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college tribune entertainment supplement 13.9.2011

THE KANYU TREE TALK TO THE SIREN

interview inside Page 4

Harry Potter‛s Devon Murray

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Odd Futures Gig Review

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13.09.11

PLAYLIST: LISA GORRY David Guetta & Sia: ‘Titanium’ ◦ It seems pop juggernaut David Guetta can do no wrong these days. Thumping bass, a solid, anthemic chorus and a collaboration with the wonderful Sia lands ‘Titanium’ at number one in this week’s playlist. Expect this track to become a nightclub staple in the coming weeks. Maroon 5 feat. Christina Aguilera: ‘Moves Like Jagger’ ◦ This tune has stormed the charts over the past few weeks, and sees Maroon 5 on top form once again. Although some have questioned Xtina’s contribution, there’s no denying that this song has earned its merit with a ridiculously catchy chorus. Unconvinced? Check out the video. Calvin Harris: ‘Feels So Close’ ◦ Mr. Harris is set to take the country by storm this month, so it’s no surprise that “Feels So Close” features in this issue’s playlist. This quality pop offering is sure to have Dublin’s Academy booming on September 17th. Maverik Sabre: ‘Let Me Go’ ◦ The London-Irish rapper hits us with a suave pop number that has consolidated his place in the charts. Sabre described his work as “soulful hip-hop acoustic-inspired music”: you couldn’t describe it more accurately. Check out his appearance on the Jools Holland show and witness the performance that garnered the up and coming artist much critical acclaim.

music@collegetribune.ie CIARAN LEINSTER

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ust like the natural link between the Sex Pistols and Oasis, The Jesus & Mary Chain have been forgotten to some extent, but their influence is still far-reaching today. The main reason for this is undoubtedly their 1985 debut album, Psychocandy. While it was the lowest-charting of The Jesus & Mary Chain’s 6 albums, with the exception of their break-up album, 1998’s Munki, it subsequently outsold the remaining 4 albums the Scottish band released throughout their career. Psychocandy is a classic case of genius that was unappreciated in its own time, which has grown in stature and influence ever since. Both Glasvegas and The Vaccines, to name but two, owe much to The Jesus and Mary Chain, and this particular compilation. The band’s early gigs in London were similar to those of the Sex Pistols at their peak: displays of sheer aggression and violence. Often, the East Kilbride four-piece would play twenty minutes of feedback-smothered covers of songs such as the

Beach Boys’ ‘Surfin’ USA’, and then smash up the stage, equipment and venue, often inciting violence from the crowd at the same time. This brought instant comparisons to the Pistols from the music press, which had been starved of dangerous, exciting music in the postpunk comedown of the mideighties. In many ways, The Jesus & Mary Chain, and their music, were far more anarchistic than The Sex Pistols; they openly sought contempt and hatred from music fans and journalists alike. Their debut single ‘Upside Down’ was 3 minutes of pure, screeching feedback, displaying their antipathy towers commercial success. Despite this, ‘Upside Down’ went on to sell 35,000 copies, prompting the band to move from Creation Records to Warner Bros off-shoot Blanco Y Negro, where they stayed before returning to Creation for the release of their final album. It was not only the link with Creation Records that led to Oasis being compared to the Mary Chain (Oasis signed to Creation in the mid-1990s, and helped save the company from bank-

MAGNUM OPUS Psychocandy - The Jesus & Mary Chain ruptcy): It was the substance abuse, self-destruction and, above all, the sibling rivalries that fuelled both bands. While Oasis were led by the constantly-warring Gallagher brothers the Mary Chain were defined by Jim and William Reid, who shared singing, guitar-playing, songwriting and production duties. Psychocandy itself was also co-produced by bass player Douglass Hart (who often played with only 2 strings), and drummer Bobby Gillespie, soon to be of Primal Scream, who played on just a snare drum and a floor tom. Not long after Psychocandy was released, Gillespie left to concentrate fully on Primal Scream, with whom he eventually found fame with 1991’s Screamdelica. Massively influenced by the feedback-drenched Velvet Underground, pop stylings of the Beach Boys, production techniques of Phil Spector (opening track ‘Just Like Honey’ uses the same drum intro as Spector’s hit ‘Be My Baby’) and the punk rock speed and aggression of the Sex Pistols and Ramones, Psychocandy combined all these elements to produce

THE SPECIALIST

Lollapalooza Festival GRAHAM LUBY

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tanding around has always been an integral part of the festival experience. If it weren’t for our steely resolve and ability to ignore the downpour, myself and my companions would have missed Jay-Z’s Friday set at Oxegen last year. My head cold has since disappeared, but the memory of Jigga Man’s rendition of “99 Problems” hasn’t. I came back that evening to a post-apocalyptic landscape of mud and collapsed tents. A year on, and I’ve been defending my prized square foot of downtown Chicago for the best part of half an hour. It’s early August, and the weather gods of the Midwestern U.S. are testing the Lollapalooza crowd with heat into the mid-30s. People are getting irritable; a middleaged man wearing a Camelbak (a ridiculous water-carrier that serves to stereotype rich white Americans), having a break from his 2.3 kids and white picket fence, is in

the process of lambasting a group of teenagers for pushing ahead of him. This is just in the line for food; Heavy metal themed burger joint Kuma’s Corner has set up a stall in the festival’s wonderfully diverse food court, Chow Town, and the queue has stretched across the street since mid-morning. I pay the $6 and leave just as Camelbak man is informing all around of the things he would do to the teens’ mothers. Chow Town is just one of the many jewels in Lollapalooza’s 20th anniversary tiara this year. What began as a travelling rock-n’-roll circus has burgeoned into one of America’s biggest music festivals, kick-starting the careers of Lady Gaga, Pearl Jam and Green Day, amongst many others. Asides from the line-up, which has this year expanded to accommodate acts such as Eminem and Deadmau5 (contributing towards all 270,000 tickets disappearing weeks in advance), punters can shelter

from the murderous Chicago summer in air-conditioned marquees, brag about their day in one of many Wifi hotspots or browse the on-site organic farmers’ market. Tuborg in the rain, this is not. But Lollapalooza was always very different from its peers. Founded in 1991, Lollapalooza (an archaic term for a massive session) was originally conceived by spidery alt-rocker Perry Farrell as a farewell tour for his hugely popular outfit, Jane’s Addiction. The 26-date summer tour featured acts such as Ice-T and former Black Flag madman Henry Rollins, and was one of the first to feature side attractions, in the form of Shaolin monks and a travelling freak show. The explosion of grunge and alt-rock in the early 90s led the festival to hold additional tours each summer, growing in size and popularity and incorporating elements of alternative culture such as mosh pits, tattoo par-

something completely original. That’s not to say that Psychocandy consists of 14 tracks that sound exactly the same. There are moments of pure noise and screeching guitars (‘The Living End’, ‘Taste The Floor’), as well as tender pop music (‘Just Like Honey’, ‘The Hardest Walk’) and beautifully constructed pop songs that have been drenched in white noise (‘Taste Of Cindy’, ‘My Little Underground’). Given their reputation for completely manic live performances, it was a priority for the band to attempt to recreate that same anger and aggression on their recordings. This is achieved, and not only by playing their guitars as close as possible to the speakers. The Reids scream and moan like junkies going cold turkey. While drugs weren’t as key to the creation of Psychocandy as other albums from the same period, the band were definitely heavy users at the time, as is evident from some interviews. This led to NME naming it the 13th druggiest albums of all time earlier this year,

listing speed as the most important drug of choice in its creation. The importance of the Jesus & Mary Chain, and in particular Psychocandy, is still evident today. Last year, an award-winning documentary about Creation Records, with Jim Reid as a key interviewee, was released, entitled ‘Upside Down’ in honour of their debut single. Only a few months ago, it was announced that all 6 of their albums, starting with Psychocandy, are to be rereleased in 2 CD deluxe editions in the coming months. If ever an album deserved the spotlight again, it’s Psychocandy.

lours and open-mic booths. It had established itself as a bastion of peculiarity, where those who had not fit into the clean-cut template of Ronald Reagan’s 1980s could finally show their colours. According to Jim James of My Morning Jacket, “[Lollapalooza] was the first festival where people who felt weird in high school could go and have a good time”. However, due the decline of alternative rock and Farrell’s waning interest in supporting the project, the festival soon seemed to have ran its course, and ended in 1997. Numerous attempts to reschedule a new version of the tour faltered in the early 2000s, as Farrell’s wild concepts were not feasible in a cash-strapped, post-9/11 America. But in 2005, plans were approved for a two day edition of the festival in Grant Park in the heart of Chicago, this time with a line-up of over 70 artists across five stages. Farrell returned to Chicago in 2006 and 2007 to repeat the success, and a multimillion dollar deal was subsequently made to keep Lollapalooza at Grant Park until 2018. Lolla (as Chicagoans now refer to the an-

nual bash) has since become a staple of Chicago culture, and continues to get bigger and wilder every year. This year, thanks to a rainstorm on Sunday afternoon, Grant Park’s grass surface was torn up by the sell-out crowd, with the cost of repairs estimated to run into the millions. Following Sunday’s rain, I opted to miss Nas & Damien Marley’s afternoon slot to go and slide down a hill, Glastonbury-style. Covered in mud, with the Arctic Monkeys plonking away nearby, I could have easily been back in Kildare were it not for the Chicago skyline forming a stunning backdrop. With acts such as Radiohead and Death Cab for Cutie touring into next year, Lolla 2012 (August 3rd-5th) is set to be as immense as 2011. If you are planning a J1 Summer in Chicago next year, fit it into your plans. You’ll at least be able to leave at night and shower.


