24.11.09 VOL XV1 ISSUE 6

The University Observer’s Arts & Culture Supplement

New Moon Little Boots John Spillane Orson Welles Scientology

The Chuckle

Brothers: Bill O’Doherty

or David Bailey,

we’re not sure

either...

otwo 24.11.09

So…This is our last issue before

Christmas. And I’m sure there are many overdue library fines and essays but… I think I’ll stop talking about that sort of thing here.

Aw no. Now I’ve ran out of things to say! Could I talk about… Christmas, maybe? Nah, it’s too hasty a negotiation for that! Only four weeks yet, and down in the office we’ve hung up the decorations, started listening to Slade, and already broken into our first tin of Quality Street.

Currently, a former Editor keeps busting into our office to catch us doing something media-like. It’s to do with UCD’s new cunning plan for Uncle Sam – a perversion of sorts. No doubt it will soon be on some sort of rubbish website like ucd.ie/videowall or ucd.ie/pervswithcameras or something to that effect. Oh well, revenge was served at room temperature on this one, because we made a balls of said former Editor’s hair last month.

Aside from that, all is good in otwo towers. We have happily finished with a great line-up of guests for the last issue of 2009. Although, instead of talking about what is pretty much right beside this column, I’ll let you, the reader, feel the anticipation.

In other words, I’m too damn lazy to talk about what I’ve recently edited!

Unfortunately, I’ve been left alone again. We’ll miss you Jake, but don’t stray too far! G’luck with the assignments and whatnot, and thanks for editing for the last issue.

As for that, I wish you all a very merry Christmas and happy exam-times.

May you drink well and enjoy all the holidays bring.

Colin

from the EdLetter

03 R E G U L A R SSOAPBOX – Hate that library study period? So does Ekaterina Tikhoniouk!WHAT’S HOT & WHAT’S NOT – Michelle McCormick treats you to this decade’s final fashion trendsVOXPOP – Sophie Lioe and Niamh Beirne ask students how low they would goAGONY ANTO – With a degree in Basket Weaving, who better to ask for advice?ATTEMPTS – Jacob Ryan loses his religion

06 M U S I CGIGABYTE – Yo La! Yo La! Yo La Tengo!COLUMN – Awl on his wonesome, Jamie Martin on the Friend Who Left a Friend MIXTAPE – Study this line-up of academic tunage!INTERVIEWS – Kasabian and Republic of Loose bash on Sally Hayden’s eardrums, Breffni O’Sullivan speaks to mongrel rockers Electric Six, Grace Duffy defines etiquette when phoning Bad Manners, and Ciara Fitzpatrick explore the world of Monotonix

10 CULTURE VULTURE– What’s this? What’s this? The Musical Society’s first Musical?– Ciara Fitzpatrick reviews Strandline

12 T R AV E L– Grace Duffy tells us of life at the edge of the Arctic in Helsinki– On the fourth leg of his cycle trip to Greece, Kris Goodbody is almost there!– Ciarán O Braonáin gotwos Toronto, Canada yay! Eh…

14 H E A D L I N E R S– Funny guests showing their face on campus: Bill Bailey speaks to Sally Hayden about hair, and David O’Doherty talks philosophically about his skewed vision of life

16 FA S H I O NFABRICS – Seán McGovern and Amy Walsh gives us the latest on textures and textiles in this brimming feature

SHAVING – Sean McGovern fills us in on taming Man’s personal beast

19 SOMETHING ELSELITTLE BOOTS – after her third interview of the day, this little starlette speaks to Emer Sugrue about being tired

20 F I L M & T VREVIEWS – Grace Duffy shrieks through New Moon, Paul Fennessy talks Orson Welles in, well, Me and Orson Welles, and Emer Sugrue talks down about the inglorious Glorious 39TOP TEN – the best movie partnerships with Grace DuffyTV – Bridget Fitzsimons tells you of something you definitely need to know about Glee, and Conor Barry Reels in the Years with John O’Regan

24 W E B WATC H– Guest Web watchdog, Colin Sweetman, brings you some unknown webgags

25 I R I S H M U S I C– Kellie Nwaokorie speaks with upcoming musician John McMorrow, while Jake O’Brien remembers primary schools songs with John Spillane

26 I CO N– An iconic retrospective of the legend that is Orson Welles 27 MUSIC REVIEWS– Yay or nay? Well, have a look see. This fortnight features the latest from Canterbury, Zoey van Goey, Foo Fighters and the Killers

28 THE FUTURE– Mystic Mittens and gigs galore. Your fortnight’s entertainment in bite sized chunks.

CONTENTSHELLO2

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No red cups in UCDWhat’s the point in having our very own Starbucks in UCD if they don’t give us the good stuff? Starbucks’ Christmas drinks aren’t available on-campus – instead the coffee shop sits there, taunting us with the possibility of gingerbready goodness, but not actually delivering. Cruel. Next: Elements Restaurant cancels Christmas. Bah.

Ice-skatingWhat once had novelty value is now a looming terror every winter. Those without balance and co-ordination still get dragged onto the ice to flail about and fall on their asses, impeding those who can actually skate a bit. I don’t know what’s on your Christmas list – but humiliation certainly isn’t on mine. Get outta the way.

Giant umbrellasHey, you – you with the enormous umbrella. Are you huddled in the centre of a group of invisible people, or trying to keep your over-inflated ego dry? All I know is that you’re going to take someone’s eye out with that big-beyond-all-sense umbrella. For the love of sanity, go to Penney’s and buy a normal one before you blind me.

Bus Gate whiningPoor little car drivers have to (gasp!) get public transport into town. Woe is them! How could the city council possibly force people to get off their lazy asses and walk from one end of the city centre to another?! I mean, it takes all of ten minutes after all. Shame on us all for wanting buses and taxis to be able to go places.

WHINGE

SOAPBOX

Studying in the library is detrimental to your overall health and wellbeing, a fact proven by many authentic and intellectual sources (namely myself, the bike shop guy, and that dude I met while searching for a book on the mating habits of jellyfish). Our collective findings have pinpointed the most annoying personalities that you could ever find in the communal library study area, the type of people that make it impossible for anyone else to stay focused for more than 3.14 seconds.

At joint first place we have the coughers and sniffers: you know, the ones that are loudly dying in the back of the room while you desperately try to cram a whole semester’s worth of knowledge into your head. These days, there appear to be whole bands of these ‘unclean’ wandering the study areas, all sniffling in harmony and spreading the Dog Flu or what-have-you.

Next on the list is the loud eater who sits down beside you and ‘secretly’ begins to unwrap his grub under the desk, positive that nobody can hear him. Then, oblivious to the agonised rumbling of all the stomachs around him, he proceeds to savour a breakfast roll of such proportions that it would leave a sumo wrestler clutching his chest in agony.

The Muncher is closely followed by the mystical Library Warden, who can be found prowling the computer area for evil-doers, shushing people for turning pages too loudly and generally being a sod.

And finally, did I mention those evil, evil students who hog all the best books for themselves? The worst library study experience you will ever have occurs two days before your first exam, when you find that your lecture notes for the whole semester contain drool marks from you falling asleep, and little comic strips of your lecturers meeting their untimely deaths in humorous fashion. But before the panic can set in, an organised friend texts you the name and reference code of a book that sums up your entire semester’s lectures and, ecstatic with hope, you float to the library desk – only for the smiling librarian to inform you that the last copy of Environmental Bullshit has just been checked out, but do come back in two weeks time.

So, to sum up our wonderful survey, studying in the library makes you tired, hungry and just downright annoyed. It also increases your chances of catching the Black Death from the untouchables, so take heed and avoid this place of illrepute – just study at home instead.

Ekaterina Tikhoniouk describes the horrors of studying in the library

College is hard enough without having to stay up to date on being down with the kids. Michelle McCormick is here to save you the trouble

NOT

Starbucks Red CupsChristmas in a cup! The only seasonal indulgence that doesn’t make you cringe when it arrives in November, Starbucks Christmas drinks are so good, they’ll make you hate the coffee company for not making them all year round. Get a gingerbread latte and hear the sleighbells.

Claudia WinklemanHer appearance on Strictly’s Saturday show made us love her all the more. Poor Brucey had the flu, tedious Tess took the main presenting slot and lovely Claudia went backstage to receive the dancers and get the scores. Eliminate Tess altogether and Strictly would be that step closer to pure perfection…

Tonic chicken wingsIs there anything the Blackrock bar doesn’t do amazingly? Great cocktails, great bar food and now the best chicken wings you’ll find in South County Dublin. A great option if you don’t want to trek into town for that hungover Sunday brunch!

Pre-Christmas examsYeah, Christmas exams suck balls – but thank the baby Jesus, holy St Joseph, the innkeeper, the goat and the smelly shepherds that we don’t have to do them after the festive season. How could you enjoy your big fat turkey dinner with all the trimmings with Sociology 101 hanging over your head?

HOT

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WHINGE

say what ???QUESTION: What would it take for you to score your cousin? ask Sophie Lioe and Niamh Beirne

Pat de Bruin, 2nd Law with Politics

Thomas Cloney, 1st Medicine

Rachael Walsh, 2nd Law with Politics

“A lot of money

and a lot of alcohol”

Redmond Arigho, 1st Law with French Law

€10,000

“My parents and their siblings would have to be separated at birth”

“As long as none of the family were there!”

Dear Anto, I work in a Union and have honestly been a hard working man to date. The Union I work for (which I’d prefer not to mention) is good old fun, you know. I organise the auld football match here and there, and

sometimes I like to stand at the Union’s reception area and ask the people who I represent what the fuck it is they want and what they thought they’d achieve by coming to me for help. As of recently however, I may be forced out of office for either ‘incompetence’ or ‘no confidence’ – I’m not sure which ‘cos they both sound the same. Any ideas

how I can save myself from getting the sack over the head and the boot out the door?Yours, Patrick

A’reet Paddy,Sounds veddy familiar to me. Some time ago dis sor a ting happened to a guy I used to stall it wih. A nice chap but he made the cookie crumble a few too many times if ye catch me drif ’. The bes’ ting ta do wud be to organise a campaign of some sort. Communication is key here, so ye have to be able to spell ‘campaign’. My plan would be to launch a poster of yerself wih de wurrids “What, Else?” on it. Suddedly enough, yisser union wud come to the realisation that most udder people is over-qualified for the position, so they wud probably ask ye back. Udderwise, they’ll have yur office quickly turned into some sort of chillax area with giant bean bags or sumthin’.Te be honest, reet, I’d be watchin’ your house too, bud. I know a few lads lookin’ for an easy laptop to steal and I hurd your place moight be de one to go fer. You’ve been warned.Yurs,Anto

Dear Anto,I went to see the Musical Society’s debut gig The Wedding Singer and can’t for the life of me get the song ‘Saturday Night in the City’ out of my bloody head! It’s killing me, man. I’m trying to study for exams and do essays and other stuff but all I can hear is that fucking song! What can I do? I swear if this keeps up I’m gonna have to tear my eardrums out with my bare hands. Help!Yours, Pete

Story Pete,Tanks a fuckin’ million man. Yev just reminded me of that song and now it’s stuck in MY bloody head! I had to listen to that shit for about four fucking hours. What made it worse was the fact that it WAS a Saturdee Night in the city…De only ting gettin’ dis outta me head is that fookin’ Shakira and her a-woooooo noises. Fook knows what comes after dah.Thanks a fuckin million,Anto

anto@universityobserver.ie

AGONY ANTO “Did ye mish the boash?” says the Keddyman. “No, I was off screwin’ your dawter,” says I

”“

4

otwo 24.11.09

I am converted! Sing it from the hilltops. Preach it to the people. Stop children on their way to school and berate them with nonsensical drivel. Batter it into their heads with a pool cue from a young age

so they don’t know any diff erent!Of course this is all obvious rubbish. I am not,

nor will I ever be, a Scientologist. Nevertheless, I dropped this

bomb on myself. I pulled the trigger. Th is game has always been a pet peeve of mine. It fascinates me that such blatant disregard for human intelligence can quite easily weasel its way into the psyches of millions, preying on the weak-mind-ed and exploiting the ignorant wealth of blundering idiots who have too much cash.

Scientology is a religion based on a book, which was the conclusive result of L. Ron Hubbard’s ambiguous studies into the realm of the psyche. According to the man himself, our unhappiness is based upon our lack of understanding. Unfortunately, this motto also doubles as a blanket retort to anyone who questions Scientology. Based on practices outlined in his book, Dianetics: Th e Modern Sci-ence of Mental Health, Hubbard sought to make people aware of their ‘Reactive Mind’, which, when explained to me, bore striking similarities to the subconscious.

Realising one’s reactive mind, apparently, helps improve one’s life – but not before handing out bucket loads of cold, hard cash for courses and seminars.

Th is all seems oddly benevolent, right? It’s not. Th rough his messy dismissal of the science of psychology, Hubbard gives introspective and phony validity to his methods. Th ese methods, right down to his oddball ter-minology, are all heavily reminiscent of basic psychological practice. Th e idea of Dianetics is then a simplifi ed, pilfered, and morally dangerous idea. So, into the belly of the beast I went.

Firstly, they got to know about me – or rather, the version of me I peddled to them. Realistically they were trying to fi gure out what my purpose for be-ing there was. “I’m having a crisis of faith… Nothing makes any sense to me anymore…” etcetera. As I sold them this initial crock of shit that constituted a fake personality, the surrounding became strikingly apparent.

