the suss25 march 2015

No Monster Club

How will France’s

dismissal of new modelling

laws impact the profesion?

Michelle Bourke has a

look

REVIEWSKendrick Lamar, Scott Laudati and more

Bryan Grogan talks to the band’s founder, Bobby Aherne

25 March 2015 | the suss 12 arts

Arts Editor: Odrán de BhaldraitheDeputy Arts Editor: Bryan Grogan

Lifestyle Editor: Orlaith FarrellDeputy Lifestyle Editor: Emma Dungan

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It was released as a surprise and in barely enough time to give it a full listen was being hailed as a classic; the immediate reaction to Kendrick

Lamar’s To Pimp a Butterfly said more about the people reacting than it did about the album itself.

Music has always had a problem with elitism and hip-hop is no different; in fact it’s most likely the

genre in the mainstream consciousness that is most plagued by theories of authenticity. The

idea of “real hip-hop” harkens back to hip-hop’s so-called golden age, when artists like A Tribe

Called Quest and Public Enemy released critically acclaimed, commercially successful hip-hop built

from jazz and funk samples.

People who ignore the fact that this era also birthed Vanilla Ice and MC Hammer rushed to the internet to proclaim a new classic when To Pimp

a Butterfly was released a week early, just like they did in 2012 when Kendrick’s good kid, m.A.A.d city

was released.

Anyone who listens to To Pimp a Butterfly should be able to pick up on the fact that immediate

praise for the album is almost impossible. For an album so dense and so left-field (he raps over free jazz on “For Free? (Interlude)” for God sake!) to be

immediately acclaimed seems almost factitious.

To Pimp a Butterfly might well become a classic, but the amount of listens this body of work

commands means that immediate acclaim seemed to be serving ulterior motives; namely, positioning

Kendrick Lamar as the undisputable king of hip-hop (whatever that means) and the championing

of a certain style of hip-hop over others.

Upon survey, the current field of mainstream hip-hop throws up three major heavyweights: Kendrick Lamar, Drake and Kanye West. The three contrast

greatly; Lamar is the traditionalist, the most technically gifted rapper. Drake is the one who

made emotional frailty and ambient beats cool in mainstream hip-hop. Kanye West is Kanye West.

Kanye, Drake and Kendrick are all needed as much as the other when it comes to hip-hop, and while critical reaction is generally positive for all three, it’s in the online threads that the real views of the hip-hop community are seen and they are almost unanimous; we don’t like new Kanye, Drake sings too much and is too emotional, Kendrick is king.

The reception for lesser artists tells a similar story, J. Cole being the prominent example. Cole’s music can be described as pleasant at best, but because of his adherence to the “real hip-hop” aesthetic,

his painfully mediocre albums are often suggested in discussions about what albums from this

generation will be considered classics in the future.

The truth is, Illmatics are not willed into being; they just happen, often as a result of eschewing

standards, not sticking to them. To Pimp a Butterfly might become this generation’s Illmatic, or it

could be Yeezus. Time is the way to know and to blow something up as a classic mere hours after its

release isn’t fair to the public or to the artist.

Odrán de Bhaldraithe

One Line

Action Bronson’s Mr. Won-derful: Two Big Body Bes features on an album is two too many.

RATKING’s 700 Fill: Any album with a Despot feature is worth listening to by virtue of that alone, doesn’t hurt that RATKING themselves are pretty amazing.

The Kanye West at Glaston-bury reaction: You’ll find there’s a massive correlation between people being racist and people thinking that mu-sic isn’t “real” if it hasn’t got any “real” instruments.

The Jeremy Clarkson situ-ation: Sign the petition, if there’s anything that televi-sion is lacking, it’s old, pomp-

ous, white, racist millionaires.

Gucci Mane releasing three albums all at once: FREE GUWOP

The year in hip-hop so far: It’s all too much, we’re suf-focating under the quality and it doesn’t look like it’s stopping and it’s just all too overwhelming and Future just released another mixtape.

Blur’s return: Seems like Coxon and Albarn are a little too into ice cream, bit weird.

Courtney Barrett: Listen to her new album, Sometimes I Sit and Think and Sometimes I Just Sit and then listen to her older stuff too because she is wonderful and Australian.

Odrán de Bhaldraithe

Reaction to the mountains of hip-hop news as well as the Jeremy Clarkson situation and Blur’s return.

