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Also:

Paddy Casey Broken Social Scene

Super Extra Bonus Party

New York Style Halloween Flicks

Reporting from the front line Exclusive Richard Crowley Interview: Page 6

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College Tribune

30th October 2007

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ISSUE 4

Frontline “They were told, ‘You pick one of the kids and you put him down, you shoot him’” Richard Crowley: P6

Film “It will have you screaming ‘He’s behind you, ya feckin eejit!’ from the edge of your seat.” Halloween Films: P10

A refreshing case of modesty Paddy Casey speaks to Fiona Redmond about recording his new album in Hollywood and about staying normal in extraordinary circumstances

Music “The fact that we have one gig in Ireland really pisses me off. I’m nervous” Interview: Kevin Drew: P4

Fashion “Making clothes involves what I like… colour, pattern, shape and movement…” Betsey johnson: New York Style: P9

A er multi-platinum selling albums, huge critical acclaim, a phone created in your honour and a recording session in Hollywood, there aren’t too many people who could truthfully claim to remain grounded. Paddy Casey however seems to be an exception. With his only demand while on tour being a constant source of running water, it is clear that the young Irish star has no diva-like tendencies. “I like music, I like playing music and that’s about it really,” he states simply. Casey’s latest album, Addicted to Company, was recorded in Hollywood, but instead of being awe-inspired by his glamorous surroundings, he insists it didn’t influence his record at all. “The sound guy I was working with had a very distinct sound; he had shaped the room differently, which made the drums sound different. But apart from that, being in Hollywood didn’t really influence the record at all.” Personally Casey would have been happier staying in his homeland to produce the album. “But when you’re with a record company, most of the time it comes down to what is the cheapest way of doing something. Hollywood just worked out far cheaper for us because the dollar is weaker. Also the people I was working with all lived out there.

Personally I would have done it in New York, or my house.” He doesn’t regret the decision to relocate to Tinseltown however. “It’s nice to get away isn’t it? I mean you come back and get a fresh look at things.” Casey, who could be considered the poster boy for the Irish music scene, is quick to acknowledge the strengths of the Irish scene. “I didn’t see what they have out in LA that that we don’t have here. We have a lot of good musicians.” “A lot have been in hiding and maybe don’t come to the front as much as they probably should do. I think our music scene has always been strong enough, I don’t see why people these days seem to think it’s something new because there have always been Irish bands up there with everyone else.” Casey knows the diﬃculties that face a ﬂedgling band, but cautions that there’s no quick road to fame. “The only thing to do is play as many gigs as you can to as many people as possible. Get out there and be seen.” This advice does sound a bit

strange, coming from somebody who has only three concert dates scheduled for the coming months. His explanation is refreshingly honest. “I’ve played an awful lot of gigs in the past few years so I think people are probably a bit fed up with me.” The singer’s reluctance to tour might partly explain why the sales of Addicted to Company are nowhere near the phenomenal sales of Living. Casey seems unconcerned. “Well it’s staying in the charts and people are buying it, so I suppose it’s kind of doing its job. I’m probably going to tour towards the end of the year, because I want to give the album a bit of breathing space, time to get out there.” The artist is known for his interesting cover songs, most of which have been posted on MySpace. “Out of all my cover songs, I think the Outkast one is probably the best buzz live. Though I’m not sure because when you do a cover at ﬁrst it’s brilliant, but a er a few times it gets a bit old and you just have to stop.”

“I’ve played an awful lot of gigs in the past few years so I think people are probably a bit fed up with me”

Casey’s sometimes unusual choice of cover songs coincides with his unique taste in music and he has ambitious ideas for future collaborations. “I’d love to play a gig with Prince,” he confesses, “maybe he could play guitar with us or something.” He now can add the Paddy Casey 3G mobile phone to his list of achievements; he is keen to downplay his role in that huge advertising campaign however. “The whole thing was very strange. It looks like a huge stunt or something, but they just asked me would I put a song on the phone and I said yeah. It was nice to be asked. They also asked could they have some photos, so they took some. That was it really.” He doesn’t make much of a sales pitch. “It’s a really good phone because it has a programme on it to make your own songs, but in the end a phone is just a phone.” He Casey admits that not all elements of his job are exciting. “Some of it’s really boring” he admits, “there are plenty of things that have nothing to do with this industry, with making or playing music. But I try and stay as far away as possible from that stuﬀ.” It seems that Casey is just the normal bloke he appears to be, who is lucky enough to be living his dream. “I’m playing music for a living so it’s not like laying bricks or something.”

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College Tribune

In the groove

30th October 2007

Eoin Boyle witnessed the madness that was Dizzee Rascal and Groove Armada in Tripod and let the music take hold One good point to take from the venue change of tonight’s show from the Royal Hospital in Kilmainham to Tripod, was that at least the sound was sure to be good there, and it was indeed fantastic. The mostly full Tripod that saw the warm-up of Dizzee Rascal was in great form and according to the man himself, “We’ve got a hundred people in here shouting like 10,000!” It was a sentiment that was deﬁnitely reiterated on many occasions for the rest of his show. The Rascal’s set was an entertaining one to say the least, getting all of the crowd buzzing and geared up for the show that was to follow, as all good supports must do but he also held his own in a very unique way. His DJ was excellent and he blasted out an endless supply of great samples, beats and general loud noises to which Dizzee and his partner rapped ﬂuidly. They can be accused of being a little samey but certainly aren’t guilty of being unenjoyable. The crowd lapped it up and were well ready

for what followed. The ﬂoor emptied when the lights came up and the bar was packed, but how quickly they returned with the dimming of the lights and the introductory beats. With each ﬂash of strobe lighting the crowd became denser and jumped as if one being. The diversity of the crowd itself was a testament to what Groove Armada have done in the music world over the past number of years. The audience varied in age from about eighteen to 50, and every person was having as much fun as the next. A good example of this would be the respectable lady who turned to me a er a few songs and asked “Do you have any pills?” You know you are in for a good time with a crowd that were as enthusiastic as the one in Tripod that night. Every tune was well received; one just could not help but jump and move to their infectious mix of live music and processed beats. The gig started and ended on a high, which

is only to imply that the performance did slump in the middle at some points, but the energy of the crowd never did. They finished with I See You Baby (Shakin’ that Ass), the song immortalised and etched on the minds of all since that car advert a few years ago and one could feel the response it invoked. They did return for the encore and before they did, a knowledgeable fan could be overheard to say “They’ll be back now with Superstylin’”, and they surely were. An almighty track that all but eclipsed the rest of the show, it was a definite highpoint. Groove Armada are obviously well versed in the psychology of gigging at this stage, knowing to finish on such a high note that no matter how the rest of the night went, people will leave with a smile and a good memory, defi-

Super stars Super Extra Bonus Party speak to Lorcan Archer about their varied influences and their plans to see the world Having been described in glowing terms as having made ‘possibly the most inventive Irish rock album this decade’ and with an impressive amount of praise from all sectors of the Irish music press, Super Extra Bonus Party can truthfully claim to have made a sizeable impact with their debut album. “We’re kind of in a breather period now,” reports guitarist/bassist and trumpet player Fatz. “But we’ve a lot of shows lined up in the coming weeks. We’ll be playing with The Go! Team in the Tripod next week. It’s probably go-

ing to be our biggest support slot so far, and probably the band we’d be most suited to play with. We’re looking forward to it.” Since the group released their dizzyingly diverse eponymous album earlier in the year, they’ve been busy both playing non-stop around the country and scoring bit hits with the critics. Fatz agrees it was a totally unexpected but pleasant development to have such support. “I can’t complain about any of the stuﬀ that’s been written about us. We had no expectations; we recorded the whole fuckin’ thing in our house

and in our own bubble.” The rapid reaction was something the band didn’t consider. “We were just completely unaware that anyone even knew about it, but the response was so nice.” The band have been especially busy this month, sharing the stage in Dublin with acts as varied as The Aliens and Messiah J and the Expert, and gigs to come with the likes of The Go! Team and Delerentos. Straddling the gap between hip-hop, ambient, rock and dance with their concoction of songs, the band’s live incarnation, with all seven members onstage, is a very important part

nitely what the crowd did that night. Ultimately Groove Armada played an extremely exciting and enjoyable live set, their three singers interchanging to great eﬀect and the show was all the more interesting for it. Truly a gig to be seen with a group of mates, being more suited to a party buzz than an ‘I’m here for the music’ one. Not nearly enough dips to make it an annoying gig but it would have died a death if the crowd had not been as up for it as they were.

