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Cressida Peever - indigo@palatinate.org.uk

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INDIGO 3 F EATURES

Our look at Durham’s quirkiest modules and what they teach us

4 & 5 MUSIC

We review two new albums, as well as interviewing a rock band from rural Sheffield

6 V I SUAL ARTS

A review of the Oriental Museum’s new exhibition

7 BOOKS

We see how unrequited love has affected the work of W. B. Yeats 8 & 9 FASHION

Our summary of the Parisian Coture Fashion Week

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A look back at the first season of ‘House of Cards’ ahead of the second season release tomorrow

1 1 F O OD & DRINK Suggestions for a home-cooked meal this Valentine’s Day

1 2 , 13 STAGE

A preview of ‘Chicago!’ and obverservations on actors’ transition from screen to stage

When I came to edit this edition of indigo, I expected to find it oozing with amorous clichés ahead of Valentine’s Day tomorrow.

To my pleasant surprise, none of the section editors have taken the (qu)easy way out for this edition.

You’ll find pieces related to romance in Food & Drink and Books, with some mild references from Film & TV.

I’ve always been torn between cooking at home or going out for the evening ¬– that’s if the ‘V’ word is being acknowledged – but Food & Drink provides some inspiration if you’re able to shotgun use of the oven on Friday night, and you’re intending to maneuver your way to the heart via the stomach.

The Books section demonstrates how unrequited love can be a blessing in disguise if frustration is harnessed positively; the article on the frequently-spurned heart of W. B. Yeats might not be the consolation you’re looking for, but if anything, it could put you on equal ground with one of Ireland’s greatest poets.

But, if you’re just going to carry on as if tomorrow is another normal day (which, of course, it is) then our other sections won’t remind you that somewhere greetings card companies are raking in a fortune from those who choose to say ‘I love you’ with the words of an overworked individual they’ve never met, who is paid by the hour to sit in a clammy office trotting out gushy rhymes (the sort of job I’ll be desperate for when I graduate this year!).

I’ve never bought a Valentine’s card, and I don’t think I ever will, but unfortunately I can’t say that I’d object to being given one!

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INDIGO EDITOR Cressida Peever BOOKS EDITOR Kate Wilkinson FASHION EDITORS Isobel Buckingham Katie Shuff FEATURES EDITOR Francesca Jaworska FILM & TV EDITOR Aalok Vora FOOD & DRINK EDITOR Diana Grant-Davie MUSIC EDITORS Sophia Smith Galer Jack Collins (deputy) STAGE EDITOR Emma Dawson TRAVEL EDITOR Philip Whitehead VISUAL ARTS EDITOR Frances Marsh

WRITERS Osha Al-Mossallami Josh Podmore Gabriel Samuels Roy Manuell Sophie Nikolaou Steph Horrocks Tiffany Tivasuradej Cressida Peever Alex Yandell Eleanor Gunn Alice Barber Harriet Tinker

Cressida PHOTOGRAPHY / ILLUSTRATION Surya Ridzuan Emma-Kate Prout

1 4 & 15 TRAVEL

Have you got a photograph that you think is good enough to be on the cover of indigo? Email it to us at indigo@palatinate.org.uk

A reflection on life in Beirut

Cover photograph by Cressida Peever

For more arts and lifestyle articles please visit www.palatinate.org.uk

To join our illustrations team, email illustration@palatinate.org.uk

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Francesca Jaworska - features@palatinate.org.uk

F EAT U R E S

crazy in love with learning

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Osha Al-Mossallami looks at what Beyoncé and Harry Potter can teach us

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ou have just accepted a place at Rutgers University and are excitedly scrolling through the electives on offer. To your surprise and delight, alongside the likes of Marx and Greer, you see Beyoncé’s name. As excited as you are by the prospect of such a module, how can a study of Beyoncé keep pace with those on the theories of acclaimed academics and thinkers?

Kevin Allred, who will be lecturing on “Politicising Beyoncé” for the Department of Women’s and Gender Studies at Rutgers, said he would be using the Texan born singer as the basis to explore the issues of race, gender and sexual politics in America. The class will include analysis of Beyoncé’s videos and lyrics along with readings from black feminists.

Allred claims that he wants to encourage students at the university to think more critically about media consumption. At first, the natural response seems to be sheer excitement that finally someone else will understand that perfecting the ‘Single Ladies’ dance is not just a form of procrastination from your summative deadlines, but rather an exploration into what it means to be an independent women with the right to explore your femininity. Yet at the same time, one must also ask: what are the serious intellectual gains that will be made from a module like this?

Famously, Durham University’s Education Department offers a module which concentrates on the books and the world of J.K. Rowling’s Harry Potter series. The module uses the works of J.K. Rowling to examine prejudice, citizenship and bullying in modern society. In defence of his dark art (a strained joke, but it had to be done), Dr Martin Richardson, who is the head of the Department of Education at t h e

Chimamanda Ngozi Adichie speaking at a Commonwealth Lecture Photograph: The Commonwealth Foundation

Photograph: oouinouin via Flickr

University, has said in the past that the module “seeks to place the series in its wider social and cultural context and will explore some fundamental issues such as the moral universe of the school,” and that “you just need to read the academic writing which started to emerge four or five years ago to see that Harry Potter is worthy of serious study.”

Therefore, while there are doubtless many cynics who will argue that their degree is far more worthwhile (this is by no means an attempt to justify that studying a Beyoncé or Harry Potter module is more important than studying, say, engineering, whose students will only too happily tell you how many hours of lectures they have had in comparison to your paltry legal minimum), perhaps there is a vital point to be made here.