-Not content with releases from Kanye West, Drake, Ken-drick Lamar and Action Bron-son to name a few, hip-hop in 2015 has decided to reward us again; Earl Sweatshirt has re-leased a new surprise album. I Don’t Like Shit, I Don’t Go Outside was announced last week along with the video for lead single “Grief”. The album was released yesterday.-Odd Future Wolf Gang Kill Them All leader Tyler, the Cre-ator will bring his own person-al brand of chaos to Dublin this coming August. He will play the Academy on August 26th. Tickets are €25.50 and on sale now.-Drummer AJ Pero of glam rockers Twisted Swister has died, aged 55. The suspected cause of death is a heart at-tack.-Actor Ryan O’Neal has told of how the filming of Stanley Kubrick’s Barry Lyndon was

disrupted after IRA threats against the director. Kubrick was placed under threat for filming scenes involving the British Army during the

Troubles. O’Neal commented: “He was given 24 hours. He was gone in 12.”

sharpdarts

Tyler, the Creator will bring his own personal brand of chaos to Dublin this coming August

“

TO PIMP AN IDEAL

-US television website TVLine are reporting that the upcom-ing sixth season of Downton Abbey will be the show’s last. The website cites “multiple sources” and the report fol-lows hints of the show’s end from Maggie Smith earlier this month.-John Connors has been con-firmed to be leading an acting masterclass at this year LiFT Youth Arts Festival in Bally-mun. The actor is best known for portraying pipe-bomb maker Patrick Ward in RTE’s Love/Hate.

Odrán de Bhaldraithe Stephen Keegan

Queen’s native Arian Arslani, better known by his stage name, Action Bronson

The video for Earl Sweatshirt’s “Grief” was released along with the announcement of his new album

the suss | 25 March 2015 13 artsPeople Are Weird is the

most potent example thus far of what No Monster Club are about; it’s fun and addic-tive with songs that are liable to take wild tangents off into underappreciated or unfash-ionable genres of music.

“I wanted this album to have a more uniform sound, almost like a solid drum

machine beat through-out, because in the past albums have been recorded in different places at different times and some songs would be garage pop songs and others would be better produced so we’d end up with a real mish/mash of sounds.”

Taking inspiration from retro Nigerian pop music like Victor Uwaifo and Dizzy K, People Are Weird describes the trajectory of emotions in the guitar riffs more so than the lyrics. Work-ing alone on a No Monster Club album for the first time, Aherne was able to let the stream of consciousness mu-sic he is known for go wild.

“The joy of this album is that I got to do it all on my own, I got to exercise the control freak in me. I’d or-

strive to do. I’m really excited to see them play live for the first time.”

and he’s doing what I Bobby Aherne of

No Monster Club is pretty damn close to how you would

imagine, based on the output of his band No

Monster Club. He’s funny, modest about the music he makes and very self-aware.

No Monster Club’s latest album, People Are Weird has been receiving considerable acclaim around Ireland since its release and when I meet

“Claire.” The final word of the third season of House of Cards comes as a relief. I rub my eyes. Embracing my exhaus-tion at last I make a halfway sincere promise never to watch this show ever again.

I’ve just finished watching the series in two marathon runs, sitting through the dis-integration of the First Cou-ple’s marriage while the glue that holds the Underwood Empire in place loosens, with ramparts and buttresses like Remy Danton or Jackie Sharp falling by the wayside.

By the end of last season Frank had manipulated his way to the top. The raison d’etre of the show was forced, as a result, to change. That’s not to say that Frank’s aggres-sive nature changes, it’s just much harder for him to oper-ate the way he wants. Even as President he needs to assert

his superiority, although it ru-ins every relationship he has.

There are changes in the show’s structure. By the sec-ond half of the season Frank has lost the confidence it takes to address the audience. His famous sidelong discus-sions with the camera are gone, as he tries to put out fire after fire.

Probably the most inter-esting addition to the show is Tom Yates, the writer of a book about Underwood’s anti-Obamacare project; America Works. Yates is a salt-of-the-earth-writer, like Tom Wolfe or Richard Yates, who in the course of the season reveals that he was once a junkie, a hooker and also stole an unfinished manuscript from his dying friend.