Th is is a room that emanates comfort. Hospitality oozes from every crack in the fl oor. From their plush leather

couches to their over-compensating fl at screen, this area is tailor-made to lure you into a false sense of security. However, the grim reality of their emphasis on aesthetics does not stop at inanimate objects. Th e people I talked to were well dressed, meticulously groomed, and erratically vacant.

Upon convincing them that I was a genuinely susceptible individual, I was led to a small room that was decorated with copies of Hubbard’s book and pictures of the modern day saviour. I was made comfortable and given two steel rods

to hold in a relaxed manner. Th ese were to read my stress levels and give insights into my mental wellbeing according to my ‘Reactive Mind’s’… well, reaction.

Let’s get one thing straight right here. Th is machine is an electronic weighing scale. If you apply pres-sure to it, the indicator shoots up. If you relieve pressure, the needle goes down. Th ere is nothing else to it. Nothing. So, between that and the fact that it resembles a Fisher Price toy designed for a toddler, I was not convinced.

Th e plot thickens: I am told I’m a happy, stable individual. Sounds good? Bollox. I’m not stable in the slightest. I’m an

erratically anxious degen-erate who has the person-

ality complex of a budding obsessive compulsive. Regardless, I could do with some Dianetics counselling to iron out a few creases.

Th e long and the short of it is this: Scientologists are passive wellwish-ers without a bad bone

in their body. Sure, the idea resembles a bad science fi ction plot, but that’s all these people seem to want when it comes

down to it. We all know the brass tax of the situation. Hubbard was a

writer of science fi ction; a mad scientist of the imagination. Th at is it. His sense of self-worth verged on fascism and his regard for the common man was nothing short of patronising.

Unfortunately, Scientology operates on the basis of those that have gone before it. Christianity, Islam, Judaism, Mormon-ism, Scientology… all insist that they are right, and all are reasonably fi ctitious.

However – and this is a big one – while other religions more or less started out with a genuinely benevolent cause and were corrupted by humanity at a later date, Scientology was started by a corrupt nutjob and perpetuated to a gullible society. Th ese people could be from any faith - the backward army of Hubbard’s minions just got there fi rst.

Of course this is all obvious rubbish. I am not,

ed and exploiting the ignorant wealth

Scientology is a religion based on a book, which was the conclusive result of L. Ron Hubbard’s ambiguous studies into the realm of the psyche. According to the man himself, our unhappiness is based upon our lack of understanding. Unfortunately, this motto also doubles as a blanket retort to anyone who questions Scientology. Based on practices outlined

Dianetics: Th e Modern Sci-, Hubbard sought to

make people aware of their ‘Reactive Mind’, which, when explained to me, bore striking

Realising one’s reactive mind, apparently, helps improve one’s life – but not before handing out bucket loads of cold, hard cash

Th is all seems oddly benevolent, right? It’s

meticulously groomed, and erratically vacant.

to hold in a relaxed manner. Th ese were to read my stress levels and give insights into my mental wellbeing according to my ‘Reactive Mind’s’… well, reaction.

Let’s get one thing straight right here. Th is machine is an electronic weighing scale. If you apply pres-sure to it, the indicator shoots up. If you relieve pressure, the needle goes down. Th ere is nothing else to it. Nothing. So, between that and the fact that it resembles a Fisher Price toy designed for a toddler, I was not convinced.

Th e plot thickens: I am told I’m a happy, stable individual. Sounds good? Bollox. I’m not stable in the slightest. I’m an

ality complex of a budding obsessive compulsive. Regardless, I could do with some Dianetics counselling to iron out a few creases.

of it is this: Scientologists

in their body. Sure, the idea resembles a bad science fi ction plot, but that’s all these people

ATTEMPTS

otwo attempts : scientology

plot, but that’s all these people seem to want when it comes

down to it. We all know the brass tax of the situation. Hubbard was a

Sounds good? Bollox. I’m not stable in the slightest. I’m an

ality complex of a budding obsessive compulsive. Regardless, I could do with some Dianetics counselling to iron out a few creases.

of it is this: Scientologists

in their body. Sure, the idea resembles a bad science fi ction plot, but that’s all these people

In a vain attempt to reassert its personal intelligence, otwo meandered down to Abbey Street and into the Dianetics Centre to see what all this ‘scientology’ fuss is about…

As I sold them this ini-

tial crock of shit that constituted a fake

personality, the sur-rounding became

strikingly apparent

”

5

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In their hilarious video for ‘Sugarcube’, the Yo La Tengo trio are sent to rock school by their record label. If such a school existed, I can’t think of any three better mentors than Ira Kaplan, Georgia Hubley and James McNew.

YLT have learned a lot in their 25 years of existence. Th eir consistency, innovation and good humour have made them revered by music fans across the globe. Last week’s show in Tripod is a reminder of how special they really are: for starters, the ticket read: “No support – minimum 2 hour show”. Th is hints at an epic performance and when the band stroll onstage and burst into ‘Pass the Hatchet, I Th ink I’m Goodkind’, they’re not hinting. Th is colossal track is over ten minutes of repetitive bass, propulsive drumming, hazy vocals and blissfully chaotic guitar. It is very much a statement of intent.

Glancing around at the entranced audience it is clear that YLT can do no wrong, cruising through their set with incredible passion, showmanship and versatility. New songs from their latest album Popular Songs are well received, particularly funky ‘Periodically Double or Triple’ and climactic ‘Here To Fall’. It becomes very clear from the excitement

of the crowd during certain songs what the band’s favoured album is, namely their 1997 masterpiece I Can Hear Th e Heart Beating As One.

A sweet rendition of ‘Stockholm Syndrome’ with McNew on vocals has everybody grinning like the Cheshire Cat; the song has a newfound energy when played live thanks to Ira’s manic soloing. ‘Deeper Into Movies’ from the same album gets a similar reception, gradually building up from the end of new song ‘More Stars Th an Th ere Are in Heaven’, and saving their set from the brink of self-indulgency. Th e latter sounds better on record.

What follows is defi nitely one of the highlights of the evening. McNew joins Hubley on percussion and the two set about creating the infectiously catchy beat that introduces ‘Autumn Sweater’. It is the moment many people have been waiting for, but the band aren’t fi nished yet and play on tirelessly reminding everyone of the sheer depth of their back catalogue. Th eir spontaneity and enthusiasm is something to behold. Someone requests ‘Little Honda’ and they launch straight into it, even enlisting the help of their guitar technician when Kaplan decides he wants to play drums.

Th e biggest cheer of the night is reserved for a beautiful stripped down version of ‘You Can Have It All’. Th e audience is powerless to resist singing and clapping along. A couple of acoustic covers played aft erwards are the perfect way to conclude the show, bringing everyone back to reality aft er the elation of a very special performance.

Vincent O’Boyle is easily won over by international rock veterans Yo La Tengo’s masterful show in Tripod

MUSIC

TWO TO TENGO

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6

otwo 24.11.09

Don’t Stop Believin’ – JourneyA little bit predictable, granted, and yes it’s appeared in several mixtapes to date, but this epitomical morale booster is an essential. If a small town girl and a city boy can make it in this lonely world, then anything is possible. Don’t stop believing, UCD.

I Want to Break Free & Under Pressure* – Queen (* feat. David Bowie)Last of the obvious ones, I swear. It seems Queen had a special penchant for exam-related titles and if these all-time classics don’t sooth your rattled nerves, you’re beyond saving.

I Can – NasA last request from his mother’s deathbed saw New York rapper/poet Nas compose this upbeat ballad for the city’s underprivileged children. “I know I can, be what I wanna be. If I work hard at it, I’ll be where I wanna’ be.” Inspirational.

Optimistic – RadioheadAn uncharacteristically positive number from Thom Yorke and the boys. Not only are the lyrics encouraging but the melody even verges on cheerful. A genuine find. Although, unless you’re an Arts student, I ask you don’t take the lyrics literally: “If you try the best you can, the best you can is good enough.”

This Place is a Prison – Postal ServiceThis tortured downbeat piece

is a must as it captures, more so than any other song, the unique ambiance of our own James Joyce Library: “This place is a prison, these people aren’t your friends... What does it take to get a drink in this place?”

School’s Out – Alice CooperThe words we all want to hear: an anthem for all who sit in front of a pile of books for hours on end, watching the clock, and mentally counting down the days, hours and minutes ‘til freedom.

Three Little Birds – Bob MarleyAt the end of the day, you’re probably not as woefully underprepared as you will inevitably convince yourself and, more likely than not, you’re not definitely going to fail. So as the big man said, “Don’t worry about a thing, ‘coz every little thing is going to be alright.”

Always Look on the Bright Side of Life – Eric IdleAnd sure, even if Bob’s wrong and things do go a bit pear shaped, things could always be worse. So, in the immortal words of Monty Python’s Eric Idle: “Some things in life are bad, they can really make you mad. Other things just make you swear and curse. When you’re chewing on life’s gristle, don’t grumble, give a whistle. And this’ll help things turn out for the best... And... always look on the bright side of life...”

Studying Mixtape

Yes, it’s week 12, and yes, you’re sick of study, so Ciarán Ó Braonáin puts together a playlist to

soothe and distract

MUSIC

It’s Jamie’s world:…

we just live in it

Column

You haven’t heard from your friend in a few weeks now, and when you finally do run into them, they seem different. Something’s changed; their mind seems to be on other things or they are in a rush to get somewhere. They keep checking their phone anxiously and texting very quickly.

No, your friend has not been taken over by pod people. Something even worse has happened. They have a new boyfriend/girlfriend.

There comes a time in every young man’s life when he must face the inevitable hardship of his friends all falling helplessly in love, and being left on his Tobler as a result (well, provided the young man in question is a freak and can’t get a girl himself that is).

We all face it at some stage. Without warning your close friend just up and vanishes, with no explanation as to what happened. This can cause a few problems within a group of friends: first come the “that’s not on” remarks from some of the saltier dogs, followed by the “you don’t understand our love” defence from the guilty party.

Jokes are made about balls being kept in shiny trophy cabinets. Names are called. Tears are shed. The whole thing can get pretty ugly.

However, I am out to defend the accused. I will spare the terrible details for everyone’s sanity, but recently my heart has been punched in its little hearty face and I have felt the dramatic angst of the hurt.

Things like this bring with them certain realisations. Am I an idiot? Yes, I think so. Are all women the devil? Hmm… possibly. Above all, though, it shed some light on the disappearing act for me. I realised that my friends are only doing what I myself would do if given the chance.

If I had a chance to spend every waking moment with said heart-puncher, I would – I

wouldn’t even care what abuse I earned as a result. It’s a cliché, but the heart wants what it wants. It is easy to feel hurt and betrayed and think that a friend is picking their new partner over you, and yes, that may very well be the case.

What you have to realise, however, is that your pal can’t help it. The opposite sex (or same, we’re all inclusive here) can make us all act a little crazy at the best of times, but your friends always come back. So when they do, don’t do the “oh, look who came crawling back” dance – that’s not productive.

Try a little understanding with the love-struck fools, and realise that they can’t see the wood for the trees. It will happen to you one day too – so beware!

otwo’s resident columnist shares advice on all things life. This week: affairs of the heart...

“Jokes are made about balls being

kept in shiny trophy cabi-nets. Names

are called. Tears are shed”

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“We’ve been really good this tour, there’s nothing really crazy, we’re not like Nicky Sixx and inject heroin into our fucking knees or elbows. Sometimes we have a fi ght. Th e only thing this tour that’s crazy is winning the [Q Magazine]

Album of the Year, I mean that’s the only moment I can recall which was just fantastic.”

Th ough let’s not lose face here. Th e other tours were crazy? “Yeah yeah, include that, yeah.”

West Ryder Pauper Lunatic Asylum was released in June of this year, and spent two weeks at number one in the UK charts.

“Oh my God, what can I say about the record? Well, I think we made our best record yet, it’s a great piece of art, and it’s a fi ne rock record as well, and we just decided to go all out on this album and make the best album we could, and make it as diverse as we could compared to the

other two records we did.”Onto questions about the wider

world. otwo asks Meighan what he makes of the break-up of Oasis, who have acted as short-term friends and long-term inspiration.

“I think it’s horrible, but things happen in life and that’s the way it is. No one’s died or anything, and I think Liam will carry on doing music and so will Noel, and [Liam’s] got his clothes company going and he’s got a whole fashion thing going on, so I’ll support both of them, whatever they do, but it is really sad.”

And how about his views on Th e X Factor? “X Factor? No sorry, I don’t participate in that. I thought you were going to ask me about them idiot twins. Glad you didn’t. Th ere’s no point, is there? My opinion doesn’t matter does it, my opinion doesn’t really matter about X Factor or the twins, it’s just not worth it.”

Bono? “I think he’s a saint. He’s rock and roll. I think he’s great. U2 are real rock and roll. You’ve got

to remember what their roots are and I think, you know, Bono’s the institution, no matter what.”

Posers or not, longevity or not, today Kasabian are living the dream, and long may it last for them. “We try and take each day as it comes, and each week as it comes. We’re always doing something silly, or playing somewhere across the world or doing some promo. We feel good man, we feel like kings at the minute, it’s great, we’ve hit a peak in our lives. We just wanna keep making records.”

Kasabian play Dublin’s O2 on Friday November 27th. West Ryder Pauper Lunatic Asylum is still out in all good record shops, and crap ones.

Kasabian are the type of band where it’s hard to distinguish the projected image from the reality. Th e

self-proclaimed “guardians of rock and roll”, they look rock. Th ey sound rock. Th ey certainly talk rock. Th e band are at the top of the world right now, having made the break-through from continual sup-porting everybody act, to headlining Glastonbury this summer.

