The Siren: Issue 5

Photo: Neil Dorgan

Also:

Iron and Wine Hot Hot Heat

Fight Like Apes

The Little Black Dress Why Chocolate is Good

Down with the masses Exclusive Aslan Interview: Page 6

n e r i S the

5 13.11.07 e su Is | t en m le pp Su t en nm ai rt College Tribune Ente

2

College Tribune

13th November 2007

Siren

MUSIC

TH E THE

Siren Jazzin’ it up in Cork the

ISSUE 5

Music “I try to write a little every morning. But you have to try and treat it like a job” Iron and Wine: P4

Fashion “Every woman can look good in a wellmade little black dress ” Black is Back: P8

Television “The fate of a huge number of acclaimed television series is imperrliied” US writers go on strike: P10

John O’Flynn immerses himself in the magic of this year’s Cork Jazz Festival and examines the rich variety of musical acts on show Every year during the October long weekend, jazz musicians, fans and journalists converge from all around Ireland to attend the Cork Jazz Festival.

With many international jazz stars playing each year, this has become the most important event of its type on the Irish calendar, and one of the biggest festivals of its kind in the world.

The attendance numbers about 40,000 visitors from all around the world, who come to see the diverse acts playing in Cork city’s pubs, clubs, venues and hotels.

This year marked the 30th anniversary of the jazz festival. Cork’s headline acts tend to perform at the Everyman theatre, which has seen visits by legends of the genre such as Jimmy Smith, Brad Mehldau and Ella Fitzgerald.

This year however, the venue opened the festival with a concert by the Avishai Cohen Trio, a fantastic group which has found fans throughout the world, receiving standing ovations wherever they tour.

Led by Israeli bassist Cohen, the trio is completed by two amazing young musicians: Mark Guiliana on drums (www.markguiliana.com/) and 20-year old Shai Maestro on piano. This is a group which works together to produce some of the most exciting and original music in modern jazz music.

All three of these musicians are virtuosos on their instrument, but in this concert the pianist stood out when he played a solo segment. Maestro studied a discipline called real time composition for years, and this enables him to improvise long, astonishingly complex pieces at will. The band’s set list balanced sweet lyrical melodies like Elli with intense, rhythmic monsters like Smash, both of which can be heard online at www.myspace. com/avishaicohenmusic/.

This year marks the emergence of a new venue for the Cork Jazz Festival, the Half Moon Theatre, where the music kicks off a little before midnight and goes on till late. The beautiful and long-haired Zoe Rahman opened up the night’s music with her piano trio, drummer Gene Calderazzo and bassist Oli Hayhurst.

Her compositions are energetic and contemporary but still very lyrical, allowing for much dialogue between the players. The three musicians brought an amazing energy to their music, most evident in Zoe’s beaming smile throughout her entire set. Her new album Melting Pot is excellent too, check her out at www.zoerahman.com/.

She was followed by Empirical (www.myspace. com/empiricalmusic ), a young quintet of UK players who managed to rouse the 2am crowd with grooving, contemporary compositions inspired by the Lord of the Rings and the events of 9/11.

The play between trumpeter Jay Phelps and saxophonist Nathaniel Facey, backed up by an excellent

rhythm section, made for a great late-night/earlymorning session, particularly on the gospel-inspired tune Blessings. This is a band that has played together o en and it shows. Expect great things from them in the near future.

For many festival goers, Scandinavian quintet Jazz Kamikaze on Saturday night will be an outstanding memory. A er a pre-recorded voice-over introduction from New York rapper Big-D, the five Scandinavian musicians came on stage running.

Swedish drummer Anton Eger set up a funk-rockish groove that lead the rest of the quintet into a hard, fast opener entitled Up to No Good.

Jazz Kamikaze is loud and raucous, which may have upset some of the jazz fans in the venue that night. For the rest of the audience, this band gave a thrilling, wonderfully tight performance very much influenced by rock music. There were many heads bopping along that night to tunes like Speedball.

Their show had many high points: Marius Neset’s simultaneous soprano-and-tenor-saxophones solo, Morten Schantz’ vocoder-synth piece and of course a rendition of Smells Like Teen Spirit, during which bassist Kristor Brødsgaard snapped a double-bass string. This band is worth seeing live, even if you’re not into jazz. Sample them on Youtube, or alternatively at www.jazzkamikaze.com/.

Overall, the weekend could only be described as a success for bands and jazz lovers alike. If you want more information about next year’s festival, take a look at www.corkjazzfestival.com.

Going ape Fresh from several international performances, Fight Like Apes frontwoman MayKay gives Lorcan Archer the low-down on their unique outlook on live shows, diverse audiences, and how much fun annoying reviewers can be

Arts “The central message of Synge’s play is left intact” Playboy of the Western World P12

Currently live favourites in Dublin and gaining a strong reputation for excellent gig performances and general tomfoolery, Fight Like Apes have been giving it socks over the past few months.

Singer MayKay is enthusiastic and eager to give the latest news on the group’s exploits.

“Things are great, we’re just a bit tired at the moment, we had a trip over to London there yesterday. We were scheduled to go over to do a TV performance for a while, but we actually forgot about it. We did make it in the end though. ” Such mistakes are forgivable for a band so

busy. Two EPs have been released in the past couple of months, giving the group’s sound a recorded format to assist their growing live reputation. Their newest, the absolute mouthful that is David Carridine is a Bounty Hunter Whose Robotic Arm Hates Your Crotch is out.

MayKay obligingly spills the beans on the enigmatic title.

“It’s meant to frustrate people like you who have to review it. I have to say I get a real kick out of people on radio shows and stuff trying to actually read it all out. And we’re like ‘Read the whole thing.’ We almost had more fun nam-

ing the EP than recording it.” The spirit of fun and deviousness runs through the release as well, with an almost shocking energy level exhibited by MayKay’s vocals and the pounding but catchy synth beats of the band.

