Vol. XXIII - Issue 8 - OTwo

OTwo Volume XXIII, Issue 8

The Cycles Issue

OTwo//cycles

contents Regulars

Travel

2

Food

5

Games

6 Creative Writing

Film&TV

8

10

newton Faulkner

Music

16

14 Fashion

20

Arts&Lit

letter from the editOrs

24

Fatal Fourway Aperture

28

31

32

OTwo Credits Editor Roisin Guyett-Nicholson Deputy Editor Martin Healy OTwo Co-Editors Seán Hayes David Monaghan Staff Writers Ause Abdelhaq Shane Cullen Orla Keaveney Adam Lawler Siobhan Mearon Lucy Mortell

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Art & Design Editor Louise Flanagan Chief of Photography Camille Lombard Food & Drink Editor Rachel Gaffney Fashion Editor Katie Devlin OTwo Contributors Danielle Bertolini Daniel Boland Bárbara Borges Charlie Childs

Music Editor Creative Writing Editor Luke Sharkey Chiamaka Amadi Games Editor Online OTwo Editor Aaron Poole Melissa Ridge Film & TV Editor Owen Steinberger Arts & Literature Editor Ezra Maloney Claudia Dalby Katie Lalwani Cian Montague Mystic Mittens

Conor O’Boyle Dylan O’Neill Niamh O’Regan

Photo CredIt : CaMIlle loMbard

And now, the end is near…

HELLO friends, and welcome to the final issue of OTwo for Volume XXIII. It’s been a heck of an adventure: articles were written, deadlines were met and unmet, hearts were broken, and friendships were forged in tea (here’s looking at you, Niamh!)

It’s very fitting that the theme we are playing with this issue is cycles. Everything is a copy of a copy of a copy, to quote a certain Tyler Durden (we still can’t tell if Fight Club is trash, or a genuine masterpiece). We think it’s a fairly accurate little quote though: every artistic movement repurposes or reels against what has come before, and even in the pages of OTwo we examine and re-examine topics from differing viewpoints. Soon this cycle will be over, and come September, you will be treated to new section editors, and we (that is us: David and Seán) will join previous editors in that great big newspaper office in the sky.

So before we depart, we would like to say a few words of thanks to all those who made this cycle of OTwo exceptionally special.

Rachel, thank you so much for keeping the Food section up to standard. We’ve enjoyed your dedication to promoting some of the lesser known restaurants in Dublin and keeping us informed of some of the best eats in town.

Aaron, thank you for hands-on approach to Games reportage by going to Irish gaming events. It was new, and very, very welcome.

Owen, thank you so much for being a dedicated editor, for being a fair in your judgement of articles, and for emphasising the importance of intersectionality in Film and TV. It is a medium for everyone, after all.

Chiamaka, thank you for bringing the home-grown talent of UCD to the fore in Creative Writing, and for emphasising a plethora of themes and issues.

Luke, thank you so much to introducing us to some great Dublin-based, up-and-coming music. My Spotify playlists have expanded greatly due to your expertise.

Katie, thank you so much for stepping up, staying organised, presenting interesting ideas for articles, and organising some very inspired Fashion shoots. You even made some of the ugly mugs in our office space seem presentable.

Ezra, thank you for your dedication to Arts and Literature, and for discussing the importance of artistic expression in youth (it is a time, after all, when most people are forging their identity).

Thank you Martin and Roisin for keeping us in check, Louise, for making OTwo the very modern-looking and beautiful magazine it has been all year, and Camille, for the many fantastic photos, like the one you seen above.

And finally, a big thank you to you, our readers. Without you, there would be absolutely no point in doing what we do.

Now it is time to bring this particular cycle to a close, but do not weep: OTwo will be back next year to bring you the best in Arts and Culture reportage.

Adieu, Seán and David x

OTwo//cycles

Soapbox:

Public Transport

MYSTIC MITTENS ARIES

LIBRA

Twenty minutes past four this Thursday may be the only thing you’ve ever been on time for in your life.

Next time, make sure you realise what’s actually being passed around. Who passes around cigarettes? Now that’s just scaldy.

TAURUS

SCORPIO

You did not get a good deal. You just bought a very expensive bag of oregano.

At least tomorrow’s lunch will be delicious.

It’s hard to be naked and baked without wondering why those two words don’t rhyme.

GEMINI

Mittens foresees you constructing a tin foil hat before the end of the week. Make sure you stock up on extra Hobnobs.

People will ask you where you got your weed from because of your red eyes. You’re not high; you’ve just been crying outside the library for the last hour. Buy some contact lenses ASAP.

CANCER Why is it called a building if it’s already built? Why doesn’t glue stick to the inside of the bottle? If you’re waiting for the waiter, aren’t you the waiter? Keep these in mind this week.

LEO When you can start smelling the song you’re listening to, it might be time to give it a rest.

VIRGO If only your GPA could smoke weed and get as high as you were for most of the semester. For variety, Mittens recommends sniffing glue.

SAGITTARIUS

CAPRICORN You are more likely to text your dealer than your significant other. Good to see you have your priorities sorted.

AQUARIUS Your pick-up line this Thursday on Tinder -- “what kind of grinder are you using, because you’re extra fine,” will still not result in any matches. Ironically it will go down a treat on Grindr.

PISCES A friend with weed is a friend indeed.

Certainly a friend who splits half a pill with you. Mittens applauds charity when it works out for yourself.

WHETHER it’s getting to work, school or college, or marking the end of the week with a pilgrimage from Dublin to Not Dublin and back again, everyday people are faced with a Herculean task, embarking on a perilous journey which makes Frodo and the gang’s epic quest look like a walk in the park.

The first step on our hero’s quest is to successfully catch your desired transportation method. For those catching the bus, naturally as you wait to cross the road, three of your desired busses will all come at once leaving you waiting for another. Luckily for you, there is a handy display bearing a random assortment of numbers indicating your wait time. Long after the hairs on your head have turned grey, eventually off in the far distance, a blue and yellow speck comes into view.

The battle is not over yet my friend. After your desired form of transport arrives, a savage battle royale ensues between you and those getting off. If you manage to make it onto the vehicle in one piece, it is time to find a seat. Asking someone to move their bag is a capital offence, but then there’s the dreaded manspreaders. It should be required by law for these insufferable beings to be segregated from the general public, with lines of seats just for them. No more squishing innocents in the path of their spanning legs.

But of course, sitting down is a luxury few can attain, especially during the rush hour.

To remain standing on public transport is a fine skill in which to achieve a mastery in takes decades of practice. With Formula 1 drivers at the helm, you better hope you’re not trying to make your way down the stairs when you hit a stop.

By far the biggest problem with public transport is the public part. To be bundled in together with other humans, for many of whom basic manners are a foreign concept, is uncomfortable to say the least.

There are of course the classics: the person who doesn’t know what a shower is – perfect company in an enclosed space of course – the woman heartily sneezing and coughing throughout the journey, ensuring by the end, you will have caught everything from the common cold to the bubonic plague. Forget any attempt to catch forty winks.

Then there are those unspeakables who break the golden rule – attempting to get you to engage in small talk. After some time, you realise you can no longer ignore them. There is no escape and before you know it, you’ve told them your whole life story.

After a tormenting age, your destination is finally in sight. You squeeze past the barrage of people, now so close to your goal. You engage once more in a bloodbath with the swarms of people trying to get on. Reaching towards the light, before you know it, sweet freedom is yours.

The journey still haunts you long afterwards as you remind yourself that you fork out €200 a month for the pleasure and will have to endure it all again tomorrow.

Words: Katie Lalwani

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OTwo//Perspectives

A r t s a n d C u lt u r e – News and Events Martin Healy One City, One Book: Joe Joyce and Lar Joye Launched a couple of years ago by Dublin City Public Libraries, the ‘Dublin: One City One Book Festival’ has advertised one book every April for the whole city to read together. This year’s book is Echoland, written by Joe Joyce and is set during the “Emergency”, the name used in Ireland for the Second World War at the time.

The National Museum of Ireland will host Joe Joyce on the 23rd of April. Hosted by Lar Joye, the curator of Military History at the museum, the two will discuss the book, the Emergency, and what life would have been like living in a barracks as a young army recruit.

The event will take place from 3pm to 4pm, and booking is required.

Live Collision International Festival 2017 The Live Collision International Festival is set to return for another year of unorthodox and alternative art and performance. The festival is taking place from the 19th of April to the 23rd. Taking place in the Project Arts Centre in Temple Bar, the festival will see a number of performances, screenings, and workshops.

The main event of the festival sees legendary American performance troupe Split Britches perform a medley of their iconic performances, which range all the way back to 1980. Entitled RETRO(PER)SPECTIVE, the performance will take place on Saturday, the 22nd of April at 8pm.

Tickets are €16. A variety of other artists will be in attendance such as Amanda Coogan and Megan Kennedy. Visit livecollison.com for the full programme of events.

Intimate Lighting: The Czech New Wave The Eustace Street hub of Irish cinema, the IFI, has been showing highlights from the cinematic output of the Czech New Wave. Inspired by the La Nouvelle Vague that boomed in France throughout the 1960s, the Czech brand of New Wave arrived during a period of relative political liberalisation in Czechoslovakia during the 1960s, though it came to a harsh end with the Prague Spring in 1968.

One of the highlights of the movement is Closely Watched Trains. Directed by Jirí Menzel, the coming-of-age classic will be shown at 8pm on Sunday, the 23rd of April.

Other highlights include Miloš Forman’s comedy The Firemen’s Ball (2pm; Saturday the 29th) and Juraj Herz’s The Cremator (2pm; Sunday the 30th). Visit ifi.ie for more information.

National Theatre Live: Rosencrantz and Guildenstern Are Dead National Theatre Live has been broadcasting live plays direct from London’s West End in Irish cinemas over the last number of years. Tom Stoppard’s classic comedy play Rosencrantz and Guildenstern Are Dead is set to be broadcast this Thursday at 7pm in the Lighthouse Cinema in Smithfield.

This particular production stars Daniel Radcliffe, Joshua McGuire, and David Haig. If you can’t make it this Thursday, encores are taking place on Sunday the 23rd as well as Tuesday the 2nd of May. See lighthousecinema.ie for further information and ticket pricing.

What’s Hot & What’s Not HOT:

NOT:

Boston Donuts in SU Shops:

World War 3:

Okay maybe our collective waistlines aren’t happy. While heart disease is definitely not, delicious pastries are definitely hot. It’s not been a banner year for our Students’ Union, but this decision is Nobel Prize-winning stuff. High fives all round.

As an art and culture mag, unsurprisingly OTwo is a pacifist haven: we’re lovers, not fighters. So all this talk of chemical weapons this, and missile bombings that… we don’t approve. Nonetheless if we have to shout about the newest & latest in music, fashion, books, films and games from a smoking hole in the ground – we will!

That’s the OTwo Guarantee™.

Kendrick Lamar: K-Dot, you doth spoil us. LA’s favourite son has decided to release instant classics every two or so years, and we at OTwo heartily approve. DAMN. is not reviewed here this issue, and we don’t give scores, but it thoroughly deserves five fire emojis out of five. The beat change-up on “DNA.” alone… t’would bring a tear to a glass eye.

Fargo: No, not the twenty five year-old Coen brothers classic, but rather the TV show. While shows like Stranger Things are dedicated to sticking with the same batch of characters, every series of Fargo brings with it a new setting and a fresh round of characters. Catch seasons one and two for some of the most tense and visually stunning episodes of television you’ll ever see. If you could give a TV show an award for “most style”… well RuPaul’s Drag Race would win, but Fargo would be a strong second.

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Bulmers Outcider: Congratulations to the marketing honks over at Bulmers HQ for this gem. Since when has cider not been popular amongst the young folk? They might as well have free taps of it in Newman. Mr. Big Marketing likely shouted: “KNOW WHAT THESE MILLENNIALS NEED? A CAN WITH A LOAD OF SHINY COLOURS. DUMP A SHITLOAD OF SUGAR IN THERE TOO FOR GOOD MEASURE!” A demotion is in order, we think.

Facebook Messenger: Ourselves at OTwo are convinced that Facebook Messenger is the world’s most popular app that also manages to be utterly terrible. It’s like a Christmas tree with an unbelievable amount of shit on it. It has stories now!

Hoorah! One bad swipe and suddenly you’re like Yer Da using his own phone; deeply confused and scared. All of the emojis should just be Mark Zuckerberg flipping you off while he steals your personal information.

OTwo//Travel

Business or Leisure?

Orla Keaveney weighs up the pros and cons of being sent off to lands abroad by your employer.

“Are you missing out by spending your days cooped up in meetings instead of sightseeing?”

“Be prepared to return to the same place several times, especially if you work for a company with its headquarters in a certain city.”

“If you were taking visitors around Dublin, wouldn’t you prefer to show off the city at its best rather than give a warts-and-all tour?”

WHEN students leave university, their priority tends to be getting onto the employment ladder as soon as possible, putting travel plans on hold until they have a steady income. However, there’s often a fear that if graduates put off their ambitions for too long, they’ll eventually end up with too many commitments, like families and mortgages, to realise their dreams of seeing the world.

Faced with this dilemma, a career with plenty of travel opportunities can seem like the best of both worlds, enabling you to get paid while visiting other countries rather than eating into your savings. But do you really get the best experience out of a trip when you’re on the job? Are you missing out by spending your days cooped up in meetings instead of sightseeing?

You should bear in mind the fact that you won’t always be sent to the most glamourous locations, especially if you work in an industry that involves manufacturing or processes that are cheaper to facilitate outside expensive, built-up areas. There are pros and cons to this – you might not get to work on your tan or cross big cities off your travel bucket list, but travelling off the beaten track can make your trip more unique and unexpected. Also, the locals will generally be more patient and accommodating in places where visitors are a novelty, compared to the tourist-fatigued populations in the likes of London and Paris.

Be prepared to return to the same place several times, especially if you work for a company with its headquarters in a certain city. While a holidaymaker might prefer to go somewhere new every time they travel, repeated visits can give you a chance to explore new aspects of a familiar place, and give a closer experience to actually living there. On your first trip to Rome, you’d feel short-changed if you don’t see the Coliseum or the Sistine Chapel, but the next time you go, you’ll be savvier, and know where to seek out the less obvious gems.

Of course, the lack of choice in destination is compensated by the fact that your employer will cover the bulk of the costs. Instead of scouring the internet for the best value flights and accommodation, you can let someone else worry about the organisation, and enjoy perks like business class flights, central hotels and fine dining.

