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ELI COURT AND DAN CAVE REVEAL ALL THE LATEST MUSIC NEWS AND GOSSIP
Goo goo Gaga
ONE ERECTION ONE DIRECTION heartthrob, Harry Styles admits that his new found fame has also led to success in other areas of his life. The seventeen year old claims that he would still be a virgin if he wasn't in such a popular boyband. Before legions of adoring female fans flocked to the band, Harry was morose and alone, finding intimate moments with the opposite sex to be few and far between. His life took a new direction when stardom came knocking and he hasn't looked back since. Harry has recently been linked to TV hottie Caroline Flack and X Factor singer Amelia Lily. Harry is not the only band member being linked with such high profile names. Zayn Malik has been fighting off the interests of American singer Alexis Jordan. Though the two have exchanged a series of texts it appears Zayn isn't that interested. Give her number to Harry, Zayn, we're sure he'd be happy to get in contact.
LADY GAGA and Katy Perry’s demands for their dressing rooms at the MTV EMA awards have emerged and they are far from normal. The ever eccentric Gaga reportedly wanted her backstage area to be stocked with pureed baby food and for the room to be kept at 90 degrees. She justified these bizarre demands by saying that it is all part of her regime designed to lose weight. Katy Perry was equally diva-like requesting for her room to be decorated pink and purple with champagne, red wine and whiskey. She also demanded scented candles, an Xbox, speakers, pink roses and skincare products that
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RATED THIS MONTH The State of Harry Styles Sex-Life
Don't look back in anger
THE FAMOUSLY feuding brothers Liam and Noel Gallagher are showing no signs of reconciliation after reports that Noel has filed a lawsuit against Liam claiming that his reckless and violent behaviour caused their band Oasis to split in 2009. Noel has filed a series of claims against Liam including a claim that Liam attacked him with a guitar in their dressing room prior to performing a gig. Liam has retaliated by accusing Noel of slander and of lying about his behaviour and is demanding an apology from Noel. The legal battle is only going to get uglier with both
Simon Carol? or years X Factor has dominated the sought after honour of the Christmas No. 1. A chart position that guarantees high sales and high exposure is now seemingly gifted to Simon Cowell's lastest protege. The sickening image of Cowell rubbing his gleeful paws together on Christmas Morning, as he toasts the success of yet another Christmas No. 1, soon became as inherent with Christmas as the image Santa Claus himself. It seemed noone could stop the marketing might of the evil mogul, as his withered hand extended its will from TV screen to shop shelves and right into the stockings of thousands of innocent children. That is until the public, disg runtled at the rise of crap
she took with her afterwards. It's good to know that these celebrities have stayed grounded and not let fame go to their heads...
brothers hurling harsh accusations at each other and refusing to back down. Vision says let bygones be bygones boys - we all miss Oasis.
DRy, very dry.
Leave some for us mate
HARRY STYLES' admission of sexual maturity ranks rather low down the list of celebrity promiscuity. His bed is relatively unblemished compared to the remains of Russell Brand's notched posts; but he's no Susan Boyle either. His coitus status is closer to political pin-up Lembit Opik. Now all he needs to do is date the other Cheeky Girl.
SONNY DEWFELL AND ELI COURT FIGHT AGAINST X FACTOR AND SUGGEST MORE DESERVING ALTERNATIVES
Christmas music (yes, even crapper than usual) and where Cowell's hand might be going, fought back in a widely documented and tightly contested battle in the run-up to Christmas 2009. The public prevailed and, instead of an overly melodramtic cover of a previously respected song, done by some ironically talentless, talent show winning tool; the incredibly seasonal "Killing in the Name" by Rage Against the Machine took the coveted Christmas title. The mighty Cowell, not wanting to be outdone on the day he felt belonged to him, devoted himself to a front of good grace and reportedly sent flowers to Jon and Tracy who ran the successful Facebook campaign. The break in this winning streak obviously bruised his ego, if not his bank account. The public, seeing the chance to keep evil King Simon down for good, began a myriad of different campagins for alternative Christmas No. 1's but without the cohesion of the "Killing in the Name Of" winning attempt. However this year a similar campaign is running in favor of Biffy Clyro’s "Many of Horror" and although it may seem unfair that Matt Cardle took the glory of the song and renamed it "When We Collide," Biffy Clyro are already established and successful and the cam-
paign would be best suited to Matt's tune: no good and proper bashing of drippy chart pop this Christmas it seems. So what other options do we, the paying public, have? Fed up with X Factor winners and crap alternatives we want something a little more seasonal or jovial. As the excitement of the countdown to Christmas brings out the inner child in all of us, we thought why not celebrate with a classic from all of our childhoods: a Disney song? Wouldn’t it be nice to hear "Hakuna Matata" on the radio during a bitter Winter evening? One for the whole family to enjoy and sing along to and never get sick of (well, not until the 67th time it's been played that day but at least that's better than hating the single straight away, which is how we would react to the latest X Factor offering.) How about a real change-up of what we all expect at Christmas? Some hard hitting West Coast, G-Funk gangsta' rap, objectifying women and promoting substance abuse, would really tesselate with the festive spirit of Santa. With his love of Christmas eve Sherry and his ho, ho, hos, Snoop Dogg and Santa have a lot more in common than it first seems, and it would certainly spice up the Christmas charts. Even better, we could promote something to fit with modern student culture as the answer to Simon's dominanation
- something a bit more dubsteppy. Superproducer Skream we're sure could turn his hands to a sub heavy remix of a classic: "Jingle Bass" anyone? Yet these choices seem to be wasting a golden opportunity to not only piss on Simon Cowell's cockiness but also kick start a new career of someone talented and deserving. Why not create a brand new classic instead of dredging one up from the past? We suggest "Old Pine" by Ben Howard. This young singer songwriter's earthy, English brand of pop-folk could provide the christmas classic that Mumford & Sons "Winter Winds" should have been. Yet when push comes to shove we think that the prize should go to something older, a timeless classic that all generations can recognize and enjoy. We would love to see The Pogue’s "Fairytale of New York" climb all the way to No. 1 this year: it brings a smile to everyone’s face and it's impossible not to sing along to. Frequently voted one of the best ever Christmas songs this classic far outweighs whatever unoriginal song X Factor will produce this year. So get downloading, it will be worth it to see Simon Cowell smile and grit his teeth this Christmas.
SILVER SOUVENIRS
DANIEL CAVE CHATS TO LEAD SINGER OF THE SILVER SOUVENIRS, STEPHEN HUTTON, ABOUT HIS MUSICAL EDUCATION, SUPPORTING THE TWANG AND THE FUTURE OF THE BAND.
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ilver Souvenirs first sprang to my attention earlier this year when they released their foot-tappingingly addictive single 'Russia'. Complete with highly stylised party montage video. Yet they have been a strong presence on the music scene since 2009, relentlessly playing a myriad of venues; pubs, clubs and the legendary Rainbow Warehouse in Digbeth, Birmingham (a rite of passage for any decent musician in the Midlands) . Their hard work, sensitivity to the needs of the music industry and obvious talent paid dividends in 2011, when they supported The Twang on their UK tour. After such a successful year, I caught up with their incredibly busy lead vocalist, Stephen Hutton, for a lovely chat on all things musical. For those that may not know of you, yet, could you introduce the entire band? There's myself as lead singer, and I also play the synth, Sam Hart our lead guitarist, Gary Geerlings our Rhythm guitarist and Karl Faulkner on bass. Last, but certainly not least, Jeremy Hatton on Drums and backing vocals. Souvenirs' sound has been described and somewhat pigeonholed as 'upbeat indie rock.' Is this a description you'd particuarly embrace? We really enjoy writing songs that people can dance and sing to, so we don’t keep in mind a particular genre to fit into when we’re writing our songs. I guess we all have different musical backgrounds and influences but song writing is a team effort for us. We want the end product to be something we’re all happy with. Our music should be something we can all enjoy and other people can enjoy too. I think there’s something wrong if you strive to summate your sound in three words or by a particular genre. You're currently doing your masters in Music Industries. Has becoming aware of the theoretical side of the industry affected the progression of your sound? I’m really enjoying the Masters, it's hard work but I think it's helping me to appreciate the industry from a wider perspective and is incredibly useful in how we can approach what we do. Of course most of the time I would rather be writing or playing but I think what I’m doing is important. Knowing music is a cut-throat industry, at which moment did you think: "Yeah, i want to be doing this as a possible career?" I started playing bass when I was fifteen and I think from that moment on I wanted to perform to people. It wasn’t until I left school that I was lucky enough to find like-minded people who shared the same dreams, and luckily these were the guys that now make up the Silver Souvenirs. Up until that point I thought I was a bit crazy, but you have to keep playing and searching until you find those people who share the same thing. I think in part it was the song writing process too that really captivated me, especially lyrical writing which is a cathartic process for me. I like to write the lyrics cryptically at times but they’re pretty much always autobiographical, a snapshot of how I’m feeling about something or someone at one moment in my life. Some people write about what they read in a novel or newspaper but we’re all different. With only 3 songs from any sub-genre of rock in last years top 100 songs do you think you can break this pattern? We simply enjoy making the music that we enjoy writing and playing and, seemingly, that our audience enjoys too. There are bands we’re similar to, but I think that’s the same with 99% of bands. I think it all comes down to having the commitment to keep going, writing and working at
‘our sound’, and that only comes with hard work and time . With that in mind, what would your steps for success be? Keep playing, keep writing and enjoy it. And advice for other students who are playing in bands alongside their degrees? Just keep playing, writing and enjoy it. I studied ancient history at university so it doesn’t matter what you're studying, if music’s what you love, keep going and gig any time and any place as you never know what’s around the corner. On to the matter of gigging, you've supported both The Twang and Dutch Uncles recently. Who would your dream support slot be with? It would have to be at a festival I guess because there’s so many bands that we’d all love to play with, but just in terms of my own influences, I’d say The Maccabees, Friendly Fires, Bloc Party & Foals. I’m also a big fan of bands like The Cure and the Police. The list is endless.
SINGLES ELI COURT reviews the latest releases... katy perry- the one that got away
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n her latest single Katy Perry sticks to her usual formula of catchy lyrics, repetitive choruses and simple drumbeats. It is exactly what you would expect from the quirky Californian singer - it 's fun and easy to listen to but lacks substance. With a video complete with hysterical sobbing, theatrically running mascara and a tragic death, this song is well suited for heartbroken teen girls but might not be everybody's cup of tea.