“We did it just like our first one, recorded live, we don’t track anything. That’s mainly because our live show is so important to us. I would never, ever like to record anything on an EP or album that we couldn’t play onstage. There’s nothing more heartbreaking than falling in love with a band on record

Siren

MUSIC

TH E

College Tribune

13th November 2007

3

Drop it like it’s hot In the run-up to their long-awaited Dublin gig, Steve Bays of Hot Hot Heat talks to Lorcan Archer about their gruelling touring schedule and explains that getting your jacket stolen doesn’t always mean the night is ruined Canada’s Hot Hot Heat is a very busy band, but they know how to enjoy themselves when they get a chance.

Singer Steve explains “Yeah, we’ve got our first week in a long time off during our US tour now, so I’m actually walking around Disneyland now at the moment. A friend of ours was good enough to get us VIP passes, so we’re really going to enjoy it.

Hang on a second; hold on guys, I’m just getting my camera. Sorry about that.”

The band have good reason to take some time off, having just completed an exhausting tour of the East coast, and giving air to the songs from their latest release, Happiness Ltd. The band has been prolific with their promotion of the new album, notching up over one hundred live shows over the past year. “There’s been a bit of psychosis creeping in over the past while, just so much time spent on the road. But you just try to survive.”

In fact, the group have been equally busy on the creative front, staying firmly in the public focus since

the release of their breakthrough album Make up the Breakdown back in 2002 with two high-profile albums of melodic and catchy pop/synth music since. “I do think that it’s important as a band to keep promoting, and stay creating. Otherwise you can lose the momentum.”

In terms of what the band have been doing artistically, the latest release can be seen as a bit of a departure from their previous synth-rock sound. Could this be understood as a new avenue of music for the group opening up?

“Well we’ve been having a lot of late-night talks down the back of the bus. Without giving anything away, we’re pretty sure the next album could be totally different. You have to cater to your own tastes, rather than keep on the one thing. Sometimes you have to be musically selfish, but in terms of what we’re gonna do, it may piss people off. We’ll see.”

Steve also has plans for his own personal musical endeavour. “I can see some dirty, club project happening at some point. I just have a need to freak out.”

“There’s been a bit of psychosis creeping in over the past while, just so much time spent on the road. But you just try to survive”

and finding out that they can’t deliver it live.”

Specific attention has been paid to the layout of the new CDs, both of which feature the novel feature of artwork that joins together to form a larger picture once they are laid side by side. “Thank God somebody bloody noticed,” laughs MayKay. “We’re firm believers that a full effort should be made, if you’re putting that much work into something, you don’t want to just fuck a stickman on the front cover.”

Presentation is obviously an important factor for the group. “Artwork is essential, even if you’re in a shop and torn between two CDs, you’re obviously going to go for the one with the good cover.”

The live show is an integral part of the band. It’s been so highly rated, that along with a few other select Irish acts, Fight Like Apes were chosen for a recent showcase in far flung New York, a major undertaking for an unsigned act yet to even release a full album in Ireland.

“That was just amazing; we played in a venue called 205 Krispy, which was really cool and central. It was great playing with other Irish bands too, rather than just be-

The band have achieved what can now be termed as a substantial level of success in the States as well as their homeland of Canada, with regular appearances on major radio stations and even soundtrack slots to major TV shows such as the hugely popular House. There is an honest acknowledgement of the difficulties involved from Steve.

“It can be hard, especially for European bands coming over to tour. The U.S. can be very daunting, but does have that culture that can be explored when you go on tour.”

Immediate concerns for the

“We’re doing this fulltime time now, the lads and myself, and it can get tiring. Its sort of non-stop, but its so worth it at the end of it” ing over on your own. Hopefully we’ll be back over there soon.”

The group have been performing at significant gigs in their homeland too, with a noted slot at Electric Picnic, and perhaps enjoying the best reaction of any band at the Hard Working Class Heroes Festival in Dublin back in October. “When I said at the end of the set ‘Do you have any requests?’, because I knew they’d ask Lend Me Your Face, but the whole crowd started singing it. For a musician, in a venue that big, it’s something special when that happens, and it was honestly amazing.”

The sort of crowd that turns up at a Fight Like Apes gig is famously diverse. “It could be anyone, we get the usual skinny jeans and waist-coat wearing crew, but also random rugby fans.” It’s a heartening sign for the Irish

band however will no doubt centre around their upcoming European tour. There’s no rest for the wicked it seems.

Anyone lucky enough to have attended the band’s only performance to date in Dublin a few years back will still remember the electric atmosphere and great vibe the band created. “I’ve got good memories of Dublin, and of having a really big party backstage. The only annoying thing was that someone stole my jacket. But overall everyone was really cool, so I’m looking forward to coming back.”

music scene that individuals take it upon themselves to check the group out. “A lot of people just come along because they’ve been intrigued, which is great.”

The band views themselves as being samplers of many musical styles, without being based in one particular genre. Perhaps this is what gives them their particular appeal. Asked for some of their inspirations, a very varied set of artists emerges. “McClusky, At the Drive-In, Pavement, anything at all. We all have common ground in music, but we all bring completely different things to the band as well which is great when you’re writing.”

Plans for the future are understandable for the band, who are hoping to work on their debut album and perfect the live performance over the course of an extensive UK tour. “Yep, we’ll be on the Artrocker tour in the UK for a good few dates. Plans for the next year are mainly built around doing the album, with a possible release in the summer.”

Nonetheless, MayKay and company won’t be pushing it too quickly, “Rushing it is a bad idea, a lot of people need to take a step back. You want people to be anticipating it. The reaction to the EP has been good, a sort of a crowd-splitter because it’s less accessible than the last one, but that’s a good thing.

4

Siren

MUSIC

TH E THE

College Tribune

13th November 2007

Aural Examinations

large mound

my whole life is has to Returning with their third album, Large Mound is a group that will make you stop and listen. Their energetic sound seems a thousand miles away from this Emerald Isle they hail from, and yet their lyrics are firmly grounded in the Irish approach to life.

It’s refreshing to at last hear an Irish group who don’t feed into the singer songwriter/traditional stereotype, which has many people reaching for the mute button.

Their style seems to pay homage to true rock and roll, punk and has a dollop of grunge thrown in for good measure, which seems to work extremely well. When you add this to their hilariously fresh lyrics it is clear that this group stands out as a hidden gem in the Irish music scene.