Singer Tom Meighan has no doubt about the Somerset festival being the highlight of his summer. “Glastonbury was fantastic. It was wonderful, just wonderful you know. I thought we had a really good show and we played really well.”

Meighan has no uncertainties about the condition of the modern music industry. otwo asks if there’s truth in the rumour that Kasabian consider themselves the last rock group standing.

“Well it’s all pop music at the minute, isn’t it, it’s just… everything’s so pop. Muse are a great rock band, and there are bands like the Arctic Monkeys, but as true rock-and-roll values go I think we are the only rock band left . But I hope there’ll be a wave of new bands soon.” And any suggestions for the heirs of this rock-and-roll legacy? “Oh god, don’t give your record away for free.”

Kasabian have been reputed drug-users in the past. otwo asks: does rock and roll really need its lyrical comrades, sex and drugs? Th is time Meighan’s denial is unequivocal.

“We don’t take drugs, man. Drugs don’t even come into the studio. Drugs is a personal choice, you know. We’ve been quoted saying that years and years ago. Drugs don’t work in the studio; there never has been, and we never will do, drugs in the

studio. People say it’s a creation, recreational thing, but we don’t bother with it. Drugs ain’t a massive part of my life, never has been.”

Touring is the name of Kasabian’s current game, as the promotional tour for West Ryder Pauper Lunatic Asylum continues. Th ough Meighan describes the band’s live sound as the musical version of Quentin Tarantino’s fi lms, he also claims that their background antics, in rock-and-roll terms, don’t quite live up to their music anymore, given that the band are seasoned enough to have reached a sensible phase in their careers.

PROCESSED BEATS

[Q Magazine]

Album of the Year, I mean that’s the

but things happen in life and that’s the way it is. No one’s died or anything, and I think Liam will carry on doing music and so will Noel, and [Liam’s] got his clothes company going and he’s got a whole fashion thing going on, so I’ll support both of them, whatever they do, but it is really sad.”

And how about his views on “X FactorI don’t participate in that. I thought you were going to ask me about them idiot twins. Glad you didn’t. Th ere’s no point, is there? My opinion doesn’t matter does it, my opinion doesn’t really matter about the twins, it’s just not worth it.”

he’s a saint. He’s rock

to remember what their roots are and I think, you know, Bono’s the

and roll”, they look rock. Th ey sound rock. Th ey certainly talk rock. Th e

show and we played

if there’s truth in the rumour that Kasabian consider themselves

been, and we never will do, drugs in the

studio. People say it’s

MUSIC

Sally Hayden talks to Kasabian frontman Tom Meighan about touring with Oasis, drugs, The X Factor, and rock and roll

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Loose about the HooseMUSIC

Rapper. UCD alumnus. Libertarian philosopher. Alcoholic: Mik Pyro of Republic of Loose is a complex arrangement. Three

albums and hundreds of gigs down, The Loose haven’t expanded beyond the home scene. Pyro is gloomily cynical about their chances in the US and beyond. “I don’t know if anything’s going to happen to be honest because [of] the way I look… If I had had my teeth fixed a few years ago I might have been alright, but I’m too old.”

With hopes of international stardom apparently buried, I ask about Pyro’s college days. UCD Pyro-style, I would have thought, was electrifying to say the least. However, spending six years traipsing the concrete jungle and earning a MA, the outspoken singer says he missed out socially. “I didn’t really join any societies or anything. I joined the Rock Soc but that was a load of me arse, so I stopped. I went to the Literary Society [sic] a few times but that was full of idiots. But I loved it there, I loved being in college, I loved having access to the library, we go back there and play gigs loads and have a great time.”

Continuing his trend of severe humility,

Pyro declares The Irish Times’ branding of him as a cross between James Joyce and James Brown something that involved a “hint of irony”: “I wanted to be a writer but then I realised you had to be intelligent to do that so. I been obsessed with music since I was seven – I mean I tried to do other things; I tried to do the Higher Diploma and I lasted four days, I’m not built for that type of thing. Doing music is really the only thing that makes me happy.”

Pyro is tragically candid about his fight with alcoholism, a drug that has powered his performances and sucked his intellect. “I haven’t drank since October 11th of last year and I don’t intend to ever drink again. Alcohol has ruined my life, it caused me a lot of problems, so I had to stop. Quitting was tough but it’s easier than being drunk.” What advice does Pyro might offer music-makers thinking about popularity? “The problem with Irish bands is everyone’s so worried about what will fly in a foreign country.”

Pyro, in conversation, is the exact alter-ego of his on-stage persona. Whether he’s too old for worldwide success remains to be seen, but one suspects this man has a lot more to give.

A cross between James Joyce and James Brown? Sally Hayden meets Mik Pyro of Republic of Loose

Monotonix are a rock band – no understatement. Videos of their gigs show three longhaired, bearded, semi-naked men, completely surrounded by an enraptured crowd, creating loud and frenzied music.

The lead singer scrambles amongst the dancing crowd, is carried by them, and scales the height nearest to him whilst blasting out vocals to an appreciative crowd, loving that the gig takes place beside them, above them and all around them. There is no need for a stage when Monotonix perform – or, for that matter, full clothing. “We’re like swimmers,” says frontman Ami Shalev. “We swim between the audience - it’s easier if you don’t wear a lot of clothes!”

Montonix –Shalev is backed up by Yonatan Gat and Haggai Fershtman – hail from Israel, which is “a kind of conservative place to play shows”, says Shalev. The Israeli rock scene, according to Shalev, is quite small, but Monotonix left their mark irrespective. “There was a period of time that they can say that 80 per cent of our shows in Israel were stopped by the police,” reports the singer with a slight air of satisfaction, explaining that the police would be called following noise complaints, or that the owner of a venue would claim that the band had trashed it.

Monotonix’s performances break down any barriers that conventionally exist between crowd and performer. “We decided, ‘Let’s try to perform on the floor, and among the audience and see what will happen’, and then we put on a first show like this. And I mean it was wild and very fast, and the energy was great; so it’s the best way for us to perform.”

Shalev feels that the band will never perform on a stage, as performing on the floor has become the central part of the band’s show. He’s keen to add, however, that for all their physicality the shows do not get violent, and if there is a security issue, the band will never argue with security. “It’s all about fun, people dance… I mean, we’re climbing and doing a crowd surf… but it’s not getting violent.”

Though Shalev mainly sings in English, there are unconfirmed plans for the next album to be recorded in his native language of Hebrew. “If you want to sing in Hebrew it’s very, very different to singing in English, because the language is so different from English, so we kind of change all the melodies and other things that we go into the song.”

Monotonix play Crawdaddy on Friday 27th November.

Crowd swimming Ciara Fitzpatrick asks what make Monotonix so special. Apparently, it’s the lack of clothes or a stage

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Interview

Interview

Hardcore veterans of the ska scene of the 1970s and 80s, Bad Manners have a status and experience most bands dream of. Signifying their ambition with a debut gig at Stonehenge, the band have taken their music from their school assembly to Top of the Pops and beyond.

Interestingly-monikered frontman Buster Bloodvessel explains, “We started in 1975. We were at school, we were just a bunch of friends and rather than leave school and break the friendship I decided to form a band, as some of the other friends that I had were into playing music. We played in local pubs and started spreading out and made quite a name for ourselves. Th en Madness and Th e Specials came along, and we all sort of joined up together.”

Instantaneously deciding that they wanted to “stick out,” the band chose their style of music and name to refl ect this. “I didn’t want it to be like everybody else,” Buster says. “Hence the reason why we got our name, Bad Manners. In comparison with the punk bands who were quite

outrageously named at the time, [we picked it] so we would stick out, which we did!”

However, he notes that there was a fi rm following for ska music at the time, something he sought to embrace. “I just liked that concept of being one of those bands who were completely diff erent from everyone else. Th ere were a lot of people who liked that style, but they were listening to music from the Sixties from Jamaica. I wanted to form a band playing ska cos there was a defi nite market for people who still loved and respected ska music.”

Th e band’s success has culminated in a festival, aptly titled Badfest, that takes place in what Buster describes as a “wasteland that I’ve converted into a beautiful little amphitheatre, in the middle of London, in Brentford.” A three-day event is scheduled for April of next year under the heading of Badlands, which Buster anticipates with pride. “It’s ruling my life at the moment, but I’m really quite impressed about what I’ve done. Festivals for a weekend in London are

just not heard of!”In a revolving door

musical climate where bands disappear almost as soon as they arrive, Buster is earnest and says simply of the group’s longevity: “I think you have to love what you do. I’m so in love with the stage, I just have to continue what I’m doing. Longevity may come with that attitude; it’s not about being famous, it’s about wanting to do what you do. Reinventing yourself is also quite an important thing, and you gotta believe in yourself. Th at’s what I call longevity.”

Wise words from a man who once mooned the Pope – but hey, you can’t have fun all the time..

Electric Six, headed by Dick Valentine, have by no means disappeared or remained stagnant. Th ose who have

followed the band since their early exposure have been treated to six studio albums including their latest release, KILL, as well as last year’s rarities collection Sexy Trash, archiving forgotten gems and indeed misfi res from their beginnings as ‘Th e Wildbunch’.Th e group’s lineup, only consistent since the release of third album Switzerland three years ago, has changed along with the scope of the music, with the only constant being Valentine, oozing the words ‘fi re’ and ‘disco’ at every opportunity.

Following the dip in the group’s popularity aft er second album - which saw a move to a new label – Valentine argues that “the perception of us was what it was at the time; we

were just considered a novelty act.”Since then, all four albums have been released

quietly and backed up by a vast array of tour dates worldwide. However, the quietness now associated

with one of the most brash, over-the-top rock acts of the past decade has by not embittered Valentine.

On the contrary; the singer believes that the lull

in exposure has allowed them “to be in a position where we make the records we want to make, and if the right people are into it and if the right people like it, then that’s all we care about. We’re

not trying to be Radiohead or anything like that, we’re happy with where we’re at.”

Th e band don’t have a major record label forcing them to put a song like Radio GaGa if they don’t want to, a freedom that Valentine revels in. “We still get e-mails from people asking why don’t we make ‘Fire’ again, or why don’t we do ‘Gay Bar Part Th ree’ [part two appeared on last year’s Flashy] or whatever, but that has never been our ambition.

It would be a bad move to try and recreate ‘Gay Bar’ over and over again.”

Electric Six’s album KILL is out now

not trying to be Radiohead or anything

record label forcing them to put a song like Radio GaGa if they don’t want to, a freedom that Valentine revels in. “We still get e-mails from people asking why don’t we make ‘Fire’ again, or why don’t we do ‘Gay Bar Part Th ree’ [part two appeared on last year’s that has never been our ambition.

Bad Manners, Good MusicBuster Bloodvessel of ska veterans Bad Manners speaks to Grace Duffy on outrageous names, musical endurance, and

an ability to liken good manners

Six albums in, and no longer desiring company for trips to gay bars, Dick Valentine of Electric Six talks to Breff ni O’Sullivan

MUSIC

Electric Dick Valentine10

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MUSIC

Emily Leonard do great things in a space that considerably hampered last year’s production of Rent, using the Astra Hall stage extremely well, with actors not restrained or drowned out in any way. The chorus proved energetic and fun, but actors interacting with the audience ‘in character’ as they queued to enter Astra Hall proved a touch irritating.

The acting highlight was

Bridget Fitzsimons went back to the eighties last week for the first of many Musical Society productions

Faced with a dark rainy night and the promise of some showtunes, the otwo editor and I trotted off to see the first offering from UCD’s Musical Society, The Wedding Singer.

Based on the popular film of the same name, the musical charts the decline of wedding singer Robbie after his fiancée Linda leaves him at the altar, and the simultaneous wedding plans of his friend and waitress Julia.

UCD Musical Society has done an admirable job with this production. However, most credit must go to the excellent cast, who belt out their songs with considerable passion and vigour, particularly Fiona Lanigan in the role of Julia. Lanigan’s considerable vocal talents make it hard to believe that The Wedding Singer was her debut musical production.

Directors Emily Carroll and

The Wedding Singerdefinitely Robyn Sandler, who played Robbie’s grandmother Rosie with a shockingly funny level of sexual innuendo and physical activity. Sophie Dobson and Eoghan McNeill’s warring lovers Holly and Sammy put forward a funny and convincing sexual chemistry, and Denis Grindel plays an excellent version of George, the Culture Club wannabe.

The production ran into problems when the constant UV lights between scenes meant the outfits and makeup of the actors and crew were distractingly illuminated. However, the fun songs and otherwise good production values mean that The Wedding Singer paves the way and sets a high standard for next semester’s Community Musical Footloose to match.

Strandline is a new play by award winning Irish playwright Abbie Spallen, set by the sea in Northern Ireland and focusing on five inhabitants of a small town. The play begins with a drowning at a wedding, moving to the house of the drowned man’s widow, Mairín, played by Cathy Belton, as she holds a wake.

Mairín requests that three local women who witnessed her husband’s drowning stay the night with her. Reluctantly, they do so. What ensues is a night of discomfort, laughter, drunkenness, tears and anger. Secrets threaten to reveal themselves throughout the night, and when they do come out, prove devastating.

Strandline is everything a great drama should be. The writing is intelligent, revealing, powerful, hilarious and heart-wrenching, these elements constantly play off each other to remarkable effect. The performances of the five actors are superb, their accents are faultless – I absolutely believed in the authenticity of each character, even the 13-year-old Sweeney, who was played brilliantly by a grown man, Conor MacNeill.