How was touring with The Twang? The tour was amazing, it was such a good learning experience for us playing our first shows around the country; each city has its own unique and wonderful crowd. We also learned how to cut loose a bit more too, sometimes a bit too much as we left some of our gear in Northampton… What sounds are you currently listening to? I saw Friendly Fires at the 02 Academy recently touring their new album. I’ve always loved their music but as a live band, they completely blew me away. I realized, f*ck, I’ve got so much to learn to be that good. I’m always listening to something new though. *scrolls through recently added playlist on ipod* – Julio Bashmore, M83, Four Tet & Ghostpoet are just some of the names that crop up. There's a lot of electronic producers there. Is this a hint that there may be a solo project on the side? I’m really getting into the producing side of things but it’s a job in itself, and a complex one at that. I really enjoy music by producers like Jamie XX and Aaron Jerome (SBTKRT). Their music is original but I suppose you could describe it as bass music. So that’s what I’m into at the moment… in addition to prancing round stages singing songs. Bands are starting to more regularly engage with DJ appearances and you've Dj-ed before. Is this a sign of things to come for bands? That’s another reason why I’ve got into the [electronic] music I've just mentioned. There’s definitely a DJ culture now, or at least it’s something I was very unaware of a few years ago. Anyone who knows about ‘The Boiler room’ will know what I mean. If it’s a ‘Silver Souvenirs DJ set’ it provides the opportunity to share with crowds the music you are influenced by and connect with people through a different medium. So in a word...yes. Future plans for the band? We’re recording at the moment so we have something new to give people after our Autumn tour. We should be releasing three new songs over the course of the next few months so keep your eyes peeled! Its something we’re doing all by ourselves so we’re excited to have full control this time round, but at the same time it’s a steep learning curve and a time consuming process. It’ll be worth it though! You can check out the Silver Souvenirs' tour dates, blog and new music at www.silversouvenirs.co.uk.
Amy winehouse- our day will come
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eleased posthumously Our Day Will Come is a tribute to the celebrated soul singer who tragically passed away in July of this year. This single is a cover of Ruby and the Romantic’s 1960’s hit. Amy has put her unique spin on giving it modern feel despite her retro voice. The song is soulfully delivered and is a true testament to a talented singer who is greatly missed.
one direction- gotta be you
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een heartthrobs One Direction show their versatility and ability to sing impressively high notes with their latest lovesong Gotta Be You from their debut album. The harmonisation works well and, although not quite as catchy as their most recent hit What Makes you Beautiful, it's definitely one to sing along to. This song shows them improving and maturing as they come into their own and what with each band member only being 18 years old they can only get better.
Kasabian- re-wired
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e-wired is the second release from their incredible and critically acclaimed fourth album Voliceraptor. This standout track is classically Kasabian with high energy drums, an impressive riff from guitarist Sergio Pizzorno and and the distinctive voice of frontman Tom Meighan.
REVIEWS... MAC MILLER
SNOW PATROL
BLUE SLIDE PARK
FALLEN EMPIRES
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ac Miller has exploded onto the international hip-hop scene, due in part to the critical acclaim for his last mixtape offering, Best Day Ever. Unfortunately this explosion has somewhat confused Mr Miller; his first official album Blue Slide Park is a hastily-timed, awkward and insincere jump from freshman rapper to wannabe hip-hop cliche. In the space of just 18 months Mac has lost the easy 'you-could-be-me-too' warmth which emanated from his popular home-made videos; filmed in local playgrounds, supermarkets and on his parent’s porch. Instead hotel suites, tuxedos and scantily clad girls dominate the visuals that complement his latest music. The welcoming and bubbly innocence is lost as Mac, looking lost within the confines of his suit, raps about money and designer clothes. Rather than sticking with the carefree concepts of his previous mixtapes, (including marijuana smoking, enjoying the long haze of summer and idolising both Nike trainers and hot girls) he has released an odd collection of mismatched songs. Some of the 16 tracks perplexingly claim he is still that average Pittsburgh teenager, "PA
Nights" and "Of the Soul", whilst the title song, "Blue Slide Park" screams he has so much money nobody can mess with him. This awkward attempt at misogynistic, bling rap, one that doesn’t fit with Mac’s previous image, is furthered in “Of the Soul” when he describes a woman in a way that ODB would be proud of. On "PA Nights" he extends a feeble olive branch to the parts of his audience he may not have already disenchanted, claiming “his fans still know who he is.” Yet I’m not sure they do Mac, not if you don’t anymore, shown by the contradictory themes embedded in every song. The sole redeeming feature of the album is that it's so carefully produced. It's a real shame his carefree proselytising of old is limited on the soulful and heavy hitting beats that are so eminent on his latest offering. DAN CAVE
allen Empires is said to mark a new direction for much loved and well known indie rock band Snow Patrol. Hardcore fans should not be alarmed though as the new album is hardly revolutionary. The soothing crooning of Irish frontman Gary Lightbody ensures the traditional Snow Patrol sound softly blankets, if not completely masks, the problems that come with making the subtle stylistic changes which undulate throughout their new LP. As it's their sixth album, I was sceptical as to whether they could keep up with the standards of popular classics such as "Chasing Cars" and "Just Say Yes". The first track "I’ll Never Let Go" disappointingly confirmed these suspicions and left me wondering if the title is a reminder of the bands dogged determination to keep producing albums rather than quitting whilst they were ahead. To open with a track which is a complete hash of styles highlights a band at an artistic crossroads; the dance music production style clashes with the rocky electric guitar which again clashes with Lightbody’s soft voice. Luckily the rest of the album re-
RIHANNA
ELINOR COURT
DRAKE
TALK THAT TALK
TAKE CARE
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xplicit, as a term, fails to encaspulate the raunchy lyrics, filthy beats and grinding rhythms that characterise Rihanna’s sixth album Talk that Talk. Once again the singer demonstrates her capacity to transcend the limitations of RnB, engaging with electro, hip-hop and dubstep. This genre collision is artfully undertaken; for example in "You Da One" Rihanna’s sultry voice is permeated with a dubstep beat. Other highlights include the sampling of the XX’s "Intro" in "Drunk on Love," which complements Rihanna’s soaring melodies and the lyrical vulnerability of "I feel like I’m a hopeless romantic". The descending beat of Jay-Z collaboration "Talk that Talk" is also indisputably catchy; with Rihanna’s reggae vocal repeatedly hooking us with the choral line "Love it when you talk that talk to me". The album is full of Rihanna’s most sonically punchy and hard-hitting tracks; for example, "Where have you been" resounds with an electronic mania. The twinkling, synth musical bridge in "Roc Me Out" also adds a textual dimension to a clichéd RnB beat reminiscent of 50 Cents "Take Me to the Candy shop". My reservations stem from a perceived over-reliance upon sex as a theme. Songs
minded me of why I fell in love with them in the first place as, when they ditch the guitars and edgier sound, the band return to what they do best: gentle ballads and lyrically beautiful love songs such as "The Garden Rules"and "This Isn’t Everything You Are". The band has clearly attempted to shake up their style and make a more striking sound, however the tendency to slip back to their previous style makes the album less cohesive and confusing for the listener as it sloppily shuffles from style to mismatched style. Snow Patrol fans will enjoy the majority of the songs but will likely wish they would stick to their forte, and what has worked best for them before. It is an album with heart, if not completely thought through before they recorded it.
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such as "Cockiness", and "Watch N Learn" are provocative but lyrically unconvincing. The line "Suck my cockiness; lick my persuasion" is so transparently sexual as to make the euphemism redundant. The semi-electro beat of the equally eroticised "Birthday Cake", is also rhythmically intriguing but at 1 minute 22 seconds the song feels unsatisfyingly fragmented. However, the Beyoncé-esque power ballads, ‘We All Want Love’ and ‘Farewell’ diffuse the sexually explicit harshness of other tracks. The softened melodies and clean instrumentals are a welcome change and the choral symphonic stampede achieved in "Farewell" is an uplifting and sentimental ending to the album. On the deluxe version of the album is "Red Lipstick". Produced by Chase and Status, it has a grimy, dubstep beat again indicating the extent of Rihanna’s musical progression. Yet despite the album’s blend of seemingly discordant genres it is well managed, a credit to the hardest working woman in the industry today. ANGHARAD MOSS
he cover of Drake’s sophomore offering displays the Young Money magnate looking despondent despite being surrounded by the material luxuries of his success. It is clear to see that the dull introspection of Drake’s debut, despite album sales in the millions and a string of high-profile hookups, has done nothing to improve his mood one year later. Take Care supersedes its predecessor’s success because of its brazen willingness to delve further into the tribulations of fame and money. Like Kanye’s My Beautiful Dark Twisted Fantasy before it, Take Care’s exploration of personal failings despite superficial achievements conveys introspection often hidden from view in the rap world. The production of Noah “40” Shebib, Drake’s long-time collaborator, on tracks "Shot for Me" and "Doing It Wrong" is partially to thank for this character exploration, the hushed synths and minimalist backbeat serving as sonic backgrounds for Drake to sing over. The 8-minute "Marvins Room", with its dull bass kicks punctuated by swirls of moody guitars, provides the perfect
backing for Drake’s drunk-dial epic. Elsewhere, guest spots are aplenty, with The Weekend’s brilliant falsetto on "Crew Love", and Andre 3000’s dazzling cameo on "The Real Her". The lavish sampling on Just Blaze’s "Lord Knows" give way to a resonating collaboration with Rick Ross, again impressive. Ultimately though it’s when Drake goes solo on a beat that the album stands alone as a future great. "Over My Dead Body" and "Look What You’ve Done" act as confessional peepholes which Drake spills his troubles through; the latter track containing a poignant sample of a voicemail message from his grandmother. Ultimately, Take Care is an undisputed success, its defining and over-spilling openness being a needed exception to a genre obsessed with facile come-ons, beefs and brags. JAI JETHWA
Sewing Up A Storm
Rosa Hadjiska
IS LISA HANNIGAN THE LOVELIEST LADY IN FOLK? RACHEL PRONGER INVESTIGATES
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isa Hannigan might well be a synonym for adorable. I don't mean that pejoratively, or in an irritating cutesy way. She's just very sweet, funny and endearingly unaffected. Despite a high profile long term collaboration with Damian Rice (you might recognise her distinctive voice from single "9 Crimes"), and a Mercury nod for her debut solo release Sea Sew, Hannigan is devoid of artistic airs, as happy chatting about my part time job in a harpsichord shop as she is discussing her latest album. Hannigan grew up dabbling in classical singing but it was a fortuitous encounter with Rice in her first week at Trinty College, Dublin that changed her life. Two years later she had dropped the degree and was travelling the world, countering Rice's famously overblown passion with her own subtle vocals. The collaboration lasted six years before Rice abruptly dropped her one night before a show. For all the experience must have been a shock at the time, the enforced move solo appears to have been the making of Hannigan. Her first album Sea Sew, recorded in two weeks, generated far more buzz than a lo-fi folk release can rightfully expect, attracting plaudits for it's home made, ramshackle air. Hannigan creates the kind of hushed folk music that is best heard in intimate surrounds, sat on the floor of a tiny festival marque or, even better, in a cosy pub. In fact, it was a youtube video of Hannigan performing in a pub that caught the eye of influential US chat show host Stephen Colbert back in 2009, leading to a TV appearance that helped to bring her romantic rusticity to a wider audience. Cooped up in a cluttered office in the back of The Duchess, Hannigan explains that her second album Passenger, which has a more sprawling, restless air than its cosy predecessor, was a response to the experience of touring. "It was written on the road so it kind of has an overarching theme" she says, "because it was all written in the same sort of head.. you're sort of writing it all physically in the same sort of space. It's kind of nice for a record, without being a concept record, to have a theme. It’s the stuff that you have in your pockets when you’re on the road, that’s what I was kind of thinking, when you’re away from home." Passenger was recorded in Wales, in even less time than Sea Sew but it feels more polished and self-assured than it's predecessor, incorporating hints of Americana and bluegrass into Hannigan's more typical pastoral sound. I wonder if she struggled to follow up such an acclaimed predecessor, but Hannigan appears to have avoided the 'second album curse' altogether. "For the first record it was all really new and every stage of the thing, which now comes more naturally, was a bit like 'uh!'" she explains. "So this time all of that was taken away. I just had to focus on making kind of the record that I wanted to make, instead of trying to figure out how to do it at all. So I think I actually found the second record much easier, more relaxed and natural, you know it just kind of