This plush, sanitised version of travel may not be everyone’s cup of tea – sometimes planning a journey for yourself can add to the excitement, and definitely gives you more freedom. And many backpackers would prefer the variety of cheap-and-cheerful hostels to a bland chain hotel, where the only difference from its Irish equivalent is the kind of carpark you see through the window.

The major downside to business travel is that you don’t get to spend time with your friends and family. Even if you can arrange to bring

them with you, as some employers allow, you’ll have to spend your days working while they explore the area without you. However, if you go on your trip with colleagues, it can be a fun way to get to know each other outside the office.

And when the day’s work is over, the people you’re visiting will often take you out to restaurants, popular attractions, or even nightclubs if you don’t have to be up early the next morning. Along with insider knowledge of the best spots, you also get the benefit of bilingual companions, meaning your choices aren’t limited to places with English menus or decent wi-fi for Google Translate.

Do you get a more authentic experience when escorted by natives? If your hosts take you to see the sights, their pride in their hometown might compel them to only give you a “polished” view of the area – after all, if you were taking visitors around Dublin, wouldn’t you prefer to show off the city at its best rather than give a warts-and-all tour?

On the other hand, working with locals outside the tourism industry could give you a more realistic perspective of the country in other ways. On a leisure holiday, your only interactions might be with hoteliers hoping you’ll come back and spend more, or street vendors trying to fob off tourist fodder. On a business trip, your international counterparts have far less of a vested interest in getting you to like the country, and give you a rare opportunity to hear their world view.

Even as you work, you can observe fascinating cultural differences between the international branches of the same company. For instance, workplaces in Japan are far more hierarchical than in Europe, and strict mannerisms are adopted in daily interactions, such as always addressing colleagues with the honorary suffix “-san” (the equivalent of “Mr/Ms”).

Overall, the only way to decide if business travel would suit you is by identifying what you want to get out of your holidays. If you want the freedom to hit the famous tourist destinations with people you already know well, then you should aim for a job with longer holidays over regular business trips. But if you’re more interested in seeing day-to-day differences between cultures, while enjoying business-class comfort without the personal cost, then a career with travel opportunities could be the best way to reconcile your need for financial stability with your wanderlust.

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OTwo//Food

Tea, Father?

Tea obsessive Niamh O Regan takes a brief tour of some of her favourite spots in Dublin.

CAMELLIA sinensis, a plant that causes such happiness and brings momentary respite to a troubling world, is more commonly known as tea. Contrary to popular belief, tea is not a national obsession. Not everyone drinks tea, and many of those who do, drink “regular tea”, creating the hotly contested debate between Barry’s and Lyons. This regular tea is black tea, but there are many more teas to be found. Depending on variety and treatment, the camellia sinensis gives black, green, white, yellow, oolong, and pu-erh teas.

Paying for tea feels strange sometimes, it’s almost as if, like tap water, it should be free, so customary is its consumption. When you do pay for tea then, it is nice to have it as an experience of sorts, with apt pomp and ceremony. Alternatively it’s nice just to have a lovely pot of tea.

While it is not necessary to match your choice of tea to your choice of cake, some teas go better with certain foods than others. Earl Greys go well with lighter chocolatey cakes, especially chocolate and raspberry cakes, but also with citrusy treats.

With more delicate cakes, where the flavour isn’t particularly strong, it’s important not to pick a very strong flavoured tea that masks the cake flavour. White teas and lighter sweeter green teas are good here, as are jasmines and chamomiles.

Strong black teas go well with other robust and rich flavours. Spicier blends work well with traditional cakes, fruit cakes, carrot cakes and so on. There are many places in Dublin where one can get a rather lovely cup of tea, of all these varieties and some rather nice cake as an accompaniment.

Oolong Flower Power is on Lower Stephen Street, after PMacs, next to Accents. Upstairs jars of tea line the wall on left hand side, and the space is filled with dark red leather chairs and marble topped tables. Downstairs there’s more seating, couches mostly, with glass topped wooden tea chests as tables.

Of course the most important thing is the tea, and Oolong Flower Power have a very

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good selection (there’s at least three types of Earl Grey). Divided by tea type there’s black, green, rooibos white, herbal and fruit.

The way the tea is displayed means that you can follow your nose; try to gauge which tea you’d like to try based on what it smells like in the jar.

After ordering at the counter, once your tea is ready it is brought to you, coming in a ceramic teapot-cup combo, where the pot sits

“Paying for tea feels strange sometimes, it’s almost as if, like tap water, it should be free, so customary is its consumption.” snugly on top of the cup. If you like the tea you have, you can also buy it to take home and brew yourself. The selection of cakes is not particularly extensive, but what is there is very good, as are the sandwiches and pizzas.

Despite the fact it can be very busy, the shop always maintains an aura of calm and quiet and never seems to be overly crowded.

Conveniently, they stay open until 10pm most nights.

A mere five minute walk from, and strong contrast to Oolong Flower Power, is nestled on the corner of South William Street and Exchequer Street, in the form of the French Patisserie Ladurée. Where Oolong Flower Power is dark and relaxed, Ladurée is a world of pastel opulence, where everything is very delicate, very chic. The atmosphere is one of sprightly happiness.

Ladurée are most famous for their macarons, and the Dublin shop does not disappoint.

Flown in from Paris on a weekly basis, the flavours change with the seasons, normally eight different ones are on offer. The pistachio ones are a particular favourite, not being overly powerful in their flavour, but certainly not bland either.

They also have a wide range of other patisserie delights: mini cakes and tarts, all beautifully decorated, as well as having an abundance of croissants and chocolatines. If

“Go at your ease, drink at your leisure, a quick cup of tea is no tea at all.” the abundance is too great by the end of the day, customers often enjoy a complimentary croissant. The tea menu is extensive, and while the teas offered are not visible or sniffable from the shop floor, the menu gives a detailed description of each.

A quick train away south brings us to Blackrock, and House of Tea. Not being in the city centre, it is quieter than the other two and strikes a fresh balance. It is light and airy, not minimalist but simply decorated and very friendly. Here too, the expansive tea collection is displayed on one wall, this time in large tin boxes, and these teas you can also buy to take home with you.

Tea is served in large white teapots, on fitted stands, with none other than a tea light beneath them, to stop the tea from going cold. The food menu is very extensive, and for many of them, the tea pairing is suggested for you. There is never a sense of hurry, or that you’re taking too long to have your tea.

Go at your ease, drink at your leisure, a quick cup of tea is no tea at all.

OTwo//Food

Review: 777

Ause Abdelhaq reviews 777, a Mexican restaurant located in the heart of Dublin city centre. the restaurant, purposely not eating there as a silent protest over the ridiculousness of its décor – externally, at least.

Unless you’ve eaten at 777, I don’t expect

“Unless you’ve eaten at 777, I don’t expect you to be familiar with it, even though it’s situated in the heart of Dublin, at the bottom of George’s Street.”

you to be familiar with it, even though it’s situated in the heart of Dublin, at the bottom of George’s Street. Most people have walked past it dozens of times without even realising it’s there – this is because from the outside, 777 appears to be, for all intents and purposes, a closed down building. Aside from one sign and a small menu, there is absolutely no indication that a restaurant exists at all: no windows, no decoration, no colour. Just a black building with a door which looks locked.

As it turns out, despite its blank exterior, 777 is actually a pretty lively Mexican joint on the inside. Every Sunday, they serve a brunch where every dish on the menu costs €7.77, so last weekend I went along to check it out.

When I arrived, the waitress recommended that I order two dishes to fill me up. I ordered the Taco Laguna, a variation on the traditional taco where the shell is replaced with a lettuce cup, and the Taco Heaven, a hard-shell taco filled with spiced beef, Pico de Gallo, salsa, cream, lettuce and cheese.

The food surprised me. I had heard that 777 serves some of the best tacos in Dublin, but I really didn’t expect it to be as nice as it

Photo via 777 Facebook

AESTHETICALLY speaking, there are very few things a restaurant owner can do to immediately turn me off their establishment. In my long and storied history with food, I’ve eaten in tiny pizzerias and filthy diners which have served gloriously delicious meals, and similarly I’ve eaten in extravagant chophouses and fanciful restaurants which have ended up being disappointing. I learned a lesson very early on: that the quality of decoration does not equate with the quality of food.

I never intended on eating at 777, or even reviewing it for that matter. In fact, the only reason I ended up there is because my friend booked it without consulting me. If he had, he would have quickly realised that I was avoiding

was. Both dishes were delicious, especially the Taco Heaven – it was so good that I actually requested another. I also tasted a lime soda, manufactured in Mexico, which was delicious.

My friend ordered a seared tuna dish called Finding Nemo (a distressing name), which was overcooked and a little disappointing.

On the inside, the décor is as pretentious as it is on the outside. Generally, I possess an inherent distrust of any restaurant which tries to distract me with a bizarre design, but the food was clearly a testament to a lesson I had ignorantly forgotten: don’t judge a book by its cover.

Overall 777 was a pleasant surprise. Aside from the food, the service was a delight and the food came out remarkably quickly. Regarding its location, it’s easy to get to once you figure out that it’s actually a functioning restaurant and not an old, closed-down laundrette. Finally, it seems to cater for everyone, with multiple options on the menu for both vegetarians and vegans alike.

Restaurants which are “hidden”, as 777 is, often demand a derivative standard of knowledge from their clientele – it’s ostentatious and exasperating. There are those who would argue that secrecy and exclusivity are wondrous marketing tools which are incredibly effective, but in my opinion a reputation for genuinely gorgeous food is worth more than any marketing ever could be.

Luckily for me, 777 seems to be the kind of place which has created a marketable atmosphere without compromising the quality of the food and for that, it earns a stamp of approval.

Recipe: Arancini Get the lowdown on how to whip up this evergreen Sicilian treat.

Ingredients 3 tbs butter 1 small onion, finely chopped 1.5 litres chicken stock 440g risotto rice (either vialone, Arborio or carnaroli) 75g grated parmesan cheese 2 eggs, beaten 9 basil leaves, torn in half 150g mozzarella cheese, cut into 18 cubes around 1.5cm 150g dried breadcrumbs Oil for deep frying

Method: •Melt the butter in a large saucepan. Add the onion and cook over a low heat for 3 to 4 minutes, until softened but not browned. Heat the stock to simmering in another saucepan.

•Add the rice to the onion and cook, stirring continuously so the rice cooks evenly. Keep adding stock to just cover the rice, stirring frequently.

Continue in this way for about 20 minutes, or until the rice is creamy on the outside yet still al dente.

•Remove from the heat and stir in the parmesan cheese and the eggs. Season with salt and pepper. Spread out on a large baking tray to cool completely.

•Divide the rice into 18 portions. Take one portion into the palm of your hand and put a piece of basil and a cube of mozzarella in the centre. Fold the rice over to encase the cheese and, at the same time, mould the croquette into an egg shape. Roll the croquette in breadcrumbs and place on a baking tray.

•Heat enough oil in a deep fat fryer or deep frying pan to fully cover the croquettes. Heat the oil to 180°. Deep fry the arancini, or “suppli”, in batches for about 4 minutes, or until evenly golden brown. Drain on paper towels and serve at once, ideally with fresh tomato sauce or passata.

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OTwo//Games

THE YEAR THAT WAS: 2016 BAFTA GAME AWARDS Katie Lalwani looks at the big winners at this year’s BAFTA Game Awards.

2016 WAS a spectacular year for the games industry, something that’s clear looking at the diverse scope of games celebrated at this year’s 13th annual BAFTA Games Awards.

Presented by Danny Wallace, the awards paid tribute to the biggest titles from the last year and the people behind them. From AAA blockbuster franchises to smaller indie titles, the diverse showcase of talent on display made it difficult to predict who would be taking home awards.

Uncharted 4: A Thief’s End scooped the biggest prize on the night, taking the award for Best Game. Developed by Naughty Dog, the action-adventure title saw protagonist Nathan Drake journeying across continents in search of lost treasure. Featuring stunning cinematic sequences, thrilling combat and platforming elements, the game quickly became one of the best selling games on Sony’s console. Marking the end of ten years for the series, the award was an apt sendoff for the franchise. Uncharted 4 joins previous winners of game of the year including The Last of Us, Fallout 4, and Destiny.

It wasn’t just the major developers picking up accolades. Indie developers won big too, with Playdead’s Inside taking awards for Artistic Achievement, Narrative, Original

“The BAFTAs this year was overpacked with strong contenders that many great titles missed out on awards.”

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Property and Game Design. Inside is a haunting puzzle platformer and sidescroller acting as a spiritual successor to its predecessor LIMBO, where you play as a silent, unnamed boy maneuvering through a nightmarish, dystopian world created by masterful design and extraordinary attention to detail.

Another indie game, Overcooked, took home awards for both best British and Best Family Game. A cooking game with a twist, Overcooked sees players embody up to four

“Romero’s most prolific works include ‘80s and ‘90s hits such as Wizardry and Jagged Alliance.” different cooks in a kitchen as they work together to prepare and serve orders quickly, while trying not to set fire to everything.

Best Game Innovation went to Numinous Gaming’s That Dragon, Cancer. Its development came about to mark the legacy of two of the game’s developers, Amy and Joel Green’s, son who passed away from cancer.

The game encapsulates the highs and lows of raising him from when he was diagnosed aged 1 to his passing at age 4. This is done through an immersive, narrative-driven point and click adventure, following the Greens’ emotional journey in raising their son.

Mobile games also made an appearance, with Pokémon Go claiming the award for Best Mobile Game. The app took the world by storm last summer, being downloaded over

500 million times globally. Developed by Niantic, it encouraged gamers to seek out, catch, train and battle with the virtual animated creatures facilitated via phone GPS. The Last Guardian was crowned the winner in the audio achievement category. The game centres on the friendship between a young boy and Trico, a giant feathered beast. The game makes excellent use of Trico’s roars, growls and huffs to convey emotion, while location elements such as the falling of rocks and water flowing are vividly brought to life.

The game was pipped to the post by OTwo’s hidden gem of 2016, Virginia, for the Best Music award. Virginia follows an FBI agent on a case to find a missing boy. Featuring no dialogue - the narrative is completely visual, complimented by the winning score.

The soundtrack flows beautifully, adding tension and suspense to certain scenes as well as the calmer mood evoked by others.

Blizzard’s multiplayer shooter Overwatch won Best Multiplayer Game. Overwatch offers players the ability for players to battle it out online with any number of the game’s 24 (and counting) heroes, each with unique skills and abilities. The game is noted for offering players a diverse variety of characters to play as, with a range of different backgrounds, races and sexualities represented. This is certainly something future games should aspire to.

