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college tribune entertainment supplement 25.9.12


The Siren talks to Enemies





MUSIC We are your friends By Ciaran Breslin Page 4

What the world should hear By Lisa Gorry Page 6

ARTS What to watch By Conor Fox Page 7

reslin Ciaran B Editor Music

It’s all done in the best possible taste

Surprisingly, we haven’t heard from our Donegal Music Editor since Sunday 23rd. Stephen West steps in to give you a glimpse of the best in this week’s music scene. This week is a great week for music with Arthur Guinness Day providing free entertainment around the city. This year promises to be a big year for Ellie and Louise MacNamara aka Heathers, having just finished recording their second album with producer Max Dingel (White Lies) and recently signing a global deal with Universal Music Publishing UK. Heathers are playing The Academy this Wednesday, September 26th. Thursday will see Darren Hayes’ tour come to Vicar Street.The tour aims to be a diverse showcase of songs from Darren’s entire career spanning Savage Garden through to his current solo album Secret Codes and Battleships. 6 albums and 15 years of music. If this doesn’t float your boat, drop by Copan to celebrate Arthur Guinness day in the company of Ryan Sheridan. Friday sees Cry Monster Cry play the Sugar Club following on from the success of the release of their debut EP The Fallen, Dublin folk duo Cry Monster Cry have announced an Irish tour this September with support from Christof.

By Lisa Gorry Page 8

New releases By Conor Fox Page 9

Hope: A Tragedy By Sinead Slattery Page 9


Foxy) a k a ( Fox Conor Editor Arts

Go Gaga for Philip Tracy

Between the Absolut Fringe Festival and Dublin Culture Night, Dublin’s arts and culture scene has never been busier than the last two weeks. Now that that’s over - what’s next? Don’t worry, between our recommendations of what films to watch and what tv shows to download; the Art’s Section has got you covered. If you really want to leave the confines of your house, take a look at our suggestions on how to do “Dublin on a Dollah” or have a look at our event guide. Open House Dublin takes place during the 5th to the 7th of October just before the next issue of The Siren comes out - and is “an exploration of the vitality of Dublin through its architecture and the people who experience it”. Basically Dublin’s greatest buildings open their doors for the weekend and we get to have a nose around. All of the events are free and most work on a “first come, first served” basis, with tours led by an architect of the building. Open buildings include Leinster House, the Irish Times Building, and Liberty Hall. Stay artsy UCD.

by Niamh Kelly Page 10

Streetstyle by Lauren Tracey Page 10

Their were some strange revelations in fashion news this week, Jill Stewart, New York based designer of pretty, girly dresses is apparently working on a collaboration with Korean pop star Psy of ‘Gangnam Style’ fame. In Milan, the ever bizarre Donatella Versace called her designs ‘sublte’ after her show last week, a show that consisted of multi couloured, floor length, silk caftans, some printed with medusa heads, some trimmed with gold fringe.

Style icon by Roisin Sweeney Page 11

Fashion en pointe by Roisin Sweeney Page 11

ey Sween n i s i o tor R ion Edi Fash

In terms of events, this week brings the start of the whirlwind of ideas that is Paris Fashion Week, the shows I’m most excited to see are undoubtedly Raf Simmons first ready-to-wear collection for Dior on Friday 28th, and Hedi Slimane’s first public outing for Yves Saint Laurent (or Saint Laurent Paris as it’s now called…) on Monday the 1st. As of yet there is no information on live streaming, but the wonderful website fashionista.com will post a timetable with all the necessary links at the start of the week. In Dublin, vintage shop Siopaella at 9 Crow street is holding a charity event for ‘It’s a Dogs Life,’ this Tuesday the 25th and is selling off items for less than €5, re-stocking every hour.



T The XX – Coexist

he XX have released their second album Coexist, the follow up to their subtle, down tempo masterpiece self-titled debut album. Those who were dreading anything less than meticulous perfection or a simple regurgitation of the same themes and stylistic techniques will not be disappointed, but neither will they be overjoyed. Themes have matured from lust and desire to love and loss, as has their creative maturity. Coexist has an appreciated bounce which their debut album lacked, most noticeably with Reunion’s steel drums,

T The Vaccines – Come of Age

he Vaccines have very much Come of Age with the release of their second album, although it is significant to note, the release doesn’t come without some growing pains. Their first album, What did you expect from the Vaccines?, was a sharp, punchy album that rarely strayed from the three chord mindset of many bands. This approach made the album’s lyrics feel shoe-horned around the uncompromising energy of the music. Come of Age feels very much


e’s the Sixth highest paid DJ in the world, but he hasn’t let it get to his head. Critics of Zimmerman will be disappointed as Album Title Goes Here is another winner for the Canadian. Catering the commercial markets and his hardcore house fans alike, everything is covered in this new 13 track studio album that goes on sale this week. Deadmau5 – Album Title Goes Here “Professional Griefers” is the lead single on the album, a collaboration with My Chemical Romance frontman Gerard Way. Ticking all the boxes, Way’s vo-

T Alt J – An Awesome Wave

his week saw the North American release of Alt-J’s debut studio album An Awesome Wave. Tipped as one of the firm favourites to win this year’s Mercury Music Prize, the Cambridge quartet are hard to define by one genre, often described as “folk– step” or “trip–hop”. Wave is not merely a jumble of songs, it is an arrangement designed to give the listener an experience. “Intro” nudges us assuredly into Wave. Guitar, keyboards and AltJ’s signature crisp drums are only

which is a welcome expansion in their music. Jaime XX’s production skills are much more honed since 2009 (see his side project with the late Gil Scott-Heron) but his contribution on the album feels lazy, and knowing his capabilities, his contribution isn’t as expanded (from the last album) as it could have been. Despite this, Coexist is a good album. The back and forth, and overlapping interplay between Oliver and Romy, the latter still drawing you in with every whispered and heartfelt melody she contributes, is

emotive and unsettling. Romy’s voice sprawls and stretches across the face of Coexist and remains the central attraction to The XX. But with the absence of such powerhouses of ‘Crystallised’ or ‘VCR’, there is nothing to tie the album together or carry it beyond ‘Angels’ and ‘Chained’, the first two songs which are clearly the most interesting of Coexist. Coexist, unfortunately, falls short of expectation. However this shortfall is expected following their behemoth debut album. Attempting to recreate arguably one of the

best albums of the last decade could have either led to brilliance or more likely a half rate album. The XX wisely avoided this recreation attempt. Although not as well executed as their debut album, Coexist does still have qualities to be an enjoyable album… just don’t listen to their first album when looking for these qualities.

