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ED FRANCIS REVEALS ALL THE LATEST NEWS AND GOSSIP FROM THE MUSIC INDUSTRY

Gil Scott-Heron passes away

Not a Cocker-up

BRITPOP legends Pulp have delighted the press and fans alike with a triumphant comeback show in Barcelona - their first in over a decade.

The abrupt and irresistible nature of the announcement that Jarvis Cocker has reformed the band, who were responsible for seminal hits 'Common People' and 'Disco 2000', has prompted excitement and pessimism in equal measures, a point the band themselves appear to have been attuned to in their teasing of the crowd with a projection reading, "Is this a hoax?" onto the closed curtain obscuring the stage prior to the gig.

When the group finally took to the stage, however, fans were rewarded with a careerspanning set which saw Cocker climb the stage rigging and jump into the crowd with a miniature camera in order to capture a marriage proposal on the big screens. Here's hoping the band can channel this recaptured energy into new material soon.

KNOWN perenially as the 'Godfather of Rap', poet and musician Gil Scott-Heron died this week after years of press speculation about his health.

Scott-Heron, who grew up in Chicago, Illinois, first came to prominence through his spoken-word tracks featured on the album Small Talk, a work best known for the political composition 'The Revolution Will Not Be Televised'. The style of these tracks was deeply influential on the hip-hop and rap genres, and have led to comparisons with Bob Dylan.

Known as an incredibly gifted

documenter of difficult and often desperate times, Scott-Heron's legacy will stretch far into a hardly stablelooking future.

Still Courtneying Controversy

Scarlett's Massive ‘A-track’ IN A MOVE that represents her second major foray into the music business (following the release of her 2008 covers album Anywhere I Lay My Head), Scarlett Johansson has agreed to team up with two-piece electronic outfit Massive Attack on a collaboration track that will appear in an upcoming Mexican thriller.

The song, a cover of George Gershwin’s 'Summertime', will be one of a number of renditions of the jazz standard to appear in Dias de Gracia, which is comprised of three segments, each scored by different composers including Nick Cave and Atticus Ross.

Whereas certain sections of the score

have been described as "visceral and primal", others are "quiet and sophisticated" - though Vision can only hazard a guess as to which section Scarlett’s track will feature in, we’re betting that her soothing voice won’t soundtrack a car chase.

AS IF ANYONE had been under the impression that she had gone away, Courtney Love has resurfaced in the headlines in recent weeks as a result of a lawsuit brought against her by a law firm that only recently represented her in court.

Gordon & Holmes, a firm that had been fired by Love after they requested that she refrain from substance abuse while the case was ongoing, cite recent Tweets alleging that the company had been paid off by the former Hole-frontman's enemies as evidence of libel on the singer's part.

In a resounding victory for taste, Ms. Love has also been causing a stir recently with claims about the size of her late husband Kurt Cobain's endowment, taking pains to let an interviewer know that he was "f*cking well hung". Classy as ever.

Not just any Clem, Chris, and Harry JASMINE TARMEY charts the continuing rise and rise of blondie

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merican photographer Bob Gruen recently said that Debbie Harry is "the Marilyn Monroe of her generation", or, in other words, "iconic".

Blondie's 1978 Parallel Lines is arguably the band's best-known record, and I first heard it as a child on my mum’s record player. For some reason listening to it as an LP rather than an mp3 or CD seemed more apt. In a band that embodies rock and roll, the medium that spurred its popularity perfectly works with their classic, undated, sound.

Blondie, and Harry in particular as the band's front-person and vocalist, became a worldwide trending topic on Twitter on May 21st 2011 through Harold Camping's claim that the world would end on that day. Two of the band's songs became, on that sensational Saturday, iconic: the new single 'Mother', released on the that date, and their 1981 single 'Rapture'. These songs were both apt for the day in question, the latter for obvious reasons given Camping's prediction, the former for its music video, in which zombies take over the club in which the band are performing, turning all inside - the band included - into undead monsters.

On May 30th, Blondie are set to re-

lease their ninth studio album Panic of Girls. The band first started out in the music scene in 1974, and that they are still active and popular to this day - almost forty years after their initial emergence - is definitely an achievement. The band did briefly split in 1982, after which Harry pursued a solo career; they then reformed in 1997 and have stayed together since, despite being absent on the new releases front since 2003.

Harry may be the Marilyn Monroe of her generation through her legendary status - a musician many admire, and aspire to be more like - but that she is a living legend, despite living up to the rock-androll lifestyle, separates her from the prematurely departed Hollywood sex symbol. Harry never conformed to the notion that for a woman to make a mark in this industry she must be a sex symbol, wearing skimpy clothes, full make-up, and play the flirtatious part. Instead Harry always had a tough edge, looking feminine, without looking overly girly.

Her blonde undone hair has become a trademark. Harry sees herself as more of a cult figure rather than an icon or legend, yet she has paved the way for music today. Gwen Stefani, leading lady of No

Doubt, Madonna and even Lady Gaga have Harry to thank for their place in the music market, from the music they make down to the image that they portray.

While other artists reinvent with the times, Blondie prove that they have staying power all on their own. Despite trying to make their new material current to appeal to the modern market, it is essentially pitched towards an existing fan base.

As they have no record label, the album will be released with Classic Rock magazine, then on digital download, before a physical CD release in July. The sound is reported to be recognisably Blondie, keeping in with the classic tracks that gained them fame, such as 'Maria' and 'Heart of Glass', while using 21st century advancements, such as electronic textures, to subtly differentiate between their classic hits and newer tracks.

The band epitomises what music should be - writing their own songs and lyrics, providing their fans with original creativity, rather than generic factory-produced club hits. They prove that true creativity and talent are enough to achieve survival and popularity in an industry where everyone receives an expiration date. In charts dominated by auto-

tuned music, and electronic backgrounds, the new Blondie release will definitely be a breath of fresh air - ironic given that the band did not want to deviate too much from their classic sound. That kind of classic music, with Harry's haunting and un-aging voice, is just what the industry and music-lovers need.

The world did not end on May 21st 2011, and Blondie proved that they were far from over with their single release on the same day, taking the social media world by storm through Twitter. Just as Marilyn Monroe had an enigmatic screen presence, and upped the game for screen goddesses everywhere, Debbie Harry has the same kind of stage presence. Despite being 65 years old, she is still a show-stopping performer, proving that clothes resembling underwear and writhing dance moves are not a necessary prerequisite for popularity and success. The rapture may not have come, but just as zombies take over the underground club in 'Mother', Blondie appears ready to redominate the charts. After nearly forty years, Blondie are still at the top of their game, and by the looks of things we haven't seen the last of them yet.

GIL SCOTT HERON DANIEL CAVE salutes the musician, author and poet that gave a voice to his generation

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ributes for Gil Scott-Heron have been pouring in after his untimely death on May 27, aged 62.

Artists such as Thom Yorke, Eminem, and Chuck D have all cited Scott-Heron as an influence; a testament to the diversity of his music. As if to compound this fact, a conversation with my dad, my musical opposite, revealed that we were both surprised that the other enjoyed parts of his work. It makes sense though. Scott-Heron: a self-labelled 'bluesologist', popularly known as the 'godfather of rap', created timeless pieces which documented his artistic pains, social injustice and racial bigotry over a period of 40 years. Sampling of Scott is still extensive, appearing on Common's track 'The People' and his I'm New Here LP, completely remixed by Jamie XX. Social networks were overloaded with epitaths dedicated to Scott-Heron after he passed away, surprising considering he did the vast bulk of his recording before our generation was conceived. Between the postings of songs, there is a myriad of claims about his achievements: "You invented

rap maaaan," drawled one status dedication. Scott-Heron did bridge the gap between beat poetry and rap by juxtaposing words with music, influencing rappers such as Chuck D from Public

Enemy, and this will forever plant him amongst the roots of rap.

Moreover Scott-Heron epitomized the true afflicted artist and genius.

Problems with drug addiction plagued his life, resulting in jail stints and what close friends would call two

Scott-Herons: the one before, and the other after crack-cocaine.

Although Scott-Heron has only released two albums since 1982, he was always in the process of recording, writing and playing music. 13 albums between 1970 and 1982 testify to his potential for greatness, as well as reams of poetry, novels, live performances and possibly two recordings of the most cited creed: 'The Revolution will not be Televised'.

However he has been perceived, though, he will always be cool. You can't help but feel that his music was more well-known than it was when he is so often referred to as the 'godfather of rap', but that is what is so compelling about him. His idiosyncratic husky voice transforms who he was into who we want him to be. Though the Scott-Heron that my dad knew and the one I knew may be different, it does not mean either of our understandings will be more revealing. His close associates, of which there were few, and his words and music, of which there are many, paint the picture of this talented and tortured soul.

VISION's YouTube Picks of the Week...

Diego Stocco Keywords: Music From A Tree

Louder Keywords: Louder Dubstep

From simply knocking together branches, plucking bark and bowing twigs, producer Stocco creates an intricate track, with a back-garden tree as the sole instrument.

Whatever your views may be on the genre, there's no denying that the moves shown off in this video are anything less than exceptional, and that the touch of humour injected into it helps make it a highly enjoyable watch.

Bon Iver Keywords: For Emma a cappella There is something very powerful about an a cappella performance, often revealing flaws in an artists talent. This video shows just how Bon Iver is, with a performance of For Emma with two other vocalists that shows another layer to the song as it is stripped back to man and voice.

PETEBOX Keywords: Where Is My Mind Though its use at the end of David Fincher's Fight Club has rendered Pixie's 'Where Is My Mind' the band's arguably best-known track (leading to an excessive number of amateur covers), beatboxer PETEBOX shows off originality and flair in his version, recreating the track simply with a guitar, his voice, and loops.

SINGLES HANNAH VOSS reviews the latest releases...

Plain white Ts Boomerang

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lain White T’s can only be enjoyed when taken for what they are - a twee, poppy band who will most likely only ever appeal to under 15s.

With this firmly in mind, 'Boomerang' is a good song. So it’s not technically complex, nor is it great subject matter, as lead singer Tom Higgenson sings of a relationship with a girl to whom he keeps returning "like a boomerang". Despite this, the song is catchy and enjoyable, with the piano standing out as adding a needed extra dimension.

Cage the elephant around my head

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rguably, if you like Cage The Elephant then you will like this song, and if you don’t, you won’t. It’s very indie, very typical of the band's brash sound and very focused on the clashing of guitars and drums. Frontman Matt Schultz is borderline singing/shouting away as always and there’s just nothing special about this single that distinguishes it from any other Cage The Elephant track. 'Around My Head' comes from their latest album Thank You, Happy Birthday, which was released back in January and reached number 26 in the UK charts.

LMFAO ft. Natalia Kills Champagne showers

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hampagne Showers isn’t wildly new and improved compared to 'Party Rock Anthem', but then again, why would it be when its predecessor has reached such dizzying heights of success? It’s another crazy mix of genres, with all the right progressive build-ups and climaxes. The contribution of Natalia Kills features excessively autotuned high notes here and there, presumably not reflecting her in her best light. Although it is arguably not as instantly catchy as 'Party Rock Anthem,' it is still a brilliant track in its own right, and this new single will only heighten anticipation for the release of their album in June.