Other awards on the night included Campo Santo’s first-person, narrative game Firewatch, which won awards for Best Debut game and Best Performer (for Cissy Jones’ portrayal of Delilah). The mystery game follows Henry, a fire lookout in a Wyoming national forest, as strange occurrences start happening around him. Best Evolving Game went to the car football phenomenon Rocket

“[Overwatch] is noted for offering players a diverse variety of characters to play as, with a range of different backgrounds, races and sexualities represented.”

League, while the eSports Audience prize was awarded to Clash Royale, a card-based strategy spin-off based on popular mobile game Clash of Clans.

Meanwhile American game designer and developer Brenda Romero was awarded the BAFTA Special Award. With over 35 years experience in the industry, Romero’s most prolific works include ‘80s and ‘90s hits such as Wizardry and Jagged Alliance.

This year’s winner of the Ones to Watch award was Among the Stones, a vibrant puzzle platformer which sees you play as a girl exploring an island while helping its stonelike inhabitants.

The BAFTAs this year was overpacked with strong contenders that many great titles missed out on awards including Hitman, Titanfall 2, and Dishonoured 2 to name a few.

The awards come at a time when new challenges are arising for the industry, including the question of what effect, if any, Brexit will have on British gaming. While only time will tell, this year’s phenomenal showcase tells us the future of gaming is in good hands.

OTwo//Games

Review: Mass Effect: Andromeda Aaron Poole

Developer: BioWare Publisher: EA Platforms: PS4 (Reviewed), Xbox One, PC Release date: 23rd March FOLLOWING a controversial sendoff with 2012’s Mass Effect 3, many fans were left with a sour taste in their mouths following BioWare’s final entry into the trilogy. Many thought that

would be the final nail in the coffin for the franchise, so it was a surprise to everyone when it was announced that a new Mass Effect title was to be developed with fan feedback in mind.

Fast forward to 2017 and Mass Effect: Andromeda is the culmination of this, featuring a brand new narrative, a brand new set of characters and, more importantly, a new galaxy for fans to spend hours exploring.

Set in the Andromeda galaxy, the game follows new protagonist Ryder in their mission to

explore the galaxy as part of the Andromeda Initiative, a program put in place by familiar species as they attempt to work together to make a new home there. Following their arrival, things don’t go according to plan, leaving Ryder to protect the fate of 20,000 colonists.

Without spoiling anything, the game does a satisfying job of integrating its narrative with the original saga.

In terms of gameplay, Andromeda feels instantly familiar, blending a mix of third person shooter action with biotics, Mass Effect’s version of fantasy magic. A mechanic new to the series is the jump-jet, which makes combat more engaging as you zip around the planets while rockets fly by Ryder.

Outside of combat, however, things start to go a bit awry - characters tend to make unnatural movements at times, coupled with facial animations that might be considered worse than Assassin’s Creed Unity. At the time of writing, BioWare have announced there will a patch released soon that will hopefully fix these issues.

In terms of decision making, the gravity of paragon/renegade decisions don’t feel quite as heavy as with previous entries. However, that might be attributed to the lack of a threat

“Andromeda feels instantly familiar, blending a mix of third person shooter action with biotics.” as big as galactic genocide. Exploration, one might expect, is a big gameplay element there are plenty of planets to visit, all created with unique environments and littered with their own quests that add hours replay value.

Andromeda is a game that does a good job of moving the franchise in a different direction.

While there may be distracting bugs littered here and there, it’s not enough to break the immersiveness that the franchise is famed for.

There are things, such as relatively easy-tosolve puzzles and a lack of character depth, that the game suffers from in comparison to its predecessors, but it’s all too easy to forget that this is a launching pad for what is essentially a new series. All in all, if you’re a fan of the original Mass Effect trilogy, this will be a welcome addition to your collection.

Review: Persona 5 Aaron Poole IN the world of video games, it’s easy to become engrossed in the high-octane AAA titles that are pumped out regularly, so much so that when an outlier appears it tends to fly under the radar. One such series that has avoided much mainstream attention is Persona. The Japanese RPG franchise has developed a cult following for its initial emphasis on day-to-day life, before taking a weird turn and throwing you into an Alice in Wonderland-esque scenario where you can’t predict what might happen. Persona 5, the latest entry into the series, endeavours to continue this trend in what was expected to be the most unexpected way possible.

Persona 5’s first hour starts by following the template set out by its predecessors; as a near-silent protagonist, you spend the early part of the game exploring Tokyo’s subway lines while becoming accustomed to your new home. Though before long, your character awakens his ‘persona powers’, through which you’ll find yourself exploring a world which is presented as a physical embodiment of human desire. Without spoiling too much, things get a lot weirder thereon in.

In terms of gameplay, it’s hard to undersell

“Night sequences in particular really show off the power of the PS4.” how just how complicated the game can get.

As a rule of thumb, game series tend to refine and simplify their control systems as the franchise progresses. However, Persona 5 suffers from a system that blends tricky turn based controls, complicated recruitment systems and overly-occupied statistic relationship menus which, after almost 30 hours of gameplay, are still frustrating and unforgiving, should you take them for granted.

Take into account that the game takes place over the course of around 80 hours and you’ve got a serious problem when nearly half of that is spent on a focus that isn’t your own personal enjoyment.

A saving grace may be found in the game’s design, which is presented as an anime-style 3D world bursting with the neon colour of the city of Tokyo. Night sequences in particular really show off the power of the PS4, which

display visuals on-par with those of Infamous: Second Son and provide a welcome distraction to those rage-inducing combat sequences.

It’s hard to rate Persona 5 - while it might be a pain to play, it is eventually worth playing. The difficulty curve is unforgivable, but that may be a subjective thought given the game’s context, as opposed to the likes of Dark Souls. Once you’ve mastered the control system, you can focus on the supernatural world of magic and mayhem as you battle

Developer: Atlus Publisher: Deep Silver Platforms: PS4 (Reviewed), PS3 Release date: 4th April against shadows with superpowered versions of yourself.

If you’re going to give it a go, it is worth it, but know that the path through constant rage quitting will eventually turn a satisfying grin.

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OTwo//Film&Tv

A NOVEL IDEA Claudia Dalby analyses the problems, and the cultural significance, of adapting a novel for cinema.

FILM today is considered one of the most influential entertainment mediums, contested only by the written word. When profit is concerned, then, it makes sense to collapse the two into each other. Every year more filmmakers have been profiting from the success of classic novels and popular franchises through blockbuster adaptations.

As Anthony Burgess said in 2004: “every best-selling novel has to be turned into a film, the assumption being that the book itself whets an appetite for the true fulfilment – the verbal shadow turned into light, the word made flesh.”

Assumptions based, of course, on the supposed murkiness and impermanence of the written world. Yet a film adaption of a book is often merely a condensed version of the plot and ideas represented in a novel; sensationalised, truncated, and blunt-edged.

Is it in the best interest of both the novel and its visual counterpart to be so intertwined?

Studios optimise sales by transforming an established property into branded content. However in reaching a wider audience, carefully crafted novels are diluted, their ideas often overshadowed, or lost.

As any author will tell you, novels take a major amount of time, research, and investment. In this sense, the brunt of work is done for the filmmakers already, and their job lies in figuring out how to project the essence of the story into a different medium. In this transition, not everything can carry through and some aspects simply must change in order for the story to be told in under roughly two hours.

The capacity for scope and depth reached through writing can never be directly transcribed visually; in the act of adaption, we sacrifice the intellectual challenge of intricate detail in favour of the aesthetic of the dramatic.

However, of course, there are many films which deal very well with complex issues. In turn, films triumph over novels in their accessibility – a two-hour movie can take you to impossible places with less immediate exertion, allowing deeper themes to be uncovered more easily. It’s no surprise that book to film adaptions are statistically far more successful than original screenplays.

In 1982, over 85% of Academy Award nominations were adapted screenplays. Fans are eager to see a beloved story turned to life, and even if it fails, talk over whether the adaption was “truthful” to the novel will ensnare curious customers regardless.

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Staying “true” to the original text is a high bar to pass. Fans of novels tend to be unhappy with the adapted counterpart because they enjoy the imagery the novel has allowed them to conjure in their head, their own personal “adaption.” In truth, film adaptions are simply another reader’s personal experience, often too singular and insular to have broad appeal.

This subjective interpretation is only amplified – and distorted – in the many-handed filmmaking process. Characters are moulded by the actor, but also the director and editor, and even by lighting and costume design. The collaborative element of film makes for a communal reading of the text, one that necessarily diverges from an individual’s experience.

Social experiences such as these can hold broad influence over mass culture. When a novel adaptation is faithful, it can be a revelatory experience, the original’s central message beamed out, forcefully, towards millions. But we should hesitate when Hollywood has control over such an apparatus, a corporate conglomerate with the interests of capital at its heart.

This role becomes crucial when stories from the past are revived for the big screen. Hidden Figures, which told the story of three black female mathematicians who worked for NASA during the Space Race, was adapted this December.

Their story had been completely erased by time

and prejudice, leaving gaps and vacuums only visible when someone digs for them.

Hidden Figures has seen immense success since, and one wonders if the story would have gained traction had it not been made into a film. However, the film also digresses from the context and exact historical facts of the book, distorted for the sake of entertainment. Is this doing justice to a crucial piece of history? What is more important – for history to be widely known, broadly, or for the truth to be immaculately preserved?

It is critical to recall that the majority of screenplays are written and filmed in the interest of profit. What we choose to remember, then, is first and foremost guided by what is convenient to discuss in the present. Adaptations fail their audience invariably – even when approached with noble aspirations, they exist within a system which polices their content and drives them towards modern acceptability.

The unfortunate fact of the matter is that readership has greatly declined in recent years, and films are filling this vacuum. Knowing that art holds sway over our culture, can we trust that complex and important ideas are still getting out there? We cannot trust that they will give us what our society needs, even when it’s wrapped up in well-designed sets and pretty angles, as a million-dollar franchise has agendas of its own.

“In the act of adaption, we sacrifice the intellectual challenge of intricate detail in favour of the aesthetic of the dramatic.”

“What is more important – for history to be widely known, broadly, or for the truth to be immaculately preserved?”

academy award- nomianted Hidden Figures

OTwo//Film&Tv

A S ERIES

OF

U NFORTUNATE R EMAKES

Dylan O’Neill investigates how the recent plague of sequels began, and where it might lead us from here.

The 2016 re-make of Ben Hur A JEWISH prince has been sold into slavery by a supposed Roman friend; after regaining his freedom, he embarks on a journey of revenge. This is, of course, the plot of Ben-Hur, which won 11 Academy Awards in 1960, grossed over $74 million in the U.S., according to IMDb, and is a certified classic film.

In 2016, Metro-Goldwyn-Mayer and Paramount Pictures financed a remake of this epochal classic. The film was received by critics and audiences alike in a drastically different light than the original; grossing only $26.4 million domestically, the production lost its studios approximately $120 million.

Critical consensus on Rotten Tomatoes states that the ill-fated Ben-Hur had “too few [ideas] of its own,” and was made no better by lack-

“Sequels have the unenviable job of building upon an original, existent world… introducing new characters and conflicts, and resolving said conflicts within a 2-hour time frame.”

lustre editing and the garish use of CGI. So what brought about this failure of biblical proportions?

It’s an unwritten rule that the sequel is never better than the original. Sequels have the unenviable job of building upon an original, existent world, of tying up loose ends, of introducing new characters and conflicts, and resolving said conflicts within a 2-hour time frame. That’s a lot of work for a movie to do; perhaps too much.

Horror movies are particularly guilty of this; the first Saw movie was a perfectly terrifying psychological thriller, yet the plot deteriorated through 7 films—soon to be 8. As more characters with half-fleshed out origins and conflicts were introduced, the franchise ossified, locked in repetitive motion, churning out sequels for a diminishing fanbase.

Remakes face a similar problem—the audience goes into the theatre expecting to see a masterpiece that elicits the same emotional response as the original before it, a film that captures the same imagined “magic.” Over time, these expectations are failed so often that even a vague return to form is celebrated as the second coming. (Ahem, Star Wars.)

Most remakes will try to change a small aspect of the original, in a bid to brew some new kind of magic. Often this decision aligns with the incentive to make the film appealing to a younger audience. This can come across as a cheap gimmick. Take the recent Ghostbusters remake that included a new all-female cast. Its feminist nod fell short, not due to its politics, but due to a poor script and a childish lack of subtlety or class.

So why has Hollywood chosen to resurrect the dead, despite frequently worsening returns?

Perhaps they can’t resist the urge to stand on the shoulders of giants. The potential of an intellectual property is weighed, while the hard work put into its proper execution is taken for granted, and later written off in favour of the bottom line.

Metrics also play a prominent role. Predictive models hope to determine what will be profitable in advance, and often the desires of the franchise fans are taken into account.

If you go onto any social media platform, you will be inundated with fan-fiction, predictions, and all manner of franchise worship. It makes economic sense to give the fans what they want. The problem, of course, is that you’re essentially giving a fundamental part of the movie to a group of people, whose sole focus is on one small part of the original, and doesn’t factor in correctly how this change will affect the overall movie in terms of the central issues addressed.

Ben-Hur is only one in a long line of failed remakes and sequels that Hollywood has produced in recent years. The sequel of Teenage Mutant Ninja Turtles played on the audience’s interest on the original television series, which failed to live up to the buzz that the original had created.

But why are original scripts overlooked for these seemingly doomed projects?

Like with any corporation, investors expect to see a return on their investment. Studios are constantly under pressure to meet deadlines and produce a marketable product. In this case, a summer blockbuster.

“Studios are constantly under pressure to meet deadlines and produce a marketable product.”

Superhero movies end with a post-credit scene, to tease a follow-up movie. This allows producers to plot a timeline of sequels that will encompass a wide range of possible story lines.

Everybody needs an origin story.

From just one movie, a large number of ideas are spawned for possible sequels—a massively lucrative property, akin to mining a vein of gold— and the studios have to act fast to keep up with the audience’s demands before their interest is lost and with that, the large return on investments.

Despite the best efforts of a production team, a rushed product is necessarily a flawed one.

The influence of capital on Hollywood, the possibility of a steady inflow of cash on a large franchise, crushes uncertainty and turns innovation into risk. It’s clear that successful movies are experimenting more and more and taking risks, however. Remember who won the Academy Award for Best Picture this year, eventually?

We as an audience expect to see less odes to Old Hollywood Glamour, and rather new and thought provoking films. The recent success of Moonlight suggests that the industry may yet pull out of its reboot death spiral before it crashes and burns.