He’s just one of the fren-emies added to an ever grow-ing list, along with the Rus-

sian Premier Petrov, whose political aggression mirrors Vladimir Putin, and Heather Dunbar, a lawyer turned presidential candidate whose tenacity throws a legitimate roadblock in Underwood’s quest to be the second com-ing of Franklin Roosevelt.

These people are inter-esting but their stories pale alongside the overturned admiration for Underwood, a downward trajectory that begins somewhere around the seventh episode. His demons are revealed and his Achil-les heel turns out to be larger than anyone would ever expect.

I feel sorry for him, but his wilful ignorance of the dam-age he has wrought on his own life is also disturbing and uncomfortable. While House of Cards was once seen as a show glamorising the pursuit

him, Bobby is in the final stages of preparing for the album’s launch night in Bello Bar on the 14th of March.

He’s full of praise for the three acts that are to join him on the night, but none more so than Mr. Rosso, who, according to Aherne, shares the same musical ethos as No Monster Club.

“There’s a small scene in Dublin that I discovered about two months ago with this guy called Henry Ernest. He just turned eighteen and he’s tapping into music I love

reflections after watching the entire house of cards series in two sittings

of power, we’re now shown the pitfalls of this quest with harrowing honesty.

The Osama bin Laden of the west is looking down the barrel of destruction, his own

no monster club

wife seeming like a potential opponent and what can you do but await the fourth sea-son; a difficult task to face.

Bryan Grogan

The joy of this album is that I got to do it all on my own, I got to exercise the control freak in me

“

ganize the skeleton of a song and then maybe one night I’d be messing about with the keyboard at 1 am and I’d add a load of layers to it. That’s the most fun part of music for me.”

“I rarely take a break; I play in three other bands as well, in Women’s Christ-mas, Gillows and with a guy called Paddy Hanna. They all have different approaches to songwriting so collaborating with them definitely helps me when I go back to my own music.”

The consensus seems to be that this band will make it big but despite all the media attention the new album has been getting Aherne is still wary of the exterior pressures that come with popular ac-claim.

“I’ve been making music for so many years now and none of the bands I really love ever broke through, they just had a few people in the know. I wouldn’t feel right, a lot of bands have a vibe where they’re gonna split if they don’t make it big, I just want to keep making music the way I am.”

Bryan Grogan

No Monster Club releasing People Are Weird

Francis Underwood (Kevin Spacey)

25 March 2015 | the suss 14 arts

structures, mid-track shifts and sprawling free jazz interludes (“For Free? (Interlude) delivers upon this aim.

“i” sums up Lamar’s approach. The song (sampling The Isley Brothers) won a Gram-

my after its initial release, but the newly extended version cuts to Lamar address-ing a restless crowd like it

Kendrick Lamar To Pimp a Butterfly

This album, prematurely or not, is being labelled as one for the ages, and is getting mentioned in arguments over the Best Rapper Alive title. Of-fensive, ground-breaking and anchored in social awareness, To Pimp a Butterfly fulfills the expectation hanging over Kendrick Lamar’s head.

The rapper formerly known as K. Dot has chal-lenged the rap genre with a 16-track record detailing the black, male experience in America today. The ideology is clear: Lamar opposes black-on-black violence and wants self-love to replace it.

The density of Lamar’s message means casual listen-ers may be disappointed by the lack of feel-good music. Lamar’s aim was to make his audience feel “uncomfort-able” and the ab-sence of melodic hooks in place of non-lin-

ear

as we see it Seth Avett and Jessica Lea Mayfield ...Sing Elliot Smith

Five and a half studio albums and one Oscar nomination into his career, 34-year-old singer-songwriter, Elliot Smith was found dead in his California home – his life taken by two knife wounds to the heart cautiously identified as suicide.

Twelve years after his mysterious death and eleven after his final work was re-leased, folk rock musicians Seth Avett and Jessica Lea Mayfield have released an album that bravely reimag-ines Smith’s beautifully dark music; a 12-track cover album simply titled Seth Avett and Jessica Lea Mayfield Sing Elliot Smith.

No matter how respected

one’s own music is, touching the work of Elliot Smith is a courageous, if not dangerous, uphill battle. Smith’s lyrics are so deeply personal, so individualized to the struggles of the writer that even the best cover artist risks unin-

tentional insincerity. Pair this with the protective, tight-knit following that make up Elliot Smith’s still strong fan base and any musician is predis-posed to criticism for at-tempting to borrow or change the one-of-a-kind work that is so unique to the late Mr. Misery.

