ISSUE 7
JULY 2021
"New Beginnings"
Former Committee:
Succeeding Committee:
EDITOR Morgan McMillan
EDITOR Sam Pegg editor@theedgesusu.co.uk
DEPUTY EDITOR Maddie Lock NEWS EDITOR Sam Pegg RECORDS EDITOR Alice Fortt DIGITAL CULTURE EDITOR Harry Geeves CLASSIC CULTURE EDITOR Elizabeth Sorrell FILM EDITOR Theo Smith FILM SUB-EDITOR Lucy Maggs
DEPUTY EDITOR Harry Geeves deputy-editor@theedgesusu.co.uk RECORDS EDITOR Connie Seamer records@theedgesusu.co.uk DIGITAL CULTURE EDITOR Louise Chase culture@theedgesusu.co.uk CLASSIC CULTURE EDITOR Daisy Gazzard culture@theedgesusu.co.uk FILM EDITOR Lucy Maggs film@theedgesusu.co.uk
LIVE EDITOR Jo Lisney
FILM SUB-EDITOR Jacob Hando film@theedgesusu.co.uk
PUBLIC RELATIONS OFFICER Kiera Gormley, Becky Davies
LIVE EDITOR Martha Luke live@theedgesusu.co.uk
ONLINE MANAGER Menno Kramer
ONLINE MANAGER Menno Kramer manager@theedgesusu.co.uk
FUNDRAISING, EVENTS AND PUBLICITY OFFICERS Georgie Holmes, Charlotte Brennan
HEAD OF DESIGN Rahul Sonegra design@theedgesusu.co.uk
RECORDS/LIVE EXECUTIVE Katie Evans
FUNDRAISING, EVENTS AND PUBLICITY OFFICERS Amy Scott-Munden publicity@theedgesusu.co.uk
CLASSIC CULTURE EXECUTIVE Emily Dennis
LIVE/RECORDS PUBLIC RELATION OFFICER Meg Gwillym (relations@theedgesusu.co.uk) CULTURE/FILM PUBLIC RELATION OFFICER Emily Dennis (culturefilm-pr@theedgesusu.co.uk)
e t o N s ’ r o t i Ed A FAREWELL: This is the final goodbye! After a year of taking over The Edge, this magazine marks the end of an era and the start of a new one. The committee of 2020/2021 has done many great things, transforming The Edge into more than just a magazine, but a community for writers, readers, creators and more. It has been an honour to have been Editor for the past year and I cannot wait to see where Sam and his team take The Edge. To say our final goodbye, I thought I would celebrate all the amazing things we have achieved this past year. To start off, The Edge’s biggest achievement this year must be The Edgetival, The Edge’s very own music festival that took place three times during our reign. Even though Covid-19 had delayed the in-person event, this finally took place with over 100 people watching some incredible music throughout the day. We introduced many new features including the mini magazines, merchandise created by Moodledo, The Edge Roundtable podcast, weekly news video round ups, dark mode to the website, redesigned the entire magazine, restarted Spotify playlists, 12-hour Gaming Marathon and launched the first ever The Edge Day of Journo Experience (E.D.J.E). These new features have made The Edge a more inclusive and fully rounded magazine and university society. We have also been shortlisted for multiple awards; at the Student Publication Association National Conference we were nominated for Best Digital Media, Best Website and the Billy Dowling-Reid Award. At the RAG awards we were winners of Innovative Online Fundraiser for our 12-hour Gaming Marathon. At the SUSU Volunteering Awards we were winners of Best Event (The Edgetival) and Best Fundraiser (12-hour Gaming Marathon). And shortlisted for Best Collaboration with Mind Society and Best Society Committee Member. A huge thank you to the committee for all the hard work they have put in this year despite the pandemic. And another huge thank you to the writers that produced amazing content throughout the year.
A HELLO: Stepping into a new role can be scary, especially when it means taking over from one of the best editors The Edge has ever had. In fact, I’m confident last year’s committee was one of the strongest the society has ever been backed by, setting a benchmark for my own committee. Thankfully, in the lead up to our first magazine (which was a collaboration with the previous committee), I can say everyone has taken to their new role with efficiency and ambition, already shaping the magazine in new ways and hinting at the possibilities they hope to achieve.It became obvious then that I wanted a theme that encompassed something about change, and so the theme ‘New Beginnings’ seemed like a perfect fit. While it’s a new beginning foremost for the 2021-22 committee, it also brings about new beginnings for the previous committee. From internships at Nintendo, starting Masters here at the University of Southampton or further afield to even starting full-time work; new beginnings also have their farewells. As a new committee steps up, one steps down to explore their new futures after an Undergraduate degree. It’s an exciting time for all of us, and I’m thankful that this is the magazine that will kickstart these beginnings as we look to the world and think about all the new beginnings that have happened in the world of entertainment around us.
CONTENTS
01 Masthead 02 Editor's Note 03 Contents 04 The News Box 05 The Revival of Disco 07 Our Favourite Artist Reinventions 09 How TikTok is Redesigning the Music Industry 11 Fearless: Why Taylor Swift's Re-recordings Matter 13 Remakes and Reboots - Are They All Bad? 15 Do We Need Star Wars Spin-offs? 17 Bond Begins at Amazon 18 The Power of Starting a New Podcast 19 Games that Deserve a Remaster 21 Ruining Great Books: Movie-Tie In Covers 22 Theatre Adaptations: From Stage to Screen 23 Anticipating a Return to Live Shows 24 Upcoming Musicians: Who To Add To Your Gig Bucket List 25 Our Dream Comeback Tours 27 Listings 28 Social Media 34 35 36 37 Cover image courtesy of Walt Disney ∙ 38 Hollywood ∙ RCA ∙ Smiley Miley ∙ Columbia 39 40 41 43 44
Follow Us! /theedgesusu @theedgesusu @theedgesusu
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The Edge’s Entertainment Picks! EDITOR KENA: BRIDGE OF SPIRITS (24/08/21) As the first game from developer Ember Lab, there’s a lot of intrigue surrounding Kena: Bridge of Spirits. With a strong background in animated storytelling, Kena promises to be a mesmerising tale set in a beautiful world, with gaming mechanics that already look perfectly crafted.