of what Super Extra Bonus Party are all about. “We treat live performances as a different arena. You need the live show to be something diﬀerent, something new for people. You don’t want to just recreate the CD, you need to have a show and show that you really mean it.” The varied nature of the band means that if a randomly chosen song was to be played from their album, it could be anything from the chilled out minimal-

“We had no expectations; we recorded the whole fuckin’ thing in our house and in our own bubble”

ism of Dorothy Goes Home (featuring Nina Hynes on vocals) to the hip-hop beats of Super Extra Noise. The band itself cannot narrow down its sound into any discernable genre according to Fatz. “You would really need to interview each band member in order to get a proper picture of our inﬂuences. The only real idea is that we try to make it limitless.” That being said, certain sounds rise to the top during the composition of the songs. “We have certain writing camps in the band, the drum and bass heads, the more melodic indie fans and the ambient interests too. We just put it out there and see where it goes.” Their plans for the future include a new single release in the coming month and a new album early in 2008. They want to get out there and see the world. “We just want to get out there and tour internationally. Especially Japan, we really wanna go there. And we’d love to play Brazil, seeing as our MC is from there, but what we really want to ensure is we write albums of quality and just get them out there.”

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30th October 2007

Aural Examinations

neil young

chrome dreams II Neil Young’s latest offering is an insipid affair. Lacking much of the ragged, raw energy that characterised his early work, Chrome Dreams II is sweet but somewhat soulless. It is easy listening at its best; thoughtful lyrics, his trademark nasal vocals and skillful guitar are all included but the album still lacks a vital ingredient. Young fans hoping to hear a return to the passion of songs like Ohio or the reflective quality of songs like Old Man, your wait must go on.

The opening track Beautiful Bluebird sets a sentimental tone that prevails throughout much of the album. The mood is upbeat and Young is clearly in touch with his inner child. The marathon ‘Ordinary People’ is a track with a promising beginning and some interesting sound effects but the eighteen minutes ultimately don’t deliver anything but a few good guitar solos and a repetitive chorus. The grittier Spirit Road has an edge to it that is reminiscent of his earlier work, the plaintive nnppp use of guitar evoking the Cortez the Killer era. This dwindles however into a predictable track with nothing much to offer, either traditionally or innovatively. The last track on the collection is The Way, a nice song featuring a piano and a chorus of children, which frame Young’s raw voice pleasantly. It is a thoughtful and unusual offering and stands out as the least irritating on the album. Ultimately, Young’s voice is as fresh and distinctive as ever, his latest album is a bit of a damp squib.

Caitrina Cody

Break it down Eoin Boyle caught up with Kevin Drew of Broken Social Scene to discuss the new album and his mixed feelings about performing in Ireland

witchcraft

the alchemist

stand-up guy nnnnp

Part of what makes Witchcra such a unique band is the fact that they write music that sounds exactly like it was written and recorded in the Seventies. It almost beggars belief to learn that they hail from modern Sweden. This is their third album, complete with a much more modern sound than their excellent early Black Sabbath-esque sounding releases. Peddling a melodic but punchy combination of classic rock and dreamy folk anthems, it’s a shock to hear the plaintiff yet instantly likable vocals of Magnus Pelander soar through the excellent opener Walk Between the Lines. The song comes complete with a swaggering rhythm section that brings to mind an unexpected band like The Corral’s finest work. The band’s Hard Rock pedigree shows in the quality of the inventive lead-work though, with numerous flashes of beautifully cra ed guitar solos tastefully scattered through the album. What makes the band stand out from the current crop of groups all raiding past decades for musical inspiration is the obvious love-affair the band has with the great bands of that period. You can almost see them leafing through their record collections with satisfied smiles on their moustached faces. Touches of the psychedelic and progressive are littered about the album, with each song carrying its own separate identity. That really does count for a lot this day. Yet at times it can be argued that the album drags the tiniest bit. It starts off at a rocking speed and slowly delves into more laid back territory, with the mid-paced songs occasionally simply coasting around the speakers. Nonetheless, they carry it out with style and real verve. Well worth picking up if you’ve any interest in the sort of heady atmosphere that defined that decade of fine music, or if you generally just like great rock songs.

Lorcan Archer

avenues unaware nnnnp

Hailing from Belfast, Stand-Up Guy’s (SUG) highly impressive sophomore album is a collection of brooding post-metal soundscapes. The nine tracks are a subtle blend of crushing riffs and morosely melodic interjections. SUG draw heavily on such post-metal heavyweights as Neurosis and Red Sparrows but also more mainstream acts like Tool and De ones. Like their influences, SUG demonstrate a careful quality control. The combination of impressive artwork, meticulous composition and superb production is testament to the bands singular vision. The result is an album which demands to be considered as a whole rather than piece by piece. Of course this means that Avenue Unawares will require some time to digest. But the pay-off really merits the effort. There is a real sense of flow to this album whereby tracks blend seamlessly into the next. Album opener Our Kelloid Ways builds from a lone drum-beat to a barrage of guitar, bass and drums. This interplay between heavy and light, punishing and beautiful characterise the album as a whole. Thankfully it’s not formulaic. Instrumental track Enclave’s Observatory for instance is conspicuous by its delicateness without recourse to distortion. Tracks like There’s Still the River and closer Icicle and Avalanche all display innovative instrumentation and variant time-signatures, maintaining the listeners interest. It is very difficult to find faults with an album that has obviously been put together so well. However there are few concessions made to the listener; the songs are neither as instant nor as confrontational as their earlier material. And while we’re nit-picking, the lack of any dramatic tempo changes makes listening more laborious (paradoxically reinforcing their intended moroseness). One thing’s for sure though, Avenue Unawares is an intense and introspective listening experience. It is an honestly made and in all fairness a quite stunningly delivered piece of work.

Fergal O’Reilly

Broken Social Scene presents… Kevin Drew is one title from this year that has brought with it a lot of questions. Is this another Broken Social Scene release or is this a solo project from the band’s front man Kevin Drew? Turns out it’s an interesting combination. The resulting album, Spirit If… is a work very much like previous Social Scene releases yet it was still somewhat diﬀerent in several ways. “I knew I wasn’t becoming one of those lead singers who takes everything from the band and then sits down and says well here’s the new Social Scene record.” Drew seems to have had control to a certain extent on this project himself. He returned to both sides of the studio, getting involved in the production as well as the whole writing process, something he hadn’t done since he ﬁrst made music with KC Accidental and the early So-

this week

ebo

cial Scene. “It only diﬀered in the way it was made and the intention of how it was made. I made it with Ohad Benchetrit and Charles Spearin from Do Make Say Think. I ended up being the guy that always sort of started going over to Ohads and all we were doing was recording. It all came out of that.” Spirit If… has come out in a time when the super-group that is Broken Social Scene is on a hiatus of sorts, most people within it having other bands to do things with (Feist, Metric, Apostle of Hustle, etc). There was a large space for Drew to do something creative, as Broken Social Scene was the only band he was involved in. The singer is excited about meeting Irish fans of the music to hear their reactions to the album. “I love Ireland. I’ve said it before, this is the date I’m looking forward to the most. The fact that we have one gig in Ireland really

pisses me oﬀ. I’m nervous, and I don’t normally get nervous but that’s how excited I am.” Their powerful reputation on these shores may be in part due to their performance at Electric Picnic. “Yeah, Electric Picnic. We’ve got top shows and that was deﬁnitely up there. Going on a er Gary Numan with like 10,000 people sitting in that tent. You can’t not remember things like that, or fail to appreciate them.”