Gruff Rhys Honey All over Grinderman Keywords: Mickey Mouse Goodbye Man You could love or hate it, but Vision can almost certainly guarantee you won't forget the video for the latest single from Nick Cave's Grinderman project 'Mickey Mouse and the Goodbye Man'. Lewd, frenetic animations twitch and writhe, complimenting the lurid atmosphere of the track.

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s the name suggests, the latest single from the Super Furry Animal’s frontman is sweet.

Almost too sweet. At best, the track is cute and laid back, tripping along at a steady but pleasant pace.

At worst, it’s just a bit too much. It’s hard to pinpoint exactly too much of what, but the repetition of the title eventually grows irritating, and the jangling piano definitely doesn’t help. The lyrics at least provide a bit of refreshing pessimism as a contrast ("Maybe she dug you/but she never loved you"), and Rhys’ understated vocals are, as always, easy on the ear. Overall, though the track is weak, overloading a bit too much on the cute.

REVIEWS...

Seasick Steve

Lady Gaga

You Can't Teach an old dog new tricks

Born This Way

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ady Gaga stormed onto the music scene in 2005 with The Fame and its singles 'Just Dance', 'Poker Face', and 'Paparazzi', certified her popularity. The follow-on EP The Fame Monster, with tracks 'Bad Romance' and 'Alejandro' only furthered her success. The released singles were catchy chart-toppers, but I found the album and EP altogether slightly disappointing - they failed to maintain momentum, causing many songs to be skipped every time.

The new album Born This Way has finally dropped, after the release of its title track, follow-up 'Judas' and then 'The Edge of Glory', and 'Hair', courtesy of the iTunes countdown to the album's release.

These teasers of Gaga's next release showed that the new material greatly differed from the electronic/techno, autotuned sound of the Fame era. Despite the title track's different sound, it remained energetic and upbeat, and became quite addictive, but it's follow-up 'Judas' failed to captivate me, appearing too try-hard; as though it was supposed to be a hit through the forced controversy rather than its sound and lyrics. 'The Edge of Glory' exhibits Gaga's ballad-esque side

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he Straight talkin' Californian hobo is back, with an anticipated knee-slapper of a good time. You Can't Teach An Old Dog New Tricks is a follow-up to the critically acclaimed Man From Another Time; and it sees ol' Seasick attempt to go down a grittier, more explosive route. The album is a healthy mixture of upbeat grooves and thought-provoking ballads which express deep-entrenched ties to traditional country folk.

The opening track, 'Treasures', is a dark melodic treat, which showcases Seasick's raspy intensity and his talent for poetic lyricism, a true favourite of mine. The slow-paced ballad is rapidly succeeded by a grouping of gnarled and filthy tracks - exuberant in vocals and catchy in ostinato. The likes of 'I Don't Know Why She Love Me But She Do' and 'Underneath a Blue and Cloudy Sky' demonstrate Seasick's bluesy prowess in creating a punchy virile flavour.

In one sense, this album

(well, as ballad-esque as Gaga can go) and 'Hair', again, takes a slower pace, with more focus on the lyrics than instrumentals. These pre-release tracks made Born This Way a difficult album to predict for fans, critics, and everyone in between.

While the singles did not quite sustain my interest, the collective whole works quite well. Gaga's more mellow, toned-down sound results in a nicelypaced album. All of the tracks fit together harmoniously with no obvious examples letting the ensemble down. The Mugler mix of 'Scheisse' is particularly remarkable, since the designer was banned from using the chorus in his show, and its captivating sound - despite being limited to the opening verses - is worth checking out. The Fame may have catapulted Gaga into the charts and public consciousness but Born This Way will strengthen her position. Even if you aren't a Gaga fan, the album is still worth a listen!

JASMINE TARMEY

MORGAN COLLINS

death cab for cutie

Blondie

codes and keys

Panic Of Girls

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W

ith eight albums under their belt, and a string of top ten hits spanning more than twenty years, it's hard to know what Blondie were hoping to achieve with this album. Whatever it was, though, they've achieved it. Frantic synthy opener 'D-Day' is perfect in its nostalgia, brashly setting out the score; their lead singer may be 65, but Blondie have not changed a bit.

Panic Of Girls had the potential to be a disaster, and had the album gone in a drastically new direction it most definitely would have been, however from start to finish Blondie remain as energetic, as bold and as colourful as ever. Instead of developing their sound, Panic Of Girls serves as a nod to past, a summation of the last 40 years in one 42 minute serving.

The album is abound with 'The Tide Is High'-esque reggae influenced songs - 'The End The End' and 'Girlie Girlie' are brilliantly laid-back and mellow. The highlights of the album however are most definitely the fast-

doesn't try to deviate from the trademark lament of having little and needing less - in fact Steve strives to remain true to his sound, and manages to document his rough tales of hardship.

Having said that, the album does differ in one respect - the masterful vibrancy of Seasick's guitarplaying is a musical feat. The modest wander gives us a master class in the sheer brilliance of the banjo and the Morris minor guitar, each providing a percussive level to his feel good tracks.

You Can't Teach An Old Dog New Tricks is a raw example of emotive folk music, channelling an unadulterated passion from the likes of Mississippi John Hurt and Robert Johnson.

Highly charged with a gutter-punk rawness, Seasick Steve demands respect and proves he's still got it at seventy.

paced new-wave tracks that go heavier on the synth. 'Mother and What I Heard' are both fantastic tracks, very reminiscent of 1999 hit 'Maria'. Admittedly it is a little surreal listening to Debbie Harry singing her heart out about problems you'd hope not to be experiencing at her age ('You told me you were done with her/And I believed every word', 'Crying all night/ My tears are oceans'), however it is so easy to believe that this album has come straight from 1978 that this does not pose much of a problem.

One of the most impressive things about Panic Of Girls is that the band still have new material to produce after all this time, and while they could be criticised for playing it safe, their winning formula doesn't seem to have stopped working yet.

HANNAH VOSS

t's hard to pinpoint the exact reasons for Ben Gibbard's dramatic departure from Death Cab For Cutie's earlier sound on Codes and Keys - perhaps it was the slightly lukewarm reception to the lush and brilliant Narrow Stairs, which textured the band's synonymous chiming, roughedged guitar sounds with subtle loops and samples. More likely is the possibility that Gibbard's marriage to archetypal Manic Pixie Dream Girl Zooey Deschanel has had a mellowing effect and killed off some of the band's charming frontman's appetite for teasing out painful emotions through his music.

Whatever the cause for the band's stylistic shift, however, it's difficult not to feel very slightly disappointed with their latest offering, which eschews the guitars to an extent and uses humming synth and motorik rhythms instead as a jump-off point.

Gibbard stated that Radiohead's Kid A would probably be seen as a likely target for comparison, and though this holds true to an extent, the latter group's In Rainbows album seems a better reference point, with Death Cab's new sound matching the swell-

ing and delicate drum work and fragile vocals of tracks such as 'Reckoner'.

On some tracks, where these instrumental touches are matched to catchy melodies and more discernible guitar hooks, it works brilliantly, especially on lead single 'You Are A Tourist'. On others, however, the processed vocals and blustery instruments prevent the band from reaching the raw emotional peaks they have touched on previously in tracks like 'Transatlanticism' or 'Grapevine Fires'.

The album cannot be considered bad by any measure - indeed, considering the slightly impetuous side Gibbard has displayed on some of the group's earlier works, it serves as an example of just how mature and astute his approach to lyrics has become.

Indeed, as a soothing and generally affecting album, it is a highly logical progression for the group considering the direction they have slowly begun to adopt over time. The greater foregrounding of piano throughout the album, which has propped up some of the band's best offerings yet, can only be welcomed as a good thing.

ED FRANCIS

Ed Francis' Katy Roberts interviews Benjamin Francis Leftwich about his debut album, his festival season, and playing in Duchess...

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or those of you yet to experience the soulful melodies of Benjamin Francis Leftwich, I sincerely recommend you do so.

Rapidly becoming a rising star and tipped in last weekend's Sunday Times Culture Magazine as the newest 'Breaking Act', Leftwich hails from York - which he continues to call home, despite recent success and extended stays in the capital.

Leftwich's songs are captivating, his beautiful voice relaxing and original. Last month he appeared on Huw Stephens' Radio 1 show, Huw's Houseband playing live from Maida Vale Studios; his track 'Box of Stones' currently features on the Radio 1 'B' playlist; from which the BBC station chooses the majority of the tracks played on a day to day basis. I caught up with Benjamin in the Minster Gardens...

How did you start off in the music industry?

I started playing when I was around ten years old. I hated it at first; I got bored and annoyed with it because I can't read or write music. I get really annoyed when people try to put music in that box. I then quit for a few years, then started again when I was around 13 or 14, and taught myself from there.

The first real gig you played was at Fibbers - how long ago was that?

It was awesome, I think I was about 17, it was a local bands night. Fibbers was a really nice venue. It's a shame as it's kind of changed now, it used to be all old and grotty and a bit dirty in a good way and now it's changed into a kind of cheesy night club - which is not cool. But the Duchess is really decent.

How did it feel to be interviewed on Radio 1?

I've been a couple of times before but that was the first big live thing I've done on Radio 1. It was awesome to be at Maida Vale, it's a really cool studio. Although it was kind of weird; I wasn't actually with Huw Stephens, he was at the main Radio 1 headquarters in London, I could just hear him on the speakers. That's a little secret! It was awesome there though, really cool.

Your sound is so original, who do you count among your inspirations?

I love Bruce Springsteen, Bryan Adams, I love Dylan, all those classic singer-songwriters. Neil Young and people like that. I also like records that sound really good, with an interesting sonic element to them; I'm a big fan of Kate Bush and Sigur R贸s. That side of it is really important to me as well, getting the sound right as well as the song. You can enhance the effect of a song if you have cool sounds on it.

Where do you get ideas for your lyrics?

BITCH

Just anything that makes me feel anything. I read a lot of books and watch a lot of films. I'm always on tour at the moment so when things happen on tour, I write about them, so I guess I get inspiration from that.

K

Do you have a favourite track that you've written?

My favourite is probably a track called '1904' thats going to be on the album [for a pre-listen head to Ben's website - there's a live recording available]. There's a couple more that I really like - 'Bottle Baby', which is only going to be available on the iTunes version of the album.

It's cool, it was recorded as a really rough demo and it's going to be released just like that.

What is it about those tracks that you like?

'1904' because it's an old one and I have some great memories of recording it, there's a lot of other instrumentation going on in that track so it's a fun one to play. With 'Bottle Baby', it's one of my favourites because of how rough it is, we wrote and recorded it in the same day.

I read in a review of a Manchester gig you played that you chose to stray from the mic in performance, why was that?

When it's really quiet, I think songs sound best the way they were originally written, in terms of a performance situation. I didn't need the sound system, it acts like a barrier. If you can hear something clear you might as well not use the sound system.

What's been your best moment to date?