in an entirely different vein. Many songs such as ‘Bad Mood’ and ‘I wish I was a girl’ feel slick and complex. An increased focus on lyrics, bass lines and an expanded variety of chords give The Vaccines a new found maturity which their first album lacked. The breakaway from the primitive thrashing out of three chords makes their music much more palatable too. Their first album was very much a love/hate affair; many may have been turned off by the arguable

brash simplicity of their music and miss-matched feel of lyrics. Come of Age can be enjoyed for what it is by a much broader audience. Lyrically and musically they, at times, remain flawed and Come of Age is by no means a perfect next step. This is to be expected from a two-year-old band and an album coming only 18 months after their last. The essence of what could make The Vaccines great remains and one may feel it is only a matter of time before they produce some-

thing truly great.

cals sit sweetly on top of this electro track. Cypress Hill come back strong in “Failbait”, Deadmau5 keeping it simple in this edit. The final track features Imogen Heap of “Hide and Seek” fame, Offering up her ethereal vocals for a powerful electro jam. As mentioned, the die hard fans get their bit. “Fn Pig” is an eight minute ear-melter of old school Deadmau5. Wolfgang Gartner is welcomed back after the success of “Raise Your Weapon”. He provides some expert electronic samples for the

second track on the album - “Channel 42”. He may be going into hiding soon (due to personal issues) but Deadmau5 has left us with a lot to ponder, and replay. Also his cat is on the album cover. Cheers Joel.

the beginning. At 1:22 Joe Newman’s unique vocals are thrown into the mix, setting the mood for the rest of the album. The first track of the album is “Tessellate”. Heavy beats are combined with a trippy guitar riff, while Newman’s crooning holds the track together. Drummer Thom Green dominates in “Bloodflood”, delivering a set that is simple and awesome in equal measure. “Taro” is the final track on the album and a showcase of the exceptional lyricism of the band. “Creeps up the road, to photo to record,

meat lumps and war” ... “violent wrench grips mass, rips light, tears limbs like rags,” all superbly executed by Newman. There is no denying the folk element of Alt-J, possibly explaining their comparison to bands such as Mumford & Sons, but the comparison stops there. An Awesome Wave is a collection of intense rhythmic tracks, simple yet seismic. A testament to a talented band that combine so much but never overcomplicate.

Kathryn Toolan

Kathryn Toolan

Chris Becton

Chris Becton




ONES TO WATCH Saint Lou Lou Cherish the misery of the latest Scandipop sensations. Saint Lou Lou make pop songs, not indie or electronic ones, even though almost everything about 21-year-old Swedish twins Miranda and Elektra Kilbey oozes retro elegance. You can see the alternative crowd digging them and detect elements of the latter creeping into their construction, which takes place in Stockholm with their co-writers Addeboy Vs Cliff – who produced their imminent debut single ‘Maybe You’. In fact, ultra-cool French label Kitsuné liked their sound straight away, signing them as soon as they heard the demo of Maybe You. The girls are currently in London finishing their debut album which shall be released in early 2013.

Esben And The Witch Drawing inspiration from personal experiences, geography, history and literature, Esben And The Witch condense their postrock influences into the notation of their music, orchestrating the evocative ebb and flow of their short stories into something that is palpable to the listener.

Howler Hyped up as the ‘new Strokes’, Howler are a ticking bomb ready to explode onto the music scene. Whether or not this comparison is just remains to be seen, but five piece from Minneapolis certainly appear ready after support slots with The Vaccines and The Jesus And Mary Chain. Listen to Howler if you miss Hüsker Dü.

Siriusmo Fine art painter by day and reclusive Berlin dance guru by night, Siriusmo’s distinctive post-garage drums, Jamaican fried bass and warped organ have rattled together a signature sound that’s getting bigger and more noticeable with every release. If he doesn’t climb the music ladder this year it’ll be out of choice.

Avi Buffalo Avi Buffalo is the creation of the splendidly named Avigdor ZahnerIsenberg (German mother/Jewish father). Originally from Long Beach, Avi and three school-friends make up the band. They’re influenced by Neil Young. They really like Neil Young.

Ou Est Le Swimming Pool

Egyptian Hip Hop (Hipster Grunge) An average track from these four Manchester youngsters would probably encompass a low-key electronic beat, some lazy vocals, and melodies that fall and dissolve upon each other. Try to imagine that hip guy from the Klaxons and Cool Kids joining up with Blur to create some improvised pop and you are heading in the right direction.

Having met and formed in Camden, Ou Est Le Swimming Pool are the latest in a line of bands to come out of North London’s music mecca, but it is the area’s darker side, rather than its musical tapestry that is projected upon their music. The band’s riotous brand of electro-pop is reminiscient of Pet Shop Boys and Duran Duran, yet call them a revival and you’ll soon find yourself in A&E.

ESSER With the aide of a computer and crucial key of E, Esser has molded melodies for those eccentrics at trendy indie clubs. His harrowing tales of troubled times with women are delivered with superb comedic effect in the likes of ‘Headlock’, whereas songs like ‘Satisfied’ take on an insane Turkish techno dance vibe.

Atlas Sound Buraka Som Sistema Prepare your eardrums. Bringing Angolan Kuduro beats to the masses via their Lisbon base, Buraka Som Sistema blend, slice, chop and mix it all up and create something new, fresh and somewhat futuristic.

Bradford Cox departed from the Deerhunter crew back in 2006, leaving the comfort of his musical comrades-in-arms to pursue his solo project Atlas Sound. And the bizarre title of debut ‘Let The Blind Lead Those Who Can See But Cannot Feel’ is itself testament to the record’s content: convoluted, largely inaccessible, yet immensely enjoyable.