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OTwo//Film&Tv

Review: The Handmaiden Katie Lalwani WITH its mesmerising visuals and surprises at every turn, The Handmaiden is a film not to be missed. Directed by Park Chan-Wook, whose previous offerings include the critically acclaimed Oldboy, the film follows Sookee, a young woman who is appointed as a handmaiden to the wealthy heiress Hideko. Sookee tends to Hideko in her extravagant manor house which she is forbidden to leave under the orders of her cruel uncle Kouzouki. We soon find out, however, that nothing is as it seems.

Sookee is in fact a pickpocket hired by con man Fujiwara to take part in a plot to defraud the heiress of her fortune. Together they devise a scheme to make Hideko fall in love with Fujiwara who poses as a wealthy count. After she marries Fujiwara, he will arrange to have Hideko declared insane and cast off to a madhouse while both he and Sookee split the fortune between them. What they don’t account for is Sookee and Hideko’s growing attraction towards one another; before long, the two become entangled in a passionate love affair.

The film is inspired by The Fingersmith by Sarah Waters, though instead of Victorian Eng-

“Above all, one thing is clear: every character has something to hide.” land, this tale is set in Japanese-occupied Korea.

Like the book, the film is split into three acts, with each act observing the scenes unfold from a different character’s perspective. With each act, revelations about the prior one are disclosed, allowing key information to be carefully drip-fed, creating twists and making the story impossible to predict.

The narrative strikes a perfect balance between moments of humour against the dark, unsettling undercurrent. The Handmaiden pays great attention to detail with intricate costumes and stunning set design, while the narrative is set to a powerful and captivating score, capturing the emotion of the story perfectly.

But it is the characters which truly stand out. Faultless performances are delivered from the entire cast—the men are misogynistic and abusive, the women gentle yet cunning. Above

all, one thing is clear: every character has some- In A Nutshell: A dark tale of seduction and trickery with many twists and turns; truly an artful thing to hide.

Intense, explicit erotic scenes are present masterpiece. throughout. This is predominantly seen through Sookee and Hideko exploring their own sexual desires, liberation from the expectations of the Directed: Park Chan-Wook men determined to control their lives.

Starring: Min-hee Kim, Tae-ri Kim, While sex is certainly a focal point, to simply sumJung-woo Ha, Jin-woong Jo marise the film as “erotica” would be a mistake. At its heart, The Handmaiden is a thriller, a tale of love and Release Date: April 14th deception with surprises at every turn.

Runtime: 144 minutes

Review: Cop to the Future and Back: Nightmare on George’s Street David Monaghan

Ott-Whoah! Pictures Presents:

Cop to the Future and Back: Nightmare on George‛s Street Directed by: Martin Healy, Roisin Guyett-Nicholson, and Michael Bay Starring: Owen Steinberger, Seán Hayes, Joaquin Phoenix, Rooney Mara Release Date: April 20th, 2017 Runtime: 69 minutes

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SOME franchises just don’t know when to die.

Some will continue on ad nauseum until every last cent has been squeezed out of its intended audience. Transformers is a case study in such a practice: Michael Bay has been persistently making the series despite its declining quality for well over a decade, and that’s why many raised an eyebrow when he was brought in as the third chair for the latest instalment in the Cop to the Future and Back series. Thankfully,

the magic of past films has not gone away.

Joining Bay in the director’s seat are Martin Healy and Roisin Guyett-Nicholson, whose combined eye for detail results in cinematic bliss. This is showcased in the opening scene when protagonist Harvey Price (played this time around by the perpetually American Owen Steinberger) begins his morning routine: we are treated to a full forty minutes of Price’s preparations – we watch as he gets up, combs his teeth, flosses his beard, plucks his nose hairs and picks fluff from his toes.

Lesser critics have dismissed this as “unnecessary” and “boring,” but what they fail to realise is that this is true to life. It brings the handsome ex-cop down to earth and is reminiscent of what Casino Royale did for Bond. He is more real than ever, and he has gum disease.

After this, we are introduced to antagonist Pierre (played by the absurdly tall Seán Hayes),

“He is more real than ever, and he has gum disease.”

Price’s estranged son from the 1970s who was cloned from an ingrown toenail. He travels to the year 2025 seeking revenge on our no-nonsense cop friend. His plan is simple: raid all the charity

“The actors stumble over their words and appear to slip on impossibly-placed and seemingly neverending banana peels.” shops in Dublin until there are no more grandad clothes left.

The cinematography by Louise Flanagan has to be applauded. After the dismal quality of last year’s Cop to the Future and Back: From Briss to Bedlam, she was faced with an impossible task: to make a franchise infamous for its dismal lighting and set design into pure gold, and she succeeds shot after shot. Even though the actors stumble over their words and appear to slip on impossibly-placed and seemingly never-ending banana peels, they are saved by the ethereal quality of her work.

In conclusion, Cop to the Future and Back: Nightmare On George’s Street is cinema at its purest. A real tour de force for the genre, you’ll leave the theatre asking: “why didn’t we go see Get Out instead?”

In A Nutshell: It’s definitely a film.

OTwo//Film&Tv

SEEING YOURSELF Owen Steinberger discusses stories, Synecdoche, New York, and the end of all things.

“Synecdoche, New York is an exceptional film in that it faces the manifold horrors of living, and of death, head on.”

Pixar production Borrowed Time, as featured on Vimeo

Philip Seymour hoffman as Caden Cotard in Synecdoche, NewYork EVERY story is a journey—from here to there and back again. Protagonists learn that something is amiss and this discovery of a lack, be it within themselves or their family, within their community or consuming the entire world, is the trigger, their call to adventure. Will they accept it? Who wouldn’t?

Joseph Campbell’s 1949 The Hero With A Thousand Faces set out the model of the “monomyth,” the quest at the centre of every story throughout history. We echo the quest in our art, even without noticing. We embody it in our lives, implicitly, formatted through our thoughts, deep under the neural surface.

Our lives—our social circles, jobs, classes,

“It is a film about the loss of a family, about insecurity in daily life, about unrequited love, about the fear of change and of death, about the world itself, and about you.”

politics, etc.— only make sense when there are heroes and villains. We’re our own protagonists.

This is a chief cause of conspiracy theories, for instance, as the bizarre becomes believable once there’s a plausible narrative behind it.

We as human beings hear the call throughout our lives. Each day and night hold, at their centres, infinite possibilities. Listen and you may hear the call from behind closed doors, from a poster on a wall, from down a dark alleyway, from deep in your heart.

At the end of their journey the hero is supposed to have gotten something in return for their suffering. Some talisman of time spent. So what happens if they don’t? And what happens when we fail? When ambition exceeds our grasp, when we’ve stretched ourselves so far out that, by the time we look around ourselves, time has passed, and it’s all been done and said. What happens then?

Charlie Kaufman, “the most gifted screenwriter of the 2000s,” according to Roger Ebert, made his directorial debut in 2008 with Synecdoche, New York. It is his magnum opus, a towering work that ranges over so much of human experience that its affect is to overwhelm its audience entirely.

Synecdoche deals in themes both broad and deeply personal. It is a film about psychosis, or

perhaps early-onset dementia. It is also a film about the loss of a family, about insecurity in daily life, about unrequited love, about the fear of change and of death, about the world itself, and about you.

As Ebert wrote in his 2008 review: “I think you have to see Charlie Kaufman’s Synecdoche, New York twice…. The surface may daunt you.

The depths enfold you. The whole reveals itself, and then you may return to it like a talisman.”

Watching this film is a journey in itself.

Caden Cotard (the late Philip Seymour Hoffman) is a theatre director who, after a successful rendition of Death of A Salesman, receives the MacArthur grant, a blank cheque to “create something unflinchingly true.” He hires an ensemble cast for a vast performance, the size of a football field, where all act simultaneously.

Stages stack atop one another, merge, expand, until the performance becomes almost a Synecdoche of its own; actors are hired to play Caden and his assistants, subsuming him into his own creation, a world of his own imagining. A microcosm of a city comes to life. “The magnificent sets,” Ebert writes, “are the compartments we assign to our life’s enterprises. The actors are the people in roles we cast from our point of view.”

We all play the role of the theatre director

in our lives, he argues, constructing our worlds around us, compartmentalizing as a means towards understanding. We all perform the role of the protagonist, and others around us may be allies or enemies, mentors or nemeses or anything, anything at all.

In Synecdoche, consciousness revolves around a core of truth, suspended in a haze of fiction and white lies. Caden reconstructs his failed relationships, his awkwardness, his fears and his hopes; he reconstructs his reconstructions, worlds growing within worlds; he reconstructs himself, as a function of his past mistakes.

As in Synecdoche, we cannot escape our pasts. An unnamed voice asks during a radio programme: “Why do so many people write about the fall?” We are obsessed, the responder suggests, with “the beginning of the end.”

Synecdoche is a film that, in a sense, is ending as soon as it’s begun. The cliché, of course, is that we are all dying as soon as we’ve been born; but this film makes the impending reality of death a part of its narrative, ingesting it in its meaning.

Like peeling against the edge of a black hole, we never feel ourselves aging. We merely sense the approach, at the rim of consciousness, of a cliff face that is surely on its way, that we’ve got to prepare for, someday, but one that won’t be here just yet; no, not just yet.

Endings are unreal. That the monomyth might fail—that our own journey might not come around full circle—is an affront to our sense of reality. How can we see ourselves out gracefully if the very idea of leaving is incomprehensible? We are born with the impending trauma of death already within us.

Synecdoche, New York is an exceptional film in that it faces the manifold horrors of living, and of death, head on. So it is a fitting topic, and a high recommendation, in a climate of many endings: the fall of the status quo, of individualism, of culture, possibly of the planet, all crashing to the floor, leaving us to wonder what we got out of all of this anyhow.

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OTwo//creative Writing

The MAn Behind The CuRTAin

By Daniel Boland THE walls are off-colour yellow striped with blue. The ceiling is made of grey styrofoam tiles. I know every crack.

Nurses come and go, most angels, some terrifying demons. They have left the window open and the cold air is attempting to invade the suffocating humidity that permeates the ward. Days have blurred together and I no longer know what month it is. A television buzzes in the corner, its volume turned down just below the range of coherent hearing.

I can just about make out a figure on the screen. Today, the curtain is only pulled halfway around the bed, which means I can see Mr. Murphy across the room. He has no visitors in today. He never does. He is even older than I am.

To my left, through the sterile, pale blue curtain, I can detect Mr. Anderson and his family. Anderson can no longer talk, but his relations chat away to him in slightly strained voices, almost (but not quite) as if having

a normal conversation. One can’t help but listen. The words drift across the pale blue curtain and there is nothing else to listen to except the beeps and rings of phones and alarms. It is so strange, knowing everything about somebody and their extended family but having never talked to them beyond a cursory “good morning”.

We all live in our own little worlds here, boxed off by sterile, pale blue curtains and chained to our beds by our own frailty. I suppose that Mr. Anderson and Mr. Murphy and Mr. Alalek all listen in on me when Jack (or is it Dylan?) comes in to visit.

Mr. Anderson’s wife is talking about Tom. Tom is their son who is in Australia. He is working as a computer technician over there.

Tom lives in Toronto, the Canadian capital.

Poor Mr. Anderson! I can see his wasted leg through the sterile, pale blue curtain. He always twists and turns and sticks it out of the covers. The wrinkles run horizontally along

the hairless flesh. I dislike it. I prefer when the blue curtain blocks it out. Mr. Anderson has Parkinson’s and a broken hip and some other disorder. He can’t even remember his own wife’s name.

The nurses come in and pull the curtain the full way around. They change my catheter and take my blood pressure. They are different every day. They chat away to me and call me by name. It makes me uneasy. “I’ll be getting out tomorrow”, I say. The nurse, the usual one, the one from the Philippines, smiles at me. “I don’t think so Tom”, she says as she leaves, “we’ll have to see”.

Tom is my grandson. He’s off living in Ottawa, the Canadian capital. He’ll be rich one day, he says. He’ll come back to see me tomorrow. He’s a good lad. “Bye Tom”. I shake his hand.

Behind me, through the half-pulled across curtain, Mr. Anderson has gone silent. Mr. Anderson is dying. He has Alzheimer’s and

something else. Me, I have a broken hip. I think that Mr. Anderson is English. Probably fought with the Black and Tans. And now he’s dying here in a Dublin hospital. I smile, grimly. Funny how things turn out. His wife is Irish, though. She died five years ago and he’s never been the same since. His daughter visits him every day and always says goodbye to me on the way out.

Somebody turns off the television. It is starting to get dark. Mr. Anderson will go soon and I will be left with nothing to listen to. So I lie back and let the memories wash over me. Soon I’ll be off to sleep. I need a good night’s rest. I’m getting out tomorrow after all. Mrs. Anderson pulls back the darkblue, ragged curtain as she bids her father goodbye. Then she turns to me. “Goodbye Patrick”, she calls. I raise a hand to her and smile weakly. I can feel myself drifting off to sleep. When I get out tomorrow I must go and see Tom. He’s a good lad.

IllustratIon : Meadhbh sherIdan

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Poetry

OTwo//Creative Writing

[Untitled]

Untitled

Cover my body with layers upon layers, Each one hiding the secrets I refuse to tell.

They yell my sex. scream it, shout it and others follow suit.

Swim with me in Ophelia’s garden— dregs of the river-bed, Catholic aquarium.

Come and be baptized among the weeds

Those three letters: S-H-E cause earthquakes inside me.

I am forced to wear my xx chromosome.

WARNING: this person was born female.

Born into some imaginary category and forced to conform.

and I will bury you in the Water of God so you may be exhumed to breathe second life.

Come and be christened again so I may call you by your true name.

My mind is at war with the mirror eyes staring back at me.

Those little details sticking out.

Highlight them, cut and paste onto another body.

Reject that tapestry of violence!

Deny your fever ghosts!— embered silhouettes.

Posies are sweeter than any fruit.

Maybe this bandage will keep me safe from the gender police.

Maybe for once people will ask and not assume or maybe they’ll be so confused and not ask at all.

Maybe I’ll lose enough oxygen that it won’t matter.

What matters is that I am atoms, All twisted together in disarray And how can you tell anything but what it is?

I defy this binary. I refuse to walk the pink or blue tightrope.

Let me fall and land in purple.

Let me live in the in-between.

Charlie Childs

Here we have laurels soaked in the Holy Spirit.

Here we have a muddy death, the broken-glass look of water from below, the bucolic scene of a drowned girl turned to stone.