“The fact that we have one gig in Ireland really pisses me off. I’m nervous”

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30th October 2007

ashley tisdale fight like apes

headstrong nnppp

david caradine is... nnnpp

Perhaps the reason for the respect that Broken Social Scene commands is that each fan and their opinions are important to the group. Fortunately, this good relationship with their fan base has never been compromised by romantically ambitious female fans flinging themselves at the front man. “I’ve never once been hit on while in this band. It’s good, it’s all about the vibe you put out there. I’m more into the respect, the hanging, the quick hello, give me a hug, thank you very much, but I’ve got to go now…” Despite the different title, the core team of musicians that make up the famous group were never far from the recording of the new album. It’s a method that the group would like to see in the other releases from the series. “It ended up with the series because one member, Brendan (Canning) who was making a record at the same time, is finishing it up now and, between

“I don’t know why you’re asking me. I’m just the drummer, so I don’t know anything.” was the diffident response from Ebo percussionist Macker, to a casual query regarding the band’s influences. Since meeting as musically zealous adolescents, Ebo have collected a humble but persistent gathering over the past two years. As regulars on the Dublin music circuit, they would almost be justified in demanding some beer-soaked corner of residency somewhere between Whelan’s and the Temple Bar Music Centre. Those are the

venues have played host to a myriad of Irish bands of a similar up-and-coming status - Pilotlight and most re-

the drummer Justin and myself and Brendan, we’re the only ones without other bands and we wanted to stay within the family, within the band and within the fans. “I had everybody come in and play on the album throughout a period of time so there was that huge Social Scene presence there so I knew we weren’t too far oﬀ the track.” Drew is forever the modest man behind the music, making sure to name check all contributors and even to explain his own musical abilities away. “I think I’m inﬂuenced always, by everything. It goes well beyond the music for me. I only really know seven or eight chords and I’ve made

cently The Belafontes, to name but a few. As averse as they are to genre-fitting, vocalist John Singleton offers his two cents on classifying his band’s sound. “If David Kitt, Crosby Stills & Nash and Radiohead had a love-child together, it would probably sound like us.” What a sublime interfusion that would be, within the smug quarters of musical credentials. With a push, the band concede that Ebo’s sound could echo the post-rock melodia of Pearl Jam, Rory Gallagher or Thin Lizzy. Their music offers a gritty concoction of edgy, distorted guitars, pounding yet precise drum beats, and the fervent vocals of John Singleton and Dan Forde. “People say one thing about the sound of the music, and hold opinions, and other people say something else, something completely different. So we just try not to take that in, and not to sound or imitate any other band.” As every gig-goer will know, the average ‘college band’s’ progression towards success and acknowledgement, is hin-

a living out of it by just rearranging them as much as possible and then obviously, the whole reason that I’m here is because of the people that I play with.” He is not a borrower either, he sees all of these great new acts but says “I don’t ever see myself taking that and going anywhere with it, I still end up playing the same f**king eight chords I’ve always known.” Broken Social Scene have been hailed as a new breed of family band and from them has and will come some tremendous music, in full lineup mode or as solo artisits in what is sure to be the very interesting Presents series. Spirit If… is a very important record for the progress of Broken Social Scene and the staying warm for the next full album. “Ohad (Benchetrit) said to me ‘It doesn’t matter whatever this record becomes, the greatest thing is you made it thinking it was a solo record, and thankfully that’s how it came out.”

dered and delayed until the eventual arrival of graduation, a er which a band can truly commit to such a demanding occupation. One can only experience so much before reaching adulthood, and with an average age of twenty years between them, inspiration for song-writing must prove onerous for this Dublin quartet. “Anything that we listen to, you can always take something from. Whether you’re looking for inspiration to write a song or whatever, you can find that from just picking up a newspaper or a conversation with your mates. Everything you read or experience each day has a bearing on what you write in your songs and how you write it,” Singleton affirms. A er a six-month hiatus including a lengthy escape to Canada, and days spent ensnared within a recording studio, Ebo are set to release their first EP in the new year (the title of which is yet to be decided), followed by countless gigs across the country promoting it.

Sophie O’Higgins

When asked why they chose to misspell ‘whose’ in the title of their latest release, Fight Like Apes responded with obvious glee. “We’re not misspelling it, we’re reinventing language.” Another EP from these Dublin miscreants, and another four songs of crazy, noise-worshipping melodic pop-rock is assured. Their philosophy of reinvention works pretty well for the main part. The deﬁnite high points in most of the songs are the impassioned vocals of singer MayKay, which range from just plain deranged (quite like her hairstyle) to catchy pop joyfulness. The heavy, fuzzed out synths of the opener soon give way to a really cool sounding but playful electronic ditty in the form of Canhead. It’s a particularly nice move for the band to limit the song to a mere two minutes, making sure it accomplishes its mission of quick aural destruction as rapidly as possible. At times though, the randomness of the band can be their downfall. The lyrics occasionally are a bit too quirky for their own good. Call me a grump, but it’s up to each listener how they choose to interpret the deeper meaning behind lyrics like ‘Fish ‘n’ chips. Fish ‘n’ chips.’ Things take a turn for the less hectic on the last track Snore Bore Whore, which eventually evens out into a delightful soundscape of layered keyboards. Not the ending one would expect, but it ultimately leaves the listener pleasantly surprised.

Yet another Britney Spears clone has been spawned by the Disney franchise. This time the singer in question is Ashley Tisdale, star of High School Musical, The Suite Life of Zac, Cody and other mind-numbing Disney Productions. While this album does have some catchy songs, they are by no stretch of the imagination new or innovating. What is presented here is a mixture of bland pop songs displaying the usual tricks: simple melodies, predictable lyrics, syncopated rhythms and strings. Tisdale’s album cleverly uses the same formula as the High School Musical tracks, thus guaranteeing success amongst adolescents. In fact the whole album seems to be a mish-mash of pop influences, from the Gwen Stefani sounding intro of Positivity to the Britney-style Be Good to Me. The Disney influence can be heard in the track We’ll Be Together which sounds like it has been li ed straight from The Little Mermaid. As to be expected, her lyrics deal with the usual teenage worries of liking boys and being the subject of jealousy. However these lyrics aren’t always squeaky clean, so watch out for the eight-year old chorus singing “One night with you, the things we could do”. Scary stuff. Overall the songs are somewhat indistinct and unworthy of any attention, unless of course you are still of pre-teen age. Ashley Tisdale is exactly like Britney Spears, but minus the drugs, stripping and scandal. And lets be honest here, where’s the fun in that?

Gareth Byrne

Fiona Redmond

Gig Guide

From

31.10.2007

Wednesday 31st Oct: Amusement Parks On Fire, Crawdaddy, €15, doors at 8pm Warlords of Pez, The Village, €16.50, doors at 7.30pm Thursday 1st November Idlewild, The Village, €22.50, doors at 8pm Bossk + The Ghostwood Project, The Lower Deck, €7.00, doors at 8pm The National, Olympia Theatre, €21.00, doors at 8pm Friday 2nd November Messiah J & The Expert + Super Extra Bonus Party, Crawdaddy, €15.00, doors at 11.30pm Mark Kozelek, Whelans, €21.00 , doors at 7.30pm Saturday 3rd November Bloc Party + Biffy Clyro, Pheonix Park Big Top, €36.60, gates at 6pm 65daysofstatic, The Button Factory, €15.00, doors at 7.30pm Fionn Regan, Vicar St., €19.00, doors at 8.30pm Sunday 4th November Manu Chao, Phoenix Park Big Top, €35.60, gates at 8.00pm 50 Cent, RDS, €62.70, doors at 7.00pm Monday 5th November Enrique Inglesias, Pheonix Park Big Top, €49.50, gates at 7.30pm