came together so nicely. Whereas the first record you were just kind of gripping on for dear life to get it finished!" Hannigan grew up close to the Irish countryside and this experience seems to have sculpted her frame of reference. Many of her songs draw on the natural world for often striking imagery, from "Little Bird", which echoes Leonard Cohen by asking "aren't you every bird on every wire?", to the many references on Sea Sew, an album that juxtaposes the security of home with the uncertainty of the sea. "I suppose where you grow up is where your references come from, Hannigan agrees, "it’s so deep rooted. I tend just to get a melody, sort of have some sort of idea and just go on a big walk, just be hum-
"you have to get rid of that part of your brain which is saying 'write, write, write' and looking at a blank sheet" ming away to myself, singing into my phone, that sort of thing. You know "O Sleep" [a collaboration with Ray LaMontagne on Passenger]? I wanted to write a song and I went for this big walk round sandy mount in Dublin, for like four hours, and I stopped half way in a cafe and wrote all the words I had on the back of a sandwich bag. I had the melody in my phone, then I came home afterwards and sort of worked out the chords. So that was a funny day! You have to get rid of that part of your brain which is saying 'write, write, write' and looking at your blank sheet. You have to wait until that bit is taken over by something else and then the rest of your brain can just wander. You don’t steer this too much because then you’re going to be mired in clichés even more. You want there to be a spark of strangeness on it." This spontaneity perhaps goes some way to explain Hannigan's rough and ready charm. What makes her work stand out from the folky milieu is the combination of her remarkable voice, that travels with ease from lilting half whisper to husky howl in a heartbeat, and her distinct instrumentation, all weaving strings and wheezy harmoniums. The harmonium has become something of a trademark for Hannigan, who first stumbled across it during a performance by Beck at an awards ceremony with Rice. "It’s got this kind of beautiful, mournful nostalgia to it which the songs sort of have inherently," she explains, "it was just so easy to write on it because you could sort of change one finger and the chord was different. As a simple tool for writing it really was great. But I just love the sound of it and that was kind of the anchor. And then it was just really gathering things I liked and hoping they’d sound well together, which I guess is the only way to do it." Unsurpris-
ingly for someone who creates such lovingly crafted music, Hannigan is not exactly a shameless hedonist. Towards the end of the interview Hannigan excitedly explains that her favourite tour bus game involves making up collective nouns, her latest being "a 'vile' of little chefs". She is suitably impressed when I inform that the technical term for a group of badgers is a "minge" (this is a genuine fact dear reader, look it up and see for yourself). She also admits that she doesn't drink on tour for fear of performing with a hangover. "I'm definitely not getting on board the party train," she laughs, "the boys do occasionally... there's nothing worse than the feeling of being hungover or something. I'd rather not get aboard the party train and then get off at disappointment stop." When she takes the stage later in the evening Hannigan is true to her word, clearly missing the cup of tea she's left waiting for her backstage, and at one stage exclaiming "there should be a word for that feeling when you know there's a cup of tea somewhere, just waiting to be drunk." It's a cute sentiment from an endearing artist, but just because she's likeable doesn't mean Hannigan's talent should not be underestimated. As her Duchess performance proves, punctuated with moments both stunningly ethereal and strikingly muscular, Hannigan has the potential to be truly special. If Hannigan's music is like a fine cup of tea then it's worth acknowledging that sometimes a good cuppa is unbeatable.
FESTIVAL QUEEN
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ver 3.4 million of us attend UK festivals every year and it doesn't surprise me at all. It's hard to argue against the fact that they are unique and incredible. Just think of the quality music you will experience, the new friends you'll make and, of course, the obligatory random naked guy passed out in his wellies... Unfortunately this time of year most people have long ago packed up their tents, put away their wellies for the winter and started the long winter sulk: but where's the fun in that? There's plenty of festival preparation to do in the chilly non-festival season. Go to gigs to make sure you know all the words to sing along to next summer. Make an impressive flag for next year's campsite, so you stand out from the other, less cool campers. You could sew up the holes in your tent from that time you drank too much, woke up entombed in a nylon prison and panic clawed your way out, that is if you didn't abandon your tent. You could even perfect the chords to every Oasis song so you could take a guitar among your essentials for next years festivals. We all hate that bastard who brings his guitar and spends the entire weekend sat in a deck chair strumming but that's only because we wish we were him. Rumours are already flying around about what acts are headlining the big festivals next year. Radiohead, Coldplay and Red Hot Chili Peppers are tipped for 2012 headline slots. The latter have announced two UK shows, at Knebworth Park and Sunderland's Stadium Of Light, could they possibly fit a festival inbetween? Sonisphere organiser Stuart Galbraith was asked if he would consider booking either Foo Fighters or Red Hot Chili Peppers for 2012 but he refused to give a straight answer. "They're both two that we're talking to, amongst a whole list of others. I also think we could have Green Day and Blink-182 here, but none of those are confirmed."' Exciting news for rock fans. Curiously the Isle of Wight Festival coincideswith Chili's tour dates (22-24th June) making them ideally placed for headline slots here. With Radiohead touring America most of March there is a chance they too could have a headline slot, especially as no UK tour dates have been announced. As for Coldplay, it is uncertain as to whether they will headline a festival with an extensive winter UK tour and 4 dates early in June next year. This year however, Download Festival has won the race and revealed two major headlining acts, Metallica who are set to play The Black Album in its entirety, as well as Black Sabbath. The best news though is reserved for T in the Park who have snapped up the reformed Stone Roses. Next summer can't come soon enough!
LIVES... DEATH CAB FOR CUTIE 02 ACADEMY, LEEDS
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eath Cab for Cutie have blossomed since first climbing up the indierock ladder, discovering initial success as part of the soundtrack for popular TV show The OC. Over the years they have breathed brooding lyrics into our ears over a cacophony of atmospheric strings; a distinct style of music that has won them a place in many of our hearts. They have come a long way from being played on trashy TV series' and their performance at the O2 Academy in Leeds on November 17th was, as expected, a huge success. The gig opened with the sounds of, supporting Yorkshire band, 'Butcher the Bar', whom set the mood of the evening by playing a delightful wave of indie-pop tunes. Unfortunately for them, they didn’t have the same musical consistency or
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stage presence of Death Cab, a notably cooler band, but ‘Butcher the Bar’ were fun and lighthearted nonetheless. Codes and Keys, the latest offering from Death Cab, has taken a staggering side-step away from their initial indie-rock sound; a sound which garnered them much critical acclaim. This new album delves into new, questionably stranger depths. A surprising musical tangent has seen Death Cab for Cutie experimenting with heavy percussion which somehow never detracts from Ben Gibbard's balmy tones and episodic lyrics, which had us hooked all the way back from The OC days. Yet this new sound received split reception from the fans at the concert, with older songs being greeted wholeheartedly by swaying and singing and new songs being politely received by a minority. Despite this change in style, the band didn't fail to impress, and gave an energetic performance opening with favourites, 'We laugh indoors' and 'Brothers on a Hotel Bed', dispersed interestingly with intermittent bursts from the dynamic Codes and Keys. In whole, the night saw a lively, strong performance from the band and fans walked away sporting wry, nostalgic smiles under sweaty fringes; seven albums later and Death Cab for Cutie are still the band we know and love. JENNIFER STANLEY
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music@yorkvision.co.uk
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ellowhead's 2011 tour hit Leeds Met SU last Sunday. The support act, Ahab, warmed the crowd pleasingly but it was after a brief interlude, where John Spiers (accordion) ventured onto stage in a fake beard to adjust his instruments, that the main act appeared. Despite John Boden getting off to a bad start with his introductory 'Hello Manchester' the hour and a half set (plus encores), showed the band's four BBC Best Live Band awards were well earned. The real wonder was that an eleven piece group could produce such a slick dynamic, both within songs and between pieces. The brass section and string section were balanced perfectly, highlighted by the atmospheric 'Amsterdam'. Whilst at the other end of the spectrum the cacophonous 'Little Sally Racket' brought the whole ensemble together in a sound that resembled punk more than folk. The older section of this mixed crowd seemed to enjoy this mix of material. The set drew heavily on the recent successes of their award winning album 'Hedonism' and rightly they played 'New York Girls' then finishing the set-proper with 'The Rochdale Coconut Dance', a real gem from the bands seminal work E.P.Onymous. These folkier dance num-
02 ACADEMY, LEEDS
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omebacks are one of the trendiest things in the rock world at the moment - nowadays it seems that no festival is complete without a legendary band dusting themselves off and preparing to conquer the world once again. But too many comebacks spoil the broth, and it appears the market for them has become oversaturated - now a band has to show they are needed in the world again, rather than just reliving the glory days. So it's lucky for The Darkness that they are so exuberantly unique, as well as being in possession of a clutch of genuinely exciting new songs. What struck me most about this gig is that the band takes nothing for granted the second time round - they are hardworking and rinse the crowd of every last drop of energy. Marching on confidently to ABBAs 'Arrival' they burst into 'Black Shuck' and then proceed to deliver a truly astounding 21 song set. Musically the band are sharper than they've ever been - every solo is watertight, every falsetto is pitch perfect - they don't put a foot wrong. Most importantly there is a respect for, and connection with, the audience: they know that many bands don't get a second shot and there is a genuine feeling of gratitude tonight. Their greatest asset is that they make every show a performance rather
LEEDS MET. STUDENT UNION
20/11/11 bers seemed to get the crowd on their feet, more so than some of the more progressive recent material. The overriding impression of the band was of a group of people who truly love performing live. The band's exuberance and instrument swapping antics during 'Sloe Gin' filled the room with a party atmosphere. At one point there was a small shower of cutlery as one of Pete Flood's (percussion) 'instruments' exploded and at another Benji Kirkpatrick (guitar, mandolin, bazouki) climbed on top the speakers only to leap back to the stage: who said folk can't be rock and roll? People who would pigeonhole traditional folk music as dull and outdated need only come and see one of Bellowhead's crowd pleasing live performances to be converted. SONNY DEWFALL
BON IVER
THE DARKNESS BIRMINGHAM O2 ACADEMY
BELLOWHEAD
than just a gig. This is largely due to the charisma and showmanship that front man Justin Hawkins possesses in abundance. Topless by the time the band start their third song, he spends the majority of the set flailing around stage, jumping off the drum kit and spends the encore riding through the crowd on the shoulders of a bewildered member of security. And don't even get me started on the (multiple) catsuits he wears throughout the evening... They have new songs, they have a new album dropping early next year, they already have a huge outdoor homecoming show lined up in a forest in Suffolk next summer, and most importantly they have regained the old chemistry which was lacking towards the end of the first phase of the career. As the band walk off stage Justin turns to the crowd and simply exclaims "Tell your friends The Darkness are fucking back." He is undeniably right. GEORGE OSBORNE
his year saw the greatly anticipated self-titled album from everyone’s favourite bleeding heart Bon Iver. Although front man Justin Vernon has kept himself busy through various side-projects, notably with Kanye West, he did not disappoint his ever increasing fan base. Predictably the European tour sold out within days. Vernon and a surprisingly large eight man band took to the stage after the support act, Canadian singer-songwriter Kathleen Edwards (who Justin Vernon had collaborated with earlier on in the year). Bon Iver's set opened with the first four tracks of the new album starting with ‘Perth’. From the very beginning it was apparent that Vernon has amassed some fantastic musicians, particularly the two drummers whose impeccable timing and vast array of instrumentation was incredibly welcome and gave an added depth to the music, procuring meanings one cannot glean from listening in headphones from your laptop. Staggeringly this cacophonous percussion did not overshadow the intricate interplay coming from the quieter instrumental sections. However the star of the show was Justin. His vocal range is formidable as was his guitar playing, highlighted by his solo in 'Blood Bank'; a song that
10/11/11 left the entire audience stunned. Yet the stand out song was 'Beth/Rest', not as previous reviewers have stated, because it is the best track on the album, but because it engages in a tense battle with 80s influences and feels atypical of Vernon's overall sound. Navigating his way through the old and the new he predictably ended on 'Wolves (Act I and II)' making the audience sing the refrain 'What might have been lost' until the band re-appeared for the encore of the popular 'Skinny Love' and 'Emma'. I left the show in awe of Vernon as a live entity: a musician to be revered. All of his songs are laid bare infront of the audience, deconstructed and recreated in ways that are impossible to comprehend unless you go and see the formidable Vernon at one of his compelling and powerful live performances. SAMUEL STEED
Knocking back your student loan Olivia Head, Niamh Connolly, Tim Smith and Marija Knestjapina have a cheeky tipple...
