It’s a really interesting circumstance to be in.” He seems genuinely enthusiastic and pleased about returning to Irish soil, playing the Olympia at the end of the month. Having last played in the Academy in 2011, Silberman recalls the last time they played in Ireland. He reminisces about the crowd being “completely insanely enthusiastic in a way I’ve never seen before, it was amazing.”

The Antlers hail from Brooklyn, New York and formed in 2006. Yet in an industry known for its fickle audiences and increasingly changing trends, Silberman isn’t all that concerned with staying relevant. The Antlers tend to march to the beat of their own drum. Dismissing the pressure of staying relevant, Silberman feels, “I think relevance is such a fickle thing by itself. It doesn’t really last for very long. I think what’s relevant to one person isn’t relevant to another. I think we just try and stay relevant to ourselves personally.”

Silberman becomes almost a role model as he stresses the importance of staying relevant to yourself rather than “what feels relevant to the mass population.”

The band released their fifth album, Familiars, earlier in the year. When asked about the process of recording the record, Silberman has to pause and think for a moment. Starting out as a solo artist and having been recording albums since he

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I think depending on where you’re at in life, your creative process changes and I think for me it’s become very different in the past couple of years in terms of getting a methodology down and a process

now. There’s more of an accessibility to be able was in his formative teen years, he admits that he’s almost lost track of how many he has worked to release your own music and connect with on. He refers to his ever-changing creative process. people out there than there was several years ago. I think it must be making a positive impact “I think depending on where you’re at in life, your in some way. creative process changes and I think for me it’s Silberman manages to explain something become very different in the past couple of years of the rawness of The Antlers music when he in terms of getting a methodology down and a is asked when, if ever, he knows that a record process.” He notes how each band member has their own idiosyncrasies when recording, yet over is good enough to be released. “I don’t think I ever feel certain that anything is good. I doubt the years they have come to “sharpen and hone” it all the time but I think that’s part of my their processes and now all three band members process. I don’t know if there’s ever certainty, “have a way of locking in together”. there’s just more of a moment when you Pressure and developing as a band are two know it ought to be done, you know to finish subjects Silberman is very happy to elaborate on. something and wrap it up.” He believes in He feels no pressure as such to create a certain imperfections. “I like to let something go while album or to move in a set direction. He alludes to pressure in terms of a question, “I think it’s always it stills feels kind of flawed.”

Proud of his Brooklyn roots and accepting a question of do you want to stay the course or of its influence on his own creative juices, do you want to throw a surprise in there”. He, Silberman feels that getting the opportunity thankfully, feels The Antlers do a combination to absorb music from all directions makes of both. Never to be a mundane outfit, they let it “so much easier to discover new, strange themselves be taken on whatever path seems most natural rather than deciding from the outset music”. Although he says that there is no direct influence from any one artist or genre, it is the that they are going to work a certain way. This eclectic mix which so often defines New York spontaneity and free-spiritedness is something that Silberman feels helps him produce the Silberman seems pretty passionate about. music he does.

The conversation turns to the current state of When reflecting on The Antlers’ journey as the music industry and the treatment of new and upcoming artists, such as Marika Hackman, who is a band, it is evident that fame and celebrity status is definitely not what Silberman is supporting the band on tour. Unlike many music interested in. Referring to the progression cynics out there, Silberman sees the way things are happening now as “really cool”. “I think there’s of the band, Silberman likes to think of it as being “a pretty sort of natural evolution”. a lot going on, it’s a very crowded field, probably He accepts the fact that they have been a in a way it hasn’t been before. But at the same slow, but constant, burner in terms of coming time I think there are way fewer barriers to entry

I think it’s always a question of do you want to stay the course or do you want to throw a surprise in there

to popularity. This assessment of the band’s popularity does not seem to trouble Peter as he states “we’re not trying to take another leap forward, but we just travel at our own pace with it, if more people discover it then that’s great”.

With nothing only some well-deserved time off in the pipeline after this round of touring, Silberman and his bandmates will be keeping eager fans waiting. However, Silberman coyly admits that the most “unpredictable” things seem to happen during their rest period, one can remain hopeful that the end is not yet nigh for The Antlers.

The Antlers play the Olympia on Oct. 30th.

Hearts of Glass From medical textbooks to Paul Epworth’s recording studio, Rebekah Rennick chats to Dave Bayley of Glass Animals about their Oxford musical upbringing and eating annie Clark’s dinner Glass Animals fall into the mystical category of musicians that appear to have materialised overnight. This Oxford quartet have quickly evolved from the condensed, trembling cauldron that is their bubbling debut, and as the telephone clicks to connect with lead vocalist Dave Bayley it’s clear that they certainly have, and continue to connect with us from an elusive place; somewhere on the cusp of the Canadian border to be precise.

“It’s quite beautiful except the fact I’m standing in a Walmart parking lot!”

While it appears that these four childhood chums have descended upon the musical hemisphere in one massive gloop of whimsical indie-rock, Bayley didn’t fine-tune his musical inclinations in the classical sense at university. He, instead, spent many sleepless nights during his medical degree bringing alive the melodies that were circling around his head “It was kind of impossible for me to avoid it. Once I started making music and thinking about music I found myself having ideas. The ideas wouldn’t really stop, I couldn’t get a break from the them” he explains.

Bayley’s husky vocals give Glass Animals’ tracks the grainy texture that rustles and whispers in your ear, while his lyricism slithers and oozes, dripping with obscurity at the best of time. Otwo wondered did his medicinal background seep into his lyrical structuring in any way? “Making music is such a different process. I kind of feel music is about breaking every single rule and doing Medicine is about following every single rule that you’ve learnt. The lyrics, yeah it definitely played a part in those.” He contemplates “I was really interested in psychiatry and how the brain works so I spent a lot of time speaking to patients who had quite severe mental disorders and they always had acute perspectives on the world. I was always trying to get into their heads to see how they viewed the world. I guess those stories definite play a part.”

Growing up within the cultural and influential hub of Oxford instinctively played an important role in shaping the band’s early ideas of music “I think the music scene in Oxford is kind of dwindling a bit now.

There was a great club called ‘The Zodiac’ that was owned in part by Radiohead & Supergrass. They’d put on some local band almost every single night. I don’t really know how they made money because sometimes there used to be just four people in the crowd. We’d go there every night no matter who was on and that’s how we came to love live music and that a live show could be something really different” he muses.

One particular performance sticks out, not just for the electricity that projected from this now reputable quintet but the impression it left upon their minds “I remember the first time that we saw Foals and there pretty much was only twelve people in the room; like Foals, us and some drunk guy. They still had all of this energy and doing these extended groove tracks and it taught us a lot about live music and that particular scene.”

