University Observer Volume XVIII - Otwo Issue 5

15th November 2011 Issue V Volume XVIII

OTWO

The Arts & Culture Supplement of the University Observer

ALSO INSIDE >>

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Ardal O’Hanlon | Electric Six

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contents Page 3 – Regulars

Eimear McGovern is taking issue with all you rapscallions who have no conception of table manners in this issue’s Soapbox, so elbows off the table or you’ll be getting a slap. Also, Donna Doyle is here to tell you What’s Hot and What’s Not. Beliebers, be at the ready.

Letter from the Editors

Page 4 – Spiritual and Gender-related Advice Gather all, gather round, for Mittens and Dixon are dropping pearls of wisdom like nobody’s business.

Page 5 – What’s On

As it turns out, UCD is Dublin’s cultural centre this fortnight.

Sara Holbrook and Elizabeth Beecham catch up with the UCD Orchestra and Musical Society as they prepare for their respective showcases: ‘A Night at the Movies II’ and Cabaret.

Page 6 – Fashion

Sophie Lioe fashions your winter wardrobe with the help of some extremely lifelike mannequins, while Lorraine Haigney explores the fashion industry’s dangerous history of glamorising addiction.

Page 9 – Food

Food (and Drink) gets lavish this week as Jon Hozier-Byrne and Elaine Lavery present their guides to cocktails and chocolate.

Page 10 – Travel

Daryl Bolger has returned from the East to tell you all about Hong Kong. Meanwhile, Rachel O’Neill and Maitiú Mac Seoin are showing off a couple of treasures a little closer to home.

Page 12 – Games & Technology

Na Na Na Na Na Na Na ... BATMAN, or more precisely Arkham City gets a look in, as does Battlefield 3, while Steven Balbirnie opens us up to the world of DIY game design.

Page 14 – Cover Feature

With LMFAO recently storming our campus, Matt Gregg catches up with DJ Redfoo to talk about fanny packs and the dangers of too much party-rocking.

Page 16 – Film & TV

The Rum Diary, The Awakening and Moneyball are all subject to a rigorous examination from Otwo’s film aficionados and George Morahan takes a look into the influence of Mad Men on a host of 2011’s new TV shows. To cap it all off, the Fatal Foursome make loud noises about the works of Graham Linehan.

Page 20 – Music

Interviews range from The Antlers to Electric Six and Yuck. We review a host of the latest audio releases, Lorraine Haigney gives you the Mixtape for a ‘Stride of Pride’ and Cormac Duffy gets to ranting about the EMAs. Finally, Show Patrol guides you through this fortnight’s many, many gigs.

Page 26 – Special Features

Dave Moloney speaks with the voice of Gift Grub, Mario Rosenstock and Jon Hozier-Byrne catches up with Ardal O’Hanlon ahead of his appearance for Comedy Soc.

Page 28 – Backpage Bants

Shinoxcy are next in line to take the Ordinary Level and we finish this issue by getting your VoxPops. Librocop vs a bear? Place your bets.

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Issue 5 – Every Day We’re Suffering Oh hai, Issue Five has finally reached you, and is here to provide you with a hot, sexy distraction from the beginnings of study guilt, now that Registry have put up the exam timetable - as if the exams were happening in a few weeks or something. It’s been a bit of a mental fortnight, resulting in an Otwo so packed with all the arts and culture you could possibly want, we ran out of pages. If you think you can handle a little more Otwo in your life, the spill-over content is all going up online so be sure to keep an eye on the website for that. We’re too good to you, really.

Gracing the centre this week we have LMFAO who seem to have made ‘party rock’ both a verb and a noun and not just two words that don’t make sense when you put them together. Before every person in the vicinity of the Bar began shuffling last Monday, Matt Gregg spoke to Redfoo, who was nervous doing interviews without his other half – n’awh!

If you’re looking for lols, you’ll find them right through from Donna Doyle’s What’s Hot, What’s Not column and Eimear McGovern’s Soapbox on the next page, to the back page where Shinoxcy, Otwo’s favourite female

comedy sketch trio, have filled out our Ordinary Level questionnaire.

In between, Fatal Fourway decides the greatest Graham Linehan show and The Duffington Post picks on the EMAs for not being hipster enough. If it all hasn’t gotten too much for you by then, head towards the back where we speak to Mario Rosenstock of Gift Grub fame and Ardal O’Hanlon to get our comedy fill for the fortnight.

In Music we have Yuck, Antlers and Electric Six, but don’t think that means a disgusting deer in a Gay Bar – oho, we’re so witty.

Fashion wraps up in winter woollies and Lorraine Haigney considers why glamorising addiction is getting even more dangerous. In Film, Dermot O’Rourke really, really likes Top Gun while in Games, Steven Balbirnie explores a growing culture of DIY game development – it’s like fan fiction for games, but with more barrel rolls.

Jon Hozier-Byrne had a whale of a time concocting cocktails for UCD’s various faculties; expect a healthy reliance on stereotypes before reading, however.

And the rest? Well, it’d be no fun if we told you about everything.

Aoife and George

DISGUSTING EATING

HABITS

WHAT’S HOT AND WHAT’S NOT

WHAT’S HOT

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soapbox

Baby Bieber

Babay, babay, babay, oh no. America’s golden boy has been doused in hot water this week as twenty year old Maria Yeater claims he is the father of her four month old son, Tristyn. According to Yeater, the pair did the sexy business in a backstage bathroom following one of Bieber’s shows. Awaiting the result of a “who da baby daddy?” paternity test, Yeater will face charges of slander if found to be lying, and the statutory rape of the then sixteen year old Bieber, if telling the truth. Hilarity ensues.

Lidl

Sick of people who can barely wield a knife and fork, Eimear McGovern vents on those who shouldn’t be allowed sit with the grown-ups yet

It may not have a slogan, coherent staff or shelves, but Lidl saves many a student from malnourishment each year. With food at economy-damaging prices and packaging less soul-destroying than Tesco Value’s, Lidl is the best thing to come out of Germany since Tokio Hotel. Mister Choc is the new Tayto.

Domhnall Gleeson

Dublin-born actor Domhnall Gleeson is slowly emerging as Ireland’s brightest new star.

With the release of Sensation, a gritty comedy which stars Gleeson as an introverted famer turned promiscuous pimp, the young actor is stepping out further from the shadow of his father… and Bill Weasley.

WHAT’S NOT The Euro

Apparently Europe is going to end in a blaze of glory with the devastation of Greece and the Euro. However, the real problem at hand is the inflation of confectionery. Londis should know that Milky Ways are not equal in magnitude or quality to a Mars bar.

Their market value should reflect this.

Angry Bus Drivers

Nothing makes the journey home from college on a smelly, packed bus more enjoyable than an angry bus driver. Your life choices are not my fault, so please refrain from shouting at me or the other equally disgruntled passengers.

Not stopping at a bus stop because you don’t feel like it, shouting at old people that “There’s seats upstairs”, and not making eye contact when I ask you questions make you a bad person. I shall avenge thee.

Converse

The kings of retro kicks may be the hipsters’ crowning glory, but Converse plus rain equals wet socks. And as we all know, nothing in the world causes more discomfort than wet socks. As the season’s weather takes a turn for the worst, prepare to please your mammy, hang up your sodden Cons and buy a pair of sensible shoes. Be warned - no one will be aware of how cool you are without them.

by Donna Doyle

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ealtimes contribute greatly to our culture as a society – the breaking of bread with friends and family is not only a day to day ritual, but is used to celebrate significant events such as Christmas, Easter and birthdays. Sitting around a table with family, friends, or your other half makes up part of our daily routine – however, an individual’s enjoyment of a meal can be interrupted by the presence of one whose table manners and eating habits leave quite a lot to be desired.

If you have ever shared a meal with someone who spoke with their mouth full, scraped their cutlery against their plate, dribbled food on their clothes, or made audible noises while chewing their food, I am sure you will understand my distress when surrounded by those with bad eating habits.

As children, most of us are taught not to play with our food, but I often think that I’m surrounded by those who were raised as feral animals. There is nothing that will put you off your meal more than watching a forkful of food slowly break down in someone’s mouth before it is swallowed, ready for digestion. Nor is there anything more unappetising than hearing someone actually moan in pleasure as they consume whatever is in front of them. I’m all for enjoying your meal, but some noises are just better kept in the bedroom and out of the kitchen.

Etiquette author Emily Post once wrote that “all the rules of table manners are made to avoid ugliness. To let anyone see what you have in your mouth is repulsive; to make a noise is to suggest an animal; to make a mess is disgusting”. There is nothing worse than sitting down to a meal, only to be quickly turned off putting anything in your mouth because of the eating habits of the person sitting next to you. I’m not alone in my dislike of those with undesirable eating habits – there is even a Facebook page entitled ‘Society for the Prevention of Disgusting Eating Habits’. Type ‘disgusting eating habits’ into any search engine, and numerous pages, forums and topics will instantly be at your disposal. The eating habits of family members are particularly common complaints, be they mother, father, brother or sister. If you can’t think of anyone in your family who slurps, burps or chews with their mouth open, it’s probably you.

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OTWO

Mystic Mittens’ feline fortunes Taurus May 14th – June 21st Do not call a girl “moderately attractive” when in earshot of her, expect pain. Now, a man on the other hand? That’s a different story...

Gemini June 22nd – July 20th Violence is never the answer, except in cases of extreme boredom.

Mittens got bored of her ball of yarn this week, so she swapped it for her oftneglected crystal ball instead.

Aries April 19th - May 13th If you like Piña Coladas and getting caught in the rain, you will be susceptible to a nasty cold and the most effeminate form of alcoholism imaginable.

Dear Dixon, I’m trying to scrape a few thin dimes working as a PI. The money’s not great, but the work is hard. There’s plenty of business for any man with a nice hat and a .45 automatic. However, it seems that every time a new client steps into my sepia office to ask for my services, she turns out to be a sultry temptress with the eyes of an angel and the heart of a viper. The type who’d break your heart, or maybe your legs. Half the time, she’s the one who killed her husband and left him bleeding on the smoking-room floor like a gutted halibut. I’m getting tired of being constantly duped by skirts and floozies, caught flat-footed by dimea-dozen flappers. How can I avoid these predatory prima donnas?

Yours, Chagrined in Casablanca Listen here Chagrined, Woman are like a fire in an old folk’s home; good natured fun at first, but possibly deadly. When dealing with a dime-flipping flapper, you have to mind your p’s and q’s, and particularly your p’s. Sinister stockingfillers are dangerous for your health, like not smoking or contraception.

It’s like Churchill says, son; “bitches be crazy”.

As such, next time a lady comes into the office, go through the following routine to make sure she doesn’t 4

Cancer July 21st – August 10th Nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol are all very well and good, but remember to avoid the lake when under their influence.

Leo August 11th – September 16th I like you, Leo, because, like me, you are a big cat. However, unlike me, you are in urgent need of an STI screening. I’m guessing... herpes.

Virgo September 17th – October 30th You can’t just put on a gravelly voice and an impressively revealing costume and think that allows you to assault the Tierney Building staff without repercussions. You’re not Batman.

Batman would never lose his student card.

Libra October 31st – November 23rd Citing Wikipedia, eh? You can always marry rich.

Scorpio November 24th – November 29th Mario Kart will come back to haunt you in big and degree-threatening way.

Ophiuchus November 30th – December 17th Breaking Dawn – Part 1 tickets are sold out everywhere. Give up now.

Sagittarius December 18th - January 20th On November 21st at 11:37am you will fall in love with a person exactly fifty metres away from you, but in which direction? There’s only one way to find out: a hostage situation.

Capricorn January 21st – February 16th The Rapture is coming and it’s going to be funky. So be sure to get your affairs in order and try to perfect your Pop n’ Lock before the big day. Don’t tell any of the other star signs I told you that, you’re my favourite.

Aquarius February 17th – March 11th Yes, of course doing blow on the 46A is a crime. But sure, you don’t need me to tell you that, the Garda are perfectly serviceable.

Pisces March 12th – April 18th You will join an exclusive club that has only two rules, both of which I am not allowed to divulge.

Leave your questions for the dashing detective on the Dixon Coltrane Facebook page

catch you with your pants down, and if she does, that she uses both hands.

Firstly, you need to sit up and look the woman up and down. Start at the legs, and keep going ‘til you get to her mid-legs. Then look at the lower legs again. If they are acceptable, take a long drag from you Virginia twist and ask her what happened to her husband – because it is always the husband, Chagrined, without exception. It’s a story I’ve heard too many times already; some boob leaving the warm bosom of home, for the warm bosom of some bosoms.

Here is a checklist; is she wearing stockings? Are her eyes barely concealed by a funereal veil? Is she smoking a cigarette out of a long black holder? Are her breasts at least the size of her own head, if her head was conical? If the answer to any of those questions was yes, than she killed her husband, no exceptions.

Yet somehow, you feel the need to help her. Somewhere, deep in the heart of your groin, you’ll sense the need to sweep the ankle of her ankles and take her away from the gutter-lined, smoke-filled maze she calls home. Resist that urge Cha-

Dixon Coltrane REAL MEN SMOKE ON AIRPLANES grined – you know full well that you shouldn’t dip your wick in company ink, particularly when the ink is as toxic as the peroxide she dyes her hair with, and the wick is your penis.

Your penis doesn’t need mixed metaphors like that.

Still, you need the money Chagrined, you need it like a drowning man needs air, or a like balloon needs air, or like the French techno scene needs Air. If the dame has dimes, you do what you have to – no point

in being proud when you haven’t got enough green in your pocket to pay for heating, whiskey, or that new wide-brim you’ve got your eye on.

Don’t fall for the old ‘loving-in-exchange-for-detective-work’ gambit; it never works, sonny boy. You’re a professional, damn it, and you need to keep that in mind when she comes at you, breasts first, looking for your tasty pro-bono work.