Evil Eye
Vudu
Johnny Depp rates Evil Eye as his favourite bar in England, and if it's good enough for him then it's good enough for us. Offering an extensive list of cocktails, and the chance to chill out on the beds upstairs, it has established itself as one of York's premier drinking locations. Vision's tip-top tipple: Long Island Iced Tea - at a mere £5.50 this potent cocktail is an excellent way of quickly getting an obscene quantity and combination of spirits into your bloodstream.
Now open until 4am, some naively consider it a viable alternative to Willow. As far as we can tell it's main selling point is free entry, although there are a variety of drinks deals, including 2 for 1 on cocktails most nights. If watching your drink being made provides you with as much pleasure as actually drinking it, then you're in luck, as Vudu claims to have "the best flare bartenders in the north". Vision's tip-top tipple: We're not big fans, so just settle for a £1.50 pint of Carlsberg. Even if it does taste of piss, you're not too badly out of pocket.
Dusk
Trembling Madness If Evil Eye is the prime location for any discerning cocktail drinker, then House of Trembling Madness has to be the place to go for those who rate beer as their drink of choice. Vision's tip-top tipple: Bacchus - whilst you have to buy it downstairs to drink it upstairs, this is definitely worth the expense. It even looks pretty too, coming in a small champagne bottle with white wrapping. It's packaging may be an environmental disaster, but nothing beats that strawberry Belgian beer taste!
vision's agony aunt...
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ear ‘Nightlife’. I have been a student at York for over two years now. During my time here I have had more than my fair share of nights on the town and consequently have spent many a morning relentlessly scrubbing (to no avail) Willow stamps off my arms. As much as I have enjoyed the night life in York, there is one thing that is always bothering me. I have no idea how to approach women in a club. I don’t know what to talk about or even how to behave. I break out into a cold sweat as soon as a fair lady approaches, my mouth goes dry and my mind goes blank. All I have established so far is that grinding against women in a club, or telling them that I love them before running away is not the way to go about business. Can you help me?
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he only advice we can offer is: MAN UP. Admittedly we have no idea what you look like, but for the sake of this we are going to presume that you look less repulsive than Ann Widdecombe after a heavy night on the Jaeger and that your company is slightly more bearable than that of Piers Morgan. Unfortunately, being socially inadequate ourselves, we have learnt the hard way that this game is all about projecting confidence. Think of some interesting chat up lines before you go out. Even write them down and slip them in your pocket if you are indeed as hopeless as your pathetic cry for help makes you sound (HINT, don’t let the lady in question see these notes…). Try to keep the topics of conversation light and frothy. Tedious or divisive conversation such as staunchly advocating the return of capital punishment or an in-depth analysis of the pros and cons
Everyone's favourite venue when the queue for Willow is too long, Dusk represents incredible value with two cocktails for a fiver between Sunday and Thursday. Whether you'd rather chug on a Graham Norton or lap up a Britney Spears, there's something to suit everybody's taste. Vision's tip-top tipple: Milky Bar Kid - Not just a tasty option, but a healthy one too. Remember, calcium makes for strong bones! Who wouldn't want to knock back vodka, Kahlua, Baileys and milk, all in one glass?
Vision's resident agony aunts, Timmy Smith and Elliott Somerfield attempt to pick up the pieces of your debauched and broken lives.
of further European integration won't cut it. Just because it's gold in a politics seminar, it doesn’t mean it will help make the ladies hot under collar. In fact, from our experiences we would suggest that political debate and success with the fairer sex are negatively correlated. So, keep it simple. Just smile, play it cool, and don’t act like the freak you inevitably are.
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ear 'Nightlife'. I'm no lightweight when it comes to the drink. On nights out I usually drink between eight to ten pints without any problem. It doesn't make me sick, it doesn't leave me paralytic, I don't wake up with a deadly hangover or an ugly man the next morning. The problem occurs when I 'break the seal'. It is impossible to drink ten pints without having a wee. When drinking at home I am never short of bog roll, yet in most clubs the it all seems to be gone by about eleven o'clock. What should I do when I go for my inevitable piss? Should I drip dry? Bring toilet roll in my handbag? What if it falls out when I am buying a drink at the bar? Is it okay to ask the barstaff for toilet roll? HELP!
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onestly? Whilst, as men, we are in no way are we in no way qualified to deal with questions of this nature, our bigger objection to your correspondence is that it is disgusting. "Drip dry" is without doubt one of the more horrific phrases out there. Don’t write to us again.
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ear 'Nightlife'. I swapped numbers with a guy on a night out about a month ago, after he helped me put a drunk stranger into a taxi. He is so great - good looking, exactly my type, funny, kind – the whole package. Since swapping numbers we have met up for drinks, been for lunch, hung out at his house and met each others friends. I really think I like him. But then the other night I got a call at about two in the morning when he was walking home from a night out. I told him that I was tired and told him I'd call him in the morning for a proper conversation. He responded by calling me a "stringy gangly FREAK'" and hung up on me. What should I do?
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his is a tricky one. For the most part he does sound like a bit of a catch, and the odd harsh comment shouldn't be allowed to get in the way of a beautifully blossoming relationship. On the other hand though, only somebody with tragically low self-esteem would be happy to be with someone who throws this level of vitriolic abuse their way. Plus, if you put up with remarks like this, then who knows how far he'll go next time. He might even criticise your hair or that designer Movember tache you’ve been refining. Do you really want to take that risk? Of course, this is all irrelevant if in fact you do happen to be a "stringy gangly freak". If this is the case, then pipe down, chill out, and stop being so defensive about it. At least your bum doesn’t look big in anything. Just be pleased that you’re still getting drunken phone calls in spite of your "freakish proportions". Certainly don’t give him the boot over one comment, when there’s no guarantee you can do any better.
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FILM Though she's most famous for Bella in Twilight, Kristen has been acting since she was nine. Vision charts her success:
H O T Panic Room (2002)
Kristen had no reason to panic filming this thriller classic she scooped a nomination for a Young Artist of the Year award.
Into The Wild (2007)
Poignant and inspiring, this true story features stunning performances from all.
Does the translation of TV to cinema really work? James Bugg investigates...
Good things come in small packages, or so every small person protests. Unfortunately, this doesn’t apply to one of the less successful cinematic genres: the TV-to-film adaptation. Sitcoms, in particular, face a difficult choice – maintain the show’s legacy, or potentially ruin all your hard work with a film flop. A joke which is funny on the small screen will not necessarily have you rolling in the cinema aisles (although if you do, bring a change of clothes..). Since the rise of TV sitcoms, both the UK and US have been keen to jump on the big screen bandwagon, but with mixed success. Until recently, British adaptations have fought against the stigma that their sit-films aren’t very good. Camp '70s film adaptations, such as, On the Buses and Are You Being Served?, are far from cinematic masterpieces. The latter had one reviewer proclaiming it as ‘guilty of violating almost every law of comedy and film’. However, perhaps the tide is turning. Other sitcoms have managed to develop entire movie franchises. Mr. Bean spawned two successful movies; the Muppets are soon to embark on their 208th blockbuster
Kristen-O-METER
There's not much bad to say about this typical teen movie... but then there's not much good to say either.
2) Which Director is taking inspiration from his previous success, Valentine's Day, to make a film based around a disparate group of people whose lives cross on New Year? 3) What is the name of the town in It's a Wonderful Life? 4) What is the little girl called in Miracle on 34th Street?
Cold Creek Manor (2003)
There's a reason Kristen looks so unhappy here. With a 1* Rotten Tomatoes rating, you'd be glaring too.
5) Which year was an appalling year for the release of new, exciting christmas movies? 1) 4 2) Garry Marshall 3)Bedford Falls 4)Susan 5) 2011!
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So you think you know Christmas? 1) In A Christmas Carol, how many ghosts visit Scrooge?
Adventureland (2009)
outing, of which about 150 have been disappointing (with the obvious exception of Muppet Treasure Island). Adaptations of Sacha Baron-Cohen vehicles Borat, B r u n o and Ali G, have p r o duced s u c cessful and critically ac-
claimed movies, as did The Thick of It’s big-screen adaptation, In The Loop, which receieved an Oscar nomination for bestadapted screenplay. Further still, this summer’s The Inbetweeners Movie made a surprisingly smooth transition to cinema screens, surpassing last season's laughs. Can America follow Britain’s lead? The Simpsons Movie was genuinely funny, bettering the show’s recent form. Hopes are high for the Arrested Development movie, adapted from the criminally overlooked television series, which will be released in 2012 – as a last hurrah of sorts before the world ends. Whether it will remain as fast-paced and easily digestible as it was in short, 20-minute spurts remains to be seen. But as long as writers are savvy enough to transfer what made their original series so well regarded on television to a completely different, cinematic medium, there should really be no reason why a film based on a sitcom is worse than any other comedy. Unless, that is, you rely on slapstick, outdated sexual stereotypes or take your characters to Dubai. On a bus.
N EWS
Twilight (2008-Present)
Love it or loathe it, there's no denying Twilight as the epoch of Kristen's career with a global fanbase (of teenage girls).
