Volume XXI - Otwo - Issue 5

Shane Hannon interviews Steven Yeun from

Volume XXI | Issue 5 20th January 2015

Letter from the editors

Front Pages

2 Letter from the Editors - Shane Hannon & Rebekah Rennick 3 Soapbox: Music-talk at parties - Alanna O’Shea 3 What’s Hot/What’s Not - Emily Longworth 3 Mystic Mittens 4 Back to School – Conor O’Toole 4 Full-time Pope, part-time Agony Aunt – Pope Francis 5 The Cardinal

FOOD&DRINK

6 Dublin Pop Up Interview – David Corscadden 7 Sláinte: Feature – Niamh Regan 7 Cook’s Corner

GAMES

8 Vintage Year – Karl Quigley 8 Door Kickers – Karl Quigley 9 Changes in Gaming: Feature – Adam Donnelly

FILM&TV

10 Anime Awakening: Feature – Aengus Cunningham 11 Reboots: Feature – Martin Healy 12 Ex Machina: Review – Ian Mulholland 12 A Most Violent Year: Review – Chris Murphy 13 Foxcatcher: Review – Emma McTague 13 Top 10 Centrepiece Spectaculars – Ciaran Bruder

HAPPY SCARY EXAM RESULTS WEEK… You are all sincerely welcome to the first issue of Otwo magazine in 2015. We thought our editorial photo this issue should encompass something really terrifying to signify what most UCD students are currently feeling around exam results time. And what could be more malevolent than two ghosts playing basketball with a frisbee at night?

2015 will see, among many other things, the 200th anniversary of the Battle of Waterloo, in which the Duke of Wellington’s men defeated Napoleon’s French forces. The Duke would later describe that battle as “a damned close-run thing”, but if Otwo magazine was put into battle against its competitors, there’d be nothing ‘close’ about it. See, we even teach you history shit.

Aside from mentions of hypothetical military engagements between magazines, this issue contains plenty of funny ha-ha’s in our Colours section, with a travel guide to the mystical Langkawi packed into the early pages alongside our fantastically scrumptious Food & Drink section.

Our Games section takes a look at recent games Vintage Year and Door Kickers, with a feature on changes in gaming in this, the year that marks a decade since the Xbox 360 first came on the market. Film & TV meanwhile contains must-read reviews of Foxcatcher, A Most Violent Year, and Ex Machina which stars Domhnall Gleeson (we love the Gleeson family here at Otwo). Those reviews are joined by a feature on anime and a Top 10 on ‘Centrepiece Spectaculars’, those moments of temporary wonder that help you forget you’re watching a mediocre film.

Our own first centre-piece of 2015 is an exclusive interview with Steven Yeun, known to many readers as Glenn from hit AMC post-apocalyptic drama The Walking Dead. The show has been the number one most-watched show on television among adults aged between 18 and 49 for the past two years, and we are delighted to bring you an interview with one of its stars, and what a nice guy too.

Our Music section includes interviews with Jape, Young Fathers and Gaz Coombes, in addition to our usual album reviews. A special two page features looks on ‘Dublin Bands On Your Doorstep’ takes a look at Squarehead, Sissy, No Monster Club and Cruising.

In Fashion this issue our usual Street Style section complements our Alexander Wanginspired shoot. Wang, at only 31 years of age, is really spicing things up in the industry, and is currently Creative Director of famed French fashion house Balenciaga.

We have some busy Arts and Literature content for you this issue; a review of The National Gallery’s Turner exhibition and the Abbey Theatre’s ‘She Stoops to Conquer’, a feature on Erotica (yeah, that’s right we said erotica, keep your pants on… literally), a focus on our ‘Emerging Writer’ Kate Dempsey, and an interview with the brilliant New York-based performance artist Matthew Silver. We are also beginning a Creative Writing section for Otwo with specific sections for both Fiction and Poetry. If you have any pieces that you think fit the bill send them into us as we are always looking for content. Our old reliables Fatal Fourway and Parallax also delve into the realm of New Year’s Resolutions and student photography.

So it’s time to grab your onesie and mug of hot chocolate and tuck into another fine edition of the universe’s most sought-after student magazine. Yes that’s right, they read Otwo in space too. We really are out of this world… (collective shudder at terrible intergalactic pun).

TO INFINITY AND BEYOND! REBEKAH & SHANE

2

FICTION&POETRY 14 You Took Me To Neverland – Sarah Burke-Vaughan 15 Poetry – Tadgh Dolan

CENTRE 16 Steven Yeun Interview – Shane Hannon MUSIC

18 Squarehead – Síofra Ní Shluaghadháin 18 Sissy – Christopher Higgins 19 No Monster Club Interview – Eva Griffin 19 Cruising – Aaron Flood 20 Young Fathers Interview – Sean Hayes 21 Gaz Coombes Interview – Aaron Flood 22 Jape Interview – Rebekah Rennick 23 Album Reviews

FASHION&STYLE

24 Alexander Wang Fashion Shoot - Sarah O’Shea 26 Street Style

TRAVEL

27 Langkawi – Dos and Don’ts – Esther Hor

ARTS&LITERATURE

28 Turner: The Vaughan Bequest– Lauren Moore 28 She Stoops to Conquer – Ruth Murphy 29 Erotica – Daniel Zagorski 29 Emerging Writer: Kate Dempsey – Patrick Kelleher 30 Matthew Silver Interview – Shane Hannon 31 Fatal Fourway: Best Failed New Year’s Resolution 32 Parallax - Photography

front cover image: joana pak

what’s hot & What’s not

Soapbox Can We Talk about Something Else?

Hot

Not Hot

Snooker Loopy

The Non-existence of Boat GAA

Last Sunday’s final in the Snooker Masters has meant only one thing; the cue-shaking revival of Chas & Dave’s 1986 hit ‘Snooker Loopy’. The anthem is a bid to explain the rules of the game through the medium of comedic chanty, but unfortunately the rhythm is too undeniably infectious for the listener to effectively understand what they’re saying. It’s most probably about how much they just fuckin’ love snooker.

Recently described by Gaelic games enthusiasts as ‘the Quidditch of the Sea’, Boat GAA is the exciting new game that puts an aquatic spin on the otherwise entirely terrestrial sport. Using oars as hurls, masts as goalposts and footballs as footballs, man may finally conquer the sea through Gealic games. The only shortfall of Boat GAA is that it does not yet exist.

Peeling Cellophane off of Stuff

Super Bavaria

Isn’t peeling that layer of stick-on cellophane off new electronic devices what Christmas is really about? It’s both more rewarding and special than family or alcohol. And it’s the gift that keeps on giving; since sometimes you can’t see the cellophane til months later, and it feels better than if you’d found a tenner. If we found a tenner, we’d spend it all on single sheets of sticky clear film to attach to and then remove from surfaces.

Despite what it will have you believe, cans of Super Bav are actually shite. At 8.6%, the wannabe malt liquor claims to refresh the palate with subtle coppery notes, where instead it tastes like a liquid Luas railing.

That said, the University Observer’s panel of can connoisseurs rated it a respectable 7.7 on the Pisster scale, this is owing to its unprecedented propensity to get you canned off of your can.

Speculoos

That Famine Sitcom

There’s a spreadable biscuit paste and it’s class. The spiced shortcrust pastry that tastes like magic was cleverly fashioned into an edible paste – and you can eat it with anything (especially more biscuits). The spread is so popular that three rival Speculoos companies went to court in the US to decide which among them had the most entitlement to blend fatty, sugary biscuits with more fat and sugar and then patent it. Lotus won.

You’ve probably heard by now that Channel 4, the brains behind such iconic shows as Look At These Poor Fuckers! and Rich People With Nicer Gaffs Than You, You Absolute Tosser are commissioning a sitcom based on the Irish Famine called Hungry. It’s certain to be a laugh-a-minute look at the time all of us died or had to go to America and become police officers.

Megalolz! The producers are currently looking into more hilarious moments in Irish history for future shows. Provisional titles include On The Sesh In Long Kesh, Bloody Funday, and Everybody Loves Cromwell.

Mystic Mittens Aries

Libra

You will go for Students’ Union President 2015/16 as a dare. No-one else will enter the race and you will be the architect of UCD’s extinction.

Having realised that you left your selfie stick at the bus stop as the bus drives away, you will wail at it in despair like Tom Hanks did for a volleyball. At least the volleyball had a dignified use.

Taurus Whilst eating a banana in a seductive and suggestive manner across from that hot guy in the library, you will start choking and the ambulance will be called. He on the other hand will not be calling.

Scorpio You will never use that book voucher your Mum bought you for Christmas. Someone call the Predictable Police.

Gemini

Sagittarius

Waiting until St. Brigid’s Day to open your exam results doesn’t make seeing those NGs any easier. Not even a saint can save you from Semester X.

You will start talking about how you loved Breaking Bad on Netflix around your new college friends. That’s so 2013. They no longer think you’re cool.

Cancer

Capricorn

You will be locked out of your Merville apartment in the nip just as all of your housemates parents decide to simultaneously take a look at the facilities. Enjoy the nightmare.

You will try and fail to beat the Guinness World Record for most elastic bands wrapped around your face. It is an appearance improvement however.

Leo

Aquarius

When your granny told you that “Five a day keeps the doctor away”, she did not mean listening to the legendary English boyband of the same name. Put down your iPod. Now.

Your pitiful attempts to light a fire at home will lead to your father lambasting the Irish education system for its unpractical nature. Way to go dumbass.

Virgo

Pisces

You will complete one side of a Rubik’s Cube and decide to walk around like a boss. Congratulations, you now possess the IQ of an intern at Nuts magazine.

Listening to One Direction on the DART will backfire when your earphones are yanked out. Everyone will stare at you in derision for your shameful yet annoyingly catchy music tastes.

Sufjan Stevens? More like Suf-Yawn Stevens. Alanna O’Shea regrets our conversational obsession with music Recently I’ve been getting a particular sense of déjà vu at parties. Have you ever felt like you’re having the same conversation over and over again? At every party, while we should just be reveling in our drunken state, I have to endure the same circular arguments about the quality of different types of music.

Anyone watching my face during this conversation might look at it and think to themselves, “Gee, that girl’s eyes have totally glazed over and her mouth has become slack. Maybe she has had some sort of stroke?” Except that nobody ever notices that I am so bored that I am having mini-strokes, because they are too busy arguing about which one of The National’s albums is the best or whether One Direction represent the total decay of the music industry.

At this point, we must have had every permeation of every conversation that it is possible to have about music. Can we stop now?

Come on people, there are many alternative topics of conversation available to us.

We are college students permanently attached to internet devices. We are all incredibly literate in pop culture. How about things that take longer than three minutes to digest?

Books, movies, TV shows? If we get desperate we can even try talking about podcasts.

I understand that as human beings on the planet Earth, we all enjoy music to some degree. I would hazard to guess that most people also enjoy talking about it to various degrees. It’s just that when music lovers commandeer the conversation it becomes a three-hour exercise in how pretentious you can get about the particular type of noises you like.

For example: it’s common to hear people with “good” taste in music deride the recent popularity of Taylor Swift. Who really cares if Taylor Swift is derivative and writes too much about her love life? The girl writes catchy music. By the way, criticizing a musician for writing about her love life is a little strange given that literally every song ever is about love or sex. It’s like people don’t notice that a song is either a love song or ‘Do They Know It’s Christmas?’

Die-hard music lovers also don’t seem to realize that certain music is called inaccessible for a reason; most people aren’t going to try all that hard to access it. You are just never going to persuade me to listen to a 25 minute Sufjan Stevens song, no matter how transcendental it is. That 25 minute song could be more transcendental than visiting a Buddhist retreat in Thailand, and I will never listen to it. I have things to do and episodes of crappy American television to watch.

So can we all agree that we will never reach a resolution about whether a musician is empirically good or bad? Great, now next time I’m at a party I fully expect everyone to be talking about meaningful things, like whether this year’s season finale of Pretty Little Liars lived up to the hype.

3

Back to School with Conor O’Toole

sometimes we need more than verbal language can facilitate. conor o’toole explains UCD’s toilets have inspired me to start a new language. Or, at the very least, inspired me to add some more phrases to a language that has no name. In fact, it may have a name that I just don’t know. If I had to name it, I would call it the signals-to-humans-via-modifying-public-objects language. I guess it is somewhat similar to how American Hobos used carved symbols into posts to let others know about the locale. For example, a fat, smiling cat told other hobos of a ‘kind-hearted woman’.

I have experimented with language before, and tried to get a convention going that would rival the ‘replacing letters with numbers’ meme that leads to things like ‘gr8’, ‘2day’, and ‘9tnine’. My system took that, and converted the numbers into roman numerals, so that sentences like ‘coming II the pub IV a pint?’ are possible. This was quickly modified and soon I recieved a communique from British comedian John-Luke Roberts which read ‘drinking w3 hasX your demise.’ The language was evolving quicker than I could write it. Soon, I stopped being interested in this form, as I was getting a migraine trying to decypher everything.

My new language relates very closely to bathrooms though, and thus should be easier to contain. I was using the bathroom in UCD recently, I won’t say what for, but let’s just say I needed some toilet roll by the end of it. But! When I looked at the weird toilet roll dispenser, I saw the paper was basically unattainable. For those of you who have never used the toilets here in UCD, the dispenser of loo roll is what you might called visually onomotapaeic. It looks like a butthole.

For those of you who have never used the toilets here in UCD, the dispenser of loo roll is what might be called visually onomotapaeic.

It looks like a butthole.

And you are expected to pull the paper out of this semi-transparent rectum before use. It gives you one sheet, and then friction tears it, leaving the next sheet exposed for the next toilet operator. But today, the paper was on the cusp of the plastic sphincter, and when I attempted to retrieve it with my pen [which I keep handy in case such an event should occur] it fell backwards

into the bowels of the dispenser.

Luckily I was alone in the bathroom and so could take advantage of the next door cubicle with only minor streaking [that is, running around with my genitals exposed, not any other kind of streaking you may have thought I meant there].

But I had no way of warning other bathroomgoers of the ‘no toilet roll’ danger. I considered

writing on the door, but then decided that a new signal would do better. So friends, roman history students, countrymen/countrywomen’s association, lend me your ears; from now on, if the toilet lid is down in a public restroom, it is to alert you that there may be a toilet tissue issue. Please adopt this into your public ettique lexicon as soon as is convenient.

Pope Francis - Full-Time Pope, Part-Time Agony Aunt

H

EY FRANCIE,

I’m in a bit of a pickle here. I feel as though I’m different from the rest of my mates because I really, really like to party. Not party as in go to Dtwo and then Coppers afterwards, but party as in I like to dress up my cats and rave with them to Tiesto old-school tunes. I also like to snort brown sauce. It’s not a hallucinogenic or anything like that, I just enjoy it. Am I too weird?

Will people accept me for being different?

Sister Helen Hi Sr. Helen, I hope things are well for all of you at the nunnery. I have heard the rumours about the antics and I am amazed that it is only now that you have plucked up the courage to tell me about your party lifestyle. To be honest, I think you deserve a lot of credit for your honesty and I for one am very glad to see you sister’s enjoying yourselves when you all have days off from your spiritual duties. I too like to be different – tell me again how many Popes chose the name Francis before me? Yes, that’s right, none.

That’s because I am Number One. I really wanted to be Pope Max Power Hercules Chuck Norris the First, but they told me after the conclave that it would be inappropriate. Not because it’s a silly name – just because there was another Pope with that name in the 9th Century who was a bit cuckoo. Oh well, I guess Francis will have to suffice.

Keep on party rockin’!

Papa F

4

Y

OUR SINCERE MOST GRACIOUS HOLINESS,

Bishop Brennan here. I haven’t been right in the head since that time Father Ted gave me a right kick up the arse.

I know it’s nearly 17 years ago at this stage but you just don’t do that to a man of God! I know you are God’s representative on Earth and all that malarkey, so can you advise me on how best to overcome a traumatic experience from the past? Loads of my congregation tell me about their traumatic experiences like killing people and stuff in confession, so at least I’m not the only one struggling. Uh-oh, did I just break the sacred vow of confessional secret-keeping? Shit? Uh-oh, did I just swear in a letter to the Holy Father? Shit.

Bishop B

Hi Len, Thanks for getting in touch. I know how you feel, the Swiss Guards tend to give me a boot up the arse every now and then when they’re feeling a bit mischievous. I mean, people aren’t supposed to even touch the Pope let alone kick him up the arse! Messers. I guess they think I’m an easy target because of how liberal I am in comparison to my predecessors Johnny Paul and Benedict (the 16/17th/18th? Can’t remember). Also, breaking the confessional vow is a serious breach of Vaticanally religiously priestly holiestly rules and regulations. I ought to have you excommunicated.

OJ, I’m so liberal I don’t even care.

Free the weed!

Papa F

The Cardinal UCD’s Finest News Source

Preaching the truth since 1854

UCD ANNOUNCES FIRST ANNUAL HUNGER GAMES

Speaking exclusively to The Cardinal in an interview last Thursday, UCD President Andrew Deeks announced that the University would hold its first annual Hunger Games this year, which is planned to run during the two week March mid-term break. “It’s like this, I got so tired of pinging bread at swans and attempting to scrub Hugh Brady’s crudely drawn crayon ‘self portraits’ off the walls of my new house that I thought I’d spice things up a bit. Back in Australia, we run this sort of shit all the time. It’s all part of becoming a man. Or a Sheila, I wouldn’t want you Irish thinking I was some sort of sexist or anything”.

President Deeks went on to provide some details of how the games would run; “Well it’s quite simple you see. Each faculty will put forward a candidate to take part in the games, which will

run like a … hang on a second ... (At this point in our interview an anxious Deeks made a quick phone call to his solicitor). Which will run similar to, but I should say upon the advice of my lawyer, not identical to any movie franchise which may currently be popular in some countries around the world involving hand-to-hand combat in large open spaces. Let me assure you blokes at The Cardinal that any resemblance is strictly coincidental”.

The President went onto give details of the location; “Truth be told I was quite worried about finding a location big enough, but I was in a pub with a lovely bunch of blokes there last week, said they used to be members of some paramilitary group in the 90s? The details are hazy but I specifically remember them telling me that you Irish have about six

counties of wasteland rattling around somewhere? They sound perfect.”

Since initial reports reached the student population, the project has experienced some teething problems. An initial slow uptake was remedied by turning the games into an elective module, with one disgruntled member of staff remarking: “Those little shits will do anything for an easy elective, even bate the shite out of each other in a field in the pissing rain. sure at this fucking rate Gaelic Football will be an elective.”

Reports are gradually surfacing that the selection process will be taking place shortly. The Cardinal will keep a close eye on proceedings.

KEVIN ROCHE

GRANNY LIGHTS CANDLE FOR EXAM RESULTS Parishes all over Ireland are said to be working flat out to secure optimal candle space for grannies ahead of the release of UCD provisional exam results on Wednesday 21st January 2015.