Since then, Glass Animals have continuously returned to music throughout their the years; “We always kept calling each other about new music and we’d always go visit each other. I remember going to visit Joe in Brighton a lot; there’s a really great music scene down there, and he’d come up to London quite a lot and we’d go clubbing and see dance music. We never played until we got a bit bored at university” And following an unexpected appearance by renowned producer Paul Epworth at one of their London shows whereby Bayley made a lasting impression; “I walked on stage, tripped on a cable

I spent a lot of time speaking to patients who had quite severe mental disorders and they always had acute perspectives on the world

and smashed my face on the ground. I had already broken the ice by making a fool out of myself.” these group of friends suddenly found themselves no longer rehearsing in a shed in Oxford, but exploring the musical playground that is Epworth’s recording studio in London. “I think I was a bit nervous for about the first two minutes, and then I got really excited by all of the new toys” says Bayley.

What has surfaced from that experience and Epworth’s mentoring is a swelling eleven-track hazy cocktail of prickling guitar and black treacle-like groove that will have you melting into your seat before you hit the half-way point. ZABA is a polished piece of work that swells and gushes like a beating heart.

Since the release of their debut, Glass Animals have been on a steady trajectory of success, not to mention touring with the queen guitar shredder that is Annie Clark of St. Vincent. However, their journey thus far hasn’t been without a few hiccoughs. During the tour with Clark not only was their equipment stolen, but Bayley made the cardinal sin of munching on someone else’s dinner “I made a big mistake and ate some of Annie’s dinner. I found the plate of food.

I was really hungry and I asked our tour manager if

it was going and I ate it. I don’t think she was really happy, her tour manager came in like ‘Where’s the food?’ and I was just putting the last bit into my mouth and he just went white.” He laughs “I didn’t think it was that bad, but I got her some champagne and we’re friends now, it’s cool.”

Undoubtedly it’ll be interesting to see where upon their debut takes Glass Animals, and so long as they stay away from the prepared meals of acclaimed musicians, Otwo anticipates that it’s going to be quite far.

Glass Animals play The Academy on March 15th

I walked on stage, tripped on a cable and smashed my face on the ground. I had already broken the ice by making a fool out of myself

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An Accidental Songwriter Rising British star Kimberly Anne talks with Stephen Connolly about home recording, supporting her heroes and the “jungle” of the music industry

Kimberly Anne, having previously boasted about her ‘‘drum kits made from £5 Ikea tables, condenser microphones duct taped to mops and song titles spelled incorrectly”, is currently making waves as a new force on the British music scene. The precariously-haired songstress from South London, along with her left-handed guitar, released two EPs this year, ‘Hard As Hello’ and ‘Liar’. Since supporting the Rolling Stones earlier this year in Hyde Park and having her version of Simon and Garfunkel’s classic, ‘Sound of Silence’, appear on Made In Chelsea, Kimberly Anne’s profile has steadily escalated. Bastille even became suitably enamored with ‘Hard as Hello’ to tinker with it and offer up a remix. The videos accompanying both remix and original have each garnered a quarter of a million views on YouTube to date, with the latter video featuring the singer impassively delivering the lyrics, as a series of faceless hands manipulate her face and hair.

Anne remains concentrated though, currently working on her debut album and preparing to tour the United Kingdom with Ella Eyre this month.

While her new found spotlight and attention seems

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sudden, Anne insists that there’s nothing meteoric about her rise to prominence. “When you’ve been working your butt off for as many years as I have, it feels odd when people ask about any recognition being sudden. It’s been a long journey with many twists, turns and baked beans as dinner. I started out as a performance poet and eventually my work evolved into music. I was a bit of an accidental songwriter in a way. Sometimes I look around in the studio and I’m waiting for someone to tap me on the shoulder and chuck me out.’’

A graduate from the BRIT School for Performing Arts in Croydon, Kimberly Anne first ventured out as a performance poet. ‘‘Music was how my family communicated. It was really the thing that could break the ice if we’d had a bust up and just brought us together no matter what. My dad played in a band at a few local pubs. Me and my sister used to get to go and hang out and help the band load in and out. Seeing how people used to respond to their set and how they could bring a room alive was always exciting for me as a kid’’.

Although having recorded her original tracks tucked away in her bedroom, ‘Hard As Hello’ soon elicited the attention of producers Rich Wilkinson and Charlie Hugall, men responsible for the production

I have direct access to people engaging with my music and they have access to me through Twitter and Facebook.

There’s nowhere to hide and I wouldn’t want to either

work of renowned names such as Bombay Bicycle Club and Florence + the Machine. They subsequently joined her for ‘Liar’, her second EP released last August. While the cardboard Swedish tables may have now been banished, Anne insists that, “I love demoing at home.

I often end up recording weird sounds that can end up in the final mix. I think all parts of the process at home and then in the studio are really important.”

She remains as unyieldingly modest when faced with the other implications of fame. Tellingly, when Kimberly Anne is asked about the most memorable moment of her career thus far, and having already gotten slots with Bastille and the Stones under her belt, she cites supporting Jake Bugg in the Brixton Academy last year. “I’ve seen many of my heroes rock that stage, so getting a shot on there myself was pretty epic”.

Perhaps closer yet to her heart, she refuses to let her raised profile modify the means by which she interacts with her followers. ‘‘The music industry is a bit of a jungle full of beautiful and exotic things but also has its fair share of poisonous berries to make sure you don’t eat. It’s an amazing place full of opportunity and there’s no one set formula for guiding your way through. I think artists being moulded by companies tend to happen less and less now which

is the way it should be. I have direct access to people engaging with my music and they have access to me through Twitter and Facebook. There’s nowhere to hide and I wouldn’t want to either. As long as I’m making music I’m proud of and getting to play it night after night, I’m happy.’’

Kimberly Anne’s EPs, ‘Hard As Hello’ and ‘Liar’ are out now.

album Reviews

Ben howard I Forget Where We Were

I Forget Where We Were, the sophomore release from Devonshire native Ben Howard, is an uncanny beast. Throughout its ten tracks, it brings the listener on a musical journey that feels both alien and comfortingly familiar at once. Followers of the singer-songwriter will recognise immediately the lush, melodic vocals of Howard, who remains consistently on form from the offset.

However, the choices of instrumentation and backing bring the listener into new territory. Gone it would seem, at first listen, are the folk inspired sounds and sing along choruses of Howard’s debut effort. Instead, they are replaced with an experimental mix of cello, guitar and percussion lines that give this album a distinctly reflective mood.

Yet the path into the unfamiliar is a smooth one, as the listener is brought almost seamlessly from gentle melodies to intense explosions of sound.

Under the surface, the ghosts of Howard’s folk influences are still evident. Songs such as ‘In Dreams’ draw heavily on a folk undercurrent, while ‘She Treats Me Well’ harks back to Howard’s distinctive sound. Obvious artistic experimentation makes a welcome addition with songs such as ‘Rivers In Your Mouth’.

Context, it seems, is key to the understanding of Howard’s latest offering. In taking a step away from the nu-folk he, along with bands such as Mumford and Sons, helped bring into the mainstream, Howard has built and created a voice and a sound that simultaneously belongs and remains one step removed from the norm.