The manner in which education and academic studies have been carried out has

Finally someone else will understand that perfecting the “Single Ladies” dance is not just a form of procrastination changed dramatically over time, and surely it will continue to do so with the ever evolving way we consume information. Yet to some young people university and academia still seem too daunting; part of a world to which they do not belong. What is the harm in opening up this intimidating world to people through the enticement of Beyoncé, with whom you can learn about why it is still vital to be a feminist in today’s society. After all, in her song ‘Flawless’, from her most recent album, she inserted a speech made by the Nigerian feminist Chimamanda Ngozi Adichie where she highlights how in today’s society we teach girls to dream to “be successful, but not too successful otherwise you will threaten the man.” Listening to this track may then lead someone to read Adichie’s award-winning novel Half of a Yellow Sun, and from there to study the difficulties facing women in African

communities in more depth. These issues are, at the end of the day, debates which are integral to how society progresses. In a generation where political apathy and social problems are increasing, perhaps we really do need the help of ‘bootylicious’ celebrities to make sure these issues do not just remain within the confines of academics but also reach the minds of the next generations who really have the power to make a difference.

And to anyone who thinks they have never learned anything worthwhile from reading the Harry Potter books, you clearly weren’t doing it right – go and try again.

Story by Osha Al-Mossallami

twinning politics and sport Sam Nicholls explores the marriage of politics and sport at this year’s Winter Olymics. Read this article in full online at palatinate.org.uk The Olympic Games symbolise far more than simply the sporting prowess of an individual.

Athletes represent their country, and consequently the reputation of that nation is at stake during the competition. As the eyes of the world’s media fall upon it, the host country is analysed beyond compare. There is no greater stage than the Olympics, but should human rights abuses be ignored so this scrutiny is reserved solely for athletes...?

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Sophia Smith Galer & Jack Collins (deputy) - music@palatinate.org.uk

MUSIC

drenge//interview

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renge are a two-piece garage rock band from rural Sheffield. They paint the triviality, restriction and beauty of adolescence with violent imagery and filthy blues riffs set to ferocious drumming with a deafening, ballistic tenacity.

Musically Drenge draw many comparisons with the White Stripes and Nirvana, whereas lyrically they share ground with Morrissey, Pixies and Nick Cave.

There are big things ahead for this band who are set to release their first two singles ‘Bloodsports’ and ‘Dogmeat’ in the US this coming January. I sat down with Eoin Loveless (guitar and vocals) to discuss the origins of the band, what inspires their sound and his views on the current UK music scene.

Indigo: How did the band start and what were you first exposed to musically?

Eoin: We started in about 2010 and we did our first show about three years ago. When we were growing up like, our Dad’s really into jazz, so we had a lot of Herbie Hancock and John Coltrane and he used to tape Giles Peterson’s Worldwide off of Radio 1, that was really cool. That show is such an education, it’s not even a genre of music, and it’s just like a guy who used to play good music all the time. I picked up the guitar and Rory took to the drums, I don’t know, a lot of our mates were starting bands in Sheffield and we thought, why not?

I: So your first album definitely paints images of anger, violence and gore, but your delivery of these themes is pretty diverse; obvious contrasts being tracks like ‘Dogmeat’ and ‘Let’s Pretend’. Are you considering bringing more people into the band to build upon this in the future?

E: It’s something Rory really wants to do, probably because he’s really sick of being on tour with me. But it’s something that I’m quite proud of, that we’re able

to be diverse and just have two members in the band.

It’s just something I wanna keep pushing and pushing and pushing until I just can’t take it anymore.

Then bringing someone else into the band will just change it, like it’ll just be a different band.

I: What have you been listening to currently?

E: Today, I listened to F*** Buttons’ new album Slow Focus. That was really cool, but I don’t think I was listening to it on the right headphones though, because it just kept breaking up, but it was just so addictive.

I’m quite bad at exposing myself to new music, and at the end of the year there’s like 100 best albums of the year, so I listened to John Grant’s Pale Green Ghosts which is Rough Trade’s album of the year, and err…that is just such a funny record, the guy is just so bitter, and the music is sort of like Tame Impala and Amnesiac-era Radiohead, so not totally original... but his voice is really striking and he has some really cool melodies.

“I wanna keep pushing and pushing and pushing until I just can’t take it any more ” I: Could you tell us about your influences outside of music?

E: Erm, well I’m really into film, which isn’t the most original kind of influence outside of music. But I can barely go anymore because I’m so busy doing this.

And just on a like really lame level, just what drives me most to write music is like going on walks in the hills...and just being like one and a half pints in. If you wanna do some lyric writing, go to a pub on your own and you don’t even need to take, like, a recording of the music with you, just sit there and listen in

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on people’s conversations and start up something with someone.

“just being like one and a half pints in. If you wanna do some lyric writing, go to a pub on your own” I: While researching you I found that you’re quite interested in the Danish Dogme 95 cinema movement.

E: Yeah, yeah, yeah.

I: I literally just watched the movie Festen yesterday.

That thing took so much out of me.

E: Like, we watched that film and then we started the band. It’s all about restrictions and limitations and that’s something we can totally lock into.

I: So what do you think of the current music scene in the UK? E: Well…it’s like...looking at a huge garden and there’s just so much stuff going on and there are some weeds and there are some beautiful flowers, and there are some things that need to be there, like herbs and vegetables. There’s so much stuff, and there are so many bands that I’ve yet to discover that have probably already split up. There’s so much music and you’re never gonna be able to listen to it all but, it’s really healthy.

Interview by Josh Podmore Photo Credit: Paul Hudson

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Sophia Smith Galer & Jack Collins - music@palatinate.org.uk

MUSIC bombay bicycle club// so long, see you tomorrow Drawing comparisons between an Illinoisan domestic realistic and an indie four piece from Crouch End might seem a bit facetious, but hear me out. So Long, See you Tomorrow, a William Maxwell novella from 1979, shares not only a title but an atmosphere with Bombay Bicycle Club’s triumphant fourth album. Maxwell’s tale of murder and amity was praised for the author’s compression, the ability to cram an almost overwhelming quality of emotion into a few short pages.

Thirty-five years on and for all their bombast and clamour, Bombay Bicycle Club have pulled off the same trick with their version of events.

When guitarist Jamie McColl called their latest efforts a “progression not a revolution” he was dead on – and it’s all about the compression. So Long, See You Tomorrow is a distillation of all the band have learnt since school, the majestic fusion of 2011’s exceptional A Different Kind Of Fix and Jack Steadman’s solo electronic work – and so much more to boot.