The drive for space comes after last year’s surge of faith in the divine power of the Holy Spirit caused one parish church to burn to the ground, much to the horror of the assembled congregation.

Grandmother Lilly O’Higgins, from the parish or Ballygoarseways, told us of her plans to light multiple candles for her grandson Tom, a second year Arts student majoring in Geography, PE and going on the piss.

“Oh yes I’ll be lighting many candles for my Thomas. Please God he’ll avoid semester X, that’s the work of the devil. Susan O’Brien’s young fella from down the road was in that a few years back and now he’s in jail for cocaine smuggling”.

O’Higgins added that “it served the bitch right, she didn’t bother lighting a single candle for that poor child. She was too busy defying God with her short skirts, fancy car and second husband.”

Mrs. O’Higgins declined to answer

further questions, as she had to go to confession.

Father Jim Hickey, parish priest of Ballygoarseways, warned of the dangers of results season: “Jesus lads, ‘tis a dangerous time for us all down here. Did you ever see any of those zombie films on Sky Movies? Ye, its not far off that.

There were three aul wans fighting over a single candle yesterday.

I had to remind them that there was enough of the big man to go around. It wasn’t easy”. Father Hickey proceeded to show the Cardinal his scars before having to run off to extinguish a small fire.

The Cardinal spoke with Tom, the grandson of Lilly O’Higgins, who discussed filling his postexam break with “beer, Netflix and masturbation”. He added that he “wasn’t too hopeful of avoiding semester X” as he had managed to fill his first semester with a vast array of “extra-curricular activities”, one of which he told us involved “three members of the UCD Camogie team”.

Experts expect the craze to continue well into next week.

KEVIN ROCHE

IMPENDING FULL MOON TO TROUBLE AG SCIENCE BUILDING

Survival Skills module to be made mandatory for final year Arts students

The UCD School of Agricultural Science has expressed concerns regarding student behaviour ahead of an anticipated full moon on February 3rd. A statement from the school has explained that the full moon causes “worrying behavioral changes” amongst students of the department.

Sources present at last month’s full moon described students displaying drastically uncharacteristic behaviour, appearing “attentive, punctual and willing to learn”, though reports of politeness towards minority groups are as of yet unconfirmed. A tutor in the Advanced Ploughing module has reported that not only did he have full attendance in his 9am tutorial, but also at no stage did anyone attempt to throw feces at him. Another tutor, Mr. Lee Woodcock, reported a distinct lack of mockery of his surname.

In a statement released earlier this week, the UCD School of Arts and Celtic Studies has unveiled plans to introduce a survival skills module. The module will be mandatory for all arts students in the final year of their respective programmes.

This comes in the wake of a government-funded study which showed that, contrary to popular opinion, large multi-national companies such as Facebook and Pfizer are “not currently in need of employees with a detailed knowledge of Shakespearean sonnets or the intricacies of Ancient Greek thought, or for that matter any of the more niche skills of the Arts graduate, such as repelling women, evading adult bus fare and general mediocrity.”

A spokesperson from the Human Resources department of a US tech firm with a base in Dublin told The Cardinal that “If anything,

This atypical and unsettling behavior, diametrically opposed to the quotidian standard of the Ag student, is set to last around one week and has taken a toll on local business. Copper Face Jacks reported a 200% decrease in turnover during last month’s full moon, with over 50 litres of Jägermeister and Bulmer’s cider going to waste.

One of those affected, 2nd year Jimmy Murphy, sat down with The Cardinal to discuss his symptoms.

“Ah Jaysis sure I d’no. One minute you’re in Coppers playing fat girl rodeo with the lads, the next you’re dying to replace your Cavan jersey with a cardigan, grapple with the harrowing inadequacies of modern life and flick through some Voltaire. It’s weird and I don’t like it”.

A classmate of Murphy’s, who asked to remain anonymous

for fear of derision, reported an inability to drink cans of Guinness: “My mind kept telling me that all I wanted was a glass of Shiraz Cabernet. I don’t even know what the fuck that is!”

In an attempt to tackle the problem early, the statement said that the department will be handing out Cavan jerseys, potatoes, manure and booklets giving strict instructions on how to make women feel uncomfortable by shouting inappropriate things at them during hurling training.

One professor, speaking exclusively to the Cardinal, said: “We don’t want them to be model people, we just want them to bail hay and drive a Massey”.

KEVIN ROCHE

our history and philosophy departments are currently overstaffed, and in this current economic climate, it is unlikely that there will be sufficient growth in the sector as a whole to cater for the sheer number of graduates being churned out annually.”

The proposed course will consist of a series of weekly lectures (which will include topics such as “Introduction to drinking your own piss” and “Edible plants of the Irish woodland”) as well as practical aspects including scavenging and craft workshops, where students can learn how to turn their BA degree into a scary mask that can be used to scare foxes off their territory, and instantly give would-be employers that “Ah bollox, not another one” feeling.

SHANE KELLY

5

Food and drink

Dublin’s Pop Up Stars

On the back of an extremely successful 2014 that saw Dublin Pop Up take the Irish food world by storm, David Corscadden talks to one of the masterminds behind it, Cúán Greene, about his love for Irish food, the importance of good quality ingredients and what 2015 has in store for Dublin Pop Up. It is no secret that the Irish food scene has experienced an injection of life and interest of late. This sentiment was especially true in 2014 which saw some great food moments captivate the taste buds of Ireland’s food community. Arguably one of the most talked about moments of 2014 was the Secret Garden pop-up restaurant that brought Dublin Pop Up screaming to the forefront of Irish food.

Meeting in a busy café just off Smithfield Square in Dublin, tales of food and food adventures start flying out of Cúán Greene’s mouth before he even sits down. He explains the only reason the other half of Dublin Pop Up, Harry Colley, isn’t present is because he is a couple of thousand miles away on a food tour of Thailand. However Greene explains it is not a holiday for Colley and that he will be bringing back ideas and techniques that the pair can work into their cooking for Dublin Pop Up, in a similar way to how Greene did when he came back from a six month stint working in a three star Michelin star restaurant in Spain in 2014.

I went to work in a restaurant. It was amazing. They took me on and I worked for three months and I started to learn about food

Greene’s journey with food started when he was 15 and living in France for four years with his parents. He explains “Mum said I had to go to work for the summer. She said I am not just staying at home at home for the summer. So I went to work in a restaurant. It was amazing. They took me on and I worked for three months and I started to learn about food.” Then when he moved back to Ireland he worked part-time until he started studying culinary arts in DIT. “It was a toss up between culinary arts and creative arts but I chose the cooking” he explains. It was at college that Greene became friends with Colley and their food partnership began.

Dublin Pop Up formed very naturally according to Greene. “I was just going to do an event for friends and family and two days before the event I got a call to say I had to have surgery. So I called up Harry and asked him if he would be interested in helping me out. In other words, do all the work.” Greene adds this detail with a smile as he tells of turning up to the event to ‘help out’ with his arm in a sling following shoulder surgery.

From that first event Greene got a referral and as he explains “it has gone from there step by step and we are still growing.” Once the duo decided to create Dublin Pop Up they

6

photo: ryan mccarrell set up a twitter account which Greene says really helped them get their name out. He credits the social network as being a great tool for connecting with the food scene in Ireland and as a platform on which they can interact with their followers easily.

On his partnership with Colley he explains that the two compliment each other very well in terms of cooking styles. “We work very well together. My strengths are [Harry’s] weaknesses and visa versa.” He continues “I would say at the start we had different views but by now have begun to understand what the other likes and our styles have come together.”

Dublin Pop Up’s Secret Garden event, which garnered the pair nationwide attention, was, according to Greene, an “amazing job for us and it really is what has made us.” The pop-up was in fact a marketing campaign in conjunction with Lidl. However no one knew about the Lidl connection and that all the food served was available in Lidl stores until the final night. “At the end a lot of people did come up and say that they did wonder how two lads would put

on a production like this and really it wouldn’t have been possible with out the team behind it.”

Since that event Dublin Pop Up has gone on to garner more high profile attention for their food with larger and larger events. One of their more recent large scale events was the Heineken Dine In The Dark which Greene says was “one of the best things we have ever got to do.” Of the event, which saw 100 people served a five course meal in total darkness, Greene highlights that “good food can be served to a large group” you just need the support behind you, a concept Dublin Pop Up believes strongly in.

When it comes to his own cooking at home Greene jokingly says “I will eat anything. I could eat something frozen from the freezer.”

For him dishes do not have to be the most expensive or adventurous, they simply have to be cooked well to be enjoyed. “Cooking at home you want to use nice food. I think a lot about cooking it about the process so sweating an onion it is something very simple thing but when you have the knowledge you are going to

Cooking at home you want to use nice food. I think a lot about cooking is about the process

make something good.” Greene says that even something basic like spaghetti bolognese can be made exceptional when the right techniques are used.

The future is something that Greene and Colley have been discussing in detail lately.

Greene says they are determined that a standalone restaurant is not for them saying “We don’t think a restaurant is suited to us. What we like about Dublin Pop Up is that every event is different. You are never repeating the same thing twice.” The pair do have big plans for the expansion of Dublin Pop Up however. “Our main goal is to expand, that is what we are trying to do. We love doing corporate gigs, pop ups are great and we like to do them but will perhaps try to open a venue this year. If we are going to expand that is what we are going to do.”

No doubt whatever direction Greene and Cooley decide to take Dublin Pop Up in they will continue to serve up theatre on a plate and capture the attention of the Irish food scene.

Dublin Pop Up will launch their new website, dublinpopup.com, this week.

You can also find them on twitter (@ dublinpopup) and on Facebook.

Craft Beer Guidance

With craft beer still seeing a growth in popularity, Niamh O’Regan looks at the newcomers bible to craft beer, Slainte, and talks to one of its writers Kristin Jensen

It is mistakenly thought that craft beer in Ireland is having a moment. Coconut water is having a moment. Craft beer on the other hand just happens to be becoming more well-known than it used to be and it is safe to say it is here to stay. There has been a steady growth in the support for Irish craft beer over the past few years and with the number of micro-breweries growing all the time, variety is only increasing.

Two people supporting the growth of Irish craft beer and cider are Kristin Jensen and Caroline Hennessy, with their new book Sláinte: A complete guide to Irish Craft Beer and Cider. Jensen is a freelance editor, specialising in cookery books, while Hennessy is a journalist and broadcaster. Both have a passion for craft beer and quality produce, are avid food bloggers (both formed the Irish Food Bloggers’ Association) and both experienced beer epiphanies while far away from home.

For Hennessy it was while living in New Zealand where local beer was rife in all pubs. While for Jensen, it was in 2011 while at a food festival; she was given a taste of a stout that didn’t come from behind St. James’s Gate.

Jensen, coming from the US (where food travels much further to reach your plate), fell in love with the immediacy of Irish food and how you could know exactly where your food was coming from, she wanted to share and promote what she found to be “amazing ingredients and raw materials”. Once the craft brewing scene began, the next questions were “What can we eat with this? How do we find out more about this?” and so, “Sláinte was born.”

As Jensen explains books like this had been published in the US and the UK before, “but they

were, naturally, written around UK craft beers and US Craft beers and their cheeses so there was a need to do the same thing here.” “It’s the kind of book we would have wanted to read when we first started exploring this whole new world of craft beer and food matching” said Jensen. The book, while geared toward the new craft beer drinker, does have something for everyone and has been extremely well received by brewers themselves, something which is hugely important to Jensen and Hennessy; the positive reviews from beer bloggers and brewers was for them the highest praise The book is composed of four sections, all detailing how you can enjoy and appreciate craft beer and cider. The first section is all about the making of beer and cider from the ingredients and how that can vary throughout the brewing process, and takes up a good half of the book. The title does not lie - a complete guide should have everything in it, and this does. The detail is phenomenal (did you know that there are 21 different varieties of hops and at least 33 different beer styles?).

The second and third sections both relate to beer and food working together; how to match beer to cheese and other foods, and how to use beer in cooking. Steak and Guinness pie is definitely a winner, but what about cider sorbet or pale ale cookies? The final section is about the where and when of festivals and events that celebrate craft beer. It has been suggested that the book will date quickly because of the ever-increasing number of craft breweries in the country, however, as Jensen points out, “the only thing that may change significantly would be the breweries and beers recommended”, the rest is good solid permanent information.

Craft beer may have a tendency to be slightly more expensive than the more industrial and commercially produced beers but it is worth the quality. “You’re getting a top of the line product for maybe three or four euros” explains Jensen. Jensen’s advice for students getting into craft beer is to “have fun with experimenting” . As she points out “if you want a good bottle of wine you’ll pay upwards of €12 and if you don’t like it, you’re quite out of pocket.” With a bottle of craft beer however, if you don’t like it, your loss is considerably less and it may suggest that perhaps an entire style of beer doesn’t suit you and you can easily move on to the next type on the shelf.

Sláinte is available nationwide and Kristin Jensen and Caroline Hennessy have food blo gs at edibleireland.com and bibliocook.com, respectively.

Vegetarian Spaghetti Bolognese Emer slattery

Spaghetti bolognese is a delicious, healthy and filling dish. It’s ideal for students as it is quick and uncomplicated to make on the hob. But vegetarians don’t have to miss out on the action. This version uses Quorn meat-free mince which is high in protein and an alternative to beef for health-conscious carnivores too.

This recipe serves two people but if you’re dining solo simply freeze the other half. The next time you want to eat it, take it out of the freezer the night before and allow to defrost. Then just reheat it in the microwave. Once you perfect this recipe, it’s a good food to have in reserve in the freezer to save yourself the hassle of cooking after a busy day.and twist the paper ends to secure.

Ingredients

160g Quorn mince Drop sunflower oil 1/2 an onion 1/2 red pepper (or 1/4 red and 1/4 green pepper) 1 large carrot 1 stick celery 4 mushrooms 2 cloves garlic, crushed 400g can chopped tomatoes

1 tbsp tomato purée Few pinches chilli powder, to taste Pinch thyme Few pinches mixed herbs, to taste Black pepper to season 200g wholewheat spaghetti (or regular spaghetti, but wholewheat is healthier!)

Grated cheddar Parsley, to garnish

Method:

Heat some oil in a saucepan Add onion and fry until golden brown Add peppers, carrots, celery and stir. Cook gently for 3 minutes Add mushrooms and garlic. Cook gently for 2 minutes Add quorn and cook for 3-5 minutes on a high heat Add can chopped tomatoes and tomato purée. Bring to the boil Reduce heat. Add herbs and spices and simmer on low heat for 10 minutes. Meanwhile, add spaghetti to boiling water.

When the spaghetti is cooked, remove the bolognese from the heat. Drain the spaghetti.

Serve bolognese on top of spaghetti. Sprinkle with grated cheddar and garnish with parsley.

7

Games

Door kickers Games based around modern warfare and today’s police forces are in no short supply, but games that choose realism over action and execute this successfully are rare.

There are hyper-realistic games in the vein of the ARMA and SWAT series, games that offered a first-person tactical approach to modern war and the modern police force respectively. KillHouse games have had a similar idea.

Door Kickers is a top-down strategy simulation game in which the player takes control of a group of SWAT members raiding and assaulting various targets. Smart tactics and a general knowledge of legitimate strategies used by these special police forces will aid any player as your soldiers are just as vulnerable as your targets. This vulnerability will push players towards a much more careful and methodical approach to breaching and clearing room after room. Rushing in will lead almost certainly to death of one or more members.

As the player you can direct all your SWAT team in their movements and direction of view.

They will automatically engage any hostile target which enters their field of view (FOV), but will not adjust this FOV for new targets. Players must account for all angles when assaulting a building or room, and the game can be paused at any time for breathing room to adjust tactics and movements. This pause function is very useful when used in tandem with the point-to-point movement and FOV system. Left-clicking a team member will select them and right-clicking

elsewhere will tell them to move to that location. But holding down the right-mouse button will direct their view; this allows for movement while covering an open doorway or window for example. ‘Go codes’ can be given (i.e. Alpha, Bravo, and Charlie) so that certain movements or actions will only be executed upon that order. All of this culminates in a tense atmosphere as you pause and unpause, moving your members in pairs or groups to neutralise the enemy and save hostages.

Door Kickers currently contains four campaigns with over six individual missions each, with more campaigns promised in future updates. These campaigns are continuous, meaning if a team member is killed, they remain dead for the remainder of the campaign. Injured members will recover after one or two missions depending on the extent of their wounds. There are also eighty-one pre-built single missions which can be played and replayed with no worry of losing members for future missions. To top off this plethora of content, there is also a mission generator which randomly generates a map with variable size and enemy density.

Your SWAT members are not nameless grunts either. They each have their own faces, masks, helmets, names and nicknames, all of which can be changed and altered, or in the case of names, edited and created. These members have their own skills which vary and increase with more experience in missions.

These include stealth, ability to shoot while

Publisher: KillHouse Games Platform: PC, Mac Release Date: Out Now

Vintage year There has been a dramatic rise in the number of priceless vintage. This is where the player character(s) indie titles released each year, with multitudes come into play. released in 2014 and no sign of this abating in the Upon starting, the player is confronted with a new year. This is mainly due to the much higher selection of characters, from Merlot and Malbec accessibility to these releases on Steam than to Mead and Zinfandel. There is a noticeable and through ‘Greenlight’; a system in which game humorous pattern. Each character is different ideas receive feedback and the most positive in appearance but each also possesses a perk are released on Steam itself. Then there are the which changes parts of the game. Some have indie titles, crowdfunded or not, which Valve is better accuracy or a cannibalistic tendency which all too willing to release. This, along with Sony regenerates health after kills. Some are explosives announcing that indie games, new ideas and enthusiasts, replacing the standard secondary knife creativity are the core and “heartbeat” of the weapon with dynamite, while others are bears. games industry, has led to countless individuals The gameplay itself, as stated before, is and small groups developing and publishing their challenging. And due to the permanent death nature own works. of the game, each death means complete restart.

One of these new year indie release titles is The main currency of the game, wine corks, remain Vintage Year, a top-down shooter with elements of untouched by death. These are used to purchase ‘roguelike’ games. It is what many call a ‘Twin-stick’ upgrades in game or characters and extra accessories in the menus. These in game upgrades last only shooter, which originates from these top-down during that life and must be bought or earned again shooters in which one stick on a controller is movement and the other is direction of view. These in a future play through. These upgrades will often often require fast reflexes, a sharp eye and precise reflect physically on your character, and who doesn’t like to see a bear with a shotgun wearing a bandana? movements. This twin-stick set up mixed with Many players will die in the first level, mainly those randomly generated levels and permanent death give Vintage Year a frantic and fast pace, regardless of unsuited and unfamiliar with this genre of gaming, but the controls are easy to pick up. Some find using what speed the player wants. a controller and the actual twin-stick method easier Nooner Bear Studio’s first title is set in an old but the mouse and keyboard is also available for man’s basement, in which he keeps his vintage wines and one particular vintage which is priceless. use. While the controls are simple and easy to pick He does not deign to mention spike traps and other up, they are far more difficult to master. Constant assorted monsters which seem to inhabit it. He does movement is key while maintaining accuracy and however mention the large group of bandits which this is not done easily. There is also the matter of traps and narrow corridors which complicate this are occupying the cellar in an attempt to find this

8

task. The music in the game is very simple but adds to the frantic feeling. In typical roguelike fashion, the farther a player progresses, the harder the levels become and the faster the music gets. There are increasing numbers of enemies who are stronger and more accurate and the amount of traps increases. The skill and luck required to survive also increases with each level, and every fourth level will be a boss. The difficulty will rise and the player must cope or die.

