Volume XXI - Otwo - Issue 6 by The University Observer

Otwo Volume XXI | Issue 6 18th February 2015

Letter from the editors

Front Pages

2 Letter from the Editors - Shane Hannon & Rebekah Rennick 3 Soapbox - Ray McGrath 3 What’s Hot/What’s Not - Emily Longworth 3 Mystic Mittens 4 Back to School – Conor O’Toole 4 On the Clipside - Clippit the Office paperclip guy

TRAVEL

5 Edinburgh – Dos and Don’ts – Kieran Fitzgerald

FOOD&DRINK

6 Third Space café– David Corscadden 7 Frugal Cooking – Niamh Regan 7 Know Your Wine - David Corscadden

GAMES

8 Apotheon – Adam Donnelly 8 Grow Home – Heather Law 9 Disc-Locked Content – Karl Quigley

FILM&TV CIAO…

10 Paper Souls: Review – Síofra Ní Sluaghadáin 10 Love is Strange: Review – Aaron Flood 11 Suite Francaise: Review – Catherine Martin 11 Top 10 Insufferable Geniuses – Cathal Bergin 12 Charlie: Feature – Ian Mulholland

You are all so very extremely welcome to yet another fine issue of Otwo magazine. Otwo is like a gift that keeps on giving and a party that keeps on partying, and we have absolutely no intention of lowering our already pretty insurmountable standards. Sure we’re just great altogether. This issue contains yet more exquisite content in every single section; our uproarious Colour section is complemented very nicely by a travel guide to the bustling Scottish city of Edinburgh as well as our delectable Food and Drink section, overseen by the one and only, David ‘Ireland’s best garden blogger’ Corscadden. Games this issue includes reviews of Apotheon and Grow Home, and Karl ‘I like to ski and drink’ Quigley pens a feature on disc-locked content. Our popular Film and TV section sees us review latest releases Paper Souls , Love is Strange and Suite Francaise, while we also have a Top 10 on ‘Insufferable Geniuses in Film or TV’, a timely Oscars preview from Aaron ‘Spiderman Pictures’ Murphy, and a feature on the political historically-accurate-or-maybe-not-so-much TV mini-series Charlie which starred old Love/Hate buddies Aidan Gillen and friend of Otwo, the one and only Tom Vaughan-Lawlor. Our centre this issue sees Rebekah ‘I’m from Choom’ Rennick interview Father John Misty, otherwise known as Joshua Tillman by people who dislike stage names. We at Otwo love finding out which celebrities use different names than the ones their mammies and daddies gave them. For example, did you know Joaquin Phoenix’s real name is Joaquin Rafael Bottom? Yes you read that right. Oh, and the great Michael Caine is really called Maurice Micklewhite. Yeah, we’re not really surprised he changed that to be honest. But yeah, moral of the story is give our interview with folk singer-songwriter Father John a read. Amen. Music this issue includes album reviews and interviews with Pond, Superfood and Meltybrains? (We’re not trying to confuse you – Meltybrains? actually have a question mark at the end of their name.) It’s almost as if they aren’t quite sure of their own existence? Our usual Radar segment is joined by a Dublin Gig Guide from Sean ‘This is my best D4 accent, I’m not really from Clare’ Hayes. Fashion this week includes a piece on Copenhagen Fashion Week, while our creative writing section features the best poetry from the students of UCD. Arts and Lit sees Patrick ‘Blind Date’ Kelleher interview Irish novelist and short story writer Éilís Ní Dhuibhne, and that section also possesses a feature on performance art amongst other magical articles. A ‘Fatal Fourway’ debate on the ‘Best Inanimate Object in Film/TV’ rounds off the mag along with our usual student photography section ‘Parallax’, the brainchild of our supreme designer James ‘Office jukebox with a moustache’ Brady. All in all that’s a fantastic lot that you really can’t complain about. Be advised that if you would like to complain that’s perfectly fine – but we will begin a Great Purge of UCD and go all Stalin on your ass to find out who you are.

POETRY 13 Poetry - Holly Furey, Oliver Ind, Ruth Murphy, Ryan Murphy

TO INFINITY AND BEYOND! REBEKAH & SHANE

27 Fatal Fourway: Best Inanimate Object in Film/TV 28 Parallax - Photography

CENTRE 14 Father John Misty – Rebekah Rennick MUSIC

16 Pond – Aisling Kraus 17 Superfood – Mark Conroy 18 Meltybrains? – Aaron Flood 19 Album Reviews 20 Dublin Gig Guide – Sean Hayes 20 Radar: Laura Olivia – Kate Cleary

FASHION&STYLE

21 Kiss Me Now shoot - Lucy Coffey 22 Street Style 22 Copenhagen Fashion Week - Louise O’Toole 23 Vintage Vamp - Siobhan Carr

ARTS&LITERATURE

24 A Voodoo Free Phenomenon – Heather Law 24 Little White Lies – Seán Hayes 25 Performance Art – Lauren Moore 25 Emerging Writer: Alan Cunningham – Patrick Kelleher 26 Eilis Ni Dhuibhne – Patrick Kelleher

what’s hot & What’s not

Soapbox Why Stephen Fry is wrong about God

Hot

Not Hot

ending a night on ‘That’s Amore’

Taking Linkedin Seriously

“It’s like the whole town has come out to sing” said the DJ, right as he dropped this Dean Martin classic and then he walked away in to the night to become one with the hooley. As well as instantly fabricating an invisible Italian village for you to session with, this tune demands nothing less but happy swaying by way of dance move. So no one can call you out for being a wrecked mess at closing time.

If you can list ‘cat herding’ and ‘tea’ as skill sets, why wouldn’t you? What your future employer really wants to see is the ability to have the craic. Probably. Don’t set the bar too high with responsible profilers or generous self-plugging, as this will only cause future disappointment. What would your Bebo self say if it could see you taking yourself seriously on the internet? It wouldn’t be your other half, that’s for damn sure.

Crystal Maze

Expensive Naggins

Watching a team of duds and goons unsuccessfully escape from bogus riddle rooms is objectively the best kind of telly [citation needed]. As the 25th anniversary of TV’s best challenge-based gameshow passed last weekend, there’s a resurging demand for more Crystal Maze. This is coincident with a resurging demand for more crystal meth, suggesting that the two are commonly confused in scagged-out google searches for the popular drug.

Existing solely for the purpose of bants and hooley, Otwo claims not to know of current affairs and all their goings-on. But have yiz heard they’re making gargle more expensive? Fuck sake lads. Yiz can’t be doing that. The absolute hack of that law. Hopefully The Man will keep draggin’ his feet on instating this scaggin’ policy, allowing us all to get baggin’ more naggins and flaggins than… Bilbo Baggins.

Tinder Descriptions UCD Library’s Onesearch Mainly just a lad lookin for de craic nothing serious and no punctuation or logical flow love Man UTD few pints with the lads up in Dublin for few years now yeh no it’s grand lookin for a bird who’s up for a laugh but not too much haha love the darts goin cinema Breaking Bad class show we’ll just tell everyone that we met on tinder UP THE KINGDOM if ye want some I’ll give it ye.

OneSearch? Might it better have been called OneBigFatPainInTheTits? Yes. It might. The new library website will only retrieve the books you want if the tide is out and the corn is in full harvest, or sometimes it works fine on a Tuesday around lunchtime. For the most part though, it’s a disgrace to the name of James Joyce, who single-handedly built up that library from nothing but second hand books, a piece of string and some pogs. For more literature on this famous achievement, consult OneSearch @the UCD library.

Mystic Mittens Aries

Libra

You thought you were going to be spending Valentine’s Day all alone. You were right.

Playing Candy Crush for eight hours straight seemed like a good idea at the time. You should really find a hobby.

Taurus

Scorpio

Eating an apple after your fourth Domino’s delivery of the week does not make you in any way healthier. Go to the gym .

Your attempts to brush up on your current affairs knowledge will backfire and will not make you a more ‘rounded’ person. And no, ISIS is not a make of ice-cream.

Gemini It took you three years of college to discover you never walk in late to Theatre L. Enjoy the long walk down to the front. Oh, and don’t trip.

Cancer Your chances of not getting the shift on your next night out are about the same as Australia taking part in the Eurovision. So yeah, quite high.

Leo You didn’t really have to wait until this month to get your next fix of The Walking Dead. Looking in the mirror the morning after the Arts Ball would’ve given you a glimpse of the undead.

Virgo Your attempts at a Sober January went well. Getting yourself hospitalised on February 1st to celebrate was a slight setback for the liver though.

Sagittarius Tell your Nan that Stephen Fry is a mental patient. It will slightly soothe her hatred towards his religious views.

Capricorn Do not worry, no one will ever learn you were the only person who signed up for Blind Tinder in the Clubhouse. Unless they read this, Diarmuid O’Shaughnessy, First Year Science.

Aquarius You will spoil your ballot in the Welfare officer elections in favour of write-in candidate Shold R. Tucrion. You will feel undeservedly smug.

Stephen Fry thinks God Is to blame for the World’s suffering. he’s really too busy pestering Ray MCGrath In a recent RTÉ interview, Stephen Fry said that God, if he exists (which he doesn’t), is a total bollocks. How, for example, could an all-powerful and benevolent creator possibly tolerate the existence of childhood illnesses, or a parasite that cannot survive without burrowing through a child’s eye? Nothing particularly new or original there, but Fry’s comments went viral, and have now been watched by at least seven billion people on YouTube. Understandably, religious commentators have been queuing up to tell us why Fry is wrong, and how God is actually really nice. Having worshipped Stephen Fry for as long as I can remember, it feels almost blasphemous to question his infallibility. Yet, to be honest, I think he’s wrong. It’s not fair to suggest that God, if he exists (which he doesn’t), is responsible for all the pain and suffering in the world. He’s far too busy waging a daily war of minor inconvenience against me. He simply doesn’t have time to even think about preventing terrible events elsewhere. Making my life a misery is a full-time job. Just yesterday, while enjoying a nice cup of tea, I felt a sudden urge to sneeze. I didn’t even have time to swallow it, and unfathomably, a great big mouthful of tea went everywhere – all over my jumper, my laptop, the carpet and even the wall. And then I started choking on the small amount of tea that hadn’t just redecorated my room. It was my first and only sneeze of the day. And it was also my only cup of tea. It’s obvious that these two events couldn’t possibly have coincided by some unhappy accident. The only rational explanation is that God, if he exists (which he doesn’t), decided to have a laugh at my expense. I’m sure you think I’m just being paranoid; everyone thinks I’m paranoid. They don’t say it, but I know it’s what they’re thinking. I’m not being paranoid (so stop calling me paranoid). These little things happen all the time. Last Friday, I was waiting for an important parcel to be delivered. I decided to have a quick shower when – lo and behold – just as I was all lathered-up (go on, let that mental image seep in) the doorbell rang. I jumped out of the shower, hastily threw some clothes on and ran down the stairs; still soaking wet and covered in suds. When I opened the door, it wasn’t the courier at all. It was just some pensioner selling tickets for a charity raffle. I didn’t bother buying a ticket because I know God, if he exists (which he doesn’t), would never allow me the pleasure of winning anything. I’ve never won anything in my whole life. How much more proof of God’s malevolence do you need? A religious individual might suggest that, far from being the work of a mischievous God, my catalogue of everyday disasters is all part of some higher plan. Of course, I’m far too humble to suggest that God has a special plan for me alone, or that I’m perhaps some sort of messiah. I’m not suggesting that at all, but it’s definitely worth thinking about.

Pisces You will sign up to present a show on Belfield FM to see how many Breaking Bad references you can sneak in in one hour. Now say my name, bitch.

Back to School with Conor O’Toole conor o’toole takes the time to outline the basics of becoming a culturally iconic painter You should learn to paint! I’ve recently taken up painting and it’s great. I had a lot of kid’s paint from when I was a kid. I didn’t wanna throw it out. I also had an old set of blinds that looked a little like canvas. I didn’t want to throw those out either. So I went and bought some paint brushes in the shop. And I certainaly didn’t want to throw those out. The first thing to do before you start painting is turn on the lights. Or, if it’s the daytime (or you’re near one of the poles and it’s the time of year when there’s twenty-four hour daylight) you can open your curtains or (if you have venetian blinds) you can open your venetian blinds. This will allow you to see your canvas and paints with extreme clarity. Very few painters paint in the dark; I could name a few, but you’d never have heard of any of them because their paintings are shit. The first portrait I did was of myself, not because I’m really vain, but because I couldn’t think of anyone else I could paint a portrait of without seeming like a bit of a bizarre-o-ball. Also I’ve got great bone structure in my face and dress pretty well and thus I am very portraitogenic. My favourite painter is Vincent Van Gogh because his work is so textual and colourful. He used a technique called impasto, which involves laying paint on the canvas really thickly with a brush, or a painting knife; the least threatening of all knives; below butter knives, plastic knifes, and, of course murderers’ knives. I tried to imitate Van Gogh’s style, but I didn’t have enough paint to effectively layer it, so I kind of just did some swirly bits and it more or less worked out

Very few painters paint in the dark; I could name a few, but you’d never have heard of any of them because their paintings are shit

the same. I was really happy with my painting, and it only took about fifteen minutes. None of my work has gone up for sale yet, but if my self-portrait goes for even a tenth of what Van Gogh’s go for, I’m going to very rich quite soon, which’ll be great. And I think that’s a pretty humble estimation; they always say an artist is their own worst critic. So I guess we’ll revise that up to a fifth of what VG’s sell for. Plus, I’m still alive so the buyers can even check from looking at my real alive face how accurate the self-portrait is. There’s no proof that Van Gogh’s are anything like him at all. Maybe he wasn’t ginger at all, maybe he just bought too much orange paint one day and needed to use it up. I think you should give painting a go, because it’s tops and is a cheap way to make your dwelling more tolerable. You can even cut out my portrait here (for free) and stick it up to start your collection! If you’d like to see more of my paintings, I usually post them on Twitter, at @ConorOToole.

image: conor O’Toole

Clippit the office paperclip guy catch you on the clipside

o Clipz,

Bifto

C’mere, I fell out with a friend of mine cos I accidentally drank her good buckfast last week. Apparently her fella got her this bottle the first time they rode so she was savin’ it fer her wedding or Life festival or something. Whatever. Anyways I just slaked it all, and then she unfollowed me on twitter the next day, the absolute bint. Like people are gonna drink bucky if ye just leave it lying around the back of the liquor cabinet? Should I bother being mates with her again? Can bucky be my new mates? Benedie x

HI!

I can’t decide what to do next year. I applied for Erasmus in Amsterdam, but I’d love to go on a J1 to Colorado. I really can’t afford both, but they each have so much to offer. Like I heard they have these clubs in Colorado now where they only sell grass. But then like, the dam would be a year-long hotbox and all the lads could come visit? I dunno which would be better for the big fat sesh. This is the hardest decision I’ve ever had to make. Blaze it?

I am Clippy, your Office assistant. Would you like some assistance today? It looks like you’re writing a letter to an agony aunt advice column. Would you like help? • Get help writing the letter • Just type the letter without help • Smoke a fat cone It looks like you’re trying to spell ‘Szechuan’. • Did you mean to say ‘the big fat Szechuan’? • Did you mean to order a 3-in-1? It looks like your keyboard settings are working correctly. What would you like to do? Clippit.

tory Clipbag?,

It looks like you’re trying to spell “breakfast”. This is a disambiguation, as breakfast does not get you fucked fast. The fragment “Whatever” is an incomplete thought. Consider adding a subject, verb and predicate. It looks like you’re trying to justify alcoholism! Did you mean to say: • You can stop any time you want • “It’s just to take the edge off” Perhaps you should speak to Merlin the Office Wizard. It has been 3 weeks since his last drink. Click to animate! Clippit

edinburgh – The Dos and Don’ts Edinburgh is the perfect compact historic destination for Irish students on a budget for a weekend break, with a great nightlife and cheap and frequent flights. Kieran FitzGerald, born and raised in the city, gives you his dos and don’ts

edinburgh castle which sits at the top of the main street in edinburgh

try the local cuisine such as the deep fried mars bar, salt ‘n sauce on your chips, Irn-Bru, Tablet (a hard sugary fudge-like sweet), Nairn’s Oatcakes, made in Edinburgh, shortbread, and of course the stereotypical Haggis, ‘neeps and tatties. However do not be fooled by Edinburgh Rock, it is horrible and bought only by tourists, nobody else eats it out of choice. There is also a wide range of alcoholic drinks brewed in Edinburgh and across Scotland from our whiskies to the craft beers, and many incredible pubs to drink them in.