RECORDS LORDE - SOLAR POWER (20/08/2021)
NEWS IN BRIEF Warner Bros. plans to release 10 exclusive films to HBO Max after earlier controversies saw them criticised for a straight-to-streaming approach during the COVID pandemic Mercury Prize nominees have been announced and include Wolf Alice, Arlo Parks and Celeste to name a few Halsey announces their new upcoming album If I Can’t Have Love, I Want Power releasing August 27th 13 Reasons Why’s star, Tommy Dorfman, announces she is transgender and is met with loving support from fans New plot points and focuses emerge from the upcoming FX TV series reboot of the beloved Alien franchise
CHILDREN’S TV SHOW, ARTHUR, CANCELLED AFTER 25TH SEASON
Sam Pegg
After 4 years in hiding and a trip to Antarctica, Lorde is returning with her new album Solar Power. From what we’ve heard so far, we can expect that it will be full of rejuvenating summer anthems that will reignite your love for nature.
FILM GUNPOWDER MILKSHAKE, dir. Navot Papushado (17/09/2021) Evoking John Wick’s glorious action with Birds of Prey vivid colour palette, this fresh and superbly titled action film brings together a nifty cast for some ultra violent proceedings. Opting for pure style over anything greater, it looks like an easy party night picture.
CULTURE WHAT IF? (11/08/2021) Marvel’s first animated series exploring some of the alternate stories throughout the multiverse drops onto Disney+ this August, What If ? Brings about the true expanse of creativity. From Captain Peggy Carter to Killmonger saving Tony Stark, The Watcher certainly has an intriguing tale planned for us.
LIVE CIRCA WAVES @ THE 1865 (09/08/21) What could be better than the classic indie vibes of Circa Waves to add to your summer line-up?! At The 1865 you’ll have a whale of a time no matter if it’s ‘T-shirt Weather’ or rain- ‘Wake Up’ with a ‘Fire That Burns’ excitement in your heart for some feel good music at a brilliant and more intimate venue!
In surprising news, the children’s TV show, Arthur, has been cancelled after its 25th Season. The show, which first aired back in 1996 and accumulated 240 episodes, has had its plug pulled ahead of its final season set to air in the Winter of 2022. While at present no reason has been given for the cancellation of the show, many fans and nostalgic adults are disheartened at the loss of one of the staples of children’s TV. Following its titular character, Arthur, and all the antics he got up to with his friends and family; Arthur has always maintained a huge presence in pop-culture whether for the many memes it had spawned over the years or in simply being the show that everyone has seen at least once. A landmark loss in the world of family-entertainment, one can only hope Arthur’s send-off is worth the legacy it leaves behind. 04
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Images courtesy of Warner
2020 saw a disco revival that swept mainstream music. Dua Lipa, Kylie Minogue, Jessie Ware, Doja Cat, The Weeknd; everyone was hopping on that sweet 70s vibe. When the clubs closed, these artists brought them to our homes instead, giving us all the tunes we needed to keep our heads up with a little pandemic boogie.
Alice Fortt Of course, the pandemic could have been the main reason for this sudden revival. Disco has been more or less an underground genre since the turn of the 20th century, with elements of it everywhere, but not a full dedication to the vibe of the sound. Disco samples, for instance, are pretty common, like Madonna sampling ABBA's 'Gimme Gimme (A Man After Midnight)' in her 2005 track 'Hung Up', Shakira sampling Chic's 'Good Times' in 'She Wolf ', and Kendrick Lamar sampling James Brown's funk-influenced track 'Get Up Offa That Thing' in 'XXX'. Come the pandemic, however, and the chaos that was 2020, disco was suddenly dominating the airwaves once more. 'Say So'? Possibly one of the biggest songs of the year, with its huge disco influences, from the wavy beat and groovy guitar to the tingling bells that run throughout. Future Nostalgia? A journey into Dua Lipa's own disco heaven. What's Your Pleasure? A soundtrack to a night at a club ripped straight out of 1975. Disco? The name is on the tin. Disco undoubtedly RULED 2020, but the question is: why? You could argue we all needed a little bit of nostalgia last year when our present was so uncertain. The 70s vibe erupted not only on the music scene, but also in fashion, with the return of crochet dresses, halter neck tops and chunky boots, and huge puffed out hair and loud eyeshadow. A decade-or-so full of colour, unabashed self-expression and joy in the music scene feels like the
perfect thing to cling to, especially one with so many groovy tunes. Just try and put on any disco tune and not dance along! Artists capitalised on this nostalgic craving, bringing us disco tune after disco tune. And we loved it, as did the critics: at the 63rd Grammys, 2 of the records nominated for Record of the Year had clear disco influences, and nearly all of the artists nominated for best pop solo performance had gone down the disco route in their musical style. Disco as it's been revived today, however, is not an exact copy of itself at the time of the height of its popularity in the 70s. New age influences are clear, with overemphasised beats, coming from house music, instrumental choruses that pack a punch (Dua Lipa's 'Levitating' is a perfect example of this), differing vocal deliveries and less reliance on traditional instrumentation, like brass instruments. Strings are still heavily edited, layered and filtered to give that dreamy effect, however, and some singers like Jessie Ware and the Weeknd still follow the traditional airy vocal delivery that runs throughout trad-disco tracks, like The Communards 'Don't Leave Me This Way' and pretty much anything by the Beegees. Disco has been 'revived', but also adapted to better suit the listeners of the contemporary era. Dua Lipa's disco homage album, Future Nostalgia, perhaps best epitomises this in its title; disco is still recognisable in the sounds of today, but it has nonetheless been forever changed for the future of the genre. 06
Our Favourite Artist Reinventions We got to know these singers once through their music, then we got to do it all over again when they spiced things up. From leaving world-famous boy bands to pursue a solo career, to finding new fame after some old YouTube days; all these artists found a new sound and made themselves all the better because of it.
HARRY STYLES Alice Fortt When you're thinking about artist reinvention, you don't really need to look any further than Harry Styles, who arguably went through one of the biggest transformations of the last decade. Metamorphosing from the boynext-door cutesie pop prince of One Direction into the 70s-rock glam god as we know him today, Styles is an entirely different person from who he was ten years ago. Following his embarkment onto a solo career, one could argue that Styles truly became himself for the first time. Finally, out from under the shadow of intense pressure and shady contracts that plagued One Direction (even leading member Zayn Malik to leave the band, amongst other reasons), Styles finally found the freedom he so craved, as he discussed in his interview with Zane Lowe preceding the release of his second album, Fine Line (2019). Now, Harry Styles is arguably one of the key figures in the 70s-rock and prog-pop revival movement. With two albums under his belt, Harry Styles (2017) and Fine Line, a 70s glam look that has shot him to the very top of the best-dressed lists and a heart-on-my-sleeve attitude, he's a far cry from the Harry Styles of One Direction; in fact, one can barely see the similarities between them anymore.