Vintage Year is currently only five euro to purchase on Steam and is definitely worth a buy. Nooner Bear Studio has shown itself to be a creative and capable team and many players will be waiting to see their next title.

Karl Quigley

Developer: Nooner Bear Studio Publisher: Nooner Bear Studio Platform: PC Release Date: Out Now

moving and overall accuracy. The customisation for these troopers fall under five classes; Pointman, Assaulter, Breacher, Stealth, and Shield. Each class is unlocked after a number of levels are gained for the team. There are also plenty of weapons to equip your team with, from pistols and rifles to shotguns, silenced weapons and shields. The team can also be customised with different kinds of armour and bullet-proof vests as well as grenades and support gear (e.g. breaching hammer or lock picking kits).

Door Kickers is currently available on Steam and

KillHouse Games’ website for twenty euro. Given the amount of content available currently and the amount promised it is definitely worth a purchase.

That price does not even include the abundant and ever expanding community which is continuously creating their own maps, weapons and campaigns for free on Steam’s workshop. karl quigley

game changer As the Xbox 360 approaches its 10th birthday, Adam Donnelly looks at the innovations that changed gaming since its launch

Experimenting with an Oculus Rift at TEDxUbud 2014 image: Viktor Prushenov via Flickr Every gamer at some point in their career has a moment where they feel, for lack of a better word, “old”. Whether it be returning to a childhood classic of yesteryear only to discover it’s aged like milk, or simply cruising along the aisles of a retailer to the sweet chorus of children begging their parents to buy them the latest Triple A murder simulator, every day is smattered with reminders and realisations that this is a rapidly evolving medium.

The next generation of game consoles have been perched on their pedestals for over a year now, and while it seems like the passing of the baton has come in no time at all, you may be surprised to learn that the Xbox 360 actually turns ten this year. And on reflection, the volume of innovations that have graced the industry in that same period of time is equally staggering. Relax and take the weight off your shoulders as we recall the past ten years of gaming and all the mayhem which has occurred therein.

Touch Screens: When the Nintendo DS made its debut in 2005, few could have suspected it would deliver the new standard for portable gaming. It was ugly, clunky, and with marketing slogans as dubious as “touch me”, nobody thought it would endure the monstrous onslaught of Sony’s PSP launch. And yet the little handheld managed to surprise gamers with its unique second screen that allowed for tactile feedback while playing. It proved so popular that the DS skyrocketed to the lofty mantle of second bestselling system ever, bested only by the legendary PS2. Meanwhile, mobile phones received a similar Midas Touch when touch based devices stormed the market. The sudden boom in smartphone games, from Apple to Android, owes a lot to this stylish new interface. Whatever way you slice it, touching is now the world’s preferred method of portable play.

Motion Controls: Motion controls may have fallen out of fashion lately, but we can still feel the ripples from waves made back in 2006 when the Wii was hungrily hoovering up peoples’ income. Historians will argue that gesture-based gaming goes as far back as the late 80s with the infamous Power Glove, but never before had it existed on such a scale. Suddenly, living rooms across the globe became flooded with friends and family, all eager to experience tennis with a white brick in hand. It proved such a roaring success that Sony and Microsoft quickly followed suit with their own derivatives of the concept. The fad may be in its twilight stage now, but it will always be fondly remembered for broadening gaming’s landscape to

include grandma for years to come.

HD Resolution: Games have gotten bigger. Games have gotten louder. Games have gotten deeper. And above all else, games have gotten prettier. Ever remembering seeing the Xbox or PS2 and thinking graphical fidelity in gaming could soar no higher?

Good heavens how times have changed. PC gamers have always known the sweet nectar of sharp resolution, and with the introduction of the Blu-Ray disc, console gamers have also gotten addicted to its alluring taste. Games now run at 1080p and at 60 frames per second, and it’s crazy to think that more processing power is now used to render the beauty spot on Kratos’ butt than there was to send Apollo 11 to the moon and back.

Digital Distribution: Valve made headlines in 2003 when they launched Steam, a pioneer of the digital movement. In the past, gamers were required to physically to go to the store to pick up their games and were totally at the mercy of whomever the domineering retailer happened to be. It’s a lot different now. Digital distribution is a new standard, with Xbox, PlayStation and Nintendo all offering such services to their customers and PC gamers being spoiled for choice with the number of facilities at their disposal. Quick, efficient, enabling choice and removing the unwanted exercise of leaving home, digital distribution is here to stay. The very idea of being able to download a fully priced game directly to your machine in a matter of minutes still seems like science fiction to some, but most importantly, digital distribution has empowered a very special facet of gaming…

Indie Games: Up until around 2008, the only games that ever enjoyed any considerable commercial success were the big blockbuster titles released by large companies. Since then, digital distribution has provided an avenue for smaller, more personal and arguably more sentimental games to find an audience where they may otherwise not.

The puzzle platformer Braid made a serious splash when it made its debut on Xbox Live Arcade and with similarly excellent offerings spanning a range of genres, from Super Meat Boy to Bastion, gamers are now paying the indie scene some much overdue attention. Indeed, as the Triple A market becomes repeatedly mired with controversy, many gamers are opting to use humble indie titles to make the case that videogames are an art form.

Nintendo DS users on the subway image: Flickr User hiromy

The biggest leap in the gaming industry over the last decade has undoubtedly been the rise of the Internet like some sort of Orwellian nightmare

Virtual Reality: The long toyed-with fantasy of being able to play games with one’s face is finally being fulfilled. With the arrival of the Oculus Rift, one could argue that sensual immersion in videogames has reached an insurmountable peak, at least for the time being. It may be a while before it becomes commercially viable, but virtual reality is nonetheless an astonishing example of how far we’ve come in the past ten years, and a starry-eyed glimpse at how far we have yet to go.

Online Gameplay: The biggest leap in the gaming industry over the last decade has undoubtedly been the rise of the Internet like some sort of Orwellian nightmare. So much of what we take for granted in videogames today is vested heavily in the web, and so many of the great game-changers previously discussed in this article owe a lot to the connected age

we now live in. Gaming has transcended the shackles of a stereotypically lonely pastime and has become a social experience of its own. From the multitude of online communities across all platforms and titles, the ability to stream content to your friends as you play, debate and discuss on forums as well as share a laugh and a tear over a fond memory; to delve in the fun with another person no longer requires waiting for a friend to come over with an N64 and Goldeneye. In truth, online gaming has been around for quite some time, but only recently has it united us in a manner as vocal and alive as this. If this is the mark of how this medium has changed in the past decade, one can only dream of what the next ten years will bring. One thing is certain: we’ll be ready for it.

9

Film and Television

An Anime Awakening

With the popularity of anime continuing to grow in Ireland, Aengus Cunningham takes a closer look at this form of Japanese animation

A still from the 2012 film ‘the wolf children of Ame and yuki’ The popularity of anime has been growing in Ireland of late and, while it is by no means common, it is certainly no longer a rarity. As films by Studio Ghibli like The Wind Rises , and shows like Attack on Titan grow in popularity, many are growing more interested in the genre.

It is absolutely worthy of notice. Anime has shown itself to be, like any other genre, capable of artistic merit (and an absolute blast to watch when it gets moving). Anime is essentially a form of Japanese animation, both in film and television, which has its own distinct style and feel and is not just for children, a view quite commonly held about animated media.

Anime can demonstrate a tone or subject that can mimic and range from the most sophisticated of historical examinations, such as Grave of the Fireflies , through to the most grindhouse and silly comedies. There can be films that are very family friendly, whilst still harbouring mature and heavy material. In the same way that many hold Pixar’s Up to be a masterpiece, there are those who consider Studio Ghibli, the Japanese anime heavyweight, to have made superior work in this same niche with films like Spirited Away and Princess Mononoke. While ensuring that the end product is as accessible as possible, you will find that the work they turn out has been made to ensure that it is both thought-provoking and mature.

Anime has its own style in terms of animation and story; it has grown up outside the heavy influence of the West. The plots for the shows, with a few exceptions such as Cowboy Bebop, tend to have series-long plots. This is reminiscent of many of the more popular dramas in the West and really allows for characters to have complete arcs while fleshing

10

out the worlds they inhabit - look at Steins; Gate or Fullmetal Alchemist for examples. The animation here also very much allows for an immersive world, so those who are fans of sci-fi and fantasy could very easily find something to latch on to. Action is another distinct characteristic of anime (when it appears) as it tends to be incredibly sharp and at its best it’s electric. It remains poignant and easy to follow, and even at its worst, still pretty cool to see. It would be pointless to condense all western TV and so this is not an attempt to downplay this art form.

The introductions to shows tend to be quite important, with particular attention to the opening credits, as with a show like Game of Thrones . It has become iconic, but in Japan this is on a much larger level, so much so that they all have to be no longer than 90 seconds exactly.

These can be absolutely fantastic, like in Cowboy Bebop, or Death Note, and indicative of the feel of the show, while other times they can simply be opportunities for the latest pop star to get their music out.

The biggest hurdle to overcome for those watching anime, as someone from outside Japan, is the clear cultural differences present in the storytelling. Relief comedy is used heavy-handedly to break up the more serious sections. This comedy can be unfortunately slapstick or silly in nature, and shows like Angel Beats can sometimes allow it to get in the way of otherwise compelling stories. In worse cases, some depictions can be quite unsettling for a Western audience. Often the worst descriptions of anime come from this incomprehension of a foreign culture. Characters can seem stereotyped because of norms regarding

Grave of the Fireflies (1988) heroism and gender roles, but this is easily seen through. Anime is not without its flaws, but cultural differences, while not flaws, are often obstacles to acceptance.

Anime’s impact on western media can be seen in many very high profile productions.

Darren Aronofsky, for example, is a director who has drawn huge inspiration from anime.

He bought the adaptation rights to the anime film Perfect Blue so as to utilise shots and scenes in filming Requiem For A Dream, later on simply adapting the film for a Western audience to create the Oscar-nominated Black Swan.

Similarly, Christopher Nolan used the basis of the film Paprika to create his critically acclaimed

Inception, while Ghost in the Shell helped inspire The Matrix and is in talks to be adapted for a western audience starring Scarlett Johansson right now.

In television, anime is also becoming an inspiration for shows like Avatar: The Last Airbender and Avatar: The Legend of Korra. The Boondocks is in a very clear and pronounced anime style of animation, while still getting across a very clear social commentary on US culture. Anime is (rightly) becoming more of an influence in Hollywood and global television, with the marked increase in cherry-picked anime material the perfect proof.

When looking at anime as a genre of both film

and television, it’s clear to see that like any other genre across both animated and live action T.V., it can be either good or bad. If you are a person that feels happy to be able to watch an animated film or show, from The Simpsons to Pixar and Disney, then anime is absolutely something that you should attempt. There are many reasons to enter into this wonderful world of both film and television and some of its best stuff, like Mamoru Hosoda’s Wolf Children, can be considered a classic in its own right. The foreign style can put off many, but if you’re able to look past that, there are some truly astounding pieces of entertainment to be experienced.

A wonderful web of Remakes and Reboots With film studios constantly producing reboots and remakes of original (and successful) blockbusters, Martin Healy ponders whether the phenomenon is valid or for profit alone Every year around this time, people look forward attract more viewers to the end product. to the months ahead to see what awaits in the Older fans may be interested in a modern world of film. And every year many ask the re-telling, and new potential fans can enjoy same thing: why are there so many remakes and the experience for the first time. Reaching reboots? It is a very valid question. A quick glance out to all these demographics is incredibly at last year’s summer blockbuster line-up and important to movie studios. Ever since the you’ll spot new takes on decades-old Godzilla late-1970s, with Jaws and Star Wars , studios have looked to make less movies per year, and Planet of the Apes material. These movies but spend a larger amount on them and are certainly not without merit. With the two expect more in return. Suddenly, films examples above, plenty of time has passed for became an event. “Synergy” became the these franchises to be revised and updated (the buzzword for many film executives as they same rationale does not excuse Sony and their looked to turn movies like Star Wars into new “Amazing” Spider-Man films, mind you). But since remakes and reboots take up so much space books, comics, video games, music and on the cinema calendar, it is important to ask why myriad other experiences. exactly so many are being made.

This is all very expensive, however. The Like so much in life, it’s all about that existing affection for these movies is already base-profit margin. Film production is established, making it a much safer bet. It expensive. Incredibly expensive. It is not just is film-making by numbers rather than by the physical production (from costuming to creativity, but for the studios, it is incredibly CG) that costs so much, but the marketing lucrative. Taking a look at the top 10 strategies deployed by the major studios to grossing films for 2014, you will notice only get these films on the public’s collective radar. two of them are original films. The rest are Most blockbuster movies easily cost over $100 either sequels (e.g. the third Hobbit film or million in production costs alone, and that’s the second Captain America film) or reboots before taking marketing budgets into account, of older franchises with Dawn of the Planet which can potentially double the entire budget. of the Apes and Amazing Spider-Man 2 . It’s How does this relate back to all those clear that the money is there for reboots and reboots? Movie studios are only a small remakes, alongside sequels, for studios to arm of a massive media conglomerate. make the big money. Some of these movies Boardrooms and shareholders don’t like are good, some are not, but if there wasn’t too much risk; securing consistent profit an existing franchise for many of these is what’s important. Reboots are safe. The films, such resources and money would have audience is already aware of the source never been spent in the first place. These material. The studio doesn’t even need a big “tentpole” summer action movies would name director or actors to aid the project. cease to exist as we know them.

Once a franchise is big enough, like with the Beyond that, it is the growing new Star Wars trilogy, the studio just has international market that has piqued the interest of the major movie studios. In to say “Hey, we’re making three more Star 2014, the Chinese box-office was projected Wars movies!” to get people into cinemas. to reach $4.9 billion, or half of the total US Twentieth Century Fox could buy its way box office. Nearly all of their foreign cinema into an unproven comic book franchise, or comes from Hollywood. This has become a they could stick to their guns and reboot huge revenue stream for Hollywood studios, the Fantastic Four franchise, like they will as Chinese cinema-goers may have much later this year. Just because a comic book less knowledge of American film franchises. is popular does not guarantee it will be a Action-heavy spectacles like Transformers successful film franchise, taking The Green Lantern or The Incredible Hulk for example. and Teenage Mutant Ninja Turtles do Retelling an old story, whether it be an incredible business in Asia. This means that old film or some other medium, is what will studios can again just retool old movies

from their stable of franchises, and gross millions in parts of the world who know little of the original media.

While many of these films are created by boardroom decisions, it is a bit too cynical to observe these movies from a simple financial perspective. The films we remember leave a lasting impact in our minds. Often times, remakes just don’t do that. The original movie may come from a different time, where its characteristics are completely different compared to the modern movie experience. The original 1990 Total Recall is a silly classic, but it

The latest mad max film will be released later this year would take a gun to my head for me to remember a single detail from the 2012 Colin as an audience will continue to experience Farrell remake. It is impossible to experience remakes and reboots for some time. The the magic again for the first time. Even if money on the table is just too much and, they are financially successful, in general with how the movie industry has built itself reboots have only a modicum of the cultural up in the modern era, it is nearly impossible and social impact that their predecessors for movie studios to move on from them. may have had. Even if the Amazing SpiderThis is not all ammunition for cynics; there Man films are successful, the films receive a does always seem to be the occasional gem on the horizon. Personally, while I’ll be fraction of the attention and discussion of staying away from Terminator: Genisys , I’m the original trilogy. Lightning can’t always strike twice. all ready to go for that new Mad Max . A cycle It is rare for a remake to improve upon begins anew. an original, but regardless, it appears we

11

Film Reviews

ex-machina In Alex Garland’s directorial debut, twenty-something computer programmer Caleb (Domhnall Gleeson) wins an employee lottery to spend a week with Nathan (Oscar Isaac), the founder and head of the internet search engine company that he works for.

Flown by helicopter to Nathan’s remote home, Caleb is told that the prize is more than just the opportunity to spend time with his rich boss: Nathan has developed an artificial intelligence in the form of the android Ava (Alicia Vikander), and in a series of daily sessions he wants Caleb to perform a kind of Turing test on Ava - to determine whether she genuinely is a sentient being. At times she certainly seems to be, but can any conclusion be drawn from that? Can a computer ever be said to think, in the same way that a human can?

As Caleb tries to make sense of these problems, we come to see that Nathan is not really interested in the answers to these deep questions after all, and in a sense neither is the film. Although an admirable amount of lip service is paid to these ideas, the film is not really about AI. It’s about three people stuck in an oppressive (and yet also impressive) home, unsure of each other’s intentions, all there with varying degrees of choice and power. Ava has no choice in the matter; she will be there as long as Nathan wants. Caleb, ostensibly, will be there only for a week, and yet as things start to go wrong in the highly automated building, his trust in Nathan falters and concern for Ava (and himself) grows.

Garland, directing from his own screenplay, is surprisingly adept at extracting the maximum amount of tension from his actors and sets, ably assisted

by Rob Hardy’s cinematography and an effective score. And yet, frustratingly, Ex

Machina never really gets under the skin of its characters. What suspense there is can quickly fade away when we don’t know the stakes for our characters or what drives them.

Garland previously wrote the screenplays for Danny Boyle’s 28 Days Later and (the unfairly maligned) Sunshine . Whereas Sunshine was criticized for its preposterous premise, Ex Machina is at least written with enough respect for real science to feel believable as a concept. But what it

Director: Alex Garland Starring: Domhnall Gleeson, Oscar Isaac, Alicia Vikander Release Date: Friday 23rd January

doesn’t have are characters that we can easily relate to or even understand. Even with a significantly larger cast, each of the Boyle-Garland collaborations had characters whose motivations were clear and whose actions made sense. In Ex Machina there are moments where characters’ actions seem to be bafflingly illogical.

This is not to say that the film is unenjoyable on its own merits. Ex Machina is by turns both tense and unsettling, even if its unwillingness to dig deeper robs it of consistency. Isaac and Vikander give decent

performances and the production design and android effects are excellent, but it is a shame to see three actors of such quality and an interesting sci-fi concept being so under-utilized.

Writer-director J.C. Chandor tackles the importance of money, fate and control once again in his newest gripping film A Most Violent Year. Completing a trio of films (including Margin Call and All is Lost), Chandor throws the central characters into a struggle to hold their ground in a world that is rapidly changing. Chandor paints his vision in 1981 during a record-breaking level of brutality in the fast-paced city of New York.