The lyrics of the stalkerish Nothing to Fear are by far the most random and funniest lyrics that you will hear this year, while the painfully true lyrics of You Chose the Time are the nnnnp perfect example of a break-up song minus all the fake “It’s not me its you crap.” Ladies, the problem here is clearly you. Yet surprisingly instead of the aggressive vocals that would be expected from such a record, we encounter so ly sung lyrics which sound slightly out of place.

Many of the songs would sound better if the vocals were a bit stronger, however Malkmus is a perfect example of a song in which the balance between heavy rock and sing song chorus just right.

Fiona Redmond

ashley tisdale ulver

headstrong nnnnp

shadows of the sun nnnnp

Ulver is the Norwegian word for ‘wolves’, an indicator of this enigmatic group’s origins as a secretive underground musical ensemble. However, in the fi een odd years that they’ve been working industriously in the underground, they’ve progressed dramatically from their original black metal sound to a variety of styles more closely identifiable with electronic music, minimalist ambient, glitch music and pretty much everything else between.

It doesn’t come as a surprise then, that with Shadows of the Sun, their style shi s once again. What we’re presented with here is a sombre, smooth and stylish release, more akin to a dark jazz record rather than anything that’s been hinted at before in their long career.

The record is split down into movements rather than songs, with excellently placed trumpet flourishes and the constant, graceful lilting of piano in the background. Singer Garm’s vocals are out in front of the rest of the music, leading the listener through the slowly shi ing sonic landscape.

Along the way, we’re witness to certain moments of noteworthy beauty, like the sudden appearance of industrious electronic instrumentation on Vigil, or the melding of all sounds to one blissful tone on Let the Children Go. The album retains a single tone of darkness and so ness throughout, coming to the fore in the beautifully whispered lyrics on the excellently placed cover of Black Sabbath’s Solitude.

Ultimately, Shadows of the Sun demands a lot of time to crack, but makes up for it with a commitment to a singular aesthetic of eerie but always beautiful sound.

David Gray has officially written the biggest selling non-compilation album of all time in Ireland. U2, The Corrs, and Van Morrison- this North Manchester-born lad has beaten them all in terms of sheer sales of a single album.

White Ladder is that album, one that has vaulted him into the mainstream consciousness worldwide, an album that has made Gray an unlikely pop hero not only in Ireland and Britain.

With Babylon making ripples across the Atlantic sea, will his Greatest Hits stand the test of time and delight his dedicated fans?

This collection features twelve classic tracks and two new songs produced by legendary Pink Floyd/Sex Pistols producer Chris Thomas. Impressive sounding, this album is hard to dislike.

Featuring his most popular and loved songs, it’s full of beauty and emotions; melancholy, sadness, hope, and happiness.

Alibi features on the album and is the standout track of the collection.

His voice and lyrics are particularly poignant, which gives us a sense of regret, which everyone can relate to. This song is the flipside to his song Babylon, which layers frisky percussive samples and rippling synths over mellow guitars.

Gray’s is a rags-to-riches story. A man who was unknown for years except in Ireland and consistently dropped by record companies, he now has eight albums released and has finally received the credit due to him for his songwriting genius. His history has proved that he is not one to be overlooked and his latest offering has reinforced his timeless appeal. An album not to be missed for Gray fans.

Lorcan Archer

Suzy Cody

Raise a Iron and Eoin Boyle speaks to Sam Best about the politics of writing music, keeping the fire alive while touring and joy of throwing the songbook out the window Iron and Wine have been championed as an outstanding folk act over the last number of years, continually and consistently releasing what have been hailed as great albums.

With the recent release of their new album The Sheperd’s Dog, we caught up with the band’s musical mastermind, Sam Beam before their recent show in the Ambassador.

Beam is a bearded and so ly spoken man, yet completely charming. The Sheperd’s Dog is probably the most complete album he has yet to release and there are many reasons for this which includes his growth as an artist and an interesting way of interpreting influences.

“I listen to all sorts of music. You know that’s one of the good things in life, the variety of music. I’ve definitely been incorporating a lot of my interests more than I used to but that comes with learning your cra and just trying to push yourself in new directions.” It also would have something to do with the way he approaches his song writing, pushing it until he is happy with the final product, “Well sometimes it’s a good day when it happens but usually it’s a lot more disciplined.

I try to write a little every morning, you know, some days are better than others. But you have to try and treat it like a job.” Beam remains constantly modest on his abilities claiming that his band are great contributors on many of his better songs.

The group is right in the middle of touring the new record. “Relatively, for us, it’s pretty heavy. We did about a week in the States and then we are just about to finish a week up over

here, and then we have another week in England... I’ve learned to like it. It’s not a very natural setting for me but at the same time I’ve learned a lot.

This band is a lot of fun to play with and I know we’ve been changing the songs around and each night’s kind of different so it keeps it fresh.” It has been a lifestyle that the relaxed Beam has found quite hard to get into but it has become something that he has very much approached in his own way, nice and easy going like his

just kind of threw out the book and did what we felt like doing, it was a pretty intuitive thing, em... it was a lot of fun.” It was a very different undertaking for Beam who thoroughly enjoyed the outlet of the renowned musicians. “Well they’re so talented, I mean you feel like you can sort of do anything when that band’s behind you. And so it was fun to get up and play on each other’s songs and play the songs that we did together. Yeah, it kind carried on into this touring set up, we stole Paul (over there) from Calexico for a little while.

“The only thing I’m working on, started working on a record with Tim (Martelli from Kelephone).

I don’t know if you’d know that band, but go out tomorrow and buy a Kelephone record because they’re great. But who knows when that will come out?” Beam will be taking a break of sorts from touring Iron and Wine a er this trip but as with his song writing he will be constantly working on something, and you get the feeling that he will approach it in his own easy way, which will only result in another unique, worthwhile release.

“I try to write a little every morning, you know, some days are better than others.

But you have to try and treat it like a job”

this week

mannerisms. “Well it’s just the reality of it, I mean I have and family and so I don’t go out so much. It’s also; I kind of prefer being at home, so it works out kind of nice. But at the same time I have a new band and they’re a lot of fun to play with, so the shows have been a lot of fun too.”