Despite, or perhaps in light of, these obvious chal-lenges, Avett and Mayfield manage to explore the artist’s sorrowing career with tender imagination that alters the work enough to insure some originality, while maintaining enough authenticity to avoid the slippery slope into failed imitation.

The vocals are strong and the instrumentals adequate, but the true success of the album is in the way that the stripped-down renditions frame Smith’s poetic lyrics. By removing Smith’s unmistak-able vocals, the words stand

on their own, making his mu-sic (perhaps unintentionally) accessible to a generation of singer-songwriter junkies that may not have belonged to the sad kids club that worshiped Smith’s work in the late ‘90s and early 2000s.

The addition of Mayfield lends a unique angle to the al-bum, providing co-ed vocals to the lyrics so often pointed at the fleeing relationships in Smith’s short life. Mayfield’s earthy vocals feel in-tune with Smith’s words, particularly with Avett providing harmony on “Somebody That I Used to Know” and “Between Bars”.

It’s hard to separate Avett from the upbeat, folky vocals that have colored so much of his career as one-half of the Avett Brothers. Throwing him into the depressive, alco-holic, drug-addicted world of Elliot Smith is a hit-or-miss effort that occasionally results in shortchanging of the emotional vulnerability so imperative to Smith’s work. With this said, Avett’s clear, strong voice, acts as a poetic storyteller, shining particu-larly strong in the second half of the album, notably on “Pisteleh” and “Angeles”.

The album is a quintessential side project – a three year long labour of love recorded in homes, stu-dios, and hotel rooms between tour dates and main project obligations. It is this dedication to Smith’s work that keeps the duo from falling into the trap of at-tempting to mimic

Elliot Smith’s performance style. It’s not overly fresh, and it’s not overly creative, but it is an honest attempt by two talented songwriters to navi-gate nine years of irreplace-able creativity.

Katelyn Harrop

Scott LaudatiHawaiian Shirts in the Electric Chair

Hawaiian Shirts in the Electric Chair bears the marks of ex-perience. Scott Laudati, in his first book of poetry, summons a plethora of different situa-tions to describe a world view

that is at times cynical, but at others loving and under-standing.

With rhythm that is barely there Laudati creates poetry out of the everyday. If you want to look hard you could call it dirty realism, but if you’re being simply obser-vant you get the fact that these descriptive sentences of his contain something dif-ferent from the mundanity of gentrification.

His poetry bears the marks

of life like fingerprints, as honesty shines through under the loose rhythm, keeping you interested in what he has to say. The rhythm itself some-times seems to die away, to pick up and slacken a pace that wouldn’t be out of place on stage or in a spoken word jam.

The view exhibited in this book of poems is not atypical-ly optimistic. Cynicism is in abundance, in the lines where he remains observer, but

there are moments of thought when the kernel of his situ-ation is revealed, usually coming as a reaction to what went before, shining hope or despair above the refrains describing a first date or the aftermath of a miserable news bulletin.

A standout in the book, “Take the Path For Cocaine and Plath” is written hard-boiled as Laudati describes the stratagems of getting someone into bed, while he’s

His poetry bears the marks of life like fingerprints, as honesty shines through under the loose rhythm, keeping you interested in what he has to say

“

Seth Avett and Jessica Lea Mayfield honour the late Elliot Smith with their new release

the suss | 25 March 2015 15 arts

transformation to a blonde bombshell diva. In order to make fun of the music industry, Diamandis had to become the stereotype in question. Unlike the pre-ceding album, each track is not an individual attempt at becoming a hit single.

Songs such as “I’m a Ruin” and “Blue” are perhaps reminiscent of the fast paced dance like feel of Electra Heart, but in contrast the re-maining tracks are only grad-ually catchy, pushing a major lyrical emphasis. At first, the title track appears to be a mildly electronic nonsensical tune, but a close inspection of the lyrics reveal the singer build an intricate analogy of her high maintenance rela-tionship expectations to the ripening of fruit.

In comparison with her previous albums, Froot is essentially a recognition of Diamandis becoming closer to the “indie artist with pop goals” she says she wishes to

be. While there exists a dis-

concerting shifting of genre through-out the

album, those

who have been there

from the start

will know that this is merely a quirk of Diamandis’ hyper nature and an integral part of

could be how heavy the mes-sage is overall; it’s not easily digested, especially after just one or two listens.