DON’T

mention the trams. These are a very touchy subject, particularly with taxi drivers, having made their work harder, and taken some of their fares. It cost the taxpayers hundreds of millions of pounds for a service that almost no-one desired. It is nowhere near as useful as the Luas, with only one short line that also has a bus service that is cheaper, more comfortable and quicker. Steer clear of tram rants at all cost.

go on a ghost tour or a bus tour. There are many options for both that provide for different tastes and are very enjoyable and not the tacky experience you might expect. The bus gives you some of the best sites in Edinburgh with hop-on hop-off trips. The ghost, or witchery tours are very popular and involve the spooky stories of Edinburgh’s haunted history.

DON’T

call it England. It is not a part of England; it is a part of Great Britain and the United Kingdom. Just as Irish people react to being told they are in Britain, Scottish people will

be very offended if you refer to Scotland as a part of England. And it is surprising how often people make this unfortunate mistake.

visit the sites like Edinburgh Castle, the many free museums and galleries, the Scott monument, the Scottish Parliament, or Mary King’s Close; an underground tour where you can travel back in time and experience Edinburgh from 15001800s with intriguing history and ghost stories.

DON’T

be afraid to discuss the independence campaign. It is a political storm that continues to rock Scotland to the core, and everyone you ask will have a strong opinion. It can provide very interesting conversations with strangers, and people will be very open and willing to discuss their views.

try to coincide your trip with the largest arts festival in the world in August to see Edinburgh at its best. There are theatre shows, comedy and street theatre for all tastes, either free or at very low prices. There is also Hogmanay, the term for Scottish New Year and its world famous celebrations. The city comes to a standstill for the street party and huge fireworks displays, along with many other events surrounding the night itself such as a torchlight procession. Christmas in Edinburgh is also not to be missed.

people from Edinburgh being unwelcoming, they are happy to help. Edinburgh is smaller than Dublin so you can walk everywhere, and you really should. The attractions, accommodation, restaurants, clubs and parks are all within easy walking distance. Parks, such as the Meadows and Holyrood Park, with Arthur’s seat (the extinct volcano), are very close to the city.

visit the Cowgate for the nightlife, with plenty of pubs and clubs in close vicinity, all suitable for a student budget, and popular with the students of Edinburgh’s four universities. There are many hostels and restaurants in the Cowgate or nearby, and of course the obligatory Irish pubs if you just have to see the GAA.

DON’T

waste your time shopping on Princes Street. Although it is the city’s main street, and provides striking views of the castle, it has very few shops that you wouldn’t find in Dublin or any other major city across the world. Cockburn Street (pronounced Coe-burn!) and Victoria Street are more scenic and cater for unique student tastes.

DON’T

come without a map. Edinburgh can be very confusing for tourists, built on seven hills with winding roads, hidden passages and overpasses. Despite the incorrect perception of

arthur’s seat Photography: kieran fitzgerald

Food and drink

Dublin’s Pop Up Stars Finding a café in Dublin that makes you feel as welcome as in your own home is rare. David Corscadden talks to Lee Coates of Third Space to see how the café is managing to serve wholesome meals to the masses while connecting the community around it

A common issue that faces people living in apartment complexes and built up areas now-a-days is not knowing any of the people that live around them. This is especially true in built up areas around the city centre. Many people simply do not know the people they may pass each day as they walk out their front door. This is an issue that is at the heart of Third Space Café in Smithfield and one that it hopes to tackle head on. As Third Space Manager, Lee Coates, explains “We hope to be a space where people can come and eat good food, healthy food inexpensively, so that they can come regularly. We want people to feel that Third Space is literally their space. Whether they are coming to have breakfast or a coffee with Friends or meetings or even just using it as a social space after we close.” From its establishment three years ago this month, Third Space has lived up to this dream and has offered a place away from home that people can come and feel as though they are in their own environment. “We love to see regular customers coming through. We have some people who come two or three times a day. We get to know them and we consider them as our friends and have great craic with them in here” explains Coates. She goes on to explain that their mission to introduce neighbours to each other is one that has worked really well. “We actually had a conversation with two people at an event we did for people living in the apartment block here and we discovered that two people were living on the same landing but had never met in three years but they

We love to see regular customers coming through. We have some people who come two or three times a day literally and there is lots of those people

met and said hello here.” As a café Third Space offers coffee lovers a very relaxed atmosphere to sit back and pass a few hours. More importantly for the local area it operates as a space for the community to come together and use the space as their own. This works greatly to create a sense of belonging for everyone who walks through the doors of the café. This is strengthened by staff, many of who volunteer in the café, who without fail welcome each customer with a smile and as Coates say ‘has great craic with the customers’.

While a warm cosy atmosphere may welcome customers to Third Space each time they vist, it is the reliable high quality, wholesome food at a very competitive price that keeps people coming back day after day. Third Space offers an extensive breakfast and lunch menu, with Coates explaining that for the chefs good quality ingredients and creating healthy food that everyone will embrace is paramount when setting the menu. “Our chef likes to create good, simple food and wholesome food. That is our thing. We don’t want to compete against fine food dining. We enjoy serving

the range of healthy food that we do and it has been really well received. People have their favourite salads and their favourite ciabattas.” She also highlights an awareness that dietary requirements are changing and an active move in the café to make more of the food on offer accessible to people with specific dietary needs. With up to 400 cups of coffees being sold a day in Third Space quality and craft are terms which are not taken lightly. For the baristas in Third Space coffee is an art and one which must be practiced and perfected to ensure the highest quality coffees are

photography: ryan mccarrell served on a daily basis. This fight for quality goes down to reviewing the milk being used to make the coffees. “Many of our coffees would be milk based, like cappuccino or a latte or even flat white, and they are so very important to our business. We want people to love our coffee. The flavour and texture of the milk when it is created by our expert baristas is what people come back for and we felt we just needed to up the quality and we are delighted that we have taken on a new supplier.” One of the highlights on the Third Space calendar each month is its Square Meal, which has grown in popularity since they started eight months ago. Square Meal was a concept that was introduced by Third Space founder and visionary as Coates calles him, Sean Mullan. “He wanted to create something that was a specific event and an invitation for us to welcome people in and do the connecting and the sharing and the eating in a defined time in Third Space. So the last Friday of every month is our Square Meal event” explains Coates. Each month the meal takes on a new culinary theme and the events have been growing in popularity each time, with over 60 people attending the most recent one which raised money for the Irish Blue Cross.

A rather unusual concept for Ireland, guests are asked to pay what they believe the meal is worth when they are leaving. Following the cost of the meal, which is kept as low as possible, any profit is donated to a local charity or community organisation. With such a strong base already established in Smithfield, Third Space has its eyes set on bringing its mix of community and food south of the Liffey by opening a second café on Aungier Street. “No it will not be called Fourth Space” Coates is quick to point out with a chuckle. Third Space Aungier Street is set to open around May of this year.

Following our competition with The Cupcake Bloke in Issue two, Graham Herterich has picked the winner of the Observer Cupcake competition. The winning entry was a Savoury Cornbread Cupcake with Goat Cheese submitted by Cassandra Tooley. Herterich will create the winning cupcake on the weekend of March 26th, 27th and 28th 2015. Follow the University Observer on Facebook for more information on the competition.

A Frugal Guide to Food

With budgets often very tight when it comes to student living, Niamh O’Regan talks to Caitríona Redmond about shopping and cooking on a budget The life of a student is (often) a frugal one, fraught with questions of; what’s for dinner? Do I have even have food for dinner? Students, especially those living away from home are working off a budget which they must not only party on, but also feed themselves properly. Enter Caitríona Redmond, founder of the blog Wholesome Ireland and the author of the cookbook Wholesome. Talking to her is like talking to your own mother, or an enthused relative who hasn’t seen you in years; energetic, welcoming and happy to talk about anything, especially food. Her focus is on cooking quality wholesome food, but on a budget. Simple ingredients you have in cupboards already or that are widely and cheaply available, and using them to make delicious food without damaging the bank balance. For those who do the shopping, Redmond finds that the greatest saving is not to be had in the major discount supermarkets, but in the Asian and Polish ones. She recommends that those working on a budget, of which almost all students are, to bring a large bag and some extra cash next time they go into the city centre and stock up on large bags of rice and fresh fruit and vegetables and other store cupboard staples from Asian supermarkets. Also get dried ingredients like beans or other pulses as well as pasta from Polish supermarkets, where you can often find other things which are not sold in mainstream supermarkets like set yogurt cheeses. In terms of saving money in the larger supermarkets, own brand is the way to go. “The only branded thing I’d buy now is tea”, and while she finds that Ireland doesn’t quite compare to the huge range of own brand products available in supermarkets in

In terms of saving money in the larger supermarkets, own brand is the way to go. “The only branded thing I’d buy now is tea”

illustration: rhea cassidy the UK, we do have some and what is here is mostly very good and of high quality. Fresh fruit and vegetables when in season, are cheaper everywhere so if you are set on buying Irish produce, in the current season, cabbages and turnip are generally lower in price. However, due to costs of food, buying Irish is not always an option, but keeping up vitamins is. As well as the Asian Supermarkets, LIDL and ALDI are great options for maintaining your five a day, with weekly offers on selected items.

Arguably however, the cheapest way of getting high quality, in season, fruit and vegetables is to grow your own. “I think it’s a fantastic idea”, even for students. If a group of students got together, with the idea of growing their own produce, it’s relatively inexpensive in terms of renting an allotment and seeds are “quite cheap” and you don’t need to grow loads, and what you do grow doesn’t have to be high maintenance. There is also a growing trend towards “Guerrilla Gardening”, whereby one utilises public

spaces to grow things, or instead of planting flowers in your flower beds, you plant seeds or runners, in such a way that you can still have a beautiful garden but decorated with lettuces and peapods, instead of roses and daffodils. A final tip for saving on the shopping is simply, to not to do so much of it; Redmond “loves cooking with leftovers” and that’s not to say she enjoys reheating things in the microwave “one of the more recent blog posts there is a chicken pie, but basically it’s about

using up the leftovers from a chicken”. While not all students will have leftovers, as often they are cooking for one, when they are there it is important for your pocket that they don’t go to waste.

Caitríona’s blog can be found at www. wholesomeireland.com. Her book Wholesome, published by Mercier Press, retails in all good bookshops nationwide and is also available for online.

A Wine Goose Chase

With so much choice on the market, David Corscadden talks to Susan Boyle about finding the right wine for you and the cocktail of wine and drama When you first hear of a person mixing drama and wine, you immediately conjure up visions of drunken arguments between friends. However for Susan Boyle it does not conjure up such things, it simply means the coming together of her passion for wine and a talent for acting and performing. Boyle graduated from Trinity with a BA in Drama and Theatre Studies and has, as she puts it, an interest for wine tasting thanks to growing in the family pub and off-licence in Kildare Town. “My Dad would get these invitations to wine tastings and I was a little bit young when I started college so I found it much easier to and put on a nice gúna and go to a fancy wine tasting and taste wine than it was to get entry in to my college bar” explains Boyle with a chuckle. Talking to Boyle her passion and deep knowledge of not just wine but everything that goes into making it is clearly evident. It is only understandable therefore that following college she studied up to advanced level in wine tasting with WSET (the Wine and Spirit Education Trust) and became a wine and drinks consultant. Through her show A Wine Goose Chase, Boyle has managed to marry her vast knowledge of wine and sheer talent for performing together and receive rave reviews in the process. A Wine Goose Chase examines the many surprising connections Ireland has to the world of wine. As well as Irish connections to many of the famous vineyards around the globe, Boyle also explains that the first commercial corkscrew was made by Irish man Thomas Reid in Dublin in 1790. Boyle believes that we in Ireland are at a distinct advantage when it comes to wine. “Because wine is an import for us we get it from all over. Even on the

,most regional or basic wine list you will see at least four or five different countries represented and you will find at least two or three continents too and that is incredible for a small little country like us that we have such diversity.” This is why Boyle says the easiest way to find a wine that works for you is to experiment and find the right one. She suggests “if you spent a summer teaching English in Spain, think of the wines you might have tasted there. Look for those wines again and try them”. She also suggests meeting up with friends and swapping wines to experience ones from different areas and regions cheaply. For Boyle a camera or phone is not just for remembering drunken escapades of the previous night. She highly recommends taking photos of wine bottle labels so you can ‘remember the details that are easily forgotten the following morning’. For those who are very unsure about wine Boyle views small independent off-licences as a great tool for those looking for wine. “You will find bucket loads of people who want to help. You learn by asking and admitting that you have loads more to learn “ When it comes to paying for wine Boyle highlights the high tax rate Ireland has on wine and reminds people that almost a fiver ‘goes straight to the government’ on top of the price to make the bottle and transport the wine. To get good quality wine she recommends investing a bit more to ensure what is inside the bottle is worth it. She also advises against quarter bottles saying “The little cuteness of a quarter bottle tends to eat up the money that should be going in to the grape juice in the bottle”. If you do experience the ‘first world problem of left over wine’

Because wine is an import for us we get it from all over. Even on the most regional or basic wine list you will see at least four or five different countries as Boyle puts it, it can kept and used to make sauces and stews ‘taste gorgeous’. On what to look out for in 2015 Boyle suggests becoming accustomed to sherry. “Rumour is that sherry is getting cool. I love sherry, it can be a very acquired taste and it can confuse people because there are so many different styles. But there is definitely a resurgence of it in London at the moment.” Boyle suggests starting off sharing a bottle with friends and finding one that works for you. More importantly she says “take the sherry bottle out of the hands of the old grannies and give it back to the youth.”