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Image courtesy of British Vogue
LANA DEL REY Amy Scott-Munden Glamorous pouting lips, long stiletto nails, a sad but sexy sound; obviously, it’s Lana Del Rey. Lizzie Grant, however, can be recognised with her platinum blonde hair, heavy kohllined eyes, and a hunger for fame. There’s a small scattering of videos online of Grant performing - casually dressed, slightly shy and unassuming; but there’s still something so enigmatic about her. Her lyrics talk about the difficult nature of love, addiction, and exploitation, while combining electronic melodies with elements of blues-rock. Her homemade videos are sweet and nostalgic, embedded with beautiful American imagery, reminiscent of the 2011 video for ‘Video Games'. Del Ray’s new life is a far cry from Grant, but what makes her so great is that even through her numerous reinventions (remember "sparkle jump-rope queen"?), it has always been clear that she is a beautiful poet and a thoughtful writer. Now go and listen to all her unreleased songs on YouTube!
MIKE POSNER Sam Pegg 'I Took a Pill in Ibiza - Seeb Remix'. We all know it, that song with the summery dance sounds, filled with club fever and lyrics warped to serve another mainstream-pop image. Yet, appearing on Mike Posner's At Night, Alone, the song and album were meant to serve as a reinvention for the artist as he struggled with the grips of fame, allowing him to break away from his playboy image. The original version of 'I Took a Pill in Ibiza' was backed with an acoustic guitar, piano and tambourines and felt dramatically different to Poser who appeared six years earlier singing 'Cooler Than Me' with the backing of synthy sounds, heavy drums and a cool-boy demeanour. At Night, Alone saw Posner trying to live a different life with his music; songs like 'Be As You Are' challenged the idea of changing yourself to seem remarkable, and 'Iris' served as a comfortable ballad filled with admiration rather than cheap thrills and forced sauve sexiness. While it's still easy to dismiss Posner's music, there's no denying that At Night, Alone was a unique change in sound and one that couldn't have benefited him more.
Images courtesy of Dazed/Rolling Stone
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If you check out the current Top 50 chart in the United Kingdom right now, it's likely the tracks you see before you can all be heard over and over again if you're aimlessly scrolling through TikTok. So, is TikTok really changing the music industry? Katie Evans Founded initially in 2016, TikTok only really took off in March 2020 across the world due to the COVID-19 pandemic which confined people to their homes with little else to do but go on their phones. The platform is quite a contentious topic; many adore the app, yet others say it's bad for not only our physical health but also our mental health - promoting some questionable topics with minimal safety measures in place. What is clear, however, is the impact that TikTok has on the modern-day music industry. Where streaming has become commonplace, it has in more recent years been easy for music to become 'viral'. Yet nothing quite compares to the power of virality at the hands of TikTok users across the globe. As TikTok bases its platform on video sharing, the use of sound comes hand-in-hand with what we see on screen, making music one of the most important elements of the platform's success. One of the clearest instances of TikTok's influence upon the music industry was American pop-star The Weeknd's hit single 'Blinding Lights'. The track became part of not only videos on the streaming service, but the song even inspired a viral dance trend that maintained its popularity for months on end. This year, 'Blinding Lights' broke history by becoming the first record ever to stay in the top ten of the charts for over a year, and is currently (at the time of writing this) onto its 79th week in the Top 50. It's not only The Weeknd whose music success has increased tenfold since TikTok became the hottest topic on earth, as British indie-pop band Glass Animals found themselves to be a worldwide phenomenon overnight due to the sudden virality of their lockdown track 'Heat Waves'. While the band were known reasonably well in the UK prior to this, they were thrust into the mainstream by TikTok users, gaining fans by the tonne - so much so that they recently announced a huge 2022 American tour which would never have been possible without this newfound fanbase. Other TikTok 'successes' include the new kid on the block Olivia Rodrigo, whose debut album Sour hit shelves recently. Rodrigo found herself storming to the top of the charts due to the overnight fame of the singer-songwriter's debut single 'Drivers License', which moved quickly onto the platform after its release. The American actressturned-singer is hard to avoid on TikTok and on our radio waves, proving just the power TikTokers hold over the shifting music industry and the way we find and listen to new songs. The music industry is changing rapidly due to the impact TikTok has on the virality of songs. Tracks that would usually need to be 'discovered' by fans are now able to pick up the pace and reach the mainstream so much quicker than before. While this is incredible for smaller or lesser-known artists to be found by record labels and users, we must ask: is it lowering the quality of the music industry? Will artists need to rely on TikTok to find fame and success now, or will we still use platforms such as BBC Introducing to find our new favourites? 09
Image courtesy of Geffen/Interscope
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Images courtesy of Republic
When Fearless (Taylor's Version) was released back in April, it was a watershed moment in the music industry.
Becky Davies Scooter Braun's controversial purchase and later resale of the masters of Taylor Swift's first six albums in 2019 opened up new conversations about the treatment of artists and the ownership of their music. In 1992, George Michael sued Sony for what he described as 'professional slavery', accusing them of failing to promote his sophomore album Listen Without Prejudice Vol. 1 when he tried to take control of his own image. Although their circumstances were significantly different, both Swift and Michael signed away their careers as teenagers without even realising, with Michael stating at the time that "effectively, you sign a piece of paper at the beginning of your career and you are expected to live with that decision, good or bad, for the rest of your professional life". He lost his court case, as his deal was deemed as being equal to the industry standard for other big artists - Swift, however, has taken matters into her own hands, and not only appears to be winning her own battle but changing the industry as she does it. By re-recording her albums, Taylor has ensured that she gets her share of the profits when her versions of the songs are played; but this drastic move is about so much more than money. She can play a more significant part in the decisions that are made about the usage of her music in other recordings, from TV advertisements to her own televised appearances. But, crucially, she now owns the music that she's spent her whole life making -
music which fell into the hands of a man she accuses of having bullied her on social media when she was "at her lowest point" alongside Kanye West and Justin Bieber. So far, only one of the re-recordings has been released, but it has been extremely well-received by fans. Each song is more-or-less the same as the original, but the maturity in Taylor's voice these days seems to offer a new perspective - they are sung by an adult woman who can retrospectively look back on her immense successes, rather than a teenager about to be catapulted into stardom. The addition of the 'From The Vault' tracks songs she wrote at the time that didn't make the final cut - brings so much excitement with it, not only from a commercial perspective but from a nostalgic one. She is uniting her newer fans who can experience the album for the first time in all its glory with those who remember life back in 2008, when you couldn't turn on the radio without hearing 'Love Story' or 'You Belong With Me', no matter how old they are now. In a statement on Tumblr when her masters were originally sold, Taylor told the world of her ambition that "hopefully, young artists or kids with musical dreams will read this and learn about how to better protect themselves in a negotiation". This is already evident in Olivia Rodrigo's insistence that she owns her own masters as her career begins to take off.