We are your friends Ciaran Breslin caught up with Mark from Enemies to chat about their new single, Japan and meeting the cast of The Wire.


ormed in Kilcoole in County Wicklow in 2007, Enemies represent the more experimental side of emerging Irish talent. Mark tells me a little about how the band got together: “It was basically a solo project that Eoin was doing. He was just doing post-rock music from his own studio, putting the songs up on My Space under the name New Man Eoin. Everyone else was just listening to it, and we were all big into experimental music. That’s how we got the name: New Man Eoin became N-M-E and it just stuck”. Was it always instrumental music that the band were into? “Not really, there was a really good punk scene at the time. We were all playing in local bands

England and further afield. I was interested in the kind of reception they had experienced, particularly in Ireland. Perhaps I was slightly skeptical of the capacity that Irish crowds have for this more eclectic (and frankly interesting) side of homegrown talent. Mark however, is confident and gratified in answering. “We’ve had a really really good reception. Richter have so many great bands and there’s just such a high standard of instrumental bands from Ireland. They’ve really been allowed to flourish and they’re so well received here”. I ask if they have ever found it harder as an instrumental band? “Occasionally we’d have an odd

No, despite my attempts to thrust the mantle of Irish instrumental heirs on the band it’s clear that Enemies’ sound has a lot more in common with the likes of Hot Chip and later Foals records than Planxty or anyone of that ilk. What are the bands influences then? “Starting out we were actually all going through a big instrumental phase. I think the guys were quite influenced at the time by the likes of Battles. I suppose over the years we’ve started listening to that kind of thing less and less. Our main influences these days are from electronic and indie music. I guess that’s a kind of good thing as we’re taking these influences down and applying them to the instrumental

“Occasionally we’d have an odd person who’s like ‘where’s the vocal’, but yeah, it’s never really been a huge turn off. Instrumental music is a longstanding tradition in Ireland.” around Kilcoole. It was a big leap from punk to post rock and math rock. I guess it was kind of a side project for Eoin and our interest became more experimental. The music developed as we left the punk bands”. Suitably art-school chic and boasting an infectious brand of psychedelic indie-math rock, their appeal lies somewhat left field of mainstream tastes, with their instrumental sound quite far removed from the stylings of the more familiar success stories of recent years in Ireland. Part of a collection of exciting instrumental bands signed to the Richter label, Enemies are at the forefront of an emerging scene in the country, perhaps echoing the recent success of similar instrumental music in

person who’s like ‘where’s the vocal’, but yeah, it’s never really been a huge turn off. Instrumental music is a longstanding tradition in Ireland.” This is of course true, instrumental music, mainly traditional, is extremely important in the Irish musical tradition. I wonder if they feel in any way part of a uniquely Irish lineage in their music or if they are carrying on any kind of torch. Mark, quite rightly, seems reluctant to align Enemies with those other styles of music. “Personally we’re not trying to hark back to a forgotten age. I guess there is a lineage, with bands like Planxty in the seventies, perhaps, theres room for Enemies at the end there. Maybe we’ll do our own Trad fusion job, team up with The Chieftans!”

sphere. There’s definitely a bigger electronic influence on the new stuff, more loops, dancier”. The new stuff Mark mentions is represented chiefly by the single Indian Summer, which Mark tells me will feature on the new album. The single is a fantastic advertisement for the album, all bouncy bass and jangly guitars with a melody that lodges seamlessly in your head. Indian Summer also marks the first use of vocals for the band, albeit a faint choral effect designed to complement the overall sound rather than stand out in contrast from it. The video is equally impressive, seeing the band clad in white jumpsuits playing in a warehouse and getting gradually more caked in layers of paint as the song progresses, with the stark

white scene giving way to vibrant paint splattered chaos. I ask Mark about how they recorded the single originally. “It was a non traditional approach where we recorded it bit by bit, part of the first chunk of recordings we did [since We’ve Been Talking, their debut album]. We wanted to show everyone we were still tapping along. I think we were building on a sort of sound emerging slowly in our music.” He mentions the filming process for ‘Indian Summer.’ “Lewis had the idea for a video that would be some sort of big battle. We pitched the idea to Tiny Ark [production company] and they kind of took Indian Summer and looked into this Holy festival in India once a year where they throw this coloured powder at each other. It was definitely one of the most fun experiences as a band!” Does he feel the video represents a different avenue of expression for the single? In the absence of lyrics perhaps? “There’s room to do whatever you want. Its not like, ‘This is a song about a girl so here’s me on a bridge looking really sad’. I guess with instrumental backing music it’s a little bit kind of arty, like with bands like Battles and [Japanese instrumentalists] Lite. There’s a lot of room for expression and doing mad zany things”. In the two years since their last album, Enemies have returned to tour Japan after an initial two-week tour in 2008 following the release of their debut EP Alpha Waves. Mark is extremely positive about their experiences there. “Japan was fantastic. We went on a tour of our EP but to go back with a full album and build on the kind of fan base that was already there was amazing.” What else have they been up to in the intervening time? “We did some touring around Europe as well which was lovely. Then it

kind of quitened down. I finished my degree and decided to focus on writing”. Perhaps the bands most triumphant moment of late however, came around a month ago in a field in Stradbally where they made their Electric Picnic bow. Mark has nothing but good things to say of experience: “Absolutely mind-blowing. We were absolutely chuffed to go. We got a slot for half one on the Saturday, so we were a bit worried about having a crowd. We decided we were just going to do it, go down and have a great time. But then we were shocked to see that once we cracked into the first song a ton of people just kept screaming! Absolutely chuffed.” It’s not hard for Mark to pick his festival highlight. “I guess it shows the kind of incestuous nature of Richter but we loved the bands we knew, the likes of Not Squares, they really blew me away. The likes of The Cure and Sigur Ros too, it was a great experience. On a personal level, meeting the Irish actor Aiden Gillen was a huge thrill for me, just as a little fan boy! He said he really enjoyed our set and well, that’s good enough for me. That was definitely a high!” Electric Picnic marked the crest of a fantastic summer for Enemies. Indian Summer was released on the 13th of August to critical acclaim and with a new album on the horizon, things look bright for Irelands instrumental math-rock pioneers. The Richter Collective is an excellent resource for nourishing an exciting scene that has quietly built up a following in Ireland. The time is ripe for Enemies, or one of their sister bands, to take Irelands indie-instrumental sound to a much wider audience.




What the world should hear Lisa Gorry contemplates the image that we should be projecting on the international stage.