A Most Violent Year follows Abel Morales (Oscar Isaac), the owner of a heating-oil company, over a painfully tense thirty-day period. Struggling to make ends meet after investing in a waterfront storage facility, and facing the increasingly frequent hijacking of his trucks, Abel strives to pursue the American Dream. To make matters worse his business has been under constant surveillance for years by the under-estimated district attorney Lawrence (David Oyelowo), who is close to putting the business to a close. His wife, Anna (Jessica Chastain), comes from a family of organized crime figures, something which fuels Lawrence’s investigation and furthers his pursuit for justice.

Just like the heating-oil the drama is thick, rich and heats up in no time. The doom and gloom of the big city is immediately established and the film does not delay in delivering the thrilling dramatic scenes. Chandor keeps the audience actively engaged in the film with his pacing, and this is only complemented by the acting of both Isaac and Chastain. Wearing a suit worthy of Al Pacino or Armand Assante, Abel’s cool, confident

approach to the tense situations he finds himself makes you feel equally confident and involved in the scenes. He takes the soft, diplomatic approach to conflict and is occasionally overcome by it all in memorably brilliant outbursts. Chastain turns sparks into explosions and is the film’s standout champion. Politely mannered in front of her superiors, she is uncontrollable behind closed doors and transforms into the polar opposite of her well-mannered public self.

Illustrating a world of white snow, grey skies and the shadowed tense rooms, cinematographer Bradford Young pinpoints the quickly changing atmosphere as well as keeping true to 80’s New York, paying homage in the recreation of the grimy, graffiti-polluted subway cars. The 80’s theme established by the cinematography is only augmented through the careful choice of costume

by Kasia Walicka-Maimone. Successfully keeping in touch with the perfect costume design from Abel’s spotless camel-hair beige coat, to Anna’s plunging neckline that imply her deceptive nature, the costume effectively cements the setting of the film.

In a nutshell: A promising if ultimately underwhelming debut from Garland, which can’t quite make full use of a good sci-fi premise.

Ian mulholland

A Most Violent Year

Film Title: A Most Violent Year Director: J.C. Chandor Starring: Oscar Isaac, Jessica Chastain, David Oyelowo.

Release Date: 23rd January 2015

12

In A Nutshell: A Most Violent Year encapsulates that feeling when you are falling and extends it for two hours - the chilling suspense will leave the audience craving for answers. A slowburning drama that can ignite at any moment.

Chris Murphy

Foxcatcher

Top ten Inspired SetPieces in Largely Uninspired Films

10 9 8

It’s a Wonderful Life - “I Want My Life Back Clarence!”

Just because a film is good doesn’t mean it can’t be improved by a good setpiece. A fantastic movie and a Christmas staple, the entire hour and a half before the alternate reality scenes seemed very ordinary when placed in comparison with the great cosmic lesson at the end.

Gravity - Spaceship Crash

A visually stunning movie. It left audiences of the 3-D version flailing at imaginary ship debris like maniacs. The thrilling spaceship crash, which took viewers to the edge of their seat and left them there, stood as the high point in an otherwise tame movie.

Jurassic Park III - Pterodactyl Scene

A toothless addition to a fantastic franchise, the third instalment offered up predictable dinosaur chases, confused stares and strained dialogue, with nothing new. Until the fantastic pterodactyl scene, which served its purpose in almost making the film bearable.

Director: Bennett Miller Starring: Channing Tatum, Steve Carell, Mark Ruffalo.

Release Date: Out Now

Based on real events, Foxcatcher tells the story of, Olympic Gold Medallists, Mark Schultz (Channing Tatum) and his brother Dave (Mark Ruffalo) and their colliding careers. It is established from the outset of the film that Mark is struggling to get out of his brother’s shadow, having had to step in to give a speech on his behalf for a grand fee of $20. The rapport between the siblings is clearly a strange one.

They are both training partners and competition to one another, though when the wealthy John du Point (Steve Carell) invites Mark to join “Team Foxcatcher” and create a wrestling team for the 1988 Olympics, he believes he has found a chance to propel his own career forward and make a name for himself as being more than “Dave Schultz’s little brother”. It becomes apparent, however, that du Point’s intentions are nowhere near altruistic and he leads Mark down far darker paths than the athlete had intended on walking.

The three male leads deliver spectacular

performances, anchored by the extremely concentrated screenplay by E. Max Frye and Dan Flutterman. It succeeds in developing the changing dynamic between the characters over the course of their careers in a non-clichéd way. The employment of concise dialogue works. It allows the audience to focus on what was said without muddling the various storylines. The silences that often follow are not something that director Miller feels the need to fill with a musical score, which gave the scenes a unique intensity. Although, during the carefully chosen times that there is music from composer Rob Simonsen, it undoubtedly proves to lie closer to disturbing than uplifting, even infringing on moments which should be uplifting and affording them with an uneasy feel to them.

That being said, there will be many who find the notion of seeing Miller’s leads outside the comedic roles that they are type cast in strange. They do rise to the challenge and they do so splendidly. Foxcatcher

does not aim to make the audience feel good, or laugh, but provides them with small assurances of the existence of goodness. The unfortunate flaw in the film is down to the way the events historically took place. The climax is strange, to say the least, and quite unsatisfactory. It emerges very late in the film, coming completely out of left field, and raises more questions than it answers, prompting the audience to consider everything that happened before. However, taking that into consideration, the dedicated performances from both Tatum and Carell are something that you wouldn’t want to miss.

In a nutshell: Very dedicated performances in an intense, heavy drama from the Incredible Hulk, Evan Almighty and Magic Mike.

Emma McTague

7 6 5

Armageddon - Planting the Bomb

Planting a bomb on an asteroid to destroy it? Exciting ,right? Well … mostly no. Aside from the excellently shot and incredibly tense ending, the script seemed played out and the actors going through the motions of another Michael Bay ego-bath. Sweet explosions though!

Singin’ in the Rain – ‘Singin’ in the Rain’ Song

A classic song with resonance in our current wintery setting, the film’s lack of any real quality or memorable moments was offset by the classic, immensely likeable musical number.

Jerry Maguire - “Show me the Money!”

Made famous by the charismatic dialogue and catch line shared between an agent and his client, this quote is regularly featured in Top 50’s of all time. However, its recurrences covered for a movie that was entirely uninspiring and massively overrated, even by Tom Cruise’s standards.

4 3 2

The Matrix - Agent Smith Fight

The Matrix stands as a poorly acted and executed indulgence of conspiracy junkies’ fantasies. With such unlikeable characters you are driven to rooting for Agent Smith at times. His epic battle with Neo at the film’s conclusion however became an immediately referenced classic and made this film a little bit more bearable.

The Imaginarium of Doctor Pernassus - Fantasy Land Scene

A baffling movie throughout, Terry Gillam’s fantasy adventure hinged on the elaborate and ostentatious journey through the titular Imaginarium. Fantastical and beautiful, it marked the high point in an otherwise forgettable movie, and also contained shock appearances by three massive Hollywood actors.

The Hobbit: Battle of the Five Armies - Battle Scene

Much was expected of this fiery conclusion to The Hobbit saga. What we got instead was a bloated and awkward script trying to fit too much in, rigid, and at times comical acting and tired CGI. The disappointment at this film’s mediocrity was slightly offset by the colossal battle for the control of Erebor in the middle.

1

Frozen - The “Let it Go” Song

Easily Disney’s most overrated film of all time, its ongoing success can be primarily attributed to the film’s maddening ‘Let it Go’ number midway through. The song itself was an average effort by Disney’s high standards, but it captured the mind and vocal chords of the world and has propelled Frozen to tremendous commercial success, spawning sing-a-longs and dolls the world over. ciaran bruder

13

fiction and poetry

you took me to neverland

In the first installment of Otwo’s new fiction section, we are delighted to present Sarah Burke Vaughan’s ‘You took me to Neverland’.

You took me to Neverland and you left me here.

I did not ask for this. I never could fly in the first place, so you bundled me in your arms and flew me here. You wanted me to see these wonders of yours. I was amazed, I was astounded, I saw every beauty you told me about and loved them all. Then you left for five minutes and never came back. I don’t know what you found that made you want to grow up, but I wish you hadn’t forgotten I was here. I wanted to grow up. I wanted to become a woman. I wanted lipstick and curls. I wanted gunpowder and kisses. I never planned to stay in Neverland, but you found something to be a man for, and forgot there was a girl waiting. I would fly home if I knew how. The Lost Boys have tried to show me but my feet will never leave the ground. They would fly me home but they do not know the way.

They are stuck here too, but everyday they look to the sky expecting you. I know you will not come, I can still feel how time passes at home, and it has been too long for you to come back.

The Boys do not know this. Years pass and to them it’s only moments. They never wanted to grow up, this limbo is what they wished for. I feel every year. You must be old now. You must have grandchildren. How would you feel if I stole your granddaughter and forgot about her? I want to hate you, so I do. I do not tell the boys this as they gaze up expectantly, knowing you are on your way home to them. They know it with such conviction that it breaks my heart that they are wrong. My heart which does not belong to Neverland, not to fairies, or mermaids or pirates, but to dark haired girls in white dresses who were expecting me for tea the next day. I never gave you my heart, never let you enchant me with promises of magic beyond my wildest dreams, I just wanted to see what I had already decided I didn’t want, to make sure I didn’t want it.

Every day my mind grows older on this island where I am always a girl. I never wanted Neverland, so its magic does not work on me as it should. I explore every inch of it, searching for a way home. I befriend the remaining pirates, thinking they might be like me, old souls trapped in this childhood dream, but they love the dream.

They are as afraid of aging as the boys, and do not understand my wish to look my age. I long to look in a mirror and see sagging wrinkled skin, to be allowed to wear the badges of my life, but I remain a girl, trapped in childhood with nothing but my mother’s old tube of lipstick and a tattered nightgown. You thought my parents would steal my childhood, so you stole away my adulthood. Years pass. Even I lose count of how many. Eventually I start to hate the boys too. I hate every moment they spend glancing up at the sky, eyes full of hope. I hate their hope. I hate that they won’t just give up and see the truth. I hate that they can’t. I hate that I am so old and brittle inside my young body but they will never stop being children in every way.

One day I cannot take it anymore. I steal a dinghy from the pirates and load it full of the sickeningly sweet fruit that grows here. I do not say goodbye to anyone except the mermaids.

They are not as vicious as they seem once you learn their language. They are soft and beautiful to look at, but like me, their souls are darker. We understand each other, they give me some fish for the journey. I sit into my dinghy and set off. I do not know if it is even possible to sail away from Neverland, but I don’t care. Maybe I will die on the way. The thought makes me smile.

I sail away into an unknown ocean, and don’t

14

illustration: Louise Flanagan meet land for weeks. The day I realise my skin is sunburnt and rough, I almost cry with happiness.

I am wearing, I am growing. I run out of food and water, cover myself over with a tarp and lay down, waiting for that wonderful end I have dreamed of, but I wake up to shouts and bright lights. My dinghy has washed ashore. I am bundled up and carried to a hospital. I look around at the adult faces as they rush around me, talking of dehydration and sunstroke. I laugh hoarsely. I cannot stop laughing. They are grownups, and one day I will be one too.

I have been gone for seventy four years. My parents are long since dead, never having learned what became of their missing child. The world has changed in my absence and I love it. I am placed in an orphanage, but they call it a foster home.

The adults laugh at me and say I am very mature for my age. A dark haired young woman invites me to join her family. She is oddly familiar and I take comfort in her presence. When she takes me to visit her grandmother, the old woman is wearing a long white dress and cries when she sees me. It takes me a few minutes to realise, but eventually I take her hands and tell her how sorry I am for missing our tea party. She cradles me in her frail arms and tells me I have not aged a day, this makes my stomach turn in a terrible way.

Her husband comes in and smiles and takes my hand. You do not recognise me. You do not even remember me. You don’t remember any of it, and I want to hate you for it, but you are not the boy who left me behind anymore. You do not even recall ever being that boy. I hate that boy, but you

are not him anymore. She was worth growing up for, this much I know. How can I blame you for loving her?

Your granddaughter takes me home again, and I do not tell her about what happened with us.

She would not believe me, and I would very much like to forget it. She is a kind mother. She marks my height on a doorway and when she tells me I am growing fast I burst into tears and hug her as tightly as I can. You are a funny old man, you spoil me and love to play games. One day when we are at the beach I make a joke about mermaids and the fog of years gone by parts in your eyes for a moment. You stare at me in wonder and take my hand, mumbling about pixie dust. It passes quickly. I do not mention anything from there around you again. You are better off not knowing what you did to me. So long as you don’t remember, I cannot blame you for it.

Our love dies a little after I turn sixteen. At the funeral, your children and grandchildren surround you and I am reminded of how the lost boys flocked around you. They are still waiting. Still glancing at the sky with a certainty that you will be back any moment. I would be sad for them, but I know they will never miss you, or me, or anyone, they do not know how. Your family has become mine, they remark on how much I’ve grown and tease me about boys at school. On my eighteenth birthday they throw me a party and tell me that I’m an adult now. You take me aside and hand me a tiny porcelain tea cup, from a children’s tea set.

“She waited for you as long as she could.” You say, your hands shaking. “I’m so sorry, I never

meant to…” I take your hands in mine and kiss your wrinkled cheek silently. You are crying. “Do you think- could you remind me- I’ve forgotten how to fly…”

I shake my head. “I never knew how, don’t you remember?”

“Of course… that wasn’t you, that was… I’m sorry dear are you alright? You look upset.”

I tell you I’m fine, wipe away your tears and re-join the others. You are around the age that I should be, and as I watch you struggle to cut your food by yourself, for the first time in a long time I am grateful to be young and healthy, even if my soul is as old as yours. My friends take me out for drinks after the party and when they drop me home again, I stagger to the front door in a fit of giggles. You are sleeping soundly in our spare room and my mother is asleep on the couch, waiting for me to come home. I get a blanket and curl up on the armchair across from her. We do not realise you are dead until the next morning.

I suppose I should think something deep and philosophical about the boy who trapped me in childhood dying on the day I officially become an adult, but all I think is that I will miss you.

Finally, day by day, I grow up. I go to university.

I get a job. I lose that job. I get several more jobs.

I meet people who tell me I have an old soul. I fall in love. I fall out of love. I fall in love again, with people, places, books, music. I get married after a three year engagement, and we are divorced sixteen months later. Two years later I re-marry, on a whim, with someone I barely know, and we stay together for the remainder of my life. I have

children and grandchildren.

I do not tell them stories of Neverland, as I’m sure many would have. Those memories are still not good to me. I am happy with how my life turned out, but that doesn’t mean I will embrace my tragedies as something I should be glad of.

I do tell them stories of you. You, the man, not you the boy. I tell them about being rescued from what seemed like an eternity in a children’s home and welcomed into your family. I tell them about days at the beach and tea parties with you and me and our dark haired beauty. My children are beautiful and adventurous in a way I never was. In a sad way I am glad you are no longer around. The thought of you stealing them away fills me with dread. I have nightmares of my babies wandering Neverland as lost and lonely as I was, or of them sitting in a tree, eyes on the sky, patiently awaiting your return. I have these same nightmares when my grandchildren are born.

My life is long, even without those added years, and it is happy too, for the most part. I never forgive that boy who forgot about me, but I forgive the man who chose love over flying and pressed a tiny porcelain teacup into my hand.

Otwo will be publishing fiction and poetry in each issue for the remainder of the semester. If you’d like to get involved, check out universityobserver. ie/creative-writing.

Poetry Tadhg dolan Hometown

Mother/Courage

One Day

Silence

The Orchard Tree

Walking the sands Of your hometown My toes tremble Under the cobblestones Your hands helped pave.

It almost seems redundant To associate a Mother With any other word but –

If I were to live for one day, I would live it without fear

Silence ends our pleas of tolerance Acceptance singing its way Through empty streets.

Beneath the orchard tree Hides a lovers tale, Amidst debris and fallen leaves of green.

With lovers eyes, We meet As if for the first time.

Tears embroiled in the bark Still etched within the lovers heart Echoes in the wind,

No longer are we hidden Beneath floorboards

Causing the willow to grin.

Courage.

The air hits But I resist the urge To pull at your jacket And be carried in your arms.

Reaching the banks The tide moves Inwards and out Carrying on its back The weight of the world.

You always understood, Why the lighthouse stood vacant Now I, Through unworn eyes Must come to my own conclusion And think of an answer That can satisfy The mind of a child.

As I think back To childhood days I remember the gap When tide nor current Could push us to speak.

An infant Who once stood on your shoulders Became petulant As wealth Seeded an avarice That lures men to a devilish cauldron You are not to blame.

Now looking behind me, I see, Country, child & father.

And you, The Sheppard of the hill.

Perfumed in your skin From an early age, you learn To empathise with others In a world that is often cold You hold your child Like a gift from God From him You create a world As if Adam & Eve had been reborn You stay by our side As we insist You look under the bed For a monster, that only you can slay You nurture us, As even through adolescence We push and kick, as an infant would To break the bond That Mother Nature intended You cry, As we walk down the silken aisle To meet our own fate And begin a family of our own

I would chase love- actively I would run – endlessly And laugh so hard that my sides spilt in two.

I would dance in public Call my Dad, Tell him that I love him And introduce him to the man That had made my life so complete.

I would go to the park - alone With nothing But a mirror in my hand And watch as the sun bounces Its rays off the neighbouring fields.

Our happiness left alone To blossom In the midnight air.

I’d sit Looking in that mirror And say these three words With honesty For the first time in my life “I love you.”

As the night came My soul could rest Knowing, That I had loved somebody with all of my heart.

And, In those tender moments When against all odds Your heart breaks & strains We hope to use The light, you gave to us To burn away the demons That causes your hair to grey So, On this day When God gave you to me I remind myself of the bond Mother/ Nature/ Child And - Courage.

illustration: Louise Flanagan

15

We’re All Infected

Since its on-screen premiere in 2010, The Walking Dead has become one of the most-watched basic cable shows in television history, and Steven Yeun has starred in it from the very outset. Shane Hannon chatted with him ahead of the eagerly-anticipated resumption of Season 5 about his acting career, his character Glenn’s journey and how being on the show has changed his life

In the season 2 finale of AMC’s hit post-apocalyptic drama The Walking Dead the show’s main protagonist Rick Grimes (played by London-born Andrew Lincoln) solemnly told the rest of his group of survivors “We’re all infected.” It is a poignant and hard-hitting moment in a show filled to the brim with drama and character development, and it is far from surprising that viewers worldwide have themselves been gradually ‘infected’ by the increasingly gripping storylines. One ever-present in that group of survivors has been the likeable character of Glenn, played convincingly by Steven Yeun, and his foray into the world of acting ultimately saw him thrust, fairly unexpectedly, into the role of a lifetime.