Taylor's re-recordings are a bold, unapologetic statement of her own artistry, and it seems that the singer has only just begun. 12
It seems now more than ever that we live in an age of reboots and remakes - from every Disney animation to even a Gossip Girl TV reboot, it does sometimes feel like original screenplays and content are becoming more of a rarity. But does this mean we scrap all remakes, or is there actually something to enjoy that their originals missed out?
Lucy Maggs The cynical (and realist) in me pictures a boardroom of people carelessly churning out each remake for what is essentially a studio pocketing more money and congratulating their earlier work while they’re at it. As long as there is a gimmick, they are good to go. Aladdin has a new song! Mulan is more gritty now, I guess? Either way, people still go through those cinema doors to experience that nostalgia, and whether the film is passable or terrible, it seems to work every time. This is not to say that all remakes should be looked at with the same cynical eye. Some films, while taking the same content, become so iconic for their own style and performances that they take on a new life of their own. Most people who think of Freaky Friday will imagine Lindsay Lohan and not the 1976 original. Likewise, while the Scarface original was released way back in 1932, Al Pacino and his iconic lines secured the 1983 version as a movie classic. It seems, therefore, to be that a remake can be received more than well; ultimately, the director’s stylistic choices, the actors’ performances and reasons behind the film determine how much of a shameless cash grab it feels to the audience. In light of this, the biggest and most common criticism a remake can receive is that it is unnecessary. Let Me In (2010) was by no means a bad film, yet it is an American remake of the Swedish original Let the Right One In, which was only released two years before. Particularly common in the horror genre is the repurposing of films for American audiences, often being largely the same in every aspect other than the need for subtitles. It is frustrating that people miss out on so many films due to them being in another language and because of that barrier, remakes often feel like a sad solution to this non-issue. Overall, remakes and reboots in themselves aren't always bad, and there are so many reasons why they are made beyond the negatives we all complain about. Ultimately it is up to you, the cinema-goer, to determine how worthwhile a remake really is - if you feel like it is sadly yet another corporate attempt of recapturing the magic of the original, talk with your feet! 13
Images courtesy of HBO Max
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Image courtesy of The Walt Disney Company
Do We Need Star Wars Spin-offs? Harry Geeves To be honest, I usually groan at the announcement of spin-offs. Entertainment designed as a byproduct is rarely as good as its originator, and with an industry obsessed with cinematic universes it can be very easy indeed to tune out of series with more than a few films. I’ve similarly groaned at the most recent additions to the Star Wars pantheon, whose efforts to introduce nostalgic new entries have created waves of fan controversy. My already-mild interest in the franchise was decapitated by a mess of a mainline trilogy, most notably the awful Rise of Skywalker. Disneyfication doesn’t help: considering all subsidiaries, the company now owns nearly 40% of the entire US film industry. Knowing this, I can’t help but think cynically about the artistic (or rather financial) intent of Star Wars’ future. Its upcoming instalments are defined by a sharp left turn into television, almost all of which are spin-offs (Obi-Wan Kenobi, Andor, Ahsoka…) rather than new stories. How far is this in the best interest of the mythos, and to what extent does it push homogeneity over storytelling? Star Wars isn’t a stranger to film spin-offs. 2016’s Rogue One and 2018’s Solo, though released as interim diversions between the first two members of the sequel trilogy, were significant releases. Rogue One seems to have become a firm favourite, justifying its retcon setup with clean action and a Darth Vader scene that no doubt caused fans everywhere to have to change their underwear. Solo was vastly less memorable; while Rogue One backtracked but ended up feeling fun and climactic, Han Solo's origin story treatment was a clunky 135-minute exercise in superfluousness. Having 70% of the thing reshot by Ron Howard sure didn’t help - I’m very happy to bet that what was originally envisioned was a much more interesting film. #ReleaseTheLordMillerCut? Rogue One was a trick that Disney could probably only land once though, at least in terms of a stylistically familiar, big-studio spin-off to the franchise that ended right where the 1977 original began. The more major cinematic extensions to the universe are added, the less consequential the main films (and therefore the series) becomes. Way back in 2015, I felt excited for The Force Awakens in that Endgame, cultural event kind of way, just the significance of its existence carrying my ambivalence into enthusiasm. I find it difficult to imagine that happening for Star Wars again. This is the fault of recent fan backlash too of course, but also Disney’s guns-blazing approach; film-wise, there’s Patty Jenkins’ Rogue Squadron, an untitled Taika Watiti instalment, a new trilogy from Rian Johnson starting as early as 2023, A Droid Story (kill me), and even a film developed by Kevin Feige. This isn’t including the nine new seasons of various live-action and animated shows that are set to roll out over the next couple of years. There’s so much on the slate that you could mistake it for the MCU. The best evidence for more original stories comes in the form of TV’s The Mandalorian. In its first season, the show walks a surprisingly deft line between doing something new and self-contained while relating itself comfortably to the broader timeline. The surprise that Disney pulled off such an enjoyable set of episodes without heavily relying on the franchise’s most famous iconography (somewhat excluding the internet-breaking Grogu) gave me hope for its future. Surely, this is the way forward: film has been subject to the series' hallmarks since 1977. If Disney doesn’t develop new, interesting characters and push what we can expect from Star Wars, they shouldn’t be surprised when we stop turning up. 16