ALBUM REVIEWS

13.09.11

The Drums

Girls

SIMON MULCAHY

DANIEL NOLAN

Father, Son, Holy Ghost

Portamento

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he Drums are a New York based band that successfully did what many NME acclaimed acts have done; they took a small, obscure long forgotten genre of music and made it popular. How? Through the vivacity of their youth, their cool clothes, youth-friendly free downloads and the release of trendy remixes of their tracks, among other things. With that being said, the music itself is actually quite brilliant at times. Portamento quite rapidly follows The Drums’ self-titled freshman full-length release. Between albums they have lost a member, the seemingly dispensable Adam Kessler, and have become more dependent on synthesizers and minor chords.

This album travels to darker places than any of their previous efforts with songs such as ‘Searching for Heaven’ and ‘If He Likes it Let Him Do It’. Interspersed amongst these heavier numbers are examples of the bright bouncy surf pop that The Drums have gained notoriety for (‘What You Were’ and ‘I Need a Doctor’). This change in direction for The Drums takes them to new levels of emotional depth in their lyrics, making the album seem more mature than previous ventures Songs such as the desperately sad tale of lost love that is ‘In the Cold’ leave a lasting impression. Basically, the group have stuck to what they know best in the sense of structure and style but

the introduction of a greater variety of electronic sounds and higher production qualities afford this album a more well-rounded feel. On the other hand there are fewer radio friendly “hits” on this album, which may alienate some fans. More often than not, people either get a lot or barely anything from their music. Even still, songs such as ‘Money’ or ‘Days’ are guaranteed to stick in the minds of even the most disdainful listener. You will probably know from the first full listen if this is for you. But if you are a patient a persistent listener then these songs may well have a powerful and longlasting effect.

8/10

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an Francisco duo Girls’ sohphomore album, Father, Son, Holy Ghost, begins in familiar terroritory, with the immediately catchy ‘Honey Bunny.’ From the off, they continue to combine styles, principally those of 50’s and 60’s pop and rock, and filter through their own woozy, garage-rock style to produce a relatively fresh and original sound. While the production is slightly clearer this time around, and the record is less reverb-driven, the central sound is essentially unaltered. Common reference points, as exemplified on ‘Honey Bunny,’ are surf-rock and early girl-group, and mention of the influence of Phil Spector’s production is unavoidable. There is also a country vibe on some tracks, such as ‘Vomit’, the record’s

Laura Marling

KEITH LEMATTI

CONOR MANNING

8/10

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centrepiece. This juxtaposition of styles, however, is not what sets Girls apart, as there are clear similarities in their more direct moments to bands such as The Pixies or Lemonheads, and occassionally when they experiment with shoegaze or heavily distorted sounds, Sonic Youth and Galaxie 500. What gives Girls their edge is the songwriting and personality of frontman Christopher Owens. His bruised, fragile vocal delivery characterises and elevates the record. His key songwriting trait is his combining of classic-sounding pop melodies and lyrical themes with deeply personal, troubled lines that often only emerge after repeated listens. HIs lyrical themes are hardly unexplored in pop music -

he goes through heartbreak, homesickness, and feelings of inadequacy- but there’s a sincerity, even a sense of naivety, to Owens delivery that gives the songs real impact, and means his self-pitying never becomes tiresome, as it easily could. This is particularly true of the sweetly melancholic ‘Myma.’ Musically, Girls explore darker sounds than previously, leaving the music more reflective of it’s lyrics. The songcraft and sound of stopgap EP, The Broken Dreams Club is also built on, evident on the string-infelcted ‘Just a Song.’ This song demonstrates a widening of Girls’ instrumental pallette, while making effective use of a flute section. Overall, the record is a worthy succesor to their acclaimed debut. Girls manage to build on their earlier work without making any drastic changes, but as long as their songwriting and melodic instincts are intact, Girls will remain an act worth following.

Blitzen Trapper American Goldwing

n their sixth outing, Portland, Oregon folksters Blitzen Trapper invoke attributes of their biggest hit to date, 2007’s ‘Wild Mountain Nation’, while incorporating influences from the giants of sixties and seventies folk and rock . Blitzen Trapper’s forté has for the last five years been the integration of delicate folk and rasping Pearl Jam-esque guitars. Often on American Goldwing’s predecessors, singer Eric Earley created some masterpieces with just a simple word (see ‘Woof & Warp...’) or just the repetition of a lyric. It’s undeniable that in 2007 that paid off. With these two techniques combined, these mountain rockers created a

music@collegetribune.ie

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sound that would make even The Band quiver in their folk boots. This time around however, things have changed a bit. On American Goldwing, introspective lyrics, past relationships and a desire to return home are at the forefront of Earley & Co.’s creations. ‘Girl In A Coat’ and ‘My Home Town’ generate these points best. The former intertwines the repetitiveness of ‘Wild Mountain Nation’ with their Neil Young devoted guitar, forming a tear loosening ballad. Earley’s lyrics have never been more profound than on this encounter. Portland neighbours The Decemberists, known for their conceptual albums and Colin Meloy’s unique pirate shanty voice, were once mas-

ters of this genre; although, with less of an emphasis on funky guitar riffs. With lyrics like “Dust of your words/ spinnin’ round and around”, Blitzen Trapper may be realising their art is just as deserving of the tag, “Portland’s Finest”. Where do Blitzen Trapper draw most of their influence on this outing? Other than Pearl Jam, The Band would be the clearest of influence on American Goldwing, most notably on ‘Girl In A Coat’. A pre-‘Goodbye, Yellow Brick Road’ Elton John could easily be playing on the seventh track, ‘Astronaut’, mixed with a hint of Little Feat vocals. Homage is paid to The Rolling Stones on ‘Street Fighting Sun’, with the obvious title and the distorted vocals that are reminiscent of Jagger at times. This is clearly Blitzen Trapper’s coming of age record, maybe it’s time we realise their capabilities as they did.

A Creature I don’t know

8/10

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Creature I Don’t Know is folk songstress Laura Marling’s third album and undoubtedly a more mature production than her first two. She set the bar high; her first two albums were both nominated for a Mercury Prize and fans also expect some sort of progression. There is definitely a sense of development here, as Marling experiments with both a gloomier tone and darker lyrics. For those unfamiliar with her past work, Marling delivers her signature brand of radio-friendly folk and sirenlike vocals. You can hear this on album openers ‘The Muse’ and ‘I Was Just A Card’, but there is already a darker feel to the lyrics than before. Lines such as “I’ll call on you

when I need to feast” set the tone. She explores themes of lust and friendship on this album: “He lies, he lies, so sweet that I choke”. We previously thought that butter wouldn’t melt in her mouth but Marling sings about subjects that seem beyond her 21 years at times and it’s easy to forget that she’s so young. A Creature I Don’t Know will appeal to fans of the intrepid young songwriter but should also earn her a new following. All the elements that made her successful so far are there but Marling builds on this with a heavier sound in some of the songs. The orchestration is used more often to provide a sinister drone on this album rather than ornamentation as on previous albums. ‘The

Beast’ in particular builds to a gripping climax with a cacophony of heavy toms and dirty guitars as Marling repeats “tonight he lies with me”. Her voice is no longer soothing and pure here. It’s harsher and a little bit strained. It works. All throughout, dynamic swells and clever instrumentation lift the songs above the ordinary. This album will no doubt be a personal success for Laura Marling, and it deserves to win her greater acclaim, a third Mercury nomination could well be on the cards. Who knows, perhaps this time she’ll snatch the prize.


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13.09.11

music@collegetribune.ie

AONGHUS MCGARRY

Original Rudeboys Interview

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here’s a lot of hype surrounding The Original Rudeboys. Firstly, their modus operandi is fairly unconventional. Sean ‘Neddy’ Arkins, the de facto frontman of the group, doesn’t sing, but raps over the simple but surprisingly pleasant guitar and ukulele melodies of his band mates Robert Burch and Seán Walsh. Instead of recreating the expected, tired imitations of American hip-hop, Neddy raps in a thick, dry inner city accent that expertly complements the sweet instrumentation. When asked how such a bizarre combination of styles came together, Neddy recounts a party they were at 7 months ago; “ We were after having a few gargles one Friday night, myself and Robert were jamming with a few guitars and Walshy came along with a ukulele, we laughed at it at first”, “We didn’t want him there at first, Burch interjects “and we’ve been trying to get rid of him ever since!” Neddy continues explaining how “People from the