Born in Seoul to first-generation South Korean parents, Yeun’s family moved to Regina in Canada’s Saskatchewan province before settling in Troy, Michigan. He admits himself that the arts was probably always the direction in which he was headed, even if his Bachelor’s Degree at Kalamazoo College saw him graduate in Psychology with a concentration in neuroscience. “I always had a kind of performance bug in me, probably from an early age. I was THAT kid – the kid that needed all the attention.” Acting wasn’t always the intended performance medium for Yeun however. “Growing up I did a lot of music. I primarily played at my church a lot and then when I got to college I thought I was going to continue fiddling around with music but I found improv comedy and when I started doing that it just kind of flowed naturally.”

The late Robin Williams once said of improvisational acting “… sometimes it works, sometimes it doesn’t, but when it does, it’s like open-field running.” Yeun’s interest in the improv scene developed in his freshman year of college, and subsequent time spent learning the trade at the renowned Second City comedy club in Chicago would serve him well. The importance of improv for any budding actor is not lost on Yeun. “I would say if you’re gonna attempt to be an actor, if you’re shooting for that, you should definitely start, or at least fortify yourself with, improv.” This purest form of theatre can seemingly go a long way towards moulding burgeoning acting talent from a young age. “One of the hardest hurdles in the beginning with acting is getting over your self-conscious self. To be able to go to those crazy places where you show really ugly parts of yourself or make yourself look dumb – you have to just let loose in not caring about what other people think. Improv really shakes that up right off the bat.”

Most actors will spend a lifetime trying to make it in Hollywood, but Yeun’s rise upon his move to Los Angeles in late 2009 was nothing short of meteoric, something he is all too aware of. “I’ve been very fortunate and very blessed – it’s been an amazing ride. I landed in L.A. and six months later I was on the biggest show ever. It’s pretty surreal so I’m waiting on a giant piano to fall on me at some point.” Having had minor non-recurring roles in shows like The Big Bang Theory and Law & Order: LA, Yeun received his big break when he was cast in The Walking Dead in 2010. Test readings at the home of series developer Frank Darabont, perhaps best known as the director of films

16

such as The Shawshank Redemption and The Green Mile , would lead to Yeun being offered the role of Glenn Rhee, a former pizza delivery boy who seems to thrive in the new level playing field that is a zombie apocalypse. “So then The Walking Dead (audition) happened and I remember just feeling ease about it. I had already choked and then felt what rejection was like when you were so close so then I just didn’t give a shit and went for it… That’s the journey of an actor. You let every single thing that you do either push you further or inform you to take a different path – you just learn from your experiences.”

Glenn is a character whom all fans of the show will have observed is both lively and good-natured from the very first episodes, helping to save Rick from a tank surrounded by zombies or ‘walkers’ in the centre of a run-down Atlanta, Georgia. Yeun affirms of his character “He’s inherently a good person.

His moral integrity is definitely intact and he sticks his neck out for a complete stranger and saves Rick. He puts himself out to do lots of things, but is he afraid to do them?

Absolutely.” The sense of equality in a postapocalyptic world is another reason why Yeun thinks his character almost relishes the downfall of society as the world knows it.

I always had a kind of performance bug in me, probably from an early age. I was THAT kid – the kid that needed all the attention

“You put him in a place now where the colour of your skin doesn’t matter, the size of your stature doesn’t matter; it’s basically just down to can you survive in this world, and he can. I’ve had a lot of fun seeing him grow over the five seasons we’ve had.”

Yeun feels The Walking Dead has been such a resounding success partly because of the incredible scripts and character development, a testament to the executive producers as well as the writers of the original comic book series of the same name, on which the show is based. “What I continue to hear is a resounding connection with each character, depending on who you’re into. I think that’s what keeps people coming back – they just want to know what happens to these people.” He is also of the opinion that the show is very appropriate for this particular time period. “The internet can give you all of the bad news from anywhere and you feel like the world is about to end at some point! And so people are thinking ‘What would I do if the world ended?’ And they get to now see a show where you get to pick and choose or identify with one character one week and another character another week. I think that’s a really cool viewing experience.” Yeun is also quick to point out that it is perhaps The Walking Dead’s originality that keeps viewers glued

to their screens. “If it was just another zombie show where you didn’t focus on the characters and you just focused on how the people are going to get out of each situation, then people would probably get bored of it after a while.”

For Yeun one of the main themes represented in the show is that of redemption and the second chance. “You look at Glenn and it’s not necessarily a tale of redemption in terms of he’s done something wrong in the past. It’s more a tale of a second chance at playing this world the right way, of not letting the personal or societal pressures around him before the apocalypse bring him to a place where he doesn’t think he can succeed or be a leader.” This growth that Glenn undergoes is undoubtedly partly because of his loving relationship with Maggie (played by Lauren Cohan). Yeun contends that the relationship “… really grounds Glenn and puts him in a place of understanding and realizing that this world might be worth living in, that even if society isn’t there anymore if you have someone to live for it’s definitely worth it.”

Many of Glenn’s moments of comic relief come when he’s with Maggie also, and this ability to smile together through thick and thin is an indication of the strength of the bond between them. “Now it’s no longer a matter

of whether this relationship will work out, but rather it’s how do we continue to live and keep a semblance of humanity in this world, even if it is by making each other laugh.”

The Season 5 premiere of The Walking Dead in October 2014 drew 17.3 million viewers in the U.S. alone; to put that into context, around 7 million less people watched Breaking Bad’s overall finale the previous year on the same channel. Action figures and other merchandise related to the show are big-sellers, and the achievements to date are clearly something Yeun and his fellow cast members are unequivocally proud of. “We have collectively created something that never existed before out of thin air, got people together to make it, and now it’s become so big that it has entered into the zeitgeist of the world. If you ask anyone if they know what it is, typically they will say yes, that they’ve heard of it or seen it, and that to me is a surreal accomplishment by humans in general.”

The action and violence prevalent in the first half of Season 5 has left the show’s audiences wanting to see what will happen next, and Yeun stresses that some violence is necessary in the world of The Walking Dead in order to survive. “I would say it’s not even a matter of whether the violence has gotten more gratuitous or anything like that. I would say the stakes have risen. Sometimes the world dictates that you have to behave in certain ways, that you have to do what you have to do in order to survive, if you want to survive.” With Glenn’s group left at the mercy of the residents of ‘Terminus’ in the Season 4 finale, it was inevitable that Season 5 would bring bloodshed between the group of protagonists’ and their cannibalistic captors.

“The slitting of the throats and all that stuff – it was graphic but it was also necessary to show the lengths people are willing to go to eat and survive.” The barbarity of the revenge carried out by Rick and the group also proved “how much they were willing to do to keep their people safe.”

Glenn himself has had his fair share of action, notably when tied up by Merle alone in a room with a ‘walker’ in Season 3. “It was really fun. Dan Sackheim, the director, just had Glenn Brown, our camera operator, put a hand-held camera on me and follow me. I had worked out this whole stunt work system and we went for it and I remember just collapsing afterwards. I got my fair share of bruises but it was worth it because it feels like an organic scene. It was just ‘action’ and the whole scene in one shoot.” The physical scenes aren’t the truly exerting ones however. “Those are really fun to play. I would say the hardest scenes to play are the really quiet moments, the really surgical moments are tough.”

Yeun has also dipped his feet into the world of film, and had a key role in Mike Cahill’s science-fiction drama I Origins , released in 2014 at the annual Sundance Film Festival. “I was looking for a project in the off-season and I was really excited about doing something a little bit different than the character I had been playing.” The film tells the story of a molecular biologist who makes a stunning scientific discovery about the human eye which has extensive implications. Yeun admits he is a fan of the director. “He’s able to take a really insane idea that’s far-reaching and seems to be beyond the everyday human scope and scale

People were really excited about the first half of Season 5 – I would say the second half blows that out of the water to be quite honest

I landed in L.A. and six months later I was on the biggest show ever.

It’s pretty surreal so I’m waiting on a giant piano to fall on me at some point

it down and put it in a setting where it’s very, very reachable.”

There are many actors that Yeun admires immensely – Tom Hanks, Matt Damon and Sam Rockwell to name but a few. But it is also certain that, as an ensemble, the cast of The Walking Dead are making waves of their own, and the upcoming second half of Season 5 is eagerly anticipated. “People were really excited about the first half of Season 5 – I would say the second half blows that out of the water to be quite honest. People went for it and we got such great actors that got such great material. Everybody really left their guts on the floor – there’s a lot of stuff coming for Glenn too and I’m just excited for people to watch it.”

The death of a main character in the mid-season finale in November was a huge emotional blow to the entire group, with questions to be answered over where the survivors go from here. “It affects every person and I think in the second half you’ll really see how the dominoes fall after such a big hit like that.” Yeun is himself proving to be a big hit with his performances, and we have

only seen the tip of the iceberg in terms of his burgeoning career. There is no end in sight for this remarkably popular show, but when that final episode does come Yeun wants it to finish in style. “I hope for our sake and for the viewer’s sake we’re able to give people a satisfying finish.” Until then – long live The Walking Dead.

Steven Yeun can be seen in his role as Glenn on AMC’s The Walking Dead when Season 5 resumes on February 8th. Watch it on FOX UK the following day or catch up on previous seasons on Netflix.

Twitter: @steveyeun Instagram: steveyeun steveyeun.tumblr.com

17

DUBLIN BANDS ON YOUR DOORSTEP Ever been phased by a lack of new music to listen to? Here are just some of the bands set to explode in 2015 and it couldn’t be any easier, they’re all from Dublin!

squarehead Dublin’s BURGEONING and varied music scene is under the constantly shifting influence of external changes, yet it is one which maintains its own identity. Local, three-piece band, Squarehead is no exception to this. While maintaining their own sound, lead singer Roy Duffy, is keen to stress the influence music had growing up. “When I was very young I was obsessed with Michael Jackson. I had an outfit and I’d dance around like a maniac.” While the King of Pop may not play a significant role in the group’s sound today, Duffy explains, “It was all about Nirvana and Blink 182. They were the bands who taught me to play guitar and opened me up to stuff like the Descendents, which had much more of an impact on me creatively.”

The band is part of a scene that has seen great changes in recent years and an even greater opening up to the international music scene. Duffy is pleased to get the opportunity to play to such a diverse audience. “We still play small venues, but sometimes we get to play bigger places or with bigger bands at festivals and the like. It can be very exciting sometimes but mostly we just enjoy playing wherever.

It still surprises me that people actively like our band and come to shows. I always feel pretty thankful.”

The band come during a time that has seen a greater embrace of varying and different media forms, with many acts turning to novel ideas in order to capture the attention of a competitive market.

For Squarehead, their recently released music video for their single, ‘2025’, featured performances from actors Brian and Domhnall Gleeson. Speaking about

the video, Duffy reveals, “We went to the premiere of his movie, ‘Frank’, where we were introduced and ended up having a lot of craic together. He said at some point in the night that he’d love to do a video for us. We thought he was just being nice, but low and behold a few days later he emailed us and it went from there!”

The single’s proceeds aided Immaturity for Charity, yet, despite big-name friends and charity contributions, Duffy maintains that he as no ambition to be the next Bob Geldof. “We have zero aspirations for much at all really! We’ve done a number of charity gigs over the years and it’s just something I’m glad we have the opportunity to do. None of us have any money that we could donate to anything otherwise, so it’s a nice way to use what we do to help out and bring attention to different things.”

As the Dublin music scene continues to explode, with a plethora of talent fighting to be heard, Duffy is also keen to stress Dublin’s community vibe. “There’s definitely pressure involved with being a band and a healthy level of competition is what makes for so many great Irish acts, but Dublin’s always felt like a very supportive city to me. Especially for new bands.”

Squarehead definitely seem to have their heads screwed on the right way. Duffy speaks of his plans for the future, “We’re writing stuff for what will hopefully be our next record right now. We’ve got a few shows lined up so far. More of the same, but better hopefully!” A well-rounded plan for success.

SÍOFRA NÍ SHLUAGHADHÁIN

sissY SISSY ARE ONE of the most recent additions to Dublin’s punk scene. Combining feminism with a groovy garage-punk sound, the three piece band formed in 2014. Made up of members from other bands, Fag Enablerz and Putrefaction, their music is highly politically-charged. Their mission?

Subversion of gender constructs, confronting the patriarchy and challenging the holders of power in society.

Michelle Doyle, bassist, doesn’t come from a particularly musical household. “My mam likes ABBA and I think that’s about it.” She, on the other hand, has been into punk since she was a teenager, when she accidentally stumbled upon the song “Oh!” by Sleater-Kinney. Guitarist, Leigh Arthur, having always wanted to play music, had a slow start, joking that “all I did for a while was let the guitar I got myself, with my confirmation money, get dusty”.

Doyle and Arthur met in “classic J1 style”. Arthur asked Doyle if she wanted to start a feminist punk band and they “abandoned the wider 40 strong group of Irish people to go to gigs or go to rock bars and sing karaoke.” Doyle already knew Eoin, from their band Fag Enablerz, and he joined as drummer.

The conversation turns to the name of the band.

“We wanted a name that set the tone in the right way for us,” Arthur explains, “The more common use of the word is as a negative slang term for a male who expresses subordinate behaviour, that is traditionally seen as a female attribute. For me, juxtaposing this slang and being proud to apply it to myself, as a female, ignites questions about gender, social and cultural constructs that are the main focus of our music.”

On the political themes in their music, Arthur believes that power and its holders in society are important topics. She enthuses, “In challenging the

18

We’ll continue as long as it is still creatively fulfilling to do so for us, even if everyone else hates it

status quo you challenge the imbalance of power and hopefully strive toward a more just and fair society for the powerless.”

The two are no doubt outspoken and this trickles through into their music. Doyle explains the band’s decision to parody Enya’s ‘Orinoco Flow’ in their song ‘Sail and Rail’ and address the abortion debate currently gripping Irish minds. “It’s taking direct quotes used by the anti-choice movement in Ireland, who claim that abortion ‘on demand’ will be so easy that the vacuous inconsiderate women who avail of it will use it to become ‘bikini-ready’, then deliver it in

what other people think of it. “We’ll continue as the dominant medium of the ‘radio-friendly’. I think long as it is still creatively fulfilling to do so for us, it’s important to tackle misogyny in creative ways.”

The band has already attracted attention from even if everyone else hates it.”

Sissy consider themselves a part of Dublin’s influential publications and have recently featured DIY scene. They’re part of ‘The Karate Club’, in NME’s Radar. On this praise, Michelle believes a collectively-run punk practice space in that “you have to view that type of press as being incidental, and that you have to keep doing Phibsborough.

On Dublin’s music scene, Doyle says, “It can be what you were doing.” Having recently released a bit annoying when you read some lazy music their debut EP, Doyle believes that it provides an journalist in a newspaper saying that Dublin has insight into what they’re about. “I think it’s good to keep evolving and honing what you do.” Arthur ‘no scene’. Dublin has loads of scenes, do your considers the music itself as more important than homework!”

So what does the future hold for Sissy? “Go on a J1 again, maybe?” Doyle muses. “We’d like to tour Europe and America potentially. At present we’re writing songs and working on new stuff.”

She also reveals how she’d “like to write a song for Miley Cyrus”. Leigh’s long-term goal, meanwhile, for the future? To “smash the patriarchy”.

CHRISTOPHER HIGGINS

no monster club Hear ye, hear ye, Bobby Aherne lives. Despite a 2012 “experiment” in the form of an album reportedly from the grave, Posthumous Hits, he hasn’t left us yet. After creating a tragic back-story to a 46 track cassette tape (yes kids, those still exist), Aherne was exposed and then scolded by people who were annoyed he wasn’t dead: “This is a real shameful promotional stunt. Someone who really did die and didn’t want to should get to trade places with this prick.” Well, online commenter, your wish has not come to fruition, and rightly so.

Aherne’s brief flirtation with ‘retirement’ hasn’t impeded him from churning out an astonishing amount of releases since he began “haphazardly” making music. On February 3rd he’ll drop his 16th release, People Are Weird. Initially working under the moniker Dublin Duck Dispensary back in 2006, he grew understandably tired of the self-inflicted tongue twister and made the switch to No Monster Club. Another advantage afforded by this new name, Aherne explains, is that it “enables the project to remain loosey-goosey, with a revolving line-up, guest musicians, or even members of the crowd getting up onstage to join the Club for the night.”

This club’s specialty is crafting brief moments of madness that whip ballsy punk into a broken blender with 80s one hit wonders. No Monster Club come armed with a back catalogue to soundtrack “a dream holiday gone very wrong” that is charmingly rough around the edges.

Aherne compares his sound to “a broken Sega Mega Drive hooked up to a frazzled old amp” that he incorporates into live shows thanks to his collaborators. His casual philosophy is that “any old eejit can do it [make music]” and he refuses to

do things “properly” like the talented rebel he is.

One crucial aspect of Aherne’s personality forming the backbone for his musical endeavours is a simple appreciation for having the craic. “Literally nothing makes sense, so I have a pretty hard time taking anything seriously,” he says of his lyrics. One listen to latest single ‘Arms Across America’ confirms this. Aherne spends a decent chunk of the upbeat little number musing on the possible presence of a lava lamp. Sure, why not?

If your tongue is suddenly aimed and ready to spit the venomous label of ‘pretentious hipster’ at him, you may want to hold it.

Aherne’s brand of oddness “isn’t exactly Weird Al Yankovic” and he comes equipped with a simple explanation for his outlandish lyrics. “I guess I just don’t want add to the landfill of empty songs about ‘my heart’ or ‘the stars’ or any of that nonsense.”

Next up, Aherne is toddling over to Switzerland and Italy with his cool club to promote the album, before returning home in March, then off to tackle America with some fresh tunes. The big question remains; will he ever stop being such a mad yoke and sing about serious real life stuff? Not likely. “I just wanna sing about lava lamps, ice cream and getting my head chopped off.” Phew, that’s just what we want to hear.

I just wanna sing about lava lamps, ice cream and getting my head chopped off

EVA GRIFFIN

cruising You COULD BE forgiven for not having heard of Cruising, with only one song released online and then in the form of a cassette tape in physical format. However you will have, without any doubt, already heard of the members who make up this indie mini-supergroup. Cruising consists of members from Logikparty, Seapinks, September Girls and Girls Names, who have come together to create their own brand of grungy, distorted punk rock in the vein of those punk bands which dominated the New York scene in the late ’70’s.

Going by the pseudonyms of Benzedrine Black, Dan Handle, Dick Vortex and Sex Grimes, the group explains the origins of their newfound creative names. “I definitely wanted to be called Dick something” enthuses drummer Dick Vortex. “We really agonised over those and I feel like we’ve just forgotten about them! Not to sound pompous at all but we guessed certain people would be kind to us if they knew who we were from our previous bands if they liked them, and we didn’t want that!” Dan Handle chimes in, “We also talked about Mika Miko, they all had stupid names too.”