That’s the rub, Dixon Coltrane

OTWO

UCD Orchestra’s A Night at the Movies II As the UCD Orchestra ramps up for A Night at the Movies II, Sara Holbrook asks conductor Ciaran Crilly what we can expect

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ollowing the success of their original ‘A Night at the Movies’ event, the UCD Symphony Orchestra is preparing to showcase the follow-up, ‘A Night at the Movies II’, on November 16th in the Astra Hall.

The orchestra was founded in 2002 and has put on many performances in its time, both here in UCD and also in the National Concert Hall.

A ‘ Night at the Movies’, which was performed by the orchestra in 2008, proved to be extremely popular amongst UCD students. According to the conductor, Ciaran Crilly, “it was one of the best concerts we’ve ever done on campus. There was always a ground swell from within the orchestra to do something like this again,” and so this year’s orchestra have obliged.

With re-workings of iconic themes from throughout cinematic history, there is sure to be something for everyone to enjoy, and there will also be a big screen playing accompanying clips during the show. The showcase will feature music from the Harry Potter series, Star Wars, and Schindler’s List as well as a synched accompaniment to a Road Runner cartoon and a silent Laurel and Hardy clip.

The orchestra have been practicing for ‘A Night at the Movies II’ since the third week of the semester, which is a testament to the intricacies of this type of show and the challenges the musicians are still facing during the final days of rehearsal.

As Crilly says; “The music has to be perfectly synced to the Road Runner cartoon and the music is incredibly fast so it’s actually technically very difficult,” but he is sure that UCD’s musicians are all up to the challenge.

He also assured Otwo that “there isn’t anything like this happening, and other student orchestras aren’t doing it … with an orchestra this size, this type of thing is very hard to mount, it doesn’t happen very often.” The soloist in this production will be the acclaimed violinist, David O’Doherty and the conductor is confident that audience members will get their money’s worth.

One third of the tickets had already been sold at time of going to press, so make sure to get yours soon to avoid disappointment. With a student-friendly price of €5 and free wine after the show, this is a night not to be missed.

‘A Night at the Movies II’ will take place in the Astra Hall on November 16th. Tickets are priced at €5 for student and €15 for non-students.

Campus Cabaret

Members of the UCD Musical Society sit down with Elizabeth Beecham to tell her what separates their upcoming production of Cabaret from its predecessors

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he Oscar-winning film Caba- sexuality in Weimar-era Germany. role in the orchestra, creating the ret sits somewhat on the outDenis in particular stresses how show’s unique, brooding yet brassy skirts of one’s ideas of Hol- Cabaret is not the type of musical atmosphere, the show “is just differlywood musicals, and doesn’t lend one may have the opportunity to see ent ... just darker and more risqué”. itself to cosy Christmas viewing on anywhere else in Dublin. He believes Dobson points to how the strong RTÉ quite the same way that The contribution of many DramSoc Sound of Music does. One cannot members has benefitted certain asimagine Graham Norton hosting pects of the show, especially when a search for the new Fräulein Schit came to putting on realistic Gerneider on BBC One on a Saturday man and American accents and creevening, yet the 1998 Broadway ating the show’s dramatic depth. All revival of Cabaret had a gargantuan three are quick to praise the talent run of 2,377-performances, making amongst the thirty-strong cast and it the third longest-running revivUCD crew, who help to foster a al ever in Broadway musical history. strong sense of community within The story behind Cabaret traces the society and allows them to push back from the book Goodbye to Berlin more creatively challenging shows

by Christopher Isherwood to a musuch as Cabaret. sical penned by Fred Ebb and John Dublin has seen a wealth of culKander, and has since reached the tural activities since the semester beheights of the Liza Minelli-starring, gan in September, particularly in the Oscar-winning film, as well as numerfield of drama, yet fantastic projects ous reinventions across the globe. The such as the Absolut Fringe and the hugely popular Broadway version of Dublin Theatre Festival can seem a 1998 is the primary source of inspiworld away from wondering whether ration for the UCD Musical Society, to plump for Chipsticks or Meanies with Sophie Dobson and Denis Grin- it is the “perfect fit” for the Musi- on your study break. As a student it del, two of the society’s most confi- cal Society, which aims to build on can sometimes be hard to find genudent performers, taking the lead roles its strong reputation for producing inely different, exciting things to do of club singer Sally Bowles during term time that fit into and the ghoulish Emcee. strict budgets and aren’t a “[UCD Cabaret] is just different our Every good story justihassle to organise; Cabaret apfies many an incarnation, so ... just darker and more risqué” pears to be just the ticket for how does this production this November. differ from what students may already musicals that are more “artsy and be familiar with? Dobson and Grindel dramatic”, ranging from the cult fa- The UCD Musical Society’s production explain how in the intimate surround- vourite Little Shop of Horrors in 2010 of Cabaret will take place in the Astra ings of the Astra Hall, they will de- to the hugely popular Rent in 2009. Hall from November 21st-25th. Tickets liver a show that explores the sombre, Associate producer of publicity, are priced at €8 for members, €10 for darker themes of abortion and homo- Aifric Nugent highlights Jazz Soc’s non-members and €12 for adults.

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OTWO FASHION

Winter Warmers

Tara wears: Headwarmer · €2 · Penneys Scarf · €19.99 · New Look Jacqui wears: Jumper · €22.99 · New Look Fur collar · €9.99 · New Look

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orget the shorter days, the bitter wind and the fact that you can see your breath in your bedroom when you wake up in the morning; these winter warmers are all you need to brighten your grey surroundings and get you thinking about wrapping up in front of the fire with a mug of hot chocolate in one hand and the Christmas holidays in the not so distant future. They are sure to inject some much-needed colour to campus and keep you from shivering your way through those painful hours in the RDS, which seems to be devoid of all heat even with the presence of hundreds of people.

Tara wears: Hat · €3 · Penneys Scarf · €4 · Penneys Handwarmers · €6.99 · New Look

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FASHION OTWO

Adding a splash of colour and texture with these colourful buys is sure to brighten up both your mood and your wardrobe. Not only that, they’ll be kind to your purse too, since a playful scarf and some patterned gloves are wardrobe additions without huge impact on a budget. A background palette of neutrals and darks are the best way to show off your new purchases, and don’t be afraid when it comes to going wild with the patterns. The key this winter is to clash in a matching kind of way - pay no heed to those old-fashioned matching rules your mum insisted on, but make sure the patterns complement each other and ensure they aren’t all fighting for attention, so much that you wind up with a headache from just looking in the mirror. Colour blocking is another good way to approach this - make each piece a clashing colour. Try a brilliant mustard coloured scarf such as the Penneys one featured, along with a vibrant hat, jewel-coloured gloves and any other bright additions you can get your hands on. Making sure each piece is a different colour is an easy way to clash without having to worry about patterns.

Angie wears: Trousers · €29.99 · New Look T-shirt · €6 · Penney’s Men Blazer · Model’s own Tara wears: Jumper · €24.99 · New Look Red scarf · €11 · Penneys Hat · €9.99 · New Look

sas

Jacqui wears: Earmuffs · €5.99 · New Look Scarf · €12.99 · New Look

Jacqui wears: Hat · €3 · Penneys Scarf · €4 · Penneys Handwarmers · €6.99 · New Look

Stores are full to the brim with chunky cardigans and kitsch jumpers, which are perfect for layering and keeping that much-needed heat in. Fake fur is also set to be a big winter trend, particularly in the form of detachable collars such as the one shown here. These are a versatile and practical buy - they can provide a twist for a plain jacket during the day or even jazz up an evening outfit to add a touch of class to your favourite LBD. Fur has also found its way onto a multitude of scarves and hats, so if you aren’t brave enough for the drama of a fur coat or collar, stick to these more subtle nods to the trend.

So have fun with these winter buys, and throw out the rulebook.

Pile it on. Layer it up. You’ll be warm and toasty right through the season.

by Sophie Lioe

Models: Tara Fitzgerald and Jacqui Ryan Photographer: David Nowak Stylist: Sophie Lioe

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OTWO FASHION

THE ADDICTION WILL BE GLAMORISED With ‘Heroin Chic’ a trend once more, Lorraine Haigney asks if perhaps the fashion world is stretching the limits of glamorising addiction

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t is rare that the fashion industry embraces a trend as much as it did the ‘Heroin Chic’ look. During the nineties, every fashion spread and catwalk was dominated by waif-like models with washed-out skin and apathetic expressions. Calvin Klein led the way, signing Kate Moss to front their 1993 campaign. She appeared in simple and revealing outfits which showcased her protruding bones. Sets were styled with props more suited to a bedsit than a supermodels penthouse; Chloë Sevigny’s 1997 editorial in The Face saw her sitting on the floor of a poorly lit and messy bedroom next to a pile of money, looking sick, tired and strung-out.

Media commentary grew as editorials became more extreme and less subtle in their implications. Politicians, anti-drug campaigners and some fashion industry insiders slammed the trend. This negative attention, coupled with the new noughties trend for models who had curves, resulted in a decline in these types of campaigns. Many of the photographers, stylists and models who were associated with the trend entered rehabilitation facilities, some passed away. Others changed their look or brand to get work. A sun-kissed, more natural and feminine type of beauty replaced the previous pasty aesthetic.

This was epitomised in the 2002 Vogue editorial that depicted Kate Moss, once queen of ‘Heroin Chic’, heavily bronzed with blonde beach waves and without a hint of visible ribcage on show.

The type of models fronting Victoria’s Secret campaigns, such as Adrianna Lima, Tyra Banks and Gisele Bündchen, became increasingly in demand. Anna Wintour declared that Bündchen was the “model of the millennium” and Vogue cited her as a key-player in “the return of the Sexy Model”. Big, healthy hair, a golden tan and an hourglass figures became the look to aspire to. It was almost wholesome, in contrast to its aesthetic predecessor. The girl-next-door look was selling clothes and cosmetics very successfully, but there was a gap in the market for edgier campaigns with a shock factor. The fashion industry, like any other, quickly capitalised on this gap and a new, more polished method of addiction glamorisation was born.

This year, Dior’s spring lipstick collection was a rebranding and reformulation of the Addict lipstick line. The first Addict range, from the previous decade, was promoted with an image of a model grimacing. The

caption read “Lipstick To Die For...Get Hooked”. The second launch toned down the imagery but the subtext was still present. Kate Moss fronted the campaign, which showed her surrounded by couture and attending fashion shows. The tag-line ‘Be Iconic’ might not seem as irresponsible if it hadn’t been spoken by the model that had been at the forefront of the ‘Heroin Chic’ trend.

There is an almost intrinsic association between icons and addiction.

Marilyn Monroe, Edie Sedgwick, even Moss herself comes to mind when the term ‘fashion icon’ is mentioned. It’s no coincidence that these three women have more chemical abuse in common than that of peroxide.

The connection is aptly summed up in a Cleese and Palin sketch where the requirements of being an icon are listed as having a life “marked by an unusual amount of suffering...drugs, drink, sexual addiction”.

Moss also walked for Louis Vuitton at this year’s Paris Fashion Week. She stole the fetish-themed show; cigarette in hand throughout. There was a small amount of negative coverage but Moss remains on top. Of course, if being caught white-nosed in 2005 couldn’t keep her down, then it would be silly to expect one cigarette to do any harm to her career.

In early 2011, Yves St. Laurent launched their campaign for the new Belle D’Opium. The model points to the veins in her arm, throws her head back, closes her eyes and then falls to the floor. It is reminiscent of the ‘Heroin Chic’ campaigns from the previous decade, but there is one vital difference.

The model’s styling doesn’t reflect any aspect of drug-culture. Her hair is thick and bouncy, her make-up perfect and her dress red carpet appropriate.

Though drug use is simulated, the only effect shown is the high; gone are the emaciated figures, black-ringed eyes and miserable expressions that featured in every nineties campaign. The message?

That the products offer a beauty so pure that it is untouchable. Think your lipstick is long lasting? Well this one can hold up against more cigarettes than you can fit in a Chanel 2.55.

Perhaps Heroin Chic 2.0 is more dangerous than its initial incarnation.

The drug culture portrayed in the nineties was much more true to the real life addiction. That the terrible effects of drug use have been omitted from campaigns may seem like a step in the right direction. However, this omission creates a sugar-coated, glamorous picture of something that is anything but. It may have been made much easier to swallow, but it still upsets the stomach.

UCD Themed Cocktails

FOOD OTWO

Everyone enjoys a tasty cocktail, so why not celebrate your alma mater while doing so? Jon Hozier-Byrne shows you how

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ext time you’re throwing a high-brow cocktail evening in your student flat, why not consider theming that evening’s beverages around your varying faculties? Nothing goes together like drunkenness and a passing sense of college patriotism. As such, we here at Otwo have painstakingly prepared four unique cocktails to help you celebrate your disciplinary pride in liquid form.

AG SCI

SCIENCE

Antisocial Experiment This cocktail sums up the entire Science experience; the equipment, the isolation, and the fake smoke. If you’re thinking of transferring to a science degree (and who isn’t?), try this beverage out first, so you know what you’re getting yourself into. · Pour one part Bombay Saffire gin into a pyrex beaker. · Add one part Beefeater gin.

The Maple Rasher

· Add two part Gordon’s gin.

This is probably the most experimental cocktail on this list, but it is also arguably the nicest.

With bacon-infused vodka increasingly prevalent in experimental cocktails, this is a beverage for the brave and the hardy.

· Add one part Créme de Menthe for a minty flavour and suitable colouring.

· Pour two measures of bourbon to a chilled tumbler – Jim Beam is preferable. · Add a half measure of maple syrup and stir vigourously. · Add a dash of bitters. · Garnish with a maplecured rasher, with the rind dipped into the cocktail, and serve.

· Add five parts Sprite.

· At this point, the beaker should be about threequarters full. Add a single cube of dry ice for a suitably stereotypical scientific effect. · Drink alone.