’ve never understood how someone couldn’t like music. Maybe it’s my hardcore-fan goggles that let me see music in a rose-tinted light, or perhaps it’s because I dabble in musicianship myself, but it seems crazy to me that a person could not be affected, could not be moved, by the magical binding force that is music. In preparation for my Leaving Certificate Irish oral, our teacher orchestrated mock orals among the class. Along with the usual questions such as what subjects you did or where you lived, she asked us all what our hobbies were, what our favourite kind of music was, who our favourite band was. While such a question was as easy for me to answer as asking me my name, one girl just three seats down from me replied that she had no favourite band or artist as she didn’t really like music. The shock running through my mind was palpable. You see for me, as an Irish person, I believe that music runs through our blood. It’s a force to be reckoned with that has shaped us as a nation and that represents our culture to the rest of the world. It’s embedded in our history, it’s what distinguished us from the British; it

was in our language and our nature and our way of life. Not to get too misty-eyed about it, but music is a powerful force, and it is one that has seen us through the ages. It is with great sadness then that I lament the lack of support that our great Irish nation is giving our great Irish artists, especially at a time when Ireland’s international reputation stands on shaky ground. Sure, we still have a great reputation for having the craic and a fondness of the drink, but we also have the reputation for squandering all our money and having to beg borrow and steal from every corner in order to make our little island work. At a time of such doom, gloom and despair, surely it wouldn’t do any harm to promote the best that Ireland has to offer (and I’m not talking about those unrealistic Discover Ireland ads). What’s fantastic about Irish artists -and I’m not saying that other countries don’t do this, I’m just saying we do it better- is that they have an innate way of bringing that little piece of Irish culture and what it really means to be Irish today into their music. It’s not all diddly-ay and leprechauns anymore. Look at the Celbridgean band, Bell X1:

these are a bunch of lads who met in secondary school and decided that they didn’t sound too bad and that they enjoyed what they were doing. They now have a massive cult following in both their home country and in the USA, and yet they haven’t let such international followings dampen their Irishness. Their lyrics hark back to things that

we can all relate to as a nation— Knock for example—and it’s these little idiosyncrasies that mean they could never be mistaken for anything else other than good aul Boys in Green. There’s lots of talk of what we need to do as a country to bolster ourselves in the eyes of our international companions, and while



his week sees Dramsoc’s first show, Mark O Rowe’s Terminus, take to the stage in the Student Centre’s new state-ofthe-art theatre. The new theatre is a big improvement from the space in Newman, possessing a prop room, sets, a moveable lighting rig, surround sound, rear projection and a relay system that provides live

the college what it does best - what it can do - and what they can expect of the year to come.” She continues, “The new theatre is our chance to really take what we do to the next level - be bigger and better than before with shows that have something for everybody.” Carroll has no doubt in the choice of Terminus as Dramsoc’s

“Now is the time for UCD Dramsoc to raise the bar: to use its state of the art new theatre to its full potential and really show the college what it does best - what it can do - and what they can expect of the year to come.” video feed of what’s happening in the backstage area. The theatre can also fit up to 111 people. The Siren caught up with Terminus director Lisa Carroll to discuss Dramsoc’s inaugural show for the new space. Carroll doesn’t underestimate the importance of the theatre’s opening show. “Now is the time for UCD Dramsoc to raise the bar: to use its state of the art new theatre to its full potential and really show

inaugural show. “Mark O’Rowe’s Terminus, with its unstoppable rhythm, captivating characters and gripping stories is the perfect play to usher in the 86th session for UCD Dramsoc.” Carroll continues to explain the appeal of the show as Dramsoc’s first production of the semester. “Terminus is fast paced, bold, engaging and exciting - it will leave audiences stunned by the verbal dexterity of

writer, Mark O’Rowe as well as by the strong, skilled performances from the cast (Ste Murray, Molly O’Mahony and Sarah Hamilton). The play speaks for contemporary society in its dark and fearless look at the unexplored sides of human experience by catapulting audiences into the territory of heaven, hell, angels and demons. As the intertwining stories of the three characters twist and turn, audiences will be gripped by moments both endearing and terrifying in this powerful play.” The audience will “see the slo-mo ebb and flow; the mill, the babble, the rabble of wobbling waywards, exiled and aimless, unlike us as, purposeful and double-file, like kids on a dare, we head who the hell knows where? …” The play promises to be fast-paced, twisted and exhilarating. Don’t miss out on this breath taking production packed with action, angels and demons.

governments are concerned purely with budgets, numbers and credit ratings, it is up to us, the general Irish people, to take a stand and show the world just how great Ireland is; not how great it was, or how great it will be, but how great it is at this very moment. Bocht an duine bhíos gan cheol.

Stephen West talks to Terminus Director Lisa Carroll on Dramsoc’s first show in the new theatre.

Terminus will show in the Student Centre Theatre from tomorrow (Wednesday 26th), until Friday 28th September. Starting time is 8pm. The play is free for all Dramsoc members, €2 to join on the door and €5 for adults.





With a slew of new tv shows hitting American tv screens and Irish laptop screens, Conor Fox takes a quick peek at what could be the hits of the season. Revolution

Animal Practice

666 Park Avenue


Emily Owens, M.D.

Dealing with the aftermath of a worldwide power outage, Revolution is J. J. Adam (Lost, Alias) and Eric Kripke’s new baby. Forced adaptation to a world without technology leads to an eruption of warlords and militia run areas. The series focuses on the reunion of the Matheson family and desperate attempts to turn the power back on. The pilot is a bit heavy-going due to setting up the story but this could be the next Lost. Fingers crossed no polar bears appear.

Revolving around a veterinarian with a monkey, this “comedy” series explores his interactions with staff members. It’s like Grey’s Anatomy with animals... but even worse than the premise suggests. Watch one episode and boo whenever Joanna Garcia-Swisher (Amy Huberman’s replacement) comes on screen - it’s a matter of Irish pride!

Released on the 30th of September, 666 Park Avenue follows a young couple who are hired to work and live in a glamorous Upper East Side apartment building. Life ain’t too sweet when they begin to suspect that both the building and it’s glossy tenants are controlled by a mysterious supernatural force. Anything set on the Upper East Side is a guilty pleasure - it’s like Gossip Girl meets Supernatural.

Don’t let the rhinestones and big hair put you off - embrace it. Connie Britton stars as country legend Rayna James (of course she’s called Rayna) who’s being pushed out of her label by upcoming Juliette Barnes (Hayden Panettiere). Tunes, family drama, backstabbing politicians - Nashville has it all and should have your attention!