Despite only being officially together since late 2013, the band has had minimal activity, which they put down to their other projects and the location of the individual members. “The thing is, we’re all in different bands and we live in different parts of the country. It’s actually quite hard for us to get together and jam, let alone write songs,” explains Sex Grimes. “Even though we started jamming over a year ago, we’ve only jammed together around twelve times, even less.”

This gathering of the group’s members

seems, then, to be a rare occasion, as they all sit around in their recording studio. “We’re kind of getting ahead of ourselves here,” explains Dan Handle, “We’re attempting to record a 5-track EP, but it might be shite. Not that the songs are shite but we haven’t recorded it yet so I don’t want to count my eggs before I have my basket, or count my chickens before I’ve got my eggs, or whatever the saying is.”

This DIY ethos at the heart of the punk rock manifesto is followed strongly by the band, who explain that “everything else we’ve had online is from Neill [Dan Handle]’s phone.” The single they released, ‘You Made Me Do That’, was filmed on the spot with a handheld camera. “It was done live, and it was done as we made it happen, which is how it should be. That’s pretty much how we do all our stuff.” The band thrive on this spontaneous way of creating and playing music, as explained

by Benzedrine Black, “That kind of music should never be pristine. It’s not because of an ‘I don’t give a fuck’ mentality, but it would sound shit if you over-rehearsed. When we don’t rehearse a whole lot and then play gigs, it adds to the show, I think.” A refreshing mentality. Poised to shake things up on the Irish music scene, the journey which Cruising is about to embark on, with their bombastic, energetic punk sound, is sure to lead to a big year for them.

AARON FLOOD cruising image HANNAH CASEY

19

MERCURY, RISING

Grabbing the only available ten minutes between now and the next year, Sean Hayes talks to Mercury Prize winning, Young Fathers’ member, Alloysious Massaquoi, about their unexpected win, ignoring everyone’s opinions and his upmost respect for pop music

Young Fathers is a very difficult group to pin down for any amount of time, having tirelessly and continuously toured throughout Europe and the United States for the last year, not to mention releasing one of the most highly acclaimed records of recent times and stopping, only briefly, to pick up a Mercury Prize along the way.

So when the opportunity presents itself to interrupt the band during their soundcheck, as they prepare to take to the stage later that evening, one can only jump at the chance to do so.

Speaking to Alloysious Massaquoi, who makes up one third of the Scottish, alternative hip-hop group, is like a breath of fresh air. His hair may be perched precariously upon his head, but his words are collected and grounded. Speaking about the show ahead and, clearly, about the sound check he has just stepped away from, he quips in a Scottish brogue, “I just want to get a move on.”

Moving on and up seems to be a particular speciality of the band. Young Fathers is probably best known as the winners of the 2014 Mercury Prize. However, having been portrayed as the underdogs of the competition from the very beginning, the group rose from obscurity with only 2,400 copies sold of their nominated record, Dead. Their win came as a shock to many, having beaten bookie favourites and veteran names such as Damon Albarn and Bombay Bicycle Club. The

20

win, however, was far less of a surprise to the three Scottish musicians. “We were confident in ourselves to know that what we do is good. What we do is different and it hasn’t been done before” Massaquoi enthuses. He’s also firm in pointing out that winning the award was not their main priority of the night. “For us, the main focus was the performance and just getting that across. We had the opportunity to perform in front of a live crowd and people at home. That was the best part. That’s what we were looking forward to.

It wasn’t necessarily about an award that says, ‘Oh, you guys are good.” or “You get a thumbs up from us!”

The group had barely enough time to place the trophy on their mantlepiece before taking off to Germany to begin work on their next record. They also managed to record the entire album in just a matter of weeks, an impressive accomplishment for any act, especially one now burdened with the pressure of having to live up to the runaway success of their previous release. The Mercury Prize has been viewed, in the past, as a bad sign for any winner’s future career. Many acts have failed to regain the recognition and acclaim after winning the coveted award and have faded into relative anonymity. Yet Massaquoi physically laughs off any concerns he or his bandmates might have. “There’s no pressure. We’re doing what we want to do and we love what we do.

We’re constantly pushing ourselves anyway.

For us, the main focus was the performance and just getting that across.

We had the opportunity to perform in front of a live crowd and people at home. That was the best part.

We didn’t worry about that stuff, living up to it, because we never want to make the same record anyway. That’s a sin for us.”

While recording their upcoming album, Young Fathers took the unusual step of inviting select groups of people to listen to a number of their freshly laid tracks. Reminiscent of the quality control meetings held by Motown’s Berry Gordy, they were encouraged to answer questions set by the three bandmates and write down their opinions on what they heard. Being faced with

the opinions and criticisms of others must’ve had an influential effect on the finished sound of the record. At this part of the conversation, Massaquoi pauses and scoffs, “We’ve not actually looked at them, to be honest. We’ve got their answers, so we might use them for something. It’ll be interesting to see people’s first reactions to it and what the response was, definitely.”

Confidence seems to be a key contributor to Young Fathers’ success. Speaking about their upcoming album, Massaquoi sees no problem in proclaiming, “The new album is the best thing we’ve ever done. As an artist, you want to progress, you want to grow, you want to make yourself feel uncomfortable, in the best way possible. So I think the new stuff is something we haven’t done before and we’re very proud of it.” Throughout the conversation, one cannot help but notice his complete honesty. Massaquoi says what he means, frankly and directly, and it’s wonderfully refreshing. Musicians can often offer up convoluted tales of spontaneous and artistic inspiration, but Massaquoi makes no such qualms. Speaking about his musical influences and how they play a part in his sound, he admits, “It’s not anything we think about, really. The most times we have to talk about it is due to interviews and stuff, but we don’t actually think about it. We’re very like-minded people and we want to do something we haven’t heard. I think, fundamentally, that’s where it lies. You don’t want

to recreate what’s already been done. All your influences, you need to destroy them and come up with something new, that’s the only way for you to be able to sleep at night.”

It is interesting to note, then, that despite all their apparent breaks with convention and tradition, Young Fathers aspire to make great pop music. Massaquoi states, “We love pop music. Pop music is the hardest music to make because it’s got so many elements.” While ‘pop-group’ may not be the first term that comes to mind when describing Young Fathers, Massaquoi expresses disappointment at the unvaried, marketorientated music that gets repetitively pushed through the radio. “It would be ideal if it changes because there’s other music out there that’s not heard. I would love to just listen to a mix of different stuff… from James Brown to Iggy Pop to Joy Division. There are so many, you just mix it up, even slipping in Sean Paul stuff. It’s a mixture of so many different genres. It would just be a whole lot healthier that way.”

While that sort of change, indeed, may be a while coming, there is little doubt that if there’s anybody up to the task, it is these three, formidable young men.

‘Dead’ is out now. Young Fathers’ upcoming album will be released later this year.

Pumping On Our Stereo Gearing up for his second solo release, Aaron Flood speaks to former Supergrass frontman, Gaz Coombes about songwriting, organic collaboration and the importance of bum-notes Twenty years ago, there was a song released which summarised the cheeky-chappie, frantic uplifting energy of the Britpop era. With the opening piano chords and its infectious, singalong lyrics, ‘Alright’ by Supergrass became a classic hit. The accompanying music video, featuring the band members racing around in name-emblazoned t-shirts on a car/bed contraption, became iconic. Twenty years after he reached superstardom with Supergrass’ debut album, I Should Coco, and five years after they split, the muttonchop-pioneering occupant of the middle of that bed, Gaz Coombes, is about to release his second solo album, Matador. Coombes embarked on this solo career in 2012, when he released his first solo effort, Here Come The Bombs , to mass critical acclaim.

Yet despite having done it all before with his band, Coombes still feels a pressure when releasing new material. “I think there’s always a sense of pressure, really. Depends on where you let that pressure come from. My pressure came from me, personally, to make a better record than the first one.” Humble as anything, he speaks about Here Comes The Bombs and reminisces on its creation and release. “With the first record my expectations weren’t particularly in the clouds. It’s a new thing so you just do what you can and hopefully people like it!”

There’ll be tracks that started with a loop, a beat or a bassline. There was no sort of ‘fixed’ way of writing the song.

It’s just about whatever speaks to you at the time.

There was no shortage of folk who loved the album, never mind simply liking it, with the brooding, dark electro-tinged collection of songs attracting all sorts of fans to Coombes’ work. His new offering builds on the high standard of song-development and production values of his debut. He talks about this development process of his songs by saying, “Sometimes it starts more traditionally with an acoustic guitar or a few chords of the piano.

I think the exciting thing about writing and recording on your own is that it can start from anywhere, really. There’ll be tracks that started with a loop, a beat or a bassline. There was no sort of ‘fixed’ way of writing the song. It’s just about whatever speaks to you at the time.”

With true artistic and musical credibility, Coombes plays every instrument on the album, with the exception of the drums on a few tracks. “I guess it’s sort of how I write,” beams Gaz, “I mean I’ve got a great band that I’ve used on a few tracks, but it is how I write. It was important to get the instinctive ideas across in a spontaneous way, and I wanted to make a record that was quite direct in terms of the ideas I had”. Unlike the over-produced, precise and perfect pop records that dominate the charts today, Gaz speaks fondly of the album’s,

in his own words, ‘bum-notes’. “There’s a lot of early takes, a lot of first takes on the record. A few bum-notes here and there, first vocal takes and that was all really important to me to get across. I wanted that simplicity in approach, as opposed to nailing the life out of it. I just wanted the life and energy to come from doing things very instinctively and spontaneously”.

After being in a band for so long, one could expect Gaz to long for a bit of company on these solo exploits. However, that isn’t the case with Matador. “I didn’t want to make a shiny pop record with all these celebrity collaborators that somehow seem to get in the way of the odd solo record here and there. I sometimes find it a little bit strange, the importance placed on having these featured artists. I just wanted to get an honest vibe and emotion. So I think at the early stage of this record it was important to be on my own and not have anyone get in the way of those instinctive ideas.”

While Coombe’s intentions at the moment are clear, curiosity rears its little head and the question has to be asked; if Gaz could collaborate with anyone, who would it be? “Oh, I don’t know, Neil Young? That’d be good. I don’t know if we’re the same sort of school but it could be fun. I do think collaborations have to

I just wanted to get an honest vibe and emotion.

So I think at the early stage of this record it was important to be on my own and not have anyone get in the way of those instinctive ideas.

happen organically. I’m not suggesting you sit around and wait for the phone call but if they do happen they have to happen organically rather than two sets of managers going back and forth on the phone.”

The conversation then moves onto the upcoming tour, which takes place a week after Matador ’s release on the 26th of this month.

“First we travel around the UK, then into Europe before we head to Japan in March. We’re also hoping to get over to Ireland too” Gaz admits, chuckling before adding “I’m not just saying that! No idea of when, but I’m talking to the tour agent at the moment. I’ve had a lot of requests and comments and stuff like that over Facebook, so it’s definitely at the front of my mind, so we hope to get over there within the next few months, if they want me!”

Gaz can be assured a warm welcome when he decides to bring Matador over. There’s plenty of time to visit, as there’s a long year ahead.

When asked what he hopes to do and achieve within the year, he replies by channelling his Supergrass past with the unprompted, “Just got to keep it all moving, man. Just keep moving”.

Matador is released in Ireland on January 26th.

21

not jape-ing around An Irish indie music institution in his own right, Riche Egan of Jape chats to Rebekah Rennick to discuss Swedish influences, his creative process behind album number five and the tenuous link between music and furniture craftsmanship sound. Egan’s interest in melodies and the structuring of sound is undeniable, and he admits his interest in foreign sound was always evident, particularly music from Sweden, the place he now calls home “Well, even before I moved to Sweden, I’ve always been passionate about the Swedish sense of melody. I think Swedish people are very good craftspeople.” He says “They’re very good at crafting. When they make music they really craft melody. They really work at it technically. There are so many great, Swedish acts. I used to listen to a band called Star Market, and even though they were a cover band, their sense of melody was really, really advanced. I’ve always been influenced by that. I think with Swedish people, they tend to be a little bit reserved so what I was trying to do was get that sense of craft, while also putting in a bit more emotion. “ And this work ethic certainly has paid off as he now stands as a critically acclaimed and award winning musician. With four albums under his belt and as his audience I think in the past, Jape eagerly await Jape’s swaying, multi-layered albums have sort of fifth, Egan admits it’s not the pressure from the outside that drives him but the pressure bounced around, where he places upon himself “I just try really not they have maybe an to let myself away with anything. I think if you’re making furniture, for example, over acoustic song, followed time you get better at making furniture.

You learn what to do well and what doesn’t by an electronic song work for you and hopefully just get better at afterwards. I didn’t it. I still feel a real sense of wonder making music.” want to have that on This Chemical Sea , Jape’s newest this album, I wanted a installment, sees the helping hands of both Glenn Keating and David Wrench adding their coherent sound own unique touch and expanding Egan’s creative outlook. Speaking of Keating’s involvement, Egan recalls that “He was very important on this record. In the past, all of the Jape records I have been kind of calling all of the shots and sort of telling them, ‘This is the way it’s going to be.” With this record, Glenn was such a great sound board. We’ve been playing together for so many years at man whose name itself breaths with Irish this stage that we know each other really energy, Richie Egan and friends are a force to well. In order to cut through mental anguish be reckoned with. and trying to second guess myself all the Although Egan’s musical journey with time, I thought it would be cool to get Glen Jape began in 2003 with debut album on board. He ended up coming up with some Cosmosphere, his creative direction has great suggestions for songs and stuff.” He continued to twist and turn throughout the says “We argued too, but that was great. I years. With an electronic sound acting as love that, arguing with someone because the beating heart of his musical endeavours, you’re both serving the song. You’re not Egan has moulded his own characteristic trying to offend anyone, you’re just trying to and distinct sound. With his toes firmly make it as best you can.” dipped in a handful of separate bands; from Similarly, the enthusiasm with which guest appearances with Villagers “Oh god, I he speaks of mixer Wrench, who this year played with them for like the first two gigs.” alone has worked with the likes of Caribou, He laughs “I’ve known Conor for so long.

Glass Animals and Jungle, truly radiates He’s just such a cool dude. He’s one of the as he gushes “To me, it was like winning most inspirational dudes. He’s just such a the lottery to get him to mix the album. good songwriter, and more than that he’s Genuinely, if I could have anyone in the just really great to talk to about things.” world, anybody, I’d still pick him. I just love to committing himself to instrumental the sense of space he gets, the 3D he gets, post-rock ensemble Redneck Manifesto, Egan the way he makes he makes the bass sound has transformed into a swelling, diverse really tight, the way he gets everything to indie entity. pop out of the speakers a bit.”

Even in the early days, however, it was Returning to the stage and transforming difficult to ignore the alternative angle the album into a live manifestation with which Jape were directing their is an eagerly awaited feat for Richie.

Side projects are often the manifestation of an artist’s creative overflow; perpetuating a musician’s insatiable thirst for more. Very often still, side projects rarely overshadow the original band or source from which the musician emerged, keeping to the background as an extra outlet for creator and consumer alike. Yet, Richie Egan of Jape admits “I just love to make music and I love to write songs, so it’s something I’ll continue to do while I’m able to do it.” A fair point undoubtedly his fans would welcome with a smile.

There are numerous reasons as to why Jape is one of Ireland’s most well loved but utterly underrated bands. From making electronic music evermore accessible to those on Irish soil, and beyond, showcasing the length with which you can experiment with sound, picking up a plethora of musical credentials on the way and having a leading

22

I think if you’re making furniture, for example, over time you get better at making furniture. You learn what to do well and what doesn’t work for you and hopefully just get better at it

Experimentation and fusion of sound with his intricate lyricism has always been a distinctive feature of Jape’s sound both on record and in a live setting. Although replicating what is on a record is a difficult task for any band, Jape seamlessly blurs the lines between studio and stage. “I’m looking forward to bashing out the setlist.” He says “We’ve got the album obviously recorded and everything, so we’re trying to rework the tracks for a live environment. It feels like a long time since we’ve actually done a tour.

I’m excited to present the album.” Equally so, he awaits the Irish crowd with open arms as undoubtedly “hey’ve always been so supportive of Jape.”

While newest single ‘The Hears Desire’ sets the multi-coloured, euphoric tone of the record, accompanied by an equally eccentric,

oozing video featuring a floating Richie Egan head, Jape’s well awaited return is one of defined lines “I think in the past, Jape albums have sort of bounced around, where they have maybe an acoustic song, followed by an electronic song afterwards. I didn’t want to have that on this album, I wanted a coherent sound.” And coherency has never sounded this good.

Jape’s new album This Chemical Sea is to be release on Friday January 23rd.

album Reviews

The Dø

Panda Bear

Shake Shook Shaken

Panda Bear Meets The Grim Reaper

Shake Shook Shaken, the third studio album from French/Finnish duo, The Dø, smoothly follows on from their 2011 release, Both Ways Open Jaws.

Yet this time, the pair have seemingly taken notes from bands like Kasabian and experimented with technology to spice up their sound, with more electronic instruments utilised than in previous efforts. Although there were small nods to electronic influences in their last album, the group’s style, suited to indie-folk listeners, now bravely ventures into the world of electro-pop.

The opening track on the album, ‘Keep Your Lips Sealed’ introduces us to the newly discovered electronic sounds of the duo, with deep fuzzy synths and marching snares. A high, popping bass line accompanies the vocals with a decidedly 80’s vibe, which prevails throughout the record. The album’s second track, ‘Trustful Hands’, returns to the ambient indie-folk roots of the duo, with hints of an evolving synth-bass. The album twists and turns in between genres and even flirts with some classical violins on ‘Sparks’, also notably Merilahti’s best vocal performance on the album. Listeners should be warned, however, of hearing this track on any number of television adverts throughout the year. As the album progresses, the notion of each track accompanying ads becomes worryingly more believable, especially with tunes such as ‘Anita No!’ and ‘Lick My Wounds’.

Few tracks on the album could be singularly chosen as standout tracks, apart from the aforementioned ‘Sparks’, ‘Lick My Wounds’ and possibly ‘Opposite Ways’, which boasts a catchy vocal melody and a heavy wobbling bass behind it, before lighting up the track with high notes and violins. Before the album closes, The Dø provide easy listening organs on ‘Nature Will Remain’, before attacking the listener with the chaotic sounds of a distorted bass and electronic snares on the suitably named, ‘Omen’.

With its ominous, foreboding title, one could be forgiven for assuming that the Spanish based, Animal Collective co-founder is preparing to put his solo project to rest. Yet Noah Lennox makes no allusions to retirement with his most recent release, his fifth solo record under the moniker, Panda Bear.

Panda Bear Meets The Grim Reaper, instead, offers up a bright, minimalist collection of carefully crafted tunes, which effectively blend together the aural highs of his previous two releases, Tomboy and Person Pitch.

Lennox acknowledges the European dance music scene, popular in his current home of Portugal, with hip-hop and psychedelic influences throughout.

‘Mr. Noah’ experiments with an infectious vocal riff, backed by a swirling cacophony of electronic samples and a crunching rhythm, while ’Crossroads’ employs highly melodic vocal layers, synths and a pulsing bass.