A change of vision, but not of heart, I Forget Where We Were certainly gives the listener plenty to remember.

In a Nutshell: An album that keeps on giving; challenging for the fan, yet gentle on the casual listener, there’s plenty in its 50 odd minutes for everyone.

Siofra Ni Shluaghadhain

Yusuf

Night Becomes Light Five years after his last release, the former Cat Stevens goes back to basics with his third major release, fourteenth overall, under the adopted moniker, Yusuf. Tell ‘Em I’m Gone marks a welcome return to the folk rock, blues influences of earlier releases, each track laced in soulful guitar riffs and bouncy bass notes. Bringing in the help of legendary Rick Rubin as co-producer of the record, the two veterans combine to make a rather bearded, formidable force, as the album features a mixture of both new, original material and fresh, reinvigorated interpretations of some well loved classics.

The album takes a decidedly biographical approach throughout, as Yusuf croons, “I was raised in Babylon” in the opening track, completed with intricate guitar work and shimmering chimes.

The dreaminess of the opening track is somewhat juxtaposed with an energetic, bluesy rendition of Jimmy Reed cover, ‘Big Boss Man’. Yusuf’s gravely, husky voice has aged well. He sounds natural, relaxed and not particularly interested in impressing anyone.

This is particularly true with the emotional, piano ballad, ‘Dying To Live’, where occasional imperfections in vocals and guitar accompaniment only add to the atmosphere of the recording.

Yusuf’s choices of covers are interesting, especially with the selection of ‘You Are My Sunshine’, a song so overplayed and associated with mothers singing to their newborn babies that it seems like a mistake. Yet the arrangement and interpretation by Yusuf makes for an enjoyable listen, allowing the listener to actually appreciate the lyrics.

The record may not be particularly groundbreaking, nor does it explore any new or experimental areas, yet the record’s strength lies in its familiarity. Other highlights of the album include ‘Gold Digger’ and the eponymous ‘Tell ‘Em I’m Gone’. Yusuf’s comforting vocals and feel good arrangements, while not challenging to listen to, makes for a generally enjoyable listen.

In A Nutshell: The return of the bluesy, rock vocals of Yusuf/Cat Stevens will be welcomed by his already established fan base, but may struggle to engross any new listeners.

SEAN HAYES

Lola Colt

Flaming lips

One of London’s most promising new acts, Lola Colt have succeeded in developing a unique sound after only one EP and a handful of singles. Fronted by the song-writing duo of lead guitarist Matt Loft and Danish vocalist Gun Overbye, the sextet’s debut is a spaghetti-western soundtrack with a psychedelic twist.

Away From The Water would be the perfect companion to a reboot of the 1960s film to which the band owe their moniker. With a plethora of snarling guitars, Lola Colt dust off Americana topes with a swish of European style. Over the course of 10 tracks, the band evokes a Morricone score reworked with a Tarantino twist.

Overbye’s vocals are the driving force behind the album, supported by thumping beats and deliciously fuzzy guitars.

Reminiscent of Siouxsie Sioux’s iconic voice, Overbye manages to dominate even the largely instrumental title track.

Lola Colt guides the listener on a journey through dreamy expanses of desert, where Overbye’s bravado is stranded in an empty yet enormous place. Paradoxically, the backdrop of the desert is both barren and ripe as each half of Lola Colt’s talented six pull in different directions, erupting in an almost claustrophobic harmony.

With an atmosphere sweltering under the weight of heavy moments such as the cacophony of ‘Driving Mr Johnny’, Away From The Water can be almost menacing in its obvious bombast. The first minute of ‘Moonlight’ sounds like the theatrical prelude to a dark storm, while ‘Vacant Hearts’ sashays through a tragic rodeo romance with aplomb.

The production comes courtesy of Jim Sclavunos, dipping each track in noir and fraying the edges with a rough appeal.

Unsurprisingly, the touch of a Bad Seed proves the perfect match for Lola Colt’s hypnotic sound.

The Flaming Lips, veterans of the music industry in this day and age and yet never failing to come out with a record that falls somewhere between the odd and the interesting, while also challenges all the accepted rules of music. As they did in 2009 with Pink Floyd’s Dark Side of the Moon, the Lips have now ventured into, perhaps, dangerous territory in an attempt to do a track-for-track cover of The Beatles iconic album Sgt. Pepper’s Lonely Heart Club Band.

Suitably entitled With a Little Help From My Fwends, The Flaming Lips gain benefit from a vast amount of artists that range from electronic rock acts like, Moby and Phantogram, to indie rock bands such as Foxygen and Tegan & Sara, all the way round to rapper Chuck Inglish and the twerk-loving Miley Cyrus.

From the first few seconds of the opening track, the listener is already drawn in to what feels like a new aural world, with sounds of space and terror.

The track continues with its outer space feel before a volta sends you into a world of screeching guitars and rocking drum solos. The proceeding track follows suit with two contrasting vocal styles, a mellow auto-tuned tone versus an out-of-key shouting voice. A swift move on to ‘Lucy in the Sky with Diamonds’, that features both Miley Cyrus and Moby, is more easy-listening with spacey synths, distorted drums and calming guitars. Genres seem to clash on each track with a touch of space rock, 60’s pop being meddled with a hip-hop vibe on ‘She’s Leaving Home’ before being drawn back into a confused state of mind with almost dream-like vibes. The record is summed up with Cyrus featuring again on ‘A Day in the Life’ which delivers a peaceful sound and a touch of trap, in which to escape a world of disorientation.

Away from the water

With a Little Help from My Fwends

In A Nutshell: The Flaming Lips push all boundaries to create an experience of discomfort, confusion and relief.

Alan Maher

In a Nutshell: An experimental venture into brooding desert rock, enticing the listener into a gorgeous mirage.

Eva Griffin

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DJ Spotlight

With an ever-increasing amount of club nights and venues to fill your social diary, Sean Hayes gets to know some of the resident DJ’s in some of Dublin’s best clubs Trevor Dietz is a resident DJ at Somewhere?

Wednesdays and Workman’s Saturdays at The Workman’s Club.

Mark: I like being able to mix two songs together that complement each other perfectly. It feels amazing when that happens.

Glen Stefani plays sets at Honey at The Twisted Pepper and regularly plays Bruce Willis at The Lost Society.

Q: When playing, what do you like getting from the crowd?

Mark Grace DJs at Pick ‘N’ Mix and Honey at The Twisted Pepper.

Q: When did you get into DJing?

Trevor: I got into DJing many, many years ago, when I got my first set of belt decks, to playing nothing but drum and bass and jungle!

Glen: I actually started DJing around April 2013 but I only started doing it properly in clubs at the end of July of the same year.

Mark: I started DJing 2 years and started in clubs when I got a residency with Small Talk in September 2012. My first time with them was actually my first time using CDJs and I think I only made two mistakes, which was such a fluke.

Q: What do you like about DJing?