QUINN

Liquid Assets ARTS

Hazelnut Despair This cocktail is for those long winter nights spent by the fire debating Kierkegaard, and provides a caffeine boost suitable for even the most exhaustive phenomenological introspections. · Finely chop a handful of hazelnuts, and mix with whipped double cream. Place a spoonful at the bottom of a champagne flute. · Slowly add two shots of espresso over the cream – pour over the back of a spoon to maintain a layered effect. · Layer a further shot of Writer’s Tears whiskey to the top of the concoction. · Serve while piping hot, garnished with a cigarette and wrapped in a pretentious scarf.

This is a cocktail that screams affluence, or at the very least, affluence of the aspiring student variety. This is a beverage to enjoy chilled, on a hot summer’s day, garnished with a smug sense of security about the future. · Run lemon juice around the the mouth of a champagne flute, and dip in sugar. · Fill with prosecco from M&S, and a ½ tablespoon of fresh lemon juice. · Garnish with legal tender, and add a ½ tablespoon of blue curaçao just before serving for a marbelled effect.

NOM NOM NOM

with Elaine Lavery

FOR THE LOVE OF CHOCOLATE Chocoholism might be going too far, but a healthy indulgence is good for you, writes Elaine Lavery

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hocolate. One word never evoked so many feelings. Rich and creamy, chocolate is an indulgent but unparalleled treat, and triggers the release of neurotransmitters such as serotonin, which make us happy. Indeed, chocolate has been said to produce similar feelings experienced by a person ‘in love’. Chocolate also goes hand-in-hand with amore, a box of chocolates traditionally being the perfect gift for a man to give a woman. As a wise man once said “life is like a box of chocolates, you never know what you are going to get.” The irony is that when the chips are down, nothing is more consoling than the wondrous luxury of eating a whole box in one sitting; the more expensive, the better.

The health benefits of dark chocolate have garnered much attention. However, once consumed in modest amounts as part of a varied diet, I believe that all chocolate is something that should be enjoyed and appreciated as you like it – be that white, milk or dark. After all, happy people live longer.

With a winter theme in mind, make this delicious cake as a Sunday lunch after dinner treat. It’s a pudding to be enjoyed, warm and with a scoop of real vanilla ice-cream. It is equally charming the next day when the caramel topping has hardened to a toffee-like consistency.

CHOCOLATE CARAMEL PLUM CAKE 280g plain flour · 185g butter 165g dark muscovado sugar · 230g caster sugar 3tbsp cocoa powder · 2tsp baking powder 3 eggs, lightly beaten · 160ml milk 6 plums stoned & halved

1. Preheat the oven to 170°C and line a loose-bottomed 25cm deep cake tin with baking parchment.

2. Put the muscovado sugar, 30g of the flour and 75g of the butter in a bowl and rub together to evenly distribute the butter.

3. In a separate bowl sift the remaining flour, cocoa powder and baking powder together.

4. In a third bowl cream the butter and caster sugar until light and fluffy. Add the eggs one by one, mixing well between each addition.

5. Add the sifted flour mixture and milk to the butter mixture and carefully mix to a combined batter.

6. Pour the cake batter into the lined tin, arrange the plum halves on top and finish by sprinkling the muscovado mixture over the top.

7. Bake for about sixty minutes, or until firm to the touch.

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OTWO TRAVEL

HIDDEN GEM KILBEGGAN DISTILLERY Nestled in the sleepy town of Kilbeggan, Maitiú Mac Seoin discovers Ireland’s oldest distillery

Clonmel, Tipperary A well-known Irish town and often the subject of mockery, Clonmel is far from a write-off, writes Rachel O’Neill

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longside the River Brosna, in the Westmeath town of Kilbeggan, hides Ireland’s oldest active distillery. Claiming over 250 years of continuous operation, the distillery produces some of the finest whiskey in the world.

The distillery itself is an odd assortment of structures, ranging from World War II era bunkers (you gotta keep the whiskey flowing!) to buildings filled with contemporary distillery equipment. Seeing the distillery in action is a special treat in this modern age.

As part of the ‘Kilbeggan Experience’ tour, you are permitted to make your way through the traditional distillery and into the current production area.

What makes this tour especially interesting is that you can see the water wheel driving every aspect of the distillery and follow an intricate series of gears and drive-shafts on the tour. You finally end up in the brewing vats where you can take a peek into the massive grain silos and see the process in action.

Along the way, there is a massive amount of historical information, not only about the distillery, but about the town of Kilbeggan and the history of Irish whiskey. The curiousminded will lap up the display of old newspapers throughout the tour.

But what trip to a distillery would be complete without actually tasting some whiskey? At the end of the ‘Kilbeggan Experience’ you are treated to a sampling of some of the finest whiskeys produced on the premises, including a mouthwatering fifteen-year-old beauty.

For those who don’t appreciate good quality whiskey, the staff offer a tasting master class, where guidance on how to properly taste whiskey and understand its complexities is given.

Finally, for those who are brave (and more than a bit foolish), you can try some raw spirit. This un-aged whiskey is clear in colour and clocks in at roughly sixty-five per cent alcohol, packing a mighty kick.

A trip to the distillery will easily fill up an afternoon - the pace of life in Kilbeggan matches the ancient water wheel in its slow, relaxed atmosphere.

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ucked away in the heart of Tipperary, Clonmel town strikes the perfect balance of old time nostalgia and (moderate) modernity. The first port of call is to address the misguided notion that Clonmel belongs to the sweeping category of ‘culchie’. Yes, it is a long way from the epicentre of Dublin, but the locals will be sure to assert that they are definite townies.

The beauty of Clonmel is that it has retained its rich culture despite the influx of commerce to the area.

A fine example is to be found in the local cinema, the Omniplex. You only have to set foot in the door to be met with a preserved portion of the town’s original boundary wall.

Family-run pubs are a prominent feature of the social scene, and local artists play gigs across a variety of venues each week. A traditional set played by the Ryan’s in Baker’s Bar every Monday evening comes highly recommended. The bar, which opened last year, has a rustic, rough and ready feel with bare stone walls

and a very intimate atmosphere. The Ryan family are the epitome of the Irish session; every member plays an instrument and seem to have a pint of Guinness permanently set in front of them. Punters are invited to join in with a sing-along, with young and old alike united in the pursuit of the night’s perfect anthem before last orders.

For those in search of a more mainstream scene you only have to cross the road to O’Keeffe’s. This is not a nightclub by any stretch of the imagination, but with three bars and late opening, you’re guaranteed to meet a diverse mix of people and an eventful night is sure to be had.

There is only one address on the cards for long lazy afternoons in Clonmel – Niamh’s Delicatessen.

With hearty soups, paninis and yummy cakes including Mars bar squares, as well as free tea and coffee refills and friendly staff, you’re invited to luxuriate in the cosy surroundings for as long as the chats require.

Hong Kong

TRAVEL OTWO

Fresh from losing his savings at the poker table, Daryl Bolger introduces us to the allure of Hong Kong

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s two politically independent countries jutting out from the Chinese mainland, Hong Kong and its neighbouring region Macau are tourists’ dreams, bustling with all the energy and excitement one would expect, but without the bureaucracy and censorship afforded to visitors across the border.

With stomachs grumbling after an arduous flight, most tourists will experience their first facet of local culture in the atmospheric restaurants of Hong Kong. All manner of dumplings, buns and noodle soups will have any stomach screaming for more. Jumbo, long a tourist favourite, is not to be missed. A four floor restaurant, it has served the best of local cuisine for generations. Every day people visit the restaurant by the boatload, an unorthodox method of travel but seeing as Jumbo is in the middle of a marina, a car might be found wanting on the journey across.

Once your stomach is full, it’s time to hop in a cab to what is possibly the world’s most idyllic tram journey; that which leaves you at the top of Hong Kong Island, known far and wide as ‘The Peak’.

From here one can see first-hand why Hong Kong harbour is voted the world’s most beautiful skyline time and time again. The twilight period, as light turns to dark, is the opportune time to visit; the city seems to glow momentarily and a vast array of skyscrapers will suddenly announce themselves before your eyes in glorious artificial light.

The locals love to gamble and there’s no better to place join them than the Happy Valley Racecourse.

Entry is the equivalent of just one euro, so it won’t leave a dent in your wallet. Surrounded by skyscrapers on one side and with the clubhouse standing at some thirteen stories on the other, it’s a site that needs to

be seen to be believed. The experience is completely different to what one would find in Ireland, and not just because of the flat racecourse.

The bookies are all state-owned and the form book is a few sheets of papers stapled together, with horses rated on a scale ranging from one thumbs up to three thumbs up - not too useful for picking a winner. It is mainly a social occasion; beer is served cold and cheap by the pitcher, McDonalds supply the food and the huge mix of locals and ex-pats are good for a chat. Otwo visited on the day of the ‘Ireland Cup’ which was especially enjoyable; Cork and Kerry accents mingled with thick Cantonese is an aural sensation which should be heard more often.

Across the road from the racecourse lie three fascinating graveyards: one Islamic, one Protestant and one Catholic. The majority of graves contained therein are close to a century old and the great number of Irish deceased is quite incredible; it is hard to walk more than twenty feet without encountering the epitaph of a Murphy from Dingle or an O’Brien from Dun Laoghaire, police officers or craftsmen from a bygone era. Despite this writer having many of his own relatives buried there, it is not something one expects to find when so far away from home, and it is an almost uplifting discovery, knowing that our nation contributed in a major way to the building of this one.

An hour-long boat journey away from Hong Kong lies Macau. Nicknamed by many as the ‘Las Vegas of Asia’, it is in fact much larger than its American cousin and is home to the world’s largest casino, the Venetian Macau. Chinese millionaires come here by the boatload to spend their thousands. Private high-stake rooms are often standing room only and the ultra-luxury brands operate a strict queuing system, with bouncers to maintain order. Low stakes risk-takers are accommodated too, nonetheless with free drink thick and plentiful even the most prudent guest will soon have their budget in the hands of the casino; just make sure you have HK$168 left for the boat home.

“the city seems to glow momentarily and a vast array of skyscrapers will suddenly announce themselves before your eyes in glorious artificial light”

11

OTWO GAMES

POWERED BY

REVIEWS BATMAN:

ARKHAM CITY Title: Batman: Arkham City Publishers: Warner Brothers Interactive Entertainment Developers: Rocksteady Studios Platform: PS3, XBox 360 The Dark Knight returns in the sequel to 2009’s Game of the Year, and moreover, the Guinness World Record holder for most critically acclaimed superhero game of all time.

Such an impressive legacy ensures that Batman: Arkham City has a huge amount to live up to. For the most part, it really does deliver. The developers have kept the engine, controls and camera work. The overall presentation is the same; you even get to keep many of the gadgets unlocked in the first game, with new and interesting gadgets introduced to overcome new obstacles, specialised foes etc.

The all-too overlooked philosophy of “if it ain’t broke, don’t fix it” is embodied here. Instead of a major re-haul, the developers have tried to expand both the world and the scope of the game, opening it up further with many more upgrades, locations, attacks, Riddler challenges, elbows to dislocate, side missions and inworld events such as assaults against the unfortunate political prisoners of Arkham City, who no doubt are forced to make a living picking up soap in Gotham’s newly founded prison city. The inclusion of the few Cat Woman story missions is a nice addition, although only available to those who buy the game first hand (those

left out may feel a bit cheated). However, this forces the buyer through the annoying process of having to download and installing the DLC from the online store, a mean little tactic employed to discourage second hand buying, which cuts the publisher and developer out of the profits.

Expanding this game into more of a free-roaming sand-box adventure has meant a slight loss in focus with regards the narrative, which doesn’t quite have the weight and engaging qualities of the first. This is perhaps due to the short screen time each super villain gets, each one feeling slightly more like a cameo than a proper confrontation. The player may find themselves longing for encounters such as that of Scarecrow from the first game, or the pervading atmosphere of lunacy provided by an omnipresent Joker watching your every move. The Joker’s overall role in this game has also been greatly diminished.

All that said, this game is another incredible achievement for Rocksteady Studios. Its game play is just as satisfying and rewarding as the first, and there are literally hundreds of challenges, side missions and trophies for the hard-core collectors to amass, and equally rewarding Easter eggs for the most die-hard of comic book fans. Rocksteady have not only created an amazing game, but have also perfected a new medium through which fans, no matter how discerning, can enjoy the Batman universe.

BATTLEFIELD 3

The latest in the Battlefield franchise is one to give Call of Duty a run for it’s money, writes Coire McCrystal Title: Battlefield 3 Publishers: Electronic Arts Developers: Digital Illusions CE Platforms: Microsoft Windows, PlayStation 3, Xbox 360 Before the days of Call of Duty’s dominance, Battlefield was long considered to be the king of militarybased online multiplayer shooters.

With online multiplayer at an alltime high on every platform, BF3 looks to prove the Battlefield series as the most dominant force on the online first person shooter scene yet again, however some of its developers’ choices are questionable. The online multiplayer has been emphasised, at the expense of what remains a mediocre campaign mode.

Bearing a resemblance to an underdeveloped Call of Duty campaign, it is abundantly clear that the campaign mode is not the main draw of this game. Instead, it serves more of a tutorial function, teaching the basics of the game for when you want to partake in online multiplayer. BF3 also included a cooperative series of objectives, which, if you consider the main campaign to be a basic tutorial, are a welcome warm-up for team play on the online circuit.

Arkham City helps to assure that modern Batman games continue in a rich vein of form, according to Andrew Hozier-Byrne

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Presentation-wise, BF3 is what you expect in a generic war shooter, however in this case you’ll be taken aback at how beautiful war can be.

In spite of this, the wooden, clichéd voice acting doesn’t help the already generic script, although the intentionally sparse music punctuates the high-pressure atmosphere exuded by the game. Gameplay is satisfyingly familiar to previous iterations of the series and is also surprisingly varied.

Mission objections are given as you proceed, and ironically thanks to the short campaign, keep from getting boring.