Story by Gabriel Samuels Photo Credit: Jo Castro

From the first chimes of the opening track, this is an album that, much like Maxwell’s novel, holds you in its atmosphere from cover to cover and quite simply won’t let you put it down. I was nonplussed by the several tracks released before the album dropped – aside from the exuberant ‘It’s Alright Now’ - but they sit beautifully in the context of the album and help make it the irrepressible force it is.

we are scientists// TV en Français We Are Scientists, well into their second decade, have always been a effectively-understated indie rock-and-roll band. Their fourth record, TV en Français, is similarly unassuming. First impressions are muted as ‘What You Do Best’ introduces us to the album and it’s not until ‘Dumb Luck’, hitting you like a punch in the face with an urgency reminiscent of another Californian stalwart, Josh Homme’s Queens of the Stone Age, that the three-piece really show us what they’ve been doing since Barbara.

The band have certainly matured since their third album. ‘Sprinkles’, for example. catches you like stranger’s smile, boasting everything that a cool indie-pop tune should have: bounce, fun, and the ability to get girls dancing to it – that is, until you reach its indifferent chorus that hinders the entire album’s progression. Indeed, it doesn’t feel like they’ve gone anywhere - their iconic 2008 single ‘After Hours’ incidentally the track that gained them their highest ever chart placing, wouldn’t sound out of place here – flirting with the idea of a cleaner, more mature sound to their work but never quite grasping it.

Having said this, the album’s highlights such as ‘Don’t Blow It’, combine lyrical realism with a 50s energy with which we finally begin to communicate with the band. Where they embrace pop as a genre they become alive, energetic and believable, and ‘Don’t Blow It’ embodies this, a cute love song that feels like it should be played whilst driving home in the dark on a Summer’s Sunday night.

Similarly, on ‘Courae’, lead vocalist Keith Murray opens unexpectedly candidly. “I measure my words when I’m speaking” he croons and we almost believe them for the first time on the record. Credibility is what We Are Scientists ultimately lack on TV en Français.

It’s likeable, further exemplified by ‘Overreacting’ which returns to vintage sound, combining The Cure’s melodic simplicity with a spangly guitar line reminiscent of Richard Hawley, and the song concludes a satisfying middle-section of the record, effectively a decade mix of nostalgia for a musical era that will never be replicated.

There is nevertheless still something undeniably missing. In their search for maturity, gradually conceding album-by-album some of the naïve freedom that ran riot on their debut With Love and Squalor, it feels as if We Are Scientists have paradoxically lost some of their attraction.

In amidst an identity crisis, TV en Français is almost excellent but like their previous two records, drowns in inconsistency which will leave you both frustrated and reliant on the quality of individual songs on the record, rather than the coherence of all ten.

6/10 Story by Roy Manuell Photo Credit: The Line of Best Fit

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Although the modest boys of Bombay wouldn’t admit it, this is a concept album of sorts, a journey through the day and night, dawn and dusk as its Eadweard Muybridgeinspired cover art suggests, and the songs match this trajectory perfectly.

‘Overdone’, with its deep guitar growl and soaring strings, and has the excitement and possibility of a new day; the dreamy synths and slow burning sax of the title track sends the album to an eventual rest.

The gorgeous ‘Whenever Wherever’, a driving pianojam over pseudo-triphop grooves is the album’s triumphant centre point, showcasing exactly what Bombay Bicycle Club do so well.

It’s impossible to deny the electronica influence – there are jagged samples galore, house beats and towering synths all over most tracks – but to call this a dance album (as doubtless people will) is way off the mark. There’s a fresh and intimate tenderness to Jack Steadman’s voice as he sings about love, loss and hope, but his vocal contributions are far less central to BBC’s sound than we have seen before.

The eastern stylings of ‘Luna’ and ‘Feel’, inspired by Steadman’s travels in Turkey and India, are obvious but any influences are carefully employed and don’t feel forced. The early 90s-Verve shoegazing guitars of ‘Come To Me’ and the seedy Dr Dre-eque pulse on ‘Home By Now’ show that, four albums in, BBC aren’t afraid to try something new.

Simply put, So Long, See You Tomorrow is the sound of a band at the top of their game – ethereal yet grounded, euphoric yet tender, jubilant yet never overblown. A kaleidoscope of emotion crammed into ten short tracks – Mr Maxwell would’ve been proud.

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Frances Marsh - visual.arts@palatinate.org.uk

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hidden gem exhibits many facets of japanese culture Sophie Nikolaou visits the Oriental Museum’s new Japan Gallery

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Photographs: Kate Weightman, Oriental Museum

urham University’s Oriental Museum - most of us don’t even know where it is, let alone ever visit it. But this hidden gem opposite Van Mildert college was recently given a Silver award at the North East Tourism Awards, and attracts visitors from all over the world. Thanks to generous funding from the Esmée Fairbairn Foundation and the Art Fund, the Gallery of Japan is home to the only exhibition in the area devoted solely to playing a truly triumphant homage to the artistic diversity of Japanese art and culture. With the opening of the gallery coinciding with Japan400, a celebration of 400 years of trade, diplomatic and cultural relations between Britain and Japan, the exhibition marks the beginning of a new chapter for our Oriental Museum.

Are you a fan of ‘The Last Samurai’ (the film that Tom Cruise starred in when he was trying to prevent himself from being pigeon-holed in his role as super-spy Ethan Hunt)? If the answer is yes, then the replica of the 10th century ō-yoroi style suit of armour, displayed beautifully alongside

The whole exhibition is beautifully crafted and celebrates the endless flexibility and innovative power of Japanese art real samurai swords and spears, is a must-see. The cobalt blue and black textile, metal and lacquer armour suit was handmade in Japan, specifically for the Oriental Museum, by the same company that created the costumes for the Hollywood film.