Photo: Andrew Cowan party asked what’s the name of yizzer band? Burch saw on my t-shirt ‘The Original Rudeboys’ so we said that’s our merchandise.” It’s refreshing to see a new band that don’t take themselves too seriously, who will freely admit their name came

from a Topman t-shirt: after a few minutes in the company of these lads you get the feeling that that should their luck change they’d be just as happy to stay mates and have things go back to normal. That’s not looking likely though. This act’s rise in the Irish music scene has been astro-

nomical. They have garnered an incredibly enthusiastic fan base, 12,000 plus Facebook followers, hundreds of thousands of Youtube hits, a very well received slot at Oxegen and the attention of BBC Radio 1 DJ Zane Lowe. The lads seem to be playing the pop game well, without going out of their way to fit

in with the manufactured, radio friendly homogeneity they find themselves competing against. Indeed, when asked what they made of the high profile collaboration between two of rap’s biggest artists, Kanye West and Jay Z, they seem to be almost completely unaware that the union even happened. Their seeming disregard for the mainstream is endearing, especially when you consider that they are attempting to make their mark in a crowded field. It highlights the earnest nature of their efforts to put themselves in a position to do something they really enjoy, without pandering to what is accepted as the formula for success: These boys keep things “as stripped back as possible” as Sean Walsh put it. Their humility is evidenced in their sheer awe at encountering The Script and Tinie Tempah during their weekend at Oxegen, whilst claiming gangsta rap legends N.W.A as an influence adds to their image of an unusual but incredibly likable outfit. The lads themselves put their success thus far down to

word of mouth. “We just put up the video (of ‘Stars in my Eyes’) to show to 10 or 15 of our friends and it just started getting shared all over the place, Malta, Canada Eastern Europe, everywhere. It was down to social media too, we didn’t have some sort of big plan to get big, if people don’t like the music they’re not gonna talk about it”. It’s also obvious that these Rudeboys appeal to women. Before their second headline gig in Leeson Street’s Sugar Club (which follows three sell-out gigs at the Academy), a predominantly female crowd become decidedly flustered at the sight of the lads, much to the chargrin of the boyfriends in tow. It all seems like a recipe for success. These three have an edge on other, for lack of a better word, ‘boybands’ in that their humility, originality and alternative musical style are a breath of fresh air in the vacuous world of pop. It’d be hard to find lads more deserving; the student, electrician and Tesco cashier may be the ‘next big thing’ to come from the inner city, however unusual their music may be.


Tripod Guy: the man, the myth, the legend

Michael Shimaoka has become one of the most recognizable faces on the Dublin student night scene. In an exclusive interview with Donie O’Sullivan, Shimaoka discusses being “Tripod Guy,” appearing on X Factor in his quest to “bring back rock” and his hopes to run for President.

13.09.11

DONIE O’SULLIVAN

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esley College, located in Ballinteer in South Dublin boasts two noble laureates among their notable alumni. However Michael Shimaoka, a second year English and Geography student in UCD, better known as “Tripod Guy” is quickly becoming one of the school’s most popular past pupils. Over the past twelve months, Shimaoka has developed a cult following online after a fan page dedicated to him was set up on Facebook. A regular at the popular nightclub on Harcourt Street, Shimaoka’s smooth moves and distinctive look earned him the title “Tripod Guy.” “I used to go to Tripod a lot and someone eventually set up a fan page and called me ‘Tripod Guy,’ everything really just snowballed from there. I get recognized a lot” Shimaoka explains Tripod Guy’s Facebook page, which now has over 3,500 followers, features hundreds of images of Shimaoka with students from all over Dublin who recognise and approach him on nights out. Shimaoka enjoys being Tripod Guy and

alleges that his new found fame has made him a “pussy magnet.” “It has increased my profile a lot,” he expounds and “the best part is the girls, there are girls going out to dance with me asking me for my photos.” However despite his title, “Tripod Guy” rarely goes to Tripod anymore; he has branched out to other clubs. “I used to go there a lot, I stopped going there and now I go to other clubs instead. At the moment it’s the Palace, but once college starts I’ll be going to lots of other places.” Shimaoka currently lives

in Balinteer but due to his father’s job he has lived in various locations across the globe including Japan, Holland, the United States and Canada. He is happy here at UCD and says that although he goes out on average three nights a week he still makes it into college everyday on the 17 bus for all of his lectures and tutorials. “I am a tank,” he states matter of factly, “it takes a fair bit to get me really, really drunk, I can drink most stuff anyway. ”Between classes, like any other student, he enjoys spending his time

Q&A with Harry Potter star Devon Murray

relaxing by the UCD lake Shimaoka took his fame to new heights in recent months when he appeared on an edition of ITV’s hit reality show ‘The X Factor’. “I watched the show for the last three years and I thought maybe I could do this.” “My mom and dad travelled with me to auditions in London and Liverpool There was a long wait and I was a little bit nervous but I listened to the backing tracks of the songs while I was waiting.” Shimaoka was watched by thousands of viewers across the UK and

music@collegetribune.ie Ireland as her performed Guns N’ Roses, “Sweet Child of Mine” in front of a live audience and the panel of X Factor judges. However Walshe, Contostavlos, Rowland and Barlow weren’t overly impressed with his “Vitamin Rock.” They are biased against rock in the music world, they try to keep us to one side,” he said, however he admitted that he could have been more prepared for the audition. “I didn’t really have any idea what was involved, I didn’t really think it through that well. It was my first time going for it, I was actually kind of amazed I got through that far.” Despite each of the judges giving him a “no,” Shimaoka is still fond of Louis Walsh, “I like him cause he has been in the business for so long and he knows the ins and outs and how it works.” “The one I really didn’t like [was] Gary Barlow, I don’t think it was aired but he did have a go at me for wearing a Def Leppard t-shirt. That was a little bit uncalled for, I mean I think that I wouldn’t have had a go at him... even though I don’t like Take That, and never did,” he laughs. Although he was rejected this year Shimaoka is determined to make a come

SINÉAD WILLIAMS

There were two boys sent over to audition for the part of Seamus in front of the Director and we had to do the read through. Later on in the second day I discovered I had the part!

Are you sad that the Harry Potter series has finished?

Had you read any of the books before you got the part?

Yeah, I’m sad that it’s over; I spent most of my childhood making the movies and making memories, but at the same time I’m looking forward to pursuing other movies and spending more time with the horses, as I show jump.

No, but since we finished filming I have read them all! The fifth and sixth ones are definitely my favourites.

Shaw? I never really worked with Fiona, but getting to work with Alan Rickman, Brendan Gleeson and Richard Harris, to name but a few, was quite daunting at first. After a while, we all overcame our nerves and got to know each other. The most amazing thing was working with people after having spent so many years watching them on TV. The feeling was totally inexplicable!

What’s your best memory from the Harry Potter experience?

Which is your favourite of the Harry Potter films?

There are too many to name. One of the first days when we were doing the Sorting Hat scene, as it was the first time the whole group worked together; all the cast going in to hair and makeup, as we used to pretend we had cuts and scrapes and send the make-up ladies into a panic; and getting to go to all the premieres to meet the fans and see how much they appreciate the movies.

The last one, as it was the most eventful. We had stunts to do and we had wand combat lessons that were really used in the last movie. All the bits and pieces put together, plus the hard work from everyone to make the last movie, really paid off and it stayed true to the books.

How did you get involved in acting? I attended the Billie Barry Stage School and it opened the doors into acting professionally, as I joined the National Performing Arts School which led on to Angela’s Ashes, This is My Father, Yesterdays Children and then Harry Potter. How did your role in Harry Potter come about?

What was it like to work with actors like Alan Rickman and Fiona

What are you up to now that the Harry Potter films are finished? I’m taking a break from acting at the minute and con-

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back on the next series of the reality show. “I want to be absolutely prepared for next year, I have been getting singing lessons for the past six or seven weeks so I am preparing for it.” He says that the 25 hour singing lessons in Rathgar are making a real difference and that he is considering singing Journey’s ‘Don’t Stop Believing’ at his audition for next year’s show. But Shimaoka’s singing career may be put on hold; he claims he is seriously considering entering into student politics. He featured in a video in support of Pat de Brún’s successful UCD Students’ Union Presidential Election campaign last March but Tripod Guy exclusively reveals that he is contemplating running for the position himself next year .“I’d like to run for President, I’d say I would be relatable anyway,” he says. When asked if he thinks he could win an ambitious Tripod Guy responds, “I think I probably would.” #ARAS11 eat your heart out.

Watch Shimaoka’s XFactor audition.

centrating on my stud farm in Offaly. I own 14 horses and they’re my real passion. I show jump, which I wasn’t allowed to do during Harry Potter in case I injured myself and wasn’t able to work. Do you get recognised a lot? It depends really. A little bit at home, I guess. When I was at the RDS I was recognised by girls in particular, but it doesn’t happen as much in Ireland as it would abroad. Shopping centres would be the biggest source of attention for me. Which one of the Deathly Hallows would you choose: the invisibility cloak, the resurrection stone or the Elder wand? The elder wand! I wouldn’t necessarily kill anyone with it, but being able to perform incredible feats of magic with it definitely blows the other Deathly Hallows out of the water. If it stopped Seamus blowing himself up for once, what would be the harm?