Mairín’s character perfectly demonstrates how a community can

respond to someone who intentionally sets themselves apart, who is from the area yet is just different. Mairín exists as an individual; she illustrates how dangerous annexing oneself from the accepted way of doing things can be, and how fixed ideas about one’s identity can be destroyed in seconds. A sense of ‘town versus individual’ prevails; Clodagh is the ‘community’ representative, preaches of the importance of the town, that people are just trying to get by the best they can.

The set design is utterly convincing, despite the daunting size of the stage at the Project Arts Centre, Sabine Dargent has created a space that aptly captures Mairín’s inward artistic values and personal attributes. The costumes are excellent, which reflect modern life and the characters’ personal style impeccably well.

There are references to the legacy of the Troubles, numerous threats of violence, and one of the most poignant lines in the play is “That’s what happens, son, when you don’t grow up in a war”.

Strandline runs until 5th December at Project Arts Centre.

Ciara Fitzpatrick

Secrets on the Borderline

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otwo 24.11.09

city forms part of its main appeal. The centrepiece of Helsinki – or ‘Helsingfors’ in Swedish; the city is bilingual with a minority Swedish-speaking population – is its magnificent harbour, sprawling openly before the streets. Teeming with majestic ferries, it makes for an impressive visual to complement the bright waterfront buildings. The

Rome’s main port is called Civitavecchia (I still can’t pronounce it). We were one month into our cycle across Europe,

and our ferry had just docked one hundred kilometres north of Rome in this dubiously-named town.

It was getting dark, and we had to cycle a sufficient distance out of the town in order to camp, with road systems were nearly as complicated as the place name and without a map. It was also too hot to cycle in anything more than a very revealing pair of Lycra Cycling shorts, further adding to our appearance as a very sweaty group of gay men heading for the Greek islands.

Needless to say we made it out in one piece, but this was the first day we realised that nothing in Italy works even remotely the same as anywhere else. Nothing is properly signposted, people’s hand gestures are far too erratic, and drivers adopt the age-old tactic of speeding up and beeping when anything gets in their way. Suffice to say Italian drivers didn’t gain their reputation by chance.

It was on shaky legs that we embarked on our Italian job, and it was with full body convulsions and heavy signs of relief that we boarded our boat to Greece. We rolled into Rome the evening of the second day and generally did as the Romans did: we took photos of ourselves in front of St Peter’s Basilica and the Colosseum, ate Carbonaras and drank one euro bottles of wine. We even managed to get into a multilingual verbal argument with

Quaint, charming, and filled with adorably accented folk and beautifully fresh air, Helsinki is a delightful city. Set on the Baltic seafront in the very south of Finland, the city is a difficult one to get to from our own shores, but more than worth the visit.

With historical roots stretching back to the mid-1500s, the city has survived numerous occupations and wars, having often acted as a

battleground for frequent conflict between Russia and Sweden. This toil has left its mark on the city, which is for all intents and purposes somewhat plain in appearance: with predominantly grim buildings occupying the wide streets, the architecture is a melting pot of Soviet and Eastern European, reflecting the city’s expansive and diverse roots.

That said, the enigma of the

That Helsinki-ng Feeling

Kris on a Bike:A cycle to the Cyclades

ferries depart daily for Stockholm, gracefully gliding out of the port amidst the many islands.

A harbour cruise is highly recommended – for an hour and a half and a relatively low price (in Scandinavian terms at least, roughly €20),

one can study the many islands of the bay up close. UNESCO world heritage site Suomenlinna is particularly interesting; considered a fortress island, it, along with neighbouring Santahamina, was fortified with battle stations as a defence against invading forces.

The cruise also provides a fine

gotwo

Grace Duffy discovers a strange yet reward-ing city undulating with history, airy streets, and beauteous menfolk

Kris Goodbody tells us of Madness in the Mezzogiorno

Region in the fourth leg of his cycle trip between

Ireland and Greece

12

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few days later to look at a load of fancy dead people and hang around a 2000-year-old brothel, went to Sorrento to rent a speedboat, and drive to the island of Capri (what recession?) before pedalling on to the Almalfi coast. Th is is a road carved out of thousand foot high cliff s winding its way above the bluest sea I’ve ever seen, and it’s a memory that will stick in my mind forever, hopefully keeping the one of Naples at bay.

If asked for any advice I would give for someone cycling in Italy, it would simply be this: don’t do it. But if you have to, move worlds to avoid Naples, it’s as rough as a bag of hammers.

Kris’s diary continues aft er Christmas…

an upset policeman. Expecting to be passing through

something akin to the rolling Tuscan hills, we were disappointed to fi nd that the road to Naples was a seemingly endless chain of tacky seaside resorts. Upon arriving in Naples we were lulled into a false sense of security by what, from a distance, looked like beautiful scenery but what in actual fact turned out to be the worst place in the world.

Four hours of treacherous cobbled streets, perfectly bike-wheel-width tram tracks and articulated lorries followed, in what I will always remember as the most back-to-back near-death experiences I will ever have in my life.

Aft er the worst place in the world things started getting better, we wheeled our way into Pompeii a Ciarán Ó Braonáin is

taken by the majesty of TorontoNot only combining North American and European cultures, Canada’s largest city takes elements from the most exotic corners of the globe: a true international melting pot. Toronto’s ethnic diversity is refl ected in its vast array of restaurants and shops, off ering all manner of genuine international cuisine. Little Italy, the Greek quarter, and Chinatown are just some of the more obvious places you’ll fi nd authentic ethnic dishes. St Lawrence’s Market houses a treasure trove of the fi nest fresh produce from fruit and veg, fi sh and meats to delicious baked goods and is defi nitely worth a visit.

Of course the city’s most obvious tourist attraction is the awe-inspiring CN Tower. Th e elegant spire illuminates from top to bottom of its 1,815 majestic feet and adds a further touch of class to the city’s already breathtaking skyline. To get real value for your money, dine at the tower’s revolving restaurant.

Another of Toronto’s most recognised draws is its appeal to shoppers. Th e colossal Eaton Centre boasts over 230 shops, restaurants and retailers, including all the most fashionable labels. Queen Street West caters for the slightly more bohemian and edgy

fashionistas, with the occasional big name thrown in for good measure. For those even more alternatively dressed amongst us, Kensington Market is a must. A more eclectic clutter of second hand and homemade vendors you will not fi nd.

With a population of over 2.5 million, there is no shortage of venues for nights out. Unfortunately, expensive and pretentious asylums of the fashionable are as plentiful as in Dublin. However, if you’re a fan

of good music and laid-back atmosphere then you won’t be found wanting either. Queen Street West is also home to several wonderful live music bars and the city’s range of clubs is almost as diverse as the population itself.

Toronto is a haven for the sports enthusiast,

with representative teams in the soccer, baseball, basketball and as the NHL’s second most successful side, the Toronto Maple Leafs – as well as the NHL Hall of Fame HQ.

In terms of cultural attractions, museums and galleries are in abundance. Parks are plentiful too but Island Centre Park, fi ve minutes by ferry, is probably the most scenic. anyone with pride in their Irish identity should make the rewarding trip to the city’s Ireland Park Famine Memorial, while the Niagara Falls are only an hour by bus.

view of the plusher neighbourhoods of Helsinki, which contrast elegantly with the plainer inner streets. Sailing boats and miniature docks are to be seen everywhere, as sailing is one of the Finns’ favourite pastimes. Back on solid ground, the Orthodox Church which overlooks the harbour is also well worth a visit. Erected upon a steep hill, its maroon walls sternly overlook the port but provide a striking contrast in architecture to the main city. Th e Helsinki city museum is nearby, which provides a vivid insight into the tumultuous history of the region, through Russian and Swedish occupation and the two world wars. Also within walking distance is the splendid Helsinki Cathedral, a symbol of the city.

It pays to stay centrally, as all attractions in the centre are within easy walking or tram distance,

including numerous clubs and bars like the legendary Tavastia, which is a treat for rock fans.

For the thrill and sense of adventure that comes with being in such a curious, sweeping place, you won’t come home disappointed.

gotwo

Down by the Lakeside

13

Clash of the Titans

otwo catches up with the hairy-weight comedic champion of music, and the pitch & putt assassin of comedy, to see which one wears the pyjama bottomsotwo meets Bill Bailey just as the comedian is leav-ing Theatre L (“the tiny woodlouse of dreams”) where he had received the L&H’s James Joyce Award, a LawSoc Honorary Life Membership, done some stand-up and a Q&A session for a “much smaller crowd than usual”.

Let’s cross our fingers that UC-double-D finds fame in one of Bailey’s routines, because one student certainly made an impact. “I’ve never been asked if I wore pyjamas or not,” says Bailey, recalling how his evening had gone. “Occasionally there are people who say, ‘Get in touch with me. Touch the beard, kiss the hair,’ something like that,

but the pyjamas one… that’s a first. I was really impressed by that.”

How does it feel to be a James Joyce Award recipient? “It’s the first time I’ve done anything like this. I’ve never received any award or any kind of university bestowing-of-things before, and so the

only ones I’ve done have been like award ceremonies

for TV things, or the only other award that really made any impact on me was from the Composer’s Association.

This here is the best award cere-mony there is! […] You don’t

have to sit there for hours and hours watch-ing other people go, ‘I’d just like to thank...’ It’s brilliant! I’d like all award ceremo-nies to be like this.”

The first rule of comedy is ‘thou shalt know thy

audience’, and Bailey hit the jackpot with his opening verse to the assembled crowd:

“You may have won this time, Henry, you may have scored, but you are a fraud, and now you will

never be a recipient of the James Joyce Award.”

Uniquely, Bailey’s comedy is lacquered with tremendous musical

ability. otwo asks which of the two arts Bai-ley prefers. “If I had to choose between music or comedy I couldn’t possibly do it, I’d sort of shatter, like kryptonite! It’s very difficult,

I’ve never been able to choose. No, it will probably always be comedy; only because I love the spoken word, I love the nature of comedy, the way it’s a connection with an audience just through voice and through language. Music’s great because it does that on a visceral level which you’re not quite aware of… language is quicker and has more of an im-mediacy to it, so probably comedy then.”

His passion for English led to him studying it for a year in college, and in the same way led to his career path. “I love the work that Irish comedians like Dylan [Moran], Tommy Tiernan… people like that who use language, it’s a celebration of language, that’s what I love about it and anyone that does that.” Bailey reserves special praise for Daniel Kitson: “I love seeing him because he sort of takes the stand-up form a bit beyond stand up.”

Coming from a family of doc-tors and stonemasons, Bailey was forced to look outside the home for childhood inspira-tion. “When I was a kid I was watching comedians like Les Dawson on the TV; they were these guys who messed around with music and comedy so that was a big inspiration. And then punk bands, that was my era, I went to see the Stranglers and the Undertones, and I graduated to bands like Talking Heads. We had a piano at home so I just naturally wanted to play it too… make noise.”

Bailey, 45, is still half-troll half-rebel, composing the song “Asda, I Ain’t Gonna Be Your Bitch” after being asked to do

an Asda ad campaign (ironically probably resulting in even greater publicity). Bailey also admits to smoking cannabis during his downtime. “Not as much as I did, because I suffer from asthma; I have to be a bit careful, because wheezing, stoned, is not something you want to do at all. Try to remember where you put your inhaler.”

And what of a possible return to Never Mind the Buzzcocks where Bailey was a much-loved team captain? “You know what, I did a hundred shows of Buzzcocks. A hundred shows! When you get to a hundred of anything – you eat a hundred carrots – you think, ‘That’s enough’. And also I did get a bit fed up… I’m a grown man [but] I’m humming the introduction to ‘Toxic’ by Britney Spears to some gormless indie halfwit.”

Bailey is in no rush to leave, drinking wine until his tour manager decides it’s time to depart: but there’s one question left.

“No, of course I don’t wear pyjamas to bed! Be-cause I’m covered in hair… I’d be too hot, so no.”

The Bailey’s TaleChris deBurgh called him “ugly”; the BBC referred to him the “funny-looking funny man”. Sally Hayden meets comedian and musician extraordinaire – not to mention self-proclaimed part-troll – Bill Bailey

“If I had to choose between music or comedy I couldn’t possibly do it, I’d sort of shatter like kryptonite!”