Bond Begins at Amazon Jacob Hando Hollywood studios have been in a bad patch of late. From the lack of income that stemmed from the closure of cinemas to the hurdles of getting film productions (and jobs) going again, Los Angeles' behemoth companies have been challenged like never before. With Warner Bros and Paramount attempting to cash in on the success of Disney+ with their own streaming sites, Metro-Goldwyn Mayer, one of the last bastions of the Golden Era, has ensured survival through its acquisition by Amazon. The catch? $8.45 billion (or pocket money for Jeff Bezos). MGM's Leo the Lion is an icon for great franchises like Rocky, but its biggest international export is James Bond. One of the longest-running film series in motion picture history, Ian Fleming's 007 has always been a draw at the cinema, reaching its zenith in 2012 when Skyfall made a swift home-run to a billion dollars. Amazon's ownership of Bond raises numerous questions, and concerns, about its future. Cinematic releases, rental paying, dramatic changes to cast and crew... there's a lot on the table for the mega-corporation, who has also spent a frankly ludicrous $1 billion developing a Middle-earth set TV show, building up a powerful web of entertainment brands to combat fellow streaming giant Netflix. Ask most people what they thought of the most recent Bond film, Spectre, and the responses seem to range from mixed to negative. This, therefore, means there is a lot riding on the upcoming No Time To Die, Daniel Craig's final outing as the British icon. One of the most cursed productions ever made, the film has navigated director changes, 'creative differences', on-set injuries and fires, delays, collapsing a cinema chain and an immensely long marketing campaign that would effectively have lasted two years if the film does release this autumn. Where can Amazon take the property forwards after this? Firstly, it remains to be seen how good the 25th Bond film will be, and how much money it makes. If received positively then it would make sense to continue in the same formula, but critical and commercial failure could lead to another revamping of the near-60-year-old series. Yes, sixty years. Few can boast a shelf-life that formidable in Hollywood and it is a testament to Eon Productions' ability to sustain interest and success within the films, something which Amazon most definitely should consider when it comes to making future instalments. While potential new Bond actors are talked about like royal baby names (Richard Madden for me, please) and I would love for the series to keep ploughing on, there is something somewhat appealing about closing the franchise at the 25th instalment mark and the end of Craig's involvement. Indeed, the intense competition that the Mission Impossible films offer for escapist spy fare has diminished Bond's relevance on the action scene, potentially opening the way to a different approach Amazon could take: adapting Fleming's novels or other Bond novels by such writers as Anthony Horowitz. Books like Moonraker and Octopussy were unfaithfully adapted to the screen, and so there is a starting point for telling these unused stories and reinstating 007 to the Cold War era of espionage and returning the franchise to its less explosive and more intrigue-based narrative style. This would set it apart from the action-spy competition. Bond's new life at Amazon is all just speculation for now. No Time To Die is still scheduled for cinema release (hopefully something Amazon keeps up) but the opportunity to end the current series and explore new eras by adapting old novel stories seems a very appealing idea to push the property forwards. 17 17
The Power of Starting a New Podcast
Ellie Griffiths
Starting a new podcast is a journey. Like all good journeys, the line drawn from point A to point B looks straight enough, but what soon falls into fruition is a Mr. Messy fan club state of affairs. After all, it only takes one wrong turn, or that one friend with the dodgy music taste who decides to take control of the aux cord, to ruin such a seemingly linear process. As a modern languages student, you would think being able to listen to more podcasts – in multiple languages – would be a good thing, but no. It just adds unnecessary complication to the already stressful process of picking out an entertaining podcast to binge on, while frequenting the weekly step outside of the house into an awakening of bustling supermarkets and clearly stained air. Regardless of the tensity, JaackMaate’s Happy Hour podcast remains the highlight of my week, as I Britishly battle with pensioners for the last bunch of bananas. Oh, how the pandemic has aged me. For many years, creating a podcast of my own, to add to the multitude of others, was merely a pipedream – something that I never considered to be a true possibility, but an avenue that I desired to explore, nonetheless. There are so many variables to think about – especially when it comes to the technological side of things – that it put me off trying. That, paired with a growing sense of self-induced anxiety of course. Not to purposefully reference Coldplay, but what I now realise is that if you never try, then you never know. It all sounds rather cliché, but I do think such sayings come from a place of truth, from someone who has walked the same pathway before and knows what it takes to finally reach that point B, in spite of the various detours it took to get there. We only take such words in a negative light because we continue to visualise every journey we take as a straight-forward trajectory – moving your perspective to be content with the disarray in between is required for growth, whether you welcome it with open arms or not. Shutting the door in its face is not going to change this fact – feel free to apply this to other aspects of life too. So, taking the leap is what I did to create Tea Deep. How poetic. Once I had battled with YouTube to teach me the core elements of podcast creation in terms of editing, recording, and advertising, it was just a matter of finding guests and a place quiet enough to record. Easy, right? Wrong. The first few episodes defied my expectations negatively. They felt forced, gained little traction, and I was beginning to lose hope. It was not until I conducted an interview with James Haskell, however, that I began to feel more energised in my approach. This rejuvenated sense of self, paired with routine and familiarity, is reflected through the increased quality of my work – particularly towards the final half of season one. So, ‘what should I take from this?’ I hear you ask! Starting a new podcast in any capacity can feel overwhelming, and on a surface level, you may feel compelled to throw in the tea towel on numerous occasions. Life, however, does not follow a linear path, and what you consume should not be taken in at face value. Do what makes you happy; just stay clear of the podcasts that negatively attract your attention. 18 18
Games that Deserve a Remaster We all have that game or series which is near and dear to our hearts, but just isn't the best that it could be. Perhaps an underloved gem like Kingdoms of Amaleur once was, or the first instalment in a franchise that had yet to find its feet. Five writers take a look at beloved titles and why they deserve that remaster, sooner rather than later.
ASSASSIN’S CREED Louise Chase Sometimes the call for a remake garners more attention than the game itself. With the original Assassin's Creed title, released in 2007, fans have been calling for a remake or remaster for years. Previous titles in the franchise have already seen a remaster, including less popular titles Rogue and III with the latter even included as part of Odyssey's season pass. Too many "stuck" camera angles which just make difficult jumps almost impossible! Think of all the retroactive additions to lore and character details that could be added in, pieces about Desmond and Lucy and Altair we never learned before. Also not desynchronising due to terrible fixed camera angles would also be great...Whether a remaster or a complete remake, AC 1 definitely deserves that treatment. It would allow players to fall in love with a game that is criminally underloved in the franchise, and what exactly made it one of Ubisoft's biggest titles. (We might even get to see a photomode too!)