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13.09.11

AONGHUS MCGARRY

If you were to look the word ‘Kanyu’ up in a Japanese dictionary, you would find the rough translation of the English word ‘membership” explains Shane, the Japan born, Salthill bred member of The Kanyu Tree. If you were to go looking for a real kanyu tree; you’d be wasting your time - there’s no such thing. “Myself and Oisin were born in Japan and so we just wanted to have something in the name to pay homage to there” he expounds. What you would find after a quick Google search however, instead of a fictional tree, is a three piece Galway based band consisting of brothers Shane, Daniel and Oisin Cluskey who make lovely indie pop tunes that are as familiar as they are catchy. After writing songs for the guts of ten years and venturing down the ever popular covers route to improve their sound, the trio began taking things seriously 5 years ago after finishing col-

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lege together. Gigging as often as they could, the group took this time to shape the sound which they ultimatelty wanted to characterise their music. Shane considers a wide range of bands and individual musicians as influences; from the fairly standard Beach Boys and Michael Jackson, to the unexpected; The Bee Gees, Fleetwood Mac, Tears for Fears and the very obscure, surprising technique and rhythm of the late, great fusion jazz bassist Jaco Pastorius. Considering musicians such as these as influences could be seen as an act of misjudgement by some, but the gigs keep coming and increasing in stature, a fact that is testament to the quality of their music. Cluskey describes their recent slot at Electric Picnic as “a real personal highlight which was really cool to play and see from the other side as a performer, because we’d been going there for years”. It’s been a busy summer for the group who also played Oxegen in July, which Cluskey says he found “surreal”; both sets

The Kanyu Tree Interview

attracted sizable crowds and considerable acclaim. The set lists for the group’s recent gigs draw heavily on their new album, People Street. One of the most interesting things about the new record is its co-producer, Ali Shaheed Mohammed, a member of another three piece outfit, albeit ever so slightly better known than The Kanyu Tree; alternative rap pioneers A Tribe Called Quest, possibly one of the most influential groups in hip-hop history. When asked about the band’s experience working with someone held in such high esteem throughout the musical community, Cluskey explains that “he let us do our thing and added electronic elements to our sound that we were interested in incorporating. He was very subtle, nothing too noticeable, which was difficult, and gave another dimension to the sound; so that was cool, he was really cool”. He adds that “it was a first for him to work with a pop band, and working with the kind of instruments we use; he’d have been more used to hip-

hop. He also gave us a certain confidence in what we were doing; we learned a lot about production.” Cluskey describes the album as “the biggest feat we’ve undertaken thus far”. When asked if the band had tried to emulate any particular sound on the album he states mattery of factly that “we tried to keep it as original as we [could], but there’s always going to be hints of other bands in your sound, it’s unavoidable.” One difficulty for many bands is the transition from total independence , dealing with gigs, recording and press alone, to being one of dozens, even hundreds of acts on a major labels roster. The Kanyu Tree signed to Sony Ireland relatively recently, “the old fashioned way” having been spotted by an A&R scout at one of their Dublin gigs. They’ve found that having the resources of Sony has been nothing but beneficial and that they have “a really great relationship” with the label. “Now we don’t have to organise interviews and schedule gigs, it’s great”. As far as Cluskey is con-

cerned, Irish music is in a really promising place right now. Their song “People Street” was recently remixed by Jape who he goes on to say the band have “ a load of admiration for”. “David Kitt, The Republic of Loose are really cool aswell we think they’re a really good band”. With regard to bands that he’d tip for success, Cluskey heaps praise on The Gorgeous Colours, whose The Creatures Down Below has been one of the most promising of the year so far. Shane reckons they’re not getting anywhere near the attention they deserve. The plan for the foreseeable future is for The Kanyu Tree to “plug the hell” out of the new record before considering what to do next: a new album isn’t currently on the cards. Having been asked what other albums or bands he’s been listening to recently, CANT, the solo project of Chris Taylor of Grizzly Bear fame is top of the pile, along with the new My Morning Jacket album and the excellent Beach House album, Teen Dream.

Cluskey’s current personal playlist features CANT, the solo project of Grizzly Bear’s Chris Taylor alongside the latest offering from My Morning Jacket. Beach House’s Team Dream completes the collection. It’s hard to tell what’s next for The Kanyu Tree. Their insanely catchy songs seem like perfect radio fodder, and lately they’ve been getting the airplay they deserve; but Irish bands have a habit of losing their hype just as they’re getting used to writing and performing regularly. If anything, The Kanyu Tree can look to Two Door Cinema Club to learn how to manage things properly whilst maintaining a healthy relationship with a record label that holds the purse strings. That said, a label like Sony doesn’t just sign every band that comes calling. If The Kanyu Tree can take that confidence in their success and maintain the respect of the likes of Ali Shaheed Mohammed whilst making very catchy pop tunes, Galway might have their biggest success story for a little while.


Photos : Emer Igbokwe at Art Soc Orientation Temptation, Purty Kitchen

Welcome to the Jungle....

Welcome Freshers! Congratulations on picking up one of UCD’s top two newspapers, The College Tribune. UCD is Ireland’s biggest university,132 hectares of awesomeness, it has the same population as and is bigger than some countries, like the Vatican and Liechtenstein. But that’s enough about us, let’s talk about you! You are here because of one of three reasons, you wanted to go here, you didn’t get enough points for Trinity, you thought DCU and UCD were the same place – but how you ended up here is irrelevant. It’s time to become a bona fide UCD student, our Alternative Freshers’ Guide will tell you the things they didn’t let you know in the prospectus or in Mean Girls – or Fight Club.


D For... C U o t e id u G A BY DONIE O’SULLIVAN

...Northsiders

“STORRRY, WHA?” It’s one small bridge over the Liffey, one giant leap for a Northsider. You are in for quite a culture shock, if you’re looking for cocaine it’s referred to in these parts as “Charlie”, no one knows who Jason Sherlock is and when one of your classmates is embarrassed in public you say “totes devo for you babes,” not “scarla for ya ma for ‘avin ya.” But buy a Paul’s Boutique bag, a pair of real UGGs and replace “i” with “o” in words such as “time” and you will be be “loike totally foine, roysh?” Join: Dutch Gold Society

Ten things • • •

• • • • • •

...Southsiders Irish by birth, UCD student by the grace of God. You knew you were going to UCD since you were three, quite simply because “all the goys” go here. We certainly hope you enjoyed your three week Leaving Cert holiday in Ios last month, and that you will equally enjoy your 6 weeks in Thailand next summer, and your J1 on the west coast of America the next – just remember don’t lose your 6th year ring. You’ll love UCD because its familiar and is only a 10 minute walk or half hour drive from your house – you will choose to drive, then post on Facebook about how long it took you to get parking and how you missed the first 10 minutes of class. “BOOM!” Join: L&H

...Country Folk “Oh Oh yea, if it isn’t himself, the big man in up in Dublin now thinks he’s better than the rest of us down here,” the welcome you will receive from your friends on Friday evening when your return home. For one reason or another you decided to come, or somehow ended up in UCD. Regardless of how big a town you came from, if you aren’t from somewhere in between Dun Laoghaire and Swords you will be considered a “boggar” by a large bulk of the UCD student population. You can however use this to your advantage; when a lad from Gonzaga (posh Dublin school) is chatting you up, trying to impress you about the six weeks he spent in Ghana the summer of 5th year and the suffering he witnessed there, you can recount a similar story about that time you visited Leitrim. Join: Ag Soc!

NOT

to do in UCD

Go to all your lectures – “ah sure, you’ll be grand.” Go to the “secret lakes” - what’s the point? Go to a “Ball” in formal attire – if it’s on in Twenty Ones you probably don’t need a tux, most “Balls” in UCD, apart from a few, are club nights, be warned. Write for The University Observer (our rivals, part of the Murdoch empire!) Take crap from UCD Residences – contact the SU or a lawyer, before paying any “fines.” Wear socks with sandals. Do drugs, unless it’s really good stuff. Leave buying your drink until 9.50pm. Forget to use a condom, or three if you’re from the North. Get a credit card.


Getting the hang of hangovers in UCD

A word from the editors... Conor McKenna and Ryan Cullen

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e really can’t think of a better way to spend the last 3-4 years of your life. Yes that’s right, the last. By the time you graduate from this place, your soul will be destroyed, your future bleak and to top it all off, you will develop an unhealthy addiction to coffee, Heroin and Babybel cheese that will probably kill you. Enjoy Freshers’ week because after that novelty affect wears off, the feelings of overwhelming excitement and exuberance will slowly turn into hopelessness, fear, doubt and eventually moral disturbance. You will develop chlamydia. You will spend all the money your parents have entrusted on you to honour the family name on crack and cans of Fosters. You will fail modules. You will wake up somewhere mysterious covered in lube. You will threaten to head-butt someone at the programme office into a fine paste. You will become opinionated. Summers will no longer be a time to chill and have fun; instead you will have to sell yourself to pay off the thousands of euro you will owe. You will never see Hugh Brady in person. The only hymn you will be singing on a Sunday morning will be hymn number 225

“ooooooohhhh my fucking head.” You will become detrimental to your own health. You will be broke at all times. You will go scrumping for bread crumbs by the lake intended for the fat swans. You will become a complete bastard. Despite all of this, you may as well enjoy yourself. As Ryan’s grandmother would say “sure, we could all be feckin’ depressed if we wanted”. Go out and be active. Remember to join clubs, societies, sports teams and of course, the College Tribune. If you have an interest or hobby, pursue it. UCD may look like a concrete jungle

Getting through a day in College with a pounding headache requires some serious skill. Brendan Lannoye guides you through the dos and don’ts of being Hungover in UCD. but it really can be a place where you leave your mark for many years to come, even if that mark is a dodgy stain on a Belgrove apartment wall). Just remember to give it your all and you will reap rewards. DISCLAIMER: No posters were harmed in the making of this Freshers’ Guide

On a serious note... As you may have guessed our alternative Fresher’s Guide is really just a bit of fun, but you will have an amazing time here in UCD. However you must make the effort to join some clubs and societies and really get involved, make friends with as many people as you can and never be afraid to ask for help. If you are finding settling in a bit tough, whether financially or emotionally, UCD has a wide range of support services to help you on your way. You can go to the programme office if you are having trouble or are unsure about any modules. The University and the SU offer counselling services and the SU also have a Welfare fund to help students out who are finding it difficult financially. Of course, if you ever feel hard done by by any of the massive bureaucracies in this university you can always contact us, the College Tribune, and we can kick up a fuss about it and try to prevent it from happening again! The cliché “your time here will fly” is actually very true, so live it up while you’re here!