50 Cent plays the RDS on November 4th

Deerhunter + Yacht, Whelans, €15.50, doors at 8.00pm Tuesday 6th November Simple Kid, Whelans, price TBC, doors at 8.00pm Nina Hynes, Doyles, price TBC, doors at 9.00pm Thursday 8th November Serj Tankian, Ambassador Theatre, 33.60, doors at 7.30pm Devendra Banhart, The Village €25.00, doors at 8.00pm

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College Tribune

30th October 2007

Dodging bullets on the front line Middle East correspondent Richard Crowley speaks to Colin Gleeson about conversations with suicide bombers, being in the Middle East after September 11 and getting caught in crossfire He feels at home with the cacophony of wailing sirens and screeching horns that try to drown out the voice at the other end of his phone. He speaks nonchalantly over the din. That’s what six years of reporting news from the Middle East will do. Nonetheless, he is genuinely pleasant, and happy to talk. Richard Crowley is RTE’s foreign correspondent in the Middle East and has been hailed as one of the most courageous journalists of his generation. His new book No Man’s Land: Dispatches from the Middle East is an account of his six years reporting the news from one of the most dangerous regions in the world. His new book has led to his having to deal with the other side of the microphone, but he’s dealing with it fine. “It’s a wee bit strange but the book is about the Middle East rather than about me so I do end up talking about that rather than about myself,” says Crowley, “But it’s unusual,” he adds chuckling. Working from the Middle East was something that Crowley himself suggested to RTE; “They never really had a correspondent in the area. So, I saw that gap in the market and I suggested to them that I would go out there and freelance for the year and deliver stuff to them and do documentaries in the lean years when there was nothing happening.” And so, the intrepid young Crowley was on his way, and he was no time finding his feet. Six years in the Middle East have exposed him to the bloodiest of warfare. He has acquired a unique insight into the minds of those who have orchestrated some of the most heinous of crimes, and he has been ever courageous in the face of extreme adversity. Since the concept of a holy war between the Western World and the Middle East gathered momentum a er the September 11 terrorist attacks in New York, suicide bombers have become the masked face of terrorism in today’s world. During his time in the Middle East, Crowley was faced with the challenge of getting inside the heads of some of these, the world’s most harrowing figures. “Part of the problem is that you don’t get to meet them o en for obvious reasons. They’re well protected until they do the operation. They would be selected or they would volunteer only a few days before they actually do it. “I might be talking to a bunch of militants in Ramallah or Gaza and I might ask them, ‘Would you be prepared to work as a suicide bomber?’ and they’d say ‘Yes’ but you never know if they’re telling you the truth or not because there’s a certain bravado involved with it among seventeen and eighteen year olds.

“They say that they would and they’d volunteer but you don’t know. I’d ask them why they’d do this and they say that they’d do it because, ‘We’re fighting to liberate our country’. It’s all fairly one-dimensional stuff so you don’t really get any great insight in the minds of these people. It’s stock answers – the rhetoric. “For the book, I spoke to a guy who had volunteered and was going to be a suicide bomber, but there was an informer somewhere in the city he was in, and so the operation was cancelled at the very last minute. “Then a erwards, there was a ceasefire called and the group he belonged to, the Al-Aqsa Martyrs’ Brigades, decided that they would end suicide bombings. So, he talked to me earlier this year and I think I got a little bit more out of him, but again, he was wearing the mask so I had to take the word of my contacts within the organisation that he was who he said he was. “It was interesting to hear what daily life was like and so on. His view was that if he didn’t kill the Israelis, they were going to go on killing him. His Grandfather had lost his land in 1948, they’d moved into the West Bank and then more land had been taken for his settlement so his father had been displaced a er 1967. This was his justification. “So, I said, ‘Look, is killing Israeli civilians going to make it any better?’ and he said, ‘They’ve got to know that if they kill ours, then we’ll kill theirs. They have to know that we’ll continue to resist’. So, you get some insights but it’s difficult because everybody kind of retreats to

the normal rhetoric. “I was trying to put to him the whole idea, ‘Look, you’re killing kids. Did you not think as you walked into West Jerusalem or Tel Aviv, and saw a nine or an eight-year girl, that that could be your sister or your daughter’, and his answer was, ‘Well we’re trained not to think like that. We’re trained to get into the zone and close our minds to it. We have to concentrate on not getting caught and getting into the place where we can do maximum damage.’

probably shouldn’t have been. You’ve no way of knowing when it’s going to start. If you’re in Gaza and there’s trouble – you’re kind of aware that something might go off any minute – but you can just be in the wrong place at the wrong time. “You have to decide what the balance is between being there to get the story and the pictures, and getting the hell out of there before you get killed. Because once it goes off – you can be press and you can have TV written on your car and you can waving a white flag – but if you’re caught in cross-fire, there’s nothing you can do. “I remember I was up in the West Bank in a taxi with three other journalists, coming back from something the Israelis had raided the night before – they’d killed about fi een or sixteen people – and as we were coming out of the village and going back toward the hills, we turned the corner and we could hear gunfire. “The Israelis were on one side and the Palestinians were on the other and there was a firefight. We were kind of aware that we were in the middle of it so I thought I’d be very enterprising and I opened the window and stuck my recorder out to try and pick up some sounds. “We could hear the bullets but it was only a erward when I went to play it back that I realised how shit-scared I was because all I could hear was the zip of the bullets and me going

“Only afterward when I went to play it back that I realised how shitscared I was because all I could hear was the zip of the bullets and me going ‘Oh shit, oh Jesus, oh fuck’” So, there’s a whole psychology to it. I can’t imagine that a guy like that could walk into a restaurant and not have thoughts other than killing people. There have been cases of people canceling at the last minute or panicking and running away so I wouldn’t be surprised if people still have some spark of humanity le in them at that moment.” Exposure to such atrocity is something that rattles Crowley, but he refuses to let it put him oﬀ, “There’s quite a few times that we were in places that we

‘Oh shit, oh Jesus, oh fuck’, and the other lads shouting ‘Let’s get out of here’, and we did. “But it’s only a erwards that you realise how stupid that was. It’s too easy to go for glory and say, ‘Sure we’ll hang on and we’ll see. We’ll get some more and we’ll wait a bit longer. I have a ﬂak-jacket on me – I’ll be OK’, but if you’re hit in the head or hit in the arm or anywhere with a high-calibre bullet at close-range, you haven’t got much of a chance.” A er returning home, Crowley found himself back out in the Middle East immediately a er the September 11 terrorist attacks, and he recalls an atmosphere that was fraught with terror and anxiety. “I’m trying to sort out this trip back to the Middle East for some time in November, depending on when this peace conference goes ahead in the States, but probably second week in November and I’ll do three weeks there, but that’ll be my last trip for awhile I hope. “It was a bit strange because we were fully expecting that Israel would be hit. It was an obvious target for Islamic fundamentalists. If they were prepared to attack America – and we didn’t know that London, Madrid and Bali would be their next targets – we were always assuming that Tel Aviv would be hit. “They have their own Twin Towers out there – the Azrieli Centre, these two massive skyscrapers that are 130 feet high looking out onto the sea – and for some reason I was interviewing a guy up there on the 74th ﬂoor about a week a er September 11, and this is the route that the planes come in.