Beam assembles a new band for each tour and album and therefore keeps everything fresh for himself.

He has delved into the region of collaborations, he released an album with the great Calexico, “It was very different, I mean the songs were the same, they were older songs so we

Gran casino

Siren

MUSIC

TH E

glass to Wine

5

College Tribune

13th November 2007

witchcraft

the alchemist

scout niblett

this fool can die now

nnnpp

nnnpp

Ireland really isn’t that well represented on the international heavy metal scene, but thanks to a few bands, including hard-working Corkonians For Ruin, that trend may be set to change.

This is their debut offering, and it’s fair to say that while coming down on the heavier side of things, a very strong sense of melody and flow is retained throughout the whole listen.

Influences range from the obscure sounds of underground heavy metal groups like early Amorphis and Opeth to more obvious nods to the likes of Iron Maiden. Vocal delivery stays the course throughout, with a demonic rasp from singer John who does what needs to be done with style and verve.

The markedly melodic guitar playing is the high point of the CD, with a certain sense of hummability coming through the speakers on almost all the tracks. Several tracks just demand a whistling accompaniment from the listener. The drumming is also worthy of a mention, producing a respectable racket across the board and hitting a lot of very nice grooves on tracks like Towards an End and Demon.

However, the sound quality itself suffers from a few weaknesses, with the snare drum in particular popping too loudly over the rest of the drums. Despite the quality of the songs, it’s a bit monotonous in the track-listing, and lacks a certain something to really mix it up. These are the sort of mistakes that shouldn’t be on a full album.

Ultimately though, a very decent effort from a band who are doing their own thing very well indeed.

Scout Niblett has returned with probably her most accessible album to date, with This Fool Can Die Now. It marks a departure from the last album that is evident in the first two tracks, with a sense that this is as mainstream as it would seem the artist will ever get.

The positive thing about this though is that one realizes just how good Niblett’s voice actually is. Having displayed a sort of childlike brittleness previously on records it now has a more grown up, fuller sound while still holding onto its initial charms, including some male vocals for the first time. It does contain a few mediocre songs, the first two being a disappointment to dedicated fans.

With the incredible indie drumming rhythm of Moon Lake we see a return of the most interesting aspects of Scout Niblett. There are some letdowns in regards to songs on this album but that being said it is still one of the most well-rounded and best produced records she has released, with the great song Dinosaur Egg being one of the finest songs she has composed.

Simple in form and approach (a Scout trademark), her thoroughly ingenious lyrics include sentiments like “I’m sick and tired of being sick and tired, I’d much rather be a golden ball of light.” This Fool Can Die Now is definitely an enjoyable album, an excellent introduction to the strange world of Scout Niblett, even if a little disappointing to those familiar with her previous releases.

Gareth Byrne

Eoin Boyle

Gig Guide

v From

14.11.2007

Wednesday 14th November: Acid Mothers Temple, Whelans, €16, doors at 8pm Hybrasil, Superjiminez + Mark Friselle, Radio City, €5, doors at 8pm

Gran Casino is different. A more unique ensemble than the usual groups of indie rockers who frequent our fine campus, their individuality is assured by both their le field but very enjoyable musical output as well as from the sheer amount of members that actually make up the group.

In an age of success for groups such as Arcade Fire and The Polyphonic Spree, eleven members in a band, and a live show which consists of harp, French horn, trumpet, mandolins, keyboards and the usual bunch of guitars and drums can be taken in one’s stride, right?

Thankfully the band’s musical output isn’t as long-winded as their instrument list, having released two demos of dream-like orchestral bliss, as well as gigging regularly around Dublin in venues such as Dorans and Radio City.

Still a very young group, the sound itself is difficult to define, joyous and shimmering instrumental passages dominate on songs such as the wellnamed Sun Music while an organdriven lyrical approach with dense passages of guitar workouts are evident on One Chance. As mentioned before, The Polyphonic Spree may be a good reference point, but with a lot more mood and atmosphere being injected into the music by Gran Casino.

Few unsigned bands achieve the level of perfect sound in their recordings as is exhibited with G.C., with an impressive and striking clarity of sound having been achieved. Naming a song Calvin and Hobbes, a er the great cartoon strip is always a good move

too.

Another advantage to having so many members in the group is the diverse amount of singers, with a choral approach being chosen at key moments in songs. This is especially evident onstage, as many students may have noticed when the group supported The Stone Roses Experience in UCD back in October, impressing many a punter far more than the tribute band they were supporting.

Primarily built around the inventive drum patterns of ‘Jimmer’ Reynolds and the emotive singing of Caimin Gilmore, the group offer an experimental but enjoyable proposition, and are more than deserving of your attention, if only to hear how they manage to beautifully blend together such a diverse selection of sounds.

Check them out at http://www. myspace.com/grancasino1 and http:// www.bebo.com/grancasinomusic

Lorcan Archer

Thursday 15th November: Wilco, Vicar Street, €40, doors at 8pm Lamina Duvelle and the Bitches from Hell, Lower Deck, €5, doors at 8pm Friday 16th November: Fight Like Apes, Whelans, €12.50, doors at 8.30pm Television Room, Crawdaddy, €10, doors at 8pm Only Fumes and Corpses + End of New Group, Lower Deck, €6, doors at 8pm Saturday 17th November: Kate Nash, Ambassador Theatre, €21.50, doors at 7.30pm David Gray, National Stadium, €49.50, doors at 8.00pm The Undertones, Tripod, €22.50, doors at 8.00pm Massacre + E.N.T., Voodoo Lounge, €27.49, doors at 8.00pm Sunday 18th November: Machine Head, Ambassador Theatre, €30, doors at 8pm Mindless Self Indulgence, Voodoo Lounge, €16.50, doors at 7.30pm Voodoo Glow Skulls + Left Alone, Crawdaddy, €18, doors at 7.30pm

