TNII Issue 1 Oct 24

issue 1 oct 24

Front Cover, Back Cover & Headshots Ella O’Brien Additional Graphics and Layout Sadbh Caulfield, Rowena Breen and Buster Whaley + Ciara Munnelly

Contents The Campus Novel: Fact or Fiction? 6 Amelia Sikora Scholastic Showdown: English in the Leaving Cert vs. English in College Kasia Rojowska

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Girl Power Feminism: Helpful or Harmful? 10 Rowena Breen The J1: Ireland’s Guilty Pleasure? 12 Sarah Wall Thomas Lara Leonard’s America 14 The Femininomenon of Parasociality 18 Sophie McAlpin Gorging, Gluttony and Gags: Nikocado Avocado 20 Kate Ryan Brat Summer: A Retrospective 22 Aislinn Cunningham A Small Pour with a Big History 24 Alice Moynihan The Rise and Fall of the Second-Hand Clothing Empire Irene Vukcevic Gonzalez

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Styling your Summer Wardrobe for the Irish Weather 28 Ella Flynn Shakespeare in the Park: The Communal Expression of Outdoor Theatre 30 Anna Moylan TN2 Featured Poems 32 Marissa Hennessy, Katie Maye, Caoimhe Enright What Are Societies Wearing? The TN2 Campus Style Guide 34 Bo Kilroy Dublin Film Guide 36 Aisling Dempsey TN2 Gig Guide 40 Éle Ní Chonbhuí, Erin Keenan, Sadhbh Doyle, Isabelle Doyle

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DOG by Alice Gogarty

Editors’ Note To our humble readership, We are gathered here today, under God’s watchful eye, to celebrate the wonderful writers and artists that have been published.

We did absolutely nothing. A bunch of other people did it all. We’re phonies, and cannot bear the burden of this cruel lie for one second longer.

We, the editors, are some of the most slothly, conniving, and disgusting people you will ever encounter on God’s Green Earth. The Ten Commandments? We broke ‘em.

The Seven Deadly Sins? We committed ‘em. The truth is, we’re just two guys from Toronto. And we ruined EVERYTHING. Except for this magazine. We hope that you enjoy the following pages, which represent none of our sloth, nor our nefarious habits, but the talent and grace of our contributors.

Regards, Buster Whaley & Ciara Munnelly

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The Campus Novel: Fact or Fiction?

WORDS Amelia Sikora ART Jessica Sharkey

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t is difficult to imagine that many students come to college expecting to stand face-to-face with a Julian Morrow (The Secret History) or John Keating (Dead Poets Society) adjacent; a charismatic, cultlike personality that is destined to change the trajectory of their lives.

This, however, is not all that uncommon. Campus novels have a way of conjuring up this idealised image of academia: eternal autumn, long nights at the library, copious amounts of wine whilst discussing obscure philosophies. Since the beginning of this sub-genre, these narratives have drawn in countless readers, and they are bound to lay a certain set of expectations of what student life should look like.

If you happen to trace the roots of this literary trend, you wouldn’t be too surprised to find that it is our obsession with change that entices us. We are confronted with characters so deep in their pursuit of knowledge that they lose all control of their impulses. Typically, they acquire a sense of purpose that will inevitably lead to their demise, or they uncover some hidden truth about themselves, a truth that threatens the human instinct to be unknowable. It wouldn’t be outlandish to go as far as to say that they undergo a sort of metamorphosis — an idea that our heads translate into poetic justice. This change or realisation of oneself is an event that most young people yearn for. We oftentimes want to rid ourselves of our teenage characteristics and some of us may go to extreme lengths to achieve this.

Will Storr’s The Science of Storytelling (2019) explores the idea that most of literature’s best first lines indicate change. This rings true for the campus novel, and they seem to do it best. Whether it be a change in circumstance or a change in setting, it is used as a tool to switch on a part of our brain that drives us most — our curiosity. University is the pinnacle of change and growth. For most people it will be the first time in their lives where they get a taste of freedom and full autonomy over their choices. It is here that students discover their passions, but with this comes that great need for balance — something that many of these novels forewarn.

Other than change, the aesthetics of obsession will also continue to be a subject of curiosity for readers. It is the main focus of many works: If We Were Villains with an obsessive love of Shakespeare, The Secret History with an obsessive loyalty to Julian Morrow, and The Prime of Miss Jean Brodie with the obsessive need for loyalty. There is something deeply desirable about absorbing centuries of knowledge, going so deep as to lose your sense of reality. Therefore, it is no wonder that most campus novels focus on arts and humanities students.

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Take a look at any of the most prominent characters: William Stoner (Stoner), a literature student; Richard Papen (The Secret History), a classics student; Charles Ryder (Brideshead Revisited), a history student; and so forth. The arts are full of passion, and a fervent interest in one’s subject is usually what it takes to succeed. The image that is often portrayed is that this makes these students far more likely to be susceptible to obsession than perhaps other disciplines.

Obsession is a trait that exists in this liminal space between human and inhuman; there can be something equally terrifying and remarkable about someone who gets so lost in their work that they can think of nothing else. In the depths of exam season, spending hours looking at nothing but books and a computer screen, it is hard not to find yourself in this position.

Everyone will find themselves gripped by obsession at some point. What campus novels tend to do is take this experience and both dramatise and satirise it, something that The Secret History successfully does, where these fixations result in characters transgressing moral boundaries.

Reading these texts can positively change your mentality in regards to college and is often a useful tool in avoiding burnout. This desire to romanticise studying rids us of that fear that often results in procrastination.

However, it is also important to remember not to shut yourself in a bubble of your own making, something these characters often forget. Trinity has an entire culture of its own, one that is characterised by a diverse range of people, societies and events, a far more social one than you’ll find in any novel. Despite there being some truth in them, it’s vital to take some of these expectations with a grain of salt, and to create your own definition of the ‘true college experience’.

“We are confronted with characters that are so deep in their pursuit of knowledge that they lose all control of their impulses.”

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SCHOLASTIC SHOWDOWN english in the leaving cert

english in college

WORDS Kasia Rojowska ART Sadbh Caulfield

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eaving Certificate English pales in comparison to an English Studies course in college. Credit where credit is due, though; at least the Leaving Cert exam itself will leave any college English department shivering in its boots. Despite similar aims — to teach students the art of literature and independent, critical thinking — these are two distinct experiences. Everyone who goes on to study English at third-level has a different experience: some prefer the formulaic, predictable, cut-and-dry Leaving Cert; others revel in studying broader contexts and the agency that university-level English allows. Many who consider pursuing English after Leaving Cert grapple with a modern dilemma: is studying English Literature still worth it?

The first significant difference between secondary school English and university English is the most obvious: the workload. In preparation for the Leaving Cert, higher-level students tackle one Shakespeare play, a selection of five poets (around thirty poems in total), and a novel, play, or film over two years. While that might sound like a lot of reading, especially with the Leaving Cert's tendency toward rote learning, it's light work compared to university. A fresher's module alone might have you diving into ten Shakespeare plays in twelve weeks—only to sit an exam where you'll discuss two in detail. And that's just one of four modules in the first semester! It sounds like a lot (because it is), but don't fret! Infinite support materials are available to help you through it (thank you, Litcharts' Shakescleare).

Leaving Cert English also does not require or even encourage students to do outside reading on studied texts. Minimal context is given, and the focus remains on close reading and memorising quotes until your brain fries. In university, there is far more focus on the context and implications of the texts, and suddenly, reading and citing outside sources isn't just suggested—it's required. Leaving Cert students live in blissful ignorance of the existence of JSTOR and Taylor & Francis, but university students soon realise that these databases are their best friends.

The transition from Leaving Cert to University English can be bumpy, to say the least. The expectations of teachers, examiners, and professors are entirely different. Speaking from experience, the Leaving Cert essay writing formula may not be cut in college essays. Many will experience the initial shock of grades coming back in the 40s and 50s when they had been used to high 80s and 90s in secondary school. While demoralising at first, the change in grading will help students develop their academic voice in subsequent assignment. Similarly, the lack of easy access to academic guidance can feel pretty overwhelming. Sure, you can email your professors or attend office hours, but essay feedback is often less personal because of larger class sizes. Everyone misses the academic validation and the close relationships they had with their favourite English teachers!

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“If you made it through the Leaving Cert without hating literature, chances are you’ll still love it in college”

This stark contrast between the two experiences begs the question: does pursuing English at third level destroy one's love for literature? There is no one-size-fits-all answer. I recall a student mentor telling me in my first year that they never read for fun anymore— as a nervous first year, this really freaked me out! The truth is, your study of English is precisely what you make of it. If you made it through the Leaving Cert without hating literature, chances are you'll still love it in college—though sometimes the stress may dampen your enthusiasm. The key is to keep reading for fun. If that feels tough after a long semester or finals, start with a guilty pleasure or something short. Don’t forget to pick your battles with your assigned readings, avoid burnout, and be patient with yourself!