A

lmost as likely as night following day, the changing of the seasons, or the UCD registry website breaking down, is the eventuality that the average UCD student will endure a severely hung-over day on the Belfield Campus. For whatever reason it is - attendance marked tutorials, assignment deadlines or an old fashioned attempt at actually going to your lectures - we’ve all ended up dragging ourselves out of bed in a semi-concussed state to somehow make it into college. But what should you do once you’re there? Learn stuff? Unlikely. You’ll soon find that’s nigh on impossible as the alcohol you consumed last night has pooled in your brain and knowledge can’t swim there. Go home? Trek of that, you’re here now you might as well stay. Back to what you can actually do. It’s going to be a rough day no matter what, but you can make it better with some simple adjustments. Firstly, turn your phone volume down. There’s nothing worse than a message alert just as you’re about to doze off. Secondly, buy a bottle of water early in the day; you can always fill it up a few times. Hint: the water fountain in Computer Science is a country mile better than all the other fountains in UCD. I think it’s cold or something. Obviously you should wear comfortable clothes. Alcohol sweats, combined with the arctic conditions of some buildings in UCD, do not make a good mix, so layer up. Hoodies are especially good as they can be transformed into a pillow, or, by pulling both strings, a private cocoon away from the irritating brightness of light.

Now what? Try going to a lecture. As I said, learning doesn’t work if you’re hungover/still drunk, but you might as well try one. You didn’t get out of bed for nothing! (Yes you did.) A six hour lunch break is the obvious alternative. If you’re a generous drunk and are now short on funds, try Centra for their €3.50 lunch deal. I suggest a tuna, lettuce and cucumber roll. It makes you feel like you’ve balanced out all the crap you funnelled into yourself just hours before. You could also try visiting the UCD vomitorium, ie. The Restaurant. At least after a few mouthfuls, you’ll get everything out of you pretty quick!

Want to go to curl up and die? Try the new international area, beside Rendezvous under the restaurant. It’s a personal favourite of mine. Bean bags, couches, TV’s on walls - it’s pretty much got it all. Well worth a trip. Avoid busy places and your own faculty/ faculty area in the library. Someone you know will see you and they will think it’s hilarious that you look like your digestive system has started to digest you. The library seems like

a good idea, but more often than not it isn’t. Find a warm spot that’s out of the way - up the escalator two floors on the left generally suffices. However, mostly you’ll just feel guilty. It’s similar to a person on a diet caving and devouring a plate of kebabs… in a gym full of models. You’ve got enough to deal with without feelings of unnecessary guilt and inadequacy. Need to pass the time? Youtube is handy here. Reading is tough at the best of times, let’s not jump the gun. Watch what you’d watch at home on a lazy day: there’s nothing better than ‘the top ten most ridiculous Jeremy Kyle mo-

ments’.

Finally, don’t e v e n t h i n k a b o u t washing the night club stamp off your hand until you’ve properly sobered up. Similar to the lepers’ bell, it is a sign that you’re not fit for proper social interaction and is an easier way of communicating that fact than actually speaking. The stamp is a talisman of the trials you’ve put yourself through and you should display it proudly. There’s no sight more noble than that of a person bent over, lying on their hand, clutching a cup of coffee at the back of a lecture, only to emerge with the Copper’s stamp smudged onto their forehead. Once you’ve gotten over the worst of it, all you have to worry about is where you’re heading tonight. Sounds odd, but it will happen. Sure, how could we expect ourselves to learn from our mistakes in a


A To Z of UCD A

is for Ass-hole - there’s a lot of them here!

B

is for “The Blob” - sculpture outside Theatre L and M in the Art’s Block where people frequently meet and can also pick up a copy of the College Tribune.

C

is for College Tribune – One of the best newspapers on campus, sometimes. We are released fortnightly on a Tuesday and have daily updates on www.collegetribune.ie. Friend us on Facebook, follow us on Twitter and of course “share the love” with us on Bebo.

D

is for Deflowering – if it hasn’t happened already then this is the place to pick your petals and prune your stem.

E

is for Ecstasy – if you see a guy on the concourse, naked, covered in lube and dancing to the sounds of pounding

techno, he’s probably popped one of these.

F

is for Free Stuff – Condoms, Red Bull and Bread, what more could a student possibly need? Make sure to pick up lots of free stuff next week in the Fresher’s tent. In exchange for joining a society you will be given a goody bag of the essentials – however there are methods of getting several goody bags without joining the society at all – be creative.

G

is for Gingers – Many people don’t realise that until 1998 people with ginger hair were not permitted to enter the UCD campus. A secret clause however in the Good Friday Agreement gave gingers rights on the entire island of Ireland – gingers have been present on campus ever since.

H

is for Hugh Brady, UCD President – you will refer to him only as “Mein Fuhrer.”

I

is for Irish House in Merville “Oh mo chroi” - there is a house in Merville whose residents only speak Irish. Just follow the sound of the accordion to get there.

J

is for Jalapeno – a very hot green chili, used especially in Mexican cooking.

K

is for Kylemore- Since the collapse of the Soviet Union in 1991 many different privately run restaurants emerged on the UCD campus. However the majority of eateries on campus have now been taken over by Kylemore after a vicious and bloody coup.

L

is for Leo – did you know one in twelve UCD students have this as their star sign?

M

is for Main Restaurant – World renowned cafeteria, especially known for its friendly

staff and Michellin Star quality cuisine. We’re joking of course!

N

is for Newman Building – also know as the Arts Block, the Newman building is home to The College Tribune and many the bright young Arts student – repeat after me, “would you like fries with that?”

O

is for Old Man Belfield – yes we do have an elderly man who lives on campus and walks around during the day. Many myths surround Old Man Belfield, we like to believe the one that says at night he turns into Spider Man

P

business students father’s are in NAMA – meaning they are loaded. Of the 2,000 female business students in UCD, 1,800 of them are named Lauren.

R

is for Ready Made Meals – you simply have not lived until you have sampled Tesco Value Chicken Korma.

S

is for Student Card – if you lose it, it will cost you 50euro to replace. Who would have thought there is 50euro

worth of plastic in a student card? Golly.

T

is for Pearse Street I.T. - a term commonly used by UCD students to describe Trinity College Dublin.

is for TV Licence Inspector – They sometimes appear on campus, they claim they have heard all the excuses before, but have yet to provide concrete evidence to prove this.

is for Quinn Business School – been wondering what the smell in the Quinn Building was? Affluence. A large proportion of UCD’s

is for UCD Ball – the final day of term when the campus is transformed into a festival goers paradise. Make sure not to miss it, un-

Q

U

less of course your just not into that sort of thing.

V

is for Vincent’s Hospital – your not a real UCD student unless you wake up here once after a night out.

W

is for Wikipedia – NEVER copy from it ... change some of the words around. Duh!

X

is for X-Ray – the kind of photo a radiographer will be able to take after four years in college

Y

is for Your Mother - the perfect comeback in all situations

Z

Zoo – a trip to the Zoo with lad or lassie you have “been shifting” is a sign that you are on the way to being in a relationship – tread carefully.


Live Review – Odd Future, The Academy, August 23rd

13.09.11

music@collegetribune.ie

7

Graham Luby gives his verdict on the much hyped LA hip-hop collective.

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uring my years as a dedicated fan of live music, I have always adhered to a strict policy of sobriety at shows. For me, an altered state of mind would diminish the experience, squandering an opportunity that often rolls around only once every few years. Indeed, of those lucky few who bore witness to Neurosis’ landmark return in July (their first Irish performance in over a decade), the number of attendees whose gloating accounts were recollected from the bottom of a bottle evidenced why so many acts neglect Ireland on European tours. So when tickets to a hopelessly sold-out Dublin stopover by one of the fastest-rising acts worldwide came into my possession in July, I aired out my sleeping bag in preparation for the queue. This was truly to be a once-in-alifetime experience, and I was to treat it as nothing less. Fast forward to half an hour before stage time and I’m down an alleyway behind Middle Abbey Street, finishing the last of my cans. All around me, half-empty naggins are being strategically

wedged into skinny chinos or left clinking on the cobblestones as the hoard starts to migrate in the direction of the queue. My initial fears of a long wait dissipate as the irritable, overly-cocky bouncers keep things moving like clockwork with unyielding efficiency; those without concrete ID are left helpless and incredulous in the street. This is a crowd composed almost entirely of students and it is treated as such. As momentous as Odd Future’s first Irish headline show is, I do not feel at all guilty about turning up in my merry state- from what I have seen so far, it seems more like a Friday night at Wezz. Inside, the Academy’s main room is slowly filling to capacity. The overwhelmingly hipster crowd is as far removed as possible from what would be expected at a hip-hop show; boat shoes and buttoned airtexes are bountiful. However, any façade of indier-than-thou cool flies out the window when Syd Tha Kyd, the LA collective’s sole female member, emerges and guns her laptop to life.