More information on A Wine Goose Chase can be found on awinegoosechase.com. You can find Susan on twitter under the handle @miss_susanboyle

Games

Apotheon Apotheon is a game that oozes style out of its digital pores. Greek mythology comes in only so many flavours in gaming, and if the God of War is like a grill grizzled steak, then Apotheon is like a Ferrero Rocher dipped in honey by comparison. It plants its feet firmly in the mythos as well, playing its narrative out like an epic, ancient tragedy of old. The hero of the story is the dubiously pronounced Nikandreos. His hometown of Dion isn’t doing so hot with the gods as of late. The fields are bare, the forests dead and the skies stuck in twilight. Soon he learns that Zeus, the big god boss, has lost faith in humans and wants them gone for good. Time to step up and take action. With the help of Hera, wife of Zeus, Nikandreos must topple the gods one by one. The game is a side scrolling action platformer. Getting from point A to point B is primarily the name of the game here, but there is also exploration abound, with many a branching path and secluded passageway to reward the observant player. Combat is an intricate dance, weaving in and out of enemies and timing your hits, as though it were a game of tug of war. You can take on foes with either ranged, melee or miscellaneous weapons, each with their own unique upsides and down. Knives, for instance, hit quickly and painfully but require you to get more than a little close in order to use them effectively. Spears on the other hand take longer to prime but allow you

to clean up the aisle from a safe distance. Your approach simply depends on preference and the impeccably balanced difficulty, extending to the third hardest difficulty unlocked by beating the game once, means that no strategy is better than the other. The only area where the gameplay really falters is the platforming. It controls awkwardly and clumsily, but luckily dedicated platforming segments only comprise a small portion of the adventure. The enemy variety is strong enough to keep things fresh throughout the eight-hour long campaign, but where the game truly shines is in the boss battles. Each god you tussle with, hits you with everything they’ve got and it makes for some utterly show-stopping battles. Lastly, friends can duke it out together in the multiplayer area, putting the combat mechanics to the mettle. Indie games and art styles go together like butter and bread, but even so, you’ve never seen a game like Apotheon. The game looks like ancient hieroglyphs in motion so to speak and it is absolutely beautiful. Every character but Nikandreos is voice acted, and everybody delivers a strong performance across the board. The soundtrack is equally excellent, and in tandem with the darkly realistic portrayal of Ancient Greek storytelling and culture, makes for a haunting and poignant experience. On the surface, Apotheon appears to be all style, no substance but that couldn’t be further

Developer: Alien Trap platform: pc Release date: out now

from the truth. This is one of the most fun, intriguing, and stylistically provocative games to come out in a while and you’d do well to pick it up when you get the chance. adam donnelly

grow home Grow Home is a simple new sandbox game created by a small group at Ubisoft Reflections, an offshoot of Ubisoft best known for creating the Driver series. This new game seriously deviates from their previous releases and interestingly enough wasn’t originally planned for public release, rather just a small project for a few staff members. The game is therefore somewhat humble in design, leaning towards simplicity and sincerity rather than anything too overly complicated. As far as story goes there isn’t anything too substantial here. Our protagonist is a small robot named B.U.D. (Botanical Utility Droid) who has been tasked with restoring its home world by growing a “star plant” and harvesting its seeds. As this plant grows B.U.D. gains access to new places to explore, all the while collecting crystals and gaining new abilities. The simplicity of the story combined with the colourful visuals creates an overall childish feel which could come across as annoying in other games but is actually pulled off very well here, managing to create a very welcoming and quite endearing world. This childlike feeling is most clearly encapsulated in B.U.D., who waddles around almost like a toddler and is assisted along its journey by M.O.M., its ship’s computer. Like with most other aspects of the game, the primary focus of the gameplay seems to be simplicity and clarity. The controls are straightforward, but very effective in their execution. One of the game’s strongest features is its climbing mechanic, in which the player controls each of B.U.D.’s hands individually and uses them to grab onto surfaces and climb manually. This does feel quite awkward at first but it quickly becomes fluid and works very well with the

Publishers: Ubisoft Developers: Ubisoft Reflections Platforms: PC release date: out now

game’s open environment. The game is focused on exploration and, though there are some other creatures that roam around with you, there is no combat to speak of. Interaction is confined to the environment and the objects found therein rather than introducing any other characters. This approach is very effective as it allows focus to be placed entirely upon exploration without interruption. This relaxed style of play also gives the game an overall feeling of serenity, closely in keeping with the childlike tone that stems from its colourful design and simple plot. The game’s visuals are actually one of its strongest points, complementing the simplicity of plot and gameplay very well while also managing to be quite striking in its own way. The colours are bright, yet not garishly so, and the graphics are

very minimal. This simplicity of design means that the world that B.U.D. explores is not cluttered or confused; it has a clarity of structure which lends itself well to the game’s explorative intentions. There is a clear sense that nothing is wasted here. B.U.D. can interact with almost all that it is presented with, it can collect flowers that it can use to glide from great heights or it can bounce on leaves to reach higher areas. Despite this simplicity the world actually manages to stay quite interesting, as growing the star plant introduces new areas to explore and new objects that B.U.D. can use to further add to the gameplay. Overall while this game is nothing spectacular it has some interesting ideas and is very well put together. The simplicity of the gameplay can sometimes become tedious but the game isn’t really long enough for

this to become a major issue. If you’re interested in something fast paced and exciting then this probably isn’t for you, but it is an interesting and surprisingly compelling game and is worth playing if you’re just looking for something nice to pass the time. heather law

A Sense of Disc-Content

With Downloadable and Disc-Locked content becoming more and more the norm, Karl Quigley looks at the reception of this in the gaming community and what it could mean for the gaming industry as a whole Downloadable content (DLC) appeared first, at least in the form most know it, on the Dreamcast. And while the limitations were tight, it was still considered a massive breakthrough for gaming. The ability to offer new content to players through an online medium was something that would speed up income for companies and allow players to get more of the game they loved. These days, it’s rare for a game to not have some form of DLC. But in the modern gaming age, it is becoming more and more common for developers and publishers to offer such things as ‘Day-One’ DLC or pre-order bonuses. Day-One is, as it suggests, content which can be purchased on the first day of a game’s release. Many gamers react harshly to this system. If DLC can be offered on the first day of release, surely it could be part of the original content offered on the actual disc or download. This has led to many accusations of content cutting.

This is the current state wherein a developer is honest, they are attacked. Evolve is an untested project, and many were uncertain of the initial price, never mind the knowledge they would have to pay more in the future. However, many titles and developers do not announce such things. Electronic Art’s (EA) former CEO was a supporter of the ‘Play Now-Pay Later’ model. In this model he states that after a few hours in a game of Battlefield, a player will not be money-conscious. He says that if told they were out of bullets and it would be two euro to reload, they would probably pay it. But this is not the only type of paywall locked content; there is one which is despised by all players. Disc-Locked Content is, in theory, the exact same as DLC. Disc-Locked Content is instead unlockable content already in the game files.

the paid-for upgrade of horse armour was one of the first notable controversies of dlc game: elder scrolls 4

Many are not bothered by this Day-One system, as a lot of DLC can be ignored. An exclusive weapon, or some extra supplies at the beginning of a game is an easy thing to look past but some of this purchasable content is not artificial or aesthetic. One such example is that of the ‘From Ashes’ DLC for Bioware’s Mass Effect 3. It involved the addition of a new character, one who is extremely unique and steeped in the history of the trilogy. This character could have a massive impact on the story, with his interaction in the world and through his very presence. But his presence was hidden behind a paywall, this is similar to 2K Games with their recently released game Evolve, announced some time before release of their DLC model. An extra monster was available to play for those who pre-ordered and it’s been stated that more hunters and monsters will be available to buy later on. They have stated however that any new maps and game modes will be free to download. Monsters and hunters, regardless of purchase, would be seen in-game when playing with those who had bought them. This model was met with extreme criticism. Evolve’s creative director, Phil Robb, when talking with Destructoid magazine said “I don’t like people thinking we’re doing underhanded, dirty shit.” He argued that there was no pay-to-win model, which involves a player being able to give themselves an advantage by making purchases in-game with real money. The main gripe players had was with the statement that Evolve was being built from the ground up for DLC. The sixty euro price tag was only the start; if one was to buy all the currently announced monsters and hunters one would spend around one hundred and twenty euro.

When bought it is not content to be downloaded, but instead a code which unlocks the content from files you already bought for the sixty euro price tag. This has been defended by some developers stating that it allows for smaller downloads, ease of access and the ability for non-DLC owners to view the locked content. Capcom is one heavy offender of disc-locked content. Street Fighter X had up to one hundred and ten dollars’ worth of disc-locked content and after this discovery, they claimed they would curtail their use of disc-locked content. Resident Evil 6 had an extra playable character and difficulty setting hidden on the disc as well. And prior to Street Fighter X, Dragon’s Dogma had several additional quests in disc-locked content. the success of red dead redemption’s add-on pack saw it be released as a stand alone game

if told they were out of bullets and it would be two euro to reload, they would probably pay it

There is a worrying complacency among development team but games like Watch Dogs developers and publishers for the well-being and Assassin’s Creed: Unity and Triple A titles of the customer. Instead of creating games from Ubisoft, a world renowned developer for the consumer, for the gamer, the games and publisher. Both were plagued with bugs are created solely for profit. DLC just provides and errors to the point of the game being an accepted conduit to increase this revenue unplayable for many on launch. for companies. Disc-locked content is the best What does this mean for the gaming example of this willingness to exploit. The community? Some say that the controversy confidence that a customer will buy their over DLC and disc-locked content is just a phase game, and any future games, despite any extra - one where developers and publishers are purchases, must be made. And there is such figuring out the best place to stand with such assurance in this fact, they provide this content questionable selling tactics. If these companies on the disc but simply one code away from don’t figure out where to stand soon, the the player’s grasp. Many will kick and whine players may find themselves standing and throw up a fuss, but companies will still knee-deep in unfinished games offering the release unfinished games for full price. Not remainder for download later. games that lacked ambition or an experienced

Film and Television

Les âmes de papier/ Paper Souls French film, and in particular French comedy, is a strange thing. Paper Souls (or Les Âmes De Papier as it is properly named) follows in a tradition of films unsure of what it is they want to achieve. Shot in a way reminiscent of a Woody Allen comedy and dealing with subjects similar to Anthony Minghella’s Truly, Madly, Deeply (1990) the film follows a man, Paul (Stéphane Guillon), who writes eulogies for a living. Unfortunately, he falls in love with a widow and his job of bringing the dead husband to life in speech becomes ironically twisted when her dead husband turns up fully alive on his doorstep. In parts comedy and romantic comedy, the film sees Paul embark on a journey of self-discovery, sparked by the request to write the eulogy from Emma (Julie Gayet), whose husband died abroad, and whose son has become disconnected from the world. Early scenes of budding romance and tender moments would give the impression that this film was a textbook case of romance: guy gets the girl, the kid opens up, and we all live happily ever after. Happily the dead husband, Nathan (Jonathan Zaccaï), arrives and throws a comic spanner into the works to get the film up to pace. The film is a whimsical comedy of errors. The inconveniences of keeping a man who ought to be dead out of sight of his widow, explaining his presence when found out, and everything else that goes along with posthumous concealment, is riotously funny. What holds this film together, however, and stops it from falling from the realm of whimsical to that of flimsy and pastiche, is the solid cast of supporting actors and momentary subplots (or sub-thoughts) which appear throughout the film. One in particular,

concerning Victor, Paul’s aged neighbour (Pierre Richard), adds a depth and poignancy to this film that contrasts beautifully with the main action (and you would be hard-pushed to find a better ice-breaker than “So… have you heard about the Warsaw Ghetto?”) It becomes a delicate exploration of grief and mourning, and yet remains light-hearted, refusing to sink into the territory of maudlin sob stories. Overall, Paper Souls is a beautifully balanced film, taking elements of comedy and poignancy in good measure, and layering them over the inimitable backdrop that is Paris, with scenes such as the Pont des Arts nearly becoming characters in their own right. It is a film of few flaws, and those it has may be excused by its understated triumphs. And barring a few profusions of questionable language, it is also a film which has much to offer everybody, regardless of age group. In A Nutshell: A funny, fantastical, surrealist comedy that crosses genres and stands as a uniquely hilarious piece of art. Definitely worthy of a watch. Síofra Ní Sluaghadháin Director: Vincent Lanoo Starring: Stéphane Guillon, Julie Gayet, Jonathan ZaccaÏ, Pierre Richard Release Date: February 27th

love is strange

Director: Ira Sachs Starring: John Lithgow, Alfred Molina Release Date: Out now

With the upcoming same-sex marriage referendum in May fast approaching, there could not be a more perfectly timed release for Love Is Strange. Directed by Ira Sachs and starring John Lithgow and Alfred Molina, the film follows two men getting married after thirty-nine years of partnership. Films and television series about same-sex relationships are the hot topic of the moment, with this following the recent releases of Pride and Channel 4’s new television shows, Cucumber, Banana and Tofu. However, Love Is Strange approaches the topic in a unique way, following the elderly same-sex couple of Ben (Lithgow) and George (Molina) after they tie the knot. Their dream of happiness together is brought to a screeching halt, as George works in a Catholic school and is promptly fired when this new development in his relationship (which was never hidden) reaches the archdiocese. Out of work, George and Ben are forced to sell their apartment which they can no longer afford and seek help from friends. Ben moves in with his nephew Elliot (Darren Burrows), his novelist wife Kate (Marisa Tomei) and their son Joey (Charlie Tahan). George, meanwhile, moves into the apartment just below with same-sex couple Roberto (Manny Perez) and Ted (Cheyenne Jackson), both of whom are police officers. The film then follows Ben and George as they attempt to settle into their new environments without each other, and documents the testing time in the couple’s life. The two principle characters give wonderful performances, especially Lithgow, taking a daring turn as Ben, which is far from his previous work which includes Third Rock From The Sun and Interstellar. With the stellar performances of the two leads it is

very unfortunate that the two rarely share screen time together. The film regularly switches from Elliot’s apartment to Roberto and Ted’s, and the only scenes where the two are together are when they visit the housing office, when George visits Ben at Elliot’s apartment and when they go to a bar near the end of the film. Needless to say, these are the best scenes of the film, with the natural chemistry between the two actors making the scenes enjoyable and humorous, and their relationship believable. The film strolls along pleasantly, mixing scenes of enjoyable conversation with beautiful shots of New York accompanied by a soft, mesmerising piano score. However, there are times when this pleasant stroll feels rushed, the situation of the film is resolved far too easily and in a less than believable manner and there are a lot of unanswered questions at the end. There are numerous other relationships explored within the film other than Ben and George, and that’s what makes Love Is Strange so interesting. Rather than being a film purely engaged with homosexual and heterosexual relationships and the difference between the two, it concerns itself more so with human relationships, and how we interact with each other in this crazy modern world. In A Nutshell: A well acted, if poorly directed, film focusing on love an human emotion and avoiding the trend of simplifying homosexuality as foreign concept. Aaron flood

Suite française

Top ten Top Ten Insufferable Geniuses In TV

10 9 8 7 6

Lewis Litt - Suits

My fists clench in rage as Lewis Litt flashes on to the screen. What is infuriating about Lewis is that he is, behind closed doors, a genuinely kind human being. His incredible legal skills are invariably wasted screwing someone over for personal gain. He does however come out with a few gems like; “I’m Moby goddamn dick, and you just swam in my waters”.

Ben - Lost

As we grow to know “the others” Ben reigns as the undisputed puppeteer of the island. Unresolved childhood issues has turned Ben into a bit of a “Salty Sally”. Manipulative and narcissistic, Ben tends to get the better of his enemies. This, however, does not change the fact that his Daddy didn’t love him.

Velma - Scooby Doo

Based on the acclaimed novel by Irène Némirovsky, Suite Française is a story of a forbidden love in Nazi occupied France. The film focuses on the trappings of the protagonist Lucile (Williams). Lucile is trapped by her over bearing mother in law Madame Angellier’s (Scott Thomas) strict rules, trapped by the fear of gossip from the other townspeople and trapped along with the rest of France by Nazi occupation. After being called upon to house a German officer, Lucile’s entrapment seems unending. However, the arrival of officer Bruno (Schoenaerts) and the loving relationship formed between these two characters turns out to be Lucile’s only form of respite. Still trapped under the watchful eye of Madame Angellier and the gossiping towns people, and above all trapped by political differences and her national duty, Suite Française follows the development of her love and the tests these characters must endure to ensure its survival and their own. Suite Française’s dramatic depiction of life under Nazi rule is magnificent. The perfectly captured chaotic beginning of both the film and of the Nazi invasion immediately engulfs the attention of the viewer. This

attention is driven and sustained throughout the film by the exceptionally beautiful soundtrack, provided by the ever reliable Alexandre Desplat, and Dibb’s ability to incorporate so many different characteristics of Nazi occupation into the one plot, some where they are least expected. This unpredictability is a refreshing change from a world of shamelessly formulated Katherien Heigl type romance films. Unfortunately it takes a bit of getting into, starting poorly in some of the early scenes where Lucile is played as an overly naïve, small town country girl who’s moapy attitude is simply distracting and annoying, particularly when set against the strong, determined character of her mother in law. Indeed the mother in law seems the strongest character for a time and she is immediately forgiven for her strict nature when her unfaltering survival instincts become apparent. Thankfully however, Lucile gradually matures from her helplessness and Williams appears to settle more comfortably into her role as a maturing and loving woman than as a young, dependant girl. Throughout the occupation Suite Française creates an uneasy feeling that all is going relatively well but

an audience cannot help to question for how long? One of the most poignant lessons viewers will leave the cinema with is the consequences of gossip, of corruption and of the snowball effect these small town quibbles can have in a time and a place over run by such a severe force as the Nazis. Suite Française proves that war unmasks people and shows what they are truly made of, some for the better, some for worse. The film proves that no one is safe from persecution and no one can be trusted. In A Nutshell: A huge, encompassing, engaging historical romance with some unmissable performances and thought provoking drama at every turn. Catherine Martin

Velma, if you’re so smart, go get some contact lenses and stop wasting my time.