Teammates provide little in the way of support thanks to glitchy AI, serving more of a purpose as guides showing you where to go. Your arsenal is extensive and extremely varied. Land-based vehicles are easily controlled, however mastering the game’s aircraft is an art in itself.

Twenty-four player matches (or sixty-four in the PC version) across a host of large, albeit frustratingly smaller than the PC version maps urge and encourage you to make full use of the vehicles.

With the different game modes available there is some varied play here, though not as much as BF3’s contemporaries. A selection of four classes to choose from keeps online gameplay from becoming stagnant, yet the inability to create custom classes is a major drawback. Class upgrades come at a slow pace; make no mistake, BF3 wants be your new online shooter of choice and this dripfeed of upgrades only confirms this.

In summary, if you want a lasting single player experience, don’t pay the admission price for BF3. If you’re looking for an unmatched online experience however, you aren’t getting a bad Modern Warfare 3 rip-off, but a brilliant continuation of the series.

GAMES OTWO

(MOD)ERN GAMING

Have you ever played a game and thought you could make a better one? Then you should consider entering the world of DIY gaming, writes Steven Balbirnie

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aking a videogame doesn’t always require a big budget or a large development team. Anyone with a decent computer and the right software can make their own games; they don’t even need intricate knowledge as the required software has become increasingly user-friendly over the years. Making your own games doesn’t have to be expensive either, as the majority of software is quite reasonably priced or free.

Take for example Garry’s Mod, which retails for €9.99 on the Steam store. Developed by Garry Newman and first released in 2004, it is still updated and supported to this day. Garry’s Mod allows people to make their own games or videos (Garry’s Mod is very popular on Youtube) using content either from Valve titles or communitycreated content available through forums. What this amounts to is being able to design your own basic first-person-shooter in the style of Half-Life or Counter-Strike that you can play online with your friends. Some player-created content has even succeeded in becoming included as part of the standard Garry’s Mod package, such as the multiplayer mystery adventure Trouble in Terrorist Town.

If first-person-shooters aren’t to your taste then you could always try making your own role-playing-games. The RPG Maker series from Enterbrain have been allowing gamers to create their own adventures akin to Chrono Trigger or the early Final Fantasy games since the nineties.

The latest version, RPG Maker VX, may be a bit pricey at nearly sixty dollars, but the software includes enough features to justify the price tag.

Sufficient character, monster and scenery data is included to create a full length game, though

it’s also possible for you to incorporate your own audio and visuals. Once you’ve finished building your adventure you can then share it with your friends or distribute it online. RPG Maker VX is even of a high enough standard to create commercially viable games such as indie developer Blossomsoft’s 2008 title Eternal Eden.

The most successful game creation software however, is probably Elecbyte’s M.U.G.E.N., which has the following of a huge internet community. This is a free 2D fighting game engine first released in 1999, with the latest version having been released only this year. M.U.G.E.N. creates fighting games in the style of nighties beat-‘em-ups such as Street Fighter. You can compile your own fully customisable roster of classic or created characters that can function on the game engine’s single fighter, simultaneous team or turn-based team modes.

What really makes M.U.G.E.N remarkable however, is the sheer volume of material that it allows users to incorporate. Almost any dream match is possible for you since you can use characters created by any M.U.G.E.N. user.

This means that not only can you stage a fight between Street Fighter’s Ryu and Mortal Kombat’s Scorpion, but you can even stage a clash between Peter Griffin and Chuck Norris.

More important than the software though, is the community spirit of DIY gaming. Garry’s Mod and M.U.G.E.N. rely on users to create and share content with one another, as well as to try out each other’s creations and offer feedback.

Collaboration is a huge feature of DIY gaming, and nowhere is this more evident than in the multitude of collaborative projects that exist online. One of the most ambitious of these

projects is the sprawling space shooter Shadows of Lylat. The project is a fan sequel to Lylat Wars on the N64, probably designed to deliberately overlook how rubbish Star Fox Adventures was on the Gamecube. Shadows of Lylat runs on the Free Space Open engine, and has been worked on by a development team of over two dozen volunteers since 2003. The trailers that exist are impressive for a fan-made game, and the developers have significantly promised campaign and co-op modes as well as ‘huge multiplayer wars’. Having been in development for eight years however, one must question whether this impressive project will ever reach completion.

One collaborative fan project that does look close to completion is Advance Wars: Frontline.

Advance Wars: Frontline is a fan-made conversion mod for Command and Conquer: Red Alert 3 that replaces all units and structures with fully rendered 3D versions of the cartoony military forces from the Advance Wars series. This effectively transforms the old 2D turn-based-strategy game into a 3D real-time-strategy on maps faithfully recreated from the Advance Wars franchise.

The mod is being developed by a five-person team who have already progressed far enough to release a Beta version. It will be interesting to see if they are able to incorporate the Commanding Officer dynamic of Advance Wars, such as Grit’s double artillery range or the fact that Olaf’s units are unhindered by snow.

DIY gaming has existed for a considerable amount of time now, but with more collaboration, increasingly user-friendly software and the opportunity for profit; it can’t be too long before this becomes a more mainstream aspect of the gaming world.

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OTWO

“[THE CR IT ND R OWD] GIVE US ENER ECYCLE AND ITAB I T E C A O N MES ALM MATCH – D GIVE IGY AND WE T T ACK T AKE O A R LLY , IF YOSUT LIKE A TEB O T THAT’A HEM WILL – A NNIS S SOMET N VERY H H D ING THA A R T D I S T O THR DO UST VIDEOOSUGH MP3S OJR O LI A ARE EVXETSHOWS R ELY IMPORETM ANT”

LMF MATT GREGG IN CONVERSATION WITH

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eeting room five in the Student Centre is probably the last place you’d expect to find LMFAO. The smallest, most claustrophobic room in the building seems somewhat inadequate when you consider that this summer practically belonged to the band. From the release of ‘Party Rock Anthem’ onwards, there was no escaping the Los Angeles-based duo, as imitations of their iconic ‘shuffle’ dance moves dominated

steadily progressed from small-time performers in various Los Angeles clubs to the world-famous act they are today.

Their first hit, ‘I’m in Miami Bitch’, achieved more success as part of a bootlegged remix by DJ Inphinity, entitled ‘Bass Kick in Miami’. Nevertheless, this did not deter the pair, and their collaborations with other media sources have been key to their success. LMFAO tracks have been

Their performance at this year’s Belfast MTV EMA Awards (coupled with Justin Bieber’s shuffling appearance at their after party) has confirmed LMFAO’s position as one of most notorious acts of today. And yet, just hours after their flying visit to Belfast, LMFAO’s attempt to “turn the world into a party rock planet” led them to UCD. Initially, it is difficult to see what they are doing here. Temporarily deprived of Sky Blu

“THE PARTY ROCKERS ... WE LIKE ATTENTION” dance floors and the song reached number one in countries across the globe.

Formed in 2007, the uncle-nephew combo of DJs Redfoo (Stefan Gordy) and Sky Blu (Skyler Gordy) famously changed their name from ‘Sexy Dudes’ to LMFAO after an iChat conversation with the latter’s grandmother. Since then, they 14

sampled in various American TV shows, notably the ‘Get Crazy’ theme tune for MTV’s Jersey Shore, and they also featured in David Guetta’s 2010 summer hit, ‘Getting Over You’, before the release of their second album, Sorry for Party Rocking, in 2011, which saw the band break through in their own right.

due to a back injury suffered during their energetic EMA performance, Redfoo looks somewhat out of place. Even with the perks of the surrounding stacks of Mountain Dew and an assortment of remote-controlled cars, this is not quite the LMFAO lifestyle Otwo had expected.

OTWO

This demeanour is dispelled almost instantaneously as Redfoo reacts excitedly to the news that their UCD gig sold out in just forty minutes.

“Wow, wow, wow. Yeah, I’m excited,” he says, gesticulating wildly. “[‘Party rock’] is growing and it’s growing and especially the college type of fans are [growing] because I feel like you guys work so much and this is just your release, and you get to ‘party rock’, dress up, whether it’s the animal print or glasses, and you just come and just let it all hang out and it makes for great shows.

“An MP3 can only go so far, you know? Video can only go so far... but when you see it live and you experience the energy transformation from us to the crowd, from the crowd and back ... I mean, some shows get better just because the crowd is overly-excited,” Redfoo elaborates. “They give us energy and we take it and recycle it and give it back to them and it becomes almost like a tennis match – a rally, if you will – and that’s something that is very hard to do just through MP3s or a video so live shows are extremely important.”

This emphasis on fun and excitement is integral to everything LMFAO do, including creating their somewhat abstract ‘party rock’ genre of music. They cite a great assortment of musical influences, from Michael Jackson to Tupac Shakur and even Led Zepplin, while founder of the renowned Motown record label Berry Gordy is the pair’s father and grandfather respectively.

Redfoo feels this variation comes across well in their songs and describes ‘party rock’ as “an amusement park for music”.

“I think energy is one of the main ingredients to the LMFAO sound, to the ‘party rock’ sound,” he explains. “We always wanted to do something specific for the party and there’s a range of topics you can have for the party but the main thing is it had to rock the party, it had to get people up and dancing. It had to. We could make bluesy songs and all that stuff but, if we’re gonna make something slow, it’s gonna be some dubstep stuff that [would be] a break and we’d come back fast.”

Association with aspects of a party lifestyle, especially drinking and promiscuity, features explicitly in many of their tracks. Indeed, as far as back as 2009, the pair sought to create the ultimate drinking song and the outcome was ‘Shots!’ their collaborative track featuring Lil Jon. Similarly, Redfoo explains that LMFAO seek to “inspire the world by like sexin’ it up”, a claim anyone who has seen their latest video for ‘Sexy and I Know It’ could attest – a scantily clad Ron Jeremy and more thrusting than you could shake a stick at are particular highlights.

He doesn’t, however, see any problem with the apparent adult insinuations in LMFAO’s music.

“Our intention is to make people happy. We’re spreading fun and when you look at a video like ‘Sexy and I Know It’, you don’t think [that]. Kids wiggle, you know, from a very childish standpoint so it’s not meant to be all perverted and nasty – it’s just what happens when you wiggle ... I just feel the parents love it, the kids are wiggling at two years old and it’s all in the name of fun.”

A need for fun in any form is a recurrent theme and is, perhaps even more so than the dance moves or the music, integral in defining the LMFAO brand - particularly as they branch out and launch their own fashion range. “We gotta dress in giving the most energy so then when we walk around, we stand out. We’re the type of people that like attention so if I’m wearing something and someone says, ‘Hey! Cool pants!’ or, ‘I like your shoes’ or,

‘Are those glowing? Is that glowing in the dark?’ you know it just stimulates conversation.”

Redfoo’s attire unquestionably demands attention. The usual leopard print pants and bejewelled pumps are today augmented by what appears to be belt with a mini-zebra buckle. Pointing to it, he

“We’re in the incubation stage, you know.

We’re still on the concept board. What direction are we going to take to keep the party goin’ and yet brings new insight into lives? Who knows, maybe some of the bloops and blunders. For instance, [Sky Blu] couldn’t be here today because

“WHAT IS BEING FAMOUS LIKE? IS IT TRUE THAT YOU GET MORE GIRLS?

YES, YES YOU DO” explains “Some people will walk a dog just to get attention ... Some guys will just have a pit bull and people will go ‘Woah, that’s a scary dog’. We don’t have animals because it’s hard to take them on the plane. I have my fanny-pack ... You know and I attached Henry, my zebra, and it guards my package from the ladies, especially all these college chicks.”

In a rather surreal moment, the fanny-pack starts emitting faint music and, as Redfoo stands, the zebra begins to dance. “He dances. This is the shuffle, it’s like a gallop. He likes to gallop and he’s part of the team.” Probably the most bizarre chastity belt Otwo has ever seen.

Nevertheless, it certainly grabs attention and is befitting of a man who explains that the pursuit of fame was always the underlying motivator. “I’ve always been doing music since ’93. I went to school with will.i.am, who was the first rapper on the Black Eyed Peas’ album. I did a lot of stuff. And I woke up one morning and I said, you know, ‘What is next, you know for the Foo, for the Fooster?’ and I was doing a lotta stuff with Sky Blu, rappin’ and making songs. But it’s easy to make songs and put ‘em out and get some local attention. And I saw Paris Hilton doin’ her thing and I saw some people ... Britney Spears and … Eminem ... and I said, ‘I’ve never been famous for what I love to do’.

“What is being famous like?

Is it true that you get more girls?

Yes, yes you do,” he declares, ticking the air flamboyantly. “But it’s important to be famous and liked – that’s the toughest thing. Do you wanna know a fun fact? ‘Party Rock Anthem’: most liked video in the history of YouTube ever. Almost a million likes, or I think it’s around a million so that’s what is the most amazing thing - that you could be famous and well-liked. I think it’s the highest thing you can do in your craft.”

It would seem that LMFAO have reached something of a pinnacle of fame, and it shows no sign of letting up. With a third album already in the works and rumours abounding that a new record will mark a shift in focus, it’s very possible that their fame will only continue to grow. However, Redfoo is rather non-committal when the subject of their new direction is broached.

he wiggled his back out. We might have to release a whole song talking about how you gotta stretch because he wasn’t doing his proper stretches and he’s paying for it now. We’re still not ready for the people because they have to understand that you can always have fun and then you have an excuse.”

Though they may not be ready for the people, the ever-increasing fame is something they’re welcoming with infinitely open arms. “It depends on what you want. A lot of people say, ‘Awh man, you know you can’t walk down the street no more without people recognising you’ and I said ‘Yeah, but I’ve lived a life where I’ve walked down the street and I’m walking down the street without them recognising you. I did that.’ It’s cool, you know. It was fun ... but the point is now we have the power to really do something with the fame and that’s what we wanna do.”