Kate Nash plays the Ambassador on November 17th

Monday 19th November: Foy Vance, The Sugar Club, €18.50, doors at 8.00pm The Rumblestrips, Whelans, €15, doors at 8.00pm Wednesday 21st November: The Go! Team, Cadence Weapon + Super Extra Bonus Party , Tripod, €32.50, doors at 7.30pm Jello Biafra, The Laughter Lounge, €15, doors at 8pm The Coronas, Radio City, price TBA, doors at 7.30pm Thursday 22nd November: Dirty Projectors, Whelans, €15.50, doors at 8pm Lucinda Williams + Fionn Regan, Tripod, €44.50 , doors at 8pm Friday 23rd November: Gorgoroth, Enthroned + Tyrant, Voodoo Lounge, €24.50, doors at 7pm Stars of the Lid, Whelans, €15.50, doors at 8pm

6

Siren

FEATURES

TH E THE

College Tribune

13th November 2007

The crazy wo Frontman Christy Dignum and guitarist Billy McGuiness of Aslan speak to Lisa Towell and Lorcan Archer about their commitment to fans, touring tirelessly and the honest truth about being in a band in modern Ireland The name Aslan tends to conjure one of two usual visions to the average punter. One is vague recognition of the band that wrote a couple of hit singles and hasn’t really been up to much since. The other reaction is one of true adulation and respect.

The persistent fact that’s been pestering Irish music critics attempting to consign the band to history for the past twenty years, is that far from being a washed-up group who wrote This Is and Crazy World way back when, Aslan still command legions of fans in this country, have sold millions of albums and can genuinely claim to be one of the most successful bands that Ireland has ever produced, with twenty-five years of enduring popularity.

“We started out as kids. It was either football or pick up a guitar to get out of where we were,” Dignum explains. “My Dad was in a band, so that’s where I got it from. We’re fortunate because we’ve always known this is what we want to do. If I wasn’t doing this I’d go mental, I really would.”

Inspiration for the band came from the greats: Bowie, The Beatles, Elvis, Pink

Floyd, all of which helped to fire up the band into making their own music. In fact, the band’s version of Wish You Were Here by Pink Floyd is still a staple fan favourite. “They’ve had a huge, huge impact on a lot of people. But you get influenced by everything. By random things like theme tunes to stuff, even the Magic Roundabout. Every bit of music you hear influences you.”

Even at this point in their long careers, the band are not about to firmly entrench themselves in a single style, preferring to remain open to any sort of artistic inspiration that comes their way.

“Yeah, like everyone we listen to new music. Like at the moment you’d be listening to whatever, Arcade Fire to the Kings of Leon. I heard the Delorentos the other day, they’re good. You try to keep up.”

There is unanimous agreement from the band that the Irish Music scene has changed dramatically from when they themselves started out in Finglas and Ballymun in the 80s. While there have been obvious changes in terms of fashion and sound, the politics behind the music scene have

also significantly shi ed. “There’s been a big change. The last studio album we released was in 2001 and the changes we see are within albums and even the changes on the radio.”

The problem of Irish radio failing to support its home-grown talent is obviously an issue close to the band’s heart. Considering their great grass-

played, especially new Irish bands. Radio stations play Irish music but what happens is they play U2, Van Morrison, and Thin Lizzy. They’re not even playing the new bands like the Coronas and Director.”

The perceived lack of support may hurt particularly deeply because of the great success that the band has experienced on the country’s radio in bygone days. This Is famously holds the record as the longest ever playlisted single on 2FM at the time of its release. Such support seems like a thing of the past in the more image-hungry media of today.

Dignum outlines a specific example of a country that’s taking the opposite route. “If you look at Australia, Australian radio does play Australian bands and they really do push them. You’re actually kind of shocked when you hear a European or American Band. They really promote their bands over there and we really need to do that again.”

Speaking of music on an international scale, the rise of down- l o a d ab l e music has led to a perceived decline in the traditional format of music like hard copies of CDs. The internet

“We’re fortunate because we’ve always known this is what we want to do. If I wasn’t doing this I’d go mental, I really would” roots support, the perceived failure of the nation’s radio stations to properly promote Irish bands seems a gross injustice.

“Even for a name, an established band, it’s hard. If you look at bands that have released albums this year like Andrea Corr, The Cranberries, even the Thrills, they have bombed.

They didn’t get played on the radio. It’s gotten extremely hard for Irish bands to get

seems to be the way of the future, but the debate over the proper course this evolution should take is as important for Aslan as any other group trying to survive today.

“It’s already started to happen, in ten or fi een years there aren’t going to be any record shops anyway. You look at Radiohead giving away their album for nothing; you look at Prince giving away his album with the Sunday Newspaper.

That’s the way it goes. That’s only the start of it. Even our new single is only available on download because it’s so close to Christmas.”

The growth and now common use of music downloads and sites such as Myspace has led to a great many songs being available cheaply or freely online.

Dignum rejects the idea that such a development dilutes the quality of music.

“No, everyone should get the opportunity to express themselves whichever way they want. It’s up to the general public if they want to take it in or reject it. The only person that would object to it is someone who has no talent and who fears criticism.”

Aslan have founded their reputation upon a dedication to touring that is almost impossible to rival in Ireland. Most of their fans have come to know them through their performances in their home town, wherever they live in Ireland. Such success on the stage has previously resulted in the record selling out of Vicar St. five times in a row, as well as the Point Theatre. Some shows will stand out though.

Dig-

FEATURES

Siren TH E

College Tribune

13th November 2007

orld of Aslan “We can go over and play wherever there are Irish people.We can do a gig in New York, Boston, Dubai, we can play the UK. It’s kinda like we are a cult band in that respect.You go to New York, go into an Irish bar and more than likely there is an Aslan song on the jukebox’ num singles out one in particular. “Slane with Bowie, for me that was it.” McGuiness points to the earlier part of the band’s career as holding an especially poignant night for him. “For me it was a gig called On the Dotted Line that we did. It was a showcase of Irish and UK bands. It was possibly the worst gig we ever done. Joe broke his string. I froze.

But at that stage it didn’t matter because they had heard the demos and made up their minds. But it was the gig that started things off. They don’t have to be the biggest or the best gig, some of the smaller gigs are most memorable.”

The success that the band has achieved means that places more far flung than most bands can dream of reaching have all been witness to an Aslan performance in the past.