Trevor: Playing tunes I love very loudly and in turn playing a role in somebody having a great night.

Glen: I like playing all of my favourite songs of the time in the clubs and hearing what they sound like on the big systems. It’s not too often you get to hear songs you really like on the professional sound system.

Trevor: When you play a tune and somebody rushes up to ask what it is. It’s nice to think you’ve got somebody into a new band that way.

Glen: I just like making the crowd dance and when they like a song that I play in particular they kind of scream or roar at me. I don’t know how to describe it really.

Mark: I like when everyone is dancing like crazy and you’re playing them music they haven’t heard before.

It’s so satisfying to see people excited about music that you yourself were excited to find.

MIXTAPE: What They’re Playing Right Now comes off the crowd when you do it right.

Trevor Julian Casablancas & the Voidz - ‘Where No Eagles Fly’ Caribou - ‘Our Love’ Sleaford Mods - ‘Jolly Fucker’ Cheatahs - ‘Mission Creep’ Amazing Snakeheads - ‘Here It Comes Again’ Glen Kings Of Tomorrow - ‘Flutez (Audiojack Remix)’ Max Chapman - ‘Groove (Original Mix)’ Palace - ‘Psychosis (Original Mix)’ Cristoph - ‘Smudge (Original Mix)’ Phil Kieran - ‘Going There (Richy Ahmed Remix)’ Mark Moderat - ‘Bad Kingdom (DJ Koze Remix)’ Cuthead - ‘Vibratin’’ Syclops - ‘Where’s Jason K’ Cheryl Lynn - ‘Star Love’ Daphni - ‘Yes I Know’

Q: How do you know when the crowd is really enjoying what you’re playing?

Trevor: Shakes of the hands, fist bumps across the decks, heart signs, drinks being bought for you and people dancing where they really shouldn’t be, on tables and the mantlepieces! Generally it’s at the end of the night when people come up to say how much they enjoyed the music. That’s always nice.

Glen: Sometimes during my sets people come up to me and ask me what a song is called, I’m always happy to tell them because it’s a good feeling knowing that a crowd digs what you play.

Mark: Usually when the crowd are really loving it they’ll just be going nuts. There’s an energy that

Radar: KEYWEST Known for their crowd-pleasing performances on the streets of Dublin, Keywest chat with Aaron Flood in much quieter surroundings to discuss performing, supporting big names and what the future holds

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Sitting in a cosy country pub in Co. Clare, five hungry lads who go by the name of Keywest, are polishing off their dinner before taking to the stage as part of the Scariff Harbour Festival.

A dinner which is obviously being interrupted; however this is nothing new to them. “We supported Bryan Adams recently and we were eating food in the big tent. He wanders in and says, ‘You were those guys making all that noise earlier during our sound check”. Supporting a musician like Bryan Adams is an impressive achievement for any band, but supporting massive acts is nothing new for Keywest.

Speaking about meeting and working with some of the biggest names in the industry they reveal “You meet them, but you seem to ‘bump into them’ as they’re going about their business”, a typically grounded response. “Sometimes they just wander in and out because they’re on tour and like to keep themselves to themselves.”

The notion of ‘keeping one to oneself’ is not in Keywest’s manifesto. The band prides itself on their busking nature, constantly performing on the streets of Dublin. “It’s done so much for us. I

like it because people walking down the street can see us play and if they don’t like us they can keep walking. If you do like us, you can stay and you can watch, and you’re not obliged to buy a CD or give money or anything, you don’t even have to know us! It’s good for people who do know us and enjoy our music, because they can come and enjoy one of the bands they like whenever they want.”

Indeed, anyone who has walked up and down Grafton Street between 2009 and now will have seen, and be familiar with Keywest. However, this doesn’t diminish their on-stage performance stature, with the lads constantly selling out venues all over the country. There’s obviously a difference between busking and playing live venues, yet the members all agree on the same thing. “I was going to say we’ve done more busking than we have gigs but we’ve done a hell of a lot of gigs!” they laugh, light-heartedly. “Busking seems a lot easier because it’s more relaxed and you can connect straight away with strangers. Gigs can be hit and miss”.

A gig that was not hit-and-miss, however, was

their sell-out show in Vicar St. in Dublin, which is remembered fondly by the group. “Being from Dublin, that experience was absolutely amazing. It’s nice to support people, but when it’s your own crowd and they’re singing the words back at you, that is why we do it”. So with rave acclaim for their both live and busking performances, the band finally admits, “I wouldn’t say we prefer either one, but we have a massive soft spot for busking.”

As the lads finish up their meal and prepare themselves for the waiting crowd questions move to what can be expected from Keywest in the future?

“Well we’re recording the second album, so that’s massive for us. Hopefully that will be out before the end of the year and hopefully that’ll bring more radio play, more profile, more everything! Just keep building.” To borrow a line from their Dublin contemporaries Kodaline, they’re definitely a band with high hopes; but there’s no reason to say they should think otherwise. “We’re ready” say the band; “Hopefully you are too”.

street style

Photography Laura Iorgulescu

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1 Alun Cullinan, MA in Geo Politics and Global Economy Lumo yellow rucksack: Jansport “I’ve had this bag for absolute years. It is 6 years old at this stage.’’

2 Laura Morrin, 1st year Law

“This jumper is actually my mom’s. I never really ever borrow her clothes, she’s not one of those cool moms with a fab 80s style wardrobe, but I think you’d agree that this jumper is pretty cool?’’

3 Ronan Bartley, 1st year English and Drama “These brogues I’m wearing are what you would call real vintage.

They’re my granddad’s and are 40 years old at this stage!’’

4 Louise Hennessy, 1st year Classics and Sociology “I shop a lot in Forever 21. Their stores in America are so much bigger and better than here in Ireland. However, I also like TK Maxx. I got my boots there about 8 years ago, and they still look brand new!’’

5 Vlad Von-Grey, 1st year English, Philosophy and Sociology “I like to base my style a lot around my cultural influences.

Although I’m Russian and currently living in Dublin, I have also lived in many other amazing places such as London, Waterford and Krakow.” words Sarah O’Shea

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The Halloween make-up special With midterm assignments and All Hallows Eve creeping upon us, Sarah O’Shea sits down with Inglot makeup artist Aoife Chan who is taking the Irish makeup scene by storm Photography Laura Iorgulescu Halloween is undoubtedly the best time to experiment with your creative juices in terms of costume ideas and let’s not forget makeup too. Halloween inspired makeup is definitely exploding in popularity in recent years due to the sheer innate talent of the many new and rising makeup artists emerging on to the Irish makeup industry.

One such person who is really making a name for themselves on the Irish scene is nineteen year old Aoife Chan. Chan, who is an Inglot makeup artist, displays clear skill and an infectious passion for the work she does and this is clearly visible in the work she did in this issue of Otwo. Her passion especially comes through when she talks about her work and journey to become a makeup artist.

When did your makeup journey begin and what made you choose to study makeupartistry?