The CW loves its ridiculous soapy shows and so does The Siren. The show focuses on the fresh out of medical school Emily Owens and her fellow interns at Denver Memorial Hospital. It’s basically another medical show where interns act like teenagers (Emily’s college crush and her high school nemesis are also interns...) and compete for surgeries and lovers. October can’t come soon enough and neither can the case of wine we’ll be consuming while watching this.

THE SWEENEY Joseph Gallagher doesn’t hold back after watching The Sweeney


he Sweeney sees writer/ director Nick Love (The Football Factory, The Business) team up with fellow screenwriter John Hodge (Shallow Grave, Trainspotting) in an effort to flesh out an update of the popular 1970s television drama series which boasted the much loved chemistry between stars John Thaw and Dennis Waterman. The plot sees flying squad officers Jack Regan (Ray Winston) and partner-in-crime George Cartner (Ben Drew) rummaging through the murky streets of London in an attempt to bring justice through rather atypical means which are of much annoyance to their boss, Haskins (Damien Lewis). Tensions begin to lure as the shooting of a civilian during a heist at a jewellery store leads the pair to suspect an old nemesis has returned thus initiating Regan to bring justice to the bad ‘un. The pairing of Ray Winstone and Ben Drew a.k.a ‘Plan B’ stumble in their efforts to come close to heights attained by the original duo as they lack that quintessential chemistry, that ‘bromance’ if you will, which is an accepted staple of any onscreen duo. Nick Love’s directing can be credited as ambitious considering the three-million pound budget, but it falls short of being particularly creative.

The influences of other British directors such as Michael Mann and Christopher Nolan are evident in both the colour pallet and style, but it simply cannot match the fleshy urban ambience Mann is able to capture through a lens, nor does it possess that familiar gripping finesse that is processed through each successive frame in any one of Nolan’s work. The screenplay is also a rather dull addition to John Hodge’s repertoire considering it contains classics such as Trainspotting. In the end the picture plays out as a reboot that simply feels rather dated when compared to the original series, and furthermore lacks the chemistry of its original stars. The finest moments seem to be Ray Withstone strolling around in his pants – provided of course that the sight of Ray Winstone in his pants is enough to induce a slight dose of entertainment.

Shaken, Not Stirred:

The music of Bond, James Bond


touch of international intrigue and ruse was brought to the National Concert hall as the RTE Concert Orchestra brought to life the music of James Bond. From the music of the legendary John Barry covering twelve soundtracks to the later modern classics, one was left feeling underdressed with the absence of a tux and a Walter PPK. Conductor David Brophy enraptured the audience with pieces from every one of the Bond films as vocalists Kathy Nugent, Mary Carewe and David Shannon resurrected the sounds of such singers as Shirley Bassey, Tom Jones, Carly Simon, Nancy Sinatra and Sir Paul McCartney. Beginning with the eclectic Mr Kiss Kiss Bang Bang, progressing onto the modern classics in The World in Not Enough and accompanied with the salsa sounds of the conga drums in Welcome to Cuba, the variety and diversity of the musical scores of Bond over the last 50 years was made clear to all present. Of the eight academy awards that the James Bond series has been nominated, four were for the film’s soundtrack. As the pace and excitement gathered with the electrical percussion of John Barry’s The Living Daylights, the action was paused for the interval. Upon returning to their seats, the audience was greeted with a

new conductor in the shape of RTE 2fm DJ Rick O’Shea. Sadly his conducting of the James Bond Theme was more akin in movement to a drunken uncle’s dancing at a wedding than the skills of a maestro. Thankfully with conductor David Brophy making his return, the concert hall indulged in the superb sounds of the strings and flute with the soundtrack of On Her Majesty’s Secret Service featuring Louie Armstrong’s romantic We Have All the Time in the World. Following strong vocal performances of Goldfinger and From Russia With Love tied together with the shrieking sounds of the strings and boom-

ing sounds of the trumpets, the orchestra aptly progressed to Nobody Does It Better. Regardless of where the audience member sat, one only had to close their eyes to be transported to the volcanic lair of Bond’s nemesis, Blofeld with the arrangement of You Only Live Twice or attempting to escape on the ski slopes of Switzerland with Escape From Piz Gloria. As the concert met its conclusion, one last thrilling piece was presented to the audience with Live and Let Die of Sir Paul McCartney repute, nominated for Best Original Song at the academy awards.




It’s all done in the best possible taste Lisa Gorry goes back in time for a little period drama pooching Two words: Period. Dramas. Nothing gets a girl going more than the sight of a laced bodice and jodhpurs, and with the return of the fantastic Downton Abbey to our screens, we can now leave the posh talking to the professionals and put our handkerchiefs away. The highly anticipated third series of Julian Fellowes’ masterpiece graced our screens last week on TV3 and it was not to disappoint. Matthew and Mary finally get married, the Grantham’s have started to finally accept Branson for his worth, and Lady Grantham, as always, delights. However, I’m certain that things won’t remain so rosy in the garden for long, and if you, like me, just can’t get enough of this particular genre of show, I saw look no further, because the Siren’s got your back. Just in case one episode of Downton isn’t enough however to stave off the haughty hysteria, here are some of the Siren’s highly recommended alternatives to keep you at bay until next Wednesday. While they won’t have Maggie Smith, I’m sure they’ll do just fine:

1. Pride and Prejudice (BBC Series: 1995) Closest to the book in it’s adaptation, the BBC series by far has best captured the essence of the sexual tension between Mr. Darcy and Elizabeth. Colin Firth stole our hearts as the strong silent type in this 1995 mini-series. If you haven’t seen it yet, you haven’t lived. 2. Sense and Sensibility (1995) Emma Thompson was just made for this role, and having won the Oscar for best screenplay, she deserves too to have her screen presence acknowledged. A fantastic cast comprised of Kate Winslet, Hugh Grant and Alan Rickman adds to the brilliant story of the Dashwoods, and Hugh Grant is particularly charming as the unsuitable English man. 3. Jane Eyre (2011) Michael Fassbender: need I say more? While there have been many variations of this classic, on both big and small screens, I’ve picked the most recent adaptation for it’s dark tones and fantastic performances, from both Fassbender and the formidable Mia Wasikowska. Not for the faint-hearted as the dialogue stays true to the book, if you’re a fan of Jane Eyre itself, this version will be a thrilling selection. 4. The Young Victoria (2009)/ The Duchess (2008) I genuinely couldn’t pick between these two. Maybe it’s because I saw them at the same time, and so I’m not against recommending that someone else do the same. Emily Blunt is endearing as the young Queen of England with a terrific supporting cast, while Kiera Knightley is powerful as the Duchess of Devonshire in front of Ralph Fiennes as the Duke himself. Period dramas at their finest.