David O’Doherty is puffing out his cheeks like a chipmunk. “It’s my new default face,” he declares. “I’ve been working on some new faces.” otwo has accompanied O’Doherty into town after a gig in the UCD Student Bar, modestly described as “semi-floundering”: “It had some nice moments and then some boring moments. It’s a lot like life, you know?” Never one to let the press down, O’Doherty agrees to an interview as we stand under a tree, with drunken twenty-somethings squinting to see if it really was the Irish comedian there braving the elements. All of this, just so David can get across one key point that seems to have been bothering him. “There is meant to be an O in my name. I’d like to make that clear,” he laughs. “The Irish Times made up this thing about two years ago that I add-ed an O for showbiz reasons, which is the last thing you’d do if you were trying to be more showbiz – make your name sound like an Irish wrestler.”O’Doherty began comedy in 1999 after failing to follow in his father’s footsteps of becoming a jazz musician. Not, admittedly, the most obvious of career shifts. “I was temping after college and I hated temping. So I did a stand up gig and the first couple went quite well. I was lucky because the first was with Tommy Tiernan in a tiny bar. Then the second gig was with Ardal O’Hanlon, and if I’d started in, say, London it would have been like five years before I’d even gotten to meet those sorts of people. The fact that it’s Dublin meant that I could just experience being around them and see how they operate. So I learnt a great deal in a short time. And I went to Edinburgh, and won the newcomer award, and they gave me an enormous cheque for £1500. By enormous, I mean it was cardboard. So I was officially pro then, which meant I never had to go back to temping.”Does he still get nervous? “I get nervous doing some of these TV gigs, where you’ve got that feel-

ing of mistrust of yourself, of power, where you could just pull down your pants live on Australian television in front of six million people. You could say ‘arseballs’ on Rick O’Shea’s afternoon show on 2FM and get him into trouble. But no, I don’t really get nervous anymore… If you go out on stage and you are nervous, it is very hard to make things up. The antithesis of improvisation is shitting yourself.”In the cold with puddles surrounding us, O’Doherty muses about Twitter. “I’m really fasci-nated by the psychology of status updates on Twit-ter. People sending out these weirdly aspirational messages about their own life: ‘Just had a picnic on a hill. What a dream day’, Which is achieving nothing in the world… If you’re a newsmaker and you’re announcing that the new currency of Ireland is children, then you should have a Twitter, and Twitter as much as your tweeting heart desires, but to me it seems like filling the world with unnecessary information.” It is this type of thinking that

O’Doherty has built a career upon; otwo asks if a comedian’s lifestyle contributed to this. “Y’ can go a bit insane because you don’t have much to do dur-ing the day, but that’s only if your head isn’t right. Just treat it as a sort of massive holiday. I certainly remember as a kid pulling a sicky from school one day, it being a nice day… sitting out in the

garden and going, ‘All those losers are in school and I’m having some sweet sunshine.’ Sometimes I think my life is like that. Especially when I phone someone up at 2:30pm and go, ‘Let’s play pitch and putt,’ and they tell me to keep my voice down because the boss is near.” It is this unique way of looking at the world that has been the cause of O’Doherty’s success. “I think part of being a good comedian is having the bravery to fail

whereby you’re not put off your own thing. The world doesn’t really need more stand up comedians who’ve figured up how stand up comedy works and do the thing that works, which is to be reasonably high energy and talk about things that everybody knows. What the world needs are new people with unique standpoints. That’s why Maeve Higgins in this country is so unique. She is really getting the reputation she deserves overseas now; people going ‘where the fuck did this come from?’” It’s getting wet, so otwo concludes by asking what other comedians inspire him. “I still get incredibly inspired every year going to Edinburgh or going to Montreal. You might see three or four people who really remind you of why you’re doing it in the first place, which is not to write jokes that other people laugh at. You hope they do, but the reason to do it is to write jokes that you find interesting

and are a reflection of your own unique mind. It’s like when

you hear a new band that you really, really like. And I still get a buzz from that.”

Clash of the Titans

In DOD we trustConor Barry talks to award-winning funnyman David O’Doherty about life, comedy, and tweeting too much

“I went to Edinburgh, and won the newcomer award, and they gave me an enor-mous cheque for £1500. By enormous, I mean it was cardboard”

otwo 24.11.09

FASHION

S I L KJoseph Stalin once

said “you cannot make a revolution with silk gloves”. Silk’s revolutionary impact on fashion begs to diff er.

Since it was discovered over eight thousand years ago in China, silk has been recognised for its soft , luxurious quality and as such bargained as a precious commodity. Th is is an idea that is refl ected in contemporary fashion, where silk is still marketed as exclusive and chic.

Silk fi bres are derived from the cocoon of silk worms, fi bres from which are manipulated to produce diff erent types of silk fabric including, tussah, chiff on, shantung and crêpe de Chine. Silk in its fi nal state can be anything from transparent and sheer to a heavy jacquard weave. Silk is revered primarily for the properties of the material itself: its soft texture and lustrous sheen adorns jackets, suits and evening dresses, promising taste, elegance and expense. Chiff on is perhaps the most beloved form of silk. Fine and lustrous, layered chiff on creates dimension and lends itself to haute couture design.

Silk’s stylistic integrity is perhaps epitomised by the designer silk scarf, which remains a classic. As design houses like Hermés lend their name to the printing and design of silk, its fashion esteem is unquestionable.

C A S H M E R ECashmere is oft en called

the “diamond of fi bre” as both enjoy an exquisite elitism. Cashmere wool, or ‘pashmina’, is derived from the fi ne hair of cashmere goats. Produced primarily in China, Pakistan, India, Mongolia and Turkey, this much sought-aft er wool has been developed into almost all-fashionable apparel. Cashmere is most oft en made into jumpers and scarves, with the cashmere jumper renowned as a staple wardrobe piece.

Cashmere has enjoyed a longstanding association with luxury, elegance and comfort. Th is privileged association is as a result of the rarity and expense attributed to the cultivation and production of cashmere. Cashmere is soft , tactile and resilient, while its natural properties allow for excellent insulation. Reveled for its quality and fi ne features, cashmere is found in most high end designer collections, with top designers like Sonia Rykiel, Cameron Taylor and Queene and belle featuring it widely.

It is no coincidence that the word “cash” is in cashmere – yet despite its notorious expense, cashmere has been reinstated on the high street. With mixes and lower grades, cashmere has become an aff ordable luxury.

T W E E DAdored by intellectuals and

pseudo-intellectuals alike, tweed is a rustic fi bre with a touch of elegance. Described as an unfi nished woollen fi bre, the coarseness of the

As Nature Intended

Amy Walsh and Seán McGovern take a look at the winter-friendly fabrics that nature has provided

16

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FASHION

Stylists: Amy Walsh and Seán McGovernModels: Bryce Evans and Ruth Redmond

Photographer: Colin Scally

Harris tweed jacket: model’s ownFelt-chiffon scarf, pashmina and silk-chiffon scarf: stylist’s ownCream felt-chiffon scarf designed by Anne-Marie Walsh

fibre makes it a very textured fabric, visible even before the touch. Tweed was originally worn for hunting and shooting, being waterproof as a result of its processing, and is a thoroughly durable fabric – one of the few textiles that is both stylish and practical.

Originating in the UK, and

manufactured in Scotland and Ireland, there is a great heritage and identifiable location with tweed, similar to the national identity of silk for the Chinese. The fabric was worn informally by British royalty, such as King George V.

The colouring of tweed is usually a dark tone, but subtle inflections of

colour are common, with tones obtained from heathers, blackberries and moss. Though tweed appeared in the 19th century, its check and herringbone weaving has not changed through time and is as much featured in high street shops as well as traditional woollen mills.

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The important thing whether you keep it or remove your beard or mo’ is just how exactly to treat your skin when it comes to shaving. For a visual

step by step guide to just what exactly it takes, head straight to www.videojug.com . An invalu-able source for so many of life’s questions, Videojug acts as a video guide from things like pre-shave, wet shave and post-shave skin care. It even gives advice as how to treat unfavorable skin problems as a result of shaving, such as ingrown hairs. For men with thick or coarse hair, just like on their head and body, the beard is no different. Some important advice is always to go in the direction of the hair’s natural grain, taking note of the parts on your face where there is a natural deviation in the grain.But just like most personal hygiene regimes, shaving can’t be rushed and the intricate running order creates the best possible shaving result.

While there are many ways and suggestions of how to get the perfect shave, there’s some advice out there that’s always worth taking note of.

It’s best to shave after a shower as the heat and

steam from the water softens the hairs and opens the pores, meaning the shave will feel instantly more comfortable as a result.

A sharp razor is always the best, and unfortunately razor blades are terribly expensive. Quality disposable razors are fi ne to use as well as

all the blade heads for Gilette (if you’re not Henry boycotting) and Wilkonson Sword models. When there is a dullness in cutting of the blade you’ll know it’s time to get a new one.

Don’t just plaster on the shaving foam or gel. It’s worthwhile to take a moment and lather up the face nicely and to coat each hair. Experts advice a shaving brush, but for most of us this is more of a luxury item. Both an after shave balm and a moisturiser are advised, as the balm soothes the skin and closes pores while the moisturiser coats the skin with the important oils that shaving would have taken away from the skin. For the coarse hairs, and to prevent ingrown ones, its recommended to use a facial exfoliant once or twice a week to remove layers of dead skin cells and keep the hairs growing correctly in their natural directions. Don’t overuse as the natural abrasiveness means the skin has repair and remoisturise afterwards.

Alternatively, many barbershops in the city centre specialise in hot towel shaves, most notably the Turkish barbers, as a Turkish shave is a luxury treatment in itself, it’s worthwhile to look around as prices depend on where you go. The average seems to be about twenty euro, so in the meantime we’d best stick to that big bag of bic razor blades.

Be close to your shaveFASHION

Th ough it may be November, we are now obligated to talk about Christmas, because the ads tell us so. So, Christmas is here. Buy presents now. Buy them stupidly and recklessly. But what must be stressed is that when buying clothes for someone, please remember that jumpers with reindeer patterns can only be worn at one time of the year, and fl annel pyjamas only worn in bed (and only ever alone. Th ey are not sexy. But they’re so snuggly – Ed).

At Christmas time, the reasoning behind our purchases just goes out the window. We smile politely as our relatives buy us things that

we wouldn’t throw up on. “Socks! Again! Th anks, Aunty Gertrude!” Th is is where the caveat about

buying presents really comes into play. Th e notion that it’s the thought that counts is the weakest excuse for buying

and receiving utter tat, and was obviously coined by some miserly cheapskate. When buying a gift for someone, making a calculated decision about what they would appreciate makes the diff erence between a memorable present and fashioning a new dust

rag out of Guiney’s best.And don’t get me started on

wicker; the demon weed that forms ridiculous baskets,

stuff ed full of shredded paper and housing two pathetic little bottles of body lotion, then shrink-wrapped in plastic… Nothing says Happy

Christmas like like a wicker basket bath set. Environmental issues aside, Christmas means having a pile of excess rubbish lingering around your home. Chocolates might be one of the most impersonal presents you can possibly buy, but at least

we’ll eat the damn things. Gift vouchers mean I can buy something I really like.

So this Christmas let’s not get tangled up in a mesh of emotions and tinsel, and realise that when the thought does count, it’s best to stick to something that will make us all happy. No amount of scarves, gloves or Christmas jumpers can

do this. Let’s just all give each other money and everyone will be so much happier.

Th e comments presented in this article are those of the individual

writer, and do not represent the opinions of Th e University Observer.

We warmly welcome all presents.

Tongue-in-chicWhat’s the point of crappy Christmas jumpers? Seán McGovern doesn’t know

As Movember comes to a close, many men will fi nd themselves with an option to let it rejoin its old friend or slice it off. Seán McGovern looks at the latter option.

buying presents really

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Music seems to act as a counter-balance to economic pros-perity and the happiness and optimism that brings. In the

80s music was joyful, full of songs that make you want to dance around your bedroom in just your pants.

Then the 90’s came, everyone got jobs and started listening to Kurt Cobain and slitting their wrists. Sure we had our Starbucks and our foreign holidays, but were we happy?

We have now come full circle and a rake of upbeat electro-pop artists have hit the charts for our pants-dancing pleasure.

One such artist to hit the scene this year is 25 year old Victoria Hesketh, better known by her stage name Little Boots. What started as recording song covers in her pyjamas for YouTube led to her topping BBC’s Sound of 2009 poll late last year. Her first album, Hands, was released in June to rapturous praise from the media.

otwo got a chance to talk to Little Boots and ask what she thinks of her new found fame and recent album: “It’s good; it’s gone gold in England which is good, and in Japan it’s doing pretty well and in America it’s just starting to launch over there, and yeah, I think it’s going pretty good”.

Hesketh is not a newcomer to the music business. From 2005 to 2008 she was the lead singer indie-rock band Dead Disco, who split up due to musical differences. Life is quite different as a solo artist; “There’s a lot more pressure, it’s a lot more intense and it’s a lot more work, but it’s much better because there’s a lot more control and a lot more freedom.”

Although the band had some success – including the release of a single – it was perhaps these constraints that prevented them becoming as big as Hesketh has managed solo. “All the time I’d been hiding my own songs and finally I had to make the sort of music I actually wanted to listen to… Before I used to always think, ‘What would a jazz performer do?’ or ‘What would the band do?’ - now it’s so easy because it’s ‘what would I do?’ It’s just me.” It’s this artistic freedom that seems to have been the key to Little Boots success.

But even solo, Little Boots plays more instruments than most bands. When asked how long she has been involved in music, Hesketh

jokingly replies “25 years”, but it’s hardly an exaggeration: she started playing piano at age five and can also play the stylophone, flute, and something called a Tenori-on -  a recently invented electronic instrument from Japan.

This is such a new and strange instrument that Wikipedia actually currently lists all known players, a very short list in which Hesketh is almost

the most well known.Although Victoria Hesketh is undoubtedly

talented, the whole thing feels a bit cynical and pre-packaged. Not just her, but the whole wave of 80s style female pop artists such Lady Gaga, La

Roux, Florence and the Machine and Ladyhawke – all with more or less the same image and sound. Hesketh herself admits to the management’s influence on her music: “I just think about songs really, I don’t think about styles too much or influences, I have the studio for that.”

The eccentric quirkiness of these artists feels very forced at times – a fact that anyone who saw Lady Gaga at the 2009 MTV awards can attest to. Surely you’ve crossed over from quirky to plain mental when you start going to the shops in an Elizabethan bee-keeping mask.

But then that’s possibly what was so glorious about 80s music: Adam and the Ants didn’t decide to dress as poncy pirates by themselves; they were told to do so by the management. Would anyone remember ‘Stand and Deliver’ if it wasn’t sung by a guy who drew white lines on his face? What about Flock of Seagull, the only people in human history to have worse hair then Jedward?

Maybe 80s music wasn’t about balancing the misery of the world but rather matching the political cynicism prevalent then and now. With strikes, riots and Margaret Thatcher around maybe people didn’t expect their pop artists to be sincere either. The 90s, on the other hand, tried desperately to believe in the integrity of bands, which turned dark and edgy to show how much they meant it.