“We can go over and play wherever there are Irish people. We can do a gig in New York, Boston, Dubai, we can play the UK. It’s kinda like we are a cult band in that respect. You go to New York, go into an Irish bar and more than likely there is an Aslan song on the jukebox.”

Their great reputation has not been easily won. Before the interview, the band made it clear that they would not be discussing the infamous drug problems and lengthy split that they went through in the late 1980s. However, the heavy live schedules they still follow today shows that that event didn’t dilute their popularity at all.

“We don’t stop playing live.

We gig three or four times a week. This is what we do. You learn more playing a gig then you would in a rehearsal room.

A lot of bands spend too much time in the rehearsal room.

That’s not the way to learn your cra . Like if you want to be a mechanic, the best way is to work with cars. We’re in a band and we go out and do gigs. You’re just honing your cra all the time. Every audience is different you know.”

It has been honed down to a fine art at this stage and each performance is as important as the last in Dignum and McGuiness’ view. Their attitude towards even the gig they are playing tonight is strong evidence of this.

“I was talking to a singing teacher years ago right, I was going to him for years, five or six years and I was still shitting myself going to do gigs and I asked him when does that go away and he said ‘If you’re nervous going out to do a gig, it shows the audience that you care about the performance. If you don’t have that nervousness you come across as cocky and arrogant.’

“You really want it to be good. People judge you on your last performance and your last record.” Their reputation is of vital importance for the group, and they can appreciate the strength that word of mouth has. “If we’ve done a crap gig, people would be like ‘I saw them playing in UCD and they were crap.’ Every gig you have to be on top of your

game.”

With 25 years, countless gigs and eight albums under their belt, including their latest, For Some Strange Reason, the tight-knit group has spent a serious amount of time together. Even in the closest groups, this can put a strain on each other, especially over such an extended period of time. There seems

“If we’ve done a crap gig, people would be like ‘I saw them playing in UCD and they were crap.’ Every gig you have to be on top of your game” to be no danger of personal problems at this extended point though, according to Dignum.

“No, you get days where you fight and stuff like that. But we don’t, like if Billy did something you can’t go home and whinge about it. You have a fight about it there and then and it’s sorted. That’s the way it is after all, we see each other more than we see our wives. The hardest thing about a band is getting five people to agree on one thing. You have to tolerate each others good points and bad points.”

That long-lasting relationship with each other has borne fruit this year, with Aslan releasing their latest album in seven years. For such a prolific and active band, it seems strange that such a long time should be spent in the production of the newest record.

Dignum explains the naturally long length of time it takes for the band to agree upon quality of material they’re happy with.

“There were a number of reasons. We were concentrating on abroad. We were doing Australia and we had made the Live in Dublin album and we were touring the UK. The second reason is money we had to save up. The third reason is that we started this album three times and we got a third of the way through it and didn’t like what was coming through.

We had been 25 years together and fans were like ‘When’s the new album coming out?’ So we finally knuckled down and focused.”

With such an eventful past behind them, we can only expect the group to keep doing what they do best. Witnessing the band onstage, still held in such high regard, it’s obvious that the band love what they do for a living. Christy affirms their enduring passion: “There can be a lot of bullshit in this industry, but playing live, that’s what makes it all worthwhile.”

7

8

Siren

FASHION

TH E THE

College Tribune

13th November 2007

Black to Basics

✱

✱ Dress actual size

Cathy Buckmaster examines the timeless fashion phenomenon that is the little black dress, and explains why every girl should have one in their wardrobe.

Designed by the celebrated designer Coco Chanel in 1926, hugely appraised by Vogue and made legendary by Holly Golightly, the oh-so-chic little black dress has well and truly made its mark in fashion history forever more.

Unlike the trend driven fashion world that changes its mind every six months, the concept of the simple yet sexy LBD never alters. It remains the height of style every season which is never more true than this winter, when black is most definitely back.

History It was during the 1920s that Gabrielle ‘Coco’ Chanel first created a name for herself in the history of fashion design. Women of the time were enjoying the fast-paced party life and it was becoming more acceptable in society to bare more skin.

Long hair was chopped into short stylish bobs and fashions of the time such as long, heavy dresses and corsets were discarded in favour of the 20s flapper fashion.

Chanel became one of the leading and most innovative fashion designers in 1920s Paris, when she introduced the first little black dress to the world.

She believed in making beautiful clothes that were easy to wear. According to the Frenchwoman, “Luxury must be comfortable, otherwise it is not luxury.” The fusion of comfort and sophistication in her designs was revolutionary in the era. Created as an evening or cocktail dress, Chanel’s design for the LBD was cut simply, without sleeves and ended just above the knee. Black had previously been reserved for mourning but became the essence of style in the 1920s.

Chanel favoured careless elegance. Her designs included simple suits and dresses, women’s trousers, costume jewelry and her still illustrious perfumes. It is said that Chanel intended her LBD to be not only versatile but long-lasting and affordable. In short, she wanted it to be accessible to the widest market possible.

LBD icons Betty Boop: In the early shows, before the introduction of technicolor and her outfit became red, the little black dress made its television appearance on the petit curvaceous form of Betty Boop. This unforgettable and iconic cartoon character based on a 20s ‘It Girl’, wore the classic LBD with attitude and it never looked so good.

Edith Piaf: This world-renowned French singer always performed on stage in a black dress throughout her singing career. The LBD was sure to create a casual and effortlessly elegant image but would not distract the audience from Piaf’s powerful voice.

Audrey Hepburn: No one could forget the image of Holly Golightly gazing longingly into the window of the Tiffany’s jewellry shop in Manhattan. Modeling that little black dress, Hepburn perfectly embodied the Chanel frame of mind. She was effortlessly chic, complementing the iconic dress with her hair neatly pinned up and adorning her small face with huge black sunglasses. With simple kitten heels and a string of pearls accompanying her immaculate black dress, Hepburn was instantly catapulted into the style spotlight for all time.

Liz Hurley: She caused a stir at the party she was attending which resulted in a tabloid frenzy when she wore that slinky black dress pulled together at the side with big, flashy gold safety pins.

This brazen stunt propelled her to fame and all thanks to that little black dress.