FAO 15

OTWO FILM

REVIEWS Title: The Awakening Director: Nick Murphy Starring: Rebecca Hall, Dominic West, Imelda Staunton Release Date: Out Now

The Awakening

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t has been, of late, quite difficult to find a ghost successfully sustains its somewhat tried-and-tested story that isn’t based on low-resolution camera formula of sudden noises and creepy visuals. A lot footage of invisible specters playing with closed is owed to the lush look of darkened corridors and doors and swinging from ceiling-fans, their mischief charmingly antiquated ghost-catching mechanisms, seemingly arising solely out of boredom and a desire to but it is the successful performances throughout frighten dim-witted householders (Paranormal Activ- that make up for its imperfections. Rebecca Hall’s ity, take a bow). It is then of some relief that somebody (The Town) leading performance is particularly of has decided to make a good old-fashioned ghost story note. Both stoic and fragile, Hall is impressive in givwith something that vaguely resembles a budget. ing a believability to a character that at times seems a Cue The Awakening; a restrained and stylish ghost tad too assured and independent for a woman of the story set in post-World War I Britain. Not only does World War I era. Dominic West (The Wire) and Imelthe chosen time period allow for a visually sumptu- da Staunton (Harry Potter and the Deathly Hallows) are ous setting, but it is, as the opening sequence states, similarly proficient in their supporting roles. “a time for ghosts”. Filmed with a pleasingly ornate The earlier scenes are the most successful as the gloss, The Awakening is the story of Florence Cath- viewer is reeled in and caught off-guard by sporadic cart (Rebecca Hall), a successful author, famous for spooks. However, as the film rushes to its close a surge her ability to shed light on paranormal hoaxes. Her of revelations and twists accelerate the pace but ultiadeptness is put to the test by Robert Mallory (Do- mately serve to underwhelm as each disclosure adds minic West), a teacher from a boys’ boarding school to a diluting effect. On the whole it is a decent thriller; that has been rocked by the sightings of a horrifying consistently creepy and atmospheric but imperfectly ghost boy. Taking up the challenge, Cathcart goes executed. about exposing what the source of this disturbance is, only to find that she becomes increasingly in- In a Nutshell: A pleasingly old-school horror volved in the mysterious happenings. movie with impressive acting and cinematograNo, this isn’t a strikingly original premise but to its phy that falls just short of its potential. credit, The Awakening has a character of its own that

by Rob Mac Carthy

THE RUM DIARY

T

he Rum Diary has had a troubled history. Hunter S. Thompson, the generationdefining gonzo journalist, wrote the novel in the sixties, but didn’t see it published until the Fear and Loathing in Las Vegas film release in 1998.

Since then, the rights for an adaptation have been thrown around more than the term “going forward” in a politician’s speech. However, throughout all of these changeovers, there was always a key player from Fear and Loathing backing the project: Johnny Depp.

During the decade of prolonged development, it seemed that the project would be another cult film.

Thankfully for the masses, director Bruce Robinson (Withnail and I) seemed keen to make this Thompson adaptation more accessible. The result is an easy film that while enjoyable, won’t linger in your mind once the lights come up.

The story follows Peter Kemp (Johnny Depp), a journalist in Puerto Rico with a lot of free time and a penchant for “complementary” hotel miniatures. The film hops from

Title: The Rum Diary Director: Bruce Robinson Starring: Johnny Depp, Michael Rispoli, Amber Heard, Aaron Eckheart Release Date: Out Now

comedy, to romance, to Thompsonesque alcohol-fuelled antics with such frequency that it’s hard to nail down its genre. Very occasionally it raises the issue of a two-tiered society in 1960s Puerto Rico, a theme that could have been really well developed, but ends up being another

undercooked element of an ultimately dizzying movie.

While the film may lack focus, you’ll still enjoy each story line as it ebbs and flows throughout the runtime. The setting provides one of the most aesthetically pleasing landscapes on film. The excellent camera work only hammers home the beauty of this photogenic island, making it difficult not to sit back and admire some of the panning shots.

The surprise of this film is Michael Rispoli (Kick-Ass), playing Depp’s companion and partner in crime. He provides some of the best gags and grounds the film with the friendship shared between himself and Depp. Depp is charming as ever, playing a considerably mellower character than that portrayed in Fear and Loathing. The supporting cast all do an excellent job of setting up an environment where Depp can do what he does best: enjoy himself and let us all watch.

The plot, though a tad frenetic, keeps you engaged. It’s only really lacking focus in the final segment just before the credits roll.

In a Nutshell: This isn’t a must-see, but give it a chance; you’ll like it, you just won’t love it.

by Rory Crean

16

TOP 10 MANLY FILMS

FILM OTWO

MONEYBALL

THAT ARE ACTUALLY SUBTLY

HOMOEROTIC

It’s a feast of bromance and sausage fests in Dermot O’Rourke’s Top 10 this week 10. Top Gun What appears to be a movie about fighter jets, motorbikes and having sex with your hot teacher is actually an exhibition of homoerotism with a load of men singing and fist pumping their way around naval bases.

9. Top Gun I’m not finished with Top Gun. What is a supposed rivalry between Maverick (Tom Cruise) and Iceman (Val Kilmer) is, in fact, brimming with sexual tension, making Brokeback Mountain look like a tame buddy movie about hearty outdoorsmen.

8. Top Gun This is not even mentioning the volleyball scene. A truly inexplicable charade in which sweaty topless men battle it out in the “manliest” of sports for no stated reason and with no consequence. They don’t even finish the game!

Title: Moneyball Director: Bennett Miller Starring: Brad Pitt, Jonah Hill, Philip Seymour Hoffman Release Date: November 25th

M

oneyball is the latest adaptation of a Michael Lewis non-fiction novel after 2009’s The Blind Side. Lewis has found a nice niche for himself in bringing to light mundane aspects of American professional sports that end up playing an integral role in their continued evolution. With Moneyball, it’s the rise of sabermetrics and the growing importance of On Base Percentage (OBP) in baseball.

This evolution is dramatised in the stories of Billy Beane (Brad Pitt) and Peter Brand (Jonah Hill); two men leading the Oakland A’s franchise in the early 2000’s and handicapped by their limited spending power. To combat their monetary disadvantage, they devise a scheme by which they can be competitive through a stringent focus on statistics rather than on the flawed, subjectivity of traditional baseball scouting.

It’s certainly an underdog sports movie, but in a most unorthodox sense – instead of succeeding against impossible odds, Brand and Bean work solely with the odds and skewer an unfair game to their advantage.

The more emotional aspects of the film, such as the success of this team of outcasts and Beane’s relationship with his daughter are far less interesting than the cerebral elements focusing on this sporting science of ruthless economy.

In that sense, Moneyball would play far better to baseball fans with contextual knowledge rather than

to general sports fans expecting a predictable genre narrative.

Moneyball should be praised for dismissing conventional formulae, but it’s difficult to overcome the feeling that this story would work better as a documentary. Its relative dryness is all the more surprising when compared with the saccharine adaptation of The Blind Side, which largely ignored the sporting story in favour of an evangelical human interest tale.

Moneyball is certainly better for taking a less manipulative tact, but one would expect more flair from a script co-written by Aaron Sorkin.

Overall, Moneyball is a well-made picture, with solid performances from its leads, although Philip Seymour Hoffman is criminally underused as the team’s old school manager. Viewers who are not fans of the sport can expect to have the finer points of the film go over their head, but this a merely an indictment of where the filmmakers’ priorities lie – this is Oscar bait squarely aimed at an American audience.

In a Nutshell: Ever find yourself watching ESPN at ridiculously late hours? Moneyball will get you up to speed on modern baseball in between moody shots of Brad Pitt.

by George Morahan

7. Top Gun You can possibly see where this Top 10 is going now. While watching this movie you also have to ask yourself: Why do all the conversations between the men take place in a locker room or bathroom when they are semi-naked? Is there nowhere else to talk?

6. Top Gun Even the conversations when the characters are fully clothed towels are suggestive: (During the screening of a military training video) Sweaty Top Gun Pilot 1: “This gives me a hard on” Sweaty Top Gun Pilot 2: “Don’t tease me” 5. Top Gun With all the leather jackets and wearing of sunglasses indoors, you’re half expecting a spontaneous break out of George Michael’s ‘Faith’ at any moment during the film.

4. Top Gun The fighter jets in Top Gun are also noticeably phallic. It’s as if everyone is flying around in giant penises.

3. Top Gun And in one of these flying penises Maverick and his, suggestively named, “rear gunner” Goose (Anthony Edwards) are competing to be the best penis pilots in the navy.

2. Top Gun There is even an explicit mention of Maverick’s previous experimentation when Goose places a wager with Maverick to have “carnal knowledge... of a lady this time” 1. Top Gun How was Top Gun seen as the celebration of masculinity in the 1980s without anyone recognising how homoerotic it was? Well, I guess this was a time when Adam Ant was considered a ladies’ man.

OTWO TELEVISION

this is a mad man’s world

Mad Men’s influence has revealed itself in the form of three new shows, George Morahan looks into what makes the 1950s and 1960s such creatively fertile territory

Mad Men’s approach to the while subtextually siding with feminist question is manifested in the conservatism. quiet determination of Peggy Olsen The cult of Don Draper is more and The Hour’s leading woman, Bel than enough proof of that. An allRowley (as played by Romola Garai) is American male: rich, successful, far closer to Peggy than anyone from commanding, charismatic and the abovementioned shows - smart devilishly handsome, if the term and independent; Rowley has to “men want to be him and women balance her career ambitions with her want to be with him” hadn’t been journalistic integrity (she produces invented already, it would have the show’s titular current affairs been created especially for him. programme) and faces her fair share He’s an unreformed womaniser of degradation from her superiors as and a sickening coward at times, well as from a hostile government. but his ample flaws can be forgiven Creator Abi Morgan provides a more through Jon Hamm’s careernuanced portrayal of professional (l-r) Christina Ricci, Kelli defining performance. He provides womanhood in the sixties than the Garner, Karine Vanasse and the character with a sense of classic Margo Robbie of Pan Am s phenomena go, Mad Men is propaganda-lite styling of the writers masculinity that is somewhat very small indeed. The pres- for Pan Am and The Playboy Club. refreshing as it is rarely seen in film tigious US television show, While her American counterparts and television these days, with the which follows sixties advertising may be dedicated to a traditional had major episodes revolve around rise of deeply flawed men and betaexecutive Don Draper as he negoti- narrative of the sexual revolution, the Nixon/Kennedy election, males in leading roles. ates changing cultural attitudes, as Morgan explores the drab passivity Kennedy’s assassination, and the The Playboy Club’s Nick Dalton well as his treacherous personal and of a Britain in decline, still trying to Cuban Missile Crisis. The Hour is is a Draper copycat in the most professional lives, will begin its fifth acclimatise itself to the new order set in the midst of the Suez Crisis, awful sense. He’s good-looking and season in early 2012, but with an av- of the post-war world, which better Pan Am flew to Berlin to witness impeccably dressed, yet with none erage number of American viewers plays into the realities for women of Kennedy’s monumental ‘Ich bin of the intrigue or magnetism that that hovers around the two million the time than the unbridled optimism ein Berliner’ speech, and both have Hamm endows Draper with. It’s mark, it could not be labelled as a hit of America’s continuing ascent.

Cold War espionage subplots as a telling that everything the viewer in any traditional sense. However, would need to know about Dalton is 2011 has seen three new shows aprevealed in the words of supporting propriating the Mad Men template characters rather than in Dalton’s in pursuit of a commercial success actions. Eddie Cibrian (who played that the original could only dream Dalton) simply looked out of his depth of attaining. BBC’s The Hour and any time he was on camera. Dominic two American shows; Pan Am and West has more success as Hector The Playboy Club have all premiered Madden in The Hour; the character is in recent months and have the conundoubtedly indebted to Draper, but nection of being period dramas set there are enough subtle differences in the 1950s and 1960s – all waxing to make him stand out. Madden is nostalgic for a time of finely crafted much worse at compartmentalising suits, profuse smoking and great sohis public persona from the mess of cial upheaval. contradictions underneath, and this Where Mad Men follows men on manifests itself in his sometimes the losing side of history; resistant vapid and clumsy demeanour, but to a new liberalising age, all three where Draper could be seen as a new shows attempt to portray (l-r) Jon Hamm, Jessica Parré and John Slattery of Mad Men cipher, there’s clearly heart and women breaking through the ‘glass personality in Madden’s surfaceceiling’ with varying degrees of level flaws.

It could be argued that by way to quickly inject excitement subtlety and realism. Pan Am and Overall, it seems that the glamour The Playboy Club revolve around setting their shows before the large and mystery into proceedings. By and history of the post-war period, the lives of air stewardesses and majority of social change took place transporting the viewer back to rather than Mad Men itself, is what Playboy Bunnies, respectively, and plays into a sense of nostalgia (a a time when the western world attracts writers to go back to the era. bludgeon the viewer with all sorts quality Draper himself describes was on the crest of major change It’s a difficult blend of engaging plot, of pseudo-empowerment rhetoric – as “delicate, but potent” enough rather than in the aftermath memorable characters and itching at the end of Pan Am’s first episode, to evoke a deep-seated emotional of acclimatisation, writers can nostalgia that Weiner propelled the co-pilot labels the four leads response) held by elder viewers exploit their respective settings with Mad Men, but The Hour and as “natural selection at work” in the post-9/11 age, for it was a for historical context while still Pan Am have their moments and and says that “They don’t know time “when men were men” and providing a rose-tinted perspective are evidence of the Cold War as a they are a new breed of women. power was held in assuredly white on a bygone era. In short, they can period of creative fertility, one that They just had an impulse to take hands. Even as a younger viewer, it provide all the drama of a revolution, show runners are shrewdly mining. flight.” Though that may sound is very difficult to resist the appeal somewhat on the nose, at least Pan of that time. Mad Men may be Am doesn’t confuse Hugh Heffner the most stylish and aesthetically for Simone de Beauvoir as the pleasing show on television, and (l-r) Anna Chancellor, Joshua McGuire, Ben Whishaw, Romola Garai now cancelled and truly heinous it’s mostly down to the obsessive and Lisa Greenwood of The Hour Playboy Club frequently did. fetishisation of period fashion and Behind the aspirational message of detailing on the part of the series’ Pan Am, there are efforts to show creator, Matthew Weiner. An early the hypocrisies and the falsehood reviewer of Mad Men preferred to of social mobility this new breed call it a time machine rather than a of women faced, but The Playboy TV show, and such a description has Club is all bluster, weakly backed many fantastical and awe-inspiring by frivolous melodrama. For the implications.