If textiles and fashion are more your style, then the silk kimonos will probably be right down your catwalk. They are displayed on a six-month rotation to help reduce the damage caused by exposure to the light. The sumptuous gold brocade wedding kimono currently on display portrays white cranes, symbolic of good fortune, honour and loyalty in Japanese art, in amongst vibrant red

blossoms, on a backdrop of beautiful appliquéd clouds. The elegance of the piece is cleverly juxtaposed by the Cosplay costume that it is placed with. Made of lycra, polyester and faux leather, the costume of Ciel Phantomhive from the manga series Kuroshitsuji (Black Butler), provides an ingenious aesthetic contrast to the kimono, whilst simultaneously embodying the sense of diversity so

The sense of diversity so prevalent in Japanese art is expertly communicated through the exhibition prevalent in Japanese art. This diversity is expertly communicated through the exhibition as a whole.

Other highlights of the gallery include the stunning Edo period ‘ukiyo-e’ (literally translated as ‘floating world’) woodblock prints with images of actors, courtesans, and landscapes, by renowned artists such as Ando Hiroshige (17971858 CE) and Katsushika Hokusai (1760-1849 CE). There are also more contemporary pieces, such as the vibrant acrylic table: the product of a collaboration between renowned artist Ueno Fukutoshi and the fashion designer Isogawa Akira, who both now live and work in Australia.

But to cherry-pick pieces does not do the gallery justice since all of the antiquities are exquisite. The whole exhibition is beautifully crafted in a way that not only celebrates the endless flexibility and innovative power of Japanese art, but also subtly reminds us that every piece has a story, and its own unique place in Japan’s complex cultural history. If you don’t feel that Japanese art is quite your cup of tea, then the museum’s other galleries are definitely worth a perusal, with the Japanese collection forming only a small part of the museum’s extensive collections. And of course, you can enjoy Durham’s hidden gem for free, thanks to your trusty Durham University Student Card.

Story by Sophie Nikolaou

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Kate Wilkinson - books@palatinate.org.uk

BOOKS

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is unrequited love always a bad thing?

Steph Horrocks reflects on the love life of W. B. Yeats

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magine proposing to someone four times over a ten-year period and being rejected every time. This was the unfortunate situation for one of Ireland’s greatest poets, W. B. Yeats. His first meeting with Maud Gonne in the January of 1889 was what he later called the beginning of ‘the troubling of [his] life’. She was a statuesque, outspoken heiress with firm Irish nationalist beliefs who had enjoyed one of his poems and sought him out to strike up a friendship. Their relationship developed over time from that of acquaintances to that of the artist and his muse. It’s obvious that Yeats was madly, ridiculously in love with her, hence the four proposals (and the four rejections).

This heartache was made all the worse by Maud’s decision to marry someone else in 1903, Major John MacBride, although the marriage ended in separation amidst rumours of domestic abuse. At one point, Yeats even proposed to Maud’s daughter Iseult. This move fell flat on its face when she rejected him too. Yeats was finally married in 1917 to Georgie Hyde-Lees, with whom he had two children. Despite their differing feelings for each other, Yeats and Maud remained very close friends until the poet’s death in 1939.

Imagine proposing to someone four times over a ten year period and being rejected every time

A Drinking Song by W. B. Yeats (1916) Wine comes in at the mouth And love comes in at the eye; That’s all we shall know for truth Before we grow old and die.

I life the glass to my mouth, I look at you, and I sigh.

Portrait by John Butler Yeats via A. Currell, Flickr

Is Yeats’ unrequited love a sad affair? Perhaps.

Loving someone who doesn’t love you back is not an ideal situation. However, maybe it was for the best that Yeats and Maud never got together. As a pair, they were reminiscent of Marvell’s lovers in ‘The Definition of Love’: two parallel lines, perfectly in tune with one another - yet their love was never consummated. Maud certainly thought this was a good thing. She argued that ‘poets should never marry’ and that if they had married, Yeats might never have written such brilliant works of literature and she wouldn’t have been as involved in Irish activism. The world, in short, would be less bright today. Instead, Yeats had to content himself with the pain his love caused him by turning it into works of art. His mood towards his muse ranged from poem to poem - occasionally he was bitter (‘No Second Troy’), other times he was melancholic (‘When You Are Old’).

It’s a simple, soft poem that is overlooked in comparison to Yeats’s other great works that tackle the Easter Rising or Irish folklore. Yeats isn’t trying to do anything fancy with the rhyme scheme or metre because his feelings aren’t complex: he loves someone, and that’s that. The ‘someone’ is ambiguous; who is he talking about when he says ‘I’ or ‘you’? It could be about anyone, or from anyone’s point of view. That being said, Yeats presumably has someone particular in mind - and this someone did not share his feelings.

“Poets should never marry” In ‘A Drinking Song’, Yeats seems to have touched upon something new: unrequited love is still love, and such love can still bring happiness alongside the pain. Maybe the final sigh is one of contentment, not of sadness.

Maybe to some, unrequited love is good. Sometimes, the other person may be so fantastic that just being with them is enough. It doesn’t really matter that you’re not together or even that they’re blissfully unaware of your feelings. Like a good wine, they fill you up with an inexplicable warmness and make everything sort of buzz and glow. In today’s media, love is presented as a storm, full of drama and action until it all blows over and everyone is content. It doesn’t have to be like that. Love can feel like a cold winter’s day, the sun on your face making you forget about the stinging wind. Sometimes, it’s enough just to sit with the one you love, because the adoration folded in you makes you feel twice as

On the rare occasion, unrequited love could be better for you than requited love

love

In ‘A Drinking Song’, Yeats sets a wistful yet calm tone. From an English student’s point of view, I could say many things about this poem. It’s a lyric poem, six lines in length with an interlaced rhyming scheme. In addition, it’s written in the first person and is addressing someone. There are references to mouths and eyes, and there’s a caesura in the middle of the last line that slows down the last words of the poem. But what does it all mean, really?

light. On the rare occasion, unrequited love could be beter for you than requited love.

If you love someone who doesn’t love you back this Valentine’s Day, don’t be too upset. Be thankful they’re giving you excellent writing material.

Story by Steph Horrocks

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Katie Shuff & Isobel Buckingham - fashion@palatinate.org.uk

FASHION

haute off the press

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For those of you who did not receive the coveted Parisian invite, Tiffany Tivasuradej provides a summary of the most mouth-watering creations on display at Couture Week to satisfy your fashion cravings.