No matter what the motives are, it can’t be denied that Little Boots’ music generates an amazing impulse to dance.  Even if you don’t like the songs at first, within hours you’ll catch yourself humming them, grooving around the kitchen waiting for the kettle to boil. Pop music has the power to be amazingly silly, and if you can forget your problems and prance around like a twat, then all the better.

For me though, nothing will compare to dancing around in my pants to the 80s classics. “I’m the dandy highway man so sick of easy

fashion...”Little Boots plays The Academy on Friday 27th November.

Tickets €18.50

MUSICTiny Boots of JoyThis year Ireland turned the clocks and went back to the 80s: unemployment,

emigration, shoulder pads... and the music, writes Emer Sugrue

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Th e fact that the very opening of the curtain emitted a storm of cacophonous screams says it all. New Moon’s actual quality is a mere footnote for most of the adoring crowd, but for the ordinary cinema fan, it may be pleasing to know it’s actually (shock!) a half-decent fi lm. In fact, it’s sidestepped the nightmarishly bad adaptation that was Twilight by being pretty darn good.

Bella Swan and her prettiful vampire fella, Edward Cullen, are all loved up in scholastic bliss until an unfortunate incident at Bella’s birthday party occasions the Cullens’ speedy departure from Forks. Bella is left wilting in a cloud of

Biopics have long been a reliable source of cinematic tedium. All too oft en, they fall apart by eschewing the more controversial aspects of the protagonist’s persona and thus, neglect to show anything of real interest in their life (see La Vie en Rose). Th is failing can perhaps be attributed to the undue infl uence the biographical subjects’ surviving relatives hold over the fi lm.

Th erefore, it’s oft en the case that the biographies which work most eff ectively are those that adopt a highly unconventional approach, whereby a meticulously accurate representation of the subject is not the fi lm’s foremost concern – this is true of I’m Not

agonised catatonia, the aff ectionate bond she forms with old acquaintance Jacob Black her only source of comfort until her pining for Edward leads to a heady re-eruption of drama galore.

As a fan of the books, it is with some degree of joy that otwo can declare New Moon a massive improvement on its predecessor. Sidestepping all the ethereal loving gazes, it manages to take the 300 pages of inactivity that constitutes its source material and turn it into a delightfully realised fi lm. Photographed beautifully in rich colour, the plight of Bella is vividly captured in haunting and emotive sequences interplaying her pain for Edward with the tender promise of her blossoming relationship with Jacob. Stewart’s performance still leaves a lot to be desired, but one can almost overlook her amidst the expertly craft ed action sequences. Th e CGI could have done with a tad more tweaking, but the

Th ere and indeed, Citizen Kane.Me and Orson Welles undertakes a similarly unusual

approach. It focuses on the fi ctional tale of Richard Samuels (Efron), a young student who innocuously secures a role in Orson Welles’s legendary 1937 Mercury Th eatre production of Julius Caesar.

Richard soon becomes smitten with Sonja, an assistant working in the theatre, who in turn hopes to be swept away by legendary producer David O. Selznick. At the same time, Richard and his fellow cast members struggle to get to grips with the play’s material as opening night looms.

While the entire cast excel in this vivid recreation of 1930s New York, Christian McKay’s impersonation of Orson Welles is the clear standout performance. He perfectly captures the mischievous grin Welles perpetually wore, while exquisitely conveying the endless contradictions inherent to his persona.

Director Richard Linklater, along with screenwriters

Holly Gent Palmo and Vince Palmo, also deserve enormous credit. Between them, they gradually unveil the various depths of Welles’s personality to create an extremely fascinating and doubtless, relatively accurate interpretation of the director.

On the downside, the stereotypically nerdy character Gretta adds little of interest and constitutes a patently unnecessary diversion from the fi lm’s central plot. In addition, it is obvious that the fi lm could do with shedding about ten minutes of its running time and its ending in particular is unnecessarily prolonged. All in all though, Me and Orson Welles is drama of the highest order.

In a Nutshell: Likely to satisfy Welles enthusiasts and casual fans alike, largely thanks to McKay’s stellar acting.

Paul Fennessy

werewolves make their entrance breathtakingly nonetheless.

It follows that Lautner is easily the best thing here, as the only cast member given time and opportunity to illustrate he can actually act. Pattinson, even in hallucinatory form, is wooden (and not even that beautiful… boo, costumers!) and the aforementioned Stewart has succeeded only in learning how to bite her lip with her mouth closed. Michael Sheen and Dakota Fanning excel in limited roles, piquing tastes for what lies ahead.

A fi ne exercise in cutting the shit and giving people what they want; Eclipse can’t come fast enough.

In a nutshell: Werewolves. Vampires. Face off . Rawr.

Grace Duff y

NEW MOON

ME AND ORSON WELLES

Director: Chris WeitzCast: Kristen Stewart, Robert Pattinson, Taylor LautnerIn cinemas: Now

Director: Richard LinklaterCast: Christian McKay, Zac Efron, Claire Danes, Ben ChaplinIn cinemas: 4th December

Reviews

FILM & TV20

otwo 24.11.09

Britain loves a period drama: they let them relive the glory days before hoodies, happy-slapping and the dissolution of empire, a time when a stiff upper lip and a ration card were all that were needed to bash the Boche.

These films emerge every few months or so, heaving with the cream of British actors, and Hugh Grant. This film distances itself from the pack not only by not featuring Grant, but by being astoundingly – one might even say heroically – dreadful.

It’s very difficult to explain exactly what is so mind-soilingly bad about Glorious 39 without resorting to swearing or interpretive jazz dance. The story hinges on a secret plot to appease Hitler, but avoids the trap common to political dramas of becoming interesting.

Anne (a.k.a. the titular Glorious) begins to uncover this plot at a maddeningly casual pace, while her friends are bumped off for merely being in her vicinity. She then begins to be targeted long before she knows anything at all and in very obtuse ways, such as a child that she was looking after being moved around a bit.

For a film that claims to be a thriller, thrills are fairly thin on the ground – even the most bizarre events are rendered entirely predictable. One highlight is when Anne finds her lover’s body in a room full of bags of dead cats. How is it even possible to make that predictable? Somehow they

manage it. It’s almost art.The end is where things really

go downhill. After spending an enormous amount of effort being ludicrously suspicious throughout the film, Anne’s family lock her up in a room to prevent her from telling about the plot. She escapes and comes across her creepy family who, having spent weeks trying to drug her into submission, merely wave to her and ask her to join them in the garden. She runs away and nobody bothers to find her. They’re right not to expend that energy, because Anne never does anything about the plot either.

The film’s big climax is that in the present, Anne is still alive, and turns up as an old lady looking slightly smug. That’s it. Nothing else happens in this film.

It’s the most pointless, flimsy excuse for a story I’ve ever seen in my life. I feel violated. The person I was before seeing this is dead.

In a Nutshell: For the love of god, save yourself.

Emer Sugrue

Johnny Depp and Tim BurtonOriginally the ultimate in weird chic cinema, the increasingly ubiquitous Depp and serial partner Burton have given the world some of its finest off-centre masterpieces. From the touching gothic fairytale Edward Scissorhands to the upcoming reworking of Alice in Wonderland… am I the only person who prefers the new Charlie and the Chocolate Factory?!

Jack Lemmon and Walther MatthauBack when comedy didn’t mean puerile gross-out humour and Billy Wilder was weaving his magic upon celluloid, these two were the funniest thing since sliced bread. Sample dialogue: The Odd Couple – “You leave me little notes on my pillow. I can’t stand little notes on my pillow. Took me three hours to figure out F.U. meant Felix Ungar!” Masterly.

Martin Scorcese and Robert de NiroCracking a smile is so last year. Until Scorcese decided to trade in De Niro for someone younger and prettier (thereby restoring DiCaprio’s street cred), this gruff twosome won infamy by atmospherically darkening our screens with aching portraits of troubled boxers and menacing gangsters. Cute is not what we aim for.

Robert Redford and Paul NewmanA duo that made so many epic films, Redford named his film festival after one of the characters. The easy-on-the-eyes factor lingers to this day, as this is probably one of the few cinematic pairings you actually wouldn’t mind getting sandwiched between (overlooking the sad fact Newman is no longer with us).

Steven Spielberg and John WilliamsThis one’s all about the music. Give Spielberg a screen and he will fill it with awesome spectacles of awesomeness, creating some of the most epic and lovable wonders in cinematic history. Give John Williams a piano and he will compose musical awesomeness to go with. Half the scare factor of Jaws, and the only appeal of A.I. True story.

Russell Crowe and Ridley ScottWhen in doubt, go south – Antipodean way, that is. Russell’s smoking screen presence is almost unparalleled in his time, and together with Scott’s similarly pervasive vision, has allowed for feats of Gilded-era splendour to grace our screens. Even if their relationship of late has become a tad frosty, and the next splendiferous project due our way involves Russell in tights.

Fran Walsh and Peter JacksonSingle-handedly disproving the mixing love-and-work adage, loveable (formerly) porky Peter Jackson and his equally eccentric-looking wife have combined their wit and vision on numerous occasions to leave us with both the sublime and the underrated. Not enough people have seen The Frighteners. Heavenly Creatures kick-started Kate Winslet’s career. Hobbits may shape the fortunes of all.

Christopher Nolan and Christian BaleYes, mainly for Batman, although they made The Prestige too. Not content with reinvigorating The Caped Crusader as a gruff manlier-than-thou antihero in Batman Begins, Nolan then surpassed himself with the so-indescribably-fantastic-there-are-no-adjectives-left-to-do-it-justice The Dark Knight. What doesn’t kill us makes us stranger. Bale’s throaty Batman voice lost its appeal in the phlegm.

Quentin Tarantino and... Quentin TarantinoA ghost in the fog of his own unassailably cool dialogue, Quentin likes to pop up in his films from time to time to sample goings on the other side of the camera. If his performance in From Dusk to Dawn didn’t set skies alight, he makes up for it with scene-stealing moments such as gnawing on roadkill in Planet Terror. I could mention a part of his anatomy melting in a later bit-part, but we won’t get into that.

David Cronenberg and Viggo MortensenThough only two films down the line, Viggo “the mature woman’s Lord of the Rings crush” Mortensen and David “The Fly” Cronenberg are paving a path of promise with Eastern Promises and A History of Violence. That and a taste for brutality.

GLORIOUS 39Director: Stephen PoliakoffStarring: Romola Garai, Bill Nighy, David TennantIn cinemas: Now

FILM & TV

Movie PartnershipsTwo heads are better than one: Grace Duffy examines the more memorable meetings of minds/clashing of egos in

movie history

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Reeling in the Years is a bit of a televisual oddity. Popular across generations, it uniquely provides a type of entertain-ing history lesson. It is strange to think

that it is one of RTÉ’s most popular programmes, but the broad audience demographic and general interest factor goes a long way to explaining this.

Producer John O’Regan describes the show in as straightforward a way as possible: “Reeling in the Years takes a year, takes some of the major events in news, current aff airs, sport, politics, culture, entertainment and it combines them together with a soundtrack of pop music, hits from that year and with text captions to keep the viewer informed as to the content of what’s happening on screen.” His explanation is similar to the show: simple, but eff ective.

Condensing a year into half an hour is a signifi cant undertaking, one that O’Regan is all too familiar with. “Th e basic way in which we make a programme hasn’t really changed since the beginning. On paper at least, you start out by looking at the major events of a given year. And you just make a list of the Irish and international events. I would also scan the charts for every single week of that year and pick the music that I think might be relevant, or massive hits that people will obviously know. But in particular I look for music that might match the story. RTÉ obviously owns a lot of its own footage and that would be drawn, like I say, from news, music, sport, entertainment.”

“We always thought that it was very important to include international stories to give a balance and a context to what was going on in Ireland at the time, so we buy in the rights to transmit footage. Th ere’s obviously a limited budget on what you can aff ord. We hold the view that that’s a very important and desirable part of the programme to be able to include, [and] being able to show what’s going on internationally does balance the Irish material.”

With internet forums bursting with pleads for DVD releases of the diff erent years, there is clearly a dedicated fanbase. I was curious to see if O’Regan had any theories for why it is such a hit.

“I don’t think there’s any one reason. I think Reeling in the Years is quite a modest programme and I would be quite modest about it. It doesn’t use a presenter; it doesn’t use talking-head guests who interrupt the footage to tell you about their memories.”

“Th e strength of not having the presenter or guests for this kind of programme is that you don’t really get in the way of people’s own memories or their own experience of the moment that you’re showing them on television. Whether or not you remember it directly and where you were when you saw that happen or whether you can sit through it and say ‘crikey’ this is what my parents would have seen that night if they’d been watching television of that event.”

One of the most notable points about the show is the fantastically ironic use of music, providing this history show with a kind of comedy. “Th e music provides a pace,” explains O’Regan. “It provides a mood and a context, and it allows you to combine events that you normally wouldn’t combine together. For example, we don’t just stop the show to say ‘well, it was a big year for sport’ and do all the sport in one go and do all the politics in one go. If you have the right tune you can combine politics, sport and entertainment all in one go, and it gives you a diff erent pace. Th en the unseen hand, if you like, is the script which I would personally spend a long time writing.

“Th e script is to me the critical thing because it has to be very concise but, at the same time, if you don’t have your own personal memories or you

don’t know what’s going on this is the key.

Th is is the minimum of what you need to know to understand what’s going on in front of you. Th at to me is critical; the role of the script is to tee up the sequence of events. So I think because it doesn’t have a presenter or guests it doesn’t age in the same way.