While Lennox’s lyrics may be difficult to decipher and at times are completely non-sensical (in ‘Butcher Baker Candlestick Maker’, Lennox laments the fact that “God, my God, my dog has a broken leg), he effectively manages to portray a wide range of varying moods and emotions, as he moves into the frantic ‘Boys Latin’.

A distinct and dramatic shift in sound comes in the second half of the record, marked by ‘Tropic of Cancer’, an airy, ballad decorated with a continuous loop of harp arpeggios. This mood is continued with ‘Lonely Wanderer’, an ethereal, dreamy sequence based on falling piano sequences, yet punctuated with a jarring and menacing bass.

Lennox wraps up the record with, perhaps, the most melodic pair of songs, ‘Selfish Gene’ and ‘Acid Wash’, on the record, showcasing his talents as not just a producer, but a vocalist also.

If Lennox does decide to put his Panda in a cage for good and retire from this project, he can rest assured that this stirring, new collection of songs will only contribute to and enhance an already impressive and bursting catalogue.

In A Nutshell: The Dø’s venture from indie-folk to synth-pop may seem lost on a few tracks but when kept simple, the duo prove that they can be more than just an acoustic band.

In A Nutshell: A skillful, minimalistic and bright collection of tunes which, despite few risks, will keep the listener engaged and interested

ALAN MAHER

SEAN HAYES

Marika HaCkman wE SLEPT AT LAST

Multi-instrumentalist Marika Hackman’s long awaited debut, full studio album finally arrives at the end of an auspicious two years, punctuated by four EPs and a dogged touring schedule.

Perhaps because of her instrumentation and history of touring with denizens like Laura Marling, Hackman has been inevitably lumbered with the classification of ‘Nu-Folk’. She clearly, however, pulls the genre into more melancholic, baleful depths, compelling critics worldwide to offer various synonyms of the word ‘brooding’ in response to her maudlin ballads.

The opening songs set a slow pace, with Hackman’s spindly guitar playing framed by Charlie Andrew’s suitably-ethereal production, reminiscent of his work with Alt-J. Churning cellos, distorted percussion and hushed flutes emerge and fade away, complemented interestingly by less-traditional tropes such as Hackman’s own treated backing vocals and processed drums. None of this, however, obscures Hackman’s intimate lyrics and ornate melodies.

Opening song and standout track ‘Drown’, shortlisted last year by BBC Radio 1 as one of the ‘Hottest Tracks of The Year’ sees Hackman at her most candid, pleading a would-be lover to allow her to “suffoate in your smoke/die stuffing my lungs with their fill”, accompanied by a sepulchral choir of her own overdubbed vocals and fingerpicked acoustic guitar.

So unassuming are some of the compositions however that, regrettably, it is only by persistence that they make their impact. Relief from the sometimes sullen pace - if not morbid subject matter - set by songs like ‘Calude’s Girl’ is offered by the more immediate ‘Open Wide’ and and the excellent ‘Animal Fear’, while the album ends in its strongest run of songs, including the breathtaking ‘Monday Afternoon’ which sees Hackman fantasising about her own corpse’s decomposition, the funereal ‘Undone, Undress’ and stunning closer ‘Let Me In’.

JAPE

thIS CHEMICAL sEA Having already two Choice Music Prize wins behind him for his critically acclaimed previous releases, Jape frontman, Richie Egan, seems to have found the secret formula for success and is sure to secure himself a third nomination with his fifth, most personal and ambitious record to date, This Chemical Sea. This latest release from Egan establishes a coherent and continuous sound from start to finish, with a firmer electronic influence than ever before.

Each track flows fluidly into the next in a constant rhythm of synthesisers and drums. Despite this, each song remains utterly unique in its own right, with various musical aspects contributing to the end result. A difficult thing to master.

Opening track, ‘Seance of Light’, delivers the album’s first powerful burst of electronic consistency, followed by the dance infused sound of ‘The Heart’s Desire’. The highly intense and vibrant mood of This Chemical Sea is quickly established, as Jape leaves no doubt in the listeners mind of the auditory space he wishes to explore.

With this audio cohesiveness established, Jape uses this as a base to vary his mood and tone, while never disturbing the broader sound of the record.

The difference in sound between reflective tracks such as ‘Without Life In The Way’ and ‘This Chemical Sea’ and the more infectious tracks like ‘Absolutely Animals’ and ‘Ribbon Ribbon Ribbon’, featuring Conor O’Brien of Villagers, are hard to miss and yet adhere to Egan’s overall musical signature.

From start to finish, Egan’s intricately structured album acts as a canvas for each flourish of sound to occupy in every remarkable moment of the record.

Jape’s attention to detail and extensive reflection in This Chemical Sea ensures the overall record feels like a constantly evolving, musical experience.

In A Nutshell: Alive with skilful composition, raw emotion and fresh invention.

KATE CLEARY

In a Nutshell: Haunting and immaculatelyarranged folk that rewards with repeated listening.

STEPHEN CONNOLLY

23

Langkawi Island – The Dos and Don’ts Lose yourself in the isles of legends with Esther Hor, as Langkawi’s archipelago of 104 Malaysian islands lures with its classy exotic appeal of emerald rainforests and pristine beaches

Do

aim for the skies, even if you fall… well you won’t. To get a bird’s eye view of the 99 islands in the idyllic Andaman Sea that make up the Langkawi archipelago, catch an aerial ride in a cable car up Mat Cincang Mountain. Top it off with a resplendent sunset atop Skybridge which is a vertigo-inducing 125 metres curved suspension above one of the oldest rock formations in Southeast Asia. Enjoy the 550 million-year-old sandstone outcrops, cascading waterfalls, verdant-hued mountainscape, and the satisfaction of conquering your fear of heights.

DON’T

forget to get a mosquito repellent. This applies to anywhere in Malaysia. A tropical holiday shouldn’t warrant itchy bites and dengue fever.

DO

immerse yourself in the myths that enshroud Langkawi. It is almost as if every cave, forest, islet, rock and lake has a story. There is Tasik Dayang Bunting (Lake of the Pregnant Maiden) with rumoured fertility powers associated with a celestial Indo-Malaya princess. The marble and granite bedrock of this freshwater lake forms a figure resembling its namesake. Telaga Tujuh (Seven Hanging Wells) known among the locals as the home of mountain fairies is nestled amidst verdant greenery with frequent macaques and hornbills. The most ubiquitous legend is preserved in Mahsuri’s Tomb – a shrine to the loveliest woman to have graced Langkawi who was stabbed to death on account of false accusations of adultery, not before cursing this island to seven generations of misfortune.

DON’T

expect the locals to understand you immediately. In contrast to the bustling capital of Kuala Lumpur, residents here are mainly farmers and fishermen. To avoid miscommunication, speak slowly because it is probably your accent they cannot comprehend.

Learning simple phrases in Malay, the national language, will earn you bonus points.

DO

visit the Eagle Square if you are that kind of person who needs to Instagram your every destination. The towering Brahminy Kite is built as an emblem of the island from which Langkawi derives part of its name. Otherwise, you are better off exploring Kuah, the main town housing both this square and the jetty. Beware though; Langkawi’s duty-free status may bring out the inner shopaholic in you. Think Andorra in Europe, only much cheaper.

DON’T

rely on public transport because there isn’t one. You will need to rent a bike or a car, get a taxi, or join an organized tour to get around.

DO

live like a local in rustic huts on stilts amidst lush paddy fields and water buffaloes.

Various homestay programmes with the friendly locals are available for you to experience their laidback way of life. If that becomes too much of a bore, embark on a mangrove safari where walking fish and monitor lizards await. Accessible via kayak or a boat tour, these teeming ecosystems will throw you into a nature-induced frenzy.

DON’T

visit during school holidays when you get busloads of folks from the mainland peninsula flooding Langkawi and queue times triple to an almost standstill. That said, this island is sheltered from monsoon winds by Sumatra and the peninsula, making it an all-year round destination.

DO

embark on an excursion of sorts to the many islets, quite a few of them uninhabited.

Have boat, will travel. Boat tours are relatively affordable and there are private yachts available for rent at a higher price. A classic one to do would be to explore Southeast Asia’s first UNESCO World Geopark showcasing the abundance of reefs, karst landscapes and tidal caves. Rocks are boring, you say? Think again. These pre-existed dinosaurs and have intriguing formations for tour guides to spin a tale out of them. Add thick foliage, a myriad of birds and sea otters to the picture.

DON’T

expect the level of debauchery on the beaches that you find in the neighbouring country of Thailand. Nightlife still exists though, with cheap duty-free booze. Cenang Beach is Langkawi’s nocturnal playground complete with water-sports facilities during the day while Kok Beach is more tranquil. Another option, Tanjung Rhu has an earthy beauty to its appeal with rippling clear waterways on its fringe. Sun, sand, chocolates and wine will probably keep you coming back to this ethereal archipelago for more.

Oh, add scrumptious seafood to that too.

Photography: katrin heyer

24

street style

Photography Laura Iorgulescu & Robin Leavy

1

12

3

154

51

1 Vanessa Murray, 2nd Year English and History, UCD “These are actually all of my flatmate’s clothes! She does photography for the University Observer!”

2 Peter James, 2nd year Commerce, UCD

“This shirt is actually Abercrombie, but we can pretend it’s really cool and vintage and that I bought it in some crazy thrift shop in the States.’’

3 Peter Lebea, 3rd Arts, DIT “I work in Coast. Yes, as in the ladies’ dress shop. I’m the only guy who works there, so it’s pretty cool.’’

4 Danielle French, 3rd Accounting,

NUIG “I like really structured pieces like this River Island coat. River Island and Topshop are definitely my favourite places to shop! I live in Galway so the Dublin high-street is like a dream, as you can imagine.’’

5 Lindsey Philips, Postgraduate Law, UCD “I currently work in Zara so needless to say it’s my favourite place to shop! This colour-blocked scarf and is the cosiest thing ever. I feel like I’m wearing a big baby’s blanket when I go to work in the mornings!” words Sarah O’Shea

25

Alexander Wang x H&M sarah o’shea looks at ways to work the sports-luxe alexander Wang x h&m collection in to your daily wardrobe Upon launching his sixty one piece collection with H&M on November 6th 2014, Alexander Wang has become the youngest fashion designer to collaborate with global fashion headliner store.

Wang’s sports-luxe collection marks a decade of well acclaimed designers collaborating with fashion giant H&M, yet his fashion line for the chain has been touted as one of the most fashionforward collaborations that the high-street has seen in a very long time.

Striking the balance between exclusivity and affordability, the thought process behind this collaboration has greatly proved itself as a cornerstone in affordable fashion. The collection especially reaches out to people who may not necessarily be able to afford designer wear on a normal basis. Wang x H&M offers the designers sports-luxe aesthetic at a fraction of his normal designer clothes price. With over twelve months of behind-the-scenes travails of creating the extensive unisex collection, Wang showcases his designer aesthetic to a much wider audience, allowing more and more people to enjoy the luxury of the Alexander Wang lifestyle.

Previously in the media Wang has stated “I am honoured to be apart of H&M’s designer collaborations. The work with their team is an exciting, fun process”. Wang also stated ‘’They are very open to pushing boundaries and to set a platform for creativity. This will be a great way for a wider audience to experience elements of the Alexander Wang brand and lifestyle.”

H&M’s creative director Margarete Van Den Bosch, who has previously collaborated with Karl Lagerfeld and Maison Martin Margiella among many others, is reported as naming Wang as one of the key leaders in the fashion world. She said “Alexander Wang is one of the most important voices in fashion today. He understands exactly what people want to wear and does it with an energy and passion that’s infectious. It feels incredible to be collaborating with him this year.”

Wang’s official Instagram page, featured a basketball scoreboard with a digital countdown to the Alexander Wang x H&M launch, having previously announced the collaboration at Coachella festival during the summer.

Along with playing the role of creative director at Balenciaga, Wang’s creations continue to exude his love for unisex, monochromatic tailored pieces.

Each item of this collection can be mixed and matched effortlessly with everyother piece in the highly-versatile collection. Blacks and greys act as the basis of the colour palette used for this collection, along with pops of neon yellow and blue, breaking up the monotone aesthetic of the collection. Unexpected silhouettes and cutouts in the form of scuba and mesh material, with the Wang brand emblazoned across each piece, the sporting vibe of this collection pushes boundaries in anything the H&M customer has ever seen before.

For the first Wang look, Aoife models the wrap-around sports bra. The sporty, yet fashionforward appeal of this bra proves it can be stylish worn as outwear when toughened up with a simple monochromatic jacket like this one from Topshop.

Resting loosely on the shoulders, Aoife’s look is again toughened with this black pair of River Island high-waisted stone wash mom jeans to keep in tone with the boyish feel of the collection. A simple pair of black Chelsea boots along with this vintage chained box-clutch streamlines the androgynous, yet sporty affirmation of this off-duty look.

26

The second look features Aoife modelling the gradient striped black and grey bodycon dress in which the dress itself acts as the statement piece to wear. The ‘AW’ embossing across the chest and shoulder brings about the structured connotations of Wang’s vision in effectively showcasing his designer brand through this collaborative high-street collection.

The sporting bra appeal is definitely at the forefront of the casual theme throughout this collection as we see Leyla model the Wangemblazoned crop top which doubles up as both gym performance wear. Black leather shorts, along with black opaque tights and mid-heeled boots keep the look minimal, whilst the light-reflecting Wang crop sparks all the interest of the outfit. Statement jewellery like this chunky silver Topshop chain modernises the look and keeps the top-half the focal point of this clean-cut assemblage.

In the final look of this Alexander Wang x H&M shoot, Tiffany combines the Wang jacquard-knit bodycon skirt with the ‘AW’ printed bustier. Both items worn together showcase the main appeal of Wang’s high-street collaboration which is androgynous, sports-luxe and boundary-pushing. All of which have been used as buzzwords in describing the Wang x H&M vision.

Boundary-pushing is definitely displayed in the form of the ‘V’ shaped bustier, as seen on Tiffany. The selectively cut shape and neckline of what is easily the most daring piece of the entire collection, adds something a little more daring. Something a little out of both Wang’s and the H&M customer’s comfort zone.

Wang creatively pushes the standard in both taste and design, which is effectively displayed in what was his worldwide sellout collaborative collection with world leader H&M.

Model: Aoife Gilrane

Direction Sarah O’Shea Make-up: Cher McCrave Models (clockwise, from left) Aoife Duffy; Leyla Aydin; Tiffany Adusi Photography: James Brady

27

The turner exhibition at the national gallery As the National Gallery exhibits their J. M. W. Turner collection, Lauren Moore looks at the annual outing of these famous paintings The National Gallery of Ireland begins its New Year by exhibiting the Turner watercolour collection for the month of January. Bequeathed

by Henry Vaughan in 1900, the stipulations of the bequest stated that the watercolours and drawings could only be displayed in the month of January, when the light was weakest, in order to prevent light damage to the paintings. Modern technology has rendered these stipulations obsolete but the gallery continues to adhere to the request none the less, creating a traditional New Year beginning for both the Gallery and for visitors.

The recent release of the 2014 film Mr.Turner , starring Timothy Spall, is bound to increase the amount of curious visitors, looking to discover for themselves the work of this romantic artist. What these visitors, and everyone else for that matter, will be greeted with is the exciting glimpse of a developing and a far reaching talent than that depicted in the film. We see the daring English painter who worked to elevate both landscape painting and the importance of the watercolour medium from an early age rather than the well known painter he became later in his life. It is also through looking at Turner’s watercolour and graphite pictures that one sees how his later oil paintings and larger works were informed and created.

Great examples of Turner’s early works are the beautifully detailed topographical scenes of Saint Albans Abbey, Hertfordshire and Shakespeare’s

The intricate drawings show great draughtsmanship, something that stays with Turner throughout his career even as his style became more fluid and impressionistic A ship against the mew stone, At the Entrance of plymouth sound (1814) Cliff, Dover, (1794/1797). The delicate washes of paint show Turner’s skill at only needing to pick a few colours to render an atmospheric scene. The intricate drawings show great draughtsmanship, something that stays with Turner throughout his career even as his style became more fluid and impressionistic. We also see an early fascination with ships and seascapes in paintings such as Old Dover Harbour, Kent (1794/1797) which can also be seen to be developed in later works on display, with an increased interest in blowing winds and stormy seas.

The later paintings on display such as the

Storm at the Mouth of the Grand Canal, Venice (1840), A Ship against the Mew Stone, at the entrance to Plymouth Sound (1814) are real gems as the stormy seas and atmospheric misty colours are iconic to Turner’s oeuvre. It is through these paintings that the viewer can see how Turner’s oil paintings are greatly influenced by the techniques of watercolours. Turner experimented and sketched with his watercolour medium before transferring the washes of colour and shimmering depictions of light to oils.

This year, due to refurbishment of the print room, the Turner collection is displayed in the

she stoops to conquer

main gallery among the European art collection.

There are benefits to this placement, particularly as we see the original frames in which the pictures arrived in 1900 and the footfall has been increased. However, the print room will be missed when looking at these paintings as the main gallery does not give the same atmospheric intimacy of discovery and allow as close observation for the viewer.

Turner is a man who never ceased looking at the world around him and trying to capture it in paint. From sketching and painting his way through the romantic landscapes of Europe to

capturing the both gentle and stormy coasts of England, Turner embraced the scenery and colours around him. He is often called a father of modern painting, inspiring generations of artists after him to capture the transient nature of colour and light. This collection, displaying a career of watercolours developing from his early years until the final years before his death, is a jewel of the National Gallery that is not be missed and a great start to the year for anyone with even a fleeting interest in art.

The Abbey Theatre’s adaptation of Oliver Goldsmith’s play She Stoops To Conquer is a charming, slapstick tale of buffoonery and snobbery as Ruth Murphy discusses

An overall very amusing well-acted play, The Abbey Theatre’s production of She Stoops to Conquer is a charming production. Most of the acting is splendid and hilarious and the unexpected music chimes in well with the play.

The play proves to the audience that you never grown out of laughing at people falling over furniture.

The play is set in a large house in the Irish countryside. Between family and royalty we are presented with a tale of mismatched couples and Irish humour. Goldsmith’s original play is respected and added to in this fine rendition. The Abbey’s decision to set the play in Ireland works exceptionally, adding a great deal of humour to the plot. It seems that no stone is overturned in finding jokes in this play. This is not to say that jokes are butchered but it is hard to recall a theatre audience laughing so much before. The facial expressions of each actor and the traits of the characters combine with unexpected tunes and twists to make for great comedy.

The play, despite starting with a great song, seems slow to begin. However, it soon gains momentum and humour. It seems that we laugh at every character at one stage or another.