Danielle Bertolini

Green Emeralds The exotic green emeralds And the little magenta and yellow flowers That crown around them Cover her body and her dreams: Absorbed in a duvet for two The shivers of her hand now leave to roam They seem different now her nails are painted Deep red, then vagrantly she said ‘I didn’t know I never did know’. She doesn’t Really care why there isn’t anybody there She counts the baby blue polka dots One, two, three: at times you hear The body disappear. Swoosh! The hips, tits And lips - your favourites really, never to be no more Just a sad bag under the exotic green emeralds And the little magenta and yellow flowers that crown around them.

Bárbara Borges

Illustration : Meadhbh sheridan

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OTwo//Newton Faulkner

Steps In The Right Direction

16

OTwo//Newton Faulkner Grabbing a spare ten minutes before he goes on stage, Sean Hayes sits down with singer-songwriter Newton Faulkner to discuss musical theatre, his love for his art, and musical Tourette’s.

ONE of the very first interviews I ever took for this magazine was just over three years ago with American rock band Cage The Elephant’s lead singer Matt Shultz. I had seen them play at the Olympia Theatre the night before, where they had opened for Foals, and were due to perform again later that night. Having done just one interview on the phone up until this point, with the no one other than the Rubberbandits, I was wholly unqualified and inexperienced to question a man who had, just the night before, leaped from the upper balcony of the theatre onto the thrashing, writhing crowd below.

I was terrified, and, despite arriving on time, I ended up being late because I didn’t know how to get into the building. Shultz turned out to be a gentleman, and chatting with him was such a positive experience that I ended up continuing to write for, and later edit, this magazine right up until today.

It is somewhat apt, therefore, that my last interview for this magazine should also take place at the Olympia; this time, with British singer-songwriter, Newton Faulkner. Walking up to the theatre, I can’t help but smile to myself as I pass by the main entrance, shuttered now as it was back then, except this time I don’t spend twenty minutes banging on the metal barricade trying to get the attention of anybody who could let me in.

This time, I just stroll down the side lane of Sycamore Street and, very simply, let myself in through the stage door. My relative calmness matches the stillness I enter in to. The place is empty and, for a minute, I’m afraid that I’ve mixed up the day. Beyond the hallway, though, I can hear rhythmic thumping: the heavy thud of a drum and the angry bashing of a guitar. It quickly becomes familiar as Faulkner’s cover of Major Lazer’s ‘Get Free’, the lead single from his latest album, Human Love. Faulkner is doing his sound-check. I quickly cross the hallway,

thrilled at the chance to get a behind-thescenes peek of one of my favourite musicians.

“Sorry, who are you?”

I turn around to a burly security guard, and tell him who I am and why I’m here.

“Okay,” he sniffs, “take a seat in here for a minute,” ushering me into the same room I interviewed Shultz in years previously.

Faulkner is delayed at his sound-check, having been delayed on his ferry to Dublin from England, where he has been touring for the last few months. I make small talk with the security guard as I wait, who tells me that Bob Geldof had dropped in the evening before, that Geldof was boring, and that he’d much rather just go home after watching Faulkner’s set, instead of staying to watch Scottish singer-songwriter, Amy Macdonald, who is actually the headlining act tonight.

Finally, Faulkner breezes into the room, introduces himself with a firm handshake, and sits down beside me. The tour has been unrelenting.

Just last night, Faulkner and Macdonald played to a sold out crowd in Liverpool’s Philharmonic Hall.

“This morning we had to get up at six to get on the ferry,” he explains. “I’ve only had lots of weird pockets of sleep, scattered around.”

He does look tired, but what is more striking about his appearance is how uncharacteristically neat and tidy he looks. Known perhaps, as much for his trademark dreadlocks piled high up on his head, as he is for his musical talent, Faulkner made the decision last year to cut off the hair that he had been growing since he was 15 years old. The shocking moment is captured in the music video for ‘Get Free’, which sees Faulkner slicking through his rope-like hair with a pair of scissors, in time to the pounding drums of the song.

He laughs when I mention my surprise at his hair. Apparently it is a common remark. “That video was so terrifying,” he remarks. “It was a scary time.” The dramatic haircut came at a time of impending change in Faulkner’s life, having just signed to new record label, Sony BMG, and on the cusp of releasing his newest record, Human Love.

“I was going to cut it anyway,” he remarks, “but it was definitely also moving further in terms of the album. Every album has been very different from the one before. I seem to almost polarise every time. I do something really produced and then something really acoustic, and then something heavily produced again. I’m going to try and find a sweet spot this time.”

That sweet spot he talks about is his upcoming album, which despite numerous subtle questions, he remains entirely tight-lipped about.

The demands of this current tour, he will admit though, has affected how he has been writing. “I haven’t had as much time as I thought I would,” he admits. “This tour is waking up, getting in the van, getting where you need to get, finding

17

OTwo//Newton Faulkner

“It’s like musical Tourette’s. Which songs should we not cover?”

“Musically, I change stuff up all the time, add new songs, and change the set playlist, and talking to the audience is completely made up as you go along.”

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somewhere to park, unloading the van. There just hasn’t been as much time. I think I’m still ahead of the game for when I’ve got to deliver it, but just not as far ahead as I thought I might be.”

Despite the extra work, he’s still enjoying the tour, albeit it a slight departure from his usual tack. Faulkner has sold out, and regularly still does, theatres and concert venues around the world. He is, perhaps, an unusually high-calibre name to be billed as a support act. Faulkner, though, sees the decision to join Macdonald as a no-brainer, explaining, “when we were offered the UK leg as well, it was like, ‘do we want to do that?’ And I weighed it up and thought, ‘well, it’s gigs, and it’s gigs in front of new people. That’s probably a really good idea!’ So the opportunity to play to different people is amazing. It’s really fun. It’s been amazing. It’s definitely different, a different set of rules.”

If what that security guard told me from earlier is true, I wonder if one of these rules is simply not to outshine the main act. Faulkner’s unique style of playing, of incorporating styles from classical, to flamenco, jazz, and even metal, combined with a rhythmic percussion, his violent slapping of both the strings and body of his instrument, inspired a generation of crooning, floppy-haired, singer-songwriters; a look I, too, was certainly familiar with at one stage.

“It’s less pressure, in one way, more pressure in another,” he admits. “When people are coming to see you, they know the songs. You’ve kind of won a little bit already. When you’re dealing with a crowd who aren’t there to see you, you’re introducing yourself, trying to win people over.

It’s similar to a festival, but I’ve always loved festivals. It’s a different kind of pressure, but I quite like it.”

If these opening slots are a digression from what Faulkner usually does, it seems only to be following a trend that has come about since cutting off his hair; which is to do the unexpected.

Last year, Faulkner took part in the West End musical stage adaptation of Green Day’s iconic rock opera, American Idiot. Faulkner took on the lead-role of Johnny, where his picaresque journey sees him experiencing heartbreak, drug abuse, and nihilism. The bright lights of musical theatre are not something that you would typically associate Faulkner with. It was the new challenge, however, and an admiration of Green Day that stretches back to the first band Faulkner ever formed: a Green Day cover band, which drew him to the take part in the production.

“It was seriously hard work,” he reflects. “It was so long! It’s the longest I’ve ever done the same thing. Musically, I change stuff up all the time, add new songs, and change the set playlist, and talking to the audience is completely made up as you go along. It’s going from that to trying to get as close to the same thing every night, for months. It was eight shows a week: that is brutal.”

What really attracted him to the role, though, was the dark, twisted mind of his character. “The part itself was really great,” he explains, “really complicated, hard. Johnny goes through so many different modes, because he starts out really cocky and happy and, slowly, he becomes suicidal and ends up an heroin addict. Since then, I’ve been doing bits of filming. It opened doors to things, and introduced me to people I wouldn’t have met otherwise.”

Setting unexpected, almost unattainable, challenges is something that Faulkner appears to like doing for himself. Throughout his career, he has gained a lot of attention for his intricate, interpretative and highly impressive cover versions of infamous and legendary songs. For his debut album, Hand Built by Robots, he took on Massive Attack’s, ‘Teardrop’, bringing a new sentimentality to the trip-hop classic.

Since then, he has tackled and ultimately overcome, a slew of classics. From the Beatles’ ‘Here Comes The Sun’, to performing Queen’s ‘Bohemian Rhapsody’ to an ecstatic crowd at T in the Park in 2010. He has also included, perhaps most unexpectedly, Major Lazer’s ‘Get Free’ on his latest record. Faulkner laughs when I ask him about these covers, becoming, almost, embarrassed for the first time. If he had a dreadlock now to distractedly play with, I’m sure he would appreciate it.

“Why do I do them?” he jokes to himself. After a pause, he decides: “I like a challenge.” Continuing, he explains that, “a lot of the time it’s what shouldn’t we do. It’s like musical Tourette’s.

OTwo//Newton Faulkner

“When you’re dealing with a crowd who aren’t there to see you, you’re introducing yourself, trying to win people over.”

“I’m pushing myself harder, vocally, than I’ve ever done before.”

Which songs should we not cover? ‘we shouldn’t cover that… Okay let’s do that!’ With ‘Teardrop’, it was like, ‘what is untouchable?’ I thought,‘if I get that to a point where I’m proud enough of it to do it…’, and by the time I was finished with it, I had become very attached to it.”

“With ‘Bohemian Rhapsody’, it was, ‘what is impossible? What’s an impossible cover that nobody could ever, ever do? Cool, let’s work on that!’

To begin with, I could play the guitar part. When I first started doing it, I wasn’t a good enough singer to pull it off. It’s just now that I’m realising that I can actually sing it properly. They made it as hard as they possibly could. It covers so many scales and genres, but now I can properly do it.”

Faulkner’s tendency to take on these titan figures of the musical world might seem dangerous; to many, it may even come across as irreverent, and disrespectful for failing to respect and hold up these tunes as masterpieces not to be messed with. Faulkner, however, is genuine. He is fascinated by the technical skill, and the production values behind music. His eyes light up when he talks about production methods, vocal techniques: the true art behind making music, and I suddenly realise, as he finally begins to speak about his new record, that he takes on these challenges — playing a supporting role for this tour, taking part in a West End musical, covering classic songs — to constantly push himself and learn.

“This next record is all about vocals,” he reveals. “I’m pushing myself harder, vocally, than I’ve ever done before. I think, in the past, I’ve made records that guitarists would make. On this record, I’m trying to make a record that a singer would make. I think Studio Zoo was probably the highpoint guitar-wise; I think Human Love was probably the highpoint production-wise. But this one, I’ve got a good feeling. Taking some of the production out, I think I can highlight the voice a bit more. I’ve done lots of tracking stuff, which is great, as a production technique, but it always sounds like it was made in a studio, and I want to make something that sounds a bit more live.”

As if somehow aware that Faulkner is now beginning to open up about his upcoming project, his manager sweeps into the room, and tells us

that we only have five more minutes together.

This seems only fair, though, as, glancing at my watch, I realise that Faulkner is actually due on stage in thirty minutes.

This tour is intense. I skim through the rest of my questions, deciding which one to close with.

The crooning, floppy-haired, wannabe-singersongwriter inside me desperately wants to know what could have been if he had just kept practising the intricate finger-picking style that Faulkner inspired a generation with almost a decade previously. His playing style, he explains, “is a collection of a lot of different techniques. I came across it by Thomas Leeb, and I was taught by Eric Roche.

There’s amazing players cropping up all the time, and all with completely different takes on it. It’s really fascinating.” I can’t help but cringe at the thought of my own failed attempts.

But what advice could he give someone starting out? “That’s a tricky one,” he admits. He even consults his manager, who has stayed, lingering by door. “Don’t do it for the money,” he jokes with her. She agrees, though, adding sharply, “I think there’s just two different types of artists.

You can be a musician or a pop star.” He tries to soften this answer, but you can see he hears the truth in it. “Just enjoy it,” he continues, “because if you’re doing it for the money it probably won’t work. Do it for the love of doing it. Don’t do it for any other reason. As long as you’re doing something you love you’ll be okay.” I feel like he’s talking directly to me.

With that, he hops up, thanks me for my time, and rushes out of the room. I’m left alone and go to let myself back out the stage door I came in through earlier. Outside now, a queue of eager fans has started to wrap itself around the building, waiting to see Amy Macdonald take the stage. I want to tell them about how impressed they’re going to be with Faulkner, that, like that security guard who is now opening the main entrance, they, too, should probably just go home after Faulkner finishes his set. I leave the Olympia, as pleased with myself as I was after my first interview here three years ago, but this time with Faulkner’s lasting piece of advice ringing loudly in my ears.

“Do it for the love of doing it. Don’t do it for any other reason. As long as you’re doing something you love you’ll be okay.”

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OTwo//Music

We Got The Power Music’s complicated history is so often immersed in the social and political struggles of the day. Siobhan Mearon looks at how today’s artists are following the tradition.

PEOPLE look to music for a way to escape, for comfort, for entertainment. So what happens when the music only reminds them of what is happening in the world? Looking back on important musical events, it is apparent that many of them can be defined by the political environment of the time.

Protest anthems have existed as long as people have had reason to protest, as long as the world has angered them enough to express their thoughts through music. It can be a song that gives hope to people suffering, or a song that radicalises them and opens their eyes to the suffering, but it is always important.

“Art is meant to be radical.”

The 1960s witnessed a backlash to conservatism, with the folk movement creating a philosophy around left-wing politics, and the hippie counterculture offering an alternative to growing commercialism. Bob Dylan released ‘Blowin’ in the Wind’, an anti-war song that still holds resonance today. Woodstock became a symbol of love and peace, and the artists that played there preached these same values.

Punk in the 1970s was another movement that used music to express anger, particularly at Thatcher’s regime and the economical struggles in the UK. The Clash delivered social commentary alongside their rebellious, tough

sound, while the Sex Pistols encouraged anarchy in songs that aimed to shock the public out of conformity.

Marvin Gaye released What’s Going On? in 1971, a world-weary look at the struggles that plagued the United States in the wake of the Vietnam War. The album is told from the perspective of a returned veteran and touches on issues of racism, global warming, war and poverty. It is not so much a rallying cry but a simple question about the state the world is in.

Issues of racism and social poverty were at the heart of the hip-hop movement in the Bronx in the 1980s. DJs like Grandmaster Flash, Kool Herc and Afrika Bambaataa pioneered a new style of music that gave young people in the US a way to express their frustrations, while creating art. Hip-hop grew and developed, but the racial and social issues at its heart remained, and were even amplified with political rap from the likes of Public Enemy.

Today, Kendrick Lamar, Frank Ocean and others are leading the way, demanding people take notice by basing their music around issues they care about. Lamar’s song ‘Alright’ has become an anthem of the Black Lives Matter movement: a modern day protest song.