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aris: the city of light, love, and once again the illustrious host of couture fashion week. 19th to the 24th January witnessed a rapid fire of flashing cameras, the sounds of heels clicking, and the appearance of many well-known celebrities, posing for photos around different areas of the central arrondissement. Only milliseconds before the show began did silence descend amongst the rows of journalists and VIPs. The atmosphere was a mixture of perfume, excitement and anticipation, as all waited impatiently to be dazzled by what la crème de la crème had to offer this season. The likes of Valentino, Chanel and Dior all delighted the bevy of fashion aficionados with a feast of colour, imaginative motifs and exquisite embroidery.

The week kicked off with a line up of Amazonian-esque models, all dressed in low cut cocktail dresses and suits embroidered with delicate ornamentation by Italian fashion house, Versace. Featuring a combination of glittering silks in shades of purple, white, blue and yellow, these breathtaking pieces not only served to accentuate the female body, but also highlighted head designer Donatella Versace’s image of women as powerful whilst remaining soft and feminine. The collection was both elegant and fierce, with models seeming like contemporary goddesses as they walked ever so confidently down the runway to Lady Gaga’s new song, Donatella. Adding to the audience’s surprise, the pop sensation arrived

dressed like her muse. This fashion moment proved an unforgettable start to couture fashion week 2014.

Inspired by the decadence of the opera, this season Valentino showcased a harmony of cashmere coats, textured leathers, and ballerina-styled tulle dresses. A combination of music notes, woodland creatures, feathers, sequins and other aspects of flora and fauna served as the main protagonists of the Italian powerhouse’s runway show. Sewing each and every piece of ornamentation down to the last sequin by hand, the garments embraced the grand and majestic character of an opera house in different shades of metallic gold, champagne and silver. Demonstrating the ability to combine couture skills with a vibrant imagination, Valentino’s head designers, Maria Grazia Chiuri and Pierpalo Piccioli, orchestrated a luxurious performance with a touch of romance and femininity.

World-renowned couturiers, Elie Saab and Zuhair Murad, greeted their audiences with a blossoming springtime garden with their floral inspired creations. Guests were treated to a fragrant meadow of silk-organza petunias, a bouquet of roses and carnations that flowed down a waterfall of chiffons, iridescent silks, and dreamy brocades. Wedding gowns also made an appearance in each designer’s Garden of Eden, both of which involved bustier-hipped dresses with delicate floral ornamentation and appliqué in shades of pearly white and

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champagne. The fairytale creations of both Saab and Murad were enough to tempt women of all ages to awaken their own inner princess and enter a world of floral fantasy.

If Elie Saab and Zuhair Murad’s fairy tale collections were not enough of a showstopper, then Chanel’s sporty twist on haute couture definitely deserves a gold medal.

Pearly white blazers and skirts, jersey dresses sprinkled with colourful confetti sequins, and a sparkly wedding gown displayed by tomboy and current it-girl, Cara Delevingne, were paired with some more comfortable and athletic accessories like sparkly knee pads, metallic-coloured bum bags and glittering designer trainers (unaffordable for the normal university student, of course). “I never want anyone to wear anything that they don’t want to wear but I think this a very sophisticated way to dress,” head designer, Karl Lagerfeld, responded when asked for his rationale behind Chanel’s sports revival. With models skipping and jogging joyfully up and down the runway’s stairs, the collection proved to be youthful, yet functional.

This year also welcomed back the London-based fashion brand, Ralph & Russo. Appearing for the first time in nearly 100 years, the British couture house presented a dazzling array of hand-embroidered capes, peplums and georgette gowns.

With a Union-Jack-inspired colour palette, the collection showcased a modern twist on classic pieces from the forties and fifties.

A select handful of top fashion students, from sixteen international colleges, were cordially invited to attend Christian Dior’s couture show by head designer, Raf Simons.

Laser-cut fabrics displaying delicate

Katie Shuff & Isobel Buckingham - fashion@palatinate.org.uk

FASHION patterns were weaved together to produce voluminous dresses, swingy skirts and sharp blazers. Using a more neutral and toned-down palette than some of his other contemporaries, Simons cleverly incorporated many contemporary elements into the classic Dior woman.

Giorgio Armani Privé offered a more grown-up and mature collection to this year’s couture fashion week. Sparkling kaftans fell ever-soperfectly over flowing harem pants.

Dresses created from multiple layers of lace and brocade, sported intricate and mystifying patterns that seemed to transport the audience into the luxurious lives of Armani’s glamorous women. Bejewelled turbans completed the look with a touch of exoticism and reinforced why the brand itself is one of Italy’s finest tailors of haute couture.

Other designers graced the runway with an eclectic mix of contemporary couture designs. Pairing bold and dominant cuts with electrical wires in replace of jewellery, Vionnet’s pieces were strongly influenced by the idea of the body as a blank slate that requires fashion to create statement, identity and meaning.

Both Stephane Rolland and Jean Paul Gaultier played around with the simple image of the butterfly to produce innovative collections, each emphasising its beauty through the ornamentation and structure of each garment. Maison Martin Margiela presented themselves as the potential rebels of couture with their contrasting and clashing line up of garments, literally composed of deconstructed pieces patch-worked with one another.

Story by Tiffany Tivasuradej

Photographs: Vogue.com

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Aalok Vora - film@palatinate.org.uk

F I L M & TV

a house recalled In anticipation of its second series, Cressida Peever extols

S

eries two of House of Cards is set to be released on Netfilx tomorrow (14th February), and there is no doubt in my mind that rather than a romantic evening this Valentine’s Day, my boyfriend and I will be settling down for a night of betrayal, infidelity and heartbreak; I’ll be disappointed if we lack the stamina to watch the entire series in one night.

I stumbled upon the first series on a sleepless flight home, so I’d like to thank Virgin Atlantic for their frustratingly uncomfortable seats, without which the marvelously Machiavellian character of Frank Underwood (Kevin Spacey) would never have forced himself into my consciousness.

I’ll try not to give much away for those readers (like myself) coming to the series late, but if the program achieves anything it is to completely undermine the theory of a democratic society.

Through the perspective of Underwood, Majority Whip, we see corruption deeply ingrained in the fabric of the American political system.