Probably the last headline gig I did in London, on my last headline tour. I played at a venue called The Borderline; it was rammed, loads of people came down, it was a really cool venue and I played well.

What are your plans for the summer?

Plans for the summer... the festivals!

I'm doing Glastonbury, Summer Sunday, Lounge on the Farm, Camp Bestival and some other stuff. I can't wait. I'm looking forward to Glastonbury most I think, just to be there and be like "yeah, this is cool." I've never been to Glastonbury before so really looking forward to the experience of playing the acoustic stage.

And after that? What are your plans for the future?

I'm going to start working on my second album next year, and I'm touring until Christmas. I'm heading over to Europe for a bit afterwards, then to America as well.

Benjamin Francis Leftwich's debut album Last Smoke Before The Snowstorm will be available from 4th July.

It is currently available to pre-order.

Phot

os:

Ruth

Gibs

on

aty Perry's new album is wonderful.

A masterpiece. Right up my street.

As someone who breaks down and clubs his head like an ape when a musician attempts to sing strings of notes rather than monotonous groans; as someone who prefers breathy grunting sounds to anything more difficult to wrap my head around (like words), I am just so grateful to Katy Perry for staying committed to not attempting to challenge me. Her thumpingly dull tracks actually help me to feel like I'm reconnecting with my ancestors, who lived in the lovely simple era I pine for where slapping your fist rhythmically against your chin and grunting passed for music. Bliss!

Oh, how I so very wanted to get on with Mrs Perry. When she was first pitched to me as a guitar-strumming young indie starlet who appeared in the tiny 'Watch Out For' columns in the NME on the back of her own apparently credible music rather than her reputation, I really did try to give her a shot.

After the first few dire singles, I still held out hope that she would repay lovers of clever pop for giving her the benefit of the doubt by trying to at least refine and tweak her sound until, having matured a little, she would blossom like a less abrasive and abhorrent Kate Nash into a nice, healthy, guilty pleasure.

It was when that dream failed to materialize and Perry diluted her sound to a gazpacho-thin consistency on her first album that I realized what an utter, utter fool I'd been for not trusting my vitriolic instincts from the off. Katy simply cashed in with a string of tracks so unrelentingly crap that even the hilarity of the claims I'd read in promotional interviews that her debut would feature "lots of storytelling" and the showing off of "many different sides" very soon turned sour. Something bloated and ugly had staggered onto the airwaves and collapsed there and it was clear that it wasn't going to be shifted for some time.

So why, when Katy Perry's second single Teenage Dream can be described by comparison as an upgrade from literally abhorrent to simply dull, do I find myself hating it even more? Because, quite simply, it's just so dull. So painfully, car-crashingly boring that I feel my desire to be alive drain out of me every time the obligatory airings of 'Firework' are trundled out during nights out. The tracks are, I can honestly say, the most insipid and poorly thought-out cuts I think I've ever heard flop out of the radio in all my years on this earth - even the fundamentals like lyrics have been largely cast aside in the wake of Mrs Perry's apparent realization that the sound of her breathy moaning alone is enough. Amelodic, stabbing little cries appear to be basis for her entire approach now, as illustrated on 'Teenage Dream' (YOU! MAKE! ME! FEEL LIKE I'M LIVING...) to 'E.T.' (KISS! ME! KI-KI-KISS ME!) - it's like Einsturzende Neubaten's drone-rock classic Kollaps as reconceptualised by a jaded android struggling with a nasty bout of PTSS. Even Ke$ha has the decency to peddle similarly ropey material with a tongue firmly wedged in the cheek and there's something, I feel, to appreciate in that. Katy's flat non-music doesn't even come packaged with that pre-warning, and it's a damn sight more traumatizing for it.

LIVES...

Captain Sensible

29/05/11

Duchess, York

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nique in both name and reputation, Captain Sensible exudes an enigmatic quality that is engaging and fun to watch. Surrounded by a strong cult following, Sensible treated his fans to a rare performance of epic magnitudes. A decent example of dogmatic punk, the artist's energetic rock has a retro '80s cool.

When I arrived at The Duchess, the venue was filled intimately with a raft of middle-aged adults wearing tight leather jackets, and even tighter leather trousers.

There was a stir of excitement in the air as the supporting act had finished and it became time for the Captain to perform.

When he approached the stage wearing

what could only be described as a French militant mime outfit, he was met with a vigorous round of cheers. The humble yet very charismatic man introduced himself and began his punk rock journey down memory lane. I had never seen or even heard of Captain Sensible before, but I really enjoyed his politically charged anthems. Songs such as 'It's a Sporting Life' and 'The Love Policemen', really seemed to unite the crowd and get people moving and shaking.

Not typically a genre of music I would listen to, I think I liked the gig mainly because of its combination of audience participation and Monty, the band's keyboard player. I really loved watching the audience sing vehemently along to the radical songs of their youth, despite the slight tinge of irony that their enthusiasm for the youthfully optimistic lyrics seemed to carry.

Technically a washed up has-been, Captain Sensible proves that he's still got whatever made him appealing all those years ago. All in all, the gig was an entertaining joy ride of catchy riffs and head tilting madness I'm glad I now know about Captain Sensible.

MORGAN COLLINS

Carl Barat

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ake That. What comes to mind when you read these words? An old boy band trying their luck with their now older, disposable-income-holding fans? No, no. It should be - true showmen. I headed to Sunderland to watch the newly reformed fivesome strut their stuff to an average nightly crowd of 55,000 and all I can say is this: WOW. Believe me, they did not disappoint. Yes, they are older and the grey hair is coming through, but all this was forgotten after the first song 'Rule the World'.

The first set was the old four faithfuls, Jason, Howard, Mark and Gary and they came on to sing five of their recent hits including 'Shine' and 'Greatest Day'. The initial reaction was that we'd been duped, where was Robbie? And then on the big screen, he appeared, 'trapped'. Then there was a great explosion and on he jumped, stumbling slightly, but getting up to bask in the thousands of screaming fans. He had the entire audience in the palm of his hand when he sang his first song 'Let Me Entertain You', moving on to 'Rock DJ', 'Come Undone' and finally, the most famous, 'Angels'.

The show, less gimmicky than The Circus Live in 2009, was still a sight

NICOLA CHAPMAN

Slam Dunk Festival

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music@yorkvision.co.uk

STADIUM OF LIGHT, SUNDERLAND

to behold. They five reunited to sing smash-hit 'The Flood', giving the crowd what they had come to see: the boys all back together again. At times it felt as if it was a 'let's humour Robbie' night, with Gary taking a back seat (as he did throughout the Progress album) but, nevertheless, the camaraderie grew and grew through hits such as 'Kidz' (accompanied by a real-life chess game) and the new single (and my favourite) 'Love Love'. The night was rounded off with the fivesome toasting the crowd with wine (but milk for Robbie and Mark, jokes!) and acoustic renditions of 'Pray', 'Babe' and 'A Million Love Songs'.

The night drew to a close on the crowd favourite 'Never Forget', and everybody's hands were in the air. It was an unforgettable and unmissable night. The boys are definitely 'Back For Good'!

06/04/11

Academy, Manchester

ne half of the iconic pair that are the Libertines, Barat's performance was calm and intimate; there was no rock 'n' roll, and he is definitely no Freddie Mercury as a front man. The solo album, self titled, seems more of a come-down from what you would expect from Dirty Pretty Things or The Libertines; it's a very upclose-and-personal album, and that's exactly what his gig was like - in between the covers.

His support, the Foreign Office, performed a set that was very '80s, with their repetitive use of the hi-hat and synths, and their grooves wouldn't be out of place at a disco. It got better towards the end, but it felt like a lacklustre performance never reaching its climax.

Carl came on next with by his fivepiece band, which usually features a cello. The first two songs of the set are probably my favourite from the new album, 'The Magus' and 'Run With The Boys' both of which were fantastic and got the atmosphere and the mood of the crowd to a thrilling start. The Libertines-faithfuls had obviously come out in force, as it got a lot more intense through the four-minute period with everybody jumping around and singing rather passionately and it started to kick off a little bit. The rest of the set consisted of him playing the rest of the

Take That

31/05/11

Leeds UNiversity

ST U M S ' ISION

SEE

v

solo album - mostly played on acoustic guitar - and a few covers of his band Dirty Pretty Things.

Just as the set had seemingly closed, Carl came back on for an encore which became an entire second half, made up mainly of Libertines songs. It looked like Carl was having fun - he played with a huge smile on his face throughout the guitar solo and he looked relaxed and happy with his performance.

The gig was enjoyable and I think every fan came out happy- whether you prefer the solo Carl, Dirty Pretty Things or The Libertines there was something in the set too make you happy. Generally, the show was thoroughly enjoyable and if he toured again I would be the first to purchase a ticket.

MATT ROBERTS

I

t may not have been the nicest day for it, but Slam Dunk Festival North attracted a huge queue - the streets of Leeds were transformed into a sea of crazy fringes, red hair and tattoos as far as the eye could see.

The day kicked off with Me Vs Hero (8/10), whose infectious punk/popcore went down with great vigour, building a human pyramid two songs in. A quick pint and a short acoustic set from Hit The Lights (7/10) ensued; they paled slightly in comparison, but were accompanied by a hearty singalong. Over on the Jagermeister Stage, we shared some anti-war leftist protest with Anti-Flag (8/10). 'The Press Corpse' sounded thunderous, and beyond their ideals, the band's committed ethic and huge sound won them the crowd.

Next, a trip towards more metal/ hardcore proceedings - Bury Tomorrow (7/10), While She Sleeps (9/10) and Yashin (8/10). Technical glitches marred Bury Tomorrow slightly, but their dual assault of brutality and soaring clean vocals made for utter mosh-pit madness. WSS are renowned for their terrific live energy and savage intensity, and today was no exception. Every anthemic song sounded tremendous, with lead singer Lawrence Taylor being totally muffled, even tearing a portion of the ceiling

28/05/11

down at one point. Followers Yashin flowed fantastically, with both singers weaving vocals together flawlessly.

Their spot-on post-hardcore made for total crowd pleasure. For the main attraction, a ska-punk menagerie was served - first up, Goldfinger (9/10).

They may look old, but this doesn't stop 43-year-old vocalist John Feldmann climbing a balcony and diving off, with much aplomb.

Headline act Reel Big Fish (9/10) have been in the ska punk game for nigh-on 20 years, without a hint of letting up - received as an absolute storm by a fatigued crowd, their contagious tunes and hilarious banter made them the day's most entertaining act. Set Your Goals (7/10) closed with their pop-punk/hardcore hybrid - the crowd were undoubtedly shattered, but gave them a good send- off, especially for a mass toilet paper fight during closer 'Mutiny'. Roll on next year.

SAM GRIFFITHS

Bright lights, small city

T W O

F A T

L A D I

E S

?

Bingo isn't just for old biddies! At least so says Ollie Wessely...

S

ometimes you find a gem of a place, which not many people know about, and part of you wants to keep it a secret. This week's venue is no secret. If this place was playing hideand-seek around York, it would be that large kid hiding behind the lamp-post.