Hope: A Tragedy Sinead Slattery casts her eye over the new comedy from Shalom Auslander


oloman Kugel is something of a worrier. Always has been. Throughout the novel, Kugel writes down possible “last words” so that he’ll have plenty of options when the time comes. He moves his wife and toddler to Stockton, a town in upstate New York, because it’s safer there. His Brooklynite mother has been told that she is “close to the end” and thus is reluctantly living with them. The mother provides of a lot of the novel’s comic relief. She has lived in New York her whole life, but has made herself believe that she was involved in the Holocaust and escaped from the death camps which took the lives of her relatives. She ignores the fact that she was born in 1945. The way Auslander (appropriate name) writes about the mother makes for a very funny reading – though you may feel a little guilty for laughing. Take for example, that Mother wakes up screaming


inishing after a sixteen day run, the 28th Dublin ABSOLUT Fringe Festival can only be described as a success for the organisers. It was estimated that over 150,000 people would have at least one Fringe experience and with about 500 events happening over the last two weeks, it’s quite possible that those numbers were hit. The aim of the festival is to create a platform for the best new and emerging Irish arts companies and showcase the best contemporary theatre and dance shows which are touring internationally. It hopes to give artists an opportunity to innovate, to cross disciplines and boundaries, and to find new ways and places to create work. With that in mind, the ABSOLUT Fringe Awards were held on the 23rd of September to recognise, reward and celebrate the hard work and talent on display in the festival each year. The organisers

everyday. This only started after she read that it was a common thing for holocaust survivors to do. When the boy Kugel asks why his mother has put a lampshade on his bedside locker, Mother tells him that it’s his grandfather. “It says ‘Made in Taiwan’” he points out. Mother shoots back “Well, they’re not going to write ‘Made in Buchenwald’ are they?” Late one night, having just moved into his new farmhouse home, Kugel hears tapping sounds in his attic. He gets out of bed, hoping for nothing worse than mice. Guess what’s up there? Anne Frank pinging away at a typewriter. Yup, Annie didn’t actually die. She escaped, and has been living in Jewish attics on the east coast for years. She has a hunchback and an attitude. “Me, I’m the sufferer,” Anne says. “I’m the dead girl. I’m Miss Holocaust, 1945. The prize is a crown of thorns and eternal victimhood. Jesus was a Jew, Mr. Kugel, but I’m the Jewish Jesus.” She’s


also writing her new novel – her Diary has sold over thirty-two million copies and her new offering has to go above and beyond. Kugel hasn’t read the Diary, although Mother has encouraged it over the years. He doesn’t believe this “old bag” is who she says she is. He calls her an insult to the young Frankfurt girl’s memory, the girl who died in Auschwitz. “It was Bergen-Belson, jackass.” Anne retorts. (She was imprisoned in both.) To add to Kugel’s troubles is a grumpy tenant who keeps demanding to be allowed to use the attic for storage. Kugel wants to call the police on Anne, but how he could he, as a Jewish man, turn in Ms. Frank? Oh yeah, did I mention there’s an arsonist running around setting Stockton’s farmhouses on fire? Overall, “Hope: A Tragedy” is a solid read with interesting characters and worth a look. Just don’t mention ‘ze war’.

Conor Fox takes a look at some of the winners of this year’s Absolut Fringe Awards

of the festival describe the awards as “a small but heartfelt tribute to some of the hundreds of festival makers and doers who seem to be able to draw on a reservoir of bottomless energy and passion to create some of the most exciting and original work”. Dogs by Emma Martin took the award for Best Production and Best Design; the play explored what happens when unrelenting pressure pushes towards extreme success. Dogs was a celebration of the spirit as it wades through the spectrum of human emotion, throwing aside the patterns of social convention and allowing animal instinct to kick in. Described as “exactly what the Fringe is meant to be: a mad idea, well-executed.” FARM from Willfredd Theatre took home the award for best offsite production. Teaming up with farmers of all ages, bee keepers, allotment owners and even us city dwellers, WillFredd Theatre aimed

to interrupt the city centre with FARM, a “space where the Rural and the Urban unite and bloom”. Considered to be one of the most highly prestigious awards to receive, the Spirit of the Fringe Commissioning Award was presented to PaperDolls’s production of Constellations. “We attempt honesty, we attempt trust, we attempt vulnerability, we attempt forgiveness. We attempt survival.” PaperDolls’s attempts to create a show for next year’s Fringe was made immeasurably easier by receiving this award. They are commissioned to present work in the Project Arts Centre for next year, along with a particularly generous cash prize. The ten awards presented help to solidify the Fringe Festival and wrap up the tremendous work which was put into it. The Siren is already excited for next year’s Festival!




Don’t Miss This!

With a slew of new tv shows hitting American tv screens and Irish laptop screens, Conor Fox takes a quick peek at what could be the hits of the season.


Hope Springs

To Rome with Love

Premium Rush

Director: Rian Johnson

Director: David Frankell

Director: Woody Allen

Director: David Koepp

Starring: Bruce Willis, Joseph Gordon-Levitt, Emily Blunt.

Starring: Meryl Streep, Tommy Lee Jones, Steve Carell

Release Date: September 28th

Plot: After thirty years of marriage, a middle-aged couple attends an intense week-long counseling session to work on their relationship.

Starring: Woody Allen, Jesse Eisenberg, Alec Baldwin, Penelope Cruz.

Starring: Joseph GordonLevitt, Michael Shannon, Dania Ramirez, Sean Kennedy.

Release Date: Out Now

Release Date: September 28th

Plot: In 2072, when the mob wants to get rid of someone, the target is sent 30 years into the past, where a hired gun awaits. Someone like Joe, who one day learns the mob wants to ‘close the loop’ by transporting back Joe’s future self. Why watch it? It opened the 2012 Toronto International Film Festival and early reviews have marked it out as one to watch.

Why watch it? You enjoy anything remotely close to softcore geezer porn. Why not watch it? You’ve just watched hardcore geezer porn and you never want to go there again.