Mad Men itself is not immune Bunnies everything is a party and the men are always on hand for to utilising twenty-first century hindsight for dramatic gain, having when things get messy.

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A

TELEVISION OTWO

FATAL FOURWAY What is the best Graham Linehan show?

The Antiques Roadshow is nowhere to be seen as the Foursome debate the best of one of Ireland’s most talented comedic writers

The IT Crowd

Black Books

Father Ted

George Morahan

Dermot O’Rourke

Jon Hozier-Byrne

Revelling in abject, endemic misery and comforted only by surrounding oneself with idiots. Yes, that is a description of the situation I find myself in after four consecutive losses in this blasted Fatal Fourway, but it also aptly sums up The IT Crowd.

Set in the decrepit dungeon of Renholm Industries’ IT Department, The IT Crowd concerns the lives of Roy, Moss and Jen and the absurdities they face in the palm of mundanity. Much like Father Ted, Big Train and Black Books before it, Crowd is somewhat outdated in its use of misunderstandings and slapstick as a source of humour, but when it’s on form it’s a home to truly inspired idiocy. The German Cannibal, Gay: the Musical, the “The thing about Arsenal is...” – all of these memorable scenes and episodes flourished from Linehan’s madcap comedy brain and provide a strange mixture of incise and surreal humour. It’s a combination that he perfected with this show.

As Richard Ayoade (Moss) and Chris O’Dowd (Roy) move on to greener pastures and Katherine Parkinson (Jen) struggles to find any room in her schedule due to all those Maltesers adverts, the show is set to end soon enough, but you can always hit up 4od for a spot of Street Countdown.

After the Antiques Roadshow’s hijacking of the last poll, normality has been restored for this round with a topic so specific that there is no possibility of another show sneaking on and taking my votes. However, this is not to degrade this week’s topic as we are celebrating Ireland’s most prolific and arguably best comedic writer of all time, but more importantly, we are celebrating his best show: Black Books.

For the uncultured among you, Black Books was a show created by Linehan and the equally brilliant Dylan Moran. Bernard Black (Moran) is a bad-tempered bookshop owner living with his infantile shop assistant Manny (Bill Bailey) in conditions that would have even the residents of Belgrove recoiling in horror. Alongside fellow delinquent Fran (Tasmin Greig), smoking, getting wasted on cheap wine and eating scrambled eggs with combs (from a boot) are all regular features of their eccentric lives.

The show’s whimsical nature takes the best parts of IT Crowd and Father Ted and throws them all together in situations that make Black Books hilarious and even a bit repulsive at times, but undoubtedly the best demonstration of Graham Linehan’s talent.

Father Ted isn’t just the best show Graham Linehan has had a golden finger in, it’s probably the best piece of Irish programming in the history of our nascient television industry.

Sure, Black Books and The IT Crowd are excellent shows in their own right, but they haven’t defined an entire culture the way Father Ted has.

Think of any Irish protest you’ve ever seen; chances are the lines “Down with this sort of thing” and “Careful now” were plastered across poorly-made placards. How often have you heard the lines “small ... far away” to mock our more intellectually challenged friends? How many Bertieera headlines ran with some play on “the money was just resting in my account”? Father Ted helped us better understand Celtic Tiger Ireland, our culture, and the diminishing role of faith. None of Graham Linehan’s other shows have had such a remarkable cultural impact.

Even without all that, however, you’ve still got one of the funniest shows ever to grace our screens, one that helped form our collective sense of humour. For a show that ran for just three years between 1995 and 1998, it has left a remarkable comedy legacy, and still holds up remarkably well. Dermot Morgan is the unlikely saviour of Irish television – address him by his proper title.

Graham Linehan is lame Aoife Valentine In the face of even a brutal poll hijacking by the Antiques Roadshow, Fade Street still managed to cruise to victory, despite being possibly the worst show ever, even by RTÉ’s standards.

It would probably even beat off any of this week’s shows if I could class it as a Graham Linehan show. Apparently only shows written by the man himself count, though. Lame.

Why is even Fade Street better than any of the shows Graham Linehan has written? Because it succeeds in making me laugh, even if it never intends to. In an effort to convince me of this man’s genius, I’ve been shown more clips from Black Books than anyone should have to endure, that is to say, I was shown two clips. Didn’t even crack a smile.

But hey, Father Ted, you say? No Ireland, you’re wrong. Especially you Jon. It’s not funny, it’s just incredibly stupid. Yes, more stupid than Fade Street, and the characters in that collectively have about two brain cells.

It’s just priests with culchie accents saying ridiculous things. So not lolz.

So that leaves The IT Crowd, and let’s face it, it may be better than Father Ted but nerds and slapstick comedy still make for some very mediocre television. Fade Street may be the ultimate guilty pleasure, but that doesn’t make it good. Graham Linehan however, still has some serious competing to do.

Go on the University Observer Facebook page and have your say; what is the best Graham Linehan show?

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OTWO OTWO MUSIC MUSIC

Antler Banter

S

ometimes an album can be bigger than the band that made it. Just listen to the Antlers’ acclaimed concept album Hospice. Its 2009 release instantly propelled the Antlers into the upper echelons of the indie world, not only garnering unequivocal critical praise, but equally earning the fawning adoration of a devoted new fan base. All of which is wonderful, except for the fact that a band doesn’t stop existing after the release of an album. Eventually that band has to pick itself up, dust itself down and attempt to write something new. So how do you go about saving yourself from being swallowed up by past latch onto. But before anything is implied about success? Simple, you write Burst Apart, the latest the Antlers’ ascension to prominence, Lerner intriguing effort from the Brooklyn band. gives us his say on the matter.

“Our basic goal was to make a record that “We defiwe were all happy with and that we would want nitely don’t to listen to. And after that you’ve really got to distance ourjust let it go and hope for the best,” says Ant- selves from it. lers drummer Michael Lerner in an upbeat yet [The Brooklyn reflective American drawl. “Like anything else scene] certainly you may have expectations, but when a band helps us creatively when we know that all that’s puts out a new record, you should listen to it on going around us all the time. I think if you’re outits own merit to see if you like it or not.” Indeed side of this area and you tack on that you’re from Michael Lerner, drummer for he has no reason not to be upbeat, since Burst New York it gives you a bit of extra cool, but then the Antlers, talks to Robert Apart’s merit has been widely acknowledged by you have to sort of back that up, so if you suck, it fans and critics alike. doesn’t help you.”

Mac Carthy about Brooklyn, “You know, the reaction has been really posiIndeed, touring with the National would seem dub and life after acclaim tive. We didn’t know what to expect, especially to be the latest affirmation that the Antlers don’t with Hospice a lot of people felt a very personal “suck”, an experience that Lerner describes enconnection and we didn’t know if they were going thusiastically as “amazto leave room in their minds to go any other place, ing. We’re massive fans “I think he has a lot of depth as a person. I don’t necessarily want him to but I think people for the most part have been re- of them and getting to change the things that he’s doing. If he’s got things making him happy and ally open and receptive.” do those shows with he starts writing good music that’s cool, if he needs to stay sad to write good The “other place” he mentions is the new ap- them was special for music that’s alright too!” he explains. proach that he and his band mates have taken on us. Every night when “We maybe get labelled as ‘that sad band’ but we’re not really like that. this ambitious record. Similarly emotive, but with they began their set I’d Peter writes what he seems to care about and from an outside perspective, as a decidedly different sonic palette, Burst Apart try to make sure that I a fan, I think he’s a great lyricist.” certainly dwells in a whole other world to its pre- would leave whatever Lerner is even coy enough to reveal a tantalising glimpse of Silberman’s decessor. Whereas Hospice was largely a Peter Sil- I was doing and run inspiration when penning the enigmatic tale of a hospice worker and patient berman (the Antlers’ vocalist) solo effort, Burst to the stage to see my that is Hospice: “It’s not Apart is a far more collaborative affair, its mix of favourite song. So I’m pure fiction; there was as any to catch the band in the flesh, particcreative ideas amounting to a rich and ambitious definitely a little fan- certainly some kernel ularly since they are so eager to reach Irish new soundscape. boy like that for them.” of truth in his life. I shores. “Every time we go to Ireland we just Lerner seems to revel in divulging his influencPleasingly for lovers think a lot of people seem to have a great time. It’s a bit odd, but es at the time of recording, giddily citing sources of their previous record can relate to having I think you guys just have some quality that’s as varied as “dub” and “nineties trip-hop”. “You and potential fanboys- fucked up relation- just sort of open.” know the overall environment of a dub record?” in-the-making, Burst ships. In that sense it Suffice it to say that it looks like our openhe begins, “it kind of sucks you in, drags you along Apart shares Hospice’s was kind of a metaphor ness will be rewarded. The Antlers have evolved with it. We were trying to get some of those quali- ornate and emotional but there was truth in “as musicians and people too,” so that now, it can ties from the music that we liked.” lyrical strength. Peter there somewhere.” be said with some certainty that they’re truly beThis category also includes fellow Brooklyn Silberman’s vocals are With a European coming as big as the albums they’re making. residents the National. The growth of the vibrant as evocative as ever tour currently underBrooklyn scene they both inhabit has proven to and Lerner is quick to way, it would seem The Antlers play The Academy on November 17th. be a fairly nifty credential for rising indie bands to acknowledge this. now is as good a time Tickets priced at €18.50. Burst Apart is out now.

20

“We maybe get labelled as ‘that sad band’ but we’re not really like that.”

DANGER! DANGER!

MUSIC OTWO

WITH THE RELEASE OF THEIR EIGHTH STUDIO ALBUM AND A CURRENT EUROPEAN TOUR,

ELECTRIC SIX FRONTMAN DICK VALENTINE TALKS TO EVAN O’QUIGLEY ABOUT THEIR ADVENTURES FROM GAY BAR TO THE PRESENT

A

nyone listening to Heartbeats and Brainwaves, the latest studio album by the Detroit rock group Electric Six, can expect the same hyper-sexuality, cynicism and humour the act made their name with. But this doesn’t mean it’s a mere rehashing of the same material, as frontman Dick Valentine states; “We use more synthesisers, more drum machines; it’s a little stickier than some of the previous albums.”

The band very much has its own unique sound, which they are very proud of.

Like all their previous work, this latest record was home-produced by their guitarist Johnny Nashinal.

Valentine explains that he sees this as an advantage. “It’s much more preferable to have it done that way, rather than having to bring in some asshole.”

To promote the latest record the sextet are in the middle of a European tour this winter, and will be playing in Dublin along the way. However, this is not the first time the band have stepped foot on our island. “We always play here around Christmas; it’s the part of the year I look forward to most.” The band prefers playing in Europe to at home in the United States for a number of reasons. This is mostly due to having a larger fanbase and generally a larger turnout at their performances than back home.

“It feels more professional in Europe, we have larger rooms, and we can actually pretend for a moment that we’re actually somebody”, Valentine tells Otwo candidly.

In fact, many of the band’s singles have charted considerably higher in European countries than on home

territory. Valentine partially relates this to the current state of popular music, which generally puts guitar bands on the backburner. “I don’t think any band is capable of cracking the US anymore, I don’t think it could actually happen,” he says disappointedly. He also chalks it up to the general differences in attitudes towards sexuality between the two continents. “In Europe it’s easier to do something more risqué, with more of a sense of humour. The United States has a long way to go before it completely shakes its puritanical layer.” However, the band’s relative

Bar that depicted George W. Bush and Tony Blair miming the lyrics was a viral hit in the early 2000’s, something which was particularly topical at the time due to the line ‘let’s start a nuclear war’ (which was removed from the radio edit of the song). Valentine was delighted with this use of their song in the internet sensation.

“With our schedule and relationships with our wives and girlfriends and stuff, sometimes there’s not enough time to do everything you want to do, so it helps when people make a video and throw it out there and goes viral”.

“No-one wants to be Electric Six, and at first that doesn’t sound so good, but there’s a market for Electric Six, and we’ve got it cornered” anonymity is not a problem for Valentine, who explains that “it’s such a big country, even when you’re a band that’s relatively small like us you can make a lot of money”.

Touring is often the time when Valentine begins the song writing process. He explains that advances in technology have made a considerable impact on how the band writes music in general, as he records phrases and lyric ideas on his iPhone constantly.

Due to previously not being able to instantly record any hook that came to Valentine, “there are probably two albums of amazing songs that I don’t know what happened to them”.

Many will remember Electric Six’s 2003 hits ‘Gay Bar’ and ‘Danger!

High Voltage’, as well a popular cover of Queen’s classic hit, ‘Radio Gaga’.

A fan-made video accompanying Gay

This has not been the only video the band have released which has attracted media attention. There was some slight controversy surrounding the accompanying video to the ‘Radio Ga Ga’ cover. It was widely interpreted at the time that Valentine, dressed as the late Freddie Mercury, was dancing on the musician’s grave. However, Valentine clarifies that this was not intentional. “It’s more like we are resurrecting Mr. Mercury for the duration of the song and his grave is the logical starting point”, as is explained on the band’s website. This was not the greatest concern of Valentine, who was more concerned that they had to release a cover song as a single. “We were just upset that we had to release a cover to begin with.

We thought we had so many better

songs we could release. But that was the record company’s decision and there’s nothing you can do.”