But Lamar could have eas-ily come back with an album outlining a childhood under dire circumstances. Just rework good kid, m.A.A.d city and the 27-year-old would have satisfied the masses, provided his label with money-making singles and kept his name relevant.

Instead, Lamar’s genius and ambition lead to this; To Pimp a Butterfly is not just an-other album: it is a huge step on Kendrick Lamar’s path to greatness.

Mark Hogan

his message, Lamar still of-fers up the obligatory mother dedication song with the Knxwledge. produced “Mom-ma”. While artists like Jay-Z (“Blueprint (Momma Loves Me)”) and Kanye West (“Hey Mama”) wrote nostalgic and anecdotal songs, Lamar still uses his track to deal with the larger issue of gang violence.

It seems unfair to compare Lamar to Kanye West and Jay-Z without mentioning names like James Brown and Prince, however. To Pimp a Butterfly dips into jazz, soul, funk and spoken word, and can be seen as an album continuing the evolution of black music.

To Pimp a Butterfly’s downfall

was the Civil Rights Move-ment all over again:

“I promised Dave I’d never use the phrase ‘fuck nigga’,” Lamar announces: “He said ‘think about what you saying, fuck niggas’/ No better than a white man with slave boats.”

While the album poses numerous social questions throughout, it tries to answer some at the end. The 12-min-ute long “Modest Man” dis-solves into an interview with Tupac Shakur, where Lamar assumes the role of inter-viewer. Using a 21-year-old Q&A, K. Dot sheds light on ideas of legacy, success and the current generation of hip hop artists.

Although clearly pushing

as we see it

capable of taking a completely different tack, as seen on “The Dog Days are Over”, in which he depicts growing old as becoming irrelevant.

This book of poems reads like a book of thoughts or happenstance occurrences, to create a collage describing Laudati. His tone is commu-nicated well and, by the last poem, you have the feeling of familiarity, almost like kin-ship.

Bryan Grogan

Marina and the DiamondsFroot

Almost three years after the release of her second album, pop queen Marina Diaman-dis - better known by her stage name, Marina and the Diamonds - is back in the charts with her new record, Froot. While Electra Heart was all synths and booming bass, Froot sees Diamandis return to the new wave styl-

ings and personal lyrics that made her famous on 2010’s The Family Jewels.

From the first track, the style switch is appar-ent. “I found what I’d been looking for in my-self, found a life worth liv-ing for someone else” goes the chorus of “Happy”; simple and empathetic words, Diamandis is in a confident place in her career and the song show-cases her con-tentment, setting the tone for the remaining tracks.

However, that is not to say that the entire record is all cheery fluff; the songstress delves into some more con-troversial areas in later tracks. “Savages” hears the singer release all of her inhibitions around the faith of mankind. “I’m not afraid of God, I am afraid of man” sings Diaman-dis before going on to com-pile a list of man’s animalistic tendencies and actions that ensure damnation of the hu-man race.

The personal nature of the record’s lyrics throughout evidence Diamandis’ return to her charismatic persona. The singer’s experiment with Electra Heart resulted in her

That is not to say that the entire record is all cheery fluff; the songstress delves into some more controversial areas in later tracks

Froot is essentially a recognition of Diamandis becoming closer to the “indie artist with pop goals”

“

“

Mirina Diamandis

her songwriting process. Nev-ertheless, the record is a treat for lovers of good pop music and a welcome addition to traditional chart music.

Scout Mitchell

Kendrick Lamar has placed himself firmly into the Best Rapper Alive argument with his new album, To Pimp a Butterfly

25 March 2015 | the suss 16 arts lifestyle

Use a T-shirt to dry your hair The grooves of a towel cause breakage and absorb all of your hair’s moisture. T-shirts are softer, therefore reduce breakage, and absorb only the excess water. The moral of the lesson? No towel, no foul.

Swap your brush for a wide tooth comb Brushes are great for those with straight hair. The many bristles separate nearly every, single hair, removing any possibility of a kink. For us curly gals though this can be terrible. Separating all these hairs ruins the shape of the curl, creating the unruly, bushy flyaways which we know all too well. The large

With spring approaching, this season we’re leaving behind our typical florals and pastels and opting for a sleek and simple all-White look. Here are some of our suggestions on how to work this new trend.