Siren

FEATURES

TH E

College Tribune

30th October 2007

e “So, I’m talking to him about something to do with the Israeli economy, but all the time, we were watching these planes coming in and all we could think was ‘I wonder, I wonder, I wonder’. Everybody was on tenterhooks; the notion was that it was going to be hit. “So, the Israeli-Palestinian thing became part of the war on terror even though it’s not. Some of it is Islamic fundamentalism and some of it is terrorism, but Hamas don’t attack British or American targets in Israel or in the Palestinian territories, and they don’t attack targets outside of it, and they aren’t aligned with Al-Qaeda.” The targeting of civilians and the massive civilian death toll in the Middle East is something that Crowley has seen ﬁrst-hand, “There are two sides to it. The Palestinian suicide bombers were deliberately targeting civilians. The easy targets were the civilians they went a er. “They weren’t just going into Jerusalem and going a er the ﬁrst bus, they were going a er the crowded bus. If they saw a bus with three on it, they’d leave it and go for a bus with sixteen on it. There was a deliberate targeting of women and children and innocent civilians. “But the Israelis’ response was completely disproportionate – Ok, it was a very sick thing that the Palestinian groups were doing – but the Israelis would then go in to the refugee camp in Gaza or in Ramallah and they would bomb them from the air. They would hit them with helicopters and F16s. They would send in tanks. “You can’t send soldiers – particularly young soldiers, who have never been in that sort of situation – into densely populated civilian areas, and not result in huge civilian casualties. “While the Israelis say that they don’t target civilians purposefully, the fact is that they have killed twice as many civilians as militants. That would suggest that something is seriously wrong; that they are either incompetent or they are just c o m p l e t e l y, wildly, in-

discriminant as to where and how they open ﬁre.” Crowley speaks about the fate of the region’s children with anger and torment in his voice. He tells of the distressing lives that the young people of the Middle East endure. “The orders that the Israelis had didn’t allow the civilians to be given the sort of protection that they had to be given. I remember talking to some soldiers who had refused to serve in the occupied areas because this was going on. “They told me how their instruc-

shoot him. And very o en, it was eﬀectively a shoot-to-kill policy as far as he was concerned. “The problem is that there is rarely any sort of a proper enquiry into these wrongful deaths. Very o en, it’s the army that investigates the army, and soldiers are hauled up before tribunals and they deny absolutely everything and get away with it all. “There is absolutely no justice. It is not an accountable army of occupation in that they don’t follow international law or even Israeli law. And that sends a very clear signal to the Palestinians, ‘These guys are out to kill us. It doesn’t really matter what we do, they’re going to kill us’. And that’s the two sides of it.” This notion that everybody falls on either side of the line, and the message that everyone on the other side is evil – the ‘us or them’ mentality – is something that frightens Crowley, and he sees it as the most devastating of obstacles that must be overcome if there is to be any chance of peace in the region. “A lot of kids have been killed; I think hundreds on either side. And that’s what they see; they see their young friends being killed and they see their parents being killed and that makes it very brutal. It brutalises both groups and there’s a sense on both sides that the other crowd are out to kill us. “There’s no interaction between

“They were told, ‘You pick one of the kids and you put him down, you shoot him’” tions were that if they were at a checkpoint in the West Bank and that if a bunch of Palestinian kids came at them throwing stones or Molotov cocktails or whatever, they were told, ‘You pick one of the kids and you put him down, you shoot him’. “And I said, ‘You mean you shoot to injure, or you shoot him in the leg?’ and he replied ‘There’s no such thing in those sorts of situations. If the guy is running, or he was crouching and now he’s standing, and we open ﬁre with live ammunition, it’s inevitable that they’re going to be killed’. “But the aim of the soldiers was to take one down to scatter the mob – they would say that when the mob comes towards them, the gunmen come in behind them and open ﬁre on the Israeli soldiers – so in order to disperse the crowd, they pick one and

them at all. They don’t cross from one side into the other the way they used to. The Palestinians used to go into Israel to work and the Israelis used to go into Palestine to shop or buy cheap goods, so there’d be some interaction between them. “But now, there’s no interaction between them at all, and as far as they’re concerned; ‘They’re all bad, we want nothing to do with them and they’re trying to kill us’. That makes it very diﬃcult for any political leader to do anything even if they wanted to. “If you’re going to start a peace process, you’re going to have to make concessions to the other side, but there’s no public support for that on either side because of what’s been happening in the last six years. So, the kids grow up with that and it’s all they’ve seen all

their lives. “Once they get to sixteen or seventeen then, it’s very difficult to change their minds. They’re pretty much set in the way they think. Whatever good attempt there is to open people’s eyes to the fact they they’re only humans on the other side, the whole inhumane nature of the conflict drives them apart again.” In spite of the horror that has ravaged the Middle East, Crowley remains hopeful of peace in the region someday. “I spoke to an awful lot of the ordinary people who have been caught up in the conflict on both sides of the conflict in the Middle East, and the vast majority said they wanted a two-state solution, and a two-state solution based broadly on the 1967 lines where they stopped fighting before the occupation. “I would be hopeful of peace. If you look at the apartheid in South Africa, people said they couldn’t see the end of it but that collapsed. People said the same about the Cold War and Northern Ireland – nobody could see an end – but eventually they have to end. And that’s the reason. Because they have to. That kind of thing can’t go on, people can’t live.” For now though, the Middle East remains one of the most dangerous regions in the world. Crowley is out of the firing line and is enjoying a deserved breather for the moment at least. “I’m trying to sort out a trip back to the Middle East for some time in November. It depends on when this peace conference goes ahead in the States. I’ll probably do three weeks out there,” he explains, “But I hope that’ll be my last trip for a while,” he concludes wryly.

Siren

HEALTH

TH E THE

College Tribune

30th October 2007

Constant vigilance Cathy Buckmaster speaks to a woman who found a lump on her breast about the importance of regular breast examinations during Breast Cancer Awareness Month

Joan was 37 when her doctor told her that she might have breast cancer. She found the news extremely traumatic, and waited three weeks in a state of terror for the final result. “Basically, I found a lump and being worried, went to a doctor to have it assessed. He said it was probably just a cist and nothing to worry about so he would drain it, and then we would be certain that it was just a small cist.” Draining a cist using a needle means that the lump should subside. “However a er a few attempts it became clear that the lump wasn’t going away. The look on the doctor’s face when he was unsuccessful struck fear into my heart. He then told me he would make an appointment for me to see a breast cancer specialist as soon as possible.” “I had nobody with me at the time except my eleven month old daughter and I had to bring my four year old son to playschool straight a er. I le his surgery in a state of blind terror, dropped my son off at playschool and found myself unable to speak to his teacher. I will never forget the drive home, it was just so awful.” Medical professionals advise that changes to be aware of in the breast area are changes in size or shape. Rashes, flaky or crusty skin should be monitored as well as dimpling, puckering or redness which may indicate a tumour underneath the skin. Any lump should be checked by a professional as well as any swelling in the armpit or collarbone area. Constant pain or weight loss may also be an indicator of breast cancer. A er her first consultation, Joan explains that she went for a biopsy on the advice of her doctor. “I saw a specialist in the breast clinic in St. Vincent’s, who was really nice and reassured me that in his experience he thought it was unlikely to be malignant. I was booked in for a breast biopsy just to be sure. “I went through a period of very strong emotions wondering would I be alive to see my daughter make her first holy communion or would some one else be picking out her dress for her. I also couldn’t stop thinking that

if anything happened to my husband, who would look a er the children. There was even the worry of what I would look like if I had to get a breast removed. Would I still feel like a woman?” Early signs of breast cancer can be detected by an X-ray called a mammogram and is the most reliable way in older women as a way to detect it. However if there is a particularly high incidence of breast cancer in your family history, it is worth considering getting a genetic test carried out. This test looks for mutations in two genes that may show a considerably higher risk for developing breast cancer. An unfavourable result does not mean you will definitely develop breast cancer but will highlight the importance of constant vigilance. When the results came back, Joan describes her reaction to the news. “The biopsy showed that the lump was completely benign and not cancerous. I was hugely relieved but it really brought home to me the importance of staying aware of these things and going for regular check ups. “Women have to be vigilant of any changes in their breast tissue and if there are any, to seek medical advice. If they are still worried a er the ﬁrst opinion, don’t hesitate to seek a second one. If it is cancer, there are so many treatments for it, as long as it is caught in time.” Breast cancer can occur at any age, arising mainly in women and is considered the most serious form of cancer aﬀecting Irish women today. Every year, up to 2,000 new cases of breast cancer develop. A frightening prospect but due to increasingly better treatments and escalating screenings, the mortality rate is slowly dropping. The chances of getting breast cancer over the course of an entire lifetime are one in twelve and Ireland has one of the highest fatality rates from breast cancer in the world. However, as long as it is detected early, there are numerous ways to treat it. There are certain risk factors which

may encourage the development of breast cancer. The chance of getting it is higher if she has had close relatives, especially on the female side, who acquired it in the past. Most medical professionals advise that women over twenty years of age should check their breasts for lumps

is important to get used to looking at and checking your breasts so you are more alert to any changes. There are simple alterations we can make to our lifestyle now to help prevent the development of breast cancer in later years, one of the most important of which is regular exercise. Anything that keeps you active throughout life is excellent for the heart and physique. Half an hour of exercise a day for ﬁve days a week is all that is required and considerably lowers your chances of contracting breast cancer. Losing excess weight is a good way to avoid breast cancer for women who are more genetically susceptible. Giving up smoking is also beneﬁcial as cigarettes contain carcinogens which cause mutations in human genes. Instances of breast cancer are lower in Japan as they rarely eat animal fat as part of their diet. Having a good diet and eating lots of fruit and vegetables in your youth helps to lower the chances of contracting cancer later in life.