You notice it but are too ashamed to initially go over, and instead test your 'seeking' skills and look elsewhere. I, though, have no shame over the venues I patronise on a night out.

Mecca Bingo sits loud and proud on the York landscape. I've been there for

Vision's Girl About Town goes undercover to update you on all the goss from last week.

T

he only thing more disturbing than living the American Pie experience is living the American Pie experience where everybody's faces are too big for their bodies, and held in place by an elastic band. This is what your Girl About Town was faced with when I donned the face of Jim's Dad and headed to Salvo, all in the name of research. It has to be said, while I knew that the threat of Blink 182 and stale Mr Kipling wouldn't have been an instant crowd puller, I didn't expect the night to be as quiet as it was. Bar Salvation felt a bit like a throwback to its BPM days, which was a shame, because I'm actually quite fond of the place when it's busy. On Tuesday it was almost deserted, and it would almost have felt awkward wandering around in an oversized cardboard mask. Thank God for cocktail pitchers is all I can say.

It looks like I wasn't the only one wearing a mask this week. Two new anonymous sources for York-based gossip have sprung up this week, the York Stirrer on Facebook and YUSUperinjunctions on Twitter. Both are small-scale productions; the York Stirrer has 84 friends and YUSUperinjunctions acquired 40 followers before it mysteriously disappeared on Thursday. The York Stirrer in particular is racking up the BNOCs like there's no tomorrow, and has already hinted that one was arrested on Tuesday night. One can only hope on entirely non pie-related charges...

In other news, Mansion's Wednesday club night ended abruptly when a power issue cut out all the lights and music. Sights that in-thedark club-goers missed out on were the results of the Easter holiday refurbishment (I still haven't clocked what these are, the only change I've noticed in Zig's of late is that one of the cubicles in the girls' toilets is minus a door) or, if they were lucky, Sam Asfa-Hottie rocking a checked shirt like he was heading to a hodown... in a good way of course.

high-stakes bingo sessions with every old biddy here. Not all my cup of tea, but I decided to try their monthly rock 'n' roll Bingo night staged on the last Thursday of every month. It's a cheap night, entry is free, souvenir pens are free and there are drink deals galore.

The rules are the same as regular bingo but instead of numbers, you instead hear the chart topping songs from the last three decades. The concept works magnificently, drinking students singing away to the songs and playing as though piles of money were riding on it.

Prizes are light-hearted; staff are lively and happy to work on the one night where you don't have to be silent! It's plain old harmless fun in an unusual venue, which energizes y o u for the night ahead.

Ghost Creeper AnnA Field spends an evening exploring a different side to York's ac-

tivities after-hours... looking for things that go bump in the night!

W

e at Vision seem to have settled into a bit of a routine when it comes to celebrating birthdays.

Freshers' Year over, birthdays have become a much more classy affair, with dinner and drinks rarely resulting in a trip to Willow. But, breaking from the mould, my housemate decided to celebrate her 20th with something a bit different, and on Friday night we found ourselves standing in St Mary's Square with a group of tourists and a 'Ghost Creeper'.

Dressed in a top hat and a long, black, Dickensian cloak, and standing at over six-feet tall, Gary Goldthorpe (aka 'The Ghost Creeper') was a pretty intimidating figure. When the birthday girl finally summoned up the courage to ask to join the tour, she was greeted with the words, 'What do you want, child?' This was an indication of what was to come, as the Ghost Creeper continued to fire

off a barrage of jokey insults over the course of the night, true to the 'irreverent comic style' advertised on his website.

Over the next hour and a half, we were led through the narrow alleyways and dark streets of York, stopping to be told various creepy tales of death, scandal and the supernatural, with Goldthorpe declaring that "all the stories I tell are all true, and truth is much scarier than fiction". From plague victims to murdered orphans, Goldthorpe's gruesome tales are not merely the traditional ghost stories of York. We visited areas of the city that none of us knew existed, including the old slum district and the spot where public executions occurred, and at each place we were told a ghost story associated with it.

I'm a bit cynical when it comes to the paranormal (though will probably now be haunted by huge numbers of disgrun-

tled ghosts for putting that in print) and was a little sceptical when I visited the website and saw Goldthorpe described as someone who "researches and investigates supernatural visitations".

But essentially 'The Ghost Creeper' is a brilliant storyteller. I was completely caught up in his sinister tales and had a really fun evening.

So make the most of the fact that you live in the Ghost Walk Capital of the World. The Ghost Creeper leaves from outside the Jorvik Viking Centre at 7:30pm every Friday, Saturday and Sunday from November to June, and then every night from July through to Hallowe'en. Costing only ÂŁ3 for students, going on a ghost walk is not going to break the bank, and it is a really fun way to spend the evening.

Visit www.ghostdetective.com for more information

DON'T MISS...

Woodstock Saturday Week 9 Bands from campus, the local area and beyond will be entertaining York students for 12 hours. Starting at 12 noon, this is the perfect way to end your year at York, whether it's your first or your last.

YUSU

Summer

Ball

Wednesday Week 9 Not just one for finalists! Thousands of York students will descend on the racecourse in Week 9 for YUSU's final event of the year.

Headlining are The Subways and Nero, with Dionne Bromfield and Darwin Deez also booked to perform.

Every Friday Salvation!

You might not be used to going to Salvo on a Friday night, but with 50p drinks and the promise of being crammed into a club like sardines, and a sticky dance floor, bar, staircase, DJ booth.... What's not to like?!

nightlife@yorkvision.co.uk

FILM Last week saw the release of James McAvoystarring X-Men: First Class. Vision takes a look at the highs and lows of McAvoy's career so far...

THE JAMES MCAVOY-OMETER

H O T

C O L D

The Last King of Scotland McAvoy plays alongside Forest Whitaker in this brutal depiction of Ugandan dictatorship.

The film is harrowing, intriguing and memorable in equal measure, and McAvoy is perfect as the Scottish doctor who becomes Idi Amin's personal physician.

The role calls for a multi-dimensional character who earns the audience's disappoval and then their ultimate admiration, and McAvoy pulls it off with aplomb.

Atonement McAvoy and Keira Knightley star as two star-crossed lovers in this weepy romance. The story itself is brilliantly heart-wrenching, though Ian McEwan fans will tell you the film is a shoddy adaptation of the original novel. Be that as it may, the actors in Atonement freshen up the tale, especially McAvoy, who delivers a stellar performance as angsty lover-turned-soldier Robbie.

Starter for 10 In McAvoy's first big lead role, he plays a student trialling for Bristol's University Challenge team.

Starter For 10 is another book adaptation, and it works well, smoothly channeling the spirit of the book onto the big screen without slavishly duplicating it. It's not the most challenging role for McAvoy, but he still manages to be memorable in this light-hearted campus comedy.

Penelope Following the success of the Last King, McAvoy was brought down to Earth starring in the far-fetched modern fairytale Penelope. He plays Max, a young gambler who doesn't turn tail and run from Penelope (our heroine cursed with a pig's nose), harbouring a nefarious ulterior motive. With a predictable plot and poor script, this film almost made a pig's ear of McAvoy's career.

Gnomeo & Juliet Billed as the next Toy Story, Gnomeo & Juliet was destined to disappoint. Though it does a good job introducing the Bard to a younger generation, it also does a good job of botching the original's ending and ultimate meaning. McAvoy does his best, but his voice is somewhat drowned out among Patrick Stewart and Michael Caine.

WAITING ON THAT SECOND (BLOCKBUSTER) COMING...

Jim Caviezel's role in The Passion of the Christ put him out of a job.

Alysia Judge asks whether some roles are just too intense for Hollywood

I

t must be a tense moment, being a movie star, when a bound-up script lands on the welcome-mat of your Beverly Hills pad. You wonder: "could this plain looking collection of papers cluttering up my fan-mail pile be the gateway to an Oscar, or the instrument of my downfall?"

The simple fact is that some roles are riskier than others. The last many will have seen of Jim Caviezel was most likely his mutilated and bloodied back after being flayed and crucified, playing Jesus in The Passion of the Christ. However, Caviezel goes further, claiming his flagellation extends to Hollywood, where he has been unable to get work and forced into low-budget, obscure movies that damage his credibility and our faith in the film industry by having to endure them.

It would certainly seem, on the face of it, that The Passion of the

Christ was a fatal blow to Caviezel's career. However, considering its success at the box office and the strength of the lead's performance, can his downfall be attributed to a movie that on the surface did reasonably well? If Caviezel is suggesting it is the act of playing Jesus and not the integrity of the film that ruined him, we have to consider other Hollywood greats who have undertaken the role of the messiah. Take Willem Dafoe in The Last Temptation of Christ: he has since had twenty-four years of movie success. John Turturro likewise emerged from the role relatively unscathed.

Even roles that are arguably more controversial have blossomed into fruitful careers for their risk-taking actors. Bruno Ganz, playing Hitler in Der Untergang (or the ironically translated Downfall) still enjoys box-office success to this day, having appeared in Academy Award-nominated films such as The Reader. Indeed,

Charlie Chaplin, who used his striking resemblance to the German leader to step into his shoes in the spoof film The Great Dictator could hardly be described as a Hollywood exile.

Clearly, Caviezel has suffered from a severe dose of bad luck. Having been chewed up and spat out

by Hollywood, one can only attribute this to divine intervention, or maybe just poor career planning. It would seem that in Hollywood, it is not the role that makes the man, but the man that makes the role.

WORLD CINEMA

Arjun Kharpal takes a look at cinema across the globe, and asks how it affects us here in the UK

W

ith the global population growing, it may be surprising to think that the world is actually becoming smaller. Rapidly developing technology, and its infinite possibilities, means that the other side of the world is not so far away. The most important of these advances is cinema, a medium with the power to traverse cultural boundaries, entertaining as it charges forward.

Film is truly a cultural exchange; in the UK we experience the excitement of Bollywood, the thrill of Japanese film, the drama of French pictures and a plethora of other World Cinema.

Likewise, Hollywood film and British cinema are transported

around the earth, constantly in dialogue with other film industries.

Bollywood, described by Forbes.com as "the world's most popular movie industry", is the Mumbai based Indian film world. Churning out more than 800 films a year, Bollywood is growing phenomenally, with a global audience including a vast proportion of the UK. Particularly in the UK, Bollywood has found its way onto Channel 4, which frequently airs world cinema and has a Shah Rukh Khan season in the pipeline.

Popular movies such as Bride and Prejudice and Slumdog Millionaire draw upon the Bollywood characteris-

tics: forbidden romances, breathtaking choreography, and an array of colour coupled with enchanting soundtracks.

Of course, other countries are as much a part of World Cinema as India. Pictures such as Volver (Spain), La Vie En Rose (France) and Crouching Tiger, Hidden Dragon (Taiwan) to name but a few, have found tremendous success in the UK. The importance of World Cinema is clear from the prestige of the film festivals abroad such as Cannes and from the exclusivity of "Best Foreign Language Film" at the Academy Awards.

So whether you know it or not, world cinema is very much a part of our film watching experience and has permeated into popular culture. Expansive and increasingly available, world cinema gives a fresh perspective to our Hollywood-saturated viewing experiences.