Ultimately, studying English in a way that suits you will only deepen your love for literature. You will grow to understand all the literary aspects that are packed into the texts you read. You'll recognise the literary elements, contexts, and deeper meanings behind your favourite works while sharpening your critical and creative thinking. Despite challenges along the way, I certainly do not regret pursuing my passion at university.

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Girl Power Feminism: Helpful Helpful or or Harmful?

Harmful?

WORDS Rowena Breen ART Rowena Breen

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t is my view that the Spice Girls have a lot to answer for in terms of the state of modern feminism. I am unhappy with the established pillars of popular feminism in 2024. The word ‘girlhood’ has warmed our brains up, transforming them into sentimental sludge, rendering us incapable of meaningful thought about women. I am joking but also, not really. Girlhood, and the myriad of other desperately romantic internet terms that attempt to encapsulate what it means to be a woman (girl math, girl dinner, “I’m just a girl”, pick me, etc...) have poisoned our minds. They invoke a physical reaction in me. And I think the Spice Girls have led us down this path.

The Spice Girls burst onto the mid-nineties music scene, which was otherwise quite masculine, armed with their ideals of “Girl Power” and the profitable market of tweenaged girls. Let’s make feminism as fun, catchy, and marketable as our music! In a world where feminism often felt like a serious or scholarly affair, the Spice Girls injected a dose of playfulness, turning the movement into something both accessible and soothing. It’s FUN to be a girl. It’s awesome, actually. We have our SISTERS. Five sisters, to be exact, each with one discernable quality that doesn’t seem to have any relevance beyond her outfits and pose in photoshoots. This is Victoria.

She is Posh. You can tell because she is not smiling and has dainty high heels on. That’s Geri, she is Ginger. You can tell because she has red hair.

Posh, Scary, Ginger, Sporty, and Baby wanted to spice up the world, with a bubble gum pop message of girl power and friendship, that was particularly catered to the under-15 audience. They made this easy-bake feminism palatable to a demographic that might otherwise have associated the term with women who hate men, and somehow also the experience of being a woman. They effortlessly blended entertainment and advocacy, through pop anthems and dazzling brand deals. It was a cultural movement that allowed women to sing, dance, and celebrate the fact that WE CAN BE ANYTHING AS LONG AS WE HAVE OUR SISTERS! The Spice Girls created a space for feminism that was approachable and appealing, assuring us that feminism doesn’t have to be so serious! It can be sexy and fun and musical! And in some ways I do sort of agree. The Spice Girls are an important landmark in the trail of modern feminism. But has this fun, easy, and quick style of feminism bred a laziness when it comes to women’s rights, and social advocacy in general? Can we call feminism and its pursuit, fun or appealing at all? The Spice Girls succeeded in turning feminism into a global conversation; their entrance onto the worldwide stage bore a promise of accessibility and a more amiable feminism—a commitment that warrants our scrutiny. The mid-nineties glamour of buying more and more and more, beats throughout the Spice World.

The Spice Girls did sort of end up selling us a commodified rendition of empowerment.

“Why are we being pushed to buy into things that equate womanhood with childlikeness?”

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This easy-route-feminism can be seen more and more these days.

Consider the brave feminist venture of Greta Gerwig’s magnum opus, Barbie. In the Barbie movie, we are not confronted with anything remotely uncomfortable or challenging. Every aspect of its feminist wanderings remained entirely grounded in a bottom line of “Well at least we have our sisters!”, which, yes, is important, but it’s not enough. To understand what we are even talking about, we need to be wincing. Women are screaming. Not us in the new pink outfits, but those sisters you speak of?

They are screaming. There is an ugliness at the core of any social justice issue, and when we as audiences are being fed only digestible, appealing, and stimulating versions of social justice dialogues, (especially ones paid for and branded with a gigantic corporation), we become blind to the ugliness, and the seriousness of the discussion.

There was a vague, surface level idea of feminism that was helpful and monetizable in the merchandise and calculated marketing strategies that constructed the palpable Spice Girls brand. This commodification of empowerment, and this look-no-further approach to feminism beckons us to question, what are we being sold? It sure looks like empowerment, but it smells kind of like some sort of anaesthetic. Moulding feminism into a marketable trend isn’t only harmful and antithetical, but its fun-first approach is also literally making us stupider and lazier.

There is an unfortunate echo to this idea, that sounds a lot like, “let’s not call it feminism, let’s call it something a little less feminine... something more… digestible… like equalism!!”. When our language becomes braced with an aim to soothe, are we just bending further to the ideals of the oppressor? Is it really feminism at all if we have a confined space to practice it in? You can be a feminist, just don’t shove it in my face. You can be feminist, just don’t be so serious. Have fun with it! Unfortunately for the Spice Girls (who I will always sort of enjoy despite the Girlhood monster that they have bred), the hypnotic capitalist bass line of their careers trajectory, and the message that feminism isn’t depressing if we just think about it a little less, combine into this poisonous cocktail that promotes both apathy and consumerism. This has become deadly to the cause. Capitalism benefits from the decomposition of our brains. The issue at hand (gender based oppression) seems to dull slightly, when we focus only on the parts of womanhood that aren’t so bad. When I criticize this particular wave of feminism that we see so much nowadays, I am not suggesting that the Spice Girls and their contributions to feminism are wholly bad. I think the introduction of a casual and friendly form of feminism that emphasises the power of sisterhood, was necessary and in some ways unavoidable. I also think, however, it is dangerous and antithetical to centre our feminism, and to surround our experience of womanhood around this. And I think that’s what we have begun to do.

Another issue with the 21st century feminist’s pivot towards that of female empowerment, is that it takes the focus off what we are fighting against, in favour of bolstering just one group. Feminism should be about fighting against the patriarchy, not just uplifting women, and (white) women alone. Other social groups suffer at the hands of the patriarchy. Let’s focus on how men are bastards, and uplift each other after. Girl math!

We saw this with Barbie. We see it with Taylor Swift (please don’t doxx me). They are the perfect combinations of digestible feminism, and insurmountable profit. Since when did engaging with capitalist, big industry drivel become paramount in identifying the modern feminist?

It’s not about who these women are as people necessarily, it’s about the space they have taken up in our popular feminism. The Era’s Tour grossed over a billion dollars. Anyone private jetting all over the world, generating wealth in the billions, cannot possibly hear anyone but themselves. This Swiftie brand that has been created, of glitter, and friendship bracelets, and girlhood, and F**k Jake Gyllenhaal — it is pure profit. I am sure it’s fun, but it has absolutely nothing to do with feminism, or what it means to be a woman. It is as relevant to the female experience as the stock market.

You can be a woman and have some profitable fun. But money-making fun does not a woman make! Feminism doesn’t mean changing all your interests, but it does mean examining them through a critical lens.

And this craze for female childlike fun really should be thought about more critically. Why are we being pushed to buy into things that equate womanhood with childlikeness? What I am criticising is the centre of popular modern feminism being focused on shifting our gaze to that of the positive, and the continued infantilisation of our vocabulary surrounding women. The Spice Girls really stepped their pussy up when it came to the infantilisation of womanhood and the female experience.

Well played girls. I love you. And I love your friends.

I am hoping this is starting to make sense to those of you that may have been unhappy with my criticism of these very beloved figures of feminine culture. I know there is an urge to say that silly TikTok trends are not the pillars of modern feminism, as I ostentatiously called them. But these “girlhood” trends being silly, playful, and fun, is my entire point. When we consider the big players of pop-feminism of the 2020s, it all becomes very hazy, easy, and casual. And then it also becomes, when we squint a little, very, very, profitable. The hoards of women dressed in sparklingly new pink outfits, headed to the cinema. Buying every single Taylor album, simply to display. A f**k off t-shirt from Penney’s with ‘I’m just a girl” splashed across your tits. Who is benefitting from this? Sure, we can write it off as fun. But I am not sure we really are having fun. It sort of feels like the Mattels, and Big Machine Records, and Phillip Greens, are having quite a lot of fun though.

We need to be more discerning with our feminism. We need to look past what stimulates us, and toward what makes us uncomfortable. There is a world begging to be thought about and criticised and terrorised and you won’t do that if you are constantly playing with the fun and frilly ideas of girlhood. We can still have fun, but I am not interested in being sold a brand of girly fun. It’s not real. You and I, we are real!

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The J1: Ireland’s Guilty Pleasure?

WORDS Sarah Wall ART Rowena Breen

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s the new college term begins, tales of summer in the United States swarm around campus. The contrast between stories of tips, travel, and Tennessee from J1 students and the disturbing spectacle of the presidential campaign highlights the emergence of two perceptions of America in Ireland. The first, depicting America as a prosperous land of opportunity, originates from Irish cultural memory having been solidified through historic patterns of Irish emigration. The second more modern perception is characterised by a growing criticism of the socio-political landscape in the US. Despite the contradictory nature of these ideas, the J1 remains an Irish rite of passage, as well as a gateway to emigration for many young people.

Trump’s election in 2016 catalysed a growing disapproval of American politics among Irish people, and particularly the younger generations.