“I went through a period of very strong emotions wondering would I be alive to see my daughter make her first holy communion” once a month in the week following the menstrual period. The point of self checking is to know what is normal for your body, so that if any unusual changes occur, you are aware of them sooner rather than later. The stage at which breast cancer is diagnosed greatly inﬂuences the survival chances so it

Lowering your alcohol intake is another key factor in reducing the risk. With casual drinking on the increase among young females, cutting down on your intake is important for those with a history of breast cancer in their family. Due to the hormone levels, having children before the age of 30 will also considerably decrease you chance of contracting the illness. Taking the contraceptive pill slightly increases the risk of developing breast cancer due to high oestrogen levels in the drug so alternative forms of contraception should be considered for those susceptible to the disease. Although it is less common for young people to develop breast cancer, it is not impossible. By considering certain lifestyle adjustments and carrying out self breast examinations as well as receiving professional check ups, women can signiﬁcantly reduce their risk of contracting it in their later years. To talk to someone conﬁdentially about breast cancer issues, contact the Irish Cancer Society on 1800 30 90 40.

Siren

FASHION

TH E

College Tribune

30th October 2007

A bite out of the Big Apple From the NY designers to the models, Ruth O’Neill takes an in depth look at the Big Apple’s most prominent styles and how best to wear them The Designer Betsey Johnson’s love of movement and costumes stems from her days as a dancer. Later as part of the Warhol scene in the sixties, Johnson put the velvet in the Velvet Underground and dressed legendary models Twiggy and Verushka; Edie Sedgwick served as house ﬁt model. Her foray into retail began with the Betsey Bunki Nini boutique in 1969.

She has also broadened her range with shoes, lingerie, handbags, belts, cold weather accessories, eyewear, watches, jewellery, swimwear and fragrances, thus eﬀectively emerging as not only a clothing designer but a top American brand.

The Look

Now in her 60s, Johnson continues to keep a strong foothold in the fashion industry with no signs of letting up anytime soon. Her enthusiasm, creativity and bold talent have kept her at the forefront of fashion for the past 40 years, and the awards continue to pile up: in 1999, the Council of Fashion Directors of America created the Timeless Talent Award just for her, and in 2002, she was inducted into the Fashion Walk of Fame in NY City’s Seventh Avenue. A survivor of breast cancer, Johnson remains a spokesperson for awareness advocate in ﬁghting the disease. The Label is not for the fashion faint of heart, the Betsey Johnson collection has the same whimsical, over the top exuberance as its spiritual namesake designer, a woman who cartwheels down the end of her fashion show runways at 60 years old. Founded in 1978 with ex-model Chantal Bacon, in conjunction with her ﬁrst Soho retail store, Johnsons remains true to her original vision and now has a network of stores worldwide (although not in Dublin yet).

Her range is colourful and wild, a celebration of exub erance. Froth, embellishm e n t , detail and sexiness describe the clothes, which can range from pink tulle ballerina skirts to micro-minis, ﬂoral patterned stretch lace tanks and embroidered lace dresses. It’s a collection that’s embraced by both the prom-going set and long time fans that are all grown up. Some Celebrity fans of Johnson’s clothes include Jessica Simpson, Kate Moss, Paris Hilton, Amy Winehouse, Rihanna and Carmen Electra. You can shop for items by this designer at Betseyjohnson.com. “Making clothes involves what I like…colour, pattern, shape and movement…I like the everyday process…the people, the pressure, the surprise of seeing the work come alive walking and dancing around on strangers. Like red lipstick on the mouth, my products wake up and brighten and bring the wearer to life…drawing attention to her beauty and specialness…her moods and movements…her dreams and fantasies.” – Betsey Johnson

The Model Former UCD student Roz Lipsett is taking the modelling scene by storm in New York and working with some of the top designers and gives us a glimpse of her high-proﬁle lifestyle. New York is known internationally as a haven for styleicons. Lipsett explains the advantages of working in Manhattan. “The style in NYC is extremely laid back. You can wear anything to a club from a pair of jeans and a tank top, to a cocktail dress. Anything goes here. New Yorkers really embrace their own sense of style so it’s possible to dare to be diﬀerent.” Lipsett particularly enjoys the individuality of the fashion scene. “It has such a liberal culture that it allows me to really show my personality in my clothes and not be judged. O en I

wear very unconventional pieces, things that would stand out like a sore thumb in Ireland, but here they work.” The model emphasises the unpredictable nature of her career under the spotlight. “My days are always extremely diﬀerent. For instance one day I’ll be doing a runway show and the next day I’ll be on a movie set or on a shoot. I just did a job for Harpers Bazaar where they dressed me up as Audrey Hepburn for a style icon story they were doing. That’s the thing I love the most, you never get bored.” New York City is the home of a number of internationally-renowned fashion houses, as well as being a mecca for high-street shopping. “My favourite designer would have to be Dolce and Gabanna. They really design clothes to make the woman look and feel sexy. I love Chloe and Marc Jacobs too. For basics I tend to shop in American Aparelle and H&M.” Lipsett has had the opportunity to work with several big names across the water. “Versace are always fun clients to work for because the make up is always so fresh and sexy with big bold eighties hair. Miu Miu was more formal, less make up and more focus on the clothes than the models. Anna Wintour was overseeing the collection so that is always tense.”

New York Style NY fashion is all about individuality. The Big Apple’s fashion is inspired by the movement of the city, artists, designers and models alike. With some of the world’s best high fashion designer and vintage shops, New Yorkers are always on the pulse of fashion with fabulously little eﬀort. So if you’re taking a trip to the home of the Yankees this Christmas make sure to look just as stylish as the locals. Here are some tips:

Loose Knits: Chunky giant stitches and outsized scarves are essential for getting around the hustle and bustle of the city.

Layering: Wrapping up is seriously stylish this season. Think Mary-Kate and Ashley Olsen circa their NYU days. Also, check out their brand of vintage t-shirts ‘The Row’ from Harvey Nicholas.

The former UCD student is passionate about clothes. “My favourite item in my wardrobe at the moment is my vintage high waisted jeans. Every time I wear them people ask me where they’re from, which is always a good sign.” Lipsett tried to keep up a healthy lifestyle, despite her exciting and demanding day job. “If I have an important day ahead of me, my beauty secrets consist of a massage, plenty of water and a really good night sleep. I also do yoga and drink nutritious smoothies.” She has come a long way from her beginnings at the UCD Fashion Show but Lipsett remembers those days with fondness. “UCD definitely prepared me for New York. Before the UCD fashion show I had only done a small bit of modelling. Julian Benson, who was in charge of the show, gave me the confidence to walk and present myself on the runway. She recommends finishing college before embarking on any plans for stardom. “Having my degree helps, because I feel that I will always have something to fall back on. Some girls haven’t even finished high school, so I feel very lucky to have a college education. My advice to anyone would be to finish college.”