The Duster CoatThe duster coat is one of the easiest pieces to pull off this season. A simple and causal wardrobe-staple that can be worn from day to night. Style with a pair of skinny jeans and layered necklaces for a look that emulates the New York Street Style.

The Leather skirtWhile leather can often be seen as a bit of a risk; a sleek, white leather skirt is the answer to all your wardrobe needs. From styling it with flatforms and a denim shirt to

rocking it with a white crop top, this look is easy and af-fordable and will definitely be a wardrobe staple.

The Crochet topAs we are beginning to enter festival season, the crochet top is our go-to piece. A cute and casual piece that com-pletely rocks the boho-chic trend. Team with a pair of high waisted denim shorts and a floral headband for the perfect festival look.

The MulesLove them or hate them, mules are everywhere at the moment. While some may believe they are boarderline tacky, when paired with the correct outfit they can com-pletely transform the look from drab and dreary to funky and fresh.

Orlaith Farrell

all white everything

For centuries women have been

playing with their hair in the

hope of achieving what some of us are ‘lucky’ to be

born with – curls. So why don’t

we appreciate them more? Ah yes, frizz - what

Urban Dictionary defines as ‘the

mass of fro-like hair found on

one’s head’. So how do we beat

this?

Shampoo twice a week –max! The main culprit of frizz is dry hair. While in the process of removing excess grease, shampoo also strips your hair of it’s natural oils and robs it of it’s natural moisture. In-stead, use a natural ‘hair and body soap’, which will solely prevent product build up.

It’s the middle of spring and we’re in-between chocolate seasons. We’re long past eat-ing leftover Christmas choco-lates but we haven’t quite reached the stage of indulging in Easter bunnies and eggs.

A break from chocolate is never a bad thing, so the question is: what sweet food will tide us over until Easter? My solution is this delicious lemon drizzle cake; a madeira cake with a hint of lemon and a zesty drizzle on top. It’s a light yet satisfying cake that goes perfectly with a cup of tea at lunch time, or as a tasty dessert with fresh cream.

It’s fun to make and even more fun to eat.Ingredients: 125g margarine 175g self-raising flour 175g castor sugar 2 eggs – beaten 4 tbsp milk Pinch of salt

lemon drizzle cake

Rind of lemon 4 tbsp lemon juice 100g icing sugar Method: 1. Preheat oven to 200˚C/Fan 180˚C. 2. Grease and line a 2lb loaf tin. 3. Cream the margarine and sugar with the lemon rind. 4. Beat in the eggs. 5. Add in flour with salt. Then the milk. 6. Mix in a food mixer (or by hand) until the mixture is light and creamy. 7. Pour into the tin and bake for 45 minutes. 8. To make the drizzle, dis-solve the icing sugar in lemon juice and bring to boil. Sim-mer for 5 mins. 9. When cake comes out of oven, make holes on top with a skewer and pour lemon drizzle over.

Aoibheann Diver

spaces between the teeth of a

curly hair hacks

The main culprit of frizz is dry hair. While in the process of removing excess grease, shampoo also strips your hair of it’s natural oils and robs it of it’s natural moisture

“

Brushes are great for those with straight hair. The many bristles separate nearly every, single hair, removing any possibility of a kink

“

comb allow the hair to move between them easily, while still preventing knots and maintaining curl shape.

Make oil your new best friend Whether you’re using a heavy oil to hold down flyaways, or a lighter oil for added feel and shine, this should be your holy grail product. It doesn’t have to be the latest €30 oil from John Freida. Coconut oil from the supermarket works wonders. Besides the obvi-ous shiny quality it is also a fantastic conditioner and has been proven to aid in the prevention of protein loss in the hair.

Michelle Martin

17 lifestylethe suss | 25 March 2015

look at the fares – you’re only taunting yourself.

Be on the lookout for “the form”. This form is formally known as a DS-160 and it will be the temporary bain of your life. It is 2 million pages long and must be filled out in full in order to go to your embassy meeting – which brings to the topic of the embassy meeting.

It is in Ballsbridge; that is a trek. You can get the dart to Landsdowne and walk, that is also a trek. You can take your car and pay half your months wages on parking,

of a competitive rate and it will turn out more expensive than the other companies. But it’s fine – they are reli-able and they will get you there.