The overturning of Roe v Wade in 2022, just four years after Irish people voted to legalise abortion, symbolises the political divergence between the two countries. This division permeates many political issues, with both countries often finding themselves on opposing ends of the spectrum; this is certainly the case in terms of attitudes towards Israel and Palestine.

In 2020, George Floyd’s murder sparked international outrage regarding police brutality and triggered a spike in Black Lives Matters protests, with the Irish movement being propelled significantly by young people. More recently, the juxtaposition of the violent police response to Gaza solidarity encampments in American Universities compared to that of their Irish counterparts exacerbated criticism against yet another regressive feature of American politics. With school shootings being an almost foreign concept in Ireland, it is difficult to understand why Irish people would emigrate to a country which has already surpassed 200 such events this year. These are a few of many Irish criticisms of an America which is now discussed more commonly through a negative light, depicting a dystopian scene rather than a romanticised land of opportunity.

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So, what still calls Irish students to American shores every summer?

“We in ancient countries have our past—we obsess over the past. They, the Americans, have a dream: they feel nostalgia about the promise of the future.” This sentiment, expressed by Azar Nafisi in her book Reading Lolita in Tehran, can be as relevant in a conversation about Ireland’s relationship to America as in its original Iranian context. Thus, nostalgia can be mobilised as a concept with which to analyse the J1 and emigration paradox. The act of leaving Ireland for the US appears to be intertwined with both Irish and American cultural nostalgia. While Irish people go to America to seek the opportunity and hope for the future inherent in the US nation’s self-rhetoric, the recurrence of this pattern throughout modern history has solidified the place of J1s and emigration to America in Irish cultural nostalgia. Irish emigrants break free from a culture rooted in tradition and history by emigrating to chase the “American Dream”, yet in doing so they reflect and perpetuate this Irish tradition.

As students mirror their parents’ experience of J1s and emigrants follow those who have taken the same path before them, it appears that a certain aspect of Irishness is to be found in partaking in these rituals. With J1 club nights, Irish pubs, and sprawling networks of Irish friends and family in the States, a culture of reminiscent nostalgia remains laced throughout most future-focused endeavours undertaken by the Irish across the pond.

These patterns, sustained by stories of success, reinforce the rose-tinted perception of America in Irish cultural memory, which often overpowers the political reservations Irish people may hold.

“Many young people today who have grown up in Ireland can’t envision a future in their home country”

Another factor in the ability for J1s to continuously capture the fascination of Irish students critical of US politics is the temporary and experiencefocused nature of the programme. The decision to embark on what is marketed as “the summer of a lifetime” cannot be equated to emigration, as the level of interaction with socio-political systems is vastly different between the two. While a J1 student is not exempt from encountering problematic political culture (such as discrimination) in day-to-day life, they may decide that the probability of coming face-to-face with issues including gun violence, inaccessible health care, and Donald Trump, is low enough to take the risk for a few months. This seems to be a reasonable explanation for the apparent insignificance of political attitudes on the popularity of J1s, unless of course your principles are so strong that you refuse to partake in a programme which ultimately contributes to the glorification of the US.

As two contrasting perceptions of America develop in Ireland, the J1 remains a testament to the significance of the Irish generational concept of America in the face of growing criticism of the US. Whether or not J1s will always have a chokehold on third-level Irish students is up for debate, but considering the lack of correlation between political disapproval and recent uptake in J1 programmes, it seems that the balance between these forces may continue to stubbornly favour Vegas clubs, giving fake IDs their time to shine, and visiting that one New York train station from the pilot episode of Gossip Girl.

And therein lies the issue: J1 experiences are not an accurate representation of life in America, often providing a highlight reel of excessive tips and indulgent travel. This results in an overwhelmingly positive American experience being portrayed by students. J1s are part of the emigration pattern; some undertake it in anticipation of leaving Ireland in the future, while others are enamoured by the experience and decide to return to America as a result, indicating a pipeline between the programme and emigration. In the case of the J1 participants who don’t return to America, their stories, shielded from much of the reality of American life, reinforce the idyllic generational ideal of a land of opportunity.

It would be remiss to discuss J1s as an element of Irish emigration without highlighting that in many cases, Irish people head to America out of necessity due to the inability to see a future for themselves in Ireland. The exodus from Ireland during the Great Famine, which saw an estimated two million people leave for America between 1845-1852, was the beginning of a historical culture of repeating this journey when Ireland can’t offer an adequate quality of life. While push-factors vary, many young people today who have grown up in Ireland can’t envision a future in their home country due to extortionate accommodation prices fuelled by the housing crisis. As the prospect of settling in Ireland becomes unattainable, leaving becomes a necessity due to a lack of alternatives rather than a decision to seek opportunity. From this perspective, the tension between Irish people going to America despite growing disapproval of the political environment comes secondary to the feasibility for them to reside in Ireland. With the housing crisis showing few signs of abating, many students view the J1 as a means of exploring options for the future.

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Thomas Lara Leonard’s

America

Daytime in New England

The Femininomenon of Parasociality Chappell Roan, ‘fan behaviour’, and the way we treat the women we adore 18

WORDS Sophie McAlpin

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f you have ever mourned the death of a public figure or have been sad about a celebrity couple splitting up, there is a high chance that you were in a parasocial relationship — whether you realised it or not. Most of these one-sided relationships between an artist or a celebrity and their fans are fairly harmless, but recent fan behaviours have caused people to re-examine how we treat celebrities.

Since the release of her debut album The Rise and Fall of a Midwest Princess in 2023, Chappell Roan has seen a meteoric rise to fame with over 44 million monthly listeners on Spotify alone and attracting some of the largest crowds in festival’s histories. Although success has not come without its complications. Last month Roan went viral for another reason when she released a number of videos on TikTok and a subsequent statement shared on Instagram discussing so-called ‘fan’ behaviour, aiming to clearly set boundaries. The posts received praise from many, including other artists and public figures, but some reactions were more negative, questioning why she chose a career in the public eye if she couldn’t handle this kind of attention. However, the whole incident begs the question: have we taken parasocial relationships and expectations of our favourite artists too far?

Unfortunately this is not a unique experience and it is not a new one either. Roan is not the first person, nor even the first musician, to make these kinds of statements. In 2018, before the pinnacle of their popularity, Boygenius released their song ‘Bite The Hand’, expressing their feelings on fan expectations and so-called ‘superfan behaviour’. Lyrics such as “Who do you think you are?/ Who do you think I am?/ What do you wanna say?/ What do you think will change?/ Maybe I’m afraid of you” echo themes seen in the posts uploaded by Roan. Last year Doja Cat came under fire from fans for expressing the same opinions seen in Roan’s posts. People on the internet, along with some of Doja Cat’s own fans, were quick to call her ungrateful of her success or questioned why she wanted fame as this kind of behaviour is seen to ‘come with the job’. In response to these critics who had similar complaints after her videos were uploaded to TikTok, Roan affirmed her boundaries in her instagram statement “I do not accept harassment of any kind because I chose this path [music], nor do I deserve it”.

Firstly, what exactly are parasocial relationships? Parasocial relationships are those which are one-sided with people you don’t actually know, most often celebrities. These relationships have a strong sense of connection and identification with the other person and are cultivated through repeated exposure to a celebrity or public figure. While it may seem that the term ‘parasocial relationship’ is a new phenomenon, and has become a ‘buzz word’ in the last number of years, these relationships have existed long before the age of the internet. From Beatle-mania to ‘Swifties’, a strong connection with musical artists has always existed amongst fans.

The cultivation of these fandoms is a source of income for artists and record labels, and these relationships can generally be played into, to some extent, by artists themselves. However, a key difference between parasocial relationships of past and present seems to be a new intensity of attachment facilitated by social media. Now more than ever, fans have spaces on the internet to connect with other fans, express their opinions and most importantly, consume media involving their favourite artists.

So why do we feel entitled to cross a celebrity’s personal boundaries, and why do women in particular come under attack when they decide to stand up against this kind of behaviour? Due to the nature of parasocial relationships and our ideas of our favourite artists, we tend to idolise people and personalities that we do not truly know based on what we think we know. This can stem from the things these artists present about themselves — namely their music and their lyrics, as well as things imagined by fans. When an artist has relatable and personal experiences conveyed in their music, we feel as if we know them much more intimately than we actually do. When celebrities are placed on a pedestal in this way, we hold them to higher standards, seeing them as perfect and as someone that can do no wrong. This can often lead to the idea that celebrities are infallible; therefore, we don’t treat them as such.

When an artist contradicts this idolised version of themselves that has been created by fans, like expressing that they aren’t actually comfortable to be stopped in public or be asked for photos, love can quickly turn to anger. This in particular is evident in fans of musicians as they tend to feel a sense of responsibility for an artist’s success. In such cases, fans almost feel entitled to an artist’s personal time as payment for their support.

When female artists, who are often marketed to be sweet or desirable, set such boundaries, it goes against the expectations that have been created of them. Due to this they can be labelled as a bitch or a diva. In the case of women in particular, Roan puts it best saying “predatory behaviour (disguised as ‘superfan’ behaviour) [...] has become normalized because of the way women who are well-known have been treated in the past”.