Once I finished school in 2013, I went on to study makeup that October, so this time last year. I knew I was more gifted in terms of being more creative, rather than academic.

I originally had always wanted to become a hairdresser, from a very young age but then decided that it wasn’t for me, for several reasons, having observed several other family members actively working in that field, at the time. Makeup was really the only thing that I excelled at, so I applied for a makeup course, then and there.

Where did you study and how would you describe your experience there? Would you recommend the course to other people thinking of choosing a career-path in makeup artistry?

I studied at ‘Vanity X’ in Swords, where I completed the full-time ITEC course in one academic year. I would describe the course as highly intense and fast-paced. I would definitely recommend this course if you have a passion for makeup and are willing to put in the work to ultimately achieve your diploma to become a professional makeup artist. I really enjoyed the course, myself and got to meet and work with some really inspirational artists.

You’re obviously extremely talented. Did you ever think makeup was something you might like to pursue, when you were younger?

As I only first became interested in makeup at about thirteen or fourteen, and was obviously no good at it then, at the time, I suppose, no – I didn’t consider it as a future career-path for myself. On the other hand, I did always want to know more about products and different techniques, so I familiarised myself with makeup blogs and Youtube tutorials.

Collectively, because of this, I truly learnt so much over the years because of them.

What is your favourite kind of makeup look to recreate and why?

I really love the creative avant-garde sort of makeup looks because there are no limits. I’m

Model: Avril Collins

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always in awe at how artists can create such beautiful pieces of art with the human body.

It’s great nowadays with social media to share your creations with the world. I do love the regular makeover also, as it’s a great feeling to have the ability to make somebody else feel good and confident about themselves.

What’s your favourite kind of Halloween makeup look to recreate and why?

I don’t think I have a favourite as I enjoy doing both glam and gore looks. I like when people think outside the box and want something that not every other person will have.

Do you get inspiration from other artists – for your Halloween looks especially or do you just think up your own ideas?

I do get a lot of inspiration from other artists and I do like to recreate some of their looks but I do try to think of original ideas, like the ‘Wooden Ventriloquist’ look modelled here by Aoife.

I do like to recreate some looks that I’ll have been inspired by, by other makeup artists. I think the looks with a more original aesthetic get the most recognition because they haven’t really been done before. It’s great to get inspiration from nature of even a piece of patterned fabric, instead of looking at other artists for inspiration, so that way you can have your own personal stamp on things.

How would you describe your job at Inglot?

I’m only working at Inglot four months, yet it’s great and I love it! I’ve never worked in retail before so it’s all new to me. I get to work with amazing artists and it is great getting to see everyone’s own way of doing things and I can learn a thing or two from them. Working for a very well-established cosmetics company also offers many amazing opportunities for me to grow and further my skill-set.

This brings me onto my next question! How did it feel recreating ‘The Harlequin Girl’ look, as modelled here on Avril, for live TV on Exposé, this week?

Can I just say that I simply cannot even believe that I got the opportunity to do the makeup for them with the amazing girls at Inglot who have been working there way longer than I have.

This makes me feel so incredibly lucky to be able to do such an incredible thing as I’ve only been working there for such a short amount of time! Since I’ve done the look twice before, I felt confident in recreating it and was happy with the finished result and cannot wait to see it on television!

Model: Aoife Gilrane How long would it roughly take you to do such an advanced look, with such intricate detailing, similar to the looks both Avril and Aoife are modelling?

If I’ve done the look before, then it shouldn’t take longer than an hour and a half, however, if I’m starting from scratch, then it could take anything from two to three hours depending on the materials being used!

If you could do makeup for any one client of your choice, who would it be and why?

Easy answer – Cara Delevigne. In my opinion, she can pull off any look as she’s extremely versatile. She has such a unique face, which I would love to see in the flesh. She is also renowned for her wild antics and so wouldn’t be afraid to pull of any look!

Do you think you’d like to do more freelance work in the future?

I would eventually love to do freelance work, especially for shoots, TV and film, but right now I want to get the experience of working at a counter and finding my own personal strengths and weaknesses (we all have them!) as an artist and work on finding my own style, along with building on my professionalism.

Would you agree that the makeup industry is more competitive nowadays as it’s such an over-saturated market, where supply exceeds demand?

Yes, I would agree – in terms of the huge volume of people that go on to study makeup at a young age. We all see on social media platforms just how many people have the term ‘’MUA’’ following their name, in an attempt to promote their brand. I think that studying makeup seems to be becoming a small trend in Ireland among school-leavers.

However, in today’s world not many people stick it out because it is difficult to find consistent work all year-round, along with finding a loyal clientele when there really are so many artists to choose from. I do think, nonetheless that hard work and professionalism will guide you the right way.

I knew I would be working in Inglot and doing makeup for Xposé a year later, there is no way I would have believed it! It’s all baby steps and you will get to your destination eventually. I’m still learning every day and I don’t think I’ll ever stop. There are constantly new trends, brands, products emerging. If it’s your true passion, then you’ll do just fine!

Finally, what advice would you give to makeup artists who are just starting out?

It is hard at the start but believe in yourself and always take every opportunity that comes your way, no matter how big or little it seems at the time. You never know who you might meet or who will see your work! I started college only this time last year and if

Aoife Chan is a makeup-artist working at Inglot, South Anne Street, Dublin. She currently takes bookings on her Facebook page “Makeup By Aoife Chan”.

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Arts and literature You’re Grand, the Irish Woman’s Secret Guide to Life by Tara Flynn

With comedian and actress Tara Flynn releasing her first book, Niamh O’Regan reviews what is a very grand affair “Every Irish woman knows that knowledge is power, and knowledge acquired in the presence of tea is unbeatable”. The average Irish woman is a strong minded, powerful individual, who attacks life full on, with a grim optimism and a decent cup of tea. Or so it would seem from reading Tara Flynn’s first book, You’re Grand: The Irish Woman’s Secret Guide to Life, and she doesn’t do a bad job of convincing you that this is the case.

As the title suggests, ‘grand’ is the central premise of the book. It is the philosophy of Irish women and wannabe Irish women everywhere to be grand, or even “Grand altogether” some of the time. Of course, Irish men feature in the book too, as Flynn herself said in an interview with Otwo in September, “they’re feckin great”, and she does make clear in the opening that the Irishwomen she speaks of, are often Irishmen too.

Indeed it is a book for men and women everywhere, specifically those who wish to learn more about how the Irish woman functions in every aspect of life. Opening with a whole chapter explaining exactly what the meaning

of ‘grand’ is, continuing on to the ancient Irish custom of ‘Do You Want to Be Buried with My People’ and ‘How to Fake Mass’.

The book does give an accurate account of the habits and customs of Irish women. It fixes certain stereotypes, plays up to others and obliterates the rest, as well as giving a true understanding of the complex nature of the Irishwoman in all walks of life, in all situations.