Her warm-up DJ set whips the crowd into a frenzy, her slight, adolescent frame jerking in time to barrage of bass that seems to course through the arteries of the building itself. Then at 8pm she drops the beat to “64”, and the roof nearly caves in. The Gang of Wolves arrive in stages this evening. When Hodgy Beats and Left Brain open with the haunting “64” from their recently re-released “BlackenedWhite” LP, the roar they receive makes Syd’s welcome seem like a mere golf clap. This is in turn dwarfed by the hysteria that greets OF mastermind Tyler, The Creator when he hobbles onstage and segues the proceedings into “Transylvania”. The group’s leader and main producer surveys his flock tonight from a stool on the drum riser, having broken his foot jumping off a speaker at a show in June. He is also in command of a slimmed-down line-up; possibly due to cost and logistics involved in organizing as many as ten work visas. Crooner Frank Ocean is absent tonight and the show mucst indeed go on despite also being devoid of the an-

tics of Taco, Matt Martians and Jasper the Dolphin. Nevertheless, the six members on the Academy’s small stage have no difficulty in bringing the chaos, with shirtless men hurling themselves into the crowd as early as the second song. The setlist leans heavily towards Tyler’s two studio albums, but features some highlights from the huge body of work that the collective have released to date. Well-known cuts such as “Sandwiches” and “French!” are received with rabid enthusiasm and scream-along refrains, but it is truly satisfying to see the same response when leathervoiced rapper Mike G takes the spotlight for “Everything That’s Yours” from last year’s “Radical” mixtape. As the howls of approval for Mike’s solo performance linger in the air, Syd throws the retro bass line to “Yonkers” into the mix and the bedlam instantly scales to new heights. The steady flow of bodies sailing over the barrier experiences something of a renaissance while rapper Domo Genesis once again dives headfirst into

the throng. In the iterim Tyler has left his stool and is jack-knifing around on one leg, spitting vocal fire, as a stage invader is pursued by a mountainous bouncer before vaulting off a monitor. The resources of the security staff are now truly being stretched. Tyler and Co. are unperturbed however, taking a break from antagonizing the crowd only to high-five each other or to take photos of the maelstrom with disposable cameras. Nevertheless, a poignant moment soon arrives in the form of “Earl”, the signature track from the sorely-missed Earl Sweatshirt (allegedly in boarding school in Samoa at the wishes of his mother). The members present deliver an excellent version tonight, themselves and the crowd singularly imitating the seventeen-year-olds’ effortless flow, before a chaotic howl-along to a studio offcut Tyler dedicated to a friend (“Teko, he fucked your bitch/ And he’d do it again”). During a brief lull in the storm, while towelling off, the group teasingly introduce the closing track, toeing the line once again. “The owner

of the venue told us not to play this song”, Tyler smirks in that impossibly deep timbre, goading the sweaty mass to a level of audibility that shakes the rafters. There is no need for encores here. If the chants of “one-more-tune!” shook the roof, the reaction to the closing number “Radicals” blows it into the Liffey. There is something slightly odd about hearing white, middle-class Tiger cubs screaming as one about killing people and burning things, but it works so well in this setting. As Syd kills the beat and the last of the crowd surfers are manhandled to the back of the room, the six sweaty band members leave the stage elated, cackling, promising to return to Eye-R-Lind. Just five short nights after they roll out of Dublin, Odd Future are back on stage in Los Angeles, Tyler effing and blinding his way through his thank-you speech at the VMAs. If this rising force returns to Dublin again, it will undoubtedly return to a much larger venue, incapable of leaving such a trail of destruction in its wake.


8

13.09.11

fashion@collegetribune.ie

A

A tale of two fashion-forward cities

Josephine Linehan of s-oh-s-ew.blogspot. com contemplates the differentiations in style in Irish cities.

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any say a city lends you its style; Parisian chic, the London look, New York eclectia; a distinctive look that makes a city (or indeed any location)’s fashion distinguishable from another. Recently, I upped sticks and moved from the People’s Republic to the Fair City i.e from Cork to Dublin, and wondered if there really is a different fashion vibe in these two cities? So, I wanted to put this theory to the test in 2 categories: Shopping and street wear. The aptly named High Street in Cork is much like any main shopping boulevard worldwide. The usual suspects haunt Opera Lane and Patrick’s Street and also boasts some fantastic vintage stores – Miss Daisy Blooms, Turquoise Flamingo and Mercury Goes Retrograde. Dublin boasts the same pattern with countless highstreet names as well as vintage gems like The Harlequin. Dublin’s one upper hand in my eyes , so far, is the number of Zara chains in the city – Cork’s Zara branch is in Mahon Point Shopping Centre, located a few miles outside the city, so I never really shopped there before now and had no idea what I was missing! Although Dublin has countless branches of each high-street store, most of them carry different stock making it harder to narrow down your choices – something which can make shopping really difficult. Obersavtion on the street reveals that Dublin’s population certainly are more

adventurous dressers. Anything goes. I’ve already seen a cocktail dress and nude Manolo’s as day wear and hair styles are definitely a lot more extreme, especially when it comes to the guys. Meanwhile, Cork is a little more subdued but there is quite a distinct Cork folklook that I have yet to see in Dublin; think Beatle boots, floral sun dresses paired with heavy cardigans and mustard and autumn toned jackets and socks. It’s something I have yet to see worn in the same way in the capital. Maybe that’s one of Cork’s very own fashion subtexts? Shops, weather, money, music are amongst the things that contribute to the fashion vibe of a given city but ultimately it’s up to the individual to decide how to interpret it in their attire. You will see as many Uggs in Dublin as in Cork and if you are the person who is going to dress from head to toe in black and pink and pierce your nose in Dublin, then you’re going to do it in Sligo or Galway or Thurles. So the verdict? Yes both cities have some defining features but when it comes to fashion, take what you want from the style catalogues of the great cities and make the tale your own.

fter attending NYC’s Fashion Night Out last year, I had high hopes when I heard that Brown Thomas were kicking off Dublin’s fashion festival with The Vogue Fashion Party. Brown Thomas, the official Irish sponsor of Vogue UK, invited fashionistas to the one-night-only event, promoting their brands with events ranging from fashion shows showcasing the latest trends to complimentary make-overs (though the majority of individuals seemed to need a make-under). Outside customers were greeted with a red carpet entrance as well as a pop-up café on Grafton Street. Once inside, after getting ‘papped’ in front of the Vogue UK screen, you were invited to view an hourly fashion show, which included models Thalia Heffernan and show-stealer L’Or Mayo, presenting the latest high-end labels amidst the throng of eager shoppers. The garments selected for the show were rather hit and miss but satisfied the crowd

Delight and Disgust at Dublin’s Fashion Night Out From lowbrow to luxury, Cathal O’ Gara reviews a selection of the events at Vogue’s Fashion Night Out. nonetheless. After the show the crowd seemed to disappear upstairs to avail of the free couture cocktails and left the designer showrooms, home to the store’s most prestigious apparel, distinctly deserted. The restaurant upstairs, usually buzzing with conversation and culture on a Thursday night, lay relatively empty owing to the hour-long queue formed by customers trying to get their hands on the free fashionable cocktails. Strangely enough for an event sponsored by BT and Vogue, freebies were nowhere to be seen; Erstwhile you would have had bags of samples thrown at you left, right and centre. After viewing the latest Moschino and Marc Jacobs collections – which I must say were exquisite – I witnessed lowbrow horror: Karl Largerfeld and Anna Wintour lookalikes could be seen swanning the crowds on the

upper floors; onlookers (including Tom Ford) looked disgusted in the men’s section as a burlesque dancer gyrated feathers around her scantily leather-clad body and perhaps most unfavourable of all was the discovery that Laura Whitmore ‘DJ Extraordinaire’ was ruining the atmosphere with her eccentric mixes. It was time to leave. Disappointed by BT’s poor organisation we ventured onward to Lost Society in hope of catching the All Saints show. Fashion visuals projected upon 18th century walls, cocktails inspired by leading designers such as Orla Kiely and Diane Von Furstenberg, all set to operatic drum & bass; now this was a fashion show. It didn’t disappoint. Choreographed by Teresa Rocca, the Compton models made their way around the premises in the elegant yet chic stylings of Maria Fusco.

With Scarves all a go-go keep the focus on the face by wearing a pair of long, lustrous, and sparkly earrings

A mixture of women’s suede, faux-fur and chunky knits and men’s smart-casual fashions were complimented wonderfully by VanityX’s eccentric choice of make-up: this combination allowed for the perfect celebration of All Saints new range. The show, and indeed the general ambience of the venue, was a far cry from Brown Thomas’s event. Perhaps had they invested more in a decent stylist and less in the booking of C-list MTV presenters the BT event could have been a success. Fashion week, after all, should be a celebration of design and inspiration, not a networking event for has-beens.


Trending on Ice: Autumn/ Winter Collections ‘11

13.09.11

While deliberating upon this season’s trends, Cathal O’ Gara lays out the dos and don’ts for the perfect Autumn/Winter Wardrobe.