The band began in the 1990’s playing venues locally in their native Detroit, Michigan, home of the garage rock revival that included the White Stripes. Jack White sang on Electric Six’s ‘Danger! High Voltage’, a fact so often debated that it greatly puzzles Valentine. “I don’t know, we’ve all answered that many times. It’s funny how there are stated confirmations and people are like ‘there’s still some debate’.” Valentine tells Otwo that the answer is yes, he does sing on the track, but “go ahead and keep the debate going”.

Valentine looks forward to playing in Ireland and the many other destinations that the band will reach over the course of their tour, and remains positive about the future of the group. “Absolutely, one thing for sure is that, I don’t know any band still that is like us, that’s been as prolific. No-one wants to be Electric Six, and at first that doesn’t sound so good, but there’s a market for Electric Six, and we’ve got it cornered.” It’s not clear whether the band will ever release another ‘Gay Bar’, but they will continue making new music for the forseeable future.

In the meantime, everyone else can simply listen to the old tunes again on YouTube, synched to footage of politician’s speeches and cats falling over.

Electric Six play The Academy on the November 26th. Tickets priced at €20. Heartbeats and Brainwaves is out now.

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OTWO OTWOMUSIC MUSIC

T

hey were just babes in arms when their musical influences were at the height of their careers, but that hasn’t stopped indie foursome Yuck from making an acclaimed album with a distinct vintage sound reminiscent of the early 1990’s.

Talking to lead singer Daniel Blumberg as he travels in the back of a van around France to continue their tour in support of the band’s self-titled debut album, it becomes clear that nothing about Yuck is conventional. When quizzed about the unusual choice for a band name, Blumberg admits to Otwo that they chose it “because it’s a funny name for a band”.

He also describes how the band came to life after he met American drummer Johnny Rogoff in Israel. After hearing their sound, Rogoff decided to fly to the UK to join Blumberg and Max Bloom (Blumberg’s bandmate from his previous group Cajun Dance Party) as part of the band. With the addition of Bassist Mariko Doi from Hiroshima and the occasional backing vocal from Ilana Blumberg to the line up, the Anglo-American-Japanese band was born.

With tracks such as the infectious ‘Get Away’ dominating the indie airwaves, Yuck have had an exceptional year. Stints at SXSW and Electric Picnic over the summer have allowed the band to showcase their album to a wider audience than ever before, and they are now taking this new-found fame on a European tour stretching until the end of November, as Blumberg explains to Otwo; “The tour finishes at the end of this month and then we’ll be making music again”. Talk quickly moves to the band’s plans for a second album, which

leads Blumberg to describe his writing process.

“I don’t know if I’d call it a passion. It’s just something that I do. You can get as much joy out of it as frustration, so it must be passion.”

Developing out of the London music scene, Blumberg explains how it was a difficult process for the band to break out amongst the striking competiveness they found there. “It’s bullshit.

That competiveness isn’t anything to do with making music. It’s just not a very good environment”. The band recorded their debut album in London, in Blumberg’s home and guitarist Max Bloom’s bedroom. Blumberg notes how this was quite a challenge for the band; “There wasn’t anyone saying ‘you need to finish it’ so that was quite tricky. I guess it just took longer”. The result of this long recording process speaks for itself as the band’s debut album has an undoubted rawness and frustrated yearning, as well as confident acoustics and vibrant melodies.

Blumberg also reveals to Otwo how the band has been dealing with their newfound fame and recognition. “It’s difficult to get your head around it.

When you just start writing songs and then you’re suddenly performing them it’s a shock to the system, but there are many exciting things about playing live”. A personal high point for the band was their performance on Later... with Jools Holland in May and they can even add Mark Hoppus, singer and bassist of Blink 182 fame, to their list of fans as he has tweeted that he can’t stop listening to their album. Blumberg recalls his reaction to one of his idols praising the band’s album. “That was so funny. I used to listen to Blink 182 the whole time when I was younger. It’s really insane.”

When quizzed about the band’s grunge-driv-

Yuck!

Ahead of their Dublin show, Ciara Andrews speaks to Yuck singer Daniel Blumberg about the band’s success, influences and compliments from Mark Hoppus

“I don’t know if I’d call it a passion.

It’s just something that I do. You can get as much joy out of it as frustration, so it must be passion.”

22

en early nineties style, Blumberg denies any conscious effort to recreate the sound stating, “loads of my favourite bands are from the nineties but you can’t really identify where you draw influences from. When we started writing songs together for the first time we didn’t really have any plans. We just write it song by song, not really thinking about it and for better or for worse, our album is pretty diverse”.

It’s a diversity that is easy to spot. The impressive variety in their songs ranges from the heavy fuzz-driven riffs of ‘Rubber’ to the sweet melodic sounds of ‘Shook Down’ and ‘Stutter’, proving that those who label Yuck as simply derivative copyists couldn’t be more wrong.

Granted, they may not be the most inventive band you’ll hear this year, with their familiar sound reminiscent of late 1980’s and early 1990’s bands such as Sonic Youth and Dinosaur Jr., but the effortless appeal of Yuck’s music cannot be ignored or written off. In a year of retromania, where bands seem to draw ever more heavily from past influences and somehow still manage to sound fresh, Yuck could be the microcosm of this entire style. There may be no musical revolution here, but Yuck have the perfect amount of confidence and vibrancy to pull it off.

Yuck play the Button Factory on November 26th. Tickets priced at €15. Yuck is out now.

MUSIC OTWO

ALBUM REVIEWS Childish Gambino

Zomby

Camp B-

Nothing EP A-

For his commercial debut, actor/ screenwriter/stand-up comedian/rapper Donald Glover has produced a record as diverse and formidable as his CV. The record is seeped in discomfort about Glover’s own identity, as he tackles critics who have claimed that he isn’t ‘black enough’ to rap. With defiance and wit on ‘Backpackers’ and ‘Hold You Down’, and with tales of his youth on ‘Outside’, he shows he certainly has the talent.

Even when he’s dealing in the crude bravado of ‘Bonfire’, his super-concentrated pop culture references are solidly entertaining. The short, string-led ‘Letter Home’ is a surprisingly genuine, delicate love song, cancelled out by the grating ‘Heartbeat’, wherein Glover struggles to keep a straight face about a complicated relationship. He hits a highpoint on closer ‘That Power’, with a moving narrative about an adolescent love. For the variety of approaches he employs, it’s an endearingly consistent record.

Dubstep producer Zomby already has Today I Realised I Could Go Home two albums to his credit, which differ Backwards is the debut album from greatly in style from one another. His the Dublin-based band We Cut Corners first offering, Where were U in ’92 and it is a welcome addition to the Irish was a glorious nostalgia trip through alternative music scene. Sonically, the nineties acid house, while the follow up duo are nestled somewhere amongst varialbum, Dedication, was more downous bands, including The Clash, LCD beat, ambient, and reminiscent of Burial. Soundsystem and The Shins.

Zomby’s latest EP, Nothing, The songwriting duties are evenly functions as a bridge between these two shared between both members and divergent works. Nothing combines the this diversity comes across in the style of ’92 with the mood of Dedicaalbum. Quick changes in tempo tion. The opening track, ‘Labyrinth’, and time signature are ubiquitous. is a triumphant return to the rave Comparisons with The White Stripes stylings of Zomby’s first album. ‘Digital are there to be made, but that would Fractal’ and ‘Equinox’ bear more of be doing this band a disservice. They a similarity to Dedication, using manage to achieve a complete sound chiptunes to create tracks that sound that wouldn’t be described as minilike a sombre version of Crystal Castles. malist. The frantic and atmospheric ‘Sens’ features some high quality drum ‘Toll Free’ is tempered by the sweet, n’ bass, while ‘It was all a dream’ has melancholic ‘Dumb Blonde’. While an ethereal, hypnotic style. The tracks this is perhaps not yet the full article, here may be short but they leave you it certainly is promising for Irish wanting more. music.

For the past three decades Kate Bush has been one of the most successful and inventive female recording artists in Britain. This festively-named album is her tenth studio effort.

While the intense and slightly melancholic melodies are reminiscent of her 2005 album Aerial, it unfortunately abandons the upbeat tempo of its predecessor while still holding on to the grating four minute instrumental solos.

However the album’s slow moving songs are lifted by the few power ballads that could certainly make it on to this year’s Christmas karaoke list, particularly ‘Snowed in at Wheeler St’.

The six minute intros may be tedious, but once over these initial hurdles the songs possess a gentle Enya-esque quality with the occasional touch of soft rock. It’s an experimental work that, despite the occasionally bizarre spoken lyrics, tedious length and a decidedly unfestive atmosphere, could be worse for an artist on her tenth album.

In a Nutshell: A strong showing from a unique voice in rap.

In a Nutshell: Anyone who truly loves dance music should adore this.

by Steven Balbirnie

In a Nutshell: Requires commitment. A bit too much commitment.

by Niamh Murphy

by Cormac Duffy

Snow Patrol Fallen Empires B+

We Cut Corners Today I Realised I Could Go Home Backwards

B

In a Nutshell: A promising introduction.

by Michael O’Sullivan

Fallen Empires is the sixth studio release from Northern Irish soft-rock titans, Snow Patrol, and sees the band turn their hand to an unashamed style of love song, filled with orchestral majesty.

Gary Lightbody’s lyrics evoke memories of Final Straw, with words intended to have a healing power.

Tracks like ‘New York’ aim to move the listener emotionally and are helped by the band’s experimentation with new instruments such as the melodica, the celesta and the sweet flowing mellotron flute.

Kate Bush 50 Songs About Snow D+

With each track, a new instrument and a new quality is discovered. Many distinctive characteristics present themselves, varying from electric sound effects in ‘I’ll Never Let Go’ to classic piano in ‘The President’.

With its lush instrumentation and use of choirs, it’s a memorable album that optimistically reminds us of the best in love and life.

In a Nutshell: A great, moving album.

by Maggie Rek 23

OTWO MUSIC

THE DUFFINGTON POST With the MTV European Music Awards having packed up and left Belfast, Cormac Duffy looks back on the annual feast of cringe and confusion The most absurd, and hence my favourite, music anecdote of the year so far was Justin Vernon of Bon Iver’s anti-VMAs diatribe. Seemingly dewy-eyed with nostalgia for a time when MTV wasn’t an advert for fake tan and teenage pregnancy, he lambasted the annual headline-generator for failing to live up to its potential as an authentic event. That’s all well and good, but I’m surprised that he, or anyone, actually cared. I never thought that anything MTV produced these days held any worth. Let’s face it, the company has reached the point where they had to launch MTV Music earlier this year to seem relevant. That’s right folks, Music Television Music, one of the worst recorded cases of RAS Syndrome (Redundant Acronym Syndrome Syndrome).

To see what all the fuss was about, I decided to sit down and watch the MTV European Music Awards this week, and let me tell you, it was certainly an experience. Honestly, it meant little to me, and confused me to no end.

The bobble-headed hostess, Selena Gomez, is apparently some sort of children’s TV star whose boyfriend may or may not have impregnated a fan during a half-minute backstage tryst. Riveting stuff.

Most of her ‘humorous sketches’ were just plain odd.

One involved her in conversation with her strange ghetto alter ego, which would have been offensive had it made any sense. Another about her accidentally smashing Chris Martin’s guitar backstage was funny, but only in the sense that I hate Chris Martin, and like imagining things he cares about breaking.

Introducing yet another tribute to the late Amy Winehouse, Jessie J thought it fitting to say that she would have never ended up in the music business were it not for Amy. That is most likely the biggest insult you’ll hear that isn’t in an epitaph for a deposed dictator. She continued by linking the late soul diva to several war crimes, Lulu and the cancellation of Firefly.

But as always, the performances were the clear low point. Between the four of them, the Red Hot Chili Peppers still don’t wear enough clothes for one man their age. Their performance was an interlude of mindless, moustachioed masculinity that only left me pondering what a lyric like “Tugboat Sheila is into memorabilia” could mean in any existing system of semantics.

Yet for all this, plus all the shocking Irish jokes (“Something something ginger, something something craic”, cue laugh track), the centrepiece had to be the omnipresent Lady Gaga, a continuous bane in my existence.

While it would be solipsistic to assume I’m the only one with the sentiment, I do feel very alone in my incredulity when I see how seriously she’s taken. It’s kind of like I’m the kid in The Emperor’s New Clothes, except instead of being nude, the emperor is wearing a satellite-sombrero hybrid mask, a Ferrero Rocher wrapper dress, and singing terrible Europop on top of a model of the moon. I mean sure, all the greats have had ridiculous stage shows at some point, but Ms Germanotta professes to not using drugs. What’s her 24 excuse then?

MIXTAPE WALK OF SHAME/ STRIDE OF PRIDE ANTHEMS

Whether the night before contained the good, the bad, or even the ugly, Lorraine Haigney offers you the soundtrack to the morning after Katrina and the Waves – ‘Walking on Sunshine’ Your friends aren’t organised enough to send you a “Congratulations on Ending Your Dry Spell” card, but it doesn’t matter, you’ve got this one full blast to add some class to the situation. You’ve got reasonable taste in music and now, a healthy sex life.

Well done.

Blondie – ‘Call Me’ You’re barely out of the Roebuck gates and you’re already planning your next tryst. Feeling nervous about being the first to text? Don’t be; let Blondie knock that right out of you.

The Zombies – ‘I Want Her, She Wants Me’ The Zombies, possibly one of the sixties’ most underrated rock bands, have made the perfect song for the moment you realise that you’re not in the dreaded Friend Zone.

Soko – ‘My Wet Dreams’ You didn’t bring anyone home, so what? You’re still entitled to have a spring in your step. Soko might say she feels “like a whore” after each dream, but she never says that’s a bad thing.

The Beatles – ‘Please Please Me’ You tried your best, even broke out the freaky shit you learned from last month’s Cosmo. What did you get in return? A half slice of toast and a peck on the cheek before you left.

The Smiths – ‘Hand in Glove’ This kicks off with some of the most romantic lyrics you’ll ever hear, very fitting while you’re still on a high from the previous night. There’s a shift into pessimism in later verses, much like you will in the lifetime that is the wait for the return of a Facebook poke.