Chappell Roan’s recent comments regarding the way that artists are treated by fans perfectly sums up the issues surrounding people’s expectations of those they are involved with parasocially. Roan stated on instagram “I don’t agree with the notion that I owe a mutual exchange of energy, time, or attention to people I do not know, do not trust, or who creep me out - just because they’re expressing admiration”. Roan’s post details how she feels she has been harassed by fans into non-consensual social and physical interactions and sets boundaries for future interactions.

Summing up her current situation, Roan states “I feel more love than I ever have in my life. I feel the most unsafe I have ever felt in my life”. The truth of the matter is: these kinds of expectations of artists should not come with the job. The explanation is within that very phrase. It is a job.

In the age of social media we have more access to celebrities than ever before, leading to this false sense of closeness to them. At the end of the day, celebrities are people too, and deserve to be treated as such, even if it goes against the ideas we have of them in our heads.

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GORGING, GLUTTONY AND GAGS nikocado avocado and online mukbang culture 20

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n early September, YouTube’s chief mukbang provocateur Nikocado Avocado shocked the internet when he posted a twenty-five-minute video entitled ‘Two Steps Ahead.’ Had you never been acquainted with the viral foodie before; you may have found it most perplexing. He begins the video disguised under a panda head, intermittently repeating the infamous Patrick Bateman line ‘I am always two steps ahead’, describing himself as ‘the villain’ having created ‘the greatest social expirement’ of his life. In a cheap, raspy cartoon villain voice, he goes on to dance around a ‘dream’ scenario wherein his viewers (or ‘ants’) are sheepish ‘consumers’, who are lost and bored, under his spell of consumption. Eventually lifting the disguise, a gaunt and clean shaven Nikocado Avocado shows himself.

The regular viewer is dumbfounded by the revealed picture of a man, who the week before supposedly weighed over four hundred pounds.

Before one can try to make sense of his three-and-a-half-minute spiel, the camera cuts to Nikocado again, sat before a sizeable plate of spicy bean noodles. This time he is joined by his parrot. The two share the platter.

The mukbanger drops the raspy voice and in a more upbeat, buoyant tone expresses his love for spicy black bean noodles. The two-hundred-andfifty-pound weight loss is never formally addressed.

Nicholas Perry is a Ukrainian-born American influencer. Throughout his career, both his weight and relevance have fluctuated. It is fair to say that as of September 2024, however, each element sits firmly at either end of the spectrum. He gained considerable recognition among viewers for his offbeat and unorthodox mukbang videos, wherein he ate huge quantities of fast food and often behaved erratically. He was known to don his oxygen mask and mobility scooter as spectacles, joke frequently about the serious health consequences of his eating habits and upload video thumbnails wherein him and his boyfriend were debaucherously snogging each other.

In short, Nikocado Avocado was known for his enormous weight and his constant (and intentional) failure to lose it. Supposedly, for a number of months or years (the reports vary) he has been uploading prerecorded YouTube videos from before his dramatic weight loss. Among the Ozempic allegations and rumoured AI editing, the testament appears to ring true. He has shocked all. However, the question of what the nature of his ‘social experiment’ was, remains murky.

For some time, I have meditated on its meaning — is he telling us to not judge a book by it’s cover? Is it a fierce warning to not believe everything you see online? Perhaps Perry himself is not sure and wishes simply for an excuse to use the American Psycho TikTok audio, which I was personally glad to leave in 2023. While unsuccessful in my original plight, I have gathered a number of thoughts on Nikocado Avocado’s footprint, as well as mukbang culture’s as a whole.

Perry has frequently been critiqued for glorifying and normalising grossly unhealthy eating habits. Moreover, he has been compared to online food influencers who propagate diets of deprivation; under-1000-calorie ‘what I eat in a day’ videos, chicken and rice lifestyles, the works. While the unhealthy aspect cannot be denied for both, I am doubtful that it is a ‘two sides of the same coin’ scenario. No one is watching a Nikocado Avocado video and aspiring for his lifestyle. In a world where thinness is rewarded and it’s opposite is vilified, Nikocado Avocado is doing nothing for body positivity. He makes a spectacle of larger bodied people, portraying them as greedy, dumb and existing only for comic relief. While the food he eats often looks delicious, the vast quantities he vacuums and a lack of basic table manners is enough to turn anyone off fast food.

It is important to note that within the online Mukbang community, not every influencer is bigger bodied. Many have intrigued audiences by the fact that they consume family sized meals in one sitting, but appear to not gain any weight from it. For some, this comes down to a high metabolism.

For others, the reality is darker. Boki Moon, a South Korean influencer known online as ‘EatwithBoki’ has amassed ten million YouTube subscribers for her mukbang ASMR videos. Boki is the most followed mukbang influencer online, known for her habit of taking massive bites, her fondness for large platters of high calorie foods and for somehow managing to remain extremely thin through it all. Several years ago, rumors began circling the internet that she was not in fact swallowing the food that she ate. Frequent cuts in her videos led viewers to believe that she was spitting it out and thus not retaining the calories. Stephanie Soo, another mukbanger of a similar frame, has been accused of the same thing. Zach Choi is an influencer who also manages to stay small while frequently posting mukbang videos. He has admitted that the food that he eats in the videos is often the only thing he will consume that day, or for several days after.

It is my opinion that we primarily watch mukbangs for the same reasons that we watch back to school hauls or skincare collection videos. In a society of mass consumption, we are obsessed with how others consume and amused by how they choose to spend their money. While the mukbanger’s physical form is not always the intriguing factor, it is in the case of Nikocado Avocado or EatwithBoki. They know their size and eating habits fascinate viewers and continue to play on that with every mukbang video. The term mukbang derives from the South Korean phrase meaning ‘eating channel.’ In Korea, it is considered a compliment to know how to eat deliciously. This is ironic considering the fact that mukbangs nowadays are less about knowing how to eat deliciously and more about eating enormously and the physical manifestations of your eating. The aforementioned creators are stripping food culture of its goodness and appeal. They sensationalise the very normal and required ritual of three meals a day, stretching it to its maximums and gagging for a shocking response.

Perhaps Nikocado Avocado had a point when he described his audience as ants. Eating, at its core, is a requirement for survival and at it’s best is an enjoyable custom to share with family and friends. Eating should not be a scandalous exhibition directly relating to bodily form or consumerism. If it has not already been added, let us insert the modern day mukbang onto the list of things that would send a Victorian child into a coma.

WORDS Kate Ryan IMAGES Sadbh Caulfield

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brat summer a retrospective a deep dive into the career of charli xcx, what it means to be ‘brat’, and the legacy of the cultural zeitgeist words aislinn cunningham art rowena breen

B

etween the monumental success of Taylor Swift’s Eras Tour and Chappell Roan’s femininomenal rise to superstardom, women have been taking over the pop music landscape over the last year.

Among high-profile summer releases from the likes of Sabrina Carpenter and Billie Eilish, one album captured the zeitgeist like no other. Summer 2024 was ‘brat summer’, and we have Charli XCX to thank for that.

Brat exploded onto the charts and into our Spotify libraries in June of this year, marking the beginning of ‘brat summer’. The record is Charli XCX’s sixth studio offering, and its thumping bass and explosive synths make it clear that this album is a post-COVID love letter to club culture. On the closing track, Charli sings “When I’m in the club, I’m bumping that/ 365 party girl”, and this sentiment is echoed across the album as it sonically recreates the euphoria of a night fueled by substances and sound. The record has dominated musical conversations in both online and offline spaces since its release, smashing streaming records and establishing Charli XCX as a household name.

But what does ‘brat’ even mean? TikTok tells us that going out in last night’s makeup and waking up in your ex’s bed is ‘brat’. Thanks to the album’s iconic lime cover, Twitter memes say that anything green is ‘brat’.

Democratic Presidential candidate Kamala Harris is also ‘brat’, apparently.

When asked to define the term herself, Charli’s answer was simple: “... that girl who is a bit messy and loves to party and maybe says dumb things sometimes. She’s honest, blunt and a little bit volatile. That’s brat.”

This unabashed way of living, embracing both the “feral club rat” lifestyle and the inherent vulnerability that comes with it, is the ethos of brat summer and of the album as a whole. On ‘Mean girls’, the singer proclaims that “this one’s for all my mean girls, bad girls, break-your-boyfriend’sheart girls, tearing-shit-apart girls”, telling us that you can’t have an authentic ‘brat summer’ without stepping on a few toes, and that’s part of the fun. Brat summer is about living loudly, embracing spontaneity and neglecting the consequences - at least outwardly. The album’s punchier tracks are balanced by slower ballads like ‘I might say something stupid’, on which Charli reveals the chinks in her ‘party girl’ armour with lyrics like “I don’t feel like nothing special/ I snag my tights out on the lawn chair/ Guess I’m a mess and play the role”. These moments of vulnerability mirror the point at a party when your energy plateaus, and the feelings of inadequacy begin to creep in while staring in the bathroom mirror or sharing a drunken cigarette with a stranger. This self-awareness is a hallmark trait of ‘brat summer’, and these lows are needed to fully appreciate the highs, dancing to club classics, and falling in love again and again.