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e all know that fashion is cyclical – blue is the new black, fringing is out, fur is in. This season’s runways showcased a break with conformity to set trends, instead celebrating the individualist with everything from Salvatore Ferragamo’s blended dogtooth and leopard prints to Louis Vuitton’s Fetish-androgynous look. Fashion victims beware; purchasing outfits straight off of the mannequin simply won’t do this season thanks to the vast difference in the collections apprised. LV’s leathers and Zadig & Voltaire’s metallic are both hot topics this autumn; however if combined you may find yourself being prosecuted for prostitution on Grafton Street and hinder your chances for that spot on the guest list in The Lost Society. To avoid this apparel aberration opt for simple black

patents on sheers (gloriously demonstrated by Chloé and Christian Dior), while as keeping accessories to a minimum in order to avoid any mistaken conclusion that you are, indeed, a lady of the night. However sheer styles can be worn with amazing consequences by matching them artfully with a pair of sparkling brogues and perhaps a semi-precious stone, or two. Stella McCartney, Bao Bao and Z&V all do this to great effect by fusing reflections and metallic with androgynous dungarees, trenchcoats and macs in order to retain some sense of femininity amidst the genderbending of garments. There are numeorus throwbacks to the seventies and eighties both in colour and shapes this season. Three-quarterlength reefer blazers are continuing into autumn in tweed with dropped shoulders in

Fashion goes to Hollywood: the relaxed look

shades of mustard, wine and ox-blood. Marc Jacobs introduced a plethora of polka dots, contrasting their initial whimsicality with structured and form-fitting dresses (expect the high-street stores to soon be flood of speckles and playful daubs) Capture the zeitgeist this autumn by paying homage to the Sixties; invest some of that scholarship money in a decent pin-striped pencil skirt. A quality below-knee hemline can be worn with the majority of this season’s trends, from Galliano’s fur to Yves Saint Laurent’s royalblue chiffons. While you’re at it, you might as well invest in an aviator-inspired shearling jacket to keep you warm

for the coming months. Asos also have similar styles at prices which are distinctly on trend with the student budget. Finally, when helping your wardrobe make that transition from autumn into winter focus on an eccentric blend of patterns in order to create and form your very own individual look. Shake it up a bit. The A/W runway collections take inspiration from nearly every decade, incorporating everything from the elegance of the Forties to Nineties glam. So remember, take inspiration rather than instruction from this season’s styles and release your inner maverick.

Reflective and studded collars are in; recycle old shirts by adding studded earrings (best not to use the Swarovski!).

Aoife Mullin examines the relaxed look taking men’s fashion by storm and explains how to get it right.

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relaxed fit in clothing for guys is, of course, nothing innovative. Loose layers, drop crotches and (shield your eyes traditionalists) baggy jeans have been on sale in stores for what feels like a lifetime. The relaxed designs of former collections are distinctly different from the relaxed tailoring popular for men this autumn/winter. What is on trend isn’t the ghetto-fabulous wear-atthe-knees baggy denims of old, but rather a more loose and fluid approach to men’s tailoring which has taken a serious downturn since the recession. When channeling this relaxed look, it simply comes down to a few easyto-follow rules. No element of the relaxed fashion is more popular then the seamless shoulder this autumn. As far as the style goes, the seamless shoulder can make a statement or fade into the rest of your garb. Luckily, it is the easiest trend to get right this season. If the name itself doesn’t give it away; the seamless shoulder lacks a stitch line at the point where the shoul-

der rolls to become the arm. As such, similarities can be drawn with a kimono (don’t be frightened), where the sleeve and the body of the garment are one in the same, though the male look this season is far more tapered. Given that the best part of a man’s winter wardrobe is often its outerwear, it should come as no surprise to find that the tailored, seamless shoulder extends to more than just men’s sports coats. In fact, if the weighting of runway collections is anything to go by it’s going to be easier to invest in a statement piece where the seamless shoulder has been re-interpreted and incorporated into a variety of pieces including duffle coats and trench coat Burberry Prorsum are one fashion house making use of the seamless shoulder in their men’s autumn / winter 2011 collection, repeatedly featuring relaxed tailoring throughout. They do so in the form of an exaggerated blanket-check coat. With its single breasted and oversized cuts paired autumn tones, Burberry Prorsum nails all

the loose and easy appeal of this men’s fashion trend and easily lends itself to the style of the sixties. While the seamless shoulder is one of the hallmarks of this relaxed men’s tailoring trend, the dropped shoulder works equally well. Sitting somewhere between the sack shoulder and a seamless shoulder, the deep shoulder seam features a stitch line that sits off of the shoulder,

with the overall appearance given that the jacket or coat’s shoulder is oversized. Next in line in this trend are loose cut trousers. Initially they may seem like an easy way to interpret the trend, but don’t be fooled: most people get this bit wrong. Casual and relaxed trousers should lack formality, not to the extremes of looking oversized, but tailored to seem as intended nonchalance.

Chic

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www.trendbookshop.co.uk A brand new website reserved for only the most fashionable literature. Hide your credit card!

Gold Jeans They’re simply too cool for school

Ox-Blood The colour, not the cow. It features everywhere from Givenchy to Gucci

EEK Real Fur How would you feel if a fox wore your mother as a headdress?

Espadrilles invented by Enda Kenny to hinder movement in case of riots

Vivienne Westwood A/W 11 ad-campaign features a chiffon and diamond clad Westwood parading around among third-world workers


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Ladies We Love: Grace Coddington With a book in the works, Cathal O’ Gara details the trials and tribulations of Vogue creative Director Grace Coddington.

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or a women of seventy, Grace Coddington has done just about everything in the fashion world – a career as a cover model in the Sixties, a life-changing car crash in which she lost her eyelid, two failed marriages, and over 40 years working her way up the Vogue ladder, Coddington has done everything under the sun. Everything, that is, except writing a book. After having facial-reconstructive surgery to repair her eye, Coddington began her journey as a photo editor with British Vogue, a post she held for nineteen years before joining Calvin Klein in New York. However it wasn’t long before she joined Anna Wintour at American Vogue, where she remains as the

magazine’s creative director. Coddington is one of the few Queens of fashion still passionate about the artistic integrity of her work. Her diligence and dedication have left her a master of the visual semaphore: She can pick out styles and trends before they are trendy, all the while retaining a sense of her purpose and value. How many six-figure earners do you know that still choose to take public transport? Random House have recently bought the rights to publish the romantic’s memoirs. The price? Why, only $1.2 million, a small fee for the words of the Welsh-born creative director of American Vogue who stole our hearts in 2009’s ‘The September Issue.

The documentary contrasted Anna Wintour’s cutthroat manners with the witty and visionary outlook of Coddington, whose narrative spreads have been adapted into magazines globally. Coddington’s aim is to weave a story through styling, fairy tale sets, modern photography and the latest fashions. It’s no wonder Vogue editor Anna Wintour calls her “our jewel in the crown”. The book will cover Coddington’s childhood during WWII, her role as pioneer of the swinging sixties in England, her objections to celebrity culture and offer an exclusive insight into her life as a free spirit in the cold and turgid world of fashion.

Freshers Tip: Remember that BT2, Topshop, Schuh, Oasis, Awear and Arnotts all offer up to 20% off with your Student Card.

Breaking the rules Julie Kirwan of brokenblush.blogspot.com discusses crossing beauty boundaries and how to get the perfect look this season.

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rends: They are both a blessing and a curse. Of course everything looks good on a model, but trying to translate it to suit us everyday folk can be a bit of a nightmare. The Sixties, Forties, Androgyny, dark eyes, red lips, stained colour and earthy autumn tones are all ‘on trend’ this season. Have a headache? You’re not the only one. Instead of trying to combine a mixture that results in a clown-like face, start with the basics and gravitate to the easiest and most classic look.

“Attend lectures with structured brows, a slight smokey eye and bright red lips and you may just be shot” We’ve all been told that pink and red clash, this we can agree on. We’ve also

been informed that it is almost classified a beauty sin to pair strong eyes and a bold lip together. If this is the case, you would assume people like designer Dianne Von Furstenburg would have known this, surely? Apparently not. During London Fashion Week Autumn/Winter 2011, DVF had her models saunter down the runway with beautiful berry red lips and dark, smokey black eyes focussed on the outer corner; a modern take on Hollywood glamour. While many of us may not be used to emphasising both our eyes and lips for a night out, it’s on trend this season. This is a look that is simple, yet effective for a catwalk show. But is it wearable? Simple answer, probably not. Attend lectures with structured brows, a slight smokey eye and bright red lips and you may just be shot. This is a look for late evening, and if it goes pear-shaped, at least everyone will be too drunk

to notice. So, stand out from the usual smokey eyed and nude lipped crowd on college nights and instead opt for something a bit more daring. Firstly, apply a light to medium coverage foundation to the skin (the emphasis for this season is on dewy, glowing skin); MAC’s Face and Body (€37.50) or Chanel Vitalumiere Aqua (€41) would do the trick.

“A smudge of eyeliner and a slick of mascara, and you’re good to go…” Then to contour your cheeks use a dark matte blush such as Bourjois Delice De Poudre Bronzing Powder (€9) and lightly apply a peach blush to the cheeks. Where it gets a bit tricky is with the eyes. Take a matte shadow to suit your skin tone and with a large eyeshadow brush place it all over the eye, from the lid to the brow. Then taking a shimmery black eyeshadow and a soft blending brush, apply the

See your name here! Write for The Siren’s fashion section! Contact fashion editor Cathal O’Gara at fashion@collegetribune.ie

colour as close to the lash as possible in the outer corner, creating an almost winged shape. A smudge of eyeliner and a slick of mascara, and you’re good to go… Except that you’re not. DVF didn’t follow the rules, remember? Next, line the lips with a berry red colour (think MAC’s Cherry liner) and apply a bright red lipstick such as MAC’s Russian Red or Rimmel’s Rich Moisuture Red Diva on top. And that’s it, simples.