Malcolm - Malcolm In The Middle

The Krelboyne king. Malcolm tends to irk people with his undeniable superiority complex. Some would say Malcolm in the Middle depicts the hardship which young intellectuals often endure. It’s also arguable that it depicts a hormonal nerd with some questionable hair gel techniques.

Karl Pilkington - Idiot Abroad

Before you judge, just listen. Karl is a genius in his own idiotic way. Take for example; “If Dracula can’t see his reflection in a mirror, how come his centre parting is so perfect?”. It’s what Einstein might have called lateral thinking. The infuriation begins when Karl regresses into drivel (which is often monkey related). So we sit and wait for his next moment of genius.

5 4 3

LittleFinger - Game of Thrones Cunning and crafty, Littlefinger (A.K.A Petyr Baelish), plays a small yet pivotal role in Game of Thrones. The sole reason Little Finger makes the list is unbelievable ability to be loyal to no-one

and survive. Director : Saul Dibb Starring : Michelle Williams, Kristen Scott Thomas, Matthias Schoenaerts release date: March 13th

Megan - Drake and Josh *Whispers “Megan”, angrily*

Lisa Simpson – The Simpsons

She has all the cynicism of a middle age divorcee, without the conciliatory entertainment of watching them weep. Lisa’s intellect is hard to challenge. She’s a bona fide jazz musician, she has expertise in robotics and is a member of Mensa. Too bad she has no mates. This may come off as jealousy, but it really isn’t. I’ve come to the terms with the fact that I failed my Drumcondra Test.

2 1

Dr. House - House

When House isn’t solving mysterious medical cases he’s busy developing witty, nihilistic comments. A through and through curmudgeon, I ask: “When will House cheer up?” I suppose he gets tired of all the leg injury jokes. Can I get an amen?

Dr.Sheldon Cooper – The Big Bang Theory

With the body of a newly-shed reptilian skin and a dose of megalomania, Sheldon Cooper is quickly becoming one of the worlds most loathed and/or loved TV characters. Sheldon is just about as frustrating as an inquisitive mature student in an already depressing lecture. The king of infuriating geniuses.

Cathal Bergin

Film and television

Charles in Charge

Ian mulholland looks at the recent RTé series and its complex relationship with the real Charlie’s Legacy

In a Red C poll conducted for Paddy Power in the days following the broadcast of the second episode of Charlie, a surprising 15% of participants said they would like to see a “character like Charles Haughey as Taoiseach”. Among 18-24 year olds, almost a quarter held this view. While it seems those of us of a different political persuasion don’t need to start worrying just yet, it’s nevertheless curious that even today, knowing all we do about the man, he manages to continue to captivate so many. RTÉ’s three part series on the man is, as we are reminded at the beginning of each episode, a drama, not a documentary. However it still manages to pay more than lip service to the true history of Ireland’s politics during Haughey’s time. While not entirely unsympathetic to the man, the series tries not to pull any punches. There is a feeling though, that many events are simply being name-checked. Three hours and forty-five minutes may seem like a long time to tell one man’s story, but this is a story that spans almost fourteen years. It just about manages to squeeze in all the important events, a very impressive feat for a show which is primarily focused on the drama of politics. However, so much of what’s interesting about Charlie is due to events much later than the final episode’s 1992 ending. At first glance, there’s no reason that this series could not have been produced many years ago – say, after the Moriarty Tribunal published its initial findings on Haughey in 2006. What makes it all the more appropriate in 2015 is the events subsequent to that report. Much was made, in some outlets, of the fact that viewers would need to already be familiar with the politics of Haughey’s time in advance of watching. It was claimed that younger viewers who may not be old enough to remember his government would be at a particular disadvantage. In fact the show does a passable job of giving the audience enough information to follow along, even if some references might slip them by. But what has transpired since 1992 and since 2008, in particular, is as important. In one of the final moments of the last episode, PJ O’Meara recalls Haughey’s now-famous description of Bertie Ahern as “the most skillful, the most devious, the most cunning of them all.” It’s clear at this point (as it was at the time) that Ahern is Haughey’s preferred successor. Aside from two-and-a-half years under Albert Reynolds, there is an almost continuous connection between the moment Haughey became leader of Fianna Fail, and the economic crisis that followed shortly after Ahern stepped down. As if to drive the point home, many of our contemporary problems rear their heads in Charlie, often appearing to be only incidental to the story being told - that of the man himself. So we have a recession following an economic crash, we have unprecedented levels of emigration as young people seek to start a new, better life. And we have a government worrying that sovereignty will be lost if the IMF is brought in to bail out the economy. The makers of the show certainly didn’t want these facts to pass quietly. When challenged by Tony Gregory, Haughey, in his “what have the Romans ever done for us?” moment, lists off a string of the policies that have helped him buy the support of various constituencies. Ideologically opposed

image: Tom Vaughan-Lawlor (left) and AidAn Gillen (right)play pj o’meara and Charlie Haughey

“Wealth creates wealth”…it helps him retain power, and it helps him help the wealthy

to one another (although Haughey claims not to have any ideology), Gregory’s interest lies in investing the poor of his community, Haughey’s lies in his own power and wealth, wanting to be seen as a peer of the François Mitterrand’s and Helmut Kohl’s of the world. His desire for Ireland to be seen as an equal among other nations (important in order for him to be seen as an equal) may go some way towards explaining his push to attract big banks, businesses and artists to the country. “Wealth creates wealth”, he tells Gregory at one point, seeking to justify himself. And so, if he receives money from AIB or from Ben Dunne and does them a few favours, it’s nothing to worry about - it helps him retain power, and it helps him help the wealthy, whom he claims create wealth. As one recent letter to the Irish Independent asked, “There were many business people who were too willing to donate to your

lifestyle, who saw that with your leadership Ireland could grow. Who really cares if many of them gave you money? The only ones who care are those looking for something to write about.” Charlie goes to great lengths to show us these various dodgy deals that helped Haughey to maintain such an ostentatious lifestyle and to keep a grip on power. It doesn’t deal much with the opposition parties and their leaders Garrett Fitzgerald’s two governments (falling in between Haughey’s three) are left completely unexplored. This is not a problem - the title of the show gives a clue as to who the focus is on. By the end of the final episode, when Ahern’s ascendance has become inevitable, we know enough of his mentor’s ideology to be able to connect the dots from 1992 all the way to 2008’s meltdown. Ahern finally became leader of Fianna Fail in 1994 and Taoiseach in 1997. Like his old

master, he remained faithful to the concept of trickle-down economics, the idea that a rising tide lifts all boats. His party’s tent at the Galway races where wealthy businessmen could schmooze with powerful politicians would become famous, and some of the most powerful businesses in the country would find themselves subject to only “soft-touch” regulation. At several points during Charlie , Haughey dwells on his need for a legacy. Pointedly, we see him leave a copy of a document called “A Path to Peace” by Martin Mansergh to his successor. Perhaps this contribution to the Northern Ireland peace process is what Colin Teevan, Charlie’s screenwriter, feels is part of that legacy. But arguably the other part was Bertie Ahern. Through both, he has left an indelible mark on modern Irish society.

Poetry

The best poetry from the students of UCD Remnants By Holly Furey

She Was Not Her Reflection

Princess Name with the editor

By Ruth Murphy

A sudden sodden foot stomp, A mud clump left on the stair. A death scent in Dun Laoghaire, A rotting of ocean air. These remnants of you I see but can’t bear.

She stuck her face upon my wall Like a patch of wallpaper that never quite fit, It made me self-conscious To see her stare most mornings and evenings But she wasn’t there, She looked different at night Her beautiful face seemed uneven somehow Eventually Like my own mirror Everything slightly misshapen Slightly the wrong size Slightly the wrong colour, Never truly perfect, I began to know her face like my own Every curve, every blemish, In person She’s still new She is vibrant, Beautiful, Full of personality

Eyes brown like our mother, and bright of soul Her laugh like silk, worthy of royalty Her sight bright and I admit my heart stole Unbowed, despite a physical frailty In time she faltered, her vision fading No aid could prevent the fall that followed Helpless, the futility, degrading When her smile died, even tears were hollowed The darkness that followed was a problem The void threatened to swallow my heart whole A family rallied to save their son The warmth kept my heart from becoming coal The ache is bitter sweet, life is cherished With her memory, I strive to flourish

Extinction Event Bluebells By Ryan Murphy It seemed to come from the darkness itself, Colliding with our lives. Its tail streaking the clouds like a taut noose.

A crater conceived before anyone saw. Destiny’s lizard senselessly slayed, Petrified by your death stare. Forever missed an ashen sun Shall cough forth a mammal congregation. Masochism cured skies, killing more than worms. This landscape is forever changed. Now your purple petals shall be but memories, For you defied gods to end their game. Tearful storms bring forth the flowers, Garish devourers of the old world, Tributes of beauty for a beauty’s self-destruction.

By Oliver Ind

The sunlight burns through the glade and casts light upon the floral sea. It engulfs us in our solemn shade while the birds dance and flee. I stand and watch each swaying bell as they softly say their sweet goodbye, but I cannot keep out the knell that stiffens us as we stand by To let you go. The mother we all held so dear The sunlight glistens off each sapphire tear, The time has come and we all know. We stand like islands in the sea but you, like the birds, are wild and free.

You chose comets that smote my world, Amidst ruin I now fumble, Discarding toy dinosaurs, accepting my childhood’s end.

She is not that face I stared into daily Nor am I

Bluebells illustration: Louise Flanagan

Misty Territory

It’s rare that a mountain top hallucinatory awakening can manifest itself into a career defining album, yet Father John Misty has done just that. Rebekah Rennick sits down with the man himself to uncover the person behind the narrative, his time with Fleet Foxes and the importance of life’s banalities Interviewing a musician can be tricky business. Between flippancy, impatience and disinterest in the interviewer’s questions, it’s often difficult to assess how a conversation is going to pan out between acclaimed musician and student journalist. Interviewing a musician who performs under a seemingly arbitrary moniker and is notoriously mischievous under questioning, however, is an utterly different, sweaty-palm ball game. As the telephone clicks into connection, it’s difficult to determine whether the character at the end of the line will be that of Joshua Tillman; the introspective, folk-come-psychedelic-rock musician, or Father John Misty, the same man’s cheeky, flamboyant stage alterego whose irrepressible sense of mischief resonates throughout his entire persona. “We’re right on schedule”, he assures, calling from a self-proclaimed beach-front alleyway in Los Angeles, following a few minutes delay on Otwo’s part, “I waste the first three minutes of every interview anyway.” the undeniable smirk forming on his lips echoing down the telephone line. To say Josh Tillman is a musician of many layers would be an understatement. From Fleet Foxes resident drummer, to broody, bearded folk singer/ songwriter, he now performs under the guise of Father John Misty; the most interesting man you’ll never meet. Following seven solo albums as J Tillman, he emerged from the shadowy corners of woolly-jumper folk circa 2012 in one swift, colourful movement; jiving across the unsuspecting musical sphere with debut album Fear Fun under the façade of Father John Misty. While it’s difficult to compare the Tillman of a few years ago and that of this new confident persona, he admits his character has very much remained the same throughout his musical career. To the unsuspecting eye it may appear to be a total transformation but Tillman confirms that certainly isn’t the case “With Fleet Foxes, you couldn’t get me to shut the fuck up back then. I was riffing constantly because there was very little showmanship happening in that band so, to me, I couldn’t deal with these long, three minute pauses in those songs.” “A lot of people didn’t see the J Tillman shows I did, like there was a lot of auto-destruction happening in those shows. There was a tour where I basically played the gong the whole time and I was just screaming and rolling around on the floor. It’s always been in me you know.” “And even the dancing;” he continues “anyone that has known me for a very long time has seen me dance like that at a party, or not at a party. But I think it was kind of a convergence of all this stuff, like it really wasn’t premeditated.” Premeditated or not, Father John Misty arrived unannounced with a lavish, diverse and utterly delicious repertoire. Fear Fun was a devilish, seductive introductory to the bubbling cauldron of sass that lies behind his musicianship. While his debut oozed with overflowing instrumentalism and powerful, preacherlike proclamations, its follow up I Love You, Honeybear delves deeper into Tillman’s psyche, blurring the lines evermore between the man and the performer.

Otwo wondered did he approach album number two with a new mind-set or was it simply a continuation of thought? “Well, not initially. I think my initial approach was like “Okay, I know what I’m doing now so I’m just going to do that again”. As loathed as I am to admit that. I did have a kind of big, glorious mountain top hallucinatory experience where I felt like “Okay, I know what the sound of this album is going to be”. But then I guess the realities of going back into the studio sort of overwhelmed me to some respect.” He admits.

“My main concern was not being sentimental and I think that really became a kind of hang up, to where I couldn’t let the songs breath and do what they were supposed to do for a few months.” “This became a major hindrance but it wasn’t until, Emma at one point said to me, like after I spent months banging my head against the wall with this thing, she just said “You can’t be afraid to let these songs be beautiful”. The irony being, last time around there was this huge transformation, there was this whole rigmarole about self-realisation and identity and blah blah blah, and then, you know, I just wanted to stay planted in some sort of revolution-themed malaise. That’s the thing, no matter how big of a realisation or whatever you have, you can’t stay there.” I Love You, Honeybear sees Tillman divert from the honky-tonk, cynical inclinations of Fear Fun and, instead, explore more complex, pressing themes of love and affection, undoubtedly influenced by his recent marriage to filmmaker Emma Elizabeth Tillman. The entire album is a stark yet sensual love letter, the recipient of which flickers from a past to present lover. “This music, I went way deeper and I went into intimate, vulnerable territory. Why half-ass the job, you’ve got to see it all the way through.” He says.