Indeed, it is difficult to remember that this is fictitious. Underwood’s strategy and accomplishment in his quest for power are so masterfully achieved that this could almost be history. In fact, the original 1980s series was co-written by Michael Do-

the brilliance of ‘House of Cards’

bbs, a conservative politician in office under John Major and Margaret Thatcher, so perhaps there is more truth than you’d initially imagine. To adopt the phrase used across both shows: “You might very well think that; I couldn’t possibly comment.”

The first series sees Underwood pursuing the Vice-Presidency, and the natural assumption would be that from here he would covet the President’s title. But I have a feeling that this season will allow Underwood’s skeletons to emerge from their various closets of lies, adultery and murder, threatening his security in office. As much as you might have been indoctrinated into rooting for and admiring Underwood, it is undeniable that were he an authentic political figure, you would hope that eventually he would be held accountable for his sins (of which there are many).

Zoe Barnes (Kate Mara) is the ambitious journalist soon to know all the answers, or, in other words, to be holding all the cards. Although she initially seems vulnerable to exploitation by Underwood, she is exposed as a similarly bloodthirsty, powerhungry predator – qualities also shared by Underwood’s wife, Claire (Robin Wright). Undoubtedly, not all of them can get everything they want, and given that the two women were both made to feel secondary to Underwood in the first series, I im-

agine that the balance will be redressed in the next series.

I also expect more focus on the Underwood marriage, an openly non-monogamous relationship, where other sexual partners are permitted provided that they demonstrate some potential power to be harnessed.

In the first series we rarely saw Frank and Claire together for more than a few moments onscreen, and even then it was usually in a public or professional capacity. However it was clear that there was a great deal of their relationship unexposed to the viewer, and only glimpsed fleetingly by the disclosure of a shared secret or common goal.

The couple’s private life is destined to come under scrutiny with the unfolding of the rest of the plot, and it will be interesting to see if their relationship cracks under the strain.

If the first season felt dangerous, it was because it teetered on the tip of an iceberg, which I anticipate will emerge as the series continues. For Underwood as Vice-President there is more at stake, further to fall, deeper to sink into muddy waters.

Retaining his power at this stage will require him to get his hands bloodier still, and if I’m still backing him at the end of this second series, it will only be in the hope of a third installment!

Underwood rests a moment on his bloodied hand Courtesy of Netflix.

House of Cards’ array of duplicitious characters lines up. Picture courtesy of Netflix.

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Diana Grant-Davie - food@palatinate.org.uk

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FOOD & DRINK

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eat. cook. smile. this Valentine’s Day Alex Yandell encourages students to make a home-cooked meal on February 14th There are many reasons to have your Valentine’s Day meal in the comfort of your own home. The setting is more intimate, you don’t have to sit in a restaurant surrounded by other couples, and, most importantly, cooking your partner a special meal is a very romantic gesture. The recipes below strike a balance between simplicity and luxury. They don’t require complex techniques or equipment you won’t find in a student kitchen, but followed closely they will yield impressive results.

The trick is to be well-prepared. Buy your ingredients the day before and make sure you’ve read through the recipes carefully. If possible, make any sauces in advance so that you can reheat them at the last minute before serving. If you choose slow-cooked dishes like the lamb shanks with prunes and ale, you can do everything beforehand and be completely relaxed. The last thing you would want is to be stressed and tied to the kitchen all evening.

The recipes below are suggestions for a home-cooked Valentine’s Day main course and dessert, and both serve two. The oven temperatures are for fan-assisted ovens.

These recipes are taken from the award-winning Cook.

Taste. Smile. recipe series for iPads, written by Durham student Alex Yandell. All use primarily seasonal ingredients.

More information and recipes can be found at: www. cooktastesmile.co.uk or @cooktastesmile.

Crêpes with cherry-brandy sauce Ingredients: For the crêpes: • 1 egg • 60g plain flour • 100ml milk • 25-50ml water • 1 tbsp butter, melted • 2 tbsp sunflower oil For the hot cherry-brandy sauce • 100g fresh or frozen cherries, pitted • 30g caster sugar • 3 tbsp water • 2 tbsp orange juice • 1 tsp cornflour • 2 tbsp kirsch or brandy Instructions: 1. In a large mixing bowl, stir the egg into the flour.

2. Add milk little by little, stirring it in.

3. Whisk, adding water until the mixture has the consistency of double cream.

4. Whisk in the melted butter then cover with cling film and refrigerate.

5. Meanwhile, in a saucepan, slowly heat together the cherries, sugar and 2 tbsp water.

6. Once simmering, add the orange juice and cook for 5 minutes.

7. Mix the cornflour with 1 tbsp cold water then stir it into the sauce.

8. Cook for 2 more minutes then remove the sauce

from the heat and stir in the kirsch or brandy.

9. To make each crêpe, add a little sunflower oil to a hot non-stick pan.

10. Add a medium ladleful of batter and swirl it around the pan to coat evenly.

11. After 40-50 seconds flip the crêpe. Cook for another 30-40 seconds, until golden on both sides.

12. Repeat this process and stack the crêpes on a plate.

13. If not using immediately put greaseproof paper between them and microwave to reheat.

14. Gently heat the sauce a few minutes before serving.

15. Place the crêpes on serving plates and spoon the warm sauce over them.

Slow-cooked lamb shanks with Agen prunes and dark ale

Ingredients:

Photography: Alex Yandell

• 2 tbsp sunflower oil • 2 medium-sized lamb shanks • 1 tbsp butter • 1 clove of garlic, finely chopped • 1 onion, finely chopped • 1 large carrot, peeled and chopped into chunks • 3 rashers smoked streaky bacon, roughly chopped • 1 bay leaf • ½ tsp dried rosemary • 6 Agen prunes, pitted and halved • 300ml dark ale • 300ml chicken stock • 2 tbsp pearl barley • Sea salt and black pepper • Couscous or bread to serve Instructions: 1. Season the lamb shanks generously and fry them in a large casserole dish, until browned on all sides.