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Much of the discussion surrounding the nuances of ‘brat’ as a concept neglect to fully explore the merits of brat as an album. The initial snippets of the lead single, ‘Von dutch’, were teased on Charli’s TikTok account in February. With brash instrumentation and its thumping chorus of “I’m your number one”, ‘Von dutch’ serves as a thesis statement for the brat album. These clips rapidly gained traction among veteran “Angels” and the general public alike, resulting in a highly anticipated release. It was quickly followed by a viral remix featuring social media star Addison Rae, as well as two more singles: ‘Club classics’ and ‘B2b’. Public interest continued to grow with each drop, and videos from Charli’s PARTYGIRL Boiler Room sets began to garner tens of thousands of views. However, ‘brat summer’ as we now know it only came to be after the release of 360 and its music video, which featured appearances from Gen Z icons such as Rachel Sennott, Julia Fox and Alex Consani. The song was ultimately used as Brat’s opening track, putting further emphasis on its initial lyrics “Went my own way and I made it/ I’m your favourite reference, baby”.

And Charli has indeed been going her own way since the beginning of her career, long before the dawn of “brat summer”. Following the immense success of her 2015 single ‘Boom Clap’, she pivoted to a more experimental sound, and released her Vroom Vroom EP the next year.

Produced by the legendary SOPHIE, this record pushed sonic boundaries with its unconventional song structures and abrasive instrumentation, and cemented Charli’s status as a queer cult icon. Vroom Vroom, along with her other albums including Pop 2 and Number 1 Angel, all boast the same sharp lyricism and innovative production as Brat. She has been performing club albums to her “Angels” for almost a decade, most of whom would have believed that Charli achieving her current level of mainstream success was less likely than she and Lorde ever working it out on the remix. As she said during a Brat promotional event, “It’s hard being ahead”. Charli doesn’t just have her finger on the pulse, she IS the pulse —and the general public is only just catching up.

One thing is for certain: whether they’re alone in their bedrooms doing the viral ‘Apple’ trend or on crowded dance floors at one of many Bratthemed club nights taking place across the globe, Brat makes its listeners want to dance. This is the reason for its organic success, and for the cultural phenomenon that is “brat summer”. After years of Zoom raves and trending “clean-girl aesthetics”, Brat is a breath of fresh air. It’s an ode to sweaty nightclubs and sticky dance floors, and to the friends and strangers that you visit them with. With the highly-anticipated Brat remix album slated for release on October 11th, it seems that the impact of Brat will last far beyond the end of brat summer.

“this self-awareness is a hallmark trait of ‘brat summer’, and these lows are needed to fully appreciate the highs, dancing to club classics, and falling in love again and again” 23

A Small Pour with a Big History WORDS Alice Moynihan ART Alice Gogarty

Cognac in particular is a popular digestif, hailing from French vineyards in the 16th century. Dutch traders who sourced many of their goods from the region, distilled their wines into brandy to survive longer voyages.

The resulting colourless liquid was named eau-de-vie, and it was not as palatable as its predecessor Cognac. However, upon a second distillation, a richer and more elegant alcohol was born, and named for the region in which it was distilled. Cognac was an early hit across the Netherlands and France and is now enjoyed globally. In the 18th century, Remy-Martin emerged as a leader in the distillation of brandy and has since truly mastered the art. The indulgence of the drink carries into its presentation by means of beautiful glass bottles, some frosted or embellished. Each brand’s bottle, distinct, and intricately detailed, prevents counterfeit products from being sold and are now a marker of the luxury houses of distillation.

Amaretto, a nutty and bitter drink, first rose to popularity in Saronno Italy, where it was made by the Lazaronni family from apricot pits and almonds.

However, many believe the true creators come from the Reina family, also hailing from Soranno. This family has passed their recipe from generation to the next since the 16th century and it is marketed as Disaronno, one of the most popular Amaretto brands. Used in tiramisu, cake batters and stews, Amaretto can be savoured in many forms, the best of which is after a hearty meal over an ice cube.

The versatility and wide range of digestifs mean they are not just a summer drink. They are a year round, season-blind delight that need not be retired for any amount of time, unlike the spritzer or fruit based cocktails. Vermouth, an incredibly versatile fortified wine, and a personal favourite, is generally mixed with a splash of seltzer or used as the base of a martini. My grandmother mixes about a quarter of a bottle into her beef stew. Heavenly. Very few would consider it a digestif, more commonly restricting it to the lighter, bubblier aperitif category. To overlook such a versatile drink would be a mistake, particularly for those not as fond of heavier alcohols like Port, Cognac or Amaretto. Its Spanish cousin, Vermut, packs more of a punch than its sweeter French counterpart, boasting herbs and spices that make it a perfect after dinner drink. Served over ice with a small slice of orange, (or not if you are too full to go to the trouble) there is no doubt that certain alcohols, like Vermut, can be used at either end of a meal given their wide ranging flavour profile.

F

ortified wines, cognacs, bitters and liqueurs have graced dinner tables for centuries. Before they took up their rightful place in the liquor cabinet, they were considered cure-all’s that could remedy any ailment. Running brandy or whiskey on teething children’s gums to ease their pain is one such example of the versatile and often controversial uses of these liquors. Their botanical components were used for medicinal purposes before exclusively assuming their current role as digestion aids.

In Normandy, France, a small shot of Calvados consumed in the middle of a meal is called ‘Le Trou Normande’. It is named for the hole that the alcohol burns in food present in the stomach. The hole allows for an extra portion of food, generally a sweet one, to be crammed into the gut. The arrival of the digestif occurs at different times depending on what country you are eating in. In most regions it is savoured as the very last course of a meal and bookmarks the occasion with the aperitif being its converse.

The distinctive and more potent flavours present in a digestif set it apart from the lighter aperitif.

In Ireland a popular after dinner tipple is a Baileys or Amaretto over ice.

In Italy, a healthy pour of limoncello or grappa is prefered to refresh the palate and aid in the digestion of their meal. In the United States they sometimes refer to it as a ‘nightcap’ and not for no reason. A small glass of alcohol after an indulgent meal sets those already suffering with food sweats or postprandial somnolence into a deep slumber.

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“A small glass of alcohol after an indulgent meal sets those already suffering with food sweats or postprandial somnolence into a deep slumber.”

For many, digestifs are a ritual which cannot be sacrificed. The subtle extender to a meal, a jolt in conversation and an extra bit of giddiness, all in one unsuspecting little glass. Dinner parties depend on these such extenders, the cheese course, petit fours, tea and coffee anyone? Finally, ‘you’ll stay for an aperitif, ah you will!’ For those who have the art down to a tee, towards the end of a meal with friends or family, a table scattered with fully scraped crockery and tea light’s dwindling, they mouth ‘do we have ice?’

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The Rise and Fall of the Second-Hand Clothing Empire

WORDS Irene Vukcevic Gonzalez

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s someone who averages a daily screen time of three hours solely on Vinted and knows just about every charity shop in Dublin, I’ve been able to experience first-hand the shift that the second-hand fashion industry has undergone in the last couple of years. Although this is a shift that has been forming for some time now, it has been propelled

by TikTok and society’s “rediscovery” of vintage shopping.

Second-hand shopping is not a new phenomenon. Nevertheless, the way we view wearing clothes that are second-hand has changed drastically in the last few years, particularly on social media. It has gone from being shameful and looked down upon to trendy and edgy. This rediscovery of it has opened the second-hand clothing shopping market to a whole new demographic. Although there are a lot of benefits to people opting for second-hand clothes rather than supporting fast-fashion brands, the significant increase in demand has resulted in catastrophes such as SHEIN clothes being sold in charity shops for a higher price than they retailed for.

To understand the nuances of second-hand shopping, it is important to recognise the difference between two terms that are often used interchangeably; vintage clothing and second-hand clothing. Although they share some of the same characteristics, they are not entirely the same, and the differences between them are essential to their price contrast.

Second-hand clothing refers to the wider scope of clothes that have been worn before; this could be anything from fast fashion to designer pieces, although it is not that commonly used for the latter. Vintage clothing is categorized by its quality, rarity, and age, namely pieces that are 20 or more years old and that are of higher quality, new or used. Oftentimes, shoppers are not entirely aware of the difference between these two, which can lead to confusion regarding the prices of clothing.

A very easy way to spot the difference between these two is to look at the physical stores in which they are usually sold. Second-hand clothing is most often found in charity shops, also known as my second home, sold at a “moderate price”. Charity shops used to be surrounded by a hue of stigma, but the rise of thrift hauls and thrifting videos that have plagued the internet have made them become as popular a shopping choice as any other store. The problem is that people with a high disposable income are turning to charity shops and shopping the same way they would do in SHEIN. To satiate this high demand, charity shops are raising prices and putting out everything and anything they get donated. This has culminated in higher prices and lower quality. As a fashion-lover it is easy to sit here and complain about it, but at the core of this issue sits a graver problem. Charity shops are some of the main outlets for people in economically precarious situations to buy clothes, and they are the ones that are being affected the greatest.