In the wake of the US election, Arcade Fire released ‘I Give You Power’, featuring Mavis Staples. The song is a plea to all that it is even more important to stick together now. On the same day, Gorillaz released the first song from their new album, ‘Hallelujah Money’, featuring Benjamin Clementine, which attacks materialism and capitalism, and also the celebrity culture that resulted in the election of Donald Trump.

The anti-Trump message was further cemented with the release of ‘We Got The Power’, another song that promotes unity in a time when we maybe need it the most.

Anohni’s 2016 album, Hopelessness, is a powerful and heart-breaking take on social issues, begging us not to be complicit, but take

“It seems that protest music is needed now more than ever.”

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responsibility for what is happening in the world. ‘Drone Bomb Me’ is a love song written from the point-of-view of a young girl in the Middle East who has lost her family in the bombings and wishes to be next. Anohni’s voice effortlessly sings over dark electronic beats, but the upbeat tempo is constantly juxtaposed with devastating lyrics.

Another track, ‘4 Degrees’, takes on climate change in a way that forces the listener to hold themselves accountable. The album feels radical in its refusal to sugar coat these issues, but art is meant to be radical, and Anohni is leading the way for music to force the listener to stop and think.

Hip-hop and rap, though, are always at the forefront when it comes to political music and protest anthems. A Tribe Called Quest released We got it from Here… Thank You 4 Your Service also in 2016, and, again, the album reflects the tumultuous state of the US in recent years, and specifically during the presidential campaign.

The single ‘We the People…’, emphasises unity

“The anti-Trump message was further cemented with the release of ‘We Got The Power’, another song that promotes unity in a time when we maybe need it the most.” and togetherness, but does so while explicitly calling out racism, religious discrimination and homophobia.

While politics has always had its place in music, it seems that protest music is needed now more than ever. High-profile stars are becoming more politically charged in their songs and videos, with Beyoncé highlighting feminism and Black Lives Matter in both her videos and her on-stage appearances. Political statements in music are not just relegated to a certain genre or movement anymore, it is universal for the first time. This could very well revolutionise the way music is produced.

Artists have never shied away from making political statements with their music, but more often than not, it is the political atmosphere and struggles in the world that influence people to create this kind of music. So, while the news today may be disheartening, it is important that artists like these are still making music that matters, creating platforms for protest and change.

OTwo//Music photo Credit: breandan canty

“It’s actually a joy in a way.

It’s a very different thing. A solitary process which ends in a communal expression.”

In Time – Talos

and the reverberated guitar and piano accompaniments. The songs are at once dreamy and then suddenly tumultuous, peaking and then ebbing away to the finality of silence. I had assumed this to be an orchestrated effect, with the end goal constantly in mind during the writing process.

“Not really,” he replies, unexpectedly, “I more prefer when things surprise me. I prefer when something comes out that doesn’t sound like I made it. That’s what it’s about for me. The excitement of making something that kind of feels beyond you.

“For most of this album I worked with a guy called Ross Dolan, who produced it with me. I played the majority of the stuff. 95% of the drums are all programmed, so it’s not a live album per say. It’s very much built in the box. But I think that was the challenge as well, to make it sound organic. Because I do like the idea of a mess, when it falls on top of each other. When it’s kind of rambly a bit.”

The fullness of Talos’s sound is realised in live performance. Performing with a large ensemble allows each part of the studio work to be performed and added to. Is it a strange sensation to go from being the sole writer and musician in the studio to performing with a group live?

“It’s actually a joy in a way,” French laughs. “It’s a very different thing. A solitary process which ends in a communal expression. The live stuff is as much the guys’ as it is mine. I don’t like to claim ownership over it. They know and feel that.

I suppose the work they put into it reflects that.

It’s very much theirs as well. I kind of enjoy being amongst that kind of thing, as opposed to standing in the middle in a spotlight.”

Having had the chance to catch the band live a couple of times, French’s description captures the onstage vibe of the group perfectly. The band seems to play off one another and, not knowing anything about the band beforehand, it would be hard to pinpoint any one frontman or leader. This makes the difference between Talos’s recorded music — the product almost solely of French’s work — to the live band setting all the more astounding.

French’s attention seemed filled with the album’s release when asked about his plans for the future: “we’ll be looking to play a few festivals this summer. I think it’s all there on the table. But we need to release the thing first and go from there. That’s kind of the only thing that’s on the cards, you know?” A fair enough mentality for a musician who’s laboured over an album as long as he has.

“I’m just a big child making music.”

Eoin French, better known as Talos, has a chat with Luke Sharkey about his upcoming album, havens under siege and the quest to make something beyond oneself.

THERE’S a closure in interviewing Eoin French, also known by his alias Talos, for the final issue of this year’s OTwo. Talos was, after all, one of the first bands I ever saw on editor-duty for the paper back in October, for Hard Working Class

“I just really loved it as a word. It spoke to the idea of opposites, to the idea of a haven that’s being threatened.”

Heroes. The band was, hands down, the best act of the weekend.

Now that Talos’s debut album, Wild Alee, is due for release on April 21st, I jumped at the chance to sit down and have a conversation with French; writer, singer and musician behind all the project’s recorded material. We began our conversation with how he was feeling so close to the release.

“I’m looking forward to it, to be honest,” he admits, “looking forward to getting back to playing. We’re playing the Button Factory on the 21st and that’s kind of the ‘launch-launch’, and then we’re launching it in Cork [St Luke’s Cathedral] on the 28th.”

Having already listened to the album and looking through the track-listing I noticed a few songs that have featured on previous EPs and some that have been on set-lists since last October. Creating the album must have been a lengthy process?

“It’s taken awhile alright; a very long time… These are tracks that I’ve had, I suppose, for at least 18 months. Actually, longer, I suppose, probably 3 years.”

I was interested to hear French’s thoughts on the album title, Wild Alee. “Well, Alee is this word; it’s the side of a ship that’s sheltered from the wind,” he explains. “I just really loved it as

a word. It spoke to the idea of opposites, to the idea of a haven that’s being threatened. The idea of a wild Alee, I suppose, is the idea of actually being within a haven or a space that’s kind of sacred but that’s also being tested or tumultuous or damaged at times. It speaks directly into the process.”

It turns out that this idea of a contested space resonates with the music as a whole, including the excruciating writing process. “I think I prob-

“Usually it’s a lot of work toward a moment, the build up to allow myself to be very free and expressive” ably have a lot of pressure on myself,” he admits.

“The majority of things aren’t easy. It’s kind of a struggle, it’s tough. Things are constantly being questioned and it’s very hard to get to that point where I feel something is right. Usually it’s a lot of work toward a moment, the build up to allow myself to be very free and expressive.”

There are stark contrasts throughout the album, between French’s intimate vocal deliveries

Wild Alee is released on April 21st — catch the group launch the album at the Button Factory on the same day.

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OTwo//Music

R A D A R : T he C ret i n E p i dem i c Adam Lawler meets a soft-rock force on the rise.

Dublin Gig Guide Conor O’Boyle outlines the highlights of the musical calendar across the city for the upcoming long summer evenings.

Cherry Glazerr - May 9th -Whelan’s CURRENTLY touring their fantastic sophomore album, Apocalipstick, this grungey-girl band are headed for Whelan’s next month. Hailing from California, Cherry Glazerr have been steadily building a strong, international following over the past four years, becoming critical darlings in the process. While a line-up change last year led to somewhat of a loss of hipster street-cred, the tunes are still as superb as ever and frontwoman Clementine Creevy remains one of the most enigmatic rock stars on the scene today. So tell your folks you’ll be with the “guy-ii-hiis”, and get pumped for a sweaty and intimate rock show.

OTwo meets raucous soft-rock Stoneybatter fourpiece, The Cretin Epidemic, outside an old building they frequent; apparently, a squatter community with “great vibez” [sic]. Frontman, Jacob Healy, rocks up grinning with his blonde dreadlocks swinging down the back of his hoodie, the rest trailing behind, says hello and goes straight into decrying gentrification: “it really sucks the authenticity out of the place.”

We make our way into the café next door to the building, where the entire band orders suspended coffees: “Yeah we know the lads who run the place; they love our music. They’re not here today, but you should meet them. Gas lads.”

Things weren’t always so rosy for the band.

They speak of their time on the streets with true grit: “Oh yeah, the streets are rough man. The couch may as well be hard as stone when it’s not your own.” As for the early days of playing in guitarist Nate Matthews’ spare room, they lament the lack of support for their burgeoning careers.

“Our parents were always calling us wasters.

It’s tough being on the outside, you have no idea how demonized you feel as a musician. There are no luxuries, no hand-outs, especially when you’re starting out. People just don’t give you a chance when you’re doing something that isn’t on the beaten track, y’know?”

Now it’s a different story; with a gig in the Sugar Club under their belt and an EP released to some praise, people seem drawn to their brand of AOR. Would they put themselves in the same category as bands like Travis? Perplexed, he asks, “I’ve actually never heard them. What are they like?” Soft rock. He stiffens, “I wouldn’t say we’re soft rock, man. What are you hearing?” He

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laughs, “I’d say we’re more Bon Iver by way of The Clash.”

He also has some choice words about modern music, which he says “is shite. It’s a joke. The internet doesn’t help, with things like Spotify, like why would I want a million shit songs at my fingertips? You can use that as a pull-quote.”

Thanks. “No bother, man. I’ve met some journalists that don’t know what a pull-quote even is, but you seem like you know what you’re doing.” I ask if they take inspiration from Father

“Why would I want a million shit songs at my fingertips?”

John Misty in terms of their sense of critic-baiting irony: “Papa John Murphy? I’m messing, but no I’ve never heard of him.”

For a band who said in an interview with Hot Press that they see themselves playing Wembley in a year, they don’t take themselves too seriously. They all agree their guilty pleasure is “Shania Twain, like there’s a reason she shares a name with good aul’ Mark. My girl friends get a good laugh out of seeing me twerk to ‘Man, I Feel Like A Woman’. It’s just banter though.

You never know, indeed.”

Self-released EP, “A Thousand Carpe Diems”, is available on vinyl, compact disc, cassette, SoundCloud, Tidal, Bandcamp, Deezer, Last.fm, MySpace, DailyMotion, and TorrentKingz.de. Just not Spotify.

Declan McKenna - May 19th - The Academy Green Room LONDON wonder kid Declan McKenna makes prelude to his spot at Longitude this summer with a headline show at The Academy’s Green Room. With an eagerly anticipated debut album on the way, five stellar singles already in his back-pocket, and still only eighteen years old, McKenna is a prodigy on the rise. Support comes from Armagh outfit, Jealous of the Birds, who have just returned from a lauded performance at this year’s SXSW. Bon Iver – June 6th – Forbidden Fruit

IT has been five years since Justin Vernon’s band of melancholic men last played these parts. Not only headlining but curating the final day of urban festival Forbidden Fruit, Vernon is known for associating himself with some sensational acts. Vernon brings with him the talents of The Staves, Lisa Hannigan, Flying Lotus, Danny Brown and even more to be announced to help him take over Kilmainham. As for the main event, the Bon Iver headline set, a new album and a new backing band promise a mesmerising night of falsetto, saxophone and sampling. Expect cross-overs, guest slots, and more than one appearance from the main man himself. If unconvinced, check out NPR’s Front Row Bon Iver special from last December.

Trinity College Park Summer Series – July 6th11th – Trinity College A welcome new fixture on the Irish music calendar for this summer is MCD’s Trinity College Park Summer Series. Taking over the cricket pitch of the central campus, the series will see six nights of spectacular music from both national and international artists. We are tackling this as a single listing simply because we couldn’t choose just one night to represent the incredibly high standard of the series. All individually ticketed, the series will see Gregory Porter (6th), James Vincent McMorrow, with support from All Tvvins, (7th), Bell X1 (8th), Pixies (9th), Two Door Cinema Club (10th), and alt-J (11th) grace the city centre stage.

OTwo//Music

Album reviews Tribute to Ndiouga Dieng Orchestra Baobab

Silver Eye Goldfrapp

ALL AMERIKKKAN BADA$$ Joey Bada$$

What Are You

Listening To?

MusicSoc give OTwo a rundown of some of their favourite tracks at the moment.

FOR some Western listeners, Tribute to Ndiouga Dieng may serve as an introduction to Senegalese legends Orchestra Baobab. Despite afro-beat’s recent surge in popularity around the world, the group have managed to remain just below the radar. Formed in the mid-1960s, the group has been at the forefront of the multi-cultural and ethnically diverse movement, which helps form afro-beat’s unique sound. This new release finds the group sounding incredible across the board.

The record, ten tracks long, is packed with layered polyrhythms, soaring horn lines and emotive vocal deliveries. The music feels global.

Elements of the various West-African popular music traditions are present, especially in the phenomenal percussion arrangements. There is, however, a Latin tinge somewhere in the mix too.

Spanish guitar and modal melodies are reminiscent of Bueno Vista Social Club at their very best.

The vocal melodies are the love child of Western RnB and Congolese sensibilities. The end product is a sound and feeling which celebrates the best of the world’s many sound cultures.

The production on the album is clean, while taking precautions not to overshadow the skill of the musicians involved. Guitars, infused with chorus, sit comfortably amongst the centre sound of electric bass and the multifaceted rhythm section. The voices dance over this arrangement, giving each part of the record its own place to live in the mix.

It’s hard to pick a highlight from the bunch.

It might well depend on what mood you’re in while listening to the album. We certainly strongly suggest giving the album a chance as a whole, so as to immerse yourself in the full experience. This may seem an archaic practice in the modern age, but you won’t regret giving Orchestra Baobab an hour of your time.

SILVER Eye is Goldfrapp’s seventh album, their first since 2013’s Tales of Us. The duo consists of Alison Goldfrapp and Will Gregory, known for their constant sonic evolution and this new release is no exception to the rule. After previously experimenting with a more acoustic folk-tronica style, Silver Eye sees big, shining synthesisers return unabashedly to the fore.

Opener ‘Anymore’ immediately signals this stylistic shift. Propelled by a purring synth riff, Goldfrapp’s minimalist but sexually charged verses build to a massive chorus: ‘I can’t wait, I can’t wait anymore.’ It is a strong track, and an obvious choice for the lead single, even if in truth little else is particularly innovative about it.

One stronger is ‘Become The One’, a selfrealisation anthem inspired by the documentary My Transgender Summer Camp. A great contrast is created here between the robotic verses and Alison’s more expressive, human chorus, with shimmering additional vocal lines being thrown in for good measure. Contributing to production here is Björk’s Vulnicura collaborator The Haxan Cloak, whose fingerprints are all over this album, being credited on six of its ten songs.