Plot: The lives of some visitors and residents of Rome and the romances, adventures and predicaments they encounter. Why watch it? It’s Woody Allen’s first on-screen role since ‘Scoop’ (2006). Why not watch it? You’re fed up with travel adverts for Rome.

Why not watch it? It seems rather “loopy”..


Plot: In Manhattan, a bike messenger picks up an envelope that attracts the interest of a dirty cop, who pursues the cyclist throughout the city. Why watch it? To prove that it is not bizarre to regularly imagine yourself being part of a non-stop action film while cycling around Dublin. Why not watch it? It hits the breaks too often.

The Picture of Dorian Grey A tad pricier than normally suggested here but you just can’t miss this. Considered proof of both Wilde’s genius and his perversion, this scandalous bestseller turned play was one of the most damning pieces of evidence used against him in the trial that brought about his downfall. Sept. 27th - Oct. 14th, Abbey Theatre, €18-40.

Jazz Brunch Every Sunday ease away the hangover by having some brunch with your tunes. 12.30 pm, Brasserie 66, South Great Georges St.

HomeBeat & Club Sandwich Keep an eye out for these two. HomeBeat takes the idea of bringing great music into your home literally. Three bands play in someone’s front room; they bring the music - you bring the house. Bored of your normal lunch time routine? Watch out for Club Sandwich, a lunchtime clubbing event that turns your 9-5 day upside down. With both events happening just last week and being ridiculously hip, plans for the next ones aren’t announced yet.

Dublin on a dollah The Siren does “Dublin on a Dollah”, showing you how you can spend a day outside of Belfield without breaking the bank!


e all live in Dublin city and the surrounds yet spend the majority of our day trapped in the confines of U.C.D. While the city may not be our campus as we’re not stuck in D.I.T. (thank god), it’s just a short bus ride away. Grab a mate, break out €2.15 and get a 39a into town. Now that you’ve made it this far, get off at Dawson St. and trot on around to K.C. Peaches on Nassau, ignoring the unwashed masses erupting from Trinity College. Here, pack as much salad as you can into a small takeaway box - you can get more than you think - and order a coffee to go. €3.15 for your salad (with a student card) and €2 for your coffee? Ideal. We’re off again. If it’s a sunny day - it probably won’t be but here’s hoping - head on down to Merrion Square and find a patch of grass to sit on. By far one of the nicer parks in Dublin and perfect to relax, have chats, and eat your delish salad in.

Eye up a few suits from the nearby Baggot St. offices and you’re living the dream. If you’re interested in nature, the Natural History Museum is just beside you on Merrion St. and is free to enter. “The Dead Zoo” is surprisingly more interesting than you might first imagine and is worth a visit. Downstairs are animals native to and prevalent (or used to be) in Ireland while the galleries upstairs display “Mammals of the World”. The building itself is incredibly impressive and is often described as a “museum of a museum”. Try to spot as many animals as possible; including the hipster artist who lurks upstairs sketching away. Calm, quiet, relaxing - perfect for a leisurely hour or two. Try to follow the Siren’s advice on a Monday, Tuesday or Wednesday as you can avail of €3 cocktails in Captain Americas. Hopefully the place won’t be over-run with Leaving Cert students when you arrive; if

so, just give them a glare laced with “I’m already in college” and they should swiftly move on. There’s an option of two-for-one mains but the Siren doesn’t recommend that. The cocktails aren’t the strongest and always remember: eating is cheating. Knock back however many you like; we suggest at least two. Try to chat to the kinda-cute-but-notquite barman in the hope he throws you a free drink. Here’s to a boozy afternoon.

Bus - €2.15

Follow them on facebook to get the inside scoop.

The Cold Edge

Total Cost:

Lunch - €5.15 Drinks - €6.00


Featuring the work of Dave Walsh, this exhibition transports you to a world of ice and beauty. Having travelled captured stunning images of the wildlife and bewildering wilderness on our ice caps, The Cold Edge is sure to capture your imagination. Until 29th Sept, Copper House Gallery D8, Free.




Go Gaga for Philip Treacy


Niamh Kelly looks at Philip Treacys London Fashion Week show, his first in 8 years.

ondon Fashion Week saw Irish born milliner, Philip Treacy, present his collection for Spring / Summer 2013 to the fashion world. With it being 8 years since his last runway show, attendees were in for a treat. The Irish designer, who studied at NCAD, is globally recognized for his inventive and unique hats, springing to fame after being noticed by renowned editor and stylist, Isabella Blow. Celebrities like Kate Middleton, Lady Gaga and Sarah-Jessica Parker are often seen wearing his pieces. The show took place at the Royal Courts of Justice at 8.45pm sharp, and the lucky attendants were not to be disappointed. The show was opened dramatically by controversial pop icon and huge Treacy fan, Lady Gaga, who was shrouded in bold-pink netting from head to toe, and took to the catwalk to declare the hat maker as “the greatest milliner in the world”, before stepping aside to let the show begin. The show was an unbelievable

rejuvenation of the iconic style of the late Michael Jackson. The flawlessly cast models, all black, wore stage outfits once owned by the King of Pop, and they lit up the runway with energy and attitude. Even the original red “Thriller” jacket was borrowed and featured in the show. Despite the flamboyant entrance of Gaga and the eye catching clothing of the King of Pop, Treacy’s designs took centre stage. The show was simply mind-blowing. The models paraded down the catwalk with swagger and style, adorned with some incredibly striking hats. The crowd included both fashion names and celebrities, such as Anna Dello Russo, Dita VonTeese, Kelly Brooke, Kim Cattrall and notably, fellow designers Sarah Burton and Vivienne Westwood. Everyone got caught up in the electric atmosphere that sparked as each model entered wearing another remarkable creation. The attendees were brought to their feet, dancing to Thriller and cheering the creations of the beloved designer.

We saw a hugely extensive range of head pieces. Treacy presented us with metallic turbans, silver Cleopatra head pieces, sun-dial hats, long netted veil head pieces, a hat resembling a tall ship, Minnie Mouse ears and smiley face hats, various large, colourful, tribal pieces, and perhaps most notably a Michael Jackson glove hat, worn by model Alek Wek, who brought a surge of excitement and applause from the crowd as she worked the catwalk with the iconic piece, the super model responded to the audiences reaction with even more swagger. It was an overwhelming night that was almost too much for the show attendees to take in. With the return of Philip Treacy to London Fashion Week, bringing with it a Michael Jackson tribute, a Lady Gaga appearance and 37 head pieces of every style, colour and texture all in the one night, it was certainly one of the most impressive shows at London Fashion Week.