2. Remove from the dish and transfer them onto a plate.

3. In the same dish, cook the garlic and onions in the butter over a medium heat, until translucent.

4. Add the carrots, bacon, and spices, then place the lamb shanks back in the casserole.

5. Add the prunes and sprinkle in the pearl barley.

6. Pour in the ale and stock, then season to taste and give it a good stir.

7. Turn up the heat and bring to a boil, then reduce the heat to low and put a lid on.

8. Cook for 2-2.5 hours, until the lamb is extremely tender.

9.Serve the stew with couscous or bread.

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Emma Dawson - stage@palatinate.org.uk

STAGE

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‘murder. violence. exploitation. sex. spread eagles.’

Eleanor Gunn interviews the sassy cast and crew of HBT’s CHICAGO! The Musical. they’re too ‘meek’, they have to go back to the beginning and start again.

way the characters have behaved for the majority of the play.

For those who don’t know the story, it centres on two singers: Velma (a big vaudeville star) and Roxie Hart (a wannabe star), who are both sent to prison for murder. With the help of their lawyer Billy Flynn, they manipulate their stories and the press to create for themselves a celebrity criminal status, in the attempt to be let off and so avoid hanging. Asked to summarise the plot in fifteen words, Michael produced this: ‘Murder. Violence.

Exploitation. Sex. Spread Eagles. Everything we hold near and dear to our hearts.’

But if moral messages are not quite your thing, don’t worry, there will be enough glitz and glamour for you to just sit back and enjoy it. Talent, as Anna stresses, is a big part of this production, and the cast can all ‘dance, sing and act very well.’ From my privileged glimpse into the rehearsal process (which included Hungarian lessons), I have to agree. Lydia, Eliza, and Lily Drake (Mama Morton) all have rich and powerful voices that have no difficulty with the large range of the songs, and Clara Duncan’s beautiful birdlike voice perfectly sets her apart as the reporter Mary Sunshine, who is keen to see a little bit of good in everyone. As Anna says, Chicago is a ‘demanding’ musical, but from what I saw, the cast and crew are equal to the task.

Wow. Chicago is based on the real life experience of Maureen Dallas Watkins, a 1920s reporter for the Chicago Tribune. She reported the murder trials and subsequent acquittals of Beulah Annan and Belva Gaertner, who became the inspiration for Roxie and Velma. Her play satirises the corruption of the criminal justice system when it came to acquitting murderesses and explores the public’s obsession with fame and celebrities. Perhaps this is why it still enjoys great success on Broadway and only recently finished an extremely lengthy run in the West End. However, Hild Bede Theatre is interestingly the second University theatre company to ever produce Chicago in the UK. So why should you go and see Chicago? For Michael, it is ‘without a shadow of a doubt, the musical of all musicals.’ The songs are well known, and it’s ‘incredibly funny, it will have the audience in hysterics.’ Furthermore, from what I saw of their rehearsals, it’s also quite profound. Michael’s staging brings out the ironic juxtaposition of actual truth with what is declared to be the truth right from the beginning, allowing the audience to take on the role of the jury in judging these characters, and prompting them to question the standards by which the other characters judge them.

‘Be there or be meek.’

Thus ends my interview for Hild Bede Theatre’s CHICAGO! The Musical. Michael McLauchlan (director), Anna Feroldi (producer), Lydia Feerick (Roxie), and Eliza Cummings (Velma) told me all about what their ‘Anti-Meek Campaign’ was. One of the exercises Michael has designed for his cast is to walk across the room to Beyoncé’s ‘Survivor’ in a manner that befits Vaudevillian nightclub singers. If

Indeed, amidst the divas, drama, and deception, Lydia and Eliza believe relevant messages for all of us can be found. For Lydia, her fame-hungry character Roxie learns a valuable lesson about the fleeting nature of celebrity: she ‘chases after something which isn’t a reality, because [as] she finds out, it’s not very permanent: you can be famous for a day, and the next day, no one knows who you are.’ Lydia also notes that the seemingly paradoxical idea of adored, celebrity criminals is fully explored: ‘you can be in jail but you can be a sweetheart and everyone will write to you and tell you how great you are.’ For Eliza, the idea of being ‘stronger together than you are divided, comes out in a really dark way at the end’, challenging the

So book your tickets, get out your black tie, and get down to Hild Bede for malevolent murder, dangerous dance moves, seductive singing, and, well, all that jazz.

‘Chicago’ will be performed from February 26th to March 1st at Caedmon Hall, Hild Bede.

Photograph: TSurya Ridzuan

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Emma Dawson - stage@palatinate.org.uk

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screen actors: waiting in the wings?

Alice Barber explores whether screen actors can make a successful transition to the hallowed stage.

Every time a leaflet flutters through the letterbox, bawdily screaming that (insert generic minor celebrity who has acted briefly on television here) is to star in the new production of a renowned musical or highbrow play, I have to admit that as a general rule I tend to turn up my nose, expel a huff of thespian disgust, and promptly throw it in the bin, feeling more put off than enticed. I can’t help but be mildly insulted to think that supposedly the only thing that can lure us, the ignorant general public, into a theatre seat these days is the promise of seeing ‘her off the telly’ live in the flesh. The academies are churning out thousands of talented actors, and this production chooses to cast a television star in a cheap bid for publicity. Sickening, isn’t it? Surely they can’t have made it into this show because they’re a superb and diverse actor, whose bold leap from television to stage is in fact them achieving their full potential…can they?

Listings

Illustration: Emma-Kate Prout

I suppose my dislike isn’t com-

pletely without reason, considering how different the two media are. I’d certainly be a little perturbed if I was making the move from my cosy, suburban double fronted house of a recording studio to one where the fourth wall of my dwelling could potentially collapse at any moment, or in fact might be demolished voluntarily. Consider the certain amount of spontaneity that the stage so often requires, and the lack of subtlety and the exaggeration it frequently demands; the back row have to be able to hear you after all. Moreover, there’s the extreme pressure to deliver the lines exactly as they appear on the page, the way they have been said for decades, or even centuries. Imagine the formidable angry mob of critics and academics you’d have to face at the stage door if you muddled the hallowed words of Shakespeare, or skipped a line of Miller.