Although some charity shops include a vintage section where they display some of their higher quality pieces with recognizable brand tags, these clothes are more generally found in vintage stores, a lot of which I’d rather die than step into. In theory, vintage stores are curated stores with quality pieces from the 2000s and earlier. The prices of the clothes in these stores are higher, for the staff have already gone through the trouble of finding these pieces for you. In reality, most vintage stores include a couple of good pieces, and an abundance of Hawaiian shirts and Levi’s jeans that are marketed at ridiculously high prices. This is of course not the case for all concept stores, but is unfortunately the case for a lot of them.

Some concept stores with genuinely good vintage pieces in Dublin are Collected Treasure, Jenny Vander and The Big Smoke Vintage. I’d also recommend going to the Bohemia flea market that happens once a month in Phibsborough.

An app that seems to have a huge difficulty understanding that not all second-hand clothing equals vintage is Depop (and its users). Most of us have heard about the Depop resellers and their crimes, but for those that are not familiar with the app I will say that Depop is a land without rules.

It is where people feel comfortable charging upwards of €50 for a top that retailed for €35 in Hollister no more than ten years ago. It is possible to find clothes for a reasonable price on Depop, but it is not easy. My biggest advice would be to stay clear of the big accounts of resellers and opt for smaller users that are simply trying to clean out their wardrobe, and thus mark their pieces at a more appropriate price. That is, sellers, not resellers.

Although it is not yet available in Ireland (crossing my fingers that 2025 will finally be our year), Vinted is a better and less-saturated alternative to Depop. In it, you can find vintage pieces at a price closer to those in charity shops. One of my best purchases has been a pair of Frye boots in great condition for no more than €37. If you do have the opportunity to, I’d highly recommend using Vinted instead of Depop.

Lastly, it is important to remember that fast fashion is a concept, and while the term can be used to describe certain brands like SHEIN or Zara, it is still possible to follow in its footsteps buying second-hand. Although this will always be the more sustainable choice, it doesn’t mean that no harm can be done in doing so. The rules of over-consumption still apply. Be mindful of what you’re buying, and don’t forget to contrast the price and the quality. Think back to what you already own, what it could go with, and whether it’s something you are genuinely lacking in your collection.

In other words: make sure to pick something that you and your closet will cherish.

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Styling your Summer Wardrobe for the Irish Weather WORDS Ella Flynn

WORDS Ella Flynn

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ollege is back, summer is ending, and we are posed once more with the somewhat impossible task of choosing an outfit for school everyday. I have fond memories of my first semester at Trinity: experiencing total decision paralysis when faced with the enormity of my wardrobe, the desire to create a ‘look’, and the expected — though demoralising — Irish weather conditions. After a long summer of moderately warm weather, and the optimistic purchasing of jorts, mini skirts and tank tops, the somewhat soul-crushing realisation that Trinity will never see those hopeful garments can put a bit of a damper on the first few weeks back at college. But not to fret! After three years of experiencing this demonic phenomenon, I have a few ideas that could carry your joyous summer wardrobe right into autumn, and perhaps beyond.

I am of the opinion that the first and most important step in styling summer clothes to fit the Irish climate actually lies within the purchasing of quality clothing. Clothes that will last — that are designed well and made with natural, quality fabrics — have an innate future; they are pieces that hold their own and can be transported through the seasons. Buying clothes second hand, and beginning to purposefully observe the quality of clothes on the high street, can help one move away from buying pieces that might not even last the summer. Depop, Ebay, and your local charity shop can offer some of those more expensive but well-made items, at a lower price point — which is always beneficial when buying pieces that are somewhat bound by their seasonality.

Having already enjoyed a summer of purchasing those seasonal items, the question is: how do they become something that can be worn on those grey September days? How can a festival mini skirt work when it’s eight degrees, raining, and so blustery you feel as though your hair is one giant knot? The skirt is actually a good place to start; mini skirts have the beauty of doubling as tops. A red a-line skirt is a red bandeau top, one that can be worn under a jumper, or used as a base for a cardigan or a shirt. Seeing the skirt as a possible top opens up so many doors for its uses. It also means that you can do inexplicably fun things, like wearing a maxi skirt as a top over jeans, using that belt from Saturday’s EP outfit. This way, you create a really stylish and fun look that brings a bit of summer into college and combats the depression of Ireland’s unreliable weather.

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Making use of skirts as tops supports the idea that summer tops have a place in every season and weather condition. Tank tops are always good pieces to purchase because they are so versatile and can be worn in any weather. The key to getting use out of them in the Irish weather is layering.

Layering a tank top with a shirt and a jumper means that if you wake to rain, walk out the door to thunder, and then find yourself lying in front of the Arts Block in the splitting sun, you can remain comfortable. The vest that saw a peeling sunburn will nine out of ten times see the Ed Burke theatre and that is simply a fact.

Another really important article of clothing for making a summer wardrobe Ireland-ready is a good jacket. You can pull off jorts in the rain if you have a jacket that will make up for some of that lost body heat. I have found over the years that sailing jackets are some of the best, because they genuinely work for every season. There are so many vintage Nautica and Ralph Lauren jackets on Depop and in vintage stores, and these can make a lot of clothes far more wearable in the cold, rainy weather. I know North Face Puffers hold an insane amount of warmth and I personally think they look really cool with skirts and shorts. The key to making those warm jackets work in unreliable weather is knowing you have somewhere to put the jacket if it suddenly gets super warm and sunny. If ever in this situation, there is a cloak room on the first floor of the Arts Block where you can drop your coat for free — though beware that it shuts for the day at five.

“Buying clothes second hand, and beginning to purposefully observe the quality of clothes on the high street, can help one move away from buying pieces that might not even last the summer.”

In looking at how you can use outwear to bring summer items into the cooler months, it’s a great idea to look at using accessories to provide some of that much-needed warmth. Scarves that have some weight to them, like knitted sports scarves or your mum’s best M&S yarn pick, can really make a summer piece feel like it is versatile and stylish in any season. A mini dress with tights, a jumper, and a scarf is a solidified winter outfit, even if the mini dress was purchased for a garden party. And again, the layering involved means that if the seasons randomly change, as they often do, you can peel those layers off and still be comfortable.

One of the most beneficial things about adopting summer clothing into your autumn and winter wardrobes is that it encourages you to make tactful purchases. The clothes you buy in the summer can have a life outside of their original purpose, and the sustainability of these purchases is both beneficial for the environment and for your own pocket. The Irish weather is unreliable at the best of times, but hopefully these tips can help you make your wardrobe more versatile. It’s a lot easier getting ready when your favourite summer pieces can become your year-round friends.

“The vest that saw a peeling sunburn will 9/10 times see the Ed Burke theatre and that is simply a fact.”

Turning to men’s fashion, it’s probably important to state that men seemingly wear shorts in any weather, and so they get to enjoy their shorts for much longer. The pieces that I have found men purchase that end up not getting much wear are usually the beachy surf shirts that are staples in Naples but not as versatile in Dublin. A really fun way of making these more versatile is — again — layering! This time, I think long sleeve neutral t-shirts are a man’s best friend. These can go under anything and they provide extra warmth and a certain cosiness that a summer shirt needs to carry it into the autumn season. This is also a combination that I have worn a lot, as I find mens shirts offer more comfort than womens.

My final tip is a styling idea that I think warms up any summer piece into becoming a truly transient and beloved garment. Matching summer pieces, like linen pants, jorts, or dresses with loafers, Docs or oxfords, means that your footwear not only protects you from that first contact with the wet ground, but also grounds your outfit in the season. Linen pants have a great time in the summer months with birkenstocks and sandals, but they can also be enjoyed in college with a pair of sturdy leather shoes.

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Shakespeare in the Park

the communal expression of outdoor theatre WORDS Anna Moylan ART Jessica Sharkey

S

ince its inception in 1954, Shakespeare in the Park (originally known as New York Shakespeare Festival) has been the pinnacle of modern outdoor theatre. With open-air theatre performances dating back to Ancient Greece, this festival-turned-cultural phenomenon has inspired a new wave of outdoor theatre, with a global emphasis on accessibility and inclusivity. But what is so special about Shakespeare in the Park that it was able to breathe life back into the forgotten body of outdoor theatre?

And how has it maintained its cult-classic status that has kept audiences returning every summer for the best part of 75 years?

I have two words for you: free tickets.