TO
More Bridge Club than Fight Club... Brad Pitt has anounced that he will be retiring from acting within 3 years. The 47-year old star of classics such as Fight Club and Interview with a Vampire says he wants to focus on working behind the camera, following in the footsteps of pal George Clooney whos self-penned, self-starring and selfdirected film Ides Of March was realeased last month.
A Very British Cast... Details of the cast of The Hobbit, due in cinemas December next year, are slowly being leaked. Whilst The Lord of the Rings originals such Sir Ian Mckellen and Sir Christopher Lee will be returning this time round, the latest Middle Earth adventure also boasts a refreshingly new line-up of young British talent. With Bilbo Baggins being played by Martin Freeman and Being Human hottie Aiden Turner cast as Dwarfe Kili, this will be a truly Brit-dominated film. This week it was anounced that Benedict Cumberbatch (Sherlock, Tinker Tailer Soldier Spy) will be voicing Bilbo's nemesis Smaug the dragon.
Matija Pisk reviews the latest installment in the Twilight Saga
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adly not being a ‘die-hard twi-hard’ myself, my excitement leading up to the fourth edition of the Twilight saga was limited. Nonetheless, I dug deep, found the inner teenage girl within me – and was still disillusioned by a film which can only be described as ‘a shame’. Breaking Dawn: Part 1 begins with the marriage of Bella Swan (Kristen Stewart) and Edward Cullen (Robert Pattinson). After the typical festivities of a vampire wedding, the newlyweds depart on their honeymoon, a trip to an island off Rio De Janeiro. Following many a night of supernatural romance, Bella finds herself pregnant, obviously a complete defiance of Vampire biology. The film plot pivots upon this crisis as the "demon foetus" begins to drain Bella of life whilst the Cullen’s attempt to protect her from the disgruntled Werewolf contingent. In truth, Stewart and Pattinson have grown into their roles over the years. The only issue is the roles themselves. Stewart captures Bella’s intense expression of distress which pervades the film and the saga, while Pattinson has mastered the emotional torment of Edward Cullen, appearing at many a window as he contemplates the issue of existence. One could regard such characters as being slightly one dimensional - I would refer to them as dimensionless. To be fair, they are not helped by the script.
Dream House
Take Shelter
Dir. Jim Sheridan
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ream house markets itself as a “suspense thriller”, but it’s actually a horror movie (grisly bits included), murder mystery, haunted house film and an exploration of insanity all in one. If that sounds good, you’ll be disappointed. The film begins in wintery kitsch as an editor and his painterly wife played by Daniel Craig and Rachel Weisz decide to move to the suburbs to raise their family. “Family” consists of two young daughters who are eerily reminiscent of adorable versions of the twins from The Shining. Their dream house very quickly turns into a living nightmare, as it becomes clear that their home was recently the scene of a horrific murder and signs of the previous occupants begin to reveal themselves. So far, so predictable. Craig and Weisz are however excellent in the first hour of the film, and their relationship does create interest – so it is a shame that director Jim Sheridan seems to have decided things were getting a little slack at this point. The inevitable twists happen at a lightning pace, marginalise Weisz and Craig’s screen time together and lead towards a confusing and unsatisfying ending, trademarks of a plot that can’t work out where it’s going. ABIGAIL RICHARDS
Dir. Jeff Nichols
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ake Shelter is bleak and beautifully shot, charting a man’s helpless decent into schizophrenia and the tensions this brings to his family life. Curtis Laforche (Michael Shannon) lives with his wife Samantha (Jessica Chastin), and deaf daughter Hannah (Tova Stewart). Their lives are pressured by money worries and Hannah’s disability, but their family begins as a happy one. However, Curtis begins to see images of apocalyptic storms, and decides to take action by building a storm shelter in the yard. The film is driven by fine performances from both Shannon, as the nervy Curtis, and Chastain, who movingly portrays mixed feelings of anxiety and supportive commitment. The two work brilliantly together portraying their domestic apocalypse in the face of mental illness. However, these powerhouse performances do not hide the fact that the storyline is drawn-out. Take Shelter works well in depicting Curtis’s gradual, pieceby-piece disintegration into paranoia, but there is too much unnecessary detail that slows the pace of the film. Take Shelter poignantly addresses current cultural anxieties about financial collapse, and is certainly worth seeing for its main performances, but its slow pace and miserable content mean it won’t be a film for everybody.
Trying to squeeze half a novel into a film is undoubtedly a challenge, but writer Melissa Rosenberg has managed to create script which is professionally cringe-worthy. The dire script is complemented by the appalling performances of the side-lined characters who have a tragic inability to deliver their solitary line with any level of conviction. The script, the acting, is all too superficial and obvious. That is not to say that there aren’t positives to observe from the production. The CGI for example is, at times, fantastic. At others, however, it’s simply not. This is not helped by the fact that it’s main purpose is to provide token displays of ‘vampireness’ just in case the audience had forgotten the basic premise of the film. I should remind you though that I am by no means a ‘twi-hard’; there are those that are will adore this film. Many a teenage girl will worship Pattinson’s emotionless character. They will sympathise with the artificial Stewart. They will quiver at the opening scene where Jacob (Taylor Lautner) rips off his shirt to reveal an offensively attractive torso. Rarely do films strike such a divide amongst an audience. For the rational critic, this film is bad. Really bad. But for the many ‘twi-hards’ amongst us – you are in for a real treat.
My Week with Marilyn Dir. Simon Curtis
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et in the summer of 1956, My Week With Marilyn portrays the filming of Laurence Olivier’s (Kenneth Branagh) ill-fated film The Prince and the Show Girl, a film which starred Olivier and, of course, Marilyn Monroe (Michele Williams). Based on the memoirs of the filmmaker Colin Clark (Eddie Redmayne), Simon Curtis’ film pivots on the week Colin and Marilyn spent together, marauding round the English countryside in a haze of soft lights and laughter. The plot itself is worn lightly, but the film is anchored into place by the dazzling and engrossing performances. Williams, who spent six months preparing for the role, simply is Marilyn. It would be all too easy for the role to become a caricature, all blonde wig and sensuality, but Williams perfectly captures the public siren and the vulnerable, damaged woman behind the persona. Branagh too is excellent, perfectly portraying Olivier’s wit and intelligence, alongside his mounting frustration. While there may not be much to the film, it is lighthearted, endlessly enjoyable and, as a testament to Williams’ performance, just as captivating as the real Marilyn Monroe. TEJA PISK
Dir. Bill Condon
hh What's on at City Screen this Christmas?
It's a Wonderful Life Tuesday 20 December 18:00
JAMIE CRISWELL
The Nightmare Before Chritsmas Monday 19 December 20:15
film@yorkvision.co.uk
N O I S I V TELE d n a s e ic d ju e r P l a n io Stereotypes, Reg s n io t a s li a r e n e G e iv s s come to? Ma cca Ojumu asks what has TV e Scousewives, Rebe
at With the premiere of Desper
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ssex is a town notorious for fake tan, big hair and mastering the art of the vajazzle; Italian Americans are fist pumping party animals; Geordies are hard drinking, necking loving clubbers while the SW11 postcode consists of posh West Londoners who enjoy regular games of polo and elaborate soirées every other night. Of course these crude statements are completely false. However they are lazy generalisations used by producers to pull in ratings and extend column inches. Scripted shows based on your neighbourhood have become TV du jour whether its TOWIE, Made In Chelsea or, this month, the two new Liverpudlian shows Mersey Shore and Desperate Scousewives. Chelsea, Essex, Newcastle and now Liverpool have become the subject of some of the most talked about TV this year; however I, like many, feel that the obsession with drawing on the biggest extremes in society is doing more harm than good. The question is, has it become acceptable to allow blatant regional stereotyping all in the name of ‘reality’? Let’s start with Jersey Shore which is one of the innovators of scripted reality. From the get go, it garnered controversy because of the casts outlandish behaviour, frequent violence and excessive drinking, which was seen as an offensive portrayal of Italian-Americans. As with all thing British, we imitated the same American format with Geordie Shore and upcoming Mersey Shore. Then comes Made in Chelsea. However much you try to push preconceptions aside, the creators want you to perceive this group of wealthy twenty somethings as pretentious snobs. To be honest, I can’t get enough of the heavily edited conversation and awkward prolonged silence that
IE hit our screens, the Essex stereotype has been projected on our small screens to parts of the UK that have no idea where Romford is on the map. What this small hit has done to the county of Essex will probably be replicated on Desperate Scousewives, which will fill the 10pm slot of its predecessor Made in Chelsea. The type of people that producers requested to for the show- ‘’cunning Liverpudlian ladies’’ - to act as WAGs and bag a footballer husband only emphasises the stereotypical image of Scouse women. The main issue is that show creators don’t want to show a broad type of ‘normal’ people, they'd rather reflect the most outlandish characters to gains more press coverage. Yet there is no justification for branding them solely on their hometown as this will only lead to these sorts of regional prejudices. The only way this racism will occur is if people take TOWIE or Made in Chelsea as an actual preconception of West Londoners and people from Essex, which sadly only apply to those as stupid as Joey Essex and co. on TOWIE. Going to a university so far from home makes me proud of my hometown. But with these types of reality shows that focus on pride of a particular region, there is a point where pride ends and embarrassment starts and leads to borderline offense. Even though many of the characters will not exist in our real life, it is shame that they have been promoted as representatives of many great towns in the UK. Will the reign of scripted reality TV last? Well, I think not. TV creators and producers will soon exhaust every possible angle to create these same predictable formats. For now, just expect to have more postcode shows. What’s next? Brummie Shore? Well that will be worth a watch.
makes up most of an hour episode. However shameful it may be, these outlandish fully tanned characters are popular, even though they represent only a certain part of society. Though there are lovely people across the UK from Chelsea to Newcastle who enjoy hosting dinner parties, this sadly doesn’t make good reality TV, well, with the exception of Come Dine With Me. Nowadays, we want to see shows about having a good night out, about stumbling out of a club after ‘necking’ some guy as in MTV’s Geordie
Shore. Like any soap, the shows are scripted to create characters that are completely extreme so that we can gossip about them in a boring lecture. Though this completely undermines the whole point of ‘reality’, it's hard to deny that it makes for good TV viewing. That being said, I know that we shouldn't watch TOWIE as though we were watching a documentary. There’s a reason why they warn that ‘some scenes have been created for your entertainment’. Therefore the stereotypical references should be taken with a pinch of salt. On the other hand, these shows have the potential to project regional stereotypes, or as the MP for Liverpool describes it, "regional racism". His points may be justified as, since TOW-
NEWS BITES!
Nibblets of the crunchiest TV news this week... IT has been revealed by the BBC that popular sci-fi series Dr Who is going to be made into a feature-length film, directed by Harry Potter's David Yates. CELEBRITY Juice's Keith Lemon has began filming his first movie, which will follow the northern presenter's misadventures, played by Bo Selecta creator Leigh Francis, as he becomes a billionaire entrepreneur. NICK Hewer is to replace Jeff Stelling as the host of Countdown. The 67 year old business expert is best known as one of Alan Sugar's advisers on The Apprentice, and will take over from Stelling in January 2012. MEDIA regulator 'Ofcom' have been investigating X Factor judge Tulisa's signature arm pose, revealing her tattoo which says 'The Female Boss', claiming she may be illegally promoting her new perfume of the same name. TV favourite Absolutely Fabulous is set to make a much anticipated return to our screens this Christmas with two seasonal specials. JONATHAN Ross has recently renewed his contract with ITV in a £2 million deal, continuing his Saturday night talk show through 2012 and 2013. REGGIE Yates and Holly Willoughby have been named as the presenters for The Voice, a new BBC1 talent show which will judge contestants solely on their vocals, airing in the Spring.