Versatility Every woman can look good in a wellmade little black dress. It is an unwritten fashion rule that a simple black dress that can be dressed up or down is an essential in every woman’s wardrobe. It’s the answer to those ‘I have nothing to wear’ nights and transforms a woman to look naturally classic and suitably seductive. Its simplicity makes it completely versatile to any trend that takes your fancy.

If an unquenchably girly girl, the LBD is effortlessly chic and very feminine. If on the other hand, you prefer to embrace your inner rock star, black is perfectly appropriate and the LBD can handle any number of funky accessories. Every woman has their own sense of

style but conveniently, the LBD is not limited to a certain shape, form or time of day.

Worn conservatively with subtle accessories, pumps, knee length skirt and a cardigan to cover bare shoulders, the LBD is transformed into a chic daytime or business outfit. On this occasion it works better if the dress is not too slinky; keeping with a simple cut and an A-line shape is most appropriate.

Worn as an evening dress, it is appropriate for a date, dinner or dancing. The LBD is in its element at night time. Skirt length is completely optional as both are appropriate for any evening occasion. However, make sure that it is adorned with plenty of accessories and wonderful heels to highlight its nocturnal elegance.

LBD tips A knee-length skirt as opposed to a mini skirt is always in style and is appropriate for almost any occasion, giving you the best value for money.

Pick a dress with details that flatter your figure. Details around the waist such as beading or a belt are good for showing off an hour glass shape and a strapless dress would work well to show off great shoulders or a long neck.

If the skirt section is short, aim for a higher neck line or sleeves to maintain that classic, elegant look. Legs are best kept bare or in very sheer tights for an unbeatably elegant image.

Embellish the look to your hearts content with big earrings, jewellry and a bag because the LBD carries accessories with ease.

Siren

HEALTH

TH E

College Tribune

13th November 2007

9

Just desserts With the Wispa bar finally back on the market, Katie Keane explores the good, the bad and the ugly affects of the sweet we just cannot say no to As far as health and diet is concerned, chocolate seems to be a constant topic for discussion. With its popularity more prominent than ever, can we ever bust the myths associated with our favourite snack?

Sugar-filled, full of fat and completely and utterly delicious. There are very few foods that people feel quite as passionately about. Boxes of Wispa bars, brought back by popular demand are disappearing from the student union shop at a phenomenal rate and very few seem able to resist a steaming cup of hot chocolate this time of year. The high regard for chocolate is more evident now than ever before.

Its history goes back as far as the

Mathew Enright st

1 year Arts Favourite chocolate bar?

Crunchie.

How much: I wouldn’t eat that much in general.

Positive/negative health affects: I’d say it would have more negative effects than positive ones.

Ger Reilly st

1 year Arts Favourite chocolate bar: Galaxy Caramel.

How much: Not a lot really.

Positive/ negative health affects: Doesn’t it release the same endorphins that release the feeling of love?

Claire Nolan st 1 year Arts Favourite chocolate bar: Wispa How much: I’d eat a few bars a week during college to keep my energy up.

time of the Aztecs, who consumed cocoa beans, recognised for their stimulant and restorative properties, as well as using them for religious ceremonies.

Chocolate was reserved especially for warriors, nobility and priests as the Aztecs believed it to provide wisdom and vitality.

Nowadays it is a lot easier to come by. It’s a sure-fire way to get children to eat breakfast cereal and can be added to pretty much anything to make it taste better. It seems chocolate can do no wrong, but one must consider the effects of over consumption. Just as it can bring on good side affects, there is also an unwelcome dark side to our delicious friend.

Positive/negative health affects: Well, not sure about bad ones but it makes me happy.

Ci Moultan st

1 year Arts Favourite chocolate bar: Wispa How much: I would have quite a lot.

Two or three bars a day probably.

Positive/ negative health affects: Not really. I suppose sometimes it can make you hyper.

Sinead Gillen st

1 year Arts Favourite chocolate bar: Moro.

How much: I don’t actually eat a lot of chocolate, I’d definitely eat it if someone gave it to me, but I wouldn’t go out of my way to buy it.

Positive/ adverse health affects: Well it causes people to gain weight and makes them fat.

The bad effects Chocolate contains large amounts of undesirable ingredients in terms of health. Even as the chemical phenylethylamine causes excitement, it has also been shown to generate worry and anxiety. Consuming large amounts of chocolate may increase stress levels.

The delicious substance has also been linked to obesity. It is said to have no nutritional value whatsoever and reportedly contains large amounts of unnecessary sugar and saturated fat that cause harm to our bodies resulting in weight gain.

As regards the myth of chocolate promoting acne breakouts, studies by U.S. Naval Academy showed that neither consuming chocolate nor excluding it

from the diet made ant significant changes in the acne conditions of the study’s participants.

However, according to UCD students who have previously suffered from acne, it appeared that the widespread view of chocolate is that it causes spots.

According to one student: “I know, no matter what studies show, that when I ate chocolate my acne got considerably worse. When I didn’t it wasn’t so bad. I don’t think it’s the only cause of bad skin but it definitely can contribute.”

The good effects Many chocolate lovers associate the food with comfort and love. The combination of small amounts of caffeine and larger amounts of the chemical theobromine can act as a stimulant for those who eat it regularly.

Chocolate is o en linked with happiness. Containing Tryptophan, a chemical that produces large amounts of serotonin, it can stimulate of elation as well as relieving pain.

Another chemical contained in chocolate is phenylethylamine. High levels of this neurotransmitter help promote feelings of attraction to others, excitement, giddiness. Phenylethylamine works by stimulating the brain’s pleasure centres.

Chocolate also contains anti-oxidants which studies claim prevents the development of cancer and heart disease.

Dark chocolate, which is high in cocoa content, contains little fat and sugar and keeps high blood pressure down, the blood flowing and is good for the heart.

So, guilty consciences can be eased by choosing the healthier option of dark chocolate over milk chocolate which has active benefits for the health.

Undergraduate Scholarships The Office of the Director of Access, in conjunction with the Ireland Funds and the Kathleen Rooney Miller Foundation, is pleased to offer a number of scholarship opportunities to Mature Students* at UCD. Scholarships will be available to a limited number of Mature Students, who are in receipt of or economically eligible for a Local Authority /VEC grant.