I did have a kind of big, glorious mountain top hallucinatory experience where I felt like “Okay, I know what the sound of this album is going to be

“A lot of these songs did come very quickly. Like one I ended up struggling a little bit with was ‘I Went To The Store One Day’. There’s this little bridge at the end where the lyric is “Insert here a sentiment/ re: our golden years”. That’s really my place holder lyric. I spent all this time kind of racking my creative faculties like “What’s supposed to go here?” like “I hope we die at the same time…” or something like that is what’s traditionally supposed to go there!” But it all just ended up feeling so contrived and that song, it’s really the opposite of that lofty, idealistic thing; it’s a tune about these bizarre common place, random scenarios” And it’s from these common, somewhat banal everyday experiences that Tillman draws inspiration. Leading single ‘Bored In The USA’ is a disillusioned outlook on the make up of our everyday lives, the cyclical series of events and negotiations we’ve made with others that define our being. A laughing track acts as an acerbic mirthless partner alongside the swelling orchestral background. And as Father John Misty stands reticent, the song highlights not only the strange, formulaic way in which we exist but showcases Tillman’s unique and incredible ability to arrange sound. “It’s a funny thing even to put the words ‘inspiring’ and ‘banal’ into the same sentence” he says “But

there’s one part of my brain that enjoys it because nobody writes about it because you’re not supposed to include this kind of thing because it doesn’t fit into the archetype of a moving song, you have to be clever with word play” “But I don’t even think of myself as a clever lyricist, I don’t really like ‘cleverness’. Those sort of things, they have to be staringly obvious or you’re going to fuck up the cake. I do enjoy it though, but how are you supposed to write about modern life without including the banalities that make it?” This experimentation with sound continues on the track ‘True Affection’ which is an unexpected synth-pop divergence from the otherwise orchestral backdrop of the record. A sweltering electronic furnace of yearning, it’s appearance on the album simply acts as further evidence that Father John Misty is a man of both mystery and unrestrained emotion “I wrote that on tour” he explains “like I was just being isolated and trying to romance someone via text message or email or whatever and just being frustrated. So, the song had to be synthetic, it had to be a pop song, it had to be really accessible because the song was about literal inaccessibility.” While Father John Misty firmly stands as his own powerful entity today, back in 2008 a young, unknown Joshua Tillman had only

There was a tour where I basically played the gong the whole time and I was just screaming and rolling around on the floor

just joined Seattle indie-folk band Fleet Foxes as their drummer. While many artists often use past experiences to shape their future, Tillman admits his transgression from the multi-layered harmonies and instrumental sparsity of Fleet Foxes has had little impact on his journey thus far “I don’t really know how to connect the dots there.” He admits. “I think, you know, every experience that I’ve had has played into what I’m doing and it would be false to diminish that experience’s effect on me. I think in a lot of ways I was very fortunate to become disillusioned in the way that I was, because there was definitely some kind of magical thinking going on, especially at the time when I joined because I was kind of like; “I’m saved! I don’t have to work at the fibre glass plant anymore!”” he jokingly exclaims “And I think that without that experience I would have been stuck in some paradigm where I just thought like “Oh, if I could only have gotten some gig with some band, I would have been saved.” or whatever.” “I had to come to realise that creativity for me is the saving and unfortunately that was a very uncreative experience for me, a very

My main concern was not being sentimental and I think that really became a kind of hang up, to where I couldn’t let the songs breath and do what they were supposed to do for a few months

unconscious experience. I was basically just playing somebody else’s drum parts, it just wasn’t right for me.” During those intermittent years, Tillman has grown and transformed into a vivacious vessel of organised madness; allowing his creativity to divulge into territories otherwise unexplored. Although Tillman jokingly admits he did “get a great lawyer” out of his time with Fleet Foxes, the success that followed his departure from the group was unexpected; “I’ve just got to say that I didn’t really expect to survive professionally, much less thrive in the way that I’ve been able to. Conventionally, you don’t just quit some band of that size and get any kind of agency outside of that” The labyrinth of creativity circulating the very essence of Father John Misty is not only seen in his musical endeavours. The accompanying artwork to his records is a psychedelic reflection of his own mind, while his lyricism is an effusive appreciation of the entire concept of song-writing. While his earlier music videos attempt to associate and strengthen the meaning of the accompanying songs, Tillman confesses his disinterest with the concept of music videography;

“I have zero interest in making videos “Cartooning was my big love affair” he laughs this time around.” He says “The songs reminiscently “I hit the ceiling because, if I are so specific, there’s very little that’s had had a little more spark or something, I impressionistic about them and I’m just really could have realised that there was a lot that loathed to transforming them into internet I could do with the ability that I had. But I content. It’s a simple way in which people wanted to draw the big muscle, super hero consume content, I don’t know the criteria for comics and I just wasn’t good enough.” that content to be successful. I don’t think it Instead, he created Father John Misty and does much service to the songs.” the music sphere has never been so grateful. I Love You, Honeybear is an undeniable modern classic from an old, romantic soul. A voyeuristic journey through one man’s personal journey of love; a rich narrative permeates throughout it’s coiling instrumentation alongside Tillman’s aching vocals. From the bouncing rhythms following the exciting beginnings of a passionate relationship seen in ‘Chateau Lobby #4 (in C for Two Virgins)’ to the succulent orientation of the big band accompaniment in ‘Ideal Husband’, Father John Misty’s second instalment is a powerful euphoric drug that will have you hooked upon the first listen. While melody and storytelling undoubtedly course through the veins of Father John Misty, another creative outlet could have easily replaced his musical inclinations;

across the pond Flying the Irish tricolour down under, Joe Ryan of POND chats to Aisling Kraus about ‘nerding out’ to records, playing in space and illicit substances

Experiencing POND’s fuzzy take on neo-psychedelia is mellowing, intriguing and never boring. A conversation with Joe Ryan, the Perth based band’s Tipperary-born, afro-sporting guitarist is no different. Laid back and obviously in good spirits after the show he has just finished playing, he is eager to discuss their newly released sixth studio album, and other Pond tales. Since their inception in 2008, the band has seen an ever-changing line-up of musicians, with the number of band members fluctuating between three and five. This presents interesting challenges when it comes to adapting the songs for live sets. “Our bassist quit, so we’re down to four people. We use a Sub Phatty synthesizer and an extension on my guitar that lets me play bass and guitar at the same time. It’s kind of cool being down to four people, it’s like cutting the fat off of the prime cut of meat. It’s a lot of fun thinking about who’s going to play what part, and little tricks to make it work.” At several points in the conversation, it’s evident how highly Ryan values honesty and authenticity in the music that Pond produce. This can be audibly heard in their 2012 release, Beard, Wives, Denim, where there have been traces of studio dialogue left

in at the end. “I think if I listen to a record, you want to hear a little bit of what’s going on in the studio. Why wouldn’t you leave it in? When you listen to albums you love, you hear little fruit, as we call it, and you just really nerd out about it, trying to decipher what someone’s saying or what’s going on.” From the outset, whenever asked the clichéd interview question about their musical influences, Pond have been clear in stating that these change with each album they produce. “We’re genre spanners” he explains. “There’s not one particular type of music I listen to. It’s sort of everything really. There’s no bad music in my brain. There’s just stuff I like and stuff I don’t really like. If you say you hate anything you’re just shooting yourself in the foot because your tastes change, so you might even end up liking what you said you hated, and then you have to ‘fess up and be like ‘yeah, I was wrong’. Although your tastes may change, I think as long as you’re honest in the recording, you can never really be too dissatisfied with it. It’s more of a musical diary.” Being at the forefront of the psychedelic glam rock revival of recent years, it’s assumed by many that Pond’s sound has been moulded not only by the music listened to by its members, but also by certain

I think as long as you’re honest in the recording, you can never really be too dissatisfied with it. It’s more of a musical diary

other “illicit, possibly illegal substances”, as Ryan puts to digitally, as with all of the preceding records. it. “Maybe somewhat” he muses, “in the way that you “Recording to tape, especially one inch tape, which have moving experiences and then that will, at a later we did, only gives you sixteen tracks. It makes you think a little bit more about what instruments you’re date, give you some lyrical content or at least a bit of putting in, whereas if you’re doing digital, we do inspiration for a movement of chords, or whatever. three guitars with the same lick to fill it out, but you But not intentionally, and certainly not directly.” lose that spacey-ness in the tape, which is more The title of the new album, Man It Feels Like psychedelic than anything you can play. Just having Space Again, undeniably brings to mind these kinds space in the recording is the hardest thing to get. It of connotations. Where did it come from, then? “We were in Osaka at a festival and I was a little bit bleary- was nice having sixteen tracks and just being able to eyed, wide-eyed” Ryan recalls, with a note of mischief go, ‘Alright, we need this, we need this. That leaves in his voice. “I think I turned to everyone and just said one track for us to sing all of our harmonies together into a mic, and one track for Nick to do his vocals.’ It one of those crazy things that comes into your brain, was just an interesting and different approach. I feel ‘Man, it feels like space again’, and everyone was like, like, why would you do the same thing twice? You ‘Jeez, that’s not a bad name for an album actually!’, increase your knowledge of the game, of recording and I said, ‘Well, you remember it, because I won’t music.” remember it!’ And the next day they were like, ‘That POND can expect a warm, welcoming reception album name you thought about, let’s do it!’ I’ve never been to space, but I hope that Richard Branson lets us when they bring Man It Feels Like Space Again to soon enough. Let us record an album up there, or at Whelan’s later this month, for what will be their first least one vocal take!” Irish gig ever, which Ryan had to “press heavily” to Having five full-length LPs already under their have added to the tour. In his own words, “it should belts before their latest release hasn’t made POND be great craic!” complacent about their knowledge of recording. This was their first album recorded to tape, as opposed

So Good To Hear You

Gearing up for their European tour, Mark Conroy speaks to Superfood frontman, Dom Ganderton, about releasing their debut record, keeping themselves in check and those notorious munchies Over a crackling telephone line, Superfood frontman, Dom Ganderton recounts how he is currently at the new digs of his band’s label, lounging in his boss’ office, who has kindly stepped out. “I feel like an imposter”, he admits with a chuckle, “I don’t know if I should sit in his chair and put my legs up on the desk.” Ganderton is not the kind of guy who takes things too seriously and it’s this sense of fun that permeates through the music of the English four-piece band. Their recently released debut LP, Don’t Say That, oozes youthful exuberance alongside a joyous mainstream sensibility. With their springy guitar sound, memorable hooks and Dom’s unashamed, regionally accented vocals, they have successfully embraced the concept of ‘Brit-pop Revivalism’, like few bands have in recent years. Rising from an increasingly successful music scene in Birmingham alongside the likes of Swim Deep and Peace, for whom Ganderton has produced for previously, Superfood were formed by Ganderton and his friends Emily Baker, Ryan Malcom and Carl Griffin. After watching the trajectory success of their fellow peers, it wasn’t long thereafter they felt that they could emulate their musical inclination and ultimate success themselves. For Ganderton, the eclectic nature of the scene meant that each band could mould their own sound while still learning from each other. “Everyone has kind of stuck to their own thing and took their own spin on things.” Pretty soon, Superfood was signed by Infectious Music, boasting the likes of alt-J and Royal Blood on their rosters, and began drip-feeding parts of their

Once one person said it was Britpop, everyone else did. It’s not what we are going to be doing for the rest of our lives

debut album, through EPs and singles, up until the end of last year when Don’t Say That was released. It received a very warm reception from various publications; “I think its gone down really well,” he says. “I mean for a debut album you couldn’t have asked for better really.” Their path to success has been nothing short of rapid. “It’s strange really because from the inception of the band to moving things into recording the album, it was just really quick. It was like a whirlwind. It was a dream. We went up to Lancashire to record it for three weeks in the countryside in this chapel. It was amazing. It was a dream come true.” As for the dreaded term “brit-pop” and everything it implies, which is so often and almost ubiquitously used to label their sound, Ganderton doesn’t let it bother him too much; for now anyway. “I dont mind it. I mean when you get two guitars, a drums and a bass in a room and you want to write chirpy, kind of Beatles-esque songs, I think you can end up with something that sounds like it’s from another band anyway, whether it’s from the 90s or whatever. I think it’s just been easy for people to say that. Once one person said it was Britpop, everyone else did. It’s not what we are going to be doing for the rest of our lives.” With a sound like theirs, Superfood can certainly expect some, perhaps not-so-subtle, comparisons to their ‘90s forefathers. Yet, just because their music harks back to the golden days of Oasis, Blur and “Cool Britannia”, does not necessarily mean that it’s the

only sounds the band are emulating. Don’t Say That displays a wider range of influences than they might get credit for, so it’s not surprising when Ganderton explains that all they’ve had playing that day is the likes of Cypress Hill. The hip-hop influences, especially on the album’s title track, are apparent and will be even more so in the future. “It’s just that kind of groove that we haven’t yet discovered how to hone in completely.” Other perhaps less immediately obvious influences Ganderton muses over include ‘90s garage bands, including lo-fi giants Pavement and cult bands such as The Cribs; evidently a deep and varied well of talent from which Superfood are drawing inspirational tendencies. The tracks on Don’t Say That certainly have a novelty that refuses to wane, but this is not to say that they are in any way cheap. Superfood’s tunes are infectiously fun and burst with catchy melodies, yet withhold a comical, introspective and even bizarrely dreamlike tendency. The song from which they take their name, ‘Superfood’, details the band’s expedition of attempting to find some nourishment while

She once came out of a shop with banana and got our tour manager to go back in change it because it was bruised. She’s never heard the end of that

suffering from the munchies. On ‘TV’, Ganderton paints a picture of a world which, thanks to the “tube”, isn’t lacking in imagination or original thought. How am I to ever dream without the TV on?” he sings sarcastically and on the surreal ‘It’s Good To See You’, he envisions plants coming to life. This sense of turning the mundane into the hypnogogic is something that Ganderton strives for. “The last thing anyone needs is a another band talking about how their heart feels. Well that was kind of our motto when we started, we’ll just take people to a different place, rather than just being so introvert all the time.” As the band are about to embark on tour across Europe, Ganderton finds that he is still coming to terms with their success and the dissemination of their music across the globe. “We get tweets from the likes of Triple J in Australia saying that they’re playing our song at the moment and then you think, ‘Hey, there are people in Australia at the moment listening to our music!’ It’s crazy.” Even with all this dizzying success, however, they are still the typical band comprised of a group of friends who just wanted to

hang out and play some music. They’re a tight-knit group and it’s this strong, familial type of bond which helps keep their feet firmly on the ground, ensuring at all times to keep each other in check. “If Emily starts acting like a bit of diva, we’ll be the first to shoot her down. Just like, ‘What do you think you’re doing?’ She once came out of a shop with banana and got our tour manager to go back in change it because it was bruised. She’s never heard the end of that.” Even with the release of their debut so fresh in the ears of their growing audience, Ganderton informs OTwo that he already feels like they are ready to record a follow-up. One thing is for certain however, whatever direction they decide to go in, undoubtedly there will be a hungry audience awaiting a Superfood musical delicacy.

the melting pot

Notorious for their live performances and even more outrageous answers, Aaron Flood sits down with Tadgh Byrne of Meltybrains? to discuss typical responses, winning the Sam Maguire and being paid to get tattooed

meltybrains at the hard working class heroes festival photo: kate cleary

Meltybrains? are a tricky one to put your finger on. The five-piece electronic rock outfit from Dublin have previously been described as “undoubtedly weird”. Yet, this is certainly the charm of the band boasting a repertoire ranging from ten minute ambient electro stompers to more rock driven slices of (and the term is used loosely) electronic pop tunes. Judging from previous bizarre interviews; it was believed that Otwo’s encounter with them would go down the same brain-melting path. “Don’t worry, we can be normal. If you like, that is.” Tadgh Byrne suggests, in an only slightly reassuring tone. The conversation begins with the origin of the band, which had been previously referred to as “arriving from another dimension”. This time, however, Byrne opts for a more conventional origin story. “We were all studying in NUI Maynooth. I played a few gigs there, too many gigs there, actually.” Trying to actually nail down the exact genre of Meltybrains? chaotic-in-a-good-way music is difficult, even for the band themselves. They’ve been described as rock, electronic and even the vague term of ‘experimental’. “Yeah we can see where the electronic rock label comes from, we use rock instruments that are electronic. I don’t think we like it though, so I think we’ll go with pop. From now on we make pop music.” The chaotic style of their music is exemplary of the musical differences of the band members themselves. “We’re all from different musical

backgrounds, so we all bring something different to the table.” Leading to the question of influences; “Well, if it’s okay, I’m going to give you a typical music interview response, in typical X Factor fashion; my parents.” Byrne replies sarcastically. The band has received critical acclaim for their live performances. Beginning two years ago in the Roisin Dubh in Galway, they have toured in numerous places, playing huge bills such as the Body & Soul Stage and Electric Picnic, as well as nabbing an appearance at the infamous SXSW Festival later this year. They’ve also funded a small tour of America in a rather unique way, through fundit.ie. In an attempt to raise at least €2,000, the band offered humorous prizes to those who donated the most. “For €2,000 you could join the band for three months. Just under that at €1,500, I would have to get a tattoo of whoever donated. That led to two friends of mine setting up a separate fundit.ie page in order to raise the €1500, so I would have to get them tattooed on me.” With an American tour under their belt and an appearance at one of the world’s most popular festivals in SXSW, it seems a far cry from the small venues of Galway. “We love the Róisín Dubh. We started off there, really, in a small corner of the upstairs room. It’s been sort of like building blocks. The Róisín Dubh will always be a special place for us. The crowd in Galway are great, they always go mad. Well, sometimes they can be less than great; there were a couple of hecklers last time around.” Did this phase the band in any way? “Well no,