It’s a satirical self-help book, seeming to be written with the busy, fast walking, chatty Irishwoman in mind. You can dip in and out of it on any page, without having to sit down and commit to it full on, but enjoy it just as much as any novel. On reading, there are parts where the text would seem to be better spoken rather than written, as if the passages are part of Flynn’s stand-up routine. As this is only a very occasional occurrence it does not affect the overall reading experience.

The satirical nature of Flynn’s comedy is seen throughout her book, as in her more famous YouTube videos, such as ‘Tits Blind’. Among the jokes about Peig and the advice on ‘How to Walk in Muck’, there is a quiet, subtle seething about

It fixes certain stereotypes, plays up to others and obliterates the rest

the oppression of Irish women, and not (just) by the English, but by the state. This stands hand in hand with quips about the church and societal expectations of being a good girl. While remaining light-hearted and welcoming, like the Irish woman herself, the book does drive home the message that although the Irish woman loves her kitchen, it’s not somewhere she should be chained to.

Emerging Irish Writer – Colin Barrett With the backdrop of rural Ireland supporting his cast of estranged characters, Rebekah Rennick speaks to author of Young Skins Colin Barrett about the art of the short story and the lives of those who’ve inspired his writing thus far “If you know the type, you know the type.” chimes Colin Barrett, author of short story collection Young Skins and recent winner of the Frank O’Connor Award. The ‘type’ he refers to are those who haunt rural towns across Ireland; young, directionless pups stalking darkened pubs, estranged friends dealing with unforeseen circumstances and bouncers ruling the kingdom that is their resident, murky nightclub. These are the characters that have inspired and moulded Barrett’s collection of stories, set in the fictional yet frighteningly accurate small town of Glenbeigh.

Barrett’s upbringing in Mayo allows him to expose the true wayward lives of those inhabiting our rural towns, those who for the most part are oblivious to life outside their local surroundings.

While such lives have been explored more so in the comedic sense with Hardy Bucks, Barrett brings alive the grim reality of this existence. “I wanted to avoid ‘judgment’ writing – that is, to go in with a premeditated idea of condemning/ sentimentalizing a subject, society or way of life.

I tried to present the world and characters ‘as is,’ and not succumb to the temptation to explain or justify.” He explains “I just wanted to stick as close to the skins of the characters. To the reader, perhaps, their lives look bleaker but it’s in that very gap that fiction promotes engagement and empathy.”

While he completed an MA in Creative Writing in UCD in 2009, Barrett’s penchant for short story writing is clearly evident “A short story to me is halfway between a drawing” he says “Every bit of it glows at the same luminance. A poem is the same – it’s a distillation of language and form into its best, most efficacious expression. A short story requires an attempt at poetry’s rigor and scrutiny

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of language, and an awareness of the plasticity and possibility of form.”

Delving into the lives of his characters in Young Skins exposes the traits which somewhat mark us all brought up in post-boom Ireland; a dark humour that surpasses many other emotive thoughts “It’s an Irish trait for sure, though not one exclusive to us at all. Most of the characters were infused with that sensibility without my consciously having to work on it.”

While he describes both male and female characters he notes that “In the book, most of the women have responsibilities of some kind, whether a job or family, and the men end up with too much time on their hands, with an attendant propensity for killing that time in the most destructive ways possible. “ A truth that is echoed sharply in a number of his exceptional yet harrowing stories.

Following the success of the Frank O’ Connor award, Barrett recognizes the change in his life, from “living off the odd arts grant/the dole/part time evening jobs” to becoming an acclaimed Irish writer; yet he remains true to himself and evades the pressure that may come with such an accolade “I remind myself that no one really cares either way, so just get it done. Get it on the page.

It’s crap, but get it on the page, and take it from there. Same as it ever was.”

An Endless Childhood Young adult fiction and children’s writing have had an increased popularity amongst adult readers in recent years. Barbara De Kegel examines this trend, and asks, is it all part of an endless childhood?

The popularity surge of young adult fiction has driven into the adult literature shelves with a bizarre ferocity. Increasingly so, bestseller lists and cinemas are being dominated by young adult fiction, and the definition of this umbrella genre has become blurred by its widening audience and author pool. The scope is forever widening, with authors moving between adolescent and adult fiction, most recently seen by Irish poet Peter Sirr’s first novel, Black Wreath.

Young adult fiction spans a spectrum between bringing mature themes to young adults and providing adults with juvenile pleasure. In the first category belong the timeless coming-of-age stories like The Perks of Being a Wallflower and The Catcher in the Rye which provoke pertinent thoughts in the minds of young adults for months after they have closed the back cover. These books exists on an entirely different branch of YA fiction than easyto-devour thrill novels like The Hunger Games and Twilight , which many college students wouldn’t want to be caught reading on the bus.

However, it is becoming increasingly socially acceptable for twenty and thirty-somethings to love teen-oriented books; an upwards trend that finds its roots in the Harry Potter craze.

Sirr’s novel is on yet another branch; the one with young adult books that don’t try so hard to be something they’re not. This book crafts a story of inspiring adventure that is honestly focused on young teenagers. Ever a poet, the concept of Sirr’s first novel is deeply poetic; the stolen life of a young boy by the name James Lovett. Throughout the novel James’ life is repeatedly stolen away from him, with the firing shot dealt by his father who pushes him out of existence by staging his funeral.

The word choice of Black Wreath is simple and direct in a way that is accessible to children

but would be inaccessible for adults; as is the case with many young adult novels. This is not a criticism on the author’s writing style, and indeed, novel as a whole, but rather on the audience who decide that this is a novel they want to peruse.

Children’s novels often lend themselves more easily to poetic concepts; children love the symmetry and circularity that adults generally reject as cliché and predictable. The defined fullcircle nature of young adult novels follows the concept of “story” that we have been educated with from early childhood. The satisfaction to be derived from young adult books is aimed at those who are discovering what coming-of-age truly means. These novels explore concepts like independence, courage and first love that, by definition of being framed by an adult’s mind, evoke a different emotion in older readers.

Young adult fiction can be a guilty pleasure for adults in the same way that reality TV is an undisclosed indulgence of almost everyone; you are immersing yourself in a life that isn’t on the same wave as yours. It is easy to do because there is no intrinsic critical evaluation to be made about people’s choices that have no overlap with your own.

To momentarily go back to Sirr’s motivation in writing Black Wreath; many of the literary greats, including Cummings, Huxley and Faulkner, wrote for children as an extension of writing for the children in their lives. It is plausible that authors have a desire to contribute to the coming-of-age reading experience of their children; it’s a way of passing on snapshots of life. In particular, Sirr explores the multifaceted nature of Dublin in his novel, mirroring some of his poetry regarding the city. His wife’s pregnancy as well as the birth and early life of Sirr’s daughter feature

prominently in some of his poetry. Indirectly writing for her can be seen as an extension of that.