“So programmes that were made in, say, 1999 or 2000, can still be shown again, because the year 1987 doesn’t fundamentally change, no matter how far away you get from it. Your view of it will.

“Another layer of events and time will have come upon it and it may aff ect your view of certain events, but the events themselves, a lot of them, are exactly as they were, and people’s view of them are exactly as they were. It can become your own programme, in a way, because certain years will mean certain things to certain people.”

With only half an hour to cover each year, clearly some stories will have to be left out. So how do the producers choose which parts to leave in? “It has to be selective and it’s done largely on instinct. Th ere are some events you’ve just go to put in because they’re obvious. How we make it is we start with notes on paper and think that maybe this will fi t with this and that will fi t with the other. Or, because of the nature of hindsight, it can be something that was inadvertent at the time that has acquired signifi cance beyond it.

“For example, a clip that is oft en talked about is Charlie Haughey discussing what he would do if he won the lottery in 1987, which is a perfectly reasonable comment to make at the time, he says, ‘Well, I’d give a bit to charity, I’d give a bit to sporting organisations and I’d keep a bit for

With the recent release of Reeling in the 90s on DVD, Conor Barry met up with one of the creators and producer of the show to get a history lesson on the show itself

With internet forums

for DVD releases of the

fanbase. I was curious to

theories for why it is such don’t

know what’s going on this is the key.

FILM & TV

Reeling in the Years

22

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Every once in a while, there comes something that makes you smile, brightens your day and drags you back from the brink of insanity. For me, Glee, a new television show from the US is keeping me from going mad from too many hours in the library.

For those of you not familiar with Glee, it is a simple show, chronicling the misadventures of the members of a newly re-formed high school Glee Club named New Directions. This, in normal English, is a club dedicated to performing various songs in a showy style incorporating costumes, dance routines and incredible vocals. It sounds simple, but trust me, it’s AMAZING.

There’s just so much to like about Glee. While some could dismiss it as a simpering imitator to the High School Musical franchise, it’s so much more. Glee packs a punch in its dark humour and is completely willing to

laugh at its own camp nature. There are predictable characters in the jock, cheerleader, pushy singing girl, diva-acting black girl with the big voice and overly flamboyant gay kid, but the actors manage to bring their characters out of their stereotypical boxes for the most part.

As well as being funny, the characters in this show are undoubtedly talented. Belting out a range of songs from popular anthems like Don’t Stop Believing, to Broadway classics like West Side Story’s ‘Tonight’, the club definitely impress with their vocal range. Problems are raised in the programme’s overuse of leads Finn (Corey Monteith) and Rachel (Lea Michele), but hopefully the makers will realise the vocal potential of some of their lesser-used stars, most notably in wheelchair user Artie (Kevin McHale).

The show’s star is undoubtedly fascist cheerleading coach Sue

Sylvester, played by The 40 Year Old Virgin’s Jane Lynch. Personified by her sarcasm and acidic put-downs, Sue proves to be the real laugh-out-

loud moment of the show. Similarly, a surprise cameo from Broadway

and The West Wing star Kristen Chenoweth as an alcoholic former glee club member only adds to the comedic quality of the show.

TV3 have bought the rights to Glee and hope to air it between the end of 2009 and the start of 2010; similarly, British digital channel E4 will be broadcasting it from 2010. For those not able to wait, the first ten episodes are already widely available online.

Even if it’s not apparent just yet, it’s all but assured that everyone will be card-carrying Gleeks by the middle of next year.

Take that Sweetman, you non-believer.

GLEE-VOTEEWith the latest American TV fad, Glee, being a cross between High School Musical and Mean Girls,

Bridget Fitzsimons clears her vocal cords and declares herself a fully-fledged Gleek

FILM & TV

myself.’ Obviously, because of events and revelations subsequent to it, it has a significance that goes far beyond what was transmitted in 1987. So sometimes it’s small things, and what you’re looking to do by assembling this is to balance entertainment and information, to balance Irish with international, to balance lighter with more serious content. You don’t really know how that’s going to work out until you put it together and see how the music in particular works with certain images.”

Clearly there’s an audience hungry for some more edutainment. What, if anything, is the future for Reeling in the Years? “Sometime next year we will go into production on a new series that will cover the noughties, the years 2000-2009. My view is that you can only make a series at the end of a decade.”

Having brought so much nostalgic joy to Ireland for years already, let’s hope RTÉ keeps up this tradition for many decades to come.

Reeling in the 90s is out now on DVD.

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This week’s spurious internet adventures involve a look-in to the World’s Most Amazing Yet Totally Useless Talents. Now don’t stop reading yet; instead I advise you to get to the nearest browser and check out these clips, which will manage to amaze you for just the right amount of seconds, causing the viewer (you) to say “wow”, however briefly.

First up, we have a bubble magician (that’s right, they do exist) who as it appears, likes to incorporate smoke into his act. Watch as he makes a caterpillar dance a break-down, and defy physics by quite literally blowing smoke through a straw and into the middle of the nucleus of bubbles. Check it out at http://short.ie/uo61.

Talent #2:Now, the next one on the list is

a bit sickening. My first thought on watching this was “How does one discover to do that?” Step

with COLIN SWEETMAN

forward, Busty Heart, a.k.a. The Girl Who Can Break Stuff with Her Right Breast (http://short.ie/uo62). This video defies the endurance of the human physique. Watch as she lifts a

bowling ball, then a beer keg, and then commences crushing a beer can with ultimate phumph…

Talent #3: Watch as a man manages to

produce trumpet-like sounds

using only his hands: http://short.ie/uo63. Apparently, this technique is known as “manualing”, or as others would know it, “hand farting”. This exponent has mastered it so well

that he can play – note for note – the entire vocal pattern of Queen’s ‘Bohemian Rhapsody’. Quite amazing, yet entirely useless.

Talent #4: This one is more or less a

useless talent. He can play drums, which in my books is a fairly

useful talent, but juggling the drumsticks in the air while doing so is just plain showing-off. Visit http://short.ie/uo64 to get the full look-in.

Unrelated, but nonetheless Christmassy:

This one is on the web and, although it’s not a talent, I figured I may as well include it in our pre-Christmas issue, just to ruin it for you all. Aptly named “An Engineer’s Perspective of Christmas”, http://short.ie/uo65 is hilarious in its breakdown of scientific analysis of the one known as Santa Claus. Maybe it’s true, but at the end of the day we all know that magic defies all. And who said delivering millions of presents at light speed wasn’t a useless talent? Absolutely amazing.

As ever, if you have any useful links, just send them to webwatch@universityobserver.ie Merry effing Christmas.

WEB

Pitchfork is not renowned for being cute and cuddly – the online music mag is in fact famed for the corrosiveness of its music reviews. However the site hailed Cymbals Eat Guitars’ debut record Why There Are Mountains as being among the year’s “best new music” releases. Not bad, considering vocalist and guitarist Joseph d’Agostino is only 20 years old. otwo catches up with him via a phone call to his native New York for a chat. “It was amazing to get a reception like that from Pitchfork,” he says in a hesitant, almost shy New York accent. “It’s great they’ve been so good to us, promoting our music and helping to put it out there.”

Pitchfork isn’t the only music website where Cymbals Eat Guitars are in the spotlight. They were discovered early on by Irish online record label Indiecater, and their track ‘Share’ was included on the Indiecator Volume One CD released early this year. It seems

blogging really is the future of music promotion. “Yeah, maybe nowadays people don’t have as much time to just sit down and listen to their records,” agrees d’Agostino wistfully. “Blogs are a way to get to know what’s out there, there’s so much new stuff.” He himself admits, “It’s really rare I find a new band that really hits the spot”.

The indie rock label is constantly being slapped on Cymbals Eat Guitars, so otwo asks d’Agostino what niche the band see themselves occupying in the music scene. “We never really fit in… there wasn’t much of a DIY scene in Brooklyn where we started up; bands never really knew each other… so we were always on the outside of that kind of scene when things got going,” he says.

It is indeed difficult to classify Cymbals Eat Guitars sound. Orchestral, cataclysmic, epic… these are just some of the terms commonly used to describe their music. The

group’s lyrics conjure up eerie images of urban decay, juxtaposed with images of nature. “I grew up in South Jersey, and there was a park down the road where I used to go as a kid, I always loved being there. I’ve lived in the city for years now but I feel really at peace with nature,” explains d’Agostino.

The group are soon to play here in

Dublin as part of their first European tour. “We’ve never played Ireland before, the only dates we’ve played outside the States have been in London. We really don’t know what to expect!”

Fans can expect the staple live brilliance when Cymbals Eat Guitars next play Dublin, having appeared Crawdaddy on 14th November.

EATING THEIR WORDSOnly 20 years old, and already getting rave reviews from the world’s harshest critics?

Alison Lee meets rising New York musical phenomenon Cymbals Eat Guitars

24

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A little Spillane

I despise technology. I hate Microsoft, I loathe phones, and don’t even get me started on Macs. Technology will be the death of us all. Even so, I digress.

Born and raised in the wilds of the West, John Spillane is a musical man, groomed from an early age for the trade he now calls his own. “I always used to sing when I was a young fella, when I was a boy, and then I played the tin whistle and I played stuff like that, and then I started guitar when I was fifteen.”

Rock was not to be the calling for a young Spillane, however. “I don’t think I was a very good rock and roller, I was too shy anyway!” With his timidity in mind, it became the folk and traditional music element that was in line to draw John’s attention. It had been an everpresent theme in John’s life but rarely brought to the foreground given commercial musical culture. “I suppose we had two things going on, one was the rock, and the other was the folk-trad which was more for after the gig, or for fun.”

Aside from the educational aspect of a degree in English and Irish at UCC, playing gigs was a formative part of Spillane’s years in third-level education. “I took what I wanted from college… I didn’t like it, and I didn’t even know why I didn’t like it, ‘cos I wanted to be a writer.”

So between his formative years around our little spit of land and the months he spent in Senegal, John Spillane seems to have created a wondrously direct view on life. When talking about his time in Africa he speaks warmly of an incident with a tribesman called Baaba Maal. “He said, ‘Oh, we love to see your Irish traditional music, its like a child that left Africa many, many years ago and grew up away in a foreign country, and then it comes back and we say, Oh! My! How you’ve grown!’”

Spillane’s view on music thus has a delightful hybridity to it. With its origins rooted firmly in Africa, music has spread and emigrated across the globe, in all shapes, styles and forms, only to return to its home inadvertently and sporadically.

John Spillane is indeed a man with a certain

insight. While I toil away on some computer, repetitively stressing out over my eleven-year-old laptop’s untimely demise and the several thousand words of essays I have yet to write, there is something in this musician’s tone and experience that suggests a cunning simplicity in his nature.

Conclusively, otwo feels that his music reflects his nature, and he turn reflects a reassured nature in us.

John Spillane’s album More Irish Songs We Learned At School is out now.

Jake O’Brien finds singer-songwriter John Spillane an engaging subject

James McMorrow is a talented, fresh face to the Irish singer-songwriter music scene, on the cusp of releasing his debut album Let’s Do This Thing, due for release this December.

The singer’s influences stem from the musically talented who try and create something different – much like himself. “I’m a huge fan of anybody who takes music in that way… The National would probably be my favourite band, my favourite record of the year would be Wild Beasts’ Two Dancers - an amazing record.”

McMorrow has had to experiment with more than a few creative techniques for his debut “Last year I was in a recording studio doing the straight linear recording, which didn’t really work for me… I moved to an abandoned house outside Drogheda on my own with a computer and a bunch of instruments for about 5 months… Pretty much everything I could throw at it, bass, drums organs, ukuleles. I’ve collected a wide variety of instruments over the years; I piled them all into my car and tried to make them fit, basically!”

The record is a completely self-produced and self-played affair, and it is evident that James’s

obsession for music and perfection pushed him to his limits in making his much-anticipated debut. “The way I made the record was quite experimental, [playing with] different sounds and seeing what fit… I can’t really write songs in a very simple fashion; I like to see what ends I can get out of them.”

We got a sneak preview of what to expect from Let’s Do This Thing as the song ‘Follow you Down to Red The Oak Tree’ is featured on the current Barnardos television advertising campaign ‘Help Change A Child’s Future’, not a

bad start for the upcoming release. “It came about by complete coincidence – my manager over here has an office on the quays and the ad agency that has made the campaign are in the same building….I don’t think it was a particular conversation I think it was just a chat one day, they said they couldn’t find a song that fitted and he said I’d finished my record, he’d only gotten it maybe the week before…it was just my mixes from the house, so he said listen to this and if its something…..it wasn’t what I expected it just worked, a deep, intense ad....I watched it in a coffee shop and was moved by it.”.

McMorrow’s sensual and levitating voice is one of the distinguishing

features of his music. It is soft, warm and captivating; together with his alluring guitar play, make for an uplifting listen. So keep your ears and eyes open for this original and aesthetic singer and do not miss the release of his debut album.

In the meantime ‘If I Had a Boat’ and ‘Follow You to the Red Oak Tree’ can be heard via James’ official Facebook and MySpace pages.

http://www.myspace.com/jamesvmcmorrow

Let’s do this thingKellie Nwaokorie meets up and coming Dublin singer-songwriter James McMorrow

MUSIC 25

otwo 24.11.09

ICONS

“There, but for the grace of God, goes God,” screenwriter Herman J Mankiewicz said of Orson Welles, while observing him at

work. As a description of a 25-year-old fi rst-time direc-tor, this statement would normally be considered more than a little hyperbolic.