The Velvet Underground & Nico – ‘Femme Fatale’ Your tan is streaky, the heel is missing from one shoe and you only have half of the hair extensions that you put in before you hit the town. Nico’s cool vocal and the gentle guitar strumming will have you feeling like the femme fatale that you truly are.

Dinah Washington – ‘What a Difference a Day Makes’ To change this song from the celebration of new found love it is to the anthem of regret it should be, simply change ‘Day’ to a ‘layer of makeup’, ‘eight pints’ or ‘the lighting in the smoking area’.

The Pussycat Dolls – ‘Buttons’ Your new squeeze seemed to have the best intentions in the back of the taxi but, at home, they’re frontin’ and frontin’ hard. Take comfort in the knowledge that even Nicole Scherzinger has difficulty getting her bit, once in a while.

Busted – ‘Fake’ Your partner’s poor acting ability has left you wondering if you’re as skilled as you thought you were. Don’t sweat it too much; relationships are a winter sport and you’ve got at least three months to step your game up.

Transport yourself back to the simpler pop-punk days of your youth with this Busted classic.

Nancy Sinatra – ‘Sugar Town’ Your behaviour may have been slightly out of character. You don’t regret it, but feel like it might take more than one shower before you’re back to your old self. Sinatra’s candy-sweet vocals and the silly pop-typical lyrics will restore your innocence as much as a whole bottle of Imperial Leather.

MUSIC OTWO

Show Patrol November 15th

Duke Special – The Sugar Club – 7:30pm – €20.50

November 16th Scroobius Pip – Whelan’s – 8pm – €17.35

November 17th

Gig of the Fortnight

Foster the People November 28th – Olympia Theatre – 7pm – €19 After the release of their much-lauded debut album earlier in the year, Foster the People, fronted by ex-jingle writer Mark Foster, have enjoyed considerable success.

‘Pumped Up Kicks’ very quickly ascended to single-of-the-summer status, and after their fantastic show on a sunny Friday evening at Electric Picnic back in September, the band returns to Ireland at the end of the month.

The gig, originally sold out and then moved to the Olympia, promises to be a jolly affair – the band’s sparkling tunes will challenge even the most stalwart chorophobe to shake a limb or two.

If you manage to get your hands on a ticket before the 28th, do not pass it up.

Gillian Welch – Grand Canal Theatre – 8pm – €29.50 The Antlers – The Academy – 7pm – €16.45

November 18th

Mariachi El Bronx – The Workman’s Club – 8pm – €17 Dutch Uncles – Academy 2 – 7:30pm – €10

November 19th

William Elliot Whitmore – The Sugar Club – 8pm – €18.50 The Field – The Twisted Pepper – 8pm – €17.35

November 20th

Chase & Status – The Academy – 7pm – €25 Cults – The Grand Social – 8pm – €15.35 The Necks – Whelan’s – 8pm – €19.10

November 21st

Vintage Trouble – Academy 2 – 7pm – €13

November 22nd Lonely, Dear – The Sugar Club – 8:30pm

– €16

November 24th

Dervish – The Button Factory – 8pm – €15

November 25th

Rihanna – The O2 – 6:30pm – €55-€70 Delorentos – The Unitarian Church – 8pm – €15 We Cut Corners – Crawdaddy – 8pm – €8

November 26th

Kasabian – The O2 – 6:30pm – €33.50 Electric Six – The Academy – 7pm – €20 Yuck – The Button Factory – 7:30pm – €15

November 27th

Thurston Moore – The Button Factory – 8:30pm – €20

November 28th Foster the People – Olympia Theatre – 7pm – €19

by Ethan Troy-Barnes

25

OTWO

The gift of the gab Mario Rosenstock of Gift Grub fame chats with David Moloney about his not-so-stereotypical childhood and being labelled as an impersonator

M

ario Rosenstock from Gift Grub is a cautious man; seconds after answering the phone call from Otwo, he quickly seeks to establish our credentials. After being satisfied with our vague and somewhat inaccurate responses to his pseudo-interrogation, Rosenstock gives the all-clear for the interview to proceed. Perhaps as mysterious as he is cautious, for a man who has been in the public eye (or should that be ear?) for over ten years, there has been very little discussion about his background and how exactly he managed to become a comedy staple in the Irish entertainment sector.

Armed with pointed questions and a blunt pencil, Otwo was ready to paint him as the clichéd comedian; a class clown who was never really enjoyed school, but Rosenstock assures us that this was not the case. He “started doing voices around age five. It was a good way of getting attention from my folks really. You know if your folks were having an argument in the room and you’re a kid it’s very difficult to get their attention? So I started getting my dad’s attention by doing an impression of him, acting the way he was standing up or the way he puts 26

his hands in his pocket. That was probably when I started doing it first but I never was really a joker in class.

I never used to do the teachers or anything like that. It was mainly my friends and family who I used to do.”

So Rosenstock wasn’t the typical child comedian, but surely he must have been arty or in to acting when he was younger? Again, our naiveté is galling.

He was “sporty and was really into football and tennis, I played a lot of tennis up until the age of fifteen” and it was at this age that his life’s focus changed and he finally began to fit into Otwo’s preconceptions. It was when Rosenstock moved to boarding school in Cork that he was “mesmerised by the sight of the school stage and was completely captivated by the whole thing and started doing

school plays”.

It was during these school plays that Rosenstock decided that he wanted to go to college to take up acting, but due to some peculiar rules in Trinity College at the time, it wasn’t as simple as one would imagine. He told us “I didn’t do the acting course in Trinity because I learned that if

a situation experienced by many aspiring actors; with a lot of time spent waiting by the phone almost willing it to ring. He acted in various plays around the city and also played a doctor in Glenroe, but his big break came when he was living with two “Kiwis” who were working in radio and overheard him doing his voices around the house. They invited him in to the station and got him to do a few samples of his voices for the show’s producers.

Then along came Ian Dempsey from Today FM and the rest is public history. Having spent so long working in the area of comedy, to such an extent that he was awarded the ‘Annual PPI Radio ‘Outstanding Achievement’ Award’, Otwo was curious as to what gems of wisdom we could steal from Rosenstock and pass off as our own at a later date.

Firstly, Rosenstock disagrees with the term ‘impersonator’ being used to describe him because impersonators, to him, are “like one of those guys, like the David Beckham impersonators, they get out of the car and they have blond hair and people go ‘there’s a David Beckham impersonator’”.

He admits that this is part of what he does but is quick to point out that “you have to perform, act, write, invent things to say and be funny” in his position. What he aims to do is to “try to say what everybody might be thinking in the back of their head but they haven’t realised it yet and that you try to paint an audio picture that shines a little light of truth on something.”

While speaking about the effectiveness of his satire in changing people’s opinions, as his mimicry tends to endear his subjects to the public as opposed to turning opinion against them, Rosenstock claims that he is not unique in that respect.

He states that “there has never been any outrage at any satire”, adding that the images painted of Thatcher and Haughey by Spitting Image didn’t make any such difference either.

When challenged on his satirising of Bertie Ahern, Rosenstock admits that he could have been a lot harder on him, but says that there was no appetite for it among the public at the time because life was good and the repetition would have been boring for people to listen to. From the efficiency of his replies, Otwo gets the feeling that it is a topic he has had to deal with before.

In a desperate bid return to his good books, Otwo finishes the interview with two silly and semi-sycophantic questions; what is his favourite gift and what is his favourite grub?

Flowers (Roses-if-in-stock), and chocolate cake he replies, just in case you’re thinking of sending him inappropriate gifts or enticing him to dine with you.

“I never was really a joker in class. I never used to do the teachers or anything like that. It was mainly my friends and family who I used to do.” you did the acting course you couldn’t do Trinity Players, and that was what everyone wanted to do because it was the really famous thing. I thought it was weird so I did Politics and Economics instead and basically spent my four years acting”.

While acting with Trinity Players he acted with Dominic West, now famous for his role as Jimmy McNulty in the American television series The Wire, in many plays. The pair were even in a car crash together, where, thankfully, noone was hurt. After college he found himself in

Gift Grub Live 2 runs at the Olympia Theatre from November 14th to 24th. Tickets are priced from €35.70.

O’HANLON WITH CARE

OTWO OTWO

One of Ireland’s most recognisable comedy faces, Ardal O’Hanlon talks to Jon Hozier-Byrne about life after Dougal and how he saved Irish stand up

I

t’s very early for Ardal O’Hanlon, his voice harsh, almost caustic; “It’s very early for me, on a Saturday.” Having stirred him from his well-earned sleep to talk to us, Otwo begins with the easy questions; as the founder of the International Comedy Cellar, what does he feel is his legacy to Irish comedy? O’Hanlon seems surprised, but immediately shakes the dust off his voice, and responds with profound excitement; “Myself and three other fellas – Barry Murphy, Kevin Gildea, Dermot Carmody – we were a sketch troupe at the time called Mr. Trellis. Yeah, we just stumbled upon that room really, we used to go and see bands in there and we just though that was a suitable sized room to try and kick-start some kind of comedy scene.”

Although quick to downplay the impact he may have had, the impact of O’Hanlon and the Inter is self evident – the small, dank space on Wicklow Street has proven itself an incubator of legendary comics, effectively igniti n g the al-

ternative comedy scene of the nineties, and changing the nature of Irish stand up completely. “I don’t know what compelled us to do it.

It just seemed to me to be a bit of a gap there. There was the old school type of comedy, and there wasn’t even very much of that. It was so rare – you’d see Jury’s Irish Cabaret, and that was one strand of Irish comedy, there was the Niall Toibin style of storytelling, but again, that was a very lonely road for him, I imagine. You had the Hal Roach type stuff and you had Dermot Morgan, but again, that was very maverick, and he was kind of a one-off in his own way.

“We were very drawn to what was going on in England at the time, t h e

whole alternative comedy wave, which was very exciting. It was ordinary blokes doing stuff, and people without any discernable talent were able to just stand up there, shuffle on stage, and just start talking.”

Soon after the introduction of the Comedy Cellar and the oft-forgotten but considerable influence of Mr. Trellis was felt, the Irish comedy scene changed unrecognisably, as the Irish alternative comedy movement of the likes of Jason Byrne, Dylan Moran and Tommy Tiernan made their names known; “We didn’t really see a great future in it for a start – we were novices at this.

We had no experience, we had no expectations, unlike contemporary Ireland; we didn’t grow up, people generally didn’t grow up with any great expectations about themselves or their future ... To some degree, a certain type of ethos emerged from that, and definitely an idiosyncratic style emerged from that. We were into a ‘purism’. I don’t mean that in a po-faced way; it was all about the jokes and being original. We never really had a manifesto, but it was unspoken – you had to be original, you had to try and be very, very different. It was always a slightly surreal style, slightly absurdist, maybe inspired by our literary heritage, the Flann O’Briens, the Samuel Beckett stuff.”

After being instrumental in the revolution of Irish comedy, O’Hanlon was quickly noticed

by Graham Linehan as a remarkable talent, and was cast in the career-defining role of Father Dougal Maguire. The excitement in O’Hanlon’s voice dullens somewhat when the Graham Linehan masterwork is brought up - his character became so iconic that he has found it a difficult identity to escape from; “Certainly in the past, people maybe only associated me with Father Dougal. It took time to get over that hump. It probably took more time for me to get over it than the audience in some ways – I was conscious that people

were there because they knew Father Ted and they liked Father Ted. It was always incumbant on me to do my best in terms of performance and in terms of content to just crash through that, to assert myself as a stand up ... It’s not that I’m not proud of it, it’s just the day that Father Ted finished was the day I left it behind.”

Since Father Ted, O’Hanlon has had a diverse career including making documentaries, acting roles in the likes of Skins and Doctor Who, acclaimed work in the theatre, and even turning his hand to writing a novel, The Talk of the Town. His most recent domestic television role, Val Falvey, TD, saw him playing the role of a cack-handed local representative inheriting the political legacy of his father – a role with more than a few similiarities to his own life, and his father, Rory O’Hanlon, TD. “It felt a bit weird, and a bit wrong. It just felt like a misguided thing to do in some ways. It was great fun to do in lots of other ways, but it was probably a bit close to home for my family.

I never had any interest in politics myself, apart from being a normal person interested in the issues of the day, but never interested in the whole politic machinations or party politics.”

For now, O’Hanlon is excited to be returning his first love; “Every time you stand on stage you have to give it everything for the hour you’re up there, and just throw everything you’ve got into it – you get a lot out of it that way. The enduring attraction of stand up is that it’s so immediate. It is a great way of making sense of the world. While I enjoy going off to act and I love the sociability of that, whether it’s a TV show or a theatrical show, you keep coming back to stand up because it’s got that immediacy. If you think of something that day, you can do it that evening. It’s great, it’s exciting ... It’s important.”

Ardal O’Hanlon will play the Student Bar on the 23rd of November, with support from Foil, Arms and Hog. Doors at 7pm. Tickets priced at 6 euro for Comedy Soc members, 8 euro for non-members. Tickets are on sale now.

27

OTWO WHO WOULD WIN IN A FIGHT BETWEEN LIBROCOP AND A BEAR?

ORDINARY LEVEL

“I’m going to have to go with Librocop… I don’t know, it’s his presence isn’t it? A very astounding presence.”

Siobhain McCullough 2nd year, Modern languages

“Definitely the Librocop because he always sees me talking and he hates me.

He’s a menace.”

Faye Rowland 2nd year, Law with Economics

“Bears are pretty hefty but I hear that Librocop breathes fire so definitely Librocop.”

Matthew Healy 1st year, Economics

“Librocop beats them all in a library. Black Bear in a Russian forest ... I’m not sure. That’s not that dissimilar to a library; there is lots of wood not dissimilar to shelves.

Could be tight.”

“Oh the bear, paws down, the bear.”

Ger McEnry 1st year, Arts

Paul Devine 3rd year, Business and Law

28

by Niamh Murphy