Film review: Super 8

Directed by J.J Abrams. Starring Elle Fanning, Riley Griffiths, Joel Courtney, Kyle Chandler, Ron Eldard. 12A, 112 mins. 5/5

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uper 8 is a personal project for J.J Abrams, a homage to his idol Steven Spielberg and the great Sci-fi movies of the 50s, late 70s and early 80s. Set in 1979, the story revolves around a group of kids in a small Ohio town who have a close encounter of the third kind while trying to complete their zombie-romance film. It begins when a group led by movie-obsessed Charles (Riley Griffiths) and best friend Joe (Joel Courtney) sneak out one night to film a crucial scene in their local train station. This is followed by a whirlwind of weird events, including missing dogs, missing people and stolen microwaves and strangest of all the arrival of the military. It is not long before the boys realise that the military are being suspiciously candid about what the freight train was transporting and more importantly what escaped the wreckage. Super 8 is refreshingly unlike the sci-fi blockbusters of today. Firstly, it is an original story, not a sequel, spin off or even a “re-imag-

ining”. It is a “blockbuster” that is full of heart, intimacy and great storytelling. Most importantly, unlike many monster movies, the characters come first. Abrams remembers the key rule that a majority of contemporaries have forgotten, action and peril have meaning only when an audience cares for the characters.

Abrams also makes sure the relationships between the kids represent the heart and soul of the movie. There is the rivalry for Alice’s (Elle Fanning) attention, the emergence of Joe as an unlikely hero and the similarities and contrasts of Alice, Charles and Joe’s home lives. The kids are faultless and reminiscent of the little

Book Review: ‘Women’ – Charles Bukowski Fiction: Women, by Charles Bukowski, Virgin Books, 291 pp. €12.99 “Once a woman turns against you, forget it. They can love you, then something turns in them. They can watch you dying in a gutter, run over by a car, and they’ll spit on you.

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omen (1979) is Charles Bukowski’s third novel and explicitly depicts the highs and lows of Henry Chinaski’s life as a poet, alcoholic and lover. Written in Bukowski’s characteristically brusque style this book allows its readers an insight into the drunken antics, artistic expression and sexual debauchery of Los Angeles in the 1960’s and 70’s. The main protagonist, Henry Chinaski, is arguably autobiographical although the preface insists that the characters are not “intended to portray any person or combination of persons living or dead.” Despite these assurances it is difficult not to draw parallels between the lives of the two men. In ‘Women’, like in many of Bukowski’s writings, the terse and provocative language insinuates something deeper than fiction. Henry Chinaski is in his

fifties and he writes so he can drink, fornicate and pay the rent. He also writes in an attempt to make sense of his life and the series of unsuccessful relationships that he forms with the continuously revolving carousel of women in his life. Chinaski is constantly struggling for wider literary fame and tours the United States delivering drunken poetry readings in return for payment and an abundance of alcohol. One of the most poignant moments in the book is when one of Chinaski’s female lovers sculpts his face insisting that she wants to “get this one right”. The jagged ugliness of Chinaski’s physical form allows for something socially repugnant to be artistically celebrated. Chinaski, like Bukowski, is a physical manifestation of his own art. Crude, worn, lived in, ridiculed, judged and undoubtedly enthralling. The raw and intense lan-

guage and the explicit description of the female character’s bodies, personalities and the sexual acts they perform are at times misogynistic and offensive. But this reviewer believes in the fine line between offence and art and is confident that Bukowski treads it dangerously but beautifully. Bukowski’s brutally honest take on life gives the story life and lifts it off the page. Chinaski’s character illuminates the reality of selfdestruction and how truly potent a drug it can be. The reader hates him, loves him, admires him and pities him whilst never leaving his side.

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stars of “Stand by Me” and “E.T”. Perhaps what makes their performances and their dialogue so realistic is that Abrams gives the movie a biographical element – these kids are based on his childhood, his friends and his experiences of shooting films on his parent’s Super 8 camera. With this movie, Abrams

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lives up to his billing as the “next Spielberg”. He has delivered the most authentic Spielberg film that Spielberg never directed. The film’s small Ohio town, the town’s rolling topography, even the kid’s bedroom’s all bring E.T to mind. Abrams is a master of storytelling and suspense. The movie is at its best when

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the monster is out of camera shot, the suspense is keeping us on the edge of our seats and at the same time we can watch the interaction between characters. Abrams provides some really memorable images and sequences. The image of the plot-pivotal landmark framed in the distance through a small hole in the wall is genius. But for this reviewer the two really interesting scenes were the classic shadow scene involving the gas attendant, the sheriff and the out-of focus attack and also the fantastic sequence where Alice blows her comrade’s away with her line reading abilities. The only slight letdown is the finale, where Abrams creates his own E.T like ending which felt slightly kitch after the artistry that had preceded it. Super 8 is the must see film of the summer. It is well told with lots of humour, heart, emotion and a real sense of wonder and suspense. It doesn’t need movie stars. What it has, is a great story, interesting characters and a director in his prime.


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Dublin

ringe

estival

Do You Read Me? Shaun Dunne collaborates once more with Talking Shop Ensemble; this time exploring habit and religion, ritual and superstition and the questions involved with future projects and life progression. There isn’t a lot of information about the production but it is sure to be an interesting showing. Venue: Smock Alley Theatre Date/Time: Mon 12 8:45 pm / Tue 13 8:45 pm / Wed 14 8:45 pm / Thu 15 8:45 pm / Fri 16 8:45 pm Tickets: €14.00 - €14.00

Hand Me Down The Moon The story revolves around a ten-year old, space-obsessed girl who wants you to join her in her quest to journey to the stars and into the distant cosmos. Discover a lost era, a time when we dared to dream big dreams about leaving our own tiny blue planet and venturing out into the unknown. An immersive theatrical adventure inspired by two women’s enduring childhood fascination with space and lunar exploration. Venue: 25 Eustace Street Date/Time: Wed 14 8:00 pm / Thu 15 8:00 Fri 16 8:00/ Sat 8:00 Tickets: €10.00 - €15.00

Do You Read Me? The Adventures of Alvin Sputnik: Deep Sea Explorer Having sold out many shows in New York and Sydney, Alan Sputnik takes us into an adventure into the dark blue sea as a solitary explorer with a heart as big as the ocean itself. He must venture to the bottom of the ocean to find his wife’s lost soul and save humanity in a heartfelt and human story. Venue: Project Arts Centre Date/Time: Mon 19 6:15 pm / Tue 20 6:15 pm / Wed 21 6:15 pm / Thu 22 6:15 pm / Fri 23 6:15 pm / Sat 24 6:15 pm Tickets: €14.00 - €14.00 Our Father “A play about family, loss and moving on. Through rap and rhyme.” In this new play by emerging talent Stefanie Preissner, an insightful light is cast on the new realities of Irish family life and the trials and tribulations that occur along the way. Venue: The New Theatre Date/Time: Mon 12 6:00 pm / Tue 13 6:00 pm / Wed 14 6:00 pm / Thu 15 6:00 pm / Fri 16 6:00 pm / Sat 17 6:00 pm Tickets: €10.00 - €13.00

I Like This “I Like This is too laconic as a summing-up of ‘I Like This’. I f*cking love it.” The Village Voice, New York. Antony Hamilton and Byron Perry’s ‘I Like This’ is the story of two men who embark on an unusual mission to creative an of the comedic environment, an attempt to make sense of it, and begin to control it. The show is both Intimate and playful. A must see Venue: Samuel Beckett Theatre Date/Time: Thu 15 6:15 pm / Fri 16 3:00 pm / Fri 16 6:15 pm / Sat 17 3:00 pm / Sat 17 6:15 Tickets: €15.00 - €15.00

Man of Valour The Corn Exchange returns to the festival after a long absence with this incredible new show which features Farrell Blinks as a one man action hero. His make-believe and heroic adventures offer violent release from the pressures and boredom of his ordinary life. That is, until Farrell begins to find it difficult to distinguish between the two worlds. Venue: Samuel Beckett Theatre Date/Time: Mon 12 8:30 pm / Tue 13 8:30 pm / Thu 15 8:30 pm / Fri 16 8:30 pm / Sat 17 8:30 Tickets: €18.00 - €20.00

Theatre in UCD: Dramsoc UCD Dramsoc are pleased to announce that their 2011/12 flagship show will be ‘Sluts’ by Caitriona Daly. ‘Sluts’ is an original comedy by Daly, a former UCD English and Drama Student and Dramsoc member. ‘Sluts’ enjoyed a run at this year’s Edinburgh Fringe Festival and was also featured at the 2011 ISDA Awards. Dramsoc will be holding auditions for all those interested in taking part in the Fresher’s projects. All those who wish to audition can sign up at the Dramsoc stand which will be located in the Fresher’s Tent during Fresher’s Week or in LG1, located in the basement of the Newman Building.

The Siren, Issue 1, Volume XXV  

The entertainment section of the College Tribune.

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