You heard me correctly — SITP is completely free of charge, except to the few very fortunate, who have the opportunity to guarantee tickets (for the great deal of a 500-dollar donation to SITP’s home base, the Public Theatre). The rest of us common-folk must battle it out in an online lottery, a queue in Central Park from 6am, or a queue at the Public Theatre, just for the mere chance of attaining a ticket. An arrangement, I understand, that continues the funding of the festival, but rings true of George Orwell’s Animal Farm: “All animals are equal, but some animals are more equal than others.” I digress, however; this piece is not a commentary on the obscene amount of disposable wealth in New York City…

The sweet taste of communal satisfaction with being one of the lucky few to hold a ticket to SITP undoubtedly elevates the experience at the Delacorte Theatre, binding the audience as one before anyone has even stepped on stage. Nestled in the heart of Central Park, unironically next to the Shakespeare Garden, lies the beloved Delacorte Theatre. A theatre purpose-built in 1962 to house the festival, and, by extension, make theatre more accessible to all. The Delacorte has witnessed the likes of Meryl Streep, Al Pacino, and Denzel Washington grace its stage for the annual shows, and, until 2024, had never taken a summer off; hence the Delacorte’s temporary closure after a run of The Tempest in the summer of 2023. The ongoing multi-million dollar restoration project aims to provide ramps and accessible box offices, a reclaimed redwood exterior, and new lighting towers to improve not only the audience’s experience, but also streamline backstage operations and improve the working conditions of the team. These renovations will bring some much-needed 21st-century accessibility to the Delacorte and, if all goes well, keep the theatre going for at least another 75 years.

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Seeing the two environments meet — the intimate and dimly lit theatre, and the vastly expansive “great outdoors” (or as close as possible to such an environment whilst still being in Manhattan) — is an innately juxtaposing combination. But somehow, it works. SITP’s rarely-deviating commitment to their niche of Shakespeare keeps the regulars coming back each year and encourages a unique sense of community amongst audience members, which is only heightened by being in a wide-open space with 1,800 people, yet still experiencing that aforementioned sense of intimacy one has in a theatre with, well, a roof. Communal expression is key to the success of a show run, and SITP has found a way to spark that feeling between audience members before they can even be shocked, confused, or in stitches over the show itself.

Free community theatre, an air of competition with our fellow theatregoers, along with the shared feeling of bliss, being in the summer air, and appreciating Shakespearean theatre, with a side of celebrity spotting: it’s no wonder this festival has stood the test of time. Diving into the integral communal expression of sheer joy that comes from appreciating theatre, enhanced by being surrounded by nature in one of the world’s most bustling cities, is a truly unmatched feeling and attests to the fact that Shakespeare in the Park will forever remain timeless.

“...the shared feeling of bliss, being in the summer air, and appreciating Shakespearean theatre ...”

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How to be a Broke Irish Student in Boston

WORDS Caoimhe Enright

head straight to the Dubliner, don’t pass go, there is no 200 dollars, if you’re gonna worry, don’t, you’ll figure it out – tell the bartender you’re twenty one, he doesn’t need to know you have been drinking since seventeen. have a look around downtown, wonder where all the people are. befriend mostly irish people tell yourself it’s a coincidence, really it’s because they know how good taytos taste. spend money you don’t have on dark chocolate bars from trader joe’s – they almost taste like home. convince your roommates that really a shrine for the cranberries is a good look – add an irish flag to your window for better luck - explain your name is actually phonetic for the 20th time. WOAH are you really irish? I’m irish too, so is everybody, 20 generations back – maybe our ancestors fought over the same potato-less lands my family left kerry 5 years ago - your family has seen it once in 255 years. no we don’t all live in cottages. one in five bostonians have irish heritage – one in five pubs sell guinness – one in five people have heard of my language. go see hozier when he plays in fenway. remember when he played the academy – thank god you don’t need to go there any more. smile when your mam sends you cadburys in the post. make your friends watch normal people – point out every location you recognize. learn how tailgating works (almost) – take advantage of the free food, but cringe at the irish car bomb shots. write your journal as gaeilge, don’t get too rusty. learn about more sports and foods than you ever have in your life – learn that cheerleading is a real thing. learn a new home.

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The Mourning After WORDS Katie Maye You can feel his breathing close to your face, Smell the alcohol that’s been marinating in his mouth.

While he kisses you with that stagnant taste, He remarks that yours is ‘minty fresh’.

Fully clothed you feel more naked than you were last night, When you let him in, Or did you?

He doesn’t seem to get the hint.

Leave, you think, yell in your head.

This is not what we had planned, you and your thoughts agree.

But he cannot read your mind, or your body language, He couldn’t last night, and he certainly doesn’t now.

Tiny ghosts roam your skin, head to toe, haunting your body, You need to shower him off, rid yourself of this humiliation with soap and hot, hot water.

Get out, you want to scream, but you let him in last night, And he feels he has a right to stay.

THE CITY WORDS Marissa Hennessy The city makes me mean.

Its roasted barley smoke Fills me up til’ I’m pure drunk On the feeling that I’m meant for something big, Now that I’ve argued on the Luas And I’ve stomached shitty food And I’ve put my body through it And probably been rude To my mother when she texts me, Just to see if I’m okay And I reply to her like she’s a door-to-door salesman, Like I’m fine, leave me alone, But thanks anyway.

Even knowing that she mourns the Loving, aching pain of my Childhood weight on her back From when she carried me Upstairs, Whispering Santy won’t come by Until you’re fast asleep.

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What Are Societies Wearing?

A

re you new to Trinity and unsure of what societies might suit you? Or, perhaps you’re just curious to see how your style is perceived by others. Well, look no further than our 100% accurate style guide to help you determine which society your style represents!

WORDS Bo Kilroy IMAGES Sophie Eastwood

TFM

I get the sense that you have several ‘underground’ artists you’re tired of gatekeeping, and opinions that just need to be shared with the public. If this is correct, TFM might be for you! With its endless radio streaming, and many, many student podcasts, you’ll feel right at home in its rundown, but very cool and edgy society room with the entire The Smiths fanbase.

MODEL Dervla Walsh

Fashion Society Do you focus more on your over-the-top campus fits than you do your classes? Do you stroll around Arts Block hoping people are looking at you like “Wow, they look cool”? You’ll find plenty of likeminded trendy people in the Fashion Society. Put those overpriced thrift hauls to use in the most couture community, and hopefully you might just see yourself on their renowned ‘Campus Couture’ on Instagram.

MODEL Lily Thunder

Botany Society

You are so very earthy and only drink black coffee, probably a vegetarian at the very least. The bohemian era of Tumblr was your peak, but it’s time to recycle those plastic cacti and join BotSoc. Embrace all the wholesomeness Trinity has to offer in this plant-loving society.

MODEL Katie Carrig

The Hist Do you have a style that exudes class and intelligence? Do you start every point in class with “Well actually…” or “Just to bounce off of what you were saying…”? Then congratulations!

You may just be elegant and/ or pretentious enough to be in The Hist! The oldest studentrun society is naturally vibrant with Trinity stereotypes and the elements of ‘Dark Academia’ you’ve been searching for.

MODEL Arabella Ware

DUBLIN

FILM GUIDE

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hether you’re an old, withered, seasoned cinephile or a bright-eyed Fresher who has just recently discovered the joys of Letterboxd, Dublin has a LOT to offer the film lover in you. But it can be intimidating! The “Lovin’ Dublin-esque” gentrification of the city has brought with it an onslaught of creative arts hotspots, and the list of local arthouse cinemas seems to be unfurling at rapid pace. Not to mention all of the societies on campus that can help nurture and fuel your budding creative urges; it can be seriously tricky to navigate them all. But fret not! My name is Aisling, and I am a final year Film student who is ready and willing to guide you through the cinematic maze that is Dublin. So take my hand, take a deep breath, and let’s get into this… together!

Dublin Film Guide WORDS Aisling Dempsey ART Jessica Sharkey

Cinemas OK, so a cinema is a big room with a big screen where lots of people sit and watch movies. And seriously, if you did not already know that, then I need you to let go of my hand and go home now, because you are seriously so unprepared for what we are about to get into.

Dublin has many cinemas to offer you, and each of these cinemas serves a different purpose. Depending on the film you are seeing, the mood you are in, and who you are seeing it with, you will need to carefully select the correct cinema to serve your every need. So it is important that you listen very carefully while I walk you through this list.

The Light House

Before you get your hopes up, it’s just a normal building. But that doesn’t make the Light House Cinema in Smithfield any less cool. Only 15 minutes from Trinity by Luas (Red Line), the Light House is basically the perfect student cinema. Mostly because it’s cheap, and you can drink alcohol.

Head down here to catch everything from your favourite indie films (yes, they show A24) to major blockbusters and anything in between. Grab a drink in the bar before you head in to really make an evening of it!

Perfect for: An evening out with a group of friends.

Pro tip: Sign-up online for free Student Membership to get €5 tickets on Monday-Wednesday.

The IFI

Take a short five-minute walk from Trinity as far as Temple Bar, and you will arrive at the Irish Film Institute, colloquially known as the IFI (write that down, it’s very important you remember the lingo). A more luxurious (and more expensive) experience than the Light House, the IFI offers arguably the widest array of films. The coolest thing about this place is the amazing amount of international films consistently available.

Perfect for: Bumping into your lecturer and getting to boast that, yes, you did actually go see that Chilean horror film he recommended.

Pro tip: While you’re here, check out the IFI Film Archive to take in some Irish cinema history.