Second of all, be prepared to be bombarded from all angles. Your email will never be so popular again for the rest of your life. You will receive two or three copies of the same email alerting you of new deadlines and guide-lines. As well as this, you will be bombarded via text, which is always nice. And it does

New laws debated in France which would ban underweight models, and introduce fines for fashion houses who hire models that are underweight have been rejected.

Lawmakers on the French Parliament’s health commit-tee rejected two provisions of an anorexia prevention measure but they said they were open to an amendment of the bill which would be debated in April by the full National Assembly.

The bill, if backed by gov-ernment, would have seen major changes in the fashion industry. France is home to many fashion houses such

as Celine, Chanel, and Dior. The law would enforce regular weight checks on models and any fashion house found to be employing models who are underweight could be fined up to €75,000, according to a statement made by Olivier Veran who wrote the amend-ments, to Le Parisian.

This new law has been met with much criticism as some people feel it should aim not only at dangerously underweight models but also at obese models. The lawmak-ers also said that they did not want to create discrimination against underweight models in the workplace by making it difficult for them to get a job.

Another problem with the passing of the bill was that it was not clear how models were to be vetted. The use of just BMI’s would not be suf-ficient as there are a range of things such as it’s inability to distinguish between fat and muscle, which make it inac-curate in determining how healthy a person is.

However, after deaths of models such as Isabelle Caro in 2010, who weighed only 55 pounds, governments need to start somewhere in tackling the problem of underweight models, and addressing the growing problem of eating disorders in the fashion in-

dustry.In France, 40,000

people are suffer-ing from anorexia. Ninety percent of these are ado-lescents. Eating disorders have the highest mortality rate of any mental illness, with the mortality rate for anorexia nervosa being 4%. That means, accord-ing to statistics, of the 40,000 people suffering from Anorexia nervosa in France 1,600 of

Firstly you will have to choose which company you will book your j1 through. There aren’t a huge amount of choices here really – it’s going to be USIT, Sayit or TravelBug. More than likely (and unfortunately) you’re probably going to pick USIT (which I did this year), and that was mistake number one. USIT know that they are the number one choice for students hop-ing to spend the summer in America, and so they make no effort to have any sort

them will die from it.While it cannot be con-

firmed that there is a direct link between an increase in people suffering from anorexia nervosa and the portrayal of underweight models on catwalks. France, if the amended bill is passed, will be taking a step in the right direction by addressing the issue, as well as helping to protect models from pres-sures within the industry to be thin.

The new bill could also result in penalties for the promo-tion of eating disorders publicly through websites or blogs which glorify eating disorders. Sites such as pro-anorexia sites would be shut down, and publicly glorify-ing unhealthy lifestyles in order to get skinny would be a criminal offence.

Michelle Bourkefrench fashion laws

Healthy-looking models at DCU Style Society’s fashion show last month aren’t so common in France

France has opposed a law banning underweight models such as this

why booking a j1 is such a painful experiencenot stop there. USIT requires an alternative email address, I (stupidly) volunteered my Dad’s, so he too gets bom-barded with emails and as result I also get verbally bom-barded at home. However it is worth having a glance at these emails as every once in a while, one is actually impor-tant.

Another thing to be prepared for is that you will feel like you’re being robbed. You cannot book your own flights, so my advice is to not even

that is also a bit of a trek. You will be there for hours, no matter what time your meeting is scheduled for – so bring something to keep you occupied.

I do have one more thing to say. After all the i’s are dot-ted and t’s are crossed, you will have the best summer of your life – no doubt about it. So turn off your email alerts, get familiar with the train times, get saving and suck it up, because it is so worth it.

Emma Dungan

25 March 2015 | the suss 18 arts lifestyle

the best nights and also that you are totally safe. From pool

for almost two years and that is no word of a lie. I recently received a similar every day brown from Mac and I have hit pan in just six months.

From using eye-shadows from both brands it has come to my attention that you need to use a lot less Inglot product to pack on the pigment and their eye-shadows blend a lot easier.

They do however have a downfall. When using a dark-coloured Inglot eye-shadow expect a large amount of pigment to fall onto your cheeks. I recommend either not applying your foundation until your eyes are complete or covering your cheeks with a tissue or make-up wipe dur-ing application.

Emma Dungan

mantalk: dates are like raisins

This is a comparison based on years of make-up wearing and experimenting and I will be judging the two fierce rivals on their eye-shadows.