Young adult novels are in a sense a commendable genre to write in: these authors are writing to educate and thrill young adults and suspend, in order to dispense, some of their mature knowledge of life. Young adult novels are great; but not as prime reading material for adult readers. Many students loved reading Harry Potter and a Series of Unfortunate Events as kids; but should they still have an equal interest in them today? Admittedly, there are novels aimed at teenagers that have more mature topics, such as The Perks of Being a Wallflower, whose audience easily includes college students. We are after all still in the process of transitioning to adulthood.

Supply and demand is unavoidably a hampering on the variety and creativity streaming out of the literary world. Publishers stick to what sells; historically that has been detective and romance novels stamped out by algorithms, and today that includes novels like The Fault in Our Stars . People say “a good story is a good story” and while that is true, storytelling of great artistic merit exists in different age frames.

Adults shouldn’t be replacing their literature with young adult fiction. Avid young readers dream of the day they can graduate to browsing the elusive grown-up shelves – but what will be the motivation to broaden your reading when you’re already reading the same books as the adults around you? Maturity doesn’t have the value it once had; adult culture is undeservedly losing its appeal in a new ‘endless childhood’ era.

Bloody Mary Massacre!

The New Theatre’s latest offering comes in the form of Mary Massacre. Shannon Corrigan reviews the heart-warming yet dark performance Mary Massacre is a bittersweet emotional roller coaster brilliantly written by Johnny McKnight. The play primarily centralises around two women, Jenny and Leyla, who meet under the most unlikely of circumstances on the Irvine Moor in Scotland.

On the surface, this ebullient, comical play is both a hilarious and honest portrayal of the world of online dating with a measured love for the psychic world.

On the inside, it’s actually a tale of loss, deceit and betrayal whereby both women change each other’s lives during the events that unfold throughout the play itself.

The set of the play is minimalistic and divided in halves between the two kitchens in the homes of both Jenny and Leyla. There is one central table that splits into the two separate homes to integrate the two sets, a representation of the connection of the women’s lives. In the background of the set is a display of the days of the week helping to tell the story, beginning expectantly on Monday. The two women’s lives become entangled by the realms of Internet dating when Jenny’s husband meets the ever so lonely Leyla.

Jenny and her husband have been suffering the heartache and tragic loss of their child which puts a darker twist on the otherwise comical play. Leyla on the other hand is smothered by the thoughts of being

lonesome and is seemingly desperate for a partner, whereby she convinces herself that going out with a married man is the shiny key to her essential happiness. Reality bites back, and she figures out that this is not the case.The play transitions from this light-hearted ride and takes a sudden turn into darker territory.

The two zesty actresses that play Jenny and Leyla are Caroline O’Boyle and Jenny McGuirk who both put on thick Scottish accents which evidently take time to “get into” but soon enough their diction becomes clear and all difficulty passes. Like fire and ice the two actresses make a fine ensemble and each have soliloquies they deliver with éclat.

Mary Massacre is a wonderful play that shows the ways people can be brought together. Beautifully written and superbly acted, it is a heart-warming and gripping theatrical show that is inevitably heart warming.

On the inside, it’s actually a tale of loss, deceit and betrayal whereby both women change each other’s lives

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Paving a Path With the Tiger Dublin Fringe Festival having recently graced the capital, Eva O’Connor sits down with Patrick Kelleher to discuss writing, acting and politically motivated art Eva O’Connor is a part of a new and emerging type of Irish writer. Her latest work, My Name is Saoirse, was performed at the Tiger Dublin Fringe Festival, and received both accolades and critical recognition. Somewhat uniquely, O’Connor is both the star of the play, and its creator; she was inspired to write it by both her own experiences, as well as the collective Irish experience of life within a religious and conservative society in the late twentieth century.

“It’s a play about a young girl named Saoirse who’s growing up in rural County Limerick in 1987,” she explains. “She doesn’t really have any decent role models. Her Mum died giving birth to her, and it’s basically about her navigating adolescence in quite a conservative Catholic Ireland. And she ends up getting pregnant and going over to England for an abortion. So I basically wanted to look at the subject of young women and abortion in Ireland, but through a subtle point of view, it looks at it from a more human point of view. Basically if there was ever a girl who shouldn’t have had a baby, it’s Saoirse.”

For O’Connor, the play is a very personal one, and was motivated by her own emotionally impinged experiences; “I wrote the play because I had an abortion myself, and I wanted to write about the subject without writing my own exact experience, or without writing a really in-your-face polemic.”

And while this work reflects very intimate experiences and thoughts, this is not necessarily true of all of her writing. O’Connor’s involvement in theatre and writing has followed a steady rise over the past few years, and began at the heart of the Fringe Festival in Edinburgh.

“I’ve done the Edinburgh Fringe Festival every year for the last five years, and I performed in the Dublin Fringe Festival in another play in 2009, which was called Broken Chroí/Heart Briste, it was a bilingual piece, exploring English and Irish language alongside each other.”

Alongisde her work in the Fringe Festival came the birth of her theatre company, Sunday’s Child, titled after the very day she was born.

“I wrote a play when I was eighteen, and put it on in the Edinburgh festival. I was very naive and didn’t understand how the festival worked at all.

I just named my company on the spot, and ever since then, it’s sort of really grown. We’ve worked with loads of different people like musicians, dancers, we’ve made all kind of different work. We won best emerging artist award in 2012 for a play about depression in young people, called Kiss Me and See How Important I Am, and we’ve just done a real variety of work.”

O’Connor’s writing dwells in the aspects of Irish life that have been silenced for generations.

From Saoirse’s journey towards an abortion, to mental health trouble amongst young people, she has tackled some of the greater issues of the day. Does she consider her writing to be politically motivated?

“Yeah, I think most writing is really. It was never my intention to go out and be a political writer, I suppose Saoirse, while it’s actually maybe one of the least in-your-face plays that we’ve done, and the most subtle works that the company has done so far, it is probably in its intention my most political play. And I think everything I write about, I’m writing about it because I feel compelled to explore that subject, so I think the

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things that interest me are the things that make our society tick, and affect young people, and the way that we all live our lives.”

While O’Connor is passionate about her writing, she is not singular in her outlook; both acting and writing are her focus, and she doesn’t feel the need to specialise in one.

“People always ask me ‘When are you going to decide what you want to do?’ and I don’t really think you need to at all. I think now more than ever it’s very difficult to be just singularly an actor, from that point of view I think a lot more people are starting to write, in order to support their performance career. But for me, I’ve written through my entire life, and then being on the stage has always been a separate thing, so like marrying them together has really worked out well for me, and I intend to continue doing both of them.” She explains “For Saoirse, we got nominated for ‘Best Performer’ and also for the Fishamble Best New Writing, so that kind of showed that they were both strong elements within the play.”

While acting and writing are her focus right now, this was not always the case. “I started my

I wrote the play because I had an abortion myself, and I wanted to write about the subject without writing my own exact experience

career in performance as a dancer. I danced all the way up along, but I didn’t really act at all until my dance teacher said to me ‘You’re very good on stage because of your stage presence, and you should do acting instead of dancing’, so I did.”