Hats: Fabulously ﬂoppy beanie hats or oversized berets are keeping New Yorkers warm this winter.

Accessories: New York is fast paced so keep an eye on the time with a vintage over-sized watch! Think man-sized, think diamonds and think skulls for a quirky eﬀect! Check out some cool vintage watches at Edhardy. com.

Bags: A large clutch gives daywear a superhip twist, with lots of room for your bits and bobs. Bags should be super-sized.

Siren TH E THE

College Tribune

30th October 2007

Bloodcurdling Chills With the sound of fireworks in the distance and the smell of bonfires in the air, Adam Watts takes a look at the spine-tingling films that should be at the top of everybody’s list this season

It is that time of the year again; the old Batman costume has found its way out of the closet, and yes the pants are still ripped from last year. Halloween is upon us and the parties have begun so when the hangovers are taking their toll, it is time to snuggle up for a few scary movies. “I’m a supa-transsexual from translevaniaaaa”, if you don’t already know what ﬁlm this quote belongs to, you should be ashamed. The Rocky Horror Picture Show is an all-time Halloween classic.The days of swapping clothes with your girlfriend and strutting your stuﬀ down to the Classic Cinema are in the past, so now you can do it from the comfort of your own sitting room. A couple of young honeymooners become stranded when their car breaks down in the middle of nowhere. Upon approaching an eerie looking house they cross the threshold onto a honeymoon experience that they were not expecting. The Rocky Horror is a musical about cross-dressing, golden underpants and Fr a n k e n s t e i n ’ s mother; to be honest, it’s prettydamn scary.

If transsexuals just aren’t what you are looking for then Seven is a movie to get your ﬂesh crawling. The plot follows two detectives as they hunt down the perpetrator of seven grisly murders based on the seven deadly sins. Having a pillow nearby would be handy; you’re going to need it. The scenes are terrifyingly dark and the killings are twisted; everything you need to keep the popcorn ﬂying. What would Halloween be without the walking dead, zombies, and the undead? Everyone should see Shaun of The Dead, an instant

classic. This rom-zom-com starring the hilarious Simon Pegg will have you exploding with laughter as the guts explode onto your screen. “It’s just one of those days when you’re feeling a little…dead”. The opening dialogue says it all. Shaun (Pegg) and Ed (Nick Frost) get entangled in a mysterious turn of events when zombies begin to walk the streets of London and Shaun attempts to be reunited with his exgirlfriend. Shaun of the Dead is hilarious and has enough action in it to keep you happy during a night on the couch. The one thing that is scarier than transsexuals, zombies and Barbara Streisand’s nose is children. The image of the girl slithering out of the TV and across the floor is one that has remained with anyone who has seen The Ring films. Of the trilogy the best of these to watch is the Japanese version, Ringu 0: Basudei. Make sure the phone is unhooked, hit the lights and prepare to be scarified. The Ring trilogy is based on the existence of a cursed VCR tape, and anyone who watches this tape is ultimately doomed (in seven days, to be precise). Ok, so it doesn’t sound fantastic, but you would better believe it will scare your pants off and reduce you to a cowering puddle of fear by the end. Technically speaking Clueless is not a horror film; there are no murders, no gruesome leather-clad psychopaths wielding chainsaws. The horror here lies in trying to figure out what the hell is going on. Clueless is a modern take on Jane Austen’s novel Emma, so yes, you should be terrified when this is

pulled out from the DVD rack. The upside, however, is that the film is full of beautiful people, such as the gorgeous Alicia Silverstone and the delectable Stacey Dash, but there is a darkly sinister twist in the plot that is revealed when the characters open their mouths. With a lingo that has been finely adapted on the mean streets of Dublin, the number of ‘Omg’s, ‘no ways’ and ‘like whatever’s in Clueless is both staggering and horrific. Antonia Bird’s Ravenous is a horror that not many people have seen, but don’t worry, it is not some silent black and white horror like Nosferatu that isn’t actually scary. Ravenous is the perfect film for a night in, with the eeriest of soundtracks and even creepier characters. Robert Carlyle and Guy Pearce play two army officers stationed in the middle of nowhere during the Mexican-American war. Being stationed so far from help and resources, hunger plagues the camp and its residents soon turn to more lethal sources for food. With bone-shattering gore and scenes that will gnaw at you for days Ravenous is not a film to watch alone in the dark, or with someone with a fondness for cannibalism. ‘Beetlejuice, Beetlejuice, Beetlejui-.’ Careful now. Tim Burton the master of all things strange and scary, creates a wonderfully dark and sinister world in Beetlejuice. The story centres on a recently deceased young couple, who are trying to scare away a new family moving into their home. Alec Baldwin’s acting is frightening enough but obviously not enough

to make the new family move out, so they hire Beetlejuice (Michael Keaton). Burton’s freakish character Beetlejuice romps through a lavishly terrifying set, inducing screams of terror and howls of laughter. Halloween has been dubbed as one of the scariest movies of all time and you will be happy to know that this film does have psychopathic killers in it. The subject of the story is the deranged and perverse killer Michael Myers, who a er breaking free from a mental institution hunts down his remaining family members. Halloween is one of the original and best slasher films, it will have you screaming ‘Don’t go up there!’ and ‘He’s behind you, ya feckin eejit!’ from the edge of your seat. In a style that has almost been done to death by the Scream films, Halloween still reigns supreme for yelp-inducing horror. Not another film with subtitles, you might say. But Pan’s Labyrinth is really spine-chillingly good and worth the extra effort. It’s an excellent take on the domestic fairytale and it is truly horrifying. In this the human characters are more fearful than the twisted, deranged creatures that dwell in the imagination of young Ofelia. Directed by Guillermo Del Torro this film puts a spin on fairytales that you may not have experienced before. During the Spanish civil war the pregnant wife and step-daughter of a high ranking Lieutenant are brought out to a countryside camp where, Ofelia, young girl tries to escape the violence that surrounds her by hiding inside her vivid imagination. Pan’s Labyrinth is squeamishly violent and the monsters are disgusting, but it is something that should definitely be seen, if you’re not too scared that is.

Siren

FILM

TH E

College Tribune

30th October 2007

Jigsaw returns… again Despite being most deﬁnitely dead by the end of the Saw III, Jigsaw manages to keep the games going in the most mind-bending, jaw-dropping, gut-wrenching, stomach-churning of the Saw franchise so far. Saw fans will be happy to know that the writers didn’t come up with some completely unfathomable idea to bring Jigsaw back from the dead; it is made clear that he is well and truly deceased at the beginning of the ﬁlm and remains quite dead throughout. Being dead, of course, doesn’t mean Jigsaw has any less screen-time than

■

Saw IV

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in the previous films. He remains in the film through a series of flashbacks, reminiscent of an episode of Lost; except for all the gory violence that is. Saw IV picks up four days a er the point Saw III finishes off and with both Jigsaw and his apprentice Amanda six feet under, the question most viewers are asking is, how are they killing people beyond the grave? You’ll have to go see the film to figure out how they can still make the

Terror with a comic twist ■

Planet Terror nnnnp

Planet Terror is the first of the two Grindhouse films, directed by Robert Rodriguez (famous for bringing Sin City to the cinema screen) with the other being Quentin Tarantino’s Death Proof. Traditionally Grindhouse films were popular low-budget films in the 1970s, and so in honour of this Rodriguez has made the film sound scratchy in order to make it more authentic. There is a slight sound of a film projector running in the background throughout the film, making this film different from the word go. You have to go to this film expecting anything, because that’s exactly what will happen. The films plot is ridiculous and simply unpredictable, making this a classic comedy and horror all at once. It involves a disease which is infecting Texas and turning its population into Zombies, resulting in gore and blood everywhere. Everything about the film is shocking from an appearance

films entertaining, a er killing off the film’s main character last time around, but there is no doubt that this is the best of the Saw films and it completely redeems the franchise a er a slightly disappointing Saw III. No matter how good you think you are at predicting the end of films, there is no way you’ll see what is coming at the end of this one and with Saw V and Saw VI already commissioned, expect plenty of twists and a shocking cliff-hanger.