Our ideal year? Achieve world peace. No wait, the Sam Maguire. Yeah, we’ll start up our own GAA team. Meltybrains vs Tyrone in the final

because the hecklers were the same two lads who tried to raise the €1,500 so I would have to get them tattooed on my body.” Similarly, the band aim to kick-start 2015 with a couple of gigs next week. On February 16th, their new single ‘Donegal’ is released in physical format on vinyl. “It’s the first time we’ve released something physical properly. We had a few CD’s before, but it’s a dying medium, really.” Tell that to the patron of one of their old Róisín Dubh gigs. “We had a merch stand set up and somebody decided

to steal all of our CD’s on the way out. It was a bit of a compliment, that somebody liked your music so much they would steal them.” A glass-half-full answer there, but have they taken any precautions since? “We started throwing CD’s at the audience during gigs. It was really quite dangerous.” Superliminal advertising L.T. Smash would be proud of. Their show in Dublin’s Pepper Canister Church on February 20th is selling out fast, and it is sure to be a fantastic night. “We’re working with the company Slipstream to add a whole visual element to the gig. It’s going to look brilliant; we’re so excited for it.” The collaboration with Slipstream adds a new level of theatricality sadly ignored by a lot of bands nowadays. Byrne explains, “We’ve always loved the theatricality. Evident in the masks we wear. One time we decided to print out 200 more of the masks and hand them out to the audience. It was really cool, but sinister looking. The masks also take away any inhibitions people might have, and just let them have fun.” Meltybrains? are sure to make a big splash in the music scene this year; but they also have other ideas. “Our ideal year?” Byrne muses, “achieve world peace. No wait, the Sam Maguire. Yeah, we’ll start up our own GAA team. Meltybrains vs Tyrone in the final.” People may not be shouting “MELTYBRAINS FOR SAM” anytime soon, but they are sure to have them on their mind throughout what is set up to be a phenomenal year for the band.

album Reviews

FR John Misty I love You, Honeybear

An endearing candor laces this remarkable second album from Joshua Tillman, the folk wizard frontman of Father John Misty. A deftly interwoven working of romanticism and playful humility combine to deliver a rare masterpiece, I Love You Honeybear is an unmistakeable treasure. Tillman’s progression since Fake Fun denotes a masterful transformation in his craft since, with lyricism and compositional growth aplenty. Themes of love are both friskily toyed with and ultimately dissected across this gorgeous compilation. A sentiment of slow dance heartache imbibes the title track with reminiscence, complete with a country guitar twang and an ascending vocal plea. ‘The Night Josh Tillman Came To Our Apartment’ is a satirical gem, dissing one young floozy and her convos about the cosmos (“Of which she’s in the middle”). An orchestral tumult accompanies many of the arrangements, with classic guitar riffs and choral backing cementing the wall of sound created by Tillman’s ballads. ‘True Affection’ is a refreshing electronic progression of fuzzy idealism and yearning. The reverberating anthemic sound of ‘The Ideal Husband’ runs away with this record, crowning Tillman’s melodies with barrelhouse piano and storming big band arrangement. Further still, it reveals a gleaming outburst of aggressive partiality. ‘Bored In The USA’ is another winner, with an addictive refrain that demands repeated plays. The subdued laugh track backing cements Tillman’s sense of humour and zest for fun that permeate all his compositions. Last month’s satirical preview of Father John Misty’s fake streaming platform pre-empted this record perfectly, the condensed, low-resolution rendering of his full album wound up sounding like an autoharp breaking up with a kazoo. The real deal serves as a reminder that buying music is still an investment, and a delight when you get a record this good. In A Nutshell: A restorative contribution to the world of music in this creation of an undeniable classic.

Noel Gallagher’s High Flying Birds

Bob Dylan

PeACE

After the mostly unexpected success of his eponymous solo debut, a question still hangs over the sideburned head of Gallagher as to whether or not he can make a proper go of his post-Oasis project, Noel Gallagher’s High Flying Birds. Indeed, if he follows the same path as his brother did with Beady Eye, Gallagher can expect to wrap things up pretty quickly after this second release. Yet any concerns eager fans may have are soon put to rest with his latest release, Chasing Yesterday. Parting ways with his long-term producer, Dave Sardy, Gallagher took over the reigns of creative control on this record and, for the most part, the risk seems to have paid off. The record opens in true Gallagher style with ’Riverman’, managing somehow to sound both laid back and brooding at the same time. ‘In The Heat Of The Moment’ is a particular highlight of the record, despite Gallagher stating it’s not about anything particular except for a documentary he once watched about an astronaut. ‘Lock All Your Doors’ sounds reminiscent of Gallagher’s peak Oasis days, similarly heard in ‘You Know We Can’t Go Back’, a beating anthem possibly implying Gallagher’s opinion on the chances of a reunion. ‘The Girl With X-Ray Eyes’ is a more personal ballad, making use of space-like synths, giving an audible likeness to David Bowie’s ‘Starman’. It is difficult to understand why Gallagher’s solo records fail to be taken completely seriously. His latest release, is, by all means, a solid collection of rock and roll songs. On the record, there are the kind of anthems which made him famous, and which he does so well, mixed in some rather more reflective moments too. Indeed, if it had been released by anyone else, the record would’ve been a runaway success. It’s just that, in Gallagher’s case, one can’t help but get the sense that he is, as the album’s title implies, chasing the yesteryears of his Britpop glory.

Shadows In The Night is a far cry from the once buoyant sounds of Dylan’s Highway 61 Revisited. Some will scoff at this latest release, which veers away from the musician’s obvious love for prerock & roll pop. The album has been frequently referred to and slated as a Sinatra tribute, with each of its tracks having been recorded at some point by Sinatra. Yet it is obvious that Dylan has invested a considerable about of time and energy into adapting each track, making it his own. This unlikely coupling creates some interesting, bittersweet combinations that linger in the listener’s mind. The idea that Bob Dylan’s worn voice could ever cover the smooth suave tones of Sinatra seems outrageous, yet as always Bob delivers effortlessly. Dylan’s age is evident in this latest piece of work. His voice appears to be delicate and tender but not without his trade mark quivers and croaks as he tackles these unusual songs. With this in mind, no doubt, Dylan focuses the use of his weathered instrument on the pace of the lyrics and exploring the emotion in each word. Dylan is undoubtedly successful in recrafting these well-known hits. The formula for this success is simple: a five piece band consisting of a piano, a double bass, a pedal steel guitar, an abundance of horns and a faint hint of drums. A simple yet ingenious arrangement. The album is so stripped back that you can hear fingers on strings, foot pedals squeaking and even Dylan’s breathing. Although this change is unwelcome to some, one cannot help but appreciate the sincerity of Dylan’s voice in each track. His voice that may not be able to deliver the same well-loved sounds of the freewheelin’ Bob Dylan, but the listener must accept that times, they are a-changin’.

Another week and another indie pop record has been released into the wild. The proof that Happy People, the second album from indie outfit Peace, might not just be another record to fall onto the pile of obscure, alternative music is in the listening. Or, conversely, it might just be that, but executed with such panache that they somehow get away with it. The content of the album is perfect, all textbook indie. Happy People is just over an hour of solidyet-dreamy riffs, songs about love and being young pandering to a teenage and young adult audience, which the band has cultivated since the release of their 2012 debut. It is a soundtrack of late nights and half-thought thoughts, yet with sing-along choruses in songs such as ‘The Music was to Blame’, the album flows along without incident from beginning to its close. This is, perhaps, its only fault. Being almost too easy on the ear, the vocal musings of lead singer, Harry “Harrison” Koisser, get somewhat lost in the mush of melodic sounds, regularly throughout the album. Yet, by the same token, this is part of the album’s charm. When the words cease to matter (simply variations on every known indie song), what remains in musical sound is of a quality that cannot easily be ignored. Yet, for all its homogeny, moments of sparkling quality emerge, such as ‘Saturday Girl’, a song that sounds at times like a chant or a spoken-word poem, and at others as though it has tapped into the spirit of The Beatles’ ‘Norwegian Wood’. Each track holds an eerie feeling of “I’ve heard this before”, but to their credit, Peace make sure that each track holds that sense of déja vu for somewhere different.

In a Nutshell: A perfect blend of heartbreaking classics, digging beneath self-pity to reveal deeper relationship truths.

Síofra Ní Shluaghadháin

Chasing Yesterday

In A Nutshell: Yet another strong collection of rock tunes, skilfully crafted by Gallagher, just without the Oasis polish and packaging.

Shadows in the Night

HAPPY PEOPLE

In A Nutshell: A textbook album of indie rock, but with some moments that hold the promise of a break from the crowd.

KATE CLEARY SEÁN HAYES

EMILY LONGWORTH

dublin gig guide

If you find yourself with an empty calendar and a musical itch you need to scratch, Sean Hayes takes a look at the handful of exciting names set to grace a Dublin stage near you this month JAPE

JOSEF SALVAT

LITTLE COMETS:

19TH FEBRUARY 2015 THE ACAMEMY

23RD FEBRUARY 2015 WHELANS

28TH FEBRUARY 2015 - THE WORKMAN’S CLUB

Following the release of his well-awaited fifth studio album, This Chemical Sea, Dublin born, Sweden based Richie Egan brings his unique sound to Dublin’s Academy on February 19th. Jape’s music blends meticulously crafted lyrics with upbeat electronic rhythms. Using an innovative mix of live instruments, hardware samplers and sequencers, the band creates a sound that encompasses a plethora of styles and genres. Having toured much of Europe in the last couple of months, Jape is sure to enjoy a homecoming of sorts when he lands back in Ireland.

Slowly releasing snippets of what has now become a long awaited and much anticipated debut album, Australian born, London based artist Josef Salvat has been lauded from across the board, having already garnered praise from the likes of Pitchfork and Fader. Salvat’s intimate lyricism, distinct turn-of-phrase and dark melodies have already secured him many places on critics’ lists of most exciting act of 2015. His unique sound, which comes from blending soul beneath tingling synth riffs will no doubt intrigue unfamiliar listeners into quickly becoming longtime, loyal fans.

FATHER JOHN MISTY

JUNGLE:

22ND FEBRUARY 2015 – WHELAN’S

24TH FEBRUARY 2015 THE OLYMPIA THEATRE

Our centre starlet, Father John Misty takes to the stage on February 22nd for what will undoubtedly be a hipshaking, toe-tapping, finger-wagging ruckus of good vibes. Following the success of his debut album, Fear Fun, under his seemingly arbitrary stage moniker; Josh Tillman returns to our shores with his newest installment, I Love You, Honeybear. With lyricism as powerful and narrative as FJM, it won’t be long before you’re enraptured in his own unique storytelling and perhaps confessing your own proclamations of love to Father himself.

Gearing up to release their third studio album, Hope Is Just A State Of Mind, due for release in April; England based, indie rock trio, Little Comets take to the stage at The Workman’s Club on February 28th. Signed to Dirty Hit Records, which also boasts the names of Benjamin Francis Leftwich and The 1975, the band challenge social issues and problems, such as British commercial institutions and sexual assault, through their music. Having previously been described as “kitchen sink indie”, whatever their exact genre is, the show is set to be an enjoyable night for both new and old fans alike.

Jungle is a band that has gone from strength to strength in a relatively short space of time, with a Mercury Award nomination, BBC Sound of 2014 nomination and a US tour that sold out on the back of their SXSW appearance already under their belts. The core Jungle duo, known only as J and T believe in the ethos that nothing is as serious as fun and nothing as subversive as happiness. This carefree, party hard attitude will be sure to shake up the stage when they bring their infectious mix of dance and soul to Dublin’s Olympia Theatre on February 24th.

little comets

Radar: Laura Olivia Dublin singer-songwriter Laura Olivia talks to Kate Cleary about on-stage nerves and covering Miley Cyrus The words tranquil, hushed and serene come to mind when listening to the sounds of Laura Olivia. Few musicians today are capable of capturing the unique style that flows through each of her songs. It wasn’t always so easy for the Dublin based singer-songwriter, who came from a non-musical background. “I always assumed I couldn’t sing. I’d go out of my house belting out songs. I probably sounded like a bag of strangled cats but I did it anyway. I remember my mom telling me not to go into music because none of us had been musical before.” Despite this discouragement Laura is now in the process of recording her latest EP and has supported bands such as The Weathermen. Having a more established writing process than when she first began recording at the age of 15, Laura sums up this process as something that is constantly growing. “Usually I’ll accidentally write some sort of guitar riff and I’ll add some lyrics to that then, but I try to do it all as I go, it’s more organic.” Still unsure of how to fully use her software, she has been experimenting with “more computerised instruments”, heard in her latest recording of ‘Paradis Perdus’. “I’ve just been messing around with it, it’s more fun”. These more electronic sounds differ greatly from her previous recordings, influenced largely by the sounds of Laura Marling, Mumford and Sons and The National. “My writing style has changed a lot recently, but Laura Marling is definitely the biggest influence of my earlier songs, just from having listened to her so much. It’s the same kind of style, a guitar and a

female voice.” In the last four days alone Laura has recorded three songs, but her process isn’t always so efficient. “The last month or so I haven’t written much. Sometimes I’ll go weeks without even picking up my guitar and other times I can’t put it down, I’ll do tonnes of stuff at once.” This system is clearly one that works. Along with her own original songs, Laura has recorded several covers such as ‘The Boxer’, ‘Take Me to Church’ and ‘Wrecking Ball’. “Once my dad bet me €50 that I wouldn’t cover a Miley Cyrus song, so I did”, she smirks. Whilst recording her latest EP, Laura has attempted to collaborate with various artists. “I’ve decided to go ahead and record it myself, I’ve tried to record it with several different people which has been fun because each person has brought something new to the song but I’ve never been happy with the overall result.” Deciding to remain a solo act is a decision Laura has been forced to make before “it’s much easier to write and record on your own. You don’t have to organise much, and you can just do it when you get the chance.” Despite this, she often collaborates with other artists, “I’m pretty annoying about asking people to do songs with me, I’m always asking.” As for the EP, a solo decision is the right one for Laura. “There are certain aspects that people brought to the songs we worked on that I really did like. I need to just pick all the aspects that I like from each and just settle on something final and record it myself.” In spite of this, Laura prefers preforming with a

I’d go out of my house belting out songs. I probably sounded like a bag of strangled cats but I did it anyway

band. “With a band it’s different because you can chat to them right up until you’re on, but when I’m on my own I’m just sitting back stage by myself trying not to forget the words”, nerve-wracking for any artist, especially when it’s happened to you before. “I’ve forgotten all the lyrics to my own songs which is sort of traumatic when you’ve been working on them for six months.” Despite a somewhat slow start, and a few on stage mishaps, Laura Olivia is set to only grow as both a writer and performer, captivating listeners with her gentle, almost ethereal, sound.

kiss me new

lucy coffey looks at hotmess!’s new line for spring/summer 2015

When looking at some of the fashion trends that rise and fall over the years, one can’t help but acknowledge the artists behind them. Whether they be masters of form such as Christian Dior and his ‘new look’ of the 1950’s which pinioned waists and bordered busts in a sexiness which came to epitomise the decade, or millennial entrepreneurs of embellishment such as Ellie Saab and her use of fine beading and bleeding tones that create elegance and poise in gowns that border on the baroque in divinity. All ateliers utilise the strengths of their respective eras. More importantly, they set the trends that define them. This, of course, is exemplified in our urban-grunge shoot featuring the lovely model Sarah Donovan and the outstanding garments of Hot!MeSS clothing. Playing up the pop-art prints is a must in view of the approaching summer especially the work of the iconic Andy Warhol. Not only is his monumental print, aptly titled ‘Marilyn Monroe’s Lips’ a fixture in the Hot!Mess closet, his art work is taking the new year by storm. From his graphic images of ‘Campbell’s Soup’ can’s being printed on Converse in their new Warhol campaign, to his replicative photography in 4 square colours all over the catwalk, Warhol’s 60-70’s style is slinking back in to high-street displays and boutique collections. We at OTwo cannot help but follow such fashion genius and see it reflected in our spring

shoot. Dripping with the sensuousness that revolves around the image of lips, Sarah sports a white and red-lipped crop top that plays off the rose undertones of her face and highlights her waist when paired with oil dipped short shorts. Extremely flattering to the form, this top adds a hint of flirtation due to its semi-sheer quality and makes wearing it during college delightfully risqué and in the club, perfectly playful. Accessories can be kept simple, with either a chunky gold necklace or a subtle body chain to point the look towards a hard-core heroine or soft-grunge feel. However, this print doesn’t only come in the sheer variety – Sarah shows off how it can be worn in a cooler climate but still retain its fiery flare when paired with other fabrics. In preparation for spring showers, she dons a heavier cotton t-shirt which lies draped over her bold shoulders & the print smiles lavishly over a pair of cream-coloured skinny jeans. In contrast to the freshness of her candy-striped ensemble, she pairs it with a black faux-fur tote. It’s through this downplayed chicness that we see how this lip-lorn print can be worn to casual boiling point. Either left loose or tucked in, depending on your preclusion to preppy or boho, this look can be worn in the cold clouds of February with a light block-coloured jacket or even paired with a long-sleeved mesh undershirt. As this print revolves heavily around the

mouth, make-up for this look can be kept away from what’s usually treated as the focal point of the face: the lips. While lips can be kept neutral or rosy, tackle your other features in force; highlighted cheekbones, pencilled eyebrows, dusky eye shadows, they can all be used to focus some of the other features of your face without overwhelming the look. Using colour palettes, such as ‘VENUS: The Grunge Palette’ by Lime Crime & ‘Shadow Box’ by Urban Decay, to really draw on the subtle softness of your eyes while bringing a plethora of alluring shades to contrast the graphics on your figure are a sure-fire way of doing this. A modern twist to a retro look, the Warhol generation is alive-and-kicking and they’re opening up his works to modern interpretation both on and off the catwalk. While waiting for the next spark to draw out more of his work into the fashion sphere of influence, we look at some of Warhol’s most enlightening words, which truly embody the mood of this shoot; “Isn’t life a series of Images that change as they repeat themselves?”