Remotes at the Ready - ouR tv picks foR the week
Tiaras Catfights and
ls
Sorority Gir
Sorority girls brings an American sorority to Leeds University: what a mismatched combination! Reminiscent of 'Ladette to Lady', tune in to see which one of our ladies will become Kappa queen.
Tuesday, E4, 9pm
One of the most chilled out shows around (no pun intended). The beautiful visuals will keep you watching each week.
Unlike most sitcoms, the second series of Phone Shop is miles funnier than the former series.
A surprise
Phone Sho
p
Thursday, E4,
hit
10 pm
s! Not to Mis
et
Frozen Plan
Wednesday, BBC, 9pm
SQUARE EYES
VISION LOOKS BACK AT THE LAST WEEK'S TELEVISION Life's Too Short
Pan Am
Thursdays 9.30pm, BBC2
H
eralded as offensive, obscene and pushing the boundaries of taste and political correctness a little too far, Stephen Merchant and Ricky Gervais’ new venture is definitely out to cause a stir in TV land. Widely publicised as the lovechild of Extras and The Office, Life’s Too Short – a comedic mockumentary chronicling the misadventures of Britain’s go-to dwarf actor Warwick Davis - looks like it has a lot to live up to. However, after watching the first two episodes of this highly anticipated series, it seems to just fall a little, well, short (excuse the bad pun). Don’t get me wrong; when I heard the premise of Life’s Too Short I thought that it had all the makings of a great show – a quirky lead actor, a sarcastic self-reflective script and high profile celeb cameos – I mean what more could you ask for? But when this great premise was translated on the small screen it unfortunately felt a little passé, like we’ve already
Wednesdays 9pm, BBC2
seen it all before - a perfect example of this is when all the characters end up seated in Gervais’ studio office. The whole scenario seemed a little reminiscent of An Idiot Abroad, where Ricky and Stephen are sat rather smugly behind a desk, subtly ridiculing the butt of the joke Karl Pilkington. Life’s Too Short takes this idea and replaces Karl with Warwick resulting in some less than humorous situations. To say that this series is a load of old rubbish would definitely be an injustice, I think it is best to judge it solely on what it is – a rather decent attempt at challenging the unspoken taboos of political correctness; I do think this programme is a bit too smart for its own good and it shouldn’t be taken so seriously. I will definitely tune in the next few weeks to see how this comedy tries to establish itself.
Morgan Collins
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et in the 1960s, when air travel was sexy, stewardesses had compulsory weigh-ins and were forced to adhere to supermodel strict ideals of beauty, pilots were gods amongst men and passengers chain-smoked during the flight; Pan Am is a show that attempts to epitomise the social changes of the time. The Cold War, Civil Rights Movement and gender equality are all portrayed through the lives of four independent air hostesses, labelled the 'new breed of woman' as they defy gender stereotypes and focus on their careers unlike most women fifty years ago. There's chief trolley dolly Maggie (Christina Ricci), a rebellious beatnik who loves globetrotting (and John F. Kennedy); Laura (Margot Robbie), who jilted her fiancé on her wedding day because she "wanted to see the world"; Kate (Kelli Garner), Laura's older sister, who is "beautiful, educated and trilingual"; and Colette (Karine Vanasse), a
free-spirited Parisienne with a habit of sleeping with the wrong guy. Pan Am has been compared to Mad Men, and why not? They're both set in the same era, are both entertainingly sexist and both have immaculate costumes, yet Pan Am is not as witty or compelling as Mad Men. It doesn't delve deep into the social changes that marked the '60s; the storylines are weak, often just glossing over big issues like sexual harassment and equality in exchange for corny love plotlines and Cold War secret agents. The show is more concerned with the superficial image of 'the times' rather than focussing on the tumultuous decade that the period actually was. Pan Am is never going have the powerful drama that Mad Men or Grey's Anatomy do, but if you like glitz and glam without too much substance, then, yes, Pan Am is just for you!
Keruschka Shunmugam
too Hot MisFits Nathan who? Rudy and the misfits have proven their strength as a cast without the curly haired loudmouth, and it's Kelly's time to shine in a recent thrilling Nazithemed episode.
Young apprentice
The teenage apprentices continue to be challenged by Sir Alan, as the competition heats up. But how long will obnoxious Harry stay?
i'M a ceLeBritY... get Me out oF Here The king of reality shows is back once again, with more people you haven't heard of doing ridiculous tasks in the jungle. Too addictive.
tooL acaDeMY
Ideal viewing to avoid that essay deadline, or maybe research if you're studying the human form. What could be better than watching the sort of guy you'd avoid in a nightclub make a fool of themselves?
TWITTER: THE SAVIOUR OF TV, FOR NOW
DEAN KNAPPER DISCUSSES THE IMPACT TWITTER IS HAVING ON TV, AND CASTS A CAUTIOUS EYE OVER WHAT THE FUTURE HOLDS
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remember a time when all that was required to enjoy a good bit of TV was, well, a good bit of TV. A simpler time, when you would watch your favourite programmes, free from distraction, and then discuss them with your school or work pals the following day. For half of you, that probably still sounds like a normal course of events, but for the rest, those days are long gone. And what one thing is responsible for revolutionising the way so many of us enjoy our TV shows? Why it’s Twitter of course. Before I go any further, I must admit that I’m a huge fan of Twitter. But like most of you, before I signed up I struggled to grasp what could be so great about it. I thought it was for people so dull or annoying in real life that the only audience they could find
for their worthless opinions was an anonymous online vacuum. And of course, it absolutely is for those people, but thankfully it is also full of genuinely insightful and entertaining individuals. The main reason that I’ve stuck with Twitter is because of the (mostly) positive impact it has had on the whole TV viewing experience. Case in point: Question Time. QT is - with the exception of those rare occasions when they go and throw a nutter onto the panel for a laugh - the most mind-numbingly boring hour of television a person could ever subject themselves to, and I say that as a Politics student. But the Twitterati’s analysis of QT is brilliant, satirical, witty, ridiculous, and always entertaining. For me, it’s made the missable, unmissable.
Question Time is a shining example of how Twitter can be a cause for good. A shared audience united in their analysis of whatever it is they’re all watching. It’s the best example of that Big Society thing that big Dave keeps banging on about that I can think of. But I’m afraid to say that this positive aspect is simply the silver lining to an ever increasing cloud. And in the case of Twitter and its relationship with TV that cloud takes on the form of lazy producers relying on Twitter to fill air time. From Ant and Dec’s tweeting from the jungle, to the mind boggling, fourth wall destroying travesty that was James Franco’s tweeting from the mother of all TV events, the Oscars, it seems that the consensus in TV land is that if people love
tweeting about TV, they’re sure to love tweeting on TV. But where will it end? As a kid I used to read those Goosebumps books where you could pick what happens next by turning to the relevant page. My fear is that a twitter equivalent is where we’re heading if we’re not careful. 'Should Ken dump Deirdre and run off with Audrey? Tweet us @corrie.' I’ve seen a horrible vision of the future, and if it does come true, no doubt you’ll find me on Twitter bragging about how I told you so.
Desperate scousewives E4 fills the vacuum left by Made in Chelsea with something yet more vacuous: a series focusing on Liverpool's WAGs and wives. 'Desperate' sums it up.. which city will be next?
so not
tv@yorkvision.co.uk
Here at York Vision we love a properly thought-out Christmas present. Satisfy the bookworm in your life with one of these quirky literary gifts from the literarygiftcompany.com. It's our new favourite place in the world.
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Booken £16.95
THREE SISTERS SOPHIE TAYLOR INVESTIGATES THE BRONTE SISTERS' CONNECTION TO YORK.
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t was perhaps not the best time for a woman to be born, during the depressive, oppressive mire of earlyVictorian England. If one thing can be certain though, it is that three Yorkshire-born sisters succeeded in making their mark in the literary world. This month, the York Theatre Royal saw the premiere of Blake Morrison's revision of Anton Chekhov's Three Sisters, hurtling a provincial Russian town into the bleak backdrop of the Yorkshire moors and the home of the world's most famous literary sisters. Set upon a heathen landscape and accompanied by a percussion of the stark elements surrounding their parsonage home, the play highlights the creative ambition, clarity and wit of the Bronte sisters, drawing these tokens as they did from a bitter portrait of existence in 1840s Yorkshire. The Bronte family have always seemed to carry about them a perpetu-
T Upcycled P aper Brooch £18 i
onfett
tmas C
ymous novel. It was in her occupation at Roe Head that Charlotte first met the two women who were to become her lifelong correspondents, Ellen Nussey and Mary Taylor, whose revolutionary views on women's rights, religion and the politics of the time were the driving force behind her more subversive fiction. Even the name of Wuthering Heights was taken from the Yorkshire vernacular adjective defined by Emily as describing "the atmospheric tumult" of "stormy weather". During the publication of Wuthering Heights, Charlotte was compelled to modify her late sister's record of Yorkshire dialect in accounts of the speech of the servant Joseph, remarking that although, "it exactly renders the Yorkshire accent to a Yorkshire ear... I am sure the Southerns must find it unintelligible."
BIG BOOK ON CAMPUS
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Chris £4.50
al gloom, shadowing the tragic succession of familial deaths. It appears that the roots of the Brontes' literary acquisition were firmly set in the Yorkshire countryside and their residence at the remote Haworth parish, where the six children were brought up surrounded by literature, acting out their own dramas in the sitting room and writing poems and novelettes upon handmade manuscripts. By their late teens, Charlotte, Anne and Emily had all enrolled as teachers, Charlotte moving to Roe Head in Mirfield and Anne and Emily working as governesses at Blake Hall and Little Ousegate in York. It was during this profession that Anne was to cross paths with the "spoilt little dunce" of Mary Ingham, perhaps the animus behind the infamous Blanche Ingram of Charlotte's Jane Eyre as well as fashioning the experiences of governess Agnes Grey in Anne's epon-
he Hunger Games cover depicts a bird holding an arrow aloft whilst being targeted by a sniper. This unusual design makes the book a natural BBOC simply because of its presence and dynamism that carries forward into a plot more rich and sharp than a bulletproof gilet. The Hunger Games tells a harsh yet riveting story of the human condition in a distinctly Orwellian way; examining the delicate balance between loyalty and the urge for survival. The novel begins with 16-yearold Katniss Everdeen, voluntarily replacing her sister in the gladiatorial Hunger Games played in the postapocalyptic North American state of Panem. Children selected through a government lottery from all areas of a futuristic political autocracy are
chosen as 'tributes' and must compete for survival by eliminating the competition in a televised fight to the death watched by the entire state. The author describes Katniss as a modern, female Theseus and it is difficult to separate her and the reader from this archetype as both are led through a labyrinthine American landscape in which elements of mythology combine with notions of modern day capitalism, arms production and Paulsen-esque survival. Throughout, Collins depicts a world part Tolkien, part Homer and part Battle Royale, in a format that keeps you constantly guessing. Traditional associations of romanticism and loyalty are turned on their head, with the United States of America reduced to 12 remaining city districts
(BBOC)
solely existing as areas of commodity, with humanity sparsely represented through 'tributes' who range from ages 12-16. The Hunger Games offers the reader a rich and detailed account of Katniss as the "bird with the arrow' and both the hunter and the hunted. Although it appears that Katniss has sacrificed her own freedom, the reader must also surrender their knowledge as events and character motives continually strive to solve the riddle inside the labyrinth. A mustread for both fans of dystopian fantasy and the culture savvy (the film adaptation is due in 2011). The Hunger Games is one novel not to be missed.