Streetstyle Lauren Tracey looks at the commercialization of street style and its effects on the industry.


or as long as it has existed, fashion has been a mode of self-expression. Through the years it has mirrored social change and displayed the conformism or eccentricities of those who wear it. In the 21st century, the online catwalk we refer to as “street style” is used as a way of accessing individual style, on real women. In her article for the New York Times entitled “Who Am I Wearing? Funny You Should Ask,” writer Ruth La Ferla discusses her thoughts on why street style, which she described as “fashion’s last stronghold of true indie spirit,” has lost its charm, and perhaps its relevance. The concept of street style used to be non-commercial. There was an open invitation for one and all to take part in exhibiting their idea of style in an online environment that was almost free of fashion powerhouse influence. La Ferla writes that “stylists, bloggers, fashion editors and stylestruck students click-clacked on the pavements, showing off a mash-up of vintage clothes, fast fashion and high-end labels,” Isn’t this essen-

tially the whole purpose of fashion? That the individual can illustrate their unique style and taste through the form of clothing? The fashion of street style blogs was a personal choice only loosely based on what designers supplied us with. It was wearers - as opposed to magazine editors - that decided whether they favoured the ever popular feminine pastels or the gothic touches of black lace and leather. La Ferla revealed that bloggers can be paid upwards of $2000 per appearance at events where they will be photographed, wearing the clothes and accessories that designers supply them with. It is here that a boundary has been surpassed. If one simply wears certain clothes because one is being paid a fee by the people who design and make those clothes, then can you really claim the self-styled status many of these bloggers do? La Ferla states quite plainly that she feels that the fashion bloggers and web icons that are so often caught on camera attending various fashion events have become, quoting fashion branding assistant Tom

Julian, “billboards for the brands” If this is so then a case can be made for saying that street style is no longer really street style, but instead just an extension of the runways and magazines which the designers use as tools to sell their

wares. It is disappointing to think that the bloggers and writers that achieved fame for marketing their own personal style have ceased to do even that. In the next few years we could

very well see street style slowly fading away due to this commercialisation, however, for the sake of self-expression and individuality, I hope we see the emergence of something else in its place.

“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening,” – Coco Chanel


Style Icon: Chloë Sevigny


Roisin Sweeney looks at this week’s style icon, Chloë Sevigny

ince the early 90’s, when Sassy magazine proclaimed her an ‘it’ girl, Sevigny’s style had been held in acclaim by the fashion industry. She has starred in several campaigns, notably for Louis Vuitton and Miu Miu. Sevigny was one of the first celebrity supporters of both Alber Elbaz and Nicolas Ghesquiere. Her fashion line for Opening Ceremony, a boutique store with outlets in London and New York, has been well received by critics.




Bond girl style: On the 50th anniversary of the James Bond movies, take a look back at the styles of his ladies throughout the years.

Kate Middleton: Still a princess, still composed. Fair play.

Prada next season: Geisha mixed with pop art. How could that possibly have worked so well?

Fashion en Pointe


Roisin Sweeney assesses fashions involvement in ballet, and ballet’s influence on design.


ast week at Lincoln Centre, designer Valentino was the guest of honour at New York City Ballet’s annual Fall gala. The designer created the costumes for all three of the ballets preformed that night. The collaboration was first suggested by Sarah Jessica Parker, a friend of the designer and huge supporter of New York’s most prestigious ballet company. The most vital component of any ballet costume is the weight of the material, it must be free enough to allow the dancers to move, but weighty enough to create motion in the skirts. Valentino achieved this effect impeccably. During the final Ballet, the premier of Peter Martins ‘Bal de Couture’ the dancers leapt across the stage to reveal Valentino’s signature red underneath the layers of their white tulle skirts. The Ballet Russe had a profound impact on the work of Coco Chanel at the start of the 20th century. Chanel designed costumes for several Ballet Russe productions, including ‘Le Train Bleu’ and ‘Apollon Musagete.’ Chanel’s transferral of her skills to the design of dance costumes was

relatively simple for a woman who advocated loose and easy clothes. Chanel had a huge connection with the Ballet Russe company, emotionally as well as aesthetically; she had an affair with one of the most successful composers of the time, Igor Stravinsky. In 2009, Chanel’s current creative director Karl Lagerfeld designed a costume for ‘The Dying Swan,’ a show for the English National Ballet. He said, “Ballet is an extraordinary art: This torture of the body to make something so graceful. All this hard work - to look effortless.” Paul Poiret, another designer who championed the looser, more relaxed look we still wear today, was hugely influenced by the Ballet Russe, in particular their show ‘Scheherazade’ in 1910, and the ballets use of vibrant colours. There are also many modern examples of fashion and ballet feeding off each other; the great late Alexander Mc Queen designed an exquisite silk kimono worn in a production of ‘Eonnagata’ in June 2010, and Gareth Pugh created wonderfully harsh and modern looks for ‘Carbon Life’ in London this year. A famous example of the connection between fashion and ballet is the 7 Rodarte costumes featured in ‘Black Swan.’ However, the collaboration was not without con-

troversy; first when it was realised the Rodarte sisters could not be involved in Oscar nominations for the film, as they were not members of the Costume Designers Guild of America, and later, when Black Swan’s actual costume designer, Amy Westcott, claimed the sisters were given too much credit for the looks worn by Natalie Portman in the film. The Rodarte sisters took their connection with ballet even further when they designed incredibly simple black and white costumes for ‘Two Hearts,’ a New York City Ballet production choreographed by Benjamin Millepied, choreographer for ‘Black Swan.’ The connections between these two art forms are everywhere. Away from the world of design, many models such as Karlie Kloss and Erin O’Connor began their careers as ballet dancers. Valentino explained the reason for this connection perfectly on his opening night, “Ballet speaks to me because of the romance I see in it, I realise the dancers do so much to be perfect, and in high fashion I always wanted perfection.”

Fashion Fights: Roberto Cavalli wrote this week that Armani has too much power and Dolce and Gabanna don’t care about anyone but themselves. Jealous perhaps?

Sequinned manicures: Nail art company Ciate’s spangly new product will ladder lots and lots of tights.

Kanye West: Kanye decided against having a third fashion show in Paris this week. Hopefully he’s realised he’s not a designer.




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