METAL ARMS: GLITCH IN THE SYSTEM Callum Nelmes What do you get when you combine the industrialised retro-junk aesthetic and rip-roaring gameplay of the original Ratchet and Clank trilogy; the dark, foul-mouthed humour of Conker’s Bad Fur Day; and the bombastic sci-fi war thrust of Halo? A destructive, kick-ass third-person action shooter known as Metal Arms: Glitch in the System! Released in 2003 and developed by Swingin’ Ape Studios, while Metal Arms was critically praised and has since garnered a dedicated fanbase, it was not especially successful in part due to its weak marketing. A promising sequel was planned, but the game’s low sales resulted in its cancellation, with the studio eventually bought out by Blizzard Entertainment. Despite being difficult to gauge how differently it would be created within the modern gaming landscape, the prospect of a high-definition remaster to improve upon its performance issues as well as expand its mechanics - both limited by the technology of its time - is an exciting and meriting one. In the process, this would go with the hope that Metal Arms would finally receive its much-deserved attention, having for so long sat in obscurity along the upper echelon of other early 2000s gaming classics. 19
DRAGON AGE ORIGINS Alice Fortt The first thing that springs to mind when I think of a dream remaster is for sure Bioware's Dragon Age: Origins. Long regarded as the blueprint for what makes a good RPG, it is just begging for a remaster at this point. The game is over 10 years old at this point, and I'm not going to lie, you can definitely tell. The graphics are... clunky, at best, and the gameplay stiff; most players, like myself, heavily mod the game to make it a more enjoyable experience, more closely modelled to the gameplay of its sequels, Dragon Age 2 and Dragon Age Inquisition. Not to mention, I can only dream of the magnificence of Origins on a nextgen system... it would just be way smoother and easier to play, without having to mod the heck out of it first. The thing that makes Origins deserve a remaster, over all other aspects, is the story. A tale of a battle of the Grey Wardens, an order sworn to protect the world of Thedads, against the darkspawn, evil, sick creatures that are out to destroy it; it's a narrative of epic proportions, with some fantastic characters. Not to mention, the game runs on a butterfly-effect system, with every decision determining which ending you'll get, who lives, who dies, and who wins. Origins should have been re-mastered years ago!
L.A. NOIRE Morgan McMillan L.A. Noire is an excellent detective thriller depicting 1950s Hollywood! The main character in the game is Cole Phelps, a former military man and upcoming detective in Hollywood. The game is amazing and has already featured a remastering in 2017. The remastering featured a change in the interrogation functions from ‘Truth’, ‘Lie’ and ‘Doubt’ to ‘Good Cop’, ‘Bad Cop’ and ‘Accuse’. The introduction of these new features makes the game much easier to play and is now much easier to distinguish the difference between the different functions. However, the game could still improve drastically in a number of ways. Firstly, the female characters in the game all look the same facially with their only variation being their hair colours. This is a small scale of the lack of diversity in the game. There are also a very small number of people of colour in the game which is not representative of the world of California in the 1950s or the world today. Though, 1950s Hollywood was a completely different world full of inequality, the game doesn’t have to represent this in its characters. Instead, it would be fantastic for people to be able to approach instances of sexual and racial inequality in the game while playing the characters that represent those individuals. For example, in one scene which sees the exploitation of young girls, it would be good in the game to show this from a female perspective. Which can change the game not just from a fun detective game but an educational tool for those who play.
THE SIMPSONS: HIT AND RUN Sam Pegg For someone who was never a fan of The Simpsons, that doesn't mean the series didn't lead to multiple great games released over the years. Arguably the best of those games is The Simpsons: Hit and Run which released way back in 2003. Taking the driving mechanics of The Simpsons: Road Rage and adding elements of free-roaming, collectable collecting, bot-smashing mayhem; The Simpsons: Hit and Run feels like the pitch of a Simpsons inspired Grand Theft Auto that aimed to be somewhat child friendly (or as child friendly as giving players the freedom to crash into NPCs is). Simply put, The Simpsons: Hit and Run is a nostalgic driven ride that players have been hampering to have remastered for years now because of how fondly everyone remembers it. Accessible to all ages and very easily being relevant enough to capture a whole new generation of gamers; a boost in graphics, a few mechanical changes, and a fresh coat of paint would drive the game to new heights and allow gamers to relive iconic moments from their past. Truth be told, the game is still practically faultless to this day, only needing the remaster treatment rather than its costlier counterpart of the remake. A developer wouldn't have to re-record Homer's iconic one-liners or Bart's smart quips, locations wouldn't need redesigning or modernising, and even the controls are intuitive enough to stay practically the same. All we want is The Simpsons: Hit and Run in a nice blue/green box and a lot of gamers will be happy! 20
Ruining Great Books
MOVIETIE IN COVERS
Sam Pegg Books are a form of artistry, from the conception of the words on a page to their narratives, characters and even initial front cover design - there's something beautiful about the entirety of a book. While leafing through the recesses of a library or bookshop, searching for that one title that stands out to you, most readers are initially attracted by two things: the title and the book's front cover. Yet, something feels cheated when a book's original design is swapped for a movie-tie in cover, obliterating an element of its uniqueness and shortchanging it for commercial success. In the process then, a movie-tie in cover often leads to a book losing its character and own unique identity at the same time. Look at the original front-cover design for The Book Thief, which has a young girl dancing with Death above the title of the book. It's simple but beautiful, capturing an important element of the book's narrative without complexifying it. There's something striking about it that pulls a reader in as they clamber to read the blurb or turn to that front page. Because of its uniqueness, it makes us want to read it, an example of what any good book cover should do. Yet, in 2013 after the release of the film, the old cover was traded for a movie-tie in version, 21
featuring actress Sophie Nélisse holding a book with a fire behind her. What was once ambiguous and enthralling suddenly hits with the subtlety of a sledgehammer and it mars a feeling of authenticity to the book's original design. Instead, the cover is warped to meet mainstream commercialism to make it easier to find for movie-goers, but this often hinders the book rather than celebrating it. Instead, the visuals of its adaptation take precedent. Take other beautiful books like The Octunnumi that embodies every element of the idea that a book is a form of artistry. From its front cover's elegant sweeping font, ribbed patterns and glossy black sheen - everything about the book screams to grab your attention. In its own way, it's mysterious, perfect for the world contained within its pages and no photo editing in photoshop could ever quite capture what's about to unfold in the pages you turn. The whole conception of The Octunnumi is built around the idea of reading as an experience, not just about words on a page but about how the page interacts with the text and in its own way and it's a modern visual text. If The Octunnumi was ever adapted for TV or Film, you could never capture the elegance of its original design in a photo stuck haphazardly
with a title over the top. It would lose a key component of its design that actually encouraged many people to buy it in the first place. Yet front-covers also tie in with other design features of books. In John Connolly's The Book of Lost Things, the spindly thorns depicted on the cover are the same type that underlines each chapter of the novel. In Terr y Pratchett's Discworld novels, the grotesque and contorted figures on the front covers all thematically fit within the design of the 40+ other novels that exist within the series. Without the front-cover setting of the theme, other design choices would feel random and redundant, becoming the deciding factor on whether these initial designs are kept or are equally scrapped in favour of the movie-tie in cover. As a rule of thumb, the initial design of a book is always the best design. It often captures everything the author intends and isn't swayed by outside influences that warp books to suit their own needs. In an industry over-saturated, having a unique book cover is a way to stand out, and adopting the movie-tie in version feels like a cheap alternative to cash in on a film's success.