Director: Sarah O’Shea Make-up: Cher McCrave Model: Sarah Donovan Photos: Joanna O’Malley

The Best of Copenhagen Fashion Week From monochromatic shades to luxurious texturing, Lousie O’Toole, looks at how Copenhagen Fashion Week shined a vivacious light on the swelling stylistic inclination of the ever-growing Danish fashion scene While the Danes are seamingly taking over the world, with their prominent actors in shows such as Game of Thrones and Fortitude , and their models set to prowl the catwalks of London Fashion Week, their own fashion sense certainly doesn’t serve to disappoint. Danish street style is known for its realism. It’s said that their colour palette is exclusively black, white and grey and if they’re feeling crazy, maybe a little navy because their practicality overshadows their spontaneity. Copenhagen Fashion Week 2015, however, portrayed both their pragmatism and artistic flair. The runway style was simple, practical and impeccably stylish. Throughout the shows, clean tailoring, fur and monochromatic colours, along with straight lines all made a forbearing appearance. Two up-and-coming designers, By Mirlene Birger and Mads Norgaard, had particularly eye-catching lines. Both designers collectively epitomise the style of the great Danes. By Mirlene Birger exudes a more mature style with its soft feminine tailoring and use of woolly jumpers. The collection really stands as an everyday look as it looks practical and comfortable but formal with the ability to be dressed down. It shows a multitude of earthy tones which lead towards monochromatic shades that flatter but keep the wearer looking crisp and prim. The Danish are known to have well-made key pieces that are easily matched and with this collection we see that’s a definite possibility. In the ‘Mads Norgaard’ collection we see more of an androgynous style and also pops of colour shown in the engagement of fur throughout the collection. The use of stripes and beanies also lend to the androgynous

theme and the beanies are also a favourite of the everyday Dane as seen in their menagerie of street style looks. Bomber Jackets and drainpipe pants paired with Docs also went down a treat in different parts of the collection. While the relaxed collections went down with their usual aplomb, a more glamorous side of the Fashion Week was seen on the runway of Fashion Hong Kong. The collection for women was an exceptional display of satin and tulle ball gowns in red, black and white, all of which were Oscar-worthy and equally stunning. The collection also included a selection of white après ski styles, full of open knits & luxurious tailoring that, again, saw the inclusion of fur, certainly signalling an oncoming spring trend. Designers who veered more towards the avant-garde seemed enthralled by the Nicholas Nybro runway. All of the female models wore Sia-like wigs while the males donned riding caps. The models had an ethereal look to their faces with make-up denoting sunken eyes and the runway style was colourful with floral print accents. In a turn, both sequins and bomber jackets were seen on the boys while the girls donned baggy ensembles which sat slightly imperfectly on the models but looked truly glamorous in an alternative sense. While Danish fashion is currently exploding, we saw this in its full sense at Copenhagen Fashion Week. The ateliers are designing what the Danish want to wear, not want they want the Danish to wear, and are merging traditional Danish style with futurism. It’s a fresh way of thinking and we look on in anticipation at the Danes, and are waiting, enthralled, to see how their style stakes will continue to rise in the coming decades.

Malene Birger

Mads Norgaard

street style Photography Laura Iorgulescu

1 Sinead Scully, 2nd Year History and Sociology

“What’s the cheapest vintage item you’ve ever bought?” ‘’Well this jacket was a tenner! It’s from a market in Rome – San Giovanni.’’

2 Eilis McGuinness, 3rd Year Psychology

“I just kind of found these shoes in my house today. I never really go shopping which is weird; I just sort of accumulate things. Even if I do go into a shop sometimes, I think ‘This is kind of weird’ and I just leave. The markets in London are really great. My sister lives there so it’s handy to do a bit of shopping.”

words Sarah O’Shea

Nicholas Nybro

Fashion Hong Kong

vintage vamp

From North to South, Siobhan Carr examines the thriving community of vintage and second hand stores providing cheap and cheerful alternatives, as well as signposting the streets of our fair city

During the days of the Celtic Tiger, smaller vintage and second-hand shops began to suffer as a result of the increasing demand for common chain stores. As the wealth of the Irish economy grew, the number of unique vintage shops began to decline and flounder. However, since Ireland’s economic downfall these, businesses have begun to resurface and shine like never before. The need for cheaper alternatives to popular clothing chain stores has created a dramatic surge in these independent shops and the thirst for them has caused a minor boom in this niche industry. As we cast our eyes over the Dublin dominion of vintage stores, it becomes evident that there are far more antique stores dominating the South side of Dublin in comparison to the North side. The South side offers a multitude of small antique shops to choose from which have once again begun to surface; with Dirty Fabulous, one of the top vintage stores on the South side of Dublin, leading the way. Situated on 21 Wicklow Street, it offers a selection of bridal and party gowns as well as accessories ranging from the 1920’s era up to the 1970’s. There are a multitude of choices of over 200 different special occasion gowns to choose from; all within a €350 to €950 budget. The reasonability of its price range for bridal dresses of such good quality is not only great value for money but also for sentimentality. Accessories such as head pieces are also sold in store for that extra touch of glamour and class. If a customer has a particular idea of what they would like then Dirty Fabulous will design and create it for them. Most head pieces range from €35 to €350. This particular shop will provide reasonably priced clothing and accessories for special occasions such as weddings, debs and balls, allowing its customers to afford beautiful and unique pieces on a tight budget. Another unique vintage shop is Retro in George’s Street Arcade. This particular boutique is hugely

popular for purchasing ‘40’s and ‘50’s inspired clothing and accessories. Many of its customers would be well known to the public and have set off the trend and desire for older, more sophisticated styles. Imelda May, for example, has been a popular customer of theirs and has sported their styles time and time again in the fashion sphere. Surprisingly enough, there is also great value to be offered at this store. Some of the dresses can cost up to a few hundred euro, however it is also important to keep in mind that many of these dresses are suitable for formal or party wear, allowing the expense of a vintage dress to be significantly lower than that of other sellers. They also provide a selection of burlesqueinspired corsets, footwear, casual clothing, clothes for babies and young children, menswear and a large variety of accessories. Lucy’s Lounge on the other hand is a excellent example of one of Dublin’s popular second-hand stores. Located in Temple Bar, it caters for second-hand and recycled retro clothing and accessories. With a great selection of both formal and casual wear, Lucy’s Lounge provides an upstairs section where customers can have their own customised outfits/jewellery made. While the South side has a larger selection of vintage shops, the North side has a selection boasts it’s own collection but focuses more on charity and second-hand stores. An example of this is the Enable Ireland Sandymount Centre, which offers funds for children with developmental delay and primary physical disabilities. Its aim is to focus on improving the educational, social and physical aspects of development for these children through the selling of previously-owned treasures and fashions. During times of financial crisis, stores like these offer a selection of cheap clothing to the public whilst also providing for those in need. Another worthwhile charity shop North of the river is Oxfam Ireland’s store on 18 King’s Inns Street in Dublin. A

charity organisation which raises funds for those suffering from poverty and a lack of basic human rights, it focuses on providing life-saving aid for those who are suffering from starvation and crisis situations, gender inequality, insufficient healthcare and educational systems. By supporting growing industries such as these, customers can rest assured that they are not only lessening their own spending costs but also helping out those who are less privileged than themselves. Aside from charity shops, there are also a retinue of other vintage stores in North Dublin. Vintageinspired stores are far less common within this area, however there are still some that have continued to boom. Nine Crows, for instance, is a vintage shop that has been on a steady trajectory of success since it’s arrival in 2010, and has recently announced that it will be releasing its own line of clothes this year. Pieces cost an average of between €15 to €85 and up to €200 for their line of coats. Similarly, Angel Cruisers is a unique vintage shop different to so many of others, as it does not specialise in clothes but in old-fashioned bicycles. A stunning store which sells vintage bicycles in a variety of beautiful pastel colours with bells and wicker baskets, their produce estimates from around €200 to €1,020 for their more professional bikes. Overall, the South side does appear to offer a wider selection of vintage stores; therefore if one were searching for this line of fashion they would benefit more by shopping on this side of town. While the North side does not offer the same variety, it does portray different values as it focuses more on second-hand charity stores and antique shops that provide the customer with an eclectic selection of vintage items, ranging from well-used to pure dead-stock. All in all, Dublin’s vintage circle is thriving, and the inclination for the rare, unusual and one-of-a-kind is growing stronger with each passing day.

a selection of dresses from dirty fabulous photo: Aga, white tea

The brightly coloured selection from angel cruisers photo: angel cruisers

A Voodoo Free Phenomenon Mirroring the darkened environment of Newgrange, Heather Law takes a look at the work of artist Garrett Phelan in his exploration of our culture and tradition, and the lasting impression they have left on contemporary life Project Arts Centre, based in Temple Bar, has long been a base for Irish contemporary art and its practitioners. Most recently the centre has been host to a newly commissioned exhibition from Dublin-born artist Garrett Phelan. Highly accomplished, Phelan has exhibited his work in many countries around the world as well as at home in Ireland and has had experience using a wide variety of media, including sculpture, film, photography, and animation. This new exhibition, entitled ‘A Voodoo Free Phenomenon’, features work in sculpture and film, including both digital and traditional hand-drawn animation. The exhibition is not particularly large, consisting of only three sculptures and two videos; installed in just one room. The appearance of the room itself is striking, as it is lit only by the faint light from the videos and from the spotlights highlighting the sculptural pieces. The sculptures themselves have been assembled by combining modern microphones and wires with rough pieces of carved gold. This dichotomy between technological advancement and cultural aesthetic is a theme that continues throughout the exhibition. The centrepiece of the collection is a film in which Phelan tells the story of a trip he took

to Newgrange as a young man, as one of a select few given the rare opportunity to visit during the winter solstice. His narration here is in-depth and personal, evoking for the viewer as clearly as is possible what the experience meant to him. However he makes a valiant effort to convey the monumentality of that moment. What really makes this video interesting are the descriptions leading up to that moment. Phelan doesn’t skip over what could be construed as minor details, he relishes in every moment of his tale. The icy weather, the anxiety he felt in the car on his way to the site, the feeling of the rough carvings under his fingers as he finally made his way into the chamber. These detailed recollections are what really manage to bring life into his story. While watching the video, many parallels become clear between Phelan’s detailed narration and the exhibition he has placed it within. The dark room with its few spotlights are greatly reminiscent of the chamber at Newgrange, the dark passage with its one clear beam of sunlight, and the gold sculptures are carved and patterned in ways that resemble the tomb’s ancient artistry. These parallels draw the viewer closer to Phelan’s story and his

exhibition. The combination of narration and exhibition isn’t entirely seamless and some details leave much to be desired. For example Phelan’s descriptions of the rough stone carvings and the cold passage of the tomb stand at odds with the smooth and bright gold sculptures that he has placed on display. Though this exhibition is somewhat small it is enough, however, to raise important questions about the influence that culture and tradition has on contemporary thought. Phelan manages to showcase his own thoughts on the matter while also leaving enough space for audience interpretation. There is no denying the importance of our cultural history, but there is also the question of the dangers of being tied down to redundant ideas and beliefs. Phelan’s work manages to effectively balance a respect and admiration for his artistic forefathers while also maintaining a necessary skepticism, keeping himself firmly grounded in the present. with a loop, a beat or a bassline. There was no sort of ‘fixed’ way of writing the song. It’s just about whatever speaks to you at the time.”

Little White Lies

Ethereal Assemblage – MD-4000 Vintage Microphone and Undiscovered Celtic Gold 2500 BC image: garrett phelan

What happens when something you love suddenly changes and becomes strange? Sean Hayes takes a look at the recent Little White Lies exhibition, capturing Dublin in a light never before seen For many tourists and locals alike, Dublin is a city of excitement, mystery and adventure. It’s a city famed for its romances, intrigue and culture. Yet, in this recent collaborative project, photographer Aidan Kelly and artist DMC take a new approach in capturing and representing this fair city. The two artists re-imagine Dublin as a woman with whom their relationship has died, describing a profound sense of abandonment and isolation in a city they once felt they knew. The quickening pace and sudden change in life left them feeling as if Dublin had lost the charm which made her unique. As such, the resulting project, a collection of fourteen photographs, spray painted and stenciled over offer a poignant and often nostalgic look at ordinary, everyday scenes of the city. The project marks the first collaboration between these artists. A relationship that seems to have worked seamlessly, the exhibition and resulting pieces are the unique fruits of labour from two men both well known and highly regarded in their respective fields. Even though it’s difficult to imagine the opposite mediums of photography and spray painting coming together, both forms compliment and support each other effectively, much like the artists themselves. One particular work, a mixed colour and black and white collage of the docklands, features the emblazoned spray painted words, “No More Secrets”. A reflection on the surface of the water acts as a sort of exclamation point, adding a sense of urgency and anxiety to the piece. Another shot captures the iconic red bricked terraces of inner city Dublin, at night. A faded streak of colour across the scene represents

the speed and bustle of the city, while the buildings, alone and desolate, draw attention to the traditions so quickly being forgotten. A highlight of the exhibition captures a youth sitting alone on the steps of the Central Bank of Ireland. The young man, easily missed at first glance, stares out at the viewer, from the corner of the photograph. DMC’s trademark stenciling and graffiti inspired sprayings suggest an uncertainty for the future of Dublin’s youth. Throughout the exhibition, these sort of social problems are tackled effectively and evocatively. The fourteen large pieces, sized A0 and printed on dibond aluminium, when viewed together, certainly offer a jarring and contrasting image to the Dublin so often promoted and idyllically remembered by many. Exhibited in Temple Bar’s The Library Project, even its setting seems to add to the viewing experience. Situated in one of the city’s liveliest and busiest quarters, the exhibition space still manages to feel cut off and solitary from the bustling street scenes outside. This allows for Kelly and DMC’s pieces to feel more real and suddenly far more pressing and relevant to today’s society. Whether there’s hope or not for the city and its inhabitants, that seems to be left up to the viewer. Each work equally presents the positives and negatives of each setting. There is no denying, however, that DMC’s energetic, fluid and spontaneous paintwork offers some sort of colour to each scene, a little excitement and, perhaps, a little hope for an otherwise dying love.