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Cian Taaffe

Fly me to the moon ■

In the Shadow of the Moon

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by Fergie (Black Eyed Peas) to the self-performed soundtrack by Rodriguez himself. Its aim is to put on a show that includes beautiful women and oodles of blood, making it a sinfully fun movie. Having said this, the ﬁlm is rated R for a reason and is deﬁnitely not for the squeamish, with Rodriguez making no attempt to tame the bone-breaking, head-drilling violence that leaves full grown men covering their eyes. All in all, Rodriguez puts on a surprisingly good show providing his audience with action, comedy, horror and sex and it is quite frankly something you’ll have never seen before. Be sure to check this one out in the cinema as it is just not going to be the same on DVD.

Helen O’Sullivan

In the Shadow of the Moon is one of those very popular docu-dramas (as they are called) and it charts the development of America’s space program for roughly a decade. It starts at the beginning, from the early 1960s and J. F. K.’s grand proposal of achieving a man on the moon by the end of the decade, to that actual landing on July 15th 1969 and the various missions that succeeded it. The interesting thing about this docu-drama is the great way in which it is presented. There is no narrator but the story is driven forward by those surviving astronauts from the numerous Apollo missions including the nine that actually landed on the moon. Their words, which are powerful enough in themselves, are accompanied by some excellent first-hand footage, television broadcasts from the time, tremendous adverts and a very appropriate and minimalist soundtrack. This is a film well worth the sit through; it is highly accessible and hugely entertaining. Its one slight drawback is that it can be seen to be an overly patriotic American film,

but this view is quickly put to one side as it is not forced on you; it coexists easily with the film. You learn all sorts of facts, many of which are definitely hard to discredit. In the Shadow of the Moon is surely a film for the dedicated conspiracy theorist - the best of luck in finding fault with the tales of these astronauts.

FILM RETROSPECTIVE Magic and Mystery Despite its 1987 release and its little-known cast, it’s not surprising to find that students and film buffs today would name The Princess Bride as one of their favourite movies of all time. The unusual film infuses elements of witty and slapstick comedy together with fantastical rhyming giants and good old fashioned sword fighting, into a story of true love between the beautiful Buttercup and the brave Wesley. The film is based on the novel of the same name by William Goldman and like the film, it is a cult classic.

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The Princess Bride (1987)

In 2000, Total Film named it the 38th greatest comedy of all time and it still tops favourite film polls across the world. With a name like The Princess Bride, it’s a wonder that the film is as popular as it is, amongst males especially, but of course everyone knows never to judge a film by its name. What sustains The Princess Bride’s reputation as a must-see-movie is simply its originality. There was nothing like it before it was made and fans argue

that there still has not been anything like it since, even with the fantasy pinnacles of Lord of the Rings and His Dark Materials trilogies being adapted to screen. It is pure escapism and has some extremely memorable quotes, suitable for every occasion. In The Princess Bride, there are Rodents of unusual size, a revenge sub plot worthy of Hamlet and even the kid from the Wonder Years (Fred Savage) makes an appearance. Remember ‘Life is pain, Highness. Anyone who says otherwise is selling something.’ Lisa Towell

Eoin Boyle

Siren

BOOKS

TH E THE

College Tribune

30th October 2007

More than meets the eye Amanda Farley takes a look at the interesting and absurd pearls of wisdom revealed in Lloyd and Mitchinson’s Book of General Ignorance ■ ■

The Book of General Ignorance John Lloyd and John Mitchinson

A comprehensive catalogue of misconceptions, mistakes and misunderstandings in common knowledge, this is a book which will make you question anything you have ever been told. Whether you are a fan of the BBC panel game show QI or a general knowledge virgin, this is a book which is guaranteed to captivate and astound. Written in the style of the question and answer format, the book is far from revolutionary. What sets it above the many humorous fact books that saturate the shelves of Waterstones and Easons is a clear writing style and undeniable charm. The voice of Stephen Fry permeates through the pages reminding us that no one is ever really knowledgeable. “People sometimes accuse me of knowing a lot. This is a bit like telling a person who has a few grains of sand clinging to him that he owns much sand. We are all sandless, we are all ignorant.

nnnnn It’s the ones who think they know what there is to be known that we have to look out for.” This book is ﬁlled with lots of little questions which you think you know the answer to - some of the answers are just a little too obvious, or so it would seem. Every turn of the page causes a re-evaluation of everything you ever

thought you knew. For example, Henry VIII only had two wives, the earth has seven moons, George Washington’s teeth previously belonged to a hippopotamus and humans have four nostrils. If this isn’t enough to make you run out and buy it perhaps the fact you can open it on any random page and begin to read will. It’s perfect for those moments in the library when you just want to forget about essays and exams. On the down side, obviously, not every snippet is going to interest eve-

rybody. Many are technicalities and answers from outside the box, but, for the most part, these are no less interesting than the outright fallacies. It’s the perfect book for anyone who wants to annoy their friends with random bits of information. It has such a broad spectrum of topics that it will appeal to everyone, whether they watch the TV series or not. It delves deeply enough into the subject material, which is liberally scattered across as many disciplines as you’d ﬁnd in any university curricu-

lum, but yet always manages to pull out into a wide-shot before the end, linking the main facts in each case to other juicy and tempting avenues of knowledge in related areas. It’s a book to dip in and out of whenever the mood takes you. It will both enlighten and confound you. Armed with such useless and frivolous information you cannot fail to impress at social gatherings. I mean who doesn’t need to know that it takes forty-ﬁve minutes to boil an ostrich egg?

Sex, drugs and rock and roll Maximillian Harding dives into the pages of Stephen Martin’s Rock and a Hard Place, and discovers one of Ireland’s biggest underground fictional rock groups, The Grove ■ ■

Rock and a Hard Place Steven Martin

Stephen Martin’s novel Rock and a Hard Place continues the saga of the members of the up and coming Irish rock band, The Grove as they ﬁnally become the band everyone is talking about. This book uses crude language, refers to women as objects and has a bit of craic thrown in as well which makes it the perfect combination for any teenager with a sense of humour. Shimmy, the Japanese saxophonist is returning to Japan to work in a big computer company, Jimmy is faced with a decision between chasing an impossible dream and settling down to a nine to ﬁve full time job and Aesop is the same party maniac as always with a passion to become the next rock legend. Jimmy’s main dilemma lies in his choice between a high paid job with a stable future and a risky move into show business. He changes his mind about 50 times during the story while travelling across the world and meeting up with various friends. Aesop’s presence on this journey makes it quite a hilarious one as we follow him on his never-ending hunt for the opposite sex. These adventures usually end up with Aesop being successful in his hunt and Jimmy being forced to stay out of the room for awhile. While Aesop represents the dream of sex, drugs and rock and roll, Jimmy experiences the pres-

nnnnp sure of having to choose between the impractical dream and the foreseeable future, something many young musicians are forced to do. The pinnacle of the story is set in Japan where a mixture of beer, exhaustion and women help Jimmy to realise what he needs to do. With many twists and turns it may not be the choice one would expect a guy who has dreamed of being a rock star from the age of seventeen to make, but then again without twists, the book would be predictable. There are many times where you ﬁnd yourself screaming at the book; Stephen Martin really captures the reader’s sense of frustration by showing Aesop’s disgust at Jimmy’s constant indecision. Aesop is both a friend in need and the main source of laughter and crudeness

in the story. The perfect type of character for a book on rock and roll and the lifestyle it entails. Despite being a sequel, Rock and a

Hard Place oﬀers a valuable insight into the Irish music industry and the ordeals that a band has to go through to make it in the business. This book will make you

laugh, think and then laugh some more. Enjoy the rollercoaster ride; ignore the fact that the Grove is ﬁctional and just imagine the music.