Fully registered Mature Students engaged in Full Time Degree programmes at UCD for 2007/2008 and studying toward their primary undergraduate degree are eligible to apply for the scholarships, which are worth €1000 Euro per annum for a maximum of three years.

Fully registered Part-Time Degree Mature Students studying toward their first undergraduate degree and who are up-to-date on Tuition Fee Payments and on limited income, are eligible to apply for ‘one-off’ scholarships worth €500.

Application for these scholarships can be made through the Mature Student Adviser’s Office, D207, Newman Building, UCD; Telephone 7168245.

www.ucd.ie/access/shared_news.htm Deadline for receipt of applications and requisite financial documents is 21st November 2007.

Please note: Only fully completed applications will be considered.

10

Siren

FILM

TH E THE

College Tribune

13th November 2007

Path to glory

Cian Taaffe takes a look at Kings, the film chosen as Ireland’s official submission to the Best Foreign Language Film Category at the 80th Annual Academy Awards

First screened at the Toronto International Film Festival in September 2007, Kings wowed its audience and le film critics raving about how breath-taking it was. A er a successful nationwide release in Ireland, it is definitely the best choice to send to the Academy Awards in 2008.

The film’s biggest star, Colm Meaney, was delighted to be involved in an Irish language film, claiming, “Trying to raise money to make an Irish film is tough at the best of times, but to make one as Gaeilge is really tough. If you’d asked me five or ten years ago would I be making a feature as Gaeilge now, I would’ve laughed at you and told you that you were dreaming. So the fact that it got made at all is a minor miracle, I think.”

“They sent me the script initially and I read it and thought it was terrific stuff.

I could handle the Irish because the script I got only had a couple of lines in it and I thought, ‘That’s no problem. I

can do that.’ My Irish is about Inter Cert level, and it’s a long time since I had a chance to use it.”

Unfortunately for Meaney, Kings, was to turn out to have only a couple of lines of English in it. “I got a bit of a shock when I got the shooting script because they had sent me an English translation of the script and I didn’t realise that at the time. So it was a bit of a challenge to get the Irish down.”

Ultimately Meaney managed to rise to that challenge and was very impressed with the finished version of the film. It tells the moving story of six young men, who le Connemara in the 1970s to find work in London.

We’re introduced to five of them in the present day, when they show up for the youngest of the original six’s funeral. We are told the story of how some of them dri ed apart, in the 30 years that preceded the funeral, through a series of flashbacks.

Kings touches on many important issues, such as emigration, alcoholism, depression, drug abuse and suicide and

although it is no action-packed blockbuster, the audience are le gripping the edge of their seats in anticipation.

The stunning performances from Meaney, Donal O’Kelly, Brendan Con-

roy, Donncha Crowley, Barry Barnes, Seán Ó Tarpaigh and Peadar Ó Treasaigh also add to the atmosphere.

This is the first time that Ireland will enter the Best Foreign Language Film

Category and Kings Director, Tom Collins, is excited about the submission.

He claims, “To receive this latest accolade is quite overwhelming and I am indebted to the Irish Academy for their support. I know it’s always dangerous to have messages in films, but I hope people will watch Kings and empathise with the whole experience of emigrants in a foreign land and how hard it is for them to find their way home.”

The success of Kings can only be a positive result for any other writers and directors hoping to have more feature films as Gaeilge commissioned. To receive a nomination for a prestigious Oscar would be revolutionary for the Irish language.

The Irish Film Academy and the cast and crew of Kings must wait in hope until that all-important announcement, but as Meaney himself notes, “The response has been fantastic. It’s done well at the festivals. The critical response is wonderful. Already I feel it has achieved more than I would’ve hoped and hopefully it will continue to.”

Lost without Lost With the Writers Guild of America currently on strike, Cian Taaffe investigates the affects that the action will have on our viewing pleasure during the season to come It’s the time of year once again when UCD students look forward to arriving in from the cold, ready to settle down on the couch for the evening with a bowl of popcorn and their favourite television series.

The return of programmes like Heroes, 24 and Lost is anxiously awaited by eager fans, desperate to catch the latest events of the nail-biting, suspense-filled entertainment.

But these hopes may be bitterly crushed by the strike action that has imperilled the fate of a huge number of acclaimed television series.

On November 5th, the Writers Guild of America (WGA) East and the WGA West, two labour unions that represent Film, Television, Radio and New Media went on strike against the Alliance of Motion Picture and Television Producers (AMPTP), a trade organisation that represents the interests of American Film and Television Producers.

Every three years the WGA negotiate a new contract with the AMPTP, by whom they are employed. Unfortunately, in the most recent negotiations both parties were unable to reach an agreement over certain issues, including DVD residuals, union jurisdiction over animation and real-

ity programmes and of course New Media; most notably the Internet and its downloads.

The last time there was a WGA strike was in 1988 and the strike lasted a total of 22 weeks, costing the American entertainment industry an estimated $500,000,000. AMPTP negotiator Nick Counter has indicated that negotiations would not resume as long as strike action continues, stating, “We’re not going to negotiate with a gun to our heads - that’s just stupid.”

Counter also claims, “At some point we’ll be back at the negotiating table, but it won’t be for quite a while.” The strike affects over 12,000 writers and the current situation does not look promising for film and television fanatics, since without writers to produce the scripts, there is nothing for actors, directors or producers to work with.

As far as the film production companies are concerned, there is still money to be made, as unused film scripts have been clogging up basements of these industries for years. The fact that they haven’t ever been used, does not mean there is anything wrong with the quality of the scripts, merely that there hasn’t been an opportunity to use them yet, with so many other films in the making.

Television industries however, do not have the same solution to this problem. The strike will ultimately affect all of the major prime-time TV series that viewers worldwide have become obsessed with. Some producers have already pointed out exactly how this strike will affect their shows if the strike goes on much longer than

Off air: Daily Show host John Stewart, and Carlton Cuse (inset) the New Year.

Fans of the hit TV series Lost, who have been looking forward to the series returning for its fourth season in February, may be in for a shock. The fourth season was to