The album, however, has several weaker moments. Aside from its iffy title, ‘Systemagic’ feels a lot longer than it has any right to be at three and a half minutes. ‘Zodiac Black’ and ‘Beast That Never Was’ both succeed in creating the kind of ominous atmosphere present on much of Silver Eye, but without ever truly igniting.

To its credit, Silver Eye finishes well, with two strong final tracks. A dynamic swell and fall is put to excellent use on ‘Moon in Your Mouth’, while ‘Ocean’ is a dystopic disco stomper. Ending with Alison’s insistent ‘They’re coming for you’, the latter exemplifies the paranoid, unsettling tone of this album.

ALL AMERIKKKAN BADA$$, the second studio album from Joey Bada$$, promises at first to be an interesting follow-up to the rapper’s 2015 debut B4.Da.$$, itself a decent if slightly forgettable first effort. ALL AMERIKKKAN BADA$$, however, is just dull, lazy and unoriginal. Overall the collection is just plainly disappointing as an album.

Arriving as somewhat of a prodigy, being just eighteen when his innovative mixtape 1999 was released, the bar had been set high for Joey Bada$$. Although ALL AMERIKKKAN BADA$$ has fleeting moments of the same creativity and whip-smart lyrics, it fails to make a mark, with an especially disappointing lead single, ‘Devastated’, setting the tone for the rest of the album.

‘Devastated’ may actually be the weakest track on the album despite having a good balance of both rap and singing, two things Bada$$ is incredibly adept at.

The first six songs give no indication of the talent listeners were gifted with on 1999; they build slowly, creating anticipation yet offering little to no payoff. Anticlimactic is the keyword of the first part of this album.‘Rockabye Baby’ is undoubtedly the best track, although it has little competition. ‘Rockabye Baby’ proves that Bada$$ has the tools and the talent to make great music and write lyrics that capture the zeitgeist of a disillusioned America.

The fact that the listener gets only a tiny taste of what Joey Bada$$ has to offer is the most disappointing aspect of ALL AMERIKKKAN BADA$$.

We are constantly left yearning for more than what we get, with the previous knowledge of what could be offered.

In A Nutshell: Love at first listen; how could you not?

In A Nutshell: A decent release, with some strong moments, but unlikely to feature on many year-end lists.

Ezra Maloney

“The Car Song” -The Cat Empire

“Blinded by Your Grace Pt. 2” -Stormzy

“A Closeness”

-Dermot Kennedy

“Bellyache” -Billie Eilish

“Castles” -Saint Sister

In A Nutshell: Maybe Bada$$ should rethink the name?

Luke Sharkey Cian Montague

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OTwo//Fashion

Following the Thrift Top finds from thrift shops and charity shops around Ireland

Photographer: Camille Lombard Model: Kate Lally Stylist: Katie Devlin

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OTwo//Fashion

Baby pink strapless jumpsuit Peach Peter Pan blouse & white culottes

Supplier: Fran and Jane

Floral dress Blue oversized T-shirt

Supplier: Costume

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OTwo//Fashion

PusHinG PAst tHe PublisHer With the rise of social media, Shane Cullen discusses the importance of printed fashion publications

WHETHER it be 140 characters on Twitter, a 10 second glance of a Snapchat video or a glossy, filtered Instagram post, fashion writing has ascended into wider spheres when it comes to reporting on the latest trends and must-haves.

Every day we are bombarded with selfproclaimed style experts and online bloggers voicing their opinion over these forms of social media, straight from their smartphones.

With so many aspiring writers looking for a platform to make a name for themselves and often going beyond the magazine format, has this affected print publications?

Last year in 2016, the fashion world followed a momentous occasion as Vogue celebrated its 100th year anniversary.

The milestone did not go unnoticed, with Vogue holding an exhibition called Vogue: A Century of Style, which had an eight-month run from February until October of last year.

A-list names featured on the guest list, with the likes of Kate Middleton and Suki Waterhouse in attendance to look back at some

of the magazine’s most prestigious cover shots and photoshoots. Vogue celebrating 100 years was undoubtedly an important moment for printed fashion writing as it means that printed media remains to stand the test of time, something which a tweet or an Instagram post fails to achieve.

There is always something personal and engaging about picking up a magazine to read articles on seasonal trends or interviews with

“Armed with a more unbiased opinion, magazine editors, on the other hand, present their readers with more of an objective viewpoint.” the emerging and established stars of fashion and pop culture. Every month, anticipation and intrigue builds up as to who will feature on the cover of the likes of Vogue or Grazia, which are still as prevalent as ever.

While social media certainly has its benefits, enabling a far wider audience reach more easily, it is the existing magazine behind it that

builds up the personal connections. One such example is Vogue and Kate Moss’ long-term collaboration, which began when Moss first graced the cover in 1993.

An Irish success story for fashion writing that covers topics of style, beauty and lifestyle is Image magazine. Based in Dun Laoghaire, Image has been publishing since 1975 and has gone from strength to strength. Last year in 2016, Image was listed as Ireland’s most read print publication for women, notching up an impressive 120,000 readers over the year. Image Publications have put their accomplishments into opportunities by launching networking events aimed at women starting their own businesses.

While some may argue that the online fashion bloggers could attribute their breakthrough to being readily accessible on websites and social media apps, the authenticity of the writing should be questioned. Oftentimes, the reality of bloggers earning their income comes from promotion of a brand or new product.

Armed with a more unbiased opinion, magazine editors, on the other hand, present their readers with more of an objective viewpoint, and usually offer a range of articles to cater for a wide variety of interests, rather than the interest of the blogger. No one is shutting down the printing press just yet.

Joint effort

As fashion collaborations become increasingly popular, Lucy Mortell examines the benefits of teaming up.

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“For smaller scale designers, it is an opportunity to showcase their work to new audiences.” ness allowed Coach to re-imagine its classic look in an innovative, cool collection. Rodarte has been making its way up the industry ladder since 2005.

Despite being greeted with scepticism, the brand persisted and continue to rise in the rankings.

Unlike UNIQLO, though, Rodarte’s prices are not so wallet friendly, so why the collaboration?

The benefits of partnering works two ways.

For smaller scale designers, it is an opportunity to showcase their work to new audiences. Linking up with big name brands brings about big name talent. The following that is attracted by legacy brands allows these up and coming designers to get their names in the pages of magazines and on the bodies of influential trendsetters.

The high fashion brands similarly reap the benefits. They gain an opportunity to not only create hype, but also a chance to re-invent themselves. Many high fashion brands have longevity because they are immediately recognisable, but collaborating with a fresh-faced brand creates a space in which they can experiment and play with their designs, inspiring new creativity. Like the big names, up and coming brands similarly

have their own niche following. When a crossover is initiated, new demographics and markets are opened to a market they may not have experienced before.

Collaborations are imperative to fashion’s future. It is an opportunity for the industry to cyclically renew itself. Like they say, two heads – or in this case, two design teams — are better than one.

Rodarte Collection, nY Fashion Week 2016

iMaGe Via eVentphotoSnyC FLiCKr

THIS week it was announced that fast fashion giants UNIQLO were entering yet another luxury collaboration, this time with JW Anderson.

Collaborations in fashion are nothing new: combining the best creative minds has been the habit of designers for decades. The recent glut of collaborations has highlighted just how important and effective partnerships are in the industry, most often between fast fashion and luxury brands.

As likes of H&M have done before, UNIQLO frequently collaborates with high fashion designers to produce fashion forward, yet affordable, clothing. The combination of fabulous clothes with attractive prices immediately creates footfall. It generates intense interest and huge amounts of buzz, which then allows the luxury brand to permeate through to the mainstream.

Collaboration for luxury brands means access to a future market by reaching a younger clientele without compromising their core proposition.

Luxury giants Coach most recently collaborated with industry darlings Rodarte. The contrast of Coach’s heritage chic and Rodarte’s edgy real-

OTwo//Fashion

We’re Going to Nashville!

As new fashion capitals rise to prestige, Adam Lawler considers whether this represents a move away from the comfort of the mainstream.

“As Nashville is becoming an alternative to New York in the US, Zurich is becoming the same for Europe.”

capitals seem to be springing up everywhere?

Is this because the mainstream is stagnating?

“The mainstream has always looked to the alternative for inspiration, co-opting style for the mass market.”

New York, Milan, and especially Paris have always been the giants of fashion. Paris, in particular, is considered the world’s fashion capital by default, and with so much history and every major fashion HQ taking residence there, that is never going to change.

However, while they were once new, the Paris fashion houses are now institutions. This is hardly their fault; any city with their track record and global influence will be at risk of stagnation. This doesn’t mean the glitterati can’t turn their heads to the new kid making waves.

Vetements have become an unwitting symbol of rebirth; after just three years in

business, the avant-garde house are upping and leaving Paris for Zurich, and the heads’ condemnation of Paris as ‘over’ and ‘destructive’ to creativity is telling. As Nashville is becoming an alternative to New York in the US, Zurich is becoming the same for Europe, with Zurich West becoming a sort of cultural hub of warehouses and art galleries. In a sense it is perfect for the edgy image Vetements is trying to cultivate with their brand, even though no one outside of Zurich could tell you why.

This new attention doesn’t necessarily signify a sea change. It comes across more as a brief change of scenery for fashion tourists.

As original ideas can only come from innovators, and most innovators can only be found underground, the mainstream has always looked to the alternative for inspiration, co-

opting style for the mass market.

From tattoos to DIY, by the time we hear of ‘alternative’ fashion it is usually bang in the middle of the mainstream and on its way out of style. This one-way dynamic of centres and peripheries has always been in place. It is when those peripheries themselves slowly become centres that the industry becomes transfixed, and although the nature of being a capital will inevitably see the young upstart settle down and plant roots, sawing some of the edge off, it is this transitional period that is most fascinating to watch.

For now, all eyes are on Nashville, and with the highest concentration of fashion companies per capita after New York and LA, it has come a long way from rhinestoned jumpsuits. Long may it slay.

nashville, the alternative fashion capital?

PhOTOs : caMille lOMbarD

Office Chic Name: Niamh O Regan Postion: irish Editor Favourite thing about your outfit?

“I can’t decide between the coat or the tea.”

Name: Aoife Hardesty Postion: Staff Writer & Office Hobo Favourite thing about your outfit?

“I love my shoes. My mom thinks they look like shoes for a 4 year old.”

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photo : JaSon MraChina Via FLiCKr

THIS month, Nashville Fashion Week takes place, and if you see a dozen Google results of thinkpieces asking whether Nashville is the new fashion capital, you know it has gone beyond a scrappy, local event. It’s like your school fashion show, except with every camera in the industry trained on it, with all the pressure that entails.

The exposure is not without cause. People are calling it a breath of fresh air, but also a return to roots. The designs and concepts are fresh and new, but steeped in the history and culture of the area. It is also inclusive, featuring curvy and transgender models. Marcia Masulla, co-founder of Nashville Fashion Week, told Bustle, diversity is “nothing new for us.” What began as an originally ‘outlandish’ concept has exploded into something different entirely.

This begs the question: why do new fashion

OTwo//arts&lit

PULITZER PRIZE: Losing its Lustre?

The Pulitzer Prize has long been a staple of the literary world. Orla Keaveney considers the importance of the award in the social media age.

ON April 10th, the winners of the 101st Pulitzer Prizes were announced in Columbia University, New York. The award aims to recognise outstanding American journalism and literature, and rests somewhere between an Oscar and a Nobel Prize in terms of prestige.

There are twenty-one different categories: fourteen for Journalism and seven for “Letters, Drama and Music.” The winners receive $10,000 and a certificate, with a gold medal given to the publication that wins the Public Service category.

This year, the medal for Public Service was awarded to the staff of the New York Daily News, for uncovering police abuse of eviction laws to target hundreds of people, mostly poor minority groups. Newspapers from the same city, such as the Wall Street Journal, the New Yorker and the New York Times, dominated the Journalism awards, with some representation from cities across the USA. Only journalists who write for American publications are eligible for most Pulitzer prizes, and must be US citizens to qualify for others.

“The democracy of the digital age has its downside — anyone with a laptop can call themselves a journalist.”

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The prize’s founder, Joseph Pulitzer, was a Hungarian immigrant based in New York, whose newspapers were renowned for exposing corruption in the government and wealthy classes – a theme common to many winners of his prize. Amid the controversy surrounding the predominantly white, male judges of the Academy Awards, the Pulitzer Prize prides itself on its diversity – on its website, it states that “in the selection of the members of the board and of the juries, close attention is given to... diversity in terms of gender, ethnic background, geographical distribution.”

This year’s literature awards reflect this inclusive ethos, as five of the seven winners were people of colour, three were women, and the issues tackled by their works included race, poverty, and human trafficking. The majority, however, of the Journalism prizes were given to white men, which seems to underline the lack of diversity that lingers in the industry. As progressive as the Pulitzer Prize aims to be, it can’t account for the imbalances in the wider world of traditional journalism.

Stories of racism, sexism and economic inequality dominate the American media following recent events in politics and society.

Yet we are still hearing of these issues from the mouths of the people least affected by them.

Multiple factors have contributed to this – the emphasis on university education amongst prestigious publications; the erratic, long hours, unsuited to family life; or even the decline of print media, which makes the industry

too competitive for anyone not born into an advantageous position.

The growth of online media has helped to overcome many of the obstacles faced by minority groups in telling their side of the story.

Blogs, video journals and social media stories have given a voice to oppressed groups across America, many of whom have been denied a platform for generations.

Along with hundreds of personal accounts of discrimination and systematic inequality, the internet has helped these groups to unite and fight for a common cause. The #BlackLivesMatter movement, the open letter by the Stanford Rapist’s victim, and, more recently, the criticism of Pepsi’s insensitive Kendall Jenner campaign, were all brought to prominence by social media, letting people bypass the restrictions of traditional formats and connect directly with each other.

But the Pulitzer Prize has little regard for new-age journalism – in some categories, it explicitly rejects submissions that are online-exclusive, requiring a print edition. The youngest newspaper to receive an award, the Storm Lake Times, was established in 1990, with other winning publications dating back to the 19th century – most of the current winners would have been around long enough to enter the competition when it was first set up in 1917. The Pulitzer seems to take the legacy of its namesake too seriously, and neglects to recognise the sorts of reporting that Joseph Pulitzer could have never imagined.