Yikes.

Recently though, my scepticism has been knocked down a couple of pegs. The first knock came when I heard that Top Hat had been revived on the West End stage. After recovering from my heart palpitations of excitement, I rushed to book tickets, at which point I discovered Tom Chambers was set to play cheeky leading man Jerry Travers. I was certain someone who had achieved recognition through Holby City and Waterloo Road wouldn’t be able to recreate the unique, mischievous manner of the legend that is Fred Astaire.

How wrong I was. Chambers stole the show, his roguishly crooked smile and appealing eyebrowled expressions

combined with dulcet tones and dexterous movement about the stage completely charmed the audience into Irving Berlin inspired rapture.

In a similar experience, a production of A Cat on a Hot Tin Roof came to my local theatre, with the role of Maggie being played by Zoe Boyle. You know, she played the meek one who Matthew almost married in the second series of Downton Abbey (…don’t worry, I’d completely forgotten about that too.) Admittedly blind-sided by the character I’d seen her as in the television series, I wasn’t expecting anything extraordinary. After all it doesn’t take much panache to play the crestfallen second choice fiancée and eventually die of Spanish flu.

However, her transformation into this classic Tennessee Williams heroine was phenomenal. Maggie’s hopeless yearning, feelings of inadequacy, and absolute desperation to attract the attention of a husband who can’t stand the sight of her were perfectly conveyed, wrapped up in the faultless silky accent of a southern belle.

It turns out that on graduating from drama school Boyle had joined part of the Royal Shakespeare Company and acted in both King Lear and The Seagull. Little Lavinia Swire, who knew? I suppose what I always forget about actors that I initially see on screen is the gruelling training process that they’ve endured to get there. The likelihood is that they were acting onstage before we even knew they existed, and the real transition they’ve made isn’t from screen to stage, but from stage to screen.

Next time a celebrity centred leaflet falls through my letterbox I hope I’ll reserve judgment until I’ve seen the performance…unless it’s to advertise Viva Forever. That I draw the line at.

Trevelyan College Musical Society

The Durham Revue with

Ooook! Productions

presents Thoroughly Modern Millie

the Oxford Revue and Cambridge Footlights

presents Lords and Ladies

at Trevelyan College

presents Comedyfest

at the Assembly Rooms

from February 19th to 22nd

at the Gala Theatre

from February 20th to 22nd

on February 21st

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Philip Whitehead - travel@palatinate.org.uk

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T RAV E L

running out of time in Lebanon

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Harriet Tinker reflects on life in Beirut as she jogs through its streets

I

t’s 9am on a Sunday morning, already 25 degrees, and I’m standing among 4000 ‘serious runners’ who are singing the Lebanese national anthem at full volume. I’m beginning to wonder why, six weeks into my year abroad in Lebanon, entering a race as part of the Beirut Marathon seemed like a good idea.

Before I reach the answer the starting gun sounds, and red, white and green smoke rises into the air; the international athletes speed ahead, leaving the not-so-serious of the category to see the ten kilometre route around Beirut’s historic sights at a more pedestrian speed.

Lebanon has been without a government since last March But this was a history-lined route that reached into the present. The heavily guarded event, lined with tanks and battalions of soldiers, reminded race-goers of the continued security threat here. If you thought the US shutdown was inconvenient, spare a thought for Lebanon’s citizens who have been without a government since March 2013.

This state of paralysis is now reaching breaking point. The huge influx of Syrian refugees, increasing Lebanon’s population by a quarter, has added to an already delicate sectarian fray. That the mara-

thon could act as an opportunity to demonstrate public discontent was evidently a concern.

Our first four kilometres spanned the Corniche, an elegant waterfront area popular with promenaders and marked only by Lebanon’s divisive inequality which was on display. In the shadow of luxury western hotels, private beaches, and super yachts, unemployed young men heckled the runners and migrant street cleaners cleared discarded waterbottles.

Continuing into Hamra, the most westerly district of Beirut, streets of tower blocks peppered with decaying former mansions offered a glimpse into the pre-war city. Shelling during the Lebanese civil war killed about 120,000 people and destroyed much of the city’s architecture. Ongoing building work and renovation has not been uncontroversial, as the remaining buildings which immortalise Beirut’s troubled past fade from memory and sight.

As we turned the corner onto Martyrs’ Square and the finish line, we were hit with the beautiful image of the vast, blue-domed central mosque, and next to it the central Maronite Church, both surrounded by marching bands, cheering spectators, and celebrating runners – the image of a modern, multi-faith Lebanon. But how long will it last?

Story by Harriet Tinker

Beirut’s waterfront, the Corniche. Photograph: Marviikad via Flickr

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Philip Whitehead - travel@palatinate.org.uk

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The Hamra district of Beirut. Photograph: Objectivised via Flickr

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ACROSS 5. One of two official colours of Josephine Butler College (3) 7. A regular venue for Durham Student Theatre (8,5) 8. The toal number of Durham colleges (7) 9. Union event encouraging students to sign up to sports and societies (8,4)

11. The University Chancellor (3,6,5) 15. The name of University College’s bar (10) 16. Exhibition currently showing at The Palace Green Library (6) 17. Building located on the Science Site receiving £10 million makeover (5,6)

Illustration by Harriet-Jade Harrow

DOWN 1. Body of students celebrating its 125th anniversary this academic year (2,9,7) 2. Name given to the second term of the year (8) 3. Bar/Cafe located in Dunelm House (9) 4. Former editor of Palatinate who now presents Eggheads (6,4) 6. Language used in the Durham motto (5) 10. Body of water encircling Durham City (5, 4) 12. Male name, half of Stephenson College’s title until 2006 (6) 13. The group of leading universities that Durham joined in 2012 (7) 14. College that opened its doors to female students in 1984 (4)

1. St Cuthbert’s Society 2. Epiphany 3. Riverside 4. Jeremy Vine 5. Red 6. Latin 7. Assembly Rooms 8. Sixteen 9. Freshers Fair 10. River Wear 11. Sir Thomas Allen 12. George 13. Russell 14. Grey 15. Undercroft 16. Robots 17. Ogden Centre