JORDAN LLOYD
HELP! I'm a Kindle convert.... "Literary Terms" Cu fflinks. £30.
MEGAN GRAHAM
T
here seems to be a certain amount of shame as an English student in confessing your conversion to the Kindle cause. I used to be a part of the angry bunch of bibliophiles condemning those who brought their e-readers to seminars in place of a good old hardback. So how is it that I find myself asking for one this Christmas? Well my bookshelves are certainly nearing the end of their capacity and I am sick of lugging heavy critical tomes around campus, but the release of the new Kindle has finally made me appreciate that the increase of bedroom space it brings is not its only virtue. The endless amount of texts an English student has to acquire dur-
ing a year not only takes up space but drains our valuable student loans. The price of e-books has been enormous draw, as was the ability to download a book and begin reading instantly; perfect for any forgotten items on your reading list. Being able to download and annotate PDF files is also incredibly valuable to students. No more late night trips to the library to print off a complex critical essay you have to read for tomorrow's seminar! The new Kindle also comes with the Oxford English Dictionary installed as standard, a great feature for anyone. I used to believe that if I bought a Kindle I would be helping to kill off the book industry, but on one of my many trips around the many book-
shops of York I realised that even if I do buy a Kindle, it will never dent my love for books. There is no way I am ever going to be able to resist the pull of an Oxfam Bookshop or a 3 for 2 offer at Waterstones. Making use of the practicalities of a Kindle doesn't mean you love the feel or smell of a book any the less or that you will stop adding real, physical books to your collection. And so I've come to a happy coalition with the Kindle and can't wait to get my hands on one this Christmas. Maybe I'll keep it hidden under the table in seminars for now though.
SOPHIE WOOTTON
beautiful books for christmas
Literary Events in York
Treat somebody special (or just treat your bookcase) with one of these gorgeously bound special edition books.
Penguin Hardback Classic Penguin. (£10-£15)
St Nicholas Fayre Parliament Street The annual fair combines the best of local crafts, food and christmassy fun with a diverse selection of treats, from handmade wooden bookmarks to paella. Guild Hall brings medieval to life with its covered market, mulled wine and roasted chesnuts. Yorkshire traders add to the Dickensian feel with Victoriana inspired design and crafts. Beginning the last weekend of November with installations in Sampson Street and Coppergate. Meet author Cassandra Clarke
Specially designed "Essential Reads" Penguin. (£7.99-£12.99)
Harry Potter Complete Boxset Bloomsbury.(£100)
Cassandra Clarke's Yorkshire childhood inspired her series of historical mystery novels about Cistercian nun Hildegarde of Mieux and her navigation of the medieval English world. Now she returns to York to give an exclusive talk about her new novel in the series 'The Law of Angels', sharing her insights on the medieval world, its conflict and complexity. Explore York Library Learning centre hosts this prodigous home-grown talent on 28 th November, allowing the audience to learn the truth behind Hildegarde. Performing Shakespeare Lecture
The World of Peter Rabbit Giftbox Amazon. (£41)
Dr Varsha Panjwani gives a lecture at the Berrick Saul building on 14 December on the topic 'Sharing Shakespeare? - Jointly authored plays on stage', combining her TFTV experience and fresh perspective to bring new insight into the mechanics behind the collaborative process.
The Folio Society Collection The Folio Society (£20 - £39)
The Lion, th e Witch and th e Wardrobe. C.S.Lewis
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ar nia. The White Witch . Aslan. Three nam es which ha ve been burned irre vocably into lish psyche, the Engthre out exaggera e names which are withtion known to almost al English peop l le, be they ol d or young, av reader, vete id ran biblioph ile or childh novice. But ood of late, wha t has becom C.S. Lewis' e of fantastical se ries of book As films they s? are mediocr e ador ned wit h an unforg at best, and ivably chee soundtrack sy warbled by none other (Aslan help than us all!) Joe M cElderry. Thus it seem s that the m books has fa agic of the ded and be en replaced the vices of by mass media and commer ism. The N cialar nia films are often br casted en m oadasse in win tertime, and easy to listle are ssly flick on to while you' re
too bloated to move from the television This Christm . as, why not take a mom to pause, refl ent ect upon the books that so lighted you as dea child? In The Lion, T he W it ch and The W robe, Nar ni arda is grippe d by an eter winter, the do nal ing of the in famous Whi Witch, but th te e deep, tang ible war mth the characte of rs, the fiery battles and familiar and the ever so comfo rting near-fa ytale ending irprovide reas suring shelte from the cold r . The rest of the books cr ate an intric eate and fasc inating hist of the world ory of a world flarin Nar nia. To be witness to g into being, to credible hist ory unfold an watch its ind finally to se it crumble in e the turning of pages give this inimitab s le series som ething that th films never co e uld- a life of its own.
Hercule Poirot's Christmas Agatha Christie
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hristmas may be a time of goodwill to all men, but that doesn't mean you can't still enjoy a go od murder, especially one from queen of the crime thriller Ag atha Christie. Set in a countr y house on Christmas Eve, Hercu le Poirot's Christmas contains exactly what you would expect fro m a good old fashioned murde r mystery- a miserly old man, bu mped off in an apparently locke d room, illegitimate children, love affairs and of course the litt le Belgian detective himself.
PHIL WATS
ON
Whilst perhaps not the most serious of novels, it is the perfect pageturner with just that hint of festive cheer to make it ideal for a winter evening when you're full of turkey and pudding and running a little low on brain power. Having said this, Christie's brilliant narrative style, will satisfy even the most ardent classicist. Most importantly, Poirot keeps us guessing until the very end. A novel that grips and amuses in equal amounts - perfect for Christmas.
SOPHIE WOOTTON
The Book Report pecially down, es e id s p two u ed s, once are tur n le daughter the scene, st e a th C e f o th onto those I Capture irs burst iably ith erican he m ies invar m r S A to ie s d e o v D lo istled m le l g a n phoric and ta ta e m e s, e u o th r ce mo ds. Despit ensue on and hu re the their hea is r g e k v in o o r o a b ld e tu e d n ap this toe is h ith's I C e set up is Dodie Sm ntrance you from Austen-lik ly a romance: it is th e e l r il ti "I e s w e , m e v le c n in n st a a C g sente more th tory, an s in n e e g e p n a o e th h f c g o ss values, its iconic itting in the kit a comin glish cla s the on of En an divide, and ti write this a g iry eric famfa f m o a -A s f h o ". m s k t li is n sin Eng han st eminisce rfect mec At first r is set in post-Fir ften impe o l s e v in no e rema is hard to tale, the ily life. ed copy land, in th astle inv o g -l n that h E c r u a My m ception lish c World W h the ex r than deain ling Eng it b w tm m r , u o e r c M is e of a critic entric g rath uctive y the ecc omfortin rovides instead habited b t of novel's sed it is a c p It s e . d th a re of ar of a 1930 manding family. P es from the voice sanist vision phones, p a c s e s iv t a r c the perfe lled with gramo char m de ear old narrator C e on ifi ny ntic dall captur to s r England, seventee u o nd roma v a a re e s m d e tu n fa ti p e r a r a e e dinner p shed in 1948, I C dra, as sh agic-comedy of h g tr bli tertainin d honesty n a y ance. Pu s paper the been en im h e s s r w a ll h tu e te p h e a T le c hich sh the Cast fifty years: let it ily's life. ve with w ignant stoti a r r r fo a s n r reade of the yet po both hristmas. hilarious gsroman ou this C n y the often u ASSELT d il H b is N th A s V e k ry ma MIE iling. and begu d lives CLEM believable ily's impoverishe The fam
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TECH WITH A HEART TOM MARCH talks about the importance of practicality over power in today#'s technology
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t seems embarrassingly banal to say it, but the consumer computing market has loudly revolutionised itself over the past seven to ten years. Bulky, beige desktop PCs have been replaced with a huge mixture of smartphones, tablets, netbooks and laptops. This, however, you already knew – what is less well known is that there has followed alongside the loud revolution a quiet realisation that tech specs don’t sell well. What do I mean by that? Well, let’s start with the 2010 tablet market. The Samsung Galaxy Tab was introduced as a direct competitor to Apple eight months after the first iPad, and had twice the RAM, (up to) twice the storage memory, a camera (the iPad had no camera at all), a more open OS, and half the weight. Yet, of the 2010 tablet market (according to Gartner), Apple had an 83.4% share where Android had 14.3%. On paper, there should have been no competition; the iPad should have been outshone. For purchasers, the difference between the two, it would appear, is not the speed of the processor or other numbers, but something else. Looking to the near future, there are two new tablets coming to market – the Nook (US-only) and Amazon’s new Kindle Fire. On paper, the Nook is a country mile ahead in terms of capability, but Amazon has a huge ecosystem of apps, a low price point, a prettier tablet and much better advertising. The general consensus? Amazon will win. Again, tech specs have taken a back seat.
The best example, however, is with two relatively new US adverts. One, for an (unnamed) Android tablet, proudly proclaims that “Your wife will love the dual-core Tegra 2 chipset,” and the other, for an Apple iPad 2, says, “When technology gets out of the way, everything becomes more delightful.” What’s the difference between the two? It’s tech specs. The way to a woman’s heart is not through chipsets, and advertisers are slowly starting to realise that. The consumer market has changed
Your wife will love the dual-core Tegra 2 chipset! dramatically and natural-language descriptions of products (where Apple has excelled) are being proven as appealing to consumers in a much more broad fashion. The cost of a MacBook Air (without a separate graphics card) is almost double the more-powerful HP, Dell and Acer offerings, but Apple are grabbing up market share and this is partly because they sell their devices on feel, not specification. The MacBook Air feels faster and smoother and, when you play on it in store, seems far more modern and cool. The same goes for the iPad and iPhone. MG Siegler puts this change down to the fragmentation within technology in the modern world. According to him, in the days when Windows ruled every com-
puter, the only differentiators were things like processor clock speed. Now more mundane, accessible measures like the size of a netbook or whether a tablet has 3G or a camera is more interesting to consumers. People don’t care too much how good the camera is, as long as it is good enough. People want to know how many apps a platform has and when they touch the touchscreen they want to know how responsive it is above whether it is resistive or capacitive. And so, when you see an advert for the new quad-core smartphone you need to question if you really, really need it. In terms of technology, the hardware doesn’t matter like it did in the past. Companies need to focus on the experience, the possibilities, the feel. This change is starting to show outside the hardware market too, have you seen the advert for Google where the proud father sets up an e-mail account for his newborn daughter and e-mails her all through her life? Google aren’t telling you about what they do technically, they’re showing you how they can improve your life. Just like Apple who live for this kind of advertising, they’ve realised most people want a product to improve their life and they won’t switch or buy based on how many ultrahertzbytes or megawattbits their new product has. Words like amazing are more powerful than words like Tegra 2, so don’t be surprised to see them brought forward a lot more in future.