Left: Aishwarya Rai, Bollywood starlet of such films as Bride and Prejudice and

X-Men:

First Class Dir. Matthew Vaughn

A

s someone normally sceptical of prequels, sequels, or any kind of artificial extension to a franchise, I was more than surprised at just how good this film turned out to be. Admittedly, the basic ingredients for a successful addition to the X-Men series were already in place in the form of James McAvoy - as distinguished professor Charles Xavier - and newcomer Michael Fassbender as baddieto-be Erik Lehnsherr. Their intriguing back story, only hinted at in the original trilogy, left many fans eager for more, so it was only a matter of time before a director stepped up and fulfilled this demand.

Set in the middle of the Cold War, the film depicts the relationship between the two figureheads of the X-Men films as they unite against common enemy Sebastian Shaw (played by a convincing Kevin Bacon), then ultimately separate from each other.

Many well-loved characters from the original trilogy have their origins explored in the film, including Mystique and Beast, played here by Jennifer Lawrence and Nicolas Hoult. Unfortunately, unlike the main protagonists, these newcomers have little to offer; they're given very little back story, and no explanation for their motivations. They do, however, provide the necessary light-hearted, comic violence that runs throughout the X-Men series.

It's Michael Fassbender, though, who ultimately steals the show. His back story is certainly the most fascinating; brought up in Nazi-occupied Poland, his fall from child prodigy to

troubled anti-hero is depicted in the film's opening. His portrayal of this descent is both realistic and sympathetic, and we naturally wonder why anyone wouldn't be on his side. His plan to take revenge for his mother's murder reaches its climax towards the film's close, where Fassbender's true talent really comes through - he evokes equal degrees of reverence and horror from the audience in this last scene.

Honestly, if the film were simply 131 minutes of Michael Fassbender, there would not be a problem.

The same can't be said for James McAvoy. Die-hard fans may be disappointed by his interpretation of Professor X, not least because of the absence of his trademark bald head. He adds a certain vivaciousness - even, at times, flirtatiousness - to the character that the older Patrick Stewart definitely did not, and this can sometimes be jarringly out of character. Nevertheless, his brilliance shines through as the all-knowing, ever-wise professor.

All in all, the film is more than a worthy extension to the series. You'd think that, seeing how many films the X-Men franchise has churned out, the idea would feel forced or overdone by now; but actually, here, it's quite the opposite. X Men: First Class feels entirely separate from its predecessors, and this is where the success of the film lies.

Of course, the fantastic cast, fresh plotline and great character development don't hurt, and all of these elements come together to form what can only be described as a first class film.

This prequel to the blockbuster-film franchise ticks all the boxes for Jasmin Willis

Blitz

The Hangover, Pt. II

COMING TO A CINEMA NEAR YOU

Insidious

Dir. James Wan

O

n Googling the word "insidious", I was reliably informed of its definition: "proceeding in a gradual, subtle way, but with harmful effects‌ STDs can be insidious." Overall, I think this is a rather apt description of the latest work from the creators of Saw and Paranormal Activity. Directed by James Wan, this farfetched horror unfolds at the pace of a tortoise wading through molasses, with an outcome as desirable and satisfying as a positive chlamydia test.

The story follows two parents (Rose Byrne and Patrick Wilson), who upon moving into a new house start experiencing bumps in the night. When, one morning, their son (below) falls into a coma, the plot thickens into a congealed mess, consisting of an old woman draped in her net curtains, two inept ghostbusters and a demon with a striking resemblance to Darth Maul.

Despite a clichĂŠ premise, for the last half an hour the pace quickened considerably. The idea of ghosts armed with shotguns and psychotic smiles sounds far-fetched, but in a dark cinema it's surprisingly effective. This combined with a jarring set of dissonant piano notes meant that on more than one occasion I found myself hiding behind my hands.

All performances are strong, and visually, Wan creates a suitably creepy atmosphere with claustrophobic camera angles.

It's just unfortunate that the last scene was so predictable and unsatisfying, leaving the audience shaking, not with fear, but with rage at the thought that they would never get those 102 minutes of their lives back again.

ALYSIA JUDGE

Dir. Elliott Lester

A

Jason Statham film is synonymous with spontaneous doses of explosion and intricately worked yet electrifying chase scenes. The latest Statham blockbuster Blitz, however, based on the novel by Ken Bruen, lacked the crucial adrenaline shot that its predecessors Crank and The Transporter had.

Blitz follows no holds barred Sergeant Tom Brant (Jason Statham) as he teams up with gay cop, Porter Nash (Paddy Considine) to bring down serial killer Barry Weiss (Aidan Gillen) who is out for revenge on the police force.

The film lacked any surprise due to the stale nature of the plot. The scenes often moved from Weiss killing a police officer, then back to Brant, followed by another killing. Consequently, attempts to create suspense were futile, since the formula of the film was obvious.

There were glimpses of the trademark Statham action, with Brant chasing Weiss over walls that would trouble Spiderman, backed by a pounding drum-and-bass soundtrack. Yet these were infrequent, which let the film down.

Statham, as expected, brilliantly blended the gritty, witty and brutal to create his timeless character, boosting the energy somewhat. But Blitz ultimately is devoid of highvoltage action, which exposed a majorly pedestrian plot and tiresome film.

ARJUN KHARPAL

Dir. Todd Phillips

T

he Hangover, Pt. II set itself a hard task from the start. Not only does it follow a film that was hugely popular and instantly-loved, but it also extends a franchise based on a simple concept that was successful in the original but didn't leave much room for expansion.

It starts well, and gets a few laughs as in the original, mostly thanks to Alan.

This, however, is where the film falls down.

Though the sequel was always going to have similarities with the first, the only attempt to do anything different was to 'up the ante'.

This only made the situations the characters got themselves into more ridiculous, making the film feel forced and formulaic.

It lost touch with what made the original so great - a certain empathy (though few of us have woken up alongside a baby and tiger, most will have tried at some point to patch together a forgotten night out). By focusing only on getting the characters into worse trouble than in the first, the serious implications of their actions are neglected.

The characters lose fingers, overdose on cocaine, get shot and find themselves in highspeed car chases that destroy entire streets, and none of this seems to faze them.

The film lazily ties up the loose ends in its conclusion; after arriving late to the wedding by crashing a speed-boat onto the beach, the hard-ball father-of-the bride is completely sold after a short speech by the groom. This exemplifies the main flaw of the film - lazy writing. The writers move the characters from one absurd event to another without having them deal with the consequences, and as a result the film makes no effort to resemble reality.

JAMES STAVRAKAKIS

Thor: Catch Kenneth Branagh's overblown but enjoyable Marvel blockbuster Friday Week 9

YORK STUDENT CINEMA Week 7 Thursday Friday

Killing Bono Battle: Los Angeles

Week 8 Monday Friday

Red Riding Hood Source Code

Week 9 Monday Friday

Limitless Thor

All films shown in P/X/001 stArt At 7.30Pm (doors At 6.45Pm)

film@yorkvision.co.uk

N O I S I V TELE Is Countdown's Time Up?

ave our screens

ould never le sh n ow td un Co y wh us lls te r Dean Knappe

F

or almost 30 years it's been a part of our lives. Since the 2nd November 1982, it has continued to unite children, students, parents and pensioners in their quest for the nine-letter word. Love it or hate it, there has always been something strangely comforting about its inclusion on the weekly TV schedule.

But, with the recent announcement of Jeff Stelling's retirement from the flagship Channel 4 game show, the conundrum once again surfaces: is time up for Countdown?

You'd be hard-pressed to find anyone who hasn't spent many an afternoon playing along to Countdown.

One of my earliest TV memories is that of Richard Whitely setting his extremely oversized (and yes, those are two nine-letter words in a row, well spotted) clock off on its 30-second journey. You see, my dad worked nights, which meant he was always awake and watching TV whenever I got home from school. So while all my friends got the luxury of CBBC's Goosebumps or CITV's Zap, I had to make do with Countdown.

Glory Days But to be honest, I didn't really mind. I used to enjoy the thrill of potentially beating my dad to a larger word, a feat I almost never achieved.

Although I did once at the age of eight get the conundrum within a millisecond of the letters being revealed. The fact that I did this in front of all of my family, grandparents included, meant I'd pretty much guaranteed the status of "child prodigy". It didn't matter how badly I was

doing at school, I got the 'Countdown Conundrum' really quickly; that was sure to guarantee me a successful future. I should add that I never repeated the feat, it was a complete fluke.

It's difficult to imagine Countdown being commissioned today. It seems that in this modern age, game shows need to have some bizarre element, be it Pointless's search for the least popular answer, or Deal or No Deal's Noel Edmonds. One of the reasons for Countdown's success though is surely its simplicity. You try to make the biggest word you can, or you try to get to the big number using all the smaller numbers. Even if you're rubbish at it you can at least grasp what's going on. And that's the way it has been ever since it began, unlike pretty much every other game show out there that feels the need to mess around with their concept as soon as the viewing figures take the slightest dip.

The fact it has remained exactly the same game is why we love it so much. Like a family pet, or that neighbour who's lived up the road all of your life: you change, grow up, move out, but they remain exactly the same. And there's something strangely reassuring about it. Even if aliens invaded and took over the world, you'd expect that somewhere in a small studio in Leeds there'll still be a dull-looking northern chap asking for "two from the top and four small ones."

The only thing that has changed about Countdown in its three decades on the box is its presenters, and those changes were implemented out of necessity rather than choice.

The sudden death of original host Richard Whitely in 2005 sent producers of the show into a frenzy. For a while many thought that Whiteley's passing would be the end for Countdown. That was until Des Lynam stepped up to the challenge of filling the great man's shoes. Unfortunately,

Lynam never really felt at home at the helm of the afternoon favourite, and announced he was to leave after little over a year fronting the programme. Countdown replaced one great Des with another: the suntanned god that is Des O'Connor. He too failed to settle in and it looked as though the presenter role was a poison chalice and no one would be able to fill Whiteley's shoes. That is of course, until the Stelling Revolution.

Full Time for Stelling With Jeff Stelling came a breath of life into Countdown, something fans fear will leave with Stelling when he finishes his tenure at the end of this year. But as great as I think Jeff's been, I don't think his departure is anything to worry about.

Countdown is bigger than its presenters, bigger than its contestants, bigger than a nine letter word.

Countdown, like the Royal Family, a cup of tea, or hating Piers Morgan, is one of those things that make Britain, well, British. There isn't any logic behind its success; you may not even feel any sense of enjoyment while watching it. But if it was to leave our screens for good, it would leave a void much larger than a 45-minute slot in Channel 4's weekday schedule, it would take away a part of our identity. Countdown isn't just Channel 4's flagship game show, it's Britain's flagship game show.

d n a e c i p s Sugar, g nice? n i h t y r e v e Rebecca Ojumu I

have to be honest, in the process of revising and resisting the urge to procrastinate on facebook, I have found a new obsession in the form of The Apprentice.