The acting is in most places excellent though some of the strong accents can be difficult to understand at times. Caroline Morahan suits the role of Miss Hardcastle being able to play the fake barmaid and the wealthy daughter. Nevertheless, her acting can seem a bit hard to believe at times as she feigns shock and awe. This does, however, lend itself to the style of the play and is made up for in

28

her loving and confident expressions in the final scenes.

This production features a lot more slapstick humour than you might expect when you first see the attractive setting and the respectable, upper class, old-fashioned clothing of the characters. Marty Rea as young Marlowe has a great gift for going from confident, poised gentleman to blubbering fool in seconds.

David Pearse plays the character of Tony Lumpkin expertly, adding more humour to the character than might be found in the script.

The servants are all hilarious and whilst in the background always seem to grab the attention of the audience and keep it.

The actors make full use of the stage, their costumes and every piece of furniture. How each actor and the backstage staff know exactly where to be and to put each piece of furniture at each moment while the play carries on seamlessly is beyond me.

One of the most unexpected parts of this play is the music with many of the actors playing music on stage. You never know when it’s coming but the stumbling servants can certainly surprise you with an excellent, well-choreographed tune.

This is an excellent play that I would recommend everyone see. You don’t need to know the original story to follow the completely hilarious and intriguing plot and characters. As usual the Abbey has made a strong effort to read between the lines of the script to create whole characters with a host of intriguing characteristics.

A Titillating Read

With the current trend of erotic novels stealing a wide proportion of society’s attention, Daniel Zagorski looks at genre and questions should people be reading them Giovanni Boccaccio’s Decameron was first published in 1353 and featured tales of lechery of monks and the seduction of nuns from convents.

Then in 2012 E. L. James’ Fifty Shades of Grey Trilogy was published to captivate readers’ imagination with elements of BDSM. With both of these examples it is clear to see that erotic literature has been around longer than people might expect. Admittedly however, the subject of these books has changed and evolved over time to mirror the current trends and desires of society.

What remains intact, however, is the writer’s craving to publish these stories such as these and subsequently the audience that comes clambering to read it.

Why is there such a demand for it? The reasons may be manifold. Firstly these books have been said to act as a means of escapism for the readers.

It gives the audience the space to experiment through fictional characters (just as any other book does), providing a divergence from the normal lives of the reader thus allowing them to delve in to a world which is far removed from their own.

Another point made about this genre of book that is worth noting is the dichotomous nature of the target audience of these books. Despite the popular belief there is erotic literature for men, it is in no way as popular as that of women’s.

Romance Writers of America conducted a survey which found that women make up 84% of book buyers. One of the reasons suggested

the man is portrayed as the definite centre of the women’s world, to the point where it becomes horrendously easy to forget that she is the protagonist of the story

A Tale from the Decameron by John William Waterhouse for this trend has been that women are not as susceptible to visual arousal as men, even though there is some research that suggests otherwise.

Another reason outlined is the current nature of our society which describes erotic fiction as liberating for women. It is a chance to engage in an innocent act of voyeurism into the lives they might secretly desire for themselves. That is not to say that all women read these books nor is there anything wrong with those that do.

The last few years have seen an emergence of romantic/erotic literature that portrays

messages that are toxic, unrealistic and flat out damaging. Surprisingly, it is these books that have made it onto bestseller lists. Amongst them were E. L. James’ Fifty Shades of Grey as well as Stephanie Meyer’s Twilight . In both of these trilogies, the man is portrayed as the definite centre of the women’s world, to the point where it becomes horrendously easy to forget that she is the protagonist of the story. In fact, the second instalment of Twilight witnesses the complete and utter shutdown of the main character’s (Bella Swan) all life functions upon her love

interest’s disappearance.

The Fifty Shades of Grey trilogy had took bad to an entirely new level. With very poor writing, E. L. James attempts to introduce the reader to Christian Grey’s world of BDSM – and does so in horrifying manner most of the time. Written in first person, the reader get a direct view into the main character’s (Anastasia) head as she begins her journey to heal and ‘fix’ her man. The trilogy received a lot of criticism for not only its bad writing, but also for its incorrect and unsafe portrayal of BDSM practice. The running theme throughout

these novels was the idea that Anastasia could fix a man that was abusive to her if only she stuck around and loved him long enough.

Both of these trilogies contained within them ideas that were toxic and portrayed behaviour that was damaging. At this point, it’s important to remember that there is nothing wrong with choosing to read these books as long as you’re prepared to be critical about it. Or perhaps, as an audience, we could demand books which portray healthy, realistic relationships.

emerging writer: Kate dempsey As Kate Dempsey, a blogger, prepares to launch her debut poetry collection this coming autumn, patrick kelleher talks to her about her career beginnings and advice to aspiring writers.

Kate Dempsey is a name you may not have heard, however she has been on the literary scene for some years now, in the shape of her blog, Emerging Writer. As she prepares to launch her debut poetry collection through Doire Press this coming Autumn, she reflects on where her passion for literature began.

“I was always a voracious reader and used to think up wacky jobs to put on my author’s profile, but I never knew any writers or believed that people like me could be a writer.

Like most people of my generation, poetry was ruined for me at school by a terrible English teacher. It wasn’t until many years later, when I was forced to try a poem in a fiction workshop that I came back into the fold and starting reading again.”

She describes her poetry as “quirky” and “off the wall”, noting that she has been told she has “a habit of picking up on everyday incidents and expanding them in novel ways, creating miniature gems of acute observation on relationships or the domestic with a sprinkling of science and history.”

The blog has helped her to become better known in the wider writing community in Ireland. “I started blogging in 2007. I was trying to keep track of events, competitions and submissions calls; I kept missing deadlines.

I thought that if I would find it useful to have them all in one place, perhaps some other people would too. It’s grown from there.”

Her advice to aspiring writers is refreshingly

honest and concise: “Read. Read widely. Buy books. Support publishers. Go to events, network. Read. Write something every day, if you can. Don’t beat yourself up if you can’t.

Carry a notebook. Read.”

It’s no secret that the world of publishing is a difficult one at the moment, but Dempsey firmly believes that “really good writing, polished, clever, funny, emotional and true will get published in the end.” She concedes that it is not always that simple, either. “There are hurdles. And there is luck involved. You may have written a really good piece or poem on a seascape, say, but the publication you send it too is awash with great pieces also set at sea.

That’s just luck. Read it. Edit. Send it out again somewhere else.”

There is no doubt that Dempsey’s writing career will continue to flourish, as she prepares to launch her first collection of poetry. A seasoned writer, self-described as ‘emerging’ through her blog, this writer is well and truly on the way to a successful and bright career.

Kate Dempsey runs the Poetry Divas, a collection of women poets. Their next reading takes place on Sunday 25th January at 7PM in Accents Café, Dublin, and is free-in. Her debut collection The Space Between will be released in Autumn by Doire Press. Follow her on Twitter @PoetryDivas, or like them on Facebook.

29

Love is the Answer Performance artist Matthew Silver has been delighting passers-by on the streets and in the subways of the Big Apple for years. From street performance tips to his message of universal love, his thoughts on a higher power and developing his character, Shane Hannon has a fascinating discussion with the man himself Hundreds, if not thousands, of people walk past Matthew Silver every single day in New York City. You will find him in the subways, or perhaps at popular Manhattan meeting points like Washington Square Park or Union Square, not far from Broadway, where different breeds of performers act daily. Often attired in just a pair of Speedos and with his lengthy and dynamic beard and hair that will continue growing for at least the next five years, he sure is hard to miss.

Some people see him as the performance artist that he is, others aren’t sure what to think.

Perhaps he is crazy, or homeless, or just a trickster or village idiot, but Silver is undeterred by what people think of him and is resolute in why he does what he does. “I perform for smiles and laughter, loosening people’s armour, and opening up a portal for imagination, creativity and love.” The wackiness of Silver’s performances have led to various videos of him going viral online, and his popularity has reached the point where his official Facebook page has over 100,000 likes. “Because of the internet I’ve experienced people knowing my name, which is nice. It’s kind of nice to be known and not known at the same time – my performance still has an edge of mystery.”

Growing up with his family in New Jersey,

If you want to be a performer you can’t be scared to look people in the eyes and feel what it feels like to be judged.

Let people’s perspectives be free

Silver was partly inspired by Robin Williams’ performance in the 1991 comedy-drama film The Fisher King . “There’s a genius scene where he was a crazy man on the street. My family and I cracked up so hysterical at this film. I wanted to be that guy on the street – it hit my heart really strong.” Even in his younger years Silver always wanted to perform. “I was a class clown and a goofball in high school. I always did stuff for attention but to make people laugh.”

From the very beginning Silver decided he would learn by doing. “I just started doing it over and over and over on the street. When I first started it wasn’t always positive but I learned to just be on the street and focus on the positives.” He also learned to look past people’s scrutiny. “If you want to be a performer you can’t be scared to look people in the eyes and feel what it feels like to be judged.

Let people’s perspectives be free.”

Performing on the streets of a city as diverse as New York also undoubtedly helps legitimize what Silver does. “It’s the performance art capital of the world just because there are people from so many different countries. I’m very lucky that I can do what I’m doing and actually live here.” The city is also in his blood.

30

“My parents were born in Brooklyn and Queens and then they moved to New Jersey and I eventually moved back to New York. I realized I was born to be here and blessed to do this.”

Silver hasn’t always been this happygo-lucky and free-spirited however and he experienced struggles in his past that have undeniably helped shape who he is today.

“Between the ages of 15 and 25 I was heavily depressed and was sucked in by illusion and a poor negative mentality. I didn’t do anything with my life because I was too scared of being judged.” Now however Silver has a focus and wants others to delve into what he dubs ‘The Love Economy.’ “I want to help inspire people to shift their consciousness to love. Love is already here – I just need to inspire people to focus on the love that they already have in their life.”

Many artists have catchphrases or certain quirks that punctuate their performances, and Silver is no different. As well as employing phrases such as ‘Love is the Answer’ he often utilizes fart and chicken noises and long awkward pauses, peculiarities that often gain interesting reactions from people. “They’ve always been a silly, weird thing that are still funny over time, they’re universal.” These moments of hilarity have a purpose however. “You say the message and

I want to help inspire people to shift their consciousness to love.

Love is already here – I just need to inspire people to focus on the love that they already have in their life

then you add a fart or chicken sound to it, and you make people think even more. It’s magic – my technique is open for anybody to use.”

As well as being a performer and ambassador of love, Silver is a strikingly philosophical man.

Referring to the possibility of a higher power he remarks “I don’t know who’s on top, if it’s God or the Universe or whatever. But you can’t doubt that there’s definitely an energy that glues us all together. It’s called Chi or love or the Holy Spirit; it’s not a person, but it’s definitely an intelligence that surpasses infinity. By not understanding it, we understand it.” He goes on to surmise that “Your brain is the most powerful tool in the Universe because it is the Universe.”

Now in his mid-thirties, Silver intends to stay healthy so he can continue his rigorous street performances. He also maintains that he has learned to leave his performance character outside his front door. “It’s two different people – that’s the only way I’m going to stay sane. There was a time when I thought I wanted to be that character all the time, but then I realized you need a middle ground. After you perform for three or four hours you need to talk to people in a way they can relate to. You need a bit of both worlds.”

A talented filmmaker and performer,

Silver intends to focus on the latter for now.

He recently embarked on a mini-tour of small indoor venues in Germany and Poland and spreading his wish for a ‘Global Heart Awakening’ is what he will continue to do. “The chaos of the system, of capitalism and money, brings you out of love. I’m not judging people for trying to make a living, but the economy is not based on love at all, it’s based on fear.”

He urges people to stay true to themselves, something he evidently lives by himself. “Do what you love, follow your wildest dreams, follow your heart – always use your heart to feel things out, don’t use fear.”

Matthew Silver is clearly a man with a big heart and here’s hoping his performances continue to inspire and move people for a long time to come. If you’re ever feeling down, a quick browse of some of this man’s clips on YouTube ought to put a smile on your face.

After all, never forget that every cloud has a silver lining.

Visit Matthew’s website for more information and videos: www.matthew-silver.com.

Fatal Fourway best failed new year’s resolution resolving to do more-conor de paor I’ve never taken to New Year’s resolutions particularly well. While the lesser participants in this intellectual debate are most likely regaling you with once-off tales of woe and misfortune, mine is much more than that; it’s pure, unadulterated, resolution failure. I seem to have an innate inability to come up with a resolution, let alone stick to one. In the past I’ve tried to draw inspiration from the critically acclaimed, The Little Engine That Could, and quietly mutter, “I think I can, I think I can”, to myself. But it’s all to no avail.

I decided I’d go and research the topic, see if there was anything I could do about my problem.

The very first analogy I found was, “New Year’s resolutions are a bit like babies: They’re fun to make but extremely difficult to maintain.” Alrighty then. Maybe I’m approaching this the wrong way.

I began looking at why resolutions fail in the first place.

My next port of call was the website, www. iwillteachyoutoberich.com, so I knew I was in the right place. The author of the article I was reading on the website tells me that resolutions are often unspecific, unrealistic and based on willpower instead of systems. This last one confused me, I had no idea what they meant so I kept reading. They provide

the following example as an explanation, “We say, ‘I want to stop messing around and go to sleep earlier’ instead of testing different ways of falling asleep (like leaving our laptop in the other room, unplugging our TV, quietly covering our partner’s face with a pillow, etc)”. Despite the homicidal tendencies of the writer, I could see what they were getting at.

It’s important to be specific when making a resolution, it focuses you and makes the goal that much more achievable. My inability to make a resolution is without a doubt my best failed New Year’s resolution as I may have actually learned something from it. Now beat that.

# newyearnewme - valerie tierney Personally, my chosen New Year’s resolution has always been made up of a combination of peer pressure and the need to be able to participate in small talk. Partially because of this, and also because of residual teen insecurity, my resolutions have always been of the clichéd “OMG, new year, new me!” variety, involving a diet overhaul and excessive amounts of exercise. Completely unsustainable and impractical. Before that inevitable failure however, I try to make some effort- if only so I can tell myself that “at least I tried” when Domino’s ask me if I want my usual order.

My attempts always begin with dragging the ridiculous amount of exercise equipment I own out

of whatever corner I had previously abandoned them in. From resistance bands and yoga mats, to shock-absorbing running shoes, I’m pretty sure I could open a successful chain of sports stores. There’s no point in going to the gym in last season’s runners, however, so cue a shopping expedition. Besides, walking is cardio. Shopping involves walking. Shopping is cardio. QED and a great start to Operation New Me. Armed with excessive amounts of new equipment, as well as carrot sticks and a bobble bottle (nothing except the finest filtered water shall pass my lips, for my body is a temple), off to the gym I go.

Now, I, being one of UCD’s many culchies, live

on UCD campus. “You have no excuse” I hear you say, “You live less than ten minutes from the gym”. That in itself is a problem. I live so near, that I can go any time the mood strikes me. This of course, leads to procrastination, and as we all know, if there’s one thing university students excel at, it’s procrastination.

So, while I might not ever set foot in the gym, it turns out that all those stretchy exercise fabrics are great for watching Netflix in, and accommodate food babies most perfectly.

Besides, I can always try again next year- watch this space.

becoming a charitable and kind person — rebekah rennick There are two topics of discussion that make me weep with contempt and tedium; one involves discussing a person’s gym routine thus being forced to falsely praise their own self-obsession, and the other is chatting about our various over-reaching New Year Resolutions. Luckily, only one of these topics has a shelf life of about the third week in January.

Amongst the various proclamations of “I’m going to stop drinking/eating/feeling/acting unhealthy and turn my life around in one single, seamless swish because I’m a strong individual that has no concept of habitual inclinations!”,

there is one resolution that fails so impressively I’d nominate it for an Academy Award if there was a category for such a thing . This Resolution is forever uttered by those so far inclined naturally you can almost see their eye twitch as they forcibly proclaim that they’re going to “be nicer to people”.

Firstly, the word nice makes me break out in hives. There’s nothing nice about being nice.

Politeness and positivity are stronger assets to attempt to portray, but nice? No thanks. Nice is bland and boring and even uttering the word makes my face grimace as though I’ve stuffed a

lemon and a handful of Haribo Tangtastics in my gob. Secondly, if one feels the need to proclaim they they’re going to be ‘nicer’ to everyone I could bet my favourite hat that they are no way a naturally, selflessly nice individual. Why should you look for justification in a trait that should already be somewhat habitual and engrained in our characters?

Similarly, to be perfectly honest, it’s really very difficult to be nice to everyone.

Attempting to overcome and reign this character trait ultimately fails because it’s really quite impossible to be nice to a housemate who

stole your last Twix bar or to that person who incessantly munches their food loudly, or to the hairdresser who botched up your hair or to that one person who is so different to yourself in opinion and outlook you really can’t be sure where they came from. Niceness deflates debate and we wouldn’t be here without a bit of disagreeable debate, right?

falling in love — shane hannon The tradition that is the New Year’s resolution goes back in time to various civilizations in human history. Babylonians, Romans and Medieval knights all had them, but very often they tend to be promises that are a wonderful concept, without much success of sticking to them. How is one supposed to be less stressed knowing that in April you will have eighty-three essays due in one week? How can you stick to trying new foods when you think they taste like shit? How can you save money when you live in Blackrock? How can you get along better with people when people annoy you?

According to the Association for People Who Randomly Make Up Statistics, only around 8% of people stick to their New Year’s Resolution; a pitiful figure to be perfectly honest. The University of Scranton (yes, that’s a real name of a real university) did a study on the phenomenon, and at Number 9 on their list of the Top 10 New Year’s Resolutions of 2014 was what I would consider the most pointless and best failed Resolution of them all – fall in love.

I find it reasonably comforting to know that there are actual people out there who think a life partner is something you find in an Argos catalogue - it

tells me I am far from the biggest idiot walking around on Planet Earth. How does one realistically expect to fulfil a promise to themselves to discover the man/woman of their dreams, as though it is something that happens by the calendar? I mean, seriously, you really need to cut back on the Matthew McConaughey (pre-McConaissance) chick flicks.

I do wish you well in your doomed-to-fail endeavours however and I hope you all find love in the coming year. As the great poet Ryan Gosling once exclaimed “I want all of you, forever, you and me, every day.”

31

parallax student photojournalism

Spectators watch waves break at Mullaghmore, one of Europe’s most well known big-wave surf locations. Photo: Aisling McGuire

Eimear Murphy addresses the media after winning the 2015 BT Young Scientist Competition Photo: James Brady

‘The Cross is not Heavy Enough’ 1934, John Heartfield

Frost Photo: Sinead Mulroy

John Heartfield was a German illustrator and graphic designer who was living and working in Germany in the 1930’s. His work which decried the rise of facism in Germany saw him become a target for the Nazi secret police, the Gestapo. When they arrived at his apartment in 1933 to arrest him, Heartfield jumped from the balcony and fled on foot to Czechoslovakia .

Throughout his work, Heartfield was critical of the social and political atmosphere which facilitated the rise of Nazi ideology.

A performance by Strange Attractor in the O’Brien School of Science Photo: Emily Longworth

32

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