While she doesn’t dance professionally, she still considers it as an important aid to her acting, and in her stage presence. “I think it’s really important as a performer to be connected in your body and to be grounded. And having that physical background has helped me so much like, in previous plays there’s been a more physical tone to them, and even in Saoirse it doesn’t have any dance in it, but knowing that you’re rooted to the ground is so important, so I feel like dancing is always like a good backup for me.”

With a career going from one triumph to the next, it’s obvious that O’Connor will continue to make an impact in the world of theatre, as both a writer and an actor. With a collection of haunting and visceral work propelling her company forward, further successes are undoubtedly on their way for the multi-talented Irish native.

Fatal Fourway Best Childhood Halloween Costume perpetually too cool to dress up-rebekah rennick I’ve never quite been the Halloween type. I’m the friend that avoids even contemplating the formation of a costume until 6pm on the 31st of October, whereby I succumb to the lazy but personally satisfying resignation that it is far too late to start putting something together. Give me that plastic bag, that will do.

I hadn’t realised that this train of indifferent thought had been so deeply rooted within my character until the resurrection of the attached photo.

Going by my awkward haircut and general misshapen demeanor I’d give a guess that I’m around the three years of age mark. In my three years upon this earth I can only presume that I had given Halloween a shot and simultaneously thrown it to the bin alongside my

Furby and other objects/general concepts I didn’t care for at that cynical age.

Look at what I have to deal with, my little eyes scream in reference to that ridiculous brother behind me and his pathetic outfit, I’m so OVER Halloween. Mature beyond my years, I obviously just could not deal with the pungent sticky fake blood my older brother had foolishly fallen victim to again or the wearisome task of dunking for apples, or god forbid begging at someone’s door for sweeties. Can’t I just procure my own sweeties in a delicatessen of my choice questions my tiny, smug face.

Of course this is the best childhood Halloween costume in contrast to my counterparts. Not

solely for the fact I perfectly personify the Grinch of All Hallows Eve but I obviously defied even my parents attempts at dressing me up for the occasion. Why on earth are my siblings in costume and there I am sitting in a dirty black tracksuit and oversized socks? Hold on, I think I’ve just thought of a costume for this coming Friday.

unnerving child clown - Megan fanning I know what you’re thinking, isn’t she a pretty little Disney princess? Oh yes, the girl on the right is a lovely dote who all the mammies oohed and ahhed at but no no, I am the boy on the left. Yes, the boy. I don’t know what inspired me, all the other girls were dressing up as princesses, cute witches or flowers. I clearly wanted to be different.

Goal achieved.

I actually remember this Halloween really well, I remember my mom being quite annoyed that I wanted to be something that would require a lot of her red lipstick to be used (sorry Mom). To be honest, I innocently thought that I was the cutest thing going but that look in my eyes clearly

suggests something far more sinister. I must have had world domination plans for sweets and chocolate working at mighty speed in my head; I was literally power-hungry. As for what’s going on with my hands, I can’t tell you. Snow White is giving thumbs-up and I’m just there, like, “nah, far too mainstream”.

I wasn’t even a fan of clowns, I wasn’t afraid of them, they just didn’t interest me much. I couldn’t even tell you the name of one off the top of my head but I obviously thought that this outfit was going to get me all the candy action on the street.

Did I do well that night you ask? Why yes, this year stood out to me because I remember having to

go home to empty out a full bag of sweets and going straight back out the door again to achieve my domination of trick-or-treating. Do I regret this costume? No, not at all. I should wear it more often to be honest, I mean look at those shoes.

Pimp jesus and his bitch, Satan — gráinne Loughran Like so many others, I decided against actually dressing up for Halloween and decided instead to embrace my true self and not wear a costume, but wear what I would wear at home. Something I’d feel comfortable in. Gosh darn it, I’m just tired of pretending I’m not the Most Supreme Evil Overlord of the Universe. And clearly this title alone blows all the other competition out of the water and into the flames of hell. My devilish good looks were not to be wasted on yet another pirate costume, my wonderful moustache not to lose out on another opportunity to shine with the dark glow of shoe polish (only for the

special nights). And shockingly we won best dressed as people laughed jovially at my hatred for the world, longing to destroy the souls of the damned in the flames of hell and intense secret love affair with Jesus.

I will never cease to be amazed by the foolishness of the mortal world. I will also take this opportunity to out Jesus as the greatest Pimp to ever exist- he is the Way, the Truth and the Stealing-your-Wife. No fall from grace has ever been greater than this. Yeah, we have a

secret relationship where we swap souls for sandwiches- we’ve got each other’s backs. And I promise we’re equals in the relationship; he may be the Pimp but I am literally a Hell’s Angel.

Forget your witches and your cats. Devil Bitch has won the costume competition both over and under the world. You can try to be as evil and as unbelievably unreal as I am, but it’ll never happen. And if it does, you can come and party with me at the Unreachable Cheesecake Chamber down in Hell (you know it’s the worst one).

duckfaced cowgirl — shane hannon I thought long and hard about whether or not I would publish this photo. I deliberated and contemplated the pros and cons in my mind for a long time. To be honest, there really are no pros. One need only look at the photo to understand that it took a lot of backbone and courage to go with this image, but it’s for a good cause. Winning a Fatal Fourway debate is so much more important than keeping my reputation intact.

It was Halloween 2006. I was thirteen and it was a fancy dress competition at some sleazy family ranch resort in Lanzarote. I needed the money. Okay I didn’t actually get paid, but I sure am paying for it now.

I could have gone as Freddy Krueger, Michael

Myers or even Pete Doherty after a quick nip to the toilet cubicle. And why didn’t I think of the more normal costumes: a ghost, a pumpkin, Frankenstein perhaps? I just HAD to be different and throw on a dress and the smallest bra I could find and go as the most disturbing looking woman you will ever set eyes upon.

I’ve been asked if I regret it. Well, try imagining walking into the restaurant you work at part-time for a 21st birthday meal with your family and seeing this photo of yourself plastered on the wall. Yeah, I regret it. I have nothing against cross-dressing of course, but it’s just not my scene. Admittedly, I’m not the worst

looking cross-dresser, but I’m not sure that’s much of a consolation.

I’m sure one or two of my fellow Fatal Fourway competitors this issue will have gone for the traditional cute childhood Halloween snaps. But if you really want to win in this world, you have to go through a little pain in the process.

I would be very grateful if everyone could burn this page after reading. You can also thank me for inventing the Duck Face eight years before it was(n’t) cool. Yeah, you’re welcome.

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parallax student photojournalism

An exhibition of photographs by Declan Walsh, former contributor to the University Observer and current Pakistan Bureau Chief with the New York Times, is currently taking place on the second floor of the new Student Centre outside the Fitzgerald Chamber.

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If you have photographs you would like published in the University Observer, please send them to design@universityobserver.ie