There's no denying that the tasks have become wackier and wackier as the weeks have gone on. The latest offering: branding the next-best pet food that no one in their right mind will buy. What has got me barking mad (pardon the pun) is hearing, every week, one contestant claiming they hadn't had an opportunity to shine. Worse yet, it has taken over five weeks for me to know the names of half of the contestants, especially Zoe, who has a voice dull enough to make you want to shoot yourself.

The big problem is that there is way too much time spent in the boardroom, focusing on Lord Sugar and less time on the actual tasks. I remember when The Apprentice was actually about the contestants trying desperately to sell and negotiate over tacky products that look like they belong in Poundland. I prefer to watch the smug shenanigans of the contestants, such as recently-evicted Vincent, who spent more time oiling his face and chatting up birds than actually coming up with a decent brand name. And then there's Jim, who has a demonic hypnotic power that keeps him terminally out of the final three showdown.

Unfortunately the show now revolves around the supposed 'larger than life' Lord Alan Sugar, who uses every opportunity to make a grand entrance and introduce the next task flanked by his minions, Nick and Karen.

Now, a good portion of the show is an opportunity for Sugar to showcase his half-hearted one-liners in the boardroom. Case in point being when he described the first fired contestant, Edward, as "a slow internet connection: You have to wait, and you see him ticking over." The idea of being his next business partner is more terrifying than tempting.

But for this show to remain sweet, we need less Sugar and more drama.

Remotes at the Ready - ouR tv picks foR the week

C

Best of BB

ad Waterloo Ro

A welcome return to...

It's hard to believe that Grange Hill's bigger and badder brother is now in its seventh series. The storylines this series are as absurd as ever, with stalkers, custody battles, and perverted Year 7s all trying to distract the pupils from their studies.

Wednesday, BBC1, 7.30pm

Watch this week

Four Rooms

If you're a fan of Dragon's Den, you're sure to love this new Channel 4 series.

Four Rooms gives contestants the chance to sell their artefacts to four of the country's leading buyers, the twist being that once they turn down an offer and move Jack Dee is back with his sitcom following the to the next room, there's no misadventures of a grumpy failed comic as he desperately tries to stay in control of both his career going back. and his family.

Tuesdays, C4, 8pm

Lead Balloon, Tuesday, BBC2, 9.30pm

THEROUX THE LOOKING GLASS

He reinvigorated the art of documentary-making, and provided us with a window into the weirdest, darkest corners of human society. Vision's Tommy Spencer looks back over the career of one of Britain's bravest, and best-loved, journalists.

tOO GOOD maDE In cHElSEa Best. Show. Ever.

The Only Way is Essex, but it's not just the girls doing the pouting and hair-flipping.

tHE appREntIcE

M

iami Mega Jail is the latest addition to Louis Theroux's already sprawling catalogue of documentaries covering an assortment of weird and wonderful topics. The show sees Louis' astonishingly successful interview tactics of quiet friendliness coupled with gently probing questions deployed to great effect, allowing viewers a real insight into the harsh realities of the US legal system and the mindset of some of the inmates.

With Louis getting on a bit (41 years old), and my passion for his informative upfront programming re-ignited by Mega Jail, the time seemed perfect to look back on cherished memories and pay homage to some of his finest moments. From his time spent with political heart-throb Ann Widdecombe to the similarly grotesque world of bodybuilders and white supremacists in South Africa.

Louis and the Brothel, a personal favourite of mine, takes viewers to Nevada, the last state in America that retains legal prostitution. Louis' trip sees him spend two weeks at the wild-horse

brothel during its $4 million transformation from run-of-the-mill brothel to fullon Adult Resort. During his stay, viewers watch as Louis forms a genuine friendship with prostitute and serial flasher Hayley. Viewers also are privy to her constant attempts to get Louis into bed (admittedly one he would be paying for).

A sensual massage is the closest she gets.

Still in America, Louis and the Nazis and Black Nationalism both give brilliant insights into the most extreme fringes of US society, demonstrating Louis's fantastic ability to create real bonds with some unsavoury characters. Louis's encounter with the neo-Nazis introduces viewers to ex-KKK leader Tom Metzger and perhaps more disturbingly the 11-year-old holocaust denying, white-supremacist musical twins who go by the name of Lamb & Lynx. In one interview the twins excitedly described their favourite computer game Ethnic Cleansing, while recounting their warped view of global politics and ethnic divisions, drilled into them by their equally brainwashed extremist mother.

In order to look more closely at the issue of Black Nationalism, Louis visited Harlem, attending a rally on Wall Street with leading black nationalist Al Sharpton. But perhaps the highlight of this particular expedition was Louis' meeting with the bizarre Israelite School of Universal Practical Knowledge, which claim every important world figure was black, including Shakespeare and the British monarchy!

There really is a Louis Theroux moment for everyone - I've barely been able to scratch the surface of his brilliant career. So if you find yourself with some free time on your hands and an insatiable thirst for knowledge of the weird and wonderful, be it the process of acquiring a Thai bride, the secret to becoming a top wrestler, protecting yourself from the volatile 'new world order', or simply wanting to brush up on your swingersparty hosting tecnique, look no further than Louis, he'll be sure to quench your thirst and provide a damn good time doing so!

Vision can't get enough of this series. Especially Tom, the wacky inventor!

X FactOR yl's Following Cherruntimely depa ture, the new X Factor judges have been beenill it announced. W ve work? We'll hae. to wait and se

TV REWIND

bRItIan'S GOt talEnt With Simon's absence, this show went from bad to worse and now he's returned, it doesn't seem to be improving.

REBECCA OJUMU ASKS, WHAT EVER HAPPENED TO SATURDAY MORNING TV?

A

s a student, my Saturdays now involve a much deserved lie-in or waking up slightly delirious after a late Friday night out. However I will always remember those sweet days when I woke up early, ate cereal in front of the TV, watching SM:TV with Cat, Ant and Dec for a good two hours before the weekend properly began. Tragically, however, Saturday morning telly has now been taken over by cooking shows or reruns of This Morning. Reflecting on the good old

days makes me wonder: where have all the decent Saturday morning TV shows gone?

You may say you've outgrown it but you can't deny taking a sneak peak at some CBBC shows when you're bored.

Before Cat Deeley made it in Hollywood, she was on a wee show called SM:TV Live. There was something about SM:TV which kept you looking forward to the weekend. I loved all the sketches, from Wonkey Donkey to Chums (which was based on Friends, and where we were kept wondering whether Cat and Ant would be the next Ross and Rachel). Then there were the people who sent funky shaped packets of crisps which made me secretly want to carve my own weird looking snack just to get my name on telly.

Now if you think that Jedward are the craziest thing on TV today, then you probably don't remember Mr Blobby, a grotesque pink monstrosity who wasn't able to utter an intelligible word (like

GEORDIE SHORE

Jedward) but just spent most of the show splashing gunge at the audience.

It's tragic that fun-filled, light-hearted shows for the common child don't exist anymore. Perhaps the nail in the coffin was Dick and Dom in the Bungalow which encouraged a bunch of hyperactive fools to jump around screaming "bogeys" at the top of their lungs. It's a sad but true fact there will never be children's TV shows as good as before.

There should be a disclaimer at the beginning of this show apologising to Geordies everywhere.

tOO baD tv@yorkvision.co.uk

Books.

THE IMAGINARIUM OF POETRY PARNASSUS SIMON Armitage has announced a plan for a worldwide poetry festival, called Poetry Parnassus, that will be held in London in June 2012 to coincide with the Olympics.

The event will see a poem from each of the 205 competing nations put forward into a historic collection, titled The World Record. Poetry fans from around the world will be able to nominate three poets per nation, and these will then be whittled down, by Armitage and the rest of the committee, to each nation's sole representative. The 205 finalists will be announced in Spring 2012.

Speaking about the event, Armitage said: "My hunch is that this will be the biggest poetry event ever - a truly global coming together of poets, and a monumental poetic happening worthy of the spirit and history of the Olympics themselves."

Want to contribute? Contact us at books@yorkvision.co.uk

Hot Off The Press

BOND FORMULA SHAKEN AND STIRRED

THE NEW James Bond novel was launched in spectacular fashion, as American author Jeffery Deaver officially took the creative reins of England's most popular spy.

Deaver has radically updated Bond for the 21st century - he is now a marine returning from Afghanistan, recruited to an agency independent of MI5, MI6 and the M.O.D. Deaver arrived at the publicity event in a Bentley Continental GT - Bond's choice of car in the original Ian Fleming novels - with a glamorous girl on a motorbike in tow. He was then presented with a copy of his book by four British Marines who had just abseiled from the roof of St. Pancras station.

The book has been endorsed by Ian Fleming's estate, and the original author's niece, actress Lucy Fleming, said at the event that he "would have loved the occasion." Carte Blanche, published by Hodder & Stoughton, is available now.

CAN'T SING IN SINGAPORE BRITISH author Alan Shadrake will serve a six-week prison sentence in Singapore for his novel Once A Jolly Hangman: Singapore Justice in the Dock, as well as a further two weeks for refusing to pay a ÂŁ10,000 fine. Shadrake, 76, would not apologise for the content in his book, viewed by the Singapore government as a defamation of its justice system, leaders, and use of capital punishment.

He justified his refusal to apologise with his belief in the right to freedom of speech, and he believes that since his book is not outlawed in Singapore, his treatment is unjust. Singapore has come under fire in the past for restricting freedom of speech in an attempt to create social harmony, and avoid crimes based on race or religion. Since the country boasts an unusually low crime rate, it is doubtful that Singapore will change its lawbook any time soon.

BY GEORGE OSBORNE AND JASMINE TARMEY

CLASSICS REBOOTED

FINDING an out-of-print book once meant relentlessly Googling in search of any affordable existing copies, but no longer. Publishing house Bloomsbury have teamed up with Matthew Freud's literary agency in a bid to resurrect outof-print titles. Bloomsbury Reader - the name of this new e-book venture - is looking to republish 500 titles, available worldwide. The e-books will be compatable with most e-readers, or physical copies can be ordered through a printon-demand service.

The venture will be available from September for pre-Christmas sales, and is also aimed at those who recieve ereaders for Christmas. Prices have not been disclosed, but they will apparently be affordable, to fit in with the current e-book market. This will no doubt be a relief to those wanting to read old titles, who would have previously had to shell out excessive amounts for books that have gone out of print.

Once Upon An Updated Setting...

JASMINE TARMEY investigates rewritings of familiar stories...

T

olkien is often labelled the "father of fantasy". His Middle Earth prompted later other-world fiction, each of which created an abundance of fantasy lands of which readers never tire.

His work is often recreated in modern literature; the influence can even be seen in works like Harry Potter, with school children replacing the hobbits and the Dark Lord Voldemort replacing the Dark Lord Sauron. Critics believe modern fantasy writers are trying to reconstruct Tolkien's world and continue the story they never want to end. These magical worlds may recreate Tolkien's original fantasy epic, but literature is constantly recycling stories, or rewriting and adapting older works for modern day consumers who are hungry for more.