Songkick RATING: 4+ PRICE: FREE Ideal for sorting your future gigs at the likes of Fibbers, The Duchess and the rest of York's questionable music scene, Songkick is the ultimate live music tool. After initially scanning your iTunes library, and taking into account your location, Songkick provides the user with a select list of local gigs from the artists you listen to. A simple but hugely effective concept. From there, you can mark yourself as attending, share the event via Facebook, Twitter and email, as well as use the app itself to buy tickets. Songkick is the step-up that the declining last.fm never took, providing you with a personalised concert calender. Although currently only available as an app on the iPhone, Songkick also works through Google Calendar, and therefore is accessable on both Android and Windows phones, as well as at your desktop. The stats show that each day around 2,500 new events are added to its 100,000 strong database. It's even picked up this evening's Doorly gig at The Duchess. I guess that's my evening sorted.... OLIVER TODD
FOOTBALL MANAGER 2012: ThE REVIEW BEN HUCKLE examines the new additions to the much anticipated Football Manager 2012.
E
ver since I got my first copy of Football Manager back in 2005, the subsequent years have always yielded the same question: should I? There is no doubt Sports Interactive have created an outstanding series as far as football simulation games go; the problem lies with the social implications. The addictiveness is not like some games where it can ruin a week of your life before you get bored of it, it will manage to draw you in and reclaim your life for a few days every month or so. The unique appeal this type of game delivers lies in the control and freedom given to the player to be whatever kind of manager they want, not merely through tactics, but also with personality, player interaction and
transfers. The challenge of building up a squad, scouting and developing young talent and getting the most out of players in their prime, is the essential basis of the game. It really gives you a sense of achievement when things are going well, but a few injuries, a bad team talk, or troubled players and everything can turn it on its head. The complexity of this game runs deep, an expansive database and endless tactical options will bestow upon you limitless hours of fun. The latest version has made big improvements in player interaction; the introduction of team meetings and the ability to add tones to your voice makes the whole game feel more engaging and personal. An updated match engine also makes the
matches run smoother with improved graphics. As experienced players will know though, it is not just the big changes that keep Football Manager on top of its genre, the smaller updates and tweaks to the game play ensure value for money. It is also now possible to download the game straight to your computer via Steam; a programme available to download free online on which you can run a variety of PC games that also doubles up as an online gaming community. This may not be a massive breakthrough, but does make installation and purchasing that little bit easier. The perks of a few additional features such as achievements make Steam a worthwhile option.
Mike Harding chats to James Harle M
ike Harding is a comedian of the Billy Connolly era, whose act paved the way for many contemporary performers by mixing straight comedy with humorous songs. His interests and hobbies are almost embarrasingly diverse. Few people could boast of work as a playwright, of being a life vicepresident of the Rambler's Association and of composing music for the cartoon Dangermouse. It's a pretty obscure blend, let's be honest. Today he is probably best known as a presenter and folk DJ for BBC Radio 2. In anticipation of a recent tour which brought him to the York Grand Opera House, I caught up with him to find out a bit more about his recent shenanigans, as well as enjoying a bit of a retrospective into his vibrant and varied past. One thing in particular was pressing on my mind when we spoke - how on earth did he find the time to do such a mindboggling range of stuff ? His Wikipedia page lists him as a "singer, songwriter, comedian, author, broadcaster, photographer, traveller, filmmaker, playwright and musician", on top of which he still finds time to pursue an equally diverse range of hobbies. The answer was surprisingly simple: he doesn’t watch any television. “What are you doing when you’re watching television?” he asked, before supplying an answer for me: “Just watching someone else’s shit.” I was sceptical; how much time did that actually save? But he was adamant: “Days in your week. Weeks in your month. Months in your year. Seriously.” His attitude is somewhat surprising considering his not insignificant experience within the TV industry and his current penchant for religious programmes. He does record these shows on VHS to watch over dinner though, just in case you were detecting a contradiction. Even the shows he enjoys, however, are not exempt from criticism as he lays into the certain kind of people that dominate these shows: “Some of the people involved in those have got a 2:1 from some dickhead university... And they’ve got a really, really, really insulting attitude towards the people that watch it.” Attempting to steer the topic towards something a little more relevant, and a little less objectionable, I mentioned Dangermouse and Count Duckula - the cartoon of my childhood that Harding composed the musical score for in the 1980s. As it turns out, Harding not only scored the music, but actually wrote the whole first series of Dangermouse when the show’s actual writers got stuck. He became involved with the Dangermouse team after making a pilot for his own cartoon, which was apparently a rather surreal experience: “I created this character who was sort of a busking frog called Far-out Fred and he had a mate called Matusky who was a Glaswegian tom cat and they had another little pal who’s an irascible French cockroach. So I had
these three characters, and I got them doing stuff, as you can imagine, because he was a busker on the streets, and, well, it was very, very surreal.” But the show was sidelined after an urgent appeal to Harding from the team behind Dangermouse. Harding was just the outsidethe-box thinker that they needed. “They said: ‘look, it’s really stuck, and we don’t know where it’s going’. They’ve got three episodes, and straight away I said: ‘the problem is, you’re trying to do a James Bond type mouse, and really, what you’ve got to understand is that a mouse can do
I don't mind, I don't give a chuff about labels... I just don't care anything’. They’d tied it down to very real James Bond situations - villains on islands, that sort of stuff. But of course I said look: you can go anywhere. Anywhere in space or time - because you’ve created this character.” Speaking of creating characters, some of the best-loved and most memorable Dangermouse characters were Harding’s inventions. Baron Von Greenback? Leatherhead? Both Harding ideas. Most importantly for me - and I admit I lost control a little when
I heard this, very unprofessional - the silent character Nero, the little furry white caterpillar which is Greenback’s obligatory Bond villain pet is all Harding’s work. The blurb for Harding’s current show describes him as the 'Grandfather of Alternative Comedy'. I wanted to probe this idea, but was afraid of striking a nerve. Harding, you see, used to be known as the ‘Rochdale Cowboy’ after a song he describes as “a deconstructed, postmodern musical piece which I did: a parody of a parody.” The ‘Rochdale Cowboy’ is, I think, a much cooler title than the Grandfather of anything, and if it were me, I might feel a little resentful at having to make the change. Harding, however was much more level-headed. “I don’t mind, I don’t give a chuff about labels - if people want to use that it’s fine, I just don’t care.” He can understand why people need such labels, however, and he explained where the current one had come from: “I started working at the same time as Bill Connolly, and at that time we broke the mould of the ‘Bernard Manning’ type comedian, the ‘Charlie Williams’ type comedian, that was the dinner-jacket and the velvet bow tie. All it took was a good bit of observational comedy, and we were the first, the first to do that. We broke the mould by not telling ‘mother-in-law’ jokes. And there was nothing wrong with them, they’re perfectly interesting, perfectly fine. But tastes change, people change.” As far as Harding is concerned, alternative comedy is just a label for what he does that doesn’t have any special significance. I wondered whether he had any
opinion on current trends in comedy, and he had an answer straight away- something I was beginning to notice is a bit of a habit, for him: “I watch comedians now, a modern comedian’s set, on DVD, if someone lends me a DVD. And what’s interesting now is the desperation in a lot of comedian’s faces as they realise that the market is full, oversubscribed, that there’s millions of the buggers. You know, sooner or later, they’ll take their clubs, drag them out onto the ice and beat them to death. There’ll be a cull. People will be officially culled from the world of comedy. They’ll be coming after us year after year to keep the numbers down.” I pointed out that this was unlikely to happen unless comedians were particularly responsible for the spread of diseases like TB, but Harding was unconvinced. I always like to finish up an interview by finding out what the essence, the USP of a performer’s latest work is. For Harding this was his stage show- although he has a very great number of books and plays both newly released and upcoming. Harding is such a unique character, even offstage, that his reply should have been obvious. The USP? “That’d really be my own individual view of the world” he said. But as he explained, that alone is not enough to make a show. “It’s about linking others to it. You can lead them into your comic world, and if they like it, they’ll stay with you. Be true with what you do, because it’s all very well to lead people into the world, but it has to be a true world- or they won’t want to know.”
. . . S N O I T S E 20 QU
E G A T I R E H T R with STUA
1, What TV show do you wish you'd created? Wonder Showzen. 2, Who’d win a fight: Wagner or a lion? The lion, obviously. But I’m pretty sure that Wagner would nose it in a bongo-off. 3, What are your hot tips for dealing with the pressure of producing a witty liveblog every week? Accept that your social life will wither. Write down everything you’d shout at the television if you weren’t liveblogging. Also - based on a notorious story from liveblogging past - don’t get drunk before you start, unless you really like apologising to important Scandinavians.
4, What would be your X Factor audition song? "We Are The Cheeky Girls (Touch My Bum)". 5, If you weren’t a journalist, what would you be? I was a teacher, briefly, before I started writing. So the answer is ‘an alcoholic’. 6, What’s most played on your iPod? According to my iPod, it’s Baby by Os Mutantes.
7, What’s the worst comment you’ve ever received on an article? The Guardian moderates comments pretty heavily, but someone on another website once wished that I’d get AIDS and die. That’s quite hard to top.
8, What’s your chat up line of choice? I’m hopeless at chatting people up, so I usually just wait for girls to approach me. Girls rarely approach me. 9, Have you ever regretted an article? Oh goodness, yes. 10, Snog, Marry, Avoid- Eastenders, Emmerdale, Coronation Street. Snog Emmerdale, Marry EastEnders, Avoid Corrie. 11, In which country would you most like to stage a coup? Belgium. It doesn’t really have a proper government yet. It’d be a piece of cake. Also: waffles. 12, Who'd win in a fight: Grace Dent or Charlie Brooker? Dent, without a doubt. She has the cold dark eyes of a killer.
Stuart Heritage writes and blogs about TV, film and music for The Guardian. Amongst his output is a cuttingly wittly weekly X Factor liveblog.
13, Is the pen really more powerful than the sword? Are you kidding? Of course not. Swords are massive.
18, Who do you want to win X Factor? Misha B, I think. That said, I’m worried that X Factor might try and turn her into Alexandra Burke if that happens.
14, Which one box set would you take to a desert island? All of The Sopranos please.
19, If the Guardian was an X Factor contestant who would it be? I’m contractually obliged to say Leona Lewis.
15, What's your guilty pleasure? I write about X Factor, for crying out loud. My entire life is a guilty pleasure.
20, Vision or Nouse? Nouse. No, bugger, Vision! I meant Vision! Please don't hurt me.
16, Is print media dying? I think it might be, sadly. 17, What's your biggest achievement? Aside from writing for the Guardian? I think I won a ‘guess the weight of the cake’ at a school fete once.
Technology Editor Jonathan Frost