FROM STAGE TO SCREEN
Theatre Adaptations
Ellie Griffiths Before the pandemic reared its ugly head, I had tickets booked for five musical shows. As excessive (and expensive) as this seems on a surface level, theatre evokes a level of elation within me that cannot be reached by any other form of entertainment – a feeling that is not translated well on screen. Like many forms of entertainment, theatre offers escapism, allowing you to leave your current reality for an alternate one, away from the stresses and strains which otherwise pull you firmly back to Earth. So, why should it matter if the same narratives are taken from stage to screen? Theatre is historically perceived to be a ‘middle class’ past time, which is why film adaptations are seemingly so popular with the younger generation. They increase accessibility and somewhat modernise the stereotypes placed against classical culture. First and foremost, I empathise that theatre tickets can be costly, but the sense of joy generated in return is priceless. If this is of concern, there are ways to obtain tickets for a fraction of the expected price – and, of course, you do not always have to venture towards the capital to watch excellent live performances.
The bottom line is that seeing a performance live no longer needs to be expensive, and the price that is paid will be really helping out an industry hit badly by the global pandemic, which works tirelessly to offer such escapism to both thespians and audiences alike.
the theatre production originated before the film. Oppositely, the screen adaptation of Cats, which can only be described as the trippiest entertainment experience of all time – and not in a good way – reinforced a bad reputation for the original production.
With that being said, I was fortunate enough to be watching Waitress at the West End before the pandemic erupted in 2019. Adapted from the hit 2007 film, Waitress is a new upand-coming production, centering around a waitress called Jenna, who has to deal with an unwanted pregnancy while battling with marital abuse. As a newly adapted production, tickets were relatively cheap, allowing those of all budgets to enjoy its performances. It was that addictively engrossing, that I even watched it a further time during that same summer.
For this reason, although film adaptations increase accessibility, they also can discourage viewers from the original stage versions, especially when produced badly. Sorry, Tom Hooper.
Ironically, this particular production also portrays the opposite of the expected norm when it comes to theatre adaptations, as we would expect that a theatrical performance would nominally be adapted to screen, rather than the reverse. F i l m ad a p ta ti ons s u c h as t he critically acclaimed Mamma Mia franchise are so popular that most people do not even know that
Perhaps biased in my outlook, I would always suggest watching the performance live if you have the means to do so – do not be put off due to the ‘middle class’ label. However, I also see the appeal of film adaptations and have myself gone to watch theatre productions based on an initial enjoyment of the screen adaption. Therefore, regardless of how you choose to take in these productions, there is no doubt that the cultural institution of the theatre remains central to the entertainment world, and the exciting escapist quality it radiates.
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Anticipating a Return to Live Shows Connie Seamer There have been many gimmick performances by artists in an attempt to create a COVID safe live environment: The Flaming Lips performed inside zorb balls, Liam Gallagher performed while travelling down the River Thames, and Lil Nas X even performed a concert inside the virtual reality of Roblox. Aside from these desperate attempts at uniquely limited performances, there have also been some impressive online performances put on by artists which attempt to recreate the excitement and production of live shows from the comfort of your sofa. Dua Lipa had one of the more memorable streamed events with 'Studio 2054', in which she performed songs from her hit album Future Nostalgia, complete with dance routines, costume changes, and special guests. However, with restrictions easing and tour dates releasing, we have now come to an exciting time in which the prospect of actual live shows looms on the horizon, and we can start to think about what that might really look like. There are certainly some things that we have learned throughout COVID enforced streamed performances which wouldn't be a bad idea to keep... Firstly, we should hope that the same level of effort and innovation that we have seen throughout the pandemic is put back into real shows. Bo Burnham's recently released special 'Inside' is a perfect example of this; his exploration of a comedian who is used to performing in front of live crowds but is now stuck inside, and the creative struggles that come with that experience shows how lockdown has brought about a new kind of performance innovation - but with a cost. This kind of performance would surely not have been created if it was written and directed for a live audience; let's all hope that artists draw upon the many hours of reflection that they have had over the past year and bring their influence into performances. There has also been an unsung hero from the forced digitalisation of live events: streamed theatre. When the National Theatre began streaming their past performances for free at the beginning of the UK's first lockdown, it opened new doors to people who may have never even stepped foot into a theatre. It showed us all the importance of the accessibility of live art, and how it should never only be for a select few. Going forward, we should take these lessons into the real world of the performing arts and ensure that they are open to all. On the other hand, there are very obvious things that do not need to be brought into live events - the main one being social distancing. While some of us may be understandably nervous about being back in a room full of laughing, shouting, singing people, there are a large majority who are desperate to get back real, live, right-there-in-front-ofyou art. If this pandemic has taught us anything, it is that live art cannot be fully experienced from your laptop screen. 23
WHO TO ADD TO YOUR GIG BUCKET LIST
Morgan McMillan
Upcoming Musicians Southampton is lucky to be the home of some of the best independent music venues, such as The 1865, The Joiners and The Brooks. To celebrate our new magazine ‘New Beginnings’ why don’t you add these upcoming, fresh and new musicians to your gig bucket list!
BRÌE Brìe is an epic alternative band that has recently released an EP titled BrieP which features lead single ‘Cum8’. They are an excellent band to see live, they have a great time whilst performing and you can tell by their wild antics and amazing crowd interactions. Their music itself is upbeat, wild and just fun, the best thing about Brìe is you can tell they are having a great time both on record and live. They are a band that should be on everyone's radar.