That said, the democracy of the digital age has its downside – anyone with a laptop can call themselves a journalist, and quality writing is often lost in the sea of inconsequential pieces uploaded every day. Social media is the perfect breeding ground for echo chambers, as sites like Facebook actively filter out articles and posts that a user will disagree with, leaving their world view unchallenged.

Most worryingly, nobody is held accountable for misinformation or outright dishonesty in online reporting, which has undermined its journalistic credibility, making it an easy target for the likes of Donald Trump to dismiss their critics as “fake news”.

For traditional media values to survive such attacks, we need organisations like the Pulitzer Prize to reward thorough research, journalistic integrity, and being brave enough to ask the tough questions. But if these awards fail to move with the times, continuing to applaud second-hand accounts of corruption instead of listening to those directly experiencing it, they will rapidly lose relevance in a modern context.

“As progressive as the Pulitzer Prize aims to be, it can’t account for the imbalances in the world of traditional journalism.”

IllustratIon : Meadhbh sherIdan

OTwo//arts&lit

Inter-Varsity Poetry Slam: From Strength to Strength

THIS year the Inter-Varsity Poetry Slam officially became an All-Ireland competition as colleges from Queen’s University Belfast & Mary Immaculate College in Limerick entered the competition for the first time. In total there were nine colleges altogether represented by their top spoken word poets.

“This year we’ve had more colleges and more poets competing than ever,” explains founder and organiser, Lewis Kenny. “We had nine colleges from across all the provinces of Ireland, officially making it our first All-Ireland Slam. We initially had a five year plan to get to this point so I’m very happy to have reached this in our third year. None of which could be possible without the ongoing support of Poetry Ireland” A total of eighteen poets took part from different universities and colleges: NCAD, IADT,

“I’d really like to get involved with UniSlam in the UK and run a competition with them.”

TCD, UCD, RCSI, DCU, NUIG, Queen’s University Belfast and Mary Immaculate College, Limerick.

The structure of the Inter-Varsity is based around the standard slam set-up: two rounds, nine poets in each, and a final, all judged by a panel of judges scoring each poem to the decimal point on its content and delivery. All poems must be from memory, must be the original work of the performing poet and must stay within the time limit of three minutes. One representative from each college is in either the first or second round and it is the scores they receive in their respective rounds that determine their place in the final.

For the past three years the Inter-Varsity has taken place in the NCADSU common room.

While this is the optimal venue for all poets and supporters from colleges to come together due to its central location, there are plans to move to another venue next year.

Addressing these plans, Kenny admits that, “I like to think that our crowds get rowdier every year. In traditional slams, people will snap their fingers in appreciation but at the IVs our audience like to get drunk, loud and woke. We’ve come close to getting shut down by the venue quite regularly but I wouldn’t compromise the buzz no matter what… I have a few ideas in the mix, if we keep the same venue for next year we might look into doing an after-party, like a poetry/hip-hop sesh.”

A new venue isn’t the only thing that might be changed for the 2018 Inter-Varsity. Kenny is also looking to implement a new submission system for representatives to enter the competition.

“As for the actual event itself,” Kenny explains, “I’m going to look into trialling a new application process. Usually, I would give each competing college two participants. This was great for the first competition, but now we’ve risen to nine colleges and this format cannot be sustained.

I will be looking into doing a video submission

entry and choosing from the best fourteen or sixteen, with no competing college allowed more than four poets, but at least one poet from each province.”

The Inter-Varsity is still a budding event in Ireland and Kenny has big plans for the future of the event. He hopes to get involved in the UK international Inter-Varsity Unislam that welcomed its first Irish team this year, with UCD sending over a team of poets to compete and represent Ireland. He enthuses, “I’d really like to get involved with UniSlam in the UK and run a competition with them, however, I still feel that I need to do a bit more work on establishing the IV brand first in Ireland. Some ways I hope to do this is by securing a title sponsor and possibly crowd-funding.”

The spoken word poets who represented UCD at the Inter-Varsity were Beatrice Adomaityte, 21, and Tom Hade, 19. With her performance, ‘Gemini’, Adomaityte received strong support from the crowd and, alongside 2016 Inter-Varsity winner, Niall Donnelly of IADT, she proceeded to the final where she

placed 3rd. The winner of the 2017 Inter-Varsity was Phoebe Brigginshaw from Queen’s.

The theme of the night took on a socially aware, politically-driven nature as poems addressed certain themes currently relevant in Ireland. Themes ranged between pride and sexuality, mental health, Northern Irish politics, the Repeal the 8th movement, and sexual harassment, as well as themes of identity, love and family. The Inter-Varsity creates a space for students from all over Ireland with an interest and a passion for performance poetry to get together and stand on a platform to express themselves.

The spoken word scene in Ireland is thriving, with more and more events popping up across the country. The community of poets itself is also growing as more people are standing up and performing their poetry wherever and whenever they can. Slam Sunday is an event that welcomes poets to compete on the first Sunday of every month in the basement of FilmBase. Thirst for Verse is a new night of spoken word poetry that launched last Thursday, 13th April in MVP.

mr. no Go Follow, mC for this year’s slam

iMaGeS Via interVarSitypoetrySLaM 2017 FaCebooK

After its third successful year, founder and organiser of the Irish Inter-Varsity Poetry Slam, Lewis Kenny, speaks to Melissa Ridge about its success and the plans for the future.

“We had 9 colleges from across all the provinces of Ireland, officially making it our first All-Ireland Slam.”

Phoebe Brigginshaw, Intervarsity Poetry Slam Champion 2017

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Open-immmr What is open-immmr?

immmr visits U.C.D On Thursday the 30th of March 2017, sarah and sophie from the immmr team visited university college Dublin to introduce students to the future of calling. They set up a stand in the student centre of the college and held a competition to win free flight vouchers. The aim was to gain general feedback from students and to tell them all about what immmr can offer as a communication app. students were particularly interested in using immmr for international calling and additional numbers, which most of the participants suggested could be very useful when travelling to call home and abroad.

Open-immmr allows you to connect with non-registered users anywhere around the world. simply send your open-immmr url link and connect with friends, family and colleagues near and far without prompting download or sign-up of the app! With openimmmr, you can create your own personal space and choose what information to show.

Why do I need open-immmr?

Do you want to get in contact with others without inviting them to personal social media platforms? Provide no personal details on your open-immmr space to secure your privacy. immmr can be for everyone, even non-immmr users can just open the link, enter a nickname and say hello.

Cross Device

immmr is there for you when your phone or laptop battery dies.

Your communication; all calls, messages and contacts are combined in one place. users can also make and receive voice, video calls and messages from any device. The only thing needed is an internet connection. lost your mobile on a night out and want to connect with friends? Grab your laptop or tablet to contact your immmr friends. Never miss out with immmr!

Video Calling

immmr set-up in the Student Centre in U.C.D

Nothing beats seeing a friendly face. One on one, in a group, always for free. see your friend’s new dog or reconnect with family abroad. You can also switch seamlessly between voice and video calls. lying on the beach on a holiday and want to make your friends at home jealous? video call them and show them what they’re missing! be open, be social, be immmr.

What is immmr? so what exactly is immmr? Well, immmr is a voice and video communication service created to reboot calling. it provides a range of features including video calling, international calling, additional numbers, cross device, open-immmr and more. immmr unifies voice, video calls and messaging in one service, so that users can connect from any device and from anywhere. immmr to immmr calling is always completely free, all you need is an internet connection. You can also use immmr to call out from the app. This works just the same as a regular call, and the person you are calling doesn’t need to have immmr downloaded to receive the call.

Additional Numbers What are Additional Numbers?

With immmr you can have more than one number without needing multiple siM cards. immmr’s additional numbers are perfect for when you need to separate your home and work life, and very useful for dating, travel, and even selling items online.

How do they work?

The additional number is not attached to any siM card and you can receive calls on this number once you are connected to the internet. at the moment, immmr offers a Free additional uk number when you download the app, for you to use as you choose! if you have family and friends in the uk they can also call this number for the same price as a regular local call!

Why do I need them?

Tinder date didn’t go so well? immmr users can protect their main phone number and create new ones for their own convenience! studying abroad but still want your home number?

Why not have both! With immmr you can have multiple numbers from different countries, perfect for students on erasmus or taking part in the J1 Programme.

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(L-R): immmr in the Google Play Store and the App Store Messaging

run out of sMs texts and it’s only half way through the month?

Don’t worry, you can send an immmr message to registered users for free. You can also use your free monthly 250 minutes for sending sMs texts to non-registered users. One minute = one sMs. Don’t forget that immmr also provides group messaging. immmr supports location sharing once location is enabled on your device, along with images, contacts, voice messages and videos.

What immmr offers

Download immmr today www.immmr.com/ie and you will receive a Free additional uk number, along with 250 minutes every month to call to over 120 countries.

The winners of our competition from our ucD visit are Mr. Donagh ruane, Ms. róisín rigg and Ms. cathy O´Donoghue. congratulations guys! anyone who missed out, you have another chance to win 1 of 2 €100 flight vouchers, just fill out our survey to enter the competition at www.immmr.com/ie and download immmr today!

FATAL FOURWAY Most FML Moment in College

David Monaghan COMPOSING this Fatal Fourway has been difficult. My college career has been so typified by FML moments that it’s hard to narrow it down to one – I have five years of experiences, after all! Should I talk about the time I vomited on a friend’s new shoes? Or slipped at the top of a large lecture hall in front of my peers, landing on my ass? Or maybe the time someone I was dating tried to hook up with me in a bush off campus?

Although all of these moments are horrendously embarrassing, one thing sticks out in my mind. One thing still haunts my nightmares even to this day. I am referring to the time I accidentally encouraged a lecturer to soft block me by email. Kind of.

I was doing a module in my second year of study on a topic I found difficult to comprehend, and the assignments we were given diverged from the norm so I was left feeling shaken and confused. We had to do a god-awful group project, followed by a series of smaller assignments, the last of which was the most puzzling.

And so, the string of emails to my lecturer began.

She replied to the first five or so, graciously attempting to quell my bubbling anxieties, but after the tenth I began to notice that she had stopped replying to my questions of “what font size do you prefer?”, “is it okay if I compose this entirely in wingdings?” and “do you think Weezer lost its magic with the departure of bassist Matt Sharp?”

By then I realised I’d let my fears push me too far and my lecturer had probably set my emails to go automatically to her trash pile, which, by the end of the day, was undoubtedly beginning to fill.

Lecturers are there to help, but as I have learned, they are not there to put up with your bullshit minor breakdowns.

Sean Hayes

Martin Healy

Roisin Guyett-Nicholson

IT is somewhat bittersweet writing this piece, which is, technically, the last piece I will write for OTwo, after contributing to the magazine for the last four years. While this newspaper has provided me with some of the best moments of my life in UCD, it seems appropriate that it should be the base for my biggest FML moment too.

It was when I was in second year, working as the music editor, and struggling internally with deciding what content would be deemed ‘cool’, and what content I should keep to the darkest corners of my iPod for when I was alone and well out of earshot. I had managed to get a lastminute interview with a band that was coming to Dublin. The only time they could speak to me, though, was later that same day.

With only hours to spare, I did what every good journalist does, and consulted the beacon of factual integrity -- AKA Wikipedia -- scouring their page for facts and possible questions. In the constant pursuit of intriguing pull-quotes, I was inappropriately thrilled to discover that the lead-singer had been diagnosed with Lyme disease the previous year.

Armed with my questions, I pleasantly chatted with the singer, ambling through his musical influences, creative process, and how much he enjoyed the Irish crowds. Pen at the ready, I then posed, “and how has your recent diagnosis of Lyme disease influenced how you write songs and perform them?” Silence. This was great; he was clearly getting ready to tell me something profound!

“I don’t have Lyme disease,” he informed me.

“Well, what do you have?” I blurted out, in blind panic.

“Nothing. I’m perfectly healthy.”

The interview, by this stage, was pretty much finished, and there wasn’t much left for me to do except thank him for his time, and tell him that I would personally edit his Wikipedia page, informing the masses that he was, actually, the picture of health.

COLLEGE can be a bit like stumbling to a taxi when you’re drunk. Blindly point yourself in the right direction, hang onto whatever you can, and hope for the best. Now that my four years are up in UCD – and since this is likely my last article for the Observer – there’s nothing better than revelling in my own misery.

I’ve managed to avoid a major FML moment in college – aside from the odd panic attack or overly-long conversation with someone-whowon’t-leave-you-alone-and-let-you-enjoyyour-pint (but sure, that’s not exclusive to the realms of Belfield). Instead, my worst moments string together like small potholes on a piece of pre-EU road – bumpy and unpleasant.

One moment that stands out involves this very institution. Trying to find the Observer office is often a daunting task, as anyone who has popped by can tell you. Without a guide on hand, you find yourself hurtling toward the LawSoc office or Outer Mongolia before arriving through the doors of our beloved sweat box.

This hasn’t been aided by the fact the office moved when I went into second year. My original trek to the office took place during the first semester of first year, as I decided to attend an OTwo meeting.

Stumbling about the societies corridor, I flailed about like any good nervous wretch. I poked my head into what I now know to be the meeting rooms. Despite the fact there were a bunch of people limbering up for a dance routine, I put together my best Squeaky-Voiced Teen impression as I stuck my head in the door.

“Is… is this the paper office?”

“Haha. No.” The resulting sniggering and red hot shame haunt me to this day, leaving me a sweaty wreck like Martin Sheen at the start of Apocalypse Now. It’s the little moments that get you.

TO be honest, college is probably a series of FML moments. Sitting in the wrong seat in the RDS or losing your UCard and causing a fuss.

Wandering into the wrong lecture. Wandering into the wrong tutorial. Forgetting the due date of your essay and submitting it a week late with no extenuating circumstances.

Forgetting you have an essay entirely. The constant commuting if you live more than 30 minutes away from UCD. Still being late when you live on campus.

My own particular favourite was that time I actually showed up on time, to the right place, to a tutorial. It was some first year, fluffy class on how great philosophy is. I thought it was great. Compared to double maths on a Tuesday morning with a teacher that used to spit at you, I now got to rock up and waffle about why we were even alive at all. Far more interesting.

Except nobody else in the class thought like that. In hindsight it was really the lecturer’s fault for not making tutorial attendance mandatory. I showed up to one of those huge rooms in Newman with millions of chairs, all excited in my nervous first year enthusiasm.

But nobody else did. Just me and the lecturer. So we sat there for an hour and stared at each other/talked about Rousseau.

Illustrations : Louise Flanagan

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A PERTURE //structures//

Ryan O’Donnell Alex Floss-Jones

Annabelle Nguyen

Camille Lombard

Camille Lombard

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