Emerging Irish Writer: Alan Cunningham Shying away from conventional writing and structure, Patrick Kelleher chats to Alan Cunningham about experimental literary musings, his debut novel and the concept of incompleteness Alan Cunningham’s name has been on the rise of the literary scene for a while now. Having published his first book, Count From Zero to One Hundred in 2013, the Irish native is one of the most exciting emerging writers on the scene today. Cunningham’s writing of Count From Zero To One Hundred had incompleteness at its heart, as he describes it. “It was not so much inspired as crafted out of what felt like necessity, at the time,” he explains. “One of the things I’m interested in is incompleteness, the appearance of incompleteness – both in form and content.” His other writings have been similarly experimental, notably his New Green Fool essays, some of which have been published in literary journal Gorse. “They use ‘The Green Fool’ by Patrick Kavanagh as a very amorphous kind of reference point for the exploration of many, many other things and perhaps, towards the end, the distortion of certain things.” He says that he has “no preferred form” in writing, but explains that he recognises “how easy and comforting it is to return to a familiar style, one which has perhaps worked before.” He does, however, enjoy a challenge. “For me the form will come to mirror the intention - the expression – so that, it is hoped, the final thing has a satisfying heft to it that can be only what it is. “I’m a bit dismayed at the modern compulsion for these well crafted, weighty, just so perfect and complete novels, I must say - they communicate little to me and one can always see the cogs working away in the background. I want to be a little shocked, a little surprised. I want to be fascinated.”

For me the form will come to mirror the intention - the expression – so that, it is hoped, the final thing has a satisfying heft to it that can be only what it is

Despite his dismay, he is adamant that “there are interesting and exciting things happening both with writing in Ireland – and by Irish writers outside of Ireland.” Both of these categories apply to Cunningham, a writer who is of Ireland, yet writes outside of it. He is a writer who is at the fore of new and experimental writing, both at home and abroad.

photo: briony ridley

the rise of the performance artist

Since the late 1950s and 1960s, the art world has been changed by the new tradition of performance art. Lauren Moore looks at this increasingly popular form, and asks why it has become so popular In 2010, a Serbian woman called Marina Abramovic sat in the atrium of the Museum of Modern Art in New York for 736 hours and 30 minutes, offering visitors the chance to sit opposite her and gaze at each other in silence. The response was incredible. People queued outside the museum all day for a chance to sit and be looked at. Many visitors left the exhibition crying, laughing and emotionally rocked by the performance. Abramovic’s performance follows in a tradition that began with the dawn of conceptual art and new media in the late 1950s and 1960s. Its aim was to challenge people with the idea that art does not need to be aesthetically pleasing or within the boundaries of a museum. Artists began to engage with political and social issues surrounding the institution of art. Within this context, the very boundaries of paintings and sculpture were broken down with the introduction of new media and collaborative art. This included the increased use of video, installation, photography, the ready-made and of course, the human-body. As artists pushed the limits of what art could be, it’s no surprise then that by the late 1960s and early 1970s, performance art was gaining increased popularity. Performance as art is not a new idea, and has existed in drama and poetry for centuries. However ‘performance art’ engaged with the art viewer more directly,

often inviting the viewer to participate in the performance; it incorporated new media and, particularly in the 1960s, engaged with social movements such as civil rights, feminism and anti-war protests. Performance artists also explore not just the limits of art, but the limits of the body, both physically and emotionally. They often look at themes such as discipline, pain, endurance and breakdown, and the human mind. It is because of this that performance art can be considered one of the most gruelling art forms, requiring incredible self-discipline. Unlike other types of performing arts, the body can be under intense strain. Marina Abramovic’s performance at the Museum of Modern Art covered her career from the 1970s, and shows how performance art is still and will remain a major part of the art world. It also shows how emotionally gruelling performance art can be; being required to sit completely still and stare at people is a draining task. A theory of why so many people were so emotionally affected is that Abramovic’s gaze made people aware of themselves and their vulnerability. In this incredibly busy world, it is rare that one is truly looked at. This performance provoked both thought and emotion from the viewer, however did so in an interactive and unique way.

abramovic’s performance ‘the artist is present’ photo: Andrew russeth via flickr On the more extreme end of performance art are artists such as Petr Pavlensky. The twenty-nine year old Russian is known for using his body to perform gruesome protests against not only the Russian state but also people’s apathy towards their surroundings and the events taking place in Russia. He is particularly well known for his performances last year which included nailing his scrotum to Red Square and cutting off his earlobe while sitting on the roof of the Serbsky psychiatric centre in Moscow. The former performance was in protest of the political indifference of modern Russian

society, while the latter was in protest of the use of forced psychiatric treatment on dissidents within Russia. While there is debate on whether these performances are successful in conveying their message to the public, nobody can deny it has personified the suffering of unknown people and brought media attention to Pavlensky’s criticisms. There is no doubt that performance has solidified itself as a well respected art form since its emergence in the twentieth century. It is an ever evolving practice and connected to many extraordinarily complex and expressive ideas. The value of performance art transcends

not just traditional art forms but also even monetary value as it is an ephemeral art. Perhaps this is why it has become so popular in an ever increasing money orientated world. Performance art came from the seeds of wanting to breakdown limits on art and the way we convey expression, language and particular messages. While debate continues on this form of art, it has been undeniably successful in achieving much of what it set out to achieve.

Éilis Ní Dhuibhne

As Éilis Ní Dhuibhne prepares to accept the PEN Award for her Outstanding Contribution to Irish Literature, Patrick Kelleher sits down with the writer to discuss the Irish language, feminism, and her beginnings in UCD

Sitting down to talk to Éilis Ní Dhuibhne is a somewhat intimidating experience. Regarded as one of Ireland’s greatest living writers, she is due to receive the Irish PEN Award for her Outstanding Contribution to Literature on Friday 20th February, and join the ranks of previous winners, such as Seamus Heaney and Brian Friel. What is discovered almost immediately in Otwo’s conversation is that she is incredibly down-to-earth and highly intelligent. The Dubliner explained that her background in the capital city, and as a graduate of UCD, have been nothing less then defining. During her time studying in UCD she launched her literary career. “While I was here I had begun to write short stories for the New Irish Writing Page in the Irish Press,” she explains. “I wrote my first short stories while I was a student here, and published the first one in 1974, when I was in third year.” Having come to UCD to pursue a degree in English, she became interested in folklore, which would go on to become a major feature of her writing. “While I was doing the degree in English I took what you would now call a module, an optional course on the folk tale and medieval literature, and I became extremely interested in folk narrative.” While her first publication came during her final year at UCD, her ambition to write was a lifelong goal. “I had an ambition to be a writer from a very early age because I liked reading very much as a child,” she says. “And when you like reading, when you read a lot as a child I think it does nurture your imagination and it certainly improves your writing skills. You learn by imitation.” Ni Dhuibhne, who cites writers as diverse as D.H. Lawrence, Alice Monro and James Joyce as inspirations, has famously written across multiple forms, genres, and even languages, having written work in both English and Irish. “I’ve written in an awful lot different genres, and I think, you know, sometimes that looks a bit flaky or something!” she laughs. Central to what she calls her perceived “flakiness” is her decision to start writing in Irish. “I was bilingual really as a child,” she explains. “I went to an all Irish school. But when I had my dream of being a writer, it didn’t occur to me that I would do it in Irish. It is my second language, not my first language, I’m more at home in English, and of course read much more in English than in Irish.” Despite this, she agreed to write a play in Irish for an Irish-language theatre during the 1990s. “It went down very well,” she says, having enjoyed the process. Soon afterwards, her play was published. “They published that play and another play, and then they asked me if I would think of writing a novel. And I thought I sort of almost owed it to them to try this because I knew nobody buys plays.” Her sense of owing the publishers something paid off. She ended up writing a detective novel in Irish, called Dúmharú sa Daingean, which ended up being an Irish-language bestseller. One major feature of Ní Dhuibhne’s writing is the prevalence of female characters, something she feels strongly about. She explains that when she began writing, she didn’t understand the extent of the problem. “I didn’t have a clue about feminism, or women writers or women’s literature or anything like that. But neither did anybody else in Ireland, I would think, and certainly not in UCD where when I was studying English for instance there would have been about one or two women writers on the course

I wrote my first short stories while I was a student here, and published the first one in 1974, when I was in third year

over the whole three years. There was just no consciousness of the woman’s voice.” By the 1980s, she, like most of the world, became increasingly aware of feminism, and as she describes it, “the dearth of women’s voices in the history of Irish literature.” Issues persist, however. She cites a poster which circulated several years ago about Irish writers, all of whom were men. The issue of feminism is close to Ni Dhuibhne’s heart, and she explains that studying Jane Austen is simply not enough. “Once you begin to question these things, and ask, is this right, then I began to think, well, no, I’m not going to write about men. They can write about themselves,” she laughs. “And I began to position myself in the – this sounds like a very arrogant thing to say in one sense – but I began to position myself as a woman writer in the history of Irish literature, at a very crucial moment in the development of Irish literature, but of every other aspect of Irish life as well.” It is perhaps in this respect that she is most proud to have received the PEN Award this year. “It’s so great to get something like the

PEN Award, because it hasn’t been given to that many women!” Despite the feminist movement constantly moving forwards, it’s obvious that there is more to be done. “It’s definitely not an equal balance, and you do have to ask, what’s going on there. Is there somehow a greater respect for men who achieve something than for women who achieve something? And probably I think that is the case in every sphere of life. Because I think we all have an inbuilt bias, I mean women as well, somehow. And that it’ll take a long time to overcome that and to really respect women’s work as being equal to men’s.” Otwo’s interview finishes on the discussion of feminism and the need to see women as equals in the literary world as much as in other spheres. Right now, however, she is focused on the joy of having been awarded the PEN award: “It’s a huge honour, I feel really great!” she smiles. The award will lend further credence to the career of a writer who is distinguished, and will undoubtedly continue to be so for many years to come.

Photo: James Brady

Fatal Fourway best inanimate object in film & TV McLovin’s fake I.D. from Superbad.-Shane hannon “All right, you look like a future paedophile in this picture, number one. Number two: it doesn’t even have a first name, it just says “McLovin”!” The 2007 comedy Superbad is a memorably hilarious film for multiple reasons. There’s Bill Hader and Seth Rogen’s care-free cop characters destroying their police-car in a car-park. There’s the flashback to Seth (Jonah Hill) as a kid who has an unhealthy obsession with drawing detailed illustrations of male genitalia. But without a doubt the star of the show is the one and only McLovin and his fantastic fake I.D. We all know that horrific feeling of walking

into an off-licence to buy alcohol for the first time; the paranoid sense that everyone is staring at you, the sweat patches that exemplify your nervousness, the shaky hands as you take your bottle of Buckfast to the smiling woman behind the counter. But why is she smiling? Is she just happy? No wait, screw this, she knows I’m 14. It is pointed out in the film that the name McLovin sounds like an Irish R&B singer, and that sounds pretty accurate. In a film focused on the main protagonists’ losing their virginity before they go to college, alcohol is a necessity. These three friends – Evan, Seth and Fogell (a.k.a.

McLovin) – are determined to be the life of the party and although they are admittedly seriously uncool, their persistence is commendable. The fact that the I.D. states ‘McLovin’ is 25-years-old is another notably humorous point, especially considering he looks like he’s just made his Confirmation. Who would have known a dodgy Hawaiian driver’s licence could provide so many laughs? And furthermore, who would have known a dodgy Hawaiian driver’s license would actually result in the one and only McLovin getting served alcohol in a country as strict as ‘Murica? Future J1ers, take note.

The Ruby Red Slippers in the Wizard of Oz -

Gráinne Loughran Forget Judy Garland, it was really Dorothy’s ruby red slippers that deserved an Oscar for their role in the Wizard of Oz. For one thing, Dorothy was almost entirely useless throughout the whole film. She goes for a bit of a wander down the road and expects the wizard to send her home just because she asks. Oh, and this is AFTER she murders the Witch of the East, and herself and Glinda the “Good” Witch (we’ve all seen Wicked by now, right?) nick the shoes off the poor witch’s corpse. It’s a bit much if you ask me. It’s not that I don’t understand why they nicked the shoes. I mean, look at them. They’re fabulous.

It’s just that those shoes deserved better than all the crappy characters they had to put up with- for God’s sake, they were only holding the shoes back from the retail shelves where they so clearly ought to have been. The ruby red slippers instigate all the action, they protect Dorothy from the Witch of the West, they transport her home through space and they’re the cutest fashion accessory in town. And she walks in those things the whole damn time, so not only are they decorated with red sequins but they are also super comfortable. Personally I would kill for a comfortable pair of red sparkly

shoes that would transport me home after a night out when I click my heels together. You know, there were four different pairs of ruby red slippers used in the making of the Wizard of Oz. How many Dorothys were there? One, plus a stunt double. That’s because the shoes had to put in twice the amount of work. Inanimate objects they may be, but without them Dorothy would’ve been killed by the Witch of the West while she was in Oz and the whole story would’ve been quite a bit more miserable. Not to mention done with a whole lot less style.

The Glass of Chianti in the Silence of the Lambs — ciarán sweeney The beauty of this inanimate object is that it is only ever referred to, and never actually seen in the film, the Silence of the Lambs . The effect of this allows the mind of the viewer to visualise it, grasped at the same time by the mercilessness with which Antony Hopkins, playing Hannibal Lecter, describes him using this Chianti. When asked by Clarice Starling, played by Jodie Foster why Lecter never uses his shrewd perception to turn the mirror on himself, he replies: “a census taker once tried to do a test on me…I ate his liver with some fava beans and a glass of nice Chianti” (as you do!)

The fact that this is never shown, allows the imagination to be taken over by the shrill ruthlessness of Lecter’s cold personality. What has now become one of the most famous lines in the history of film, was encapsulated by such a simple yet effective prop-the glass of Chianti, not to complement what it usually would, such as cheese or biscuits, but to complement the liver of a man brave enough to cross the untouchable Hannibal Lecter. With the vision of the evil Lecter sipping on wine on a side of this census takers’ liver, it adds an extra chilling effect, once we see the

cannibalistic side of Lecter to his line in the film when he says: “I wish I could talk for longer, but I’m having a friend for dinner”. (Life rule number one, know if your friend is a cannibal, and if he is, don’t agree to dinner…or to be his dinner). Chianti is rarely served chilled but the reference that Lecter makes to it in the film, gives a pretty chilling aftertaste. So next time you’re at a friends’ house for a meal sipping Chianti, make sure you’re meat doesn’t have a tattoo first!

The Gum from Nick & Norah’s Infinite Playlist — ruth murphy In recalling this film that isn’t even that famous one can simply state “the gum” and everyone who’s seen it may recoil in horror. The disgusting mess of this gum is the glue that brings all the characters together. They could’ve actually named this film The Life of Gum. The trailer could explore how “One piece of gum’s journey from mouth to mouth and even down a toilet brings two people together in a night of music, fun and, of course, gum.” One could argue that the journey that the gum goes through in the film represents the journey of the characters both physically and mentally. The gum goes from happy clean mouths to toilets and back out again like the characters themselves. However, what

makes this gum so interesting is really that it just goes everywhere. The characters pay little attention to it but we see it transferred through kisses, puked out and put back into another person’s mouth. You can’t ignore how disgusting that is and yet you watch as the characters do just that. This is an object that can’t be ignored and not just because each character both physically and symbolically changes its very malleable shape. You know the gum hasn’t tasted good since about the first scene but you watch as it moves on and on. Every time you think it couldn’t get more disgusting, it does. The gum winds this film together.

It makes the passage of time in the film that much more believable when a piece of gum seems to survive it all. Has anyone ever paid as much attention to gum as they did watching this film? Also, if you didn’t notice the gum, were you watching the same film I was watching? Nick and Norah’s Infinite Playlist? More like Nick and Norah’s infinite gum.

parallax student photojournalism

A basketball player practises on a court in the Student Centre Photo: Muhamad Jamil

Photo: Ciara Browne

Photo: Kate Cleary

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

Photo: James Brady