I am as they say “a Mac gal”; I’m all for Mac skin products and lipsticks and in my opinion they have no competition on that front. While I own many Mac eye-shadows, I think Inglot beat them to the punch in this par-ticular instance. One of the main reasons I have so much love for Inglot eye-shadows is their disturbingly low price in comparison to Mac. They are twice the size and less than than half the price.

As well as this, they last almost triple the amount of time as their Mac coun-terparts. I have had a go-to, matte brown Inglot shade

Last year my best friend and I decided to finish

off an amazing summer in San

Francisco by spending all

our money on a 5-star getaway to

Cancun. I know it sounds expensive

but it is 100% worth it and you

could actually end up saving money.

The first reason why I would recommend Cancun is of course the all-inclusive re-sorts. The beauty of these re-sorts is there is NO catch. You get everything for free once you arrive. Yes, the flights and accommodation can be expensive but it is worth it. When you are lying by the beach with a cocktail and a handsome Mexican waiter

Here’s the foolproof way (i.e. not at all foolproof) to not be

taken for a ride while trying to get the ride on a date: You aren’t rich.

You might be one of the few college students that this doesn’t apply to, so my advice is to throw this newspaper in the nearest bin. Or if you’re reading online, throw you’re

the final showdown: mac vs inglot

From using eye-shadows from both brands it has come to my attention that you need to use a lot less Inglot product to pack on the pigment and their eye-shadows blend a lot easier

“

bringing you an unlimited supply of food and drinks all day without having to pay an extra cent, you really do see value and not to mention ex-perience paradise. (Of course it is nice to carry a few dollars with you to give your waiter a small tip, but that’s complete-ly up to yourself.)

Secondly, the incredible weather – it is amazing. It obviously depends on the time of year but all summer long you will get a beautiful sunny Cancun. There is the odd thunder storm but sure they’re a bit of craic.

Thirdly has to be the nightlife. Now I know I said you won’t need to spend an extra cent once you arrive and I wasn’t lying (if you don’t leave the resort) but if you want to experience the wonderful nightlife of Cancun you will have to bring some money with you (something that is a must in my opinion). The nightclubs like the resorts are generally all-inclusive as in you pay $50-$60 which includes your transport to the venue, entry and of course an unlimited supply of alcohol for the night. Every night out

why you need to hit cancun this summerin Cancun you are accompa-nied by your hotel reps, who make sure you get to experi-ence all the best venues on

Lying by the beach with a cocktail and a handsome Mexican waiter bringing you an unlimited supply of food and drinks all day without having to pay an extra cent

“

parties, to UV paint parties to beach parties you are spoiled for choice.

If there is one nightclub that is an absolute must in Cancun it is the famous Coco Bongos. This club has a little of everything. I felt like I was watching a Vegas live show, a Cirque Du Soleil show and dancing to the top 40 hits all in one. It is out of this world and I would go a million times over.

From the weather, to the all-inclusive resort, the friendly staff, to a spring break style night life, why wouldn’t you choose Cancun as this year’s summer holiday destination?

Megan Byrne

laptop in the bin. Just contin-ue living life the way you have been. You’re already a winner, champ.

If you aren’t rich and still want to go on a nice romantic rendezvous, start by asking your date where they would like to go and when they say “oh I don’t really mind” ask them again. If that fails, choose one of the many nice, cheap restaurants in town. Let’s face it, if you got this date on your last visit to Cop-pers, Marco Pierre White’s for a steak dinner is too much of a leap forward on the cost/commitment scale.

It doesn’t have to be for food and it doesn’t even have to be in the evening. Day dates and coffee dates are cost-effective. The cinema is not a good option for a first date though.

Don’t feel pressured into paying for everything. Sure,

you asked them out on a date but they said yes and isn’t that a fifty per cent stake in the endeavor? You can buy as much as you want but don’t be afraid to play up the poor student act. Maybe every second drink is a bit much to expect on a first date but it shows a lot about the person when they even offer to put their hand in their pocket. It shows that they are think you too are worth the investment.

A relationship should cost time, not money. You shouldn’t be broke just because you have a girl/boy-friend.

Finally, if you find yourself in a situation where you think the only option you have to entertain or impress your date is with displays of riches, then ask yourself is that truly a relationship that you want to sustain?

Chris Kennedy

If you got this date on your last visit to Coppers, Marco Pierre White’s for a steak dinner is too much of a leap forward

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