Bookshelves are flooded with updates of Perrault, Anderson, and Grimm's fairy-tales, the movie world is not the only one addicted to adaptation. Gregory Maguire, a prolific writer, only achieved real fame with his series The Wicked Years which continued, and retold, Baum's Oz stories. The first book, Wicked, spawned a musical, and the sophomore novel Son of a Witch came ten years later, quickly followed by A Lion Among Men, and now a fourth novel - Out of Oz - is scheduled for an Autumn release. Maguire's rewriting

success led him to recreate other stories such as Cinderella and Snow White.

Do we need rewritings or textual adaptations of famous, beloved novels?

Film adaptations are logical, since watching a film in a few hours is easier than reading it over a few days, and the economic advantages are undeniable for production companies and publishers alike.

Adapting one novel into another, though, doesn't make as much sense.

If a reader likes a work, do they really need another's re-imagining of the tale?

The story is already written and told, so can extra elements make it better? Foreign works are constantly subjected to

new translations, but here the adaptations are understandable due to wanting more accurate, poetic, descriptive, versions of the text, to bridge the gap for national, and non-national, readers.

Translations are understandable, but the motivation behind rewriting a classic already written in English is less clear.

Maguire does focus on one of Baum's minor characters - the wicked witch that dies near the beginning, that readers may want to know more about - but is knowledge of these characters, or someone else's interpretation, completely necessary? The plethora of fairy-tale adaptations appears to lack true grounding. Red

Riding Hood, Beauty and the Beast, and Sleeping Beauty are all well-known, people can relate the plots by heart, but still rewritings are frequent. Publishers see the marketplace space for them, and not just as bedtime stories for children but leisure reading for adults as well.

Admittedly, I myself own a few of Maguire's works, but I never asked myself why. Maybe people just don't want the end to be the end - they desire more. Having the story modernised, with characters more closely resembling either ourselves, or people we encounter, may make the experience of that story last just a little bit longer. We may not experience anything new, but that could be comforting. We already know how the story ends, there are no shocks, scares, or unwanted surprises.

There is something comforting in knowing the formula, characters, and imminent happy ending. In an ever-changing world constantly rocked with natural and man-made disasters, maybe reliving a comforting tale in ulterior textual forms is good. It provides stability and security in an escape medium, contrasting with the real world's uncertainty. As children we had comfort blankets, and as adults we have adaptations of familiar stories, adding a touch of constancy to a world, and life, constantly evolving.

The Man Who Broke Into Auschwitz

CLAD IN a dust jacket startlingly reminiscent of The Boy in the Striped Pajamas, I expected The Man Who Broke Into Auschwitz to contain a similarly harrowing account of concentration camps. Yet Denis Avey's autobiographic account of WWII manages more: it is as uplifting in its humanity as it is shocking in its description of atrocity.

Enlisting at the age of 20, Avey's story begins in the deserts of Egypt. His account could easily be confused with a modernday memoir about Iraq or Afghanistan. Every page, filled with battle, capture, and attempted

escape, increases admiration for Avey's bravery which climaxes in his voluntary decision to enter Auschwitz. From a neighbouring POW camp, he swapped places with a "stripey" named Hans, to witness its horrors. The inhumanity described within the camp is appalling, yet equally disturbing is the indifference of the authorities, and the reluctance to listen to his story in war's aftermath.

Some dispute the factual foundation of this book, but it should be remembered that all human experience is subjective. A pedantic focus on detail fails to take into account that this emerges after sixty years of Avey internalising the nightmare of war. It also ignores the transcendental endurance of the human spirit that this book encapsulates, in the face of immense suffering.

Rated Reads The God Of Small Things

FAMED INDIAN screenwriter Arundhati Roy thrills audiences with her booker-prize winning novel, The God of Small Things.

The novel is a complex tale centred on two fraternal twins, Rahel and Estha, and their eccentric family in Kerala, India. At its heart, this is a story based around "the terror" that rocked the foundations of the family and shaped a new course for the naive twins, eventually ending with them being alienated from one another.

The novel deals with the ripple effect that this single event has on a family throughout the rest of their lives. The story is told through the naive understanding of the twins, who observe the complex-

CLEMMIE VAN HASSELT

ities of the adult world with an innocence that makes a compelling read. The plot is based around social and political themes heavily entrenched in Indian society that aid the ultimate demise of the characters. This book deals overtly with race issues, but manages to do so without preaching equality, tackling the subtler impact that the Indian caste system has on the characters.

The language used is inventive, creative and original; there were times when I found myself pausing to read back over a particular metaphor or simile because it was just that beautiful or thought-provoking. You become invested in the welfare of the characters after being exposed to their personal motivations. The interactions between the characters and storyline make The God of Small Things a must-read. Warning: do not read this book if you want the classic happily-everafter over a frank appraisal of the reality of the human condition.

The Help KATHRYN STOCKETT grew up in Jackson, Mississippi, where her novel The Help is set. Like one of its narrators, Miss Skeeter, she was a white child raised by her parents' black maid.

In setting Miss Skeeter's story, as well as those of Aibleen and Minny down on paper, Stockett has, in every way, written what she knows.

Aibleen is a maid who dedicates her life to raising the children of her employers - loving them as if they were hers and shielding them from their parents' racism when she can. Minny is usually outspoken, but in danger of being silenced by her struggle to find work. Hilly

KERUSCHKA SHUNMUGAM

The Bluffer's Guide

Holbrook, the villain of the piece, personifies every racist trope and bigoted argument going, but in her mouth they do not seem recycled or laboured, but newly chilling and horrible.

Miss Skeeter writes their stories. Recording, but never appropriating, she collects testimonies and copies typed manuscripts from the domestic help of her town, and collates them into a book that will shake Jackson to its core.

What is wonderful about this book is that it is not simply about black and white women in opposition to one another: there are surprisingly few references to the historical events going on outside the town of Jackson. Instead, these women's lives weave together to form a story that is about unusual and often awkward friendships, and a tiny revolution in the kitchens and dining rooms of the houses of Mississippi.

MEGAN GRAHAM

Literary Art

SAM HOOK gives you the low-down on DAVID FOSTER WALLACE

D

avid Foster Wallace's unfinished novel The Pale King was published this year, an excellent excuse (if one is really needed) to reflect on the career of a lesser-known writer whose tragic life story was foreshadowed and examined in his own fiction.

A teacher at Pomana College, and recipient of a MacArthur genius grant in 1997, Wallace came to the attention of a wider audience following the release of his 1996 novel Infinite Jest, an examination of addiction and substance abuse in a dystopian near-future. Wallace, who had battled severe depression for most of his adult life, committed suicide in 2008, at the age of 46.

Wallace left behind a fascinating (but small) body of work, including several collections of short stories, essays and articles. His non-fiction writing spanned politics, travel, sports and literary criticism, and in his sprawling, post-modern novels he covered a similarly broad range of subject matter.

Wallace supplemented his texts with encyclopedic endnotes; endlessly expanding, clarifying and commenting on items of general knowledge and textual minutiae, and fleshing out his fictional worlds.

Wallace is often compared to the likes of Thomas Pynchon and Dom Delillo, as a post-modern writer reacting to consumerism, globalization and white-collar existence; chronicling life in the late-modern West.

Both his fiction and non-fiction are infused with a sense of place and time, a willingness to explore and record modernity; from corporate America to hip-hop.

His clinical depression, for which he underwent electroconvulsive therapy, is a constant presence in his

writing. From his often black humour to his frank and shocking portrayals of sufferers of depression, and even his detailed knowledge of prescription drugs, his illness informed and certainly inspired much of his work.

He unflinchingly explored the dichotomy between the self and the disease to which he finally succumbed, leaving us with a tantalising glimpse into the mind of a smart, authentic, fragile talent who was only beginning to realise his potential.

"Fiction's about what it is to be a f*cking human being."

THE MAD Hatter's Tea Party will never be the same! Su Blackwell's book-cut sculptures evolve textual works of art, bringing physicality to black and white text.

Blackwell works mainly within the fairytale and folklore realm, sculpcreating 3D tures of famous literary scenes out of book pages. She aims to show young girl characters

in "haunting, fragile settings" to convey the fears and wonderments of childhood - and Alice in Wonderland is definitely a perfect subject for this aim.

It's a new leap in paper art, and this aweinspiring tea party, overlooked by haunting trees is just a taste of Blackwell's work. For more, see: www.sublackwell.co.uk JASMINE TARMEY

books@yorkvision.co.uk

TROLLS OF THE INTERNET Jonathan Frost considers whether online trolling is harmless fun or crossing a line

URBAN DICTIONARY: Trolling.

ally unleashing one or more cynical or "Being a prick on the internet because you can. Typic use it's the internet and, hey, you can." sarcastic remarks on an innocent by-stander, beca

T

rolling is the stuff of internet myth and legend. Using the internet as a platform, the troll is a person that will go out of their way to try and spark an argument by making deliberately stupid or offensive comments, safe in the knowledge that they are out of harm's reach. And, to be fair, it can be hilarious if done well, spiting the everyday internet user into an all out rage in a very public way for the entertainment of many.

Take David Thorne as an example. Now so well known for his antics, he has written a book about them. His best moments come in the form of long email conversations, where Thorne responds to the correspondences he receives by making ridiculous requests and telling absurd anecdotes, much to the frustration of the recipient. He rose to infamy in late 2008 after posting a long chain of emails, in which he attempts to settle a $233.95 bank debt with a drawing of a spider, commenting: “I do not have any money so am sending you this drawing I did of a spider instead.

I value the drawing at $233.95 so trust that this settles the matter.” The ensuing hilarity is incredible, as the bank employee attempts to explain that they will not accept drawings as payments.

Ultimately, it's hard to chalk Thorne's persistent antagonising up as more than a bit of fun, and he eventually had to pay the

debt, but this is very much the tame end of the spectrum. A Seattle-based graphic designer, Jason Fortuny has caused far more havoc in his time, easily inciting the rage of thousands. He came into the spotlight when he posted a listing to Craigslist posing as a “submissive” female seeking some “rough” attention from a “dominant” male. Fortuny received hundreds of replies from men and an abundance of graphic images, which he then released into the public domain.

Jobs were lost, marriages ruined, and suicide was rumoured. Fortuny went on to be sued for his actions, and in his moments of fame, Fortuny also claimed to have run the blog Megan Had It Coming, in which he attacked a recent young suicide victim named Megan and her family. A step too far?

Yes. It's easy to take the amusing antics of Thorne and move things along, using trolling to inflict real pain.

When trolls act as a group, trolling is capable of reaching new heights, or harrowing depths, depending on how you view it. Popular forums such as 4chan and Something Awful are home to large groups of users who will organise and coordinate attacks against anything they feel disinclined to online. The most famous group is Anonymous, who have been responsible for making #gorillapenis a trending topic on twitter, and uploading vast quantities of porn to YouTube under

false titles, just to name a couple of exploits.

Adam Goldstein attempted to fight back against Anonymous and others after he was accused of bad customer service following an eBay transaction. Complaints landed on forums, and amazingly Goldstein angrily replied, much to the delight of those taunting him, threatening legal action and violence. The shitstorm rumbled on, and the forums deemed Goldstein's prices and practices unfair: soon his social networking sites were hacked and defaced, his websites went down, personal information was stolen, and his home was bombarded with everything from large pizza deliveries to sex toys to junk mail.