However, given that the director was on the verge of completing Citizen Kane, a fi lm he also wrote, produced and starred in – and a picture widely regarded as the greatest fi lm of all time in industry circles, Mankiewicz’s quote encapsulated the sheer audacity and charisma that Welles’s personality exuded.

Yet Welles was hardly unheard of before Citizen Kane. On the contrary: he was regarded as a modern-day Renaissance man. Fuelled by a diet that encompassed two dinners in one sitting, along with his relentless intake of amphetamines (Welles misguidedly believed that taking them would prevent his weight from spiralling), the director led an enormously active life during the late 30s and early 40s.

Th e indefatigable Welles’s schedule, in which he frequently worked 20 hours a day, encompassed regular appearances on weekly light entertainment shows. Welles also oft en engaged in political activism, even writing political speeches for Franklin D. Roosevelt. Indeed, Welles once remarked: “Only very intelligent people don’t wish they were in politics and I’m dumb enough to be in there.”

Nevertheless, in spite of his contributions to the world of politics, Welles’s most famous (or perhaps infamous) endeavour away from cinema was undoubtedly his radio broadcast of H.G Wells’ classic tale of alien invasion – Th e War of the Worlds. Hilariously, Welles neglected to inform his listeners that the reading was a work of fi ction. Th e broadcast, therefore, prompted mass hysteria as a large number of those listening mistook the work for a news broadcast.

Despite Kane constituting Welles’s fi nest hour, the overall experience of making the fi lm – like pretty much everything else in his life – proved to be bittersweet. Th e movie was a thinly veiled indictment of William Randolph Hearst, the most infl uential newspaper magnate of the period. Rosebud, the key phrase around which the narrative revolves, was even reputed to have been a reference of the nickname given to a rather intimate part of the anatomy of Marion Davies, Hearst’s mistress.

Unsurprisingly, the tycoon reacted with venom. Hearst’s power was such that the fi lm almost never saw the light of day as a result of his objections, and several of those involved in making the picture were threatened by his associates. As a result of the stress that such diffi culties imposed on Welles, in addition to the sheer exhaustion which creating this masterpiece caused him, his health suff ered interminably prior to its release.

For his next project, a rejuvenated Welles eventually settled on Th e Magnifi cent Ambersons, Booth Tarkington’s Pulitzer Prize-winning novel about the social conventions of a prosperous family in early twentieth century Indianapolis.

Th is later fi lm, like Kane, turned out to be a

commercial failure. Th is time, though, even those usually enamoured with Welles reacted unfavourably. Welles himself was left furious aft er studio interference radically altered the picture just before its release: the RKO studios panicked aft er preview audiences greeted the fi lm with apathy. RKO subsequently elected to re-edit the work and cut more than 50 minutes of its running time, all while Welles was working on another project in Brazil.

Th e interference of studio executives was to be a recurrent theme of Welles’s career. He once claimed that Citizen Kane was the only fi lm for which he had total artistic freedom. Consequently, his ensuing work was irrevocably haunted by the ghost of this masterpiece.

Not that this prevented him from trying to better it: the closest Welles came to matching Kane’s greatness, however, was arguably his acerbic acting turn in Carol Reed’s Th e Th ird Man.

Regardless of the fl aws which permeated later directorial eff orts, his fi lms – from the poorly plotted Lady from Shanghai to the ingeniously craft ed F for Fake are immensely watchable and never fail to evoke intrigue. Th us, all his works are essential viewing for any serious movie fan and Touch of Evil in particular, with its famously prolonged tracking shot, represents virtuoso cinema (some Welles enthusiasts even regard it as superior to Citizen Kane).

Ultimately though, a sense of unfulfi lled potential will always be associated with Orson Welles. While Citizen Kane was bound to be unsurpassable, his decline remains stark. For all the fl eeting moments of genius which were continually evident in his fi lms, the quality and quantity of his output does not stand up when compared with other prodigious cinematic auteurs such as Bergman, Fellini and Hitchcock.

Accordingly, Welles died an immensely sad man, having been reduced to featuring in brainless big budget fi lms such as the 1986 edition of Transformers while also appearing in an array of nonsensical commercials.

Tragically, therefore, Orson Welles’s art belatedly imitated his life. In a similar manner to Charles Foster Kane, the originally carefree and eff ervescent Welles ended his days depressed and bitter. “Hollywood died on me as soon as I got there,” he sardonically concluded.

Me and Orson Welles is released on 4th December.

otwo icon:Orson Welles

DESPITE CREATING THE PERFECT FILM AT 25, ORSON WELLES’S LIFE WAS CHARACTERISED BY NEAR MISSES AND MIGHT-HAVE-BEENS, WRITES PAUL FENNESSY

“Despite Kane constitut-ing Welles’s finest hour,

the overall experience of making the film – like pretty much everything

else in his life – proved to be bittersweet”

26

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JLS’ self-titled debut is exactly what you’d expect from a boyband that took second place on Th e X Factor. Th ese guys carefully follow Simon Cowell’s patented recipe for

“great music”: Take some insipid knacker dance beats for the fast songs like ‘Beat Again’, add a sprinkling of gooey piano

solos and guitar riff s for the sad songs like ‘Crazy For You’, et voila! Th irteen fairly inoff ensive but disposable pop tracks.

Th e lyrics are good for a laugh though: “I need you back in my arms, I need love CPR” is just one manifestation of the poetic genius lurking beneath the band’s shiny photoshopped surface.

In a nutshell: An overproduced, underwhelming attempt to appeal to the prepubescent schoolgirls and housewives of working-class Britain.

Alison Lee

In their accomplished fi rst live compilation, Las Vegas boys Th e Killers are enthralling. Since achieving mainstream success in 2004 with the now classic ‘Mr Brightside’, the multi-platinum quartet have had an expansive career. In July 2009, this killer act joined the greats who have performed a live set in the majestic surroundings of the renowned 138-year-old venue in London.

Th is impressive compilation encapsulates the band’s successes to date. Th e defi nitive frontman, Brandon Flowers, captivates his

audience from start to fi nish as he delivers favourites such as ‘Somebody Told Me’, ‘When You Were Young’ and the more recent hit ‘Human’.

In a nutshell: With copious extras including bonus festival footage, an essential fi x for avid fans.

Katie Smith

Th e fi rst and most striking thing about relative newcomers Canterbury is how stunningly accomplished their debut full-

length is – synthesisers, crude guitars and earnest vocals collide in a groove-laden, infectious collection bound by precocious aplomb. Th e band execute their diversely pitched songs with style and fl air, working their way brilliantly through hardcore, nu-rave, and a lighter shade of indie rock.

Dazzling opener ‘Peace and Quiet’

sparks interest immediately, a focus kept fi rmly in check throughout the album by poised instrumentation and exuberant vocal styling. As exhilarating numbers such as ‘11’, ‘12’ and ‘Set You Right’ whip by gleefully, it’s hard to believe such a young group could pull off as diverse and layered an album with such dexterity. Th e band’s potential earmarks them as a

rare delight, one that will hopefully fi nd as wide an audience as possible.

 In a Nutshell: Youthful lyrical

enthusiasm set to rock and rave dance fl oor anthems. Bopping guaranteed.

Grace Duff y

JLSAlbum: JLSRating: E-

THE KILLERSAlbum: Live from the Royal Albert HallRating: A+

Th is is defi nitely an album for people who have just started listening to rock music.

Th is 16-track record of the greatest Foo will be familiar to hardcore fans, but

for the rest of us, the biggest ‘hit’ was likely ‘Learn to Fly’.

Th e album’s three unreleased tracks – ‘Wheels’, ‘Word Forward’,

and an acoustic ‘Everlong’ – sound better than the hits themselves, and the compilation as a whole has a very depressed, teenage feel to it.

Th is album, sadly, is for the beginners of rock, diehard Foo fans, and depressed teens (or just for the depressed).

 In a Nutshell: Th e ‘Greatest Hits’ are not so great aft er all.

 

Selva Unal

FOO FIGHTERSAlbum: Greatest HitsRating: C

A tender folk-pop ballad belied by a morose postmodern paranoia; a quaint and carefree musical jaunt telling tale of a comic book

Armageddon … this is an album with a bi-polar personality.

Having met in Glasgow, but coming

from Ireland, England and Canada, the commonwealth collaboration that is Zoey Van Goey should snuggle in nicely somewhere in the vicinity of Josh Ritter, Adrian Crowley, and Beth Orton on the musical scale.

Expect no major spikes to the

ZOEY VAN GOEYAlbum: Th e Cage Was Unlocked All AlongRating: B+

cardiogram; it’s a steady line in quirky and understated down home tunes with some Indie sensibilities and a dark mournful heart.

In a Nutshell: Defi nitely more moccasins than Converse.

David Uwakwe

CANTERBURYAlbum: Th ank YouRating: B+

Album of the Fortnight

Reviews

MUSIC 27

otwo 24.11.09

Scorpio (October 24 – November 22)I’ve been working hard to get a precise and accurate prediction for

you, so I decided to engage in the arcane art of card-reading. For you, I foresee – umm – the four of clubs?

Leo (July 24 – August 23)You’re certain to get something interesting for

Christmas – diagnosed.

Virgo (August 24 – September 23)For the next two weeks, keep your hands

firmly jammed in your pockets while using bus, cars and any other form of motorised transport in order to prevent a horrific Final Destination-esque accident.

Libra (September 24 – October 23)If you get a slice of bread, toast it, carefully split it down

the middle to form to two thinner slices, toast it again and butter it, it’s really nice. The movements of the stars told me that.

Capricorn (December 23 – January 23)Mmm, sardines.

Aquarius (January 21 – February 19)You put the “win” in “swine flu”.

Pisces (February 19 – March 20)Well, I was going to predict that the Virgin Mary would

appear on the 5th December at 3pm at Knock Shrine. But then I thought, ‘Hey, Mittens, that’s just silly. Nobody’s gonna believe that.’

ENCOREAries (March 21 – April 20)You know the way it’s cold in Merville now? Well, it’s

not really – yet. I predict you spend January and February smashing the ice in the bowl with a toilet brush before using the bathroom.

Taurus (April 21 – May 21)Next semester, I foresee that you will become the C&C

Officer. Well, it’s as likely to be you as anyone else.

Gemini (May 22 – June 21)Your bottom looks funny.

Cancer (June 22 – July 23)“Would you like fries with that?” “Would you like fries with

that?” Come on – practice. It’s only six months until graduation, you know.

Sagittarius (Nov 23 – Dec 22)It is probable that you will receive a gift of

some sort in the next few weeks, possibly enclosed in a sort of brightly coloured paper. I know this sounds pretty crazy, but, hey, it could happen.

Kate Voegele is a 22-yearold singer-songwriter, musician and actress from Ohio, whose career kicked off with a series of demos beginning with The Other Side in 2003.

Kate’s music resembles music from

a decade ago, and her second album A Fine Mess, produced by Mike Elizondo (Maroon 5, Fiona Apple), sold 37,000 copies in its first week of release in May 2009. Voegele has a mesmerising voice which when combined with music

creates absolute beauty.If you are into pop, rock, folk-pop

and in the mood for feel-good music, you will definitely enjoy listening to her live.

Gig of the Fortnight: Kate Voegele[ ]02.12.09 – Academy 2 – €14.50

24th November

1th December 2th December 3th December 4rd December 5th December 6th December 7thDecember

25th November 26th November 27th November 28thNovember 29th November 30th November

Dramsoc: Nightmare Before Christmas - Lower Ground Arts Block (LG01) 7pm - €3

Images of the Famine in Irish Art and Literature - National Gallery of Ireland - 10.30am

Ash - The Button Factory - 7.30pm - €23Requiem Aeternam? The Musical Requiem between Intercession, Consolation and Accusation - Newman Building, Lecture Th.Q - 5.30pm - FREE!

TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY MONDAY

Arctic Monkeys - The O2 - 6.30pm - €42.20Yes - Olympia Theatre - 8.30pm - €39.20

Paranormal Activity – cinemas nationwideThe Food & Wine Magazine Christmas Show - RDS - 4pm - €20Little Boots - The Academy - €18.50

Thriller Live - The O2 - 6.30pm - €45Gomez - The Academy - €26Bell X1 - Olympia Theatre - €29

The Mission District - Academy 2 - €10

The Dublin City Jazz Orchestra - The Button Factory - 7pm - €10Federico Aubele - Academy 2 - €17.50Edvard Munch: Prints - National Gallery of Ireland - FREE!

Clubland Live 3 Feat: Casacada, N - Dubz & More The O2 - 7.30pm - €33.60 - €35.60The Santaland Diaries - Bewley’s Café Theatre1.10pm -€15 incl light lunchJulian Plenti - The Academy - 7pm - €33

Snow Patrol Reworked - Olympia Theatre - 7.30pm - €56.80 - €62.70Rodrigo y Gabriela - The Academy - 7pm doors - €30

Top Gear Live - RDS - 7.30pm - €75 - €105Marillion - The Button Factory - 7.30pm - €35

W.A.S.P. - Button Factory 7pm - €25The Antlers - Academy 2 - €12.50The Pogues - Olympia - €44.20Silvestri Hiberni: Representing Irish Wilderness in 21st Century Art’ - Room H204, UCD Humanities Institute

The Waltz Kind: A Musical History of the Strauss Dynasty - Draíocht, The Blanchardstown Centre - 8pm - €18Conc

Electric Six - The Academy - €19.50Horslips - The O2 - €49.50

James Morrison - The O2 - 6.30pm - €39.20Foy Vance - The Academy - €17

ABBA the Show - The O2 - 6.30pm - €42.50 - €45

“The Arts Block Cat reckons it’s better to get all that negativity out now before the break”

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