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The Savoy

Found on O’Connell Street, the Savoy is Ireland’s oldest operational cinema. Expect to see a billing here that is slightly more similar to the likes of your local Odeon/Omniplex (stop rolling your eyes, no one likes pretentiousness). When you want a break from seeing the kinds of films that would be discussed in Workman’s, the Savoy is perfect. Head on over here for some good old-fashioned FUN! Perfect for: A solo cinema date with a bucket of Diet Coke and an even bigger bucket of butter popcorn.

Pro tip: DUFilm (we’ll talk about them soon) offer €5 tickets at the Savoy for all their members!

The Stella

The Stella has locations in Rathmines and Ranelagh, both of which are seriously bougie. The Stella has swapped out traditional rows of folding chairs for plush couches and velvet-laden interior design. The Rathmines location has reclined so far into the comfortable narrative that they even have beds available to book while you enjoy your film (I am not messing).

On top of that, you can enjoy food and cocktails from their incredible restaurant before you head in for your screening. If you hadn’t guessed it yet, this place is pricey. But if you’re in the mood to treat yourself or someone else, it does not get better than the Stella.

Perfect for: A date night cuddled up together on one of those cosy couches…ooh la la.

Pro tip: Pre-order food or cocktails from the Stella Restaurant to be delivered to your seat during your film.

Societies

Renting

DU Film

Societies

Du Film is one of Trinity’s largest and most active societies. And for the film lover in you, they have it all. Every week DU Film runs a free student cinema on campus. Keep an eye on their Instagram to find out this semester’s student cinema line-up. DU Film have also curated an impressive library of DVDs that are available to rent. Just reach out to them via Instagram and let them know you are interested in browsing or renting!

If it’s hands-on filmmaking experience you want, DU Film offers that too.

Every week they run a practical workshop where you’ll learn every skill from the storyboarding stage to the colour grading stage! And you can put these skills to use by getting involved in DU Film productions. Keep an eye on their Instagram for crew calls (welcoming all levels of experience), or better yet, reach out to them with your own production idea and they can give you the means to get started. Finally, DU Film wraps each academic year by running the D.U.F.F. (Dublin University Film Festival). This is an inter-university film festival that takes place in the Savoy and includes a screening of all selected films followed by an awards ceremony. It is the highlight of the DU Film year and honestly, I am excited for it already!

Check out their Instagram: @dufilmsociety

Trinity TV

Think of Trinity TV as DU Film’s cool younger sister. She’s smaller, she’s less experienced, she’s completely broke, but she’s hilarious. If you find the DU Film productions to be a slightly daunting room to walk into or don’t want to take your filmmaking too seriously, the TTV productions can be a more lowkey place to start. They also run weekly screenings, TV-related events, and have a large collection of box sets available for your renting!

Check out their Instagram: @trinitytvtcd

DUPA

If it’s the visual side of things that really get you going, Dublin University Photography Association is yet another way to get your creative fix. DUPA holds workshops and events that cater to all photography experience levels, so it’s an amazing way to strengthen your creative skill set.

The Film & TV Room on the top floor of House 6 is home to an impressive collection of DVDs and box sets owned by DU Film and Trinity TV. Reach out to the respective societies to ask about browsing and renting!

Library

Libraries aren’t just for books! Head to the second floor of the Ussher to check out the DVDs available to rent from Trinity. You can also check the online TCD library archive if you’re looking for something super niche, just get onto your StellaSearch and get exploring!

Dublin in Film It is important that you do your best to romanticise your time in Dublin, and I am saying that unironically. Dublin has become a creative hub of filmmaking, and you get to walk these streets… that’s so cool?!

Take a look below at some of the amazing films and TV shows that have come out of Dublin. Let’s start by getting the obvious out of the way…

Normal People (Hettie MacDonald & Lenny Abrahamson, 2020) Adam and Paul (Lenny Abrahamson, 2004) The Commitments (Alan Parker, 1991) Sing Street (John Carney, 2016) And honestly, there is so much more and I could keep going, but you look pretty tired… You’ve learned a lot today, so go forward with this knowledge and get ready to take on the cinematic world of Dublin! You’re going to love it here.

Check out their Instagram: @du_photos

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DUBLIN GIG GUIDE: oct/nov

COMPILED BY Éle Ní Chonbhuí, Erin Keenan, Sadhbh Doyle, Isabelle Doyle

October 19th

20th

22nd 23rd EDITOR’S PICK 24th 25th EDITOR’S PICK

26th

27th

28th 29th

30th 40

Whelan’s Workmans Cellar The Academy The Sugar Club Index The Olympia The Grand Social Soundhouse Button Factory Vicar Street Vicar Street Workmans Main Room Button Factory The Grand Social Whelan’s The Grand Social Arthur’s Pub Centre Point The Sugar Club Vicar Street Whelan’s The Academy Whelan’s The Sugar Club Workmans Main Room Centre Point The Academy Vicar Street The Grand Social The Olympia Whelan’s Workmans Main Room

Seb Lowe Scattered Ashes Sinéad Harnett Fliptrix & Verb-T Duke Dumont The Stunning The Legendary Drama Kings Brothers Moving Los Bitchos John Grant Iron & Wine Sløtface Rachael Lavelle Peer Pleasure bôa Zaska + guests Mik Pyro’s Bues Cartel Todd Terje Hypnotic Brass Ensemble A Lazarus Soul Cry Before Dawn Sainté Cry Before Dawn Les Amazones d’Afrique Róis Daniel Avery Bambie Thug Kneecap Yurmah/Pants on Fire/ Drugstore Cowboy Ice Spice 200 Stab Wounds Vincent Lima

Alternative/Indie Goth/Punk R&B/Electronic Hip-Hop Electronica Rock 60s Tribute Blues/Reggae Latin/Dance-Rock Indie Rock Indie Rock/folk Pop-Punk Alternative Art Pop Garage Rock Indie Rock Neo-soul/Groove Blues/Soul/Funk Rock Electronica/Nu-Disco Jazz-funk Indie folk Rock Hip Hop Rock World Music Electronica/Folk/Trad.

Techno Pop Hip Hop too many genres to list Hip Hop/Drill Metal Indie-folk

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November 1st 2nd

EDITOR’S PICK 3rd

6th EDITOR’S PICK 7th 8th

3Arena

Glass Animals

The Olympia Whelan’s Workmans Cellar

Jacob Collier modernlove.

Wand

3Arena The Sugar Club The Grand Social

Lizzy McAlpine The Style Councillors Fleetwood Shack

Bow Lane Workmans Whelan’s The Grand Social Opium Workmans Workmans The Olympia The Grand Social Workmans Cellar Arthur’s Pub Opium Button Factory

Neil Pierce (UK) Tom McRae Adore Lo Moon Crash Test Dummies Ryan McMullan Medium Build Rejjie Snow Fatdog Sans Soucis The Mary Stokes Róisín Ó New Jackson, Rory Sweeney, The Outside The District The Corrs They Might Be Giants Jazzy Interpol Ezra Collective STRFKR Warmduscher Flight Facilities (DJ) Child of Prague Kasia Eliasz 9 Piece Band

18th 21st

Workmans Cellar 3Arena Vicar Street Index 3Arena The Olympia Opium Opium Centre Point Workmans Arthur’s Pub

23rd 28th

Opium Arthur’s Pub

9th

10th 11th EDITOR’S PICK 13th 16th

Bad Manners A Love Supreme: Played in Full

Indie/Alternative Rock/ Pop who knows Indie Rock Shoegaze/Psychedelic Rock Indie Pop/Folk Tribute Tribute House Alternative/Indie Garage Rock Pop-Rock Alt Rock Pop Indie-Pop Alt Hip Hop Punk/Dance/Rock Alt R&B Band Blues Trad/Pop go and find out Indie-Rock Pop/Folk Rock Rock Funk/House Indie-Rock/Post-Punk Afrobeat/Hip Hop Indie/Electronica Groove/Electronica Electronic Indie Rock/Trad Samba/Bossa Nova/ Jazz Ska Jazz 41

TN2 FEATURED BANDS

PHOTOS Thomas Lara Leonard

BURGLAR

Willow and Eduardo formed Burglar after meeting in college in 2021 and bonding over their love of alternative acts such as PJ Harvey and King Krule. Their backgrounds couldn’t be more different; Eduardo grew up around the punk rock scene in his hometown of Goiânia, Brazil, while Willow comes from the indie-pop scene in Dublin, giving the pair a unique blend of inspirations.

Their live shows, an engaging mix of catchy hooks, harmonies, and distorted guitars, have garnered them a lot of attention among local concert-goers, leading them to a coveted spot in Ireland Music Week on the 3rd of October in Crowbar Terrace.

Their latest single, ‘No Easy Way Out,’ was released on the 27th of September, 2024. This is the first single from their upcoming EP, set to be released in late November.

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Hailing from San Francisco, Dublin, Boston, London, and Tipperary, Child of Prague is an indie rock band that blends Irish tradition with midwest emo. Child of Prague’s unique sound flirts with folk pop, math rock, and incorporates elements of Irish trad, with sincere and heartfelt lyrics and powerful vocals. Their sound seamlessly blends rock instrumentation with the soulful addition of violin and saxophone, weaving in rich folk and jazz elements into their music.

CHILD OF PRAGUE

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