Trolling is inevitable, and is here to stay while it is so hard to punish those responsible. But it's also quite funny at times, even if the humour is dark and childish, and has become an accepted part of internet culture. Users forget too easily just how many people they could potentially be interacting with then they post something online. It's not a safe place, so don't treat it as such. As a rule, browse with a cool head and be aware that some users might be out for a laugh, an argument, or worse: if you don't want pizza deliveries, sex toys, and junk mail, don't feed the trolls.

EMBRACING THE EBOOK

Keruschka Shunmugam

In today’s world where music and films are becoming digitised and available everywhere, should books join this ever expanding market? The eBook is an attractive suggestion, because it can offer features that are almost impossible to find in a printed book, such as multimedia content, cut and paste, interactive capabilities and constantly updated content. It can be downloaded and read instantly, and publishers don't have to transport huge volumes of books around the country and store them in warehouses. It can be read on a PC, an iPod, a smartphone or devices like the Amazon Kindle.

Many argue that paper books will always be the best way to read a book. Books are much cheaper than the

Kindle (£111 at amazon.co.uk) and can be kept for years and years, whereas eBooks will probably be considered old technology in a few years time and you will need some sort of technological update. The ageing, yellowing pages give you a sense of history that eBooks can’t reproduce. They are a part of our culture; you can’t even walk down a high street without seeing several bookstores. eBooks are becoming more and more popular; in 2010, Amazon announced that the Amazon Kindle had been outselling hardback books. It’s relatively easily to download hundreds of novels and carry them around with you all the time – not an option with conventional books. The portability isn’t the only benefit,

thanks to E-Ink (a special ink that mimics the printing of a book) the wording is clear and the display can be read easily in full sunlight. Students have the most to gain from this technology: the eBooks will be considerably cheaper, annotating can be done directly onto the file (saving paper) and we all know how heavy library books can be.

There is no reason why books can’t join the technology revolution; most people read newspapers online and there are a variety of articles, allowing the reader to select their own content. Not to mention the amount of trees that will be saved from reduced printing. We are experiencing the dawn of the eBook, and I am happy to embrace it.

App of the Week Evernote Rating: *****

Evernote is the ultimate study help, providing an organised way to keep your notes and scribblings together without a multitude of text files flooding your desktop. Allowing you to create 'notebooks' and then 'notes' within them, Evernote gives you the ability to collate notes, plans and other files including links, voice memos, videos and images together.

The strength of the app comes in its ability to sync between computer and phone, meaning you can have your notes on-the-go but also on a more readable format on the computer. Available from their website or from the Mac App Store, Evernote is a must-have for any essay-writing (or lab report-writing!) student.

Paul Virides

Twitter vs. Superinjuctions comes to York In the aftermath of the recent celebrity superinjunctions farce, it seems York is to host its own somewhat scaled-down version of events.

Over the past week, both a Twitter account and Facebook profile have been gaining students' attention, promising to break the news that students need to hear and generally cause "trouble".

The amusingly titled @YUSUperinjunct Twitter account began posting tweets about a York student being involved in a stabbing outside Reflex, and went on to make allegations about one college having done a dodgy deal for cheap sound equipment.

The account has now been closed, but the Facebook profile for "York Stirrer" is growing exponentially. A status update this week read: "ooooo, which naughty BNOC was arrested last night?" but the profile is not seemingly that active.

While YUSU is able to prevent stories by some media societies being published if they have concerns over student welfare, anything done online external to York University Media is out of their control. However, it has been theorised that the University may investigate if their are concerns of online bullying should the updates continue and damage student welfare.

Vision quizzes Frank Turner

F

rank Turner is having a pretty good year. Over the past 12 months he has been nominated for awards, toured and taken time out to record his fourth solo studio album, England Keep My Bones, set to be released on June 6th. He is also the ideal interviewee; charming, funny and only too happy to have a quick word with Vision before he performs at Fibbers.

Turner began playing solo back in 2005 when his previous band, the moderately successful post-hardcore group Million Dead, split up due to "irreconcilable differences". Since then he has slowly built up a fanatical cult following, and now his distinctive brand of impassioned folk punk is breaking out into the mainstream with nominations at this year's NME awards (although sadly with no victories) and a number of big festivals on the cards.

Turner admits that the new album will not be radically different from his predecessors, but he still insists that, although it builds on his established sound, he has tried to push the boundaries. "I'm not Aphex Twin, but I try and do a couple of songs that are a little bit different from what I've done before, so there's a song on the new record that's more like a hardcore song than anything I've done in my solo career before, and there's an a cappella song, there are some more traditional folky sounds coming in here and there...Lyrically there's some stuff that I've done that's written from a character's point of view, which I haven't really done before." Turner is modest and comes across as slightly dazed by his success so far. "I'm really pleased with [the record], although obviously I would say that." Clearly keen not to come across as ungrateful, he adds good-naturedly, "I hope that other people like it too!"

Despite his everyman appearance, Turner comes from a pretty uppercrust background. Born in Bahrain, he was educated at Eton alongside Prince William and studied History at LSE. Nevertheless, despite this fine pedigree, Turner's musical ambition meant that it never really seemed likely that he would follow his father into investment banking. He formed his first band,

Kneejerk, while still at school, and has never looked back, moving from Million Dead to solo work with apparent ease.

Playing live appears to come naturally to Turner, and he admits that the hiatus from touring while recording the new album left him restless. "It was the longest time I've ever had off-tour," he says, "it drove me out of my tiny little mind! I ended up actually just coming down and doing a bunch of shows... I don't like being in the same place for a long time, it just makes me feel really uncomfortable. When we got to the bus on Tuesday and it arrived I was just say-

I once punched myself in the balls in front of ten thousand people. ing 'never leave me!'"

So would he say he was born to be something of a 'wandering minstrel'? Turner dismisses the idea. "To be honest I've just recalibrated myself. I don't think I was really any better disposed to it than anyone else before I started, but I just did it for a really long time, and now I love it."

This compulsion to perform might explain the power of Turner's live

shows. Most of his fans will agree that Turner's music is at its most powerful when performed in person to a receptive crowd. When I ask if he prefers smaller or larger venues he is tactfully ambivalent. "It totally depends, a good show is about atmosphere, and I've had brilliant shows to five people and terrible shows to a thousand people...What makes a good show is a lot less definable than what room you're in, or how many people are there to watch you, or anything like that. A thousand different things come together to make a good show. You can have awesome shows in a venue like this when you just have people coming up to talk to you all the time, you know.

But, I mean, at the same time, I've had some definite turkey shows in small venues like this one in my time too..."

Being on the road clearly has its downsides, even for an enthusiastic tourer like Turner. While he claims to sleep better on a tour bus than at home, Turner admits that most musicians have their "sanity rituals" to keep themselves going on a long tour.

Turner's is to breakfast alone; "I just give myself an hour, coffee, full English, newspaper, don't talk to anyone, maybe do a crossword. The thing about being on tour is that you're around people all the time, and it can get a little claustrophobic. Taking time not to talk to people can help me a lot."

Despite this apparent craving for early morning solitude, Frank is delightfully chatty, and he scoffs at the

stereotype of the aloof rock star: "I just can't understand how people sustain that kind of up-your-arse-rockstar-ego thing. To me, the business of getting up on stage and performing to people involves making an arse out of yourself so regularly...I find that it's quite levelling, quite humbling."

So what has been Turner's most embarrassing on-stage moment? "I once punched myself in the balls in front of ten thousand people, by mistake, obviously! It was at Download Festival, and I was doing the Roger Daltry thing with the microphone and it sort of span round...and there was no way of disguising it! You can't pretend it didn't happen, you've just got to roll with it!"

What's next for Frank Turner?

With his new album just released yesterday, he is already halfway through a tour, and has plans to play several of the big festivals over the summer.

This hard work seems to be paying off. He has already been bumped up to the main stage at Leeds/Reading festival, and if he keeps grafting the way he has for the past few years, there's no reason why he shouldn't continue to expand his cult following, and perhaps transform it into a mainstream one. After all, excessive touring never did that other beardy folk guitarist, a certain Bob Dylan, any harm...

RACHEL PRONGER WITH JESS STEVENS AND CALLUM WHITTAKER

. . .

S N O I T S E U 20 Q

y l o j m o d h t i w 1.What's your cocktail of choice?

Rossini - champagne and fresh strawberry juice.

and why?

Brown, because I like it and nobody else does.

Dom Joly is a comedian, columnist and sometime musician, most famous for harassing members of the public in Trigger Happy TV and for a stint in the Jungle for I'm a Celebrity Get Me Out of Here. He writes weekly columns for the Independent and is an award-winning travel writer. rise the Teddy Bear Alliance manifesto?

Say no to fleas, and pro a single European honey.

SCENSTERS

7. Snog, Marry, Avoid: Gil2. If you could choose any lian McKeith, Dec, a Praying 12. What's the scariest thing super power what would be? Mantis? you've ever done?

Ability to fly - what else?

Kill, laugh, avoid.

Ski down the ash slope of a volcano in Nicaragua, or 3. What was your favourite 8. Who is your style icon? the bobsleigh course in CaTrigger Happy TV stunt?

Not a person, but a Surfer lagary.

The Snail, without a doubt. dude.

13. What's your favourite 4. What was the worst re- 9. What was the last song chat up line? sponse you ever had to a you listened to?

Get your coat - you've pulled, Trigger Happy Stunt?

'Amsterdam' by David BowBeing attacked by a nun ie.

14. Snog, marry, avoid: Nick in a supermarket.

Clegg, David Cameron, Anne 10. Where's your holiday Widdecombe?

5. Who's your comedy destination of choice?

Kill, kill, kill. hero?

Muskoka, Canada - I spend Larry David. all of August every year 15. Would you ever consider there. reforming Hang David? And 6. If you could be a colour, if so, who would like to duet what colour would you be 11. How would you summa- with?

Scene Editors Teja Pisk Rachel Pronger

Music Editors Edward Francis Stephen Barbalannis

Deputy Music Morgan Collins Hannah Voss

Film Editors Will Haydon Alysia Judge

Deputy Film Jasmin Willis James Stavrakakis

TV Editors Dean Knapper Rebecca Ojumu

Books Editor George Osborne Jasmine Tarmey

Deputy Books Clemmie Van Hasselt Technology Editor Jonathan Frost

Nightlife Editors Emma Walker Ellie Wallis

Deputy Nightlife Anna Field Ollie Wessley

No reformation but I would love to duet with PrinceGoth-Funk.

16. What would your X-factor audition song be?

'Killing in the Name Of'.

17. If you could marry any celebrity chef who would it be?

Nigella.

18. On a scale of 1-10 (with 1 being Alan Sugar and 10 being Father Christmas) how jolly are you?

Alan Sugar.

19. How would you like to be remembered?

As an arse clown.

20. Vision or Nouse?

Mouse.