NO KITE No Kite is a project created by The Edge’s very own Harry Geeves. They have recently released a new EP titled Community Centre. An EP that exudes sad indie boy vibes but also outstanding tracks to listen to during a warm summer's evening. As of writing this article, they have not performed live yet, but watching their Instagram Lives you can tell they would be an excellent performer to start your evening at a summer festival!
EDGE OF DESIRE Edge of Desire mixes new-age emo, electronic and alternative rock which makes for a remarkable live experience. Their music is emotionally charged and expressive, for example, ‘Know’ is a beautiful rock ballad that is a track that from the recording you can tell will be an amazing song to hear live. Lead vocalist, Dan Fraser, has a beautiful voice and bass guitarist Caleb Hartley is the perfect instrumental addition. They have a lot coming up this summer and are a band that will make waves in the indie music scene.
BUDS. I was first introduced to Buds. at the Catalina Wine Mixer at The Joiners. They were a superb band that reminded me of the 90s and 2000s pop-punk bands. Their music is incredibly nostalgic and makes you feel like a rebellious teen all over again. Dan, Tom, Zoe and Sonny are amazing performers and don’t let anything stop them! Quite literally Sonny has performed with broken bones and still rocks out (against doctor's orders). They have recently released a new single ‘Grit’ and are expected to play a lot of gigs across Southampton in the upcoming months!
MAPLE SKYE For those who love a bit of jazz merged with a pop then Maple Sky is the band for you! I have never seen them live but hearing their tremendous EP Maple Sky, has convinced me that they would be incredible live. Beautiful vocals, smooth bass, and a soft piano - it’s everything a modern jazz fan can ask for. Maple Sky have made jazz cool again and are not to be missed! 24
Our Dream Comeback Tours These acts may no longer be touring, but that doesn’t mean we can’t wish for it. From deceased superstars, to deep-rooted conflict between band members; our dream comeback tours would surely make for a formidable list.
FLEETWOOD MAC Sam Pegg At this point, Fleetwood Mac are legendary. With hits like 'Dreams', 'The Chain', 'Go Your Own Way', and my personal favourite, 'Everywhere'; there's no shortage of great songs that wouldn't be better in all their glory being performed live by the original band (in particular with Stevie Nicks and Lindsey Buckingham). While the likelihood of the pair uniting to tour their amazing discography together once again is unlikely at best, there's no doubt that hope remains for something to push the pair together to reconcile their differences for the passion of music. Plus, with real-life drama happening between the two, maybe seeing a little bit of that tension on stage and living through the vocals of their live performance would add a little extra something to what would be an already unforgettable performance. Just imagine it, Nicks standing centrefront, helming all the attention while Buckingham battled it out to hold his own. Their music was punctuated by the tension that revolved around their personal lives, and I don't think you'd ever truly be able to capture the heat, tension and emotions behind their music until you saw it battling on stage in a concert for the fans.
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Image courtesy of Warner
SUPERFOOD Morgan McMillan Birmingham music royalty, Superfood, broke thousands of hearts in 2019 with their shocking announcement of their farewell tour. I was one of those broken hearts and have not been the same since. Their album, Bambino, is pure genius. It's a funk-indie bop, full of chill beats and wavy vocals. It was the perfect album to see live and the way they transformed their music to a live audience was superb. They had so much energy, it was so fun and was the type of gig where you felt on top of the world. The fans were always so lovely and a Superfood gig was always a great place to meet your new best friends. Superfood concerts are where some of my best memories were created, whether that be from getting my body slaughtered in the pit or waving my arms like I just don’t care while on my mate's shoulders. Though they’ve only been apart for 2 years it feels like a lifetime ago that I was out moshing to ‘Need a Little Spider’ or ‘Unstoppable’.
DAVID BOWIE Jacob Hando Imagine: it's 2022, social distancing doesn't exist and you're at an enormous stadium watching the lights go down as David Bowie emerges on set whilst drumsticks loudly kiss each other to kick-start 'Rebel Rebel'. I can dream. There is no denying Bowie is one of the greats; effortlessly iconic, visually dynamic and armed with a catalogue of hits that range from crowd-friendly anthems like 'Let's Dance' and 'Starman' to the more subtle, elegant numbers such as 'Letters from Hermione'. With enough stage presence to send Freddie Mercury slinking into the wings, a Bowie comeback tour would be enchanting and generation-encompassing. Hologram or otherwise, to hear the Brixton-born titan of rock's music again in concert (with the added energy of tens of thousands of fans) would be euphoric, a dream come true. With a pint of Ziggy Stardust and several tablespoons of Aladdin Sane, the chance for a whole new generation to discover Bowie five years after his death would be stronger than ever.
Image courtesy of NME/Steve Schapiro
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Listings LIVE MUSIC Aug 7th – MYRIAD @ The Joiners Aug 5th - Altered Bridge @ The Hobbit Aug 9th – Circa Waves + Red Rum Club @ The 1865 Aug 12th – Billie Marten @ The Joiners Aug 15th – Sean MgCowan @ The Joiners Aug 20th – The Bowie Experience @ The 1865 Aug 22nd – Solstice @ The 1865 Aug 24th – YUNGBLUD @ The 1865 Sep 3rd – Foo Fighterz @ The 1865 Sep 3rd – Salvation Jayne @ The Joiners Sep 7th – Celeste @ The 1865 Sep 8th – Slowthai @ The Joiners Sep 10th – The Fratellis @ 1865 Sep 14th – Gottmick @ 1865 Sep 16th – IDLES @ 1865
THEATRE Aug 10th – 15th – SIX @ Mayflower Theatre Aug 13th – 14th – Grimm Tales @ MAST August 21st – FuzzyLogic’s The Doorman @ MAST Aug 31st – Sep 4th – 9 to 5: The Musical @ Mayflower Theatre Sep 1st – 2nd – Brainiac Live @ MAST Sep 16th – 18th – Tokyo Rose @ MAST
COMEDY Aug 12th – Patrick Topping @ Switch Aug 13th – Bad Boy Chiller Crew @ Switch Aug 14th – Rewind: UK Garage Garden Party @ Sobar Aug 20th – Chase & Status @ Switch Aug 27th – Garage Nation Southampton @ Switch Sep 26th – Abba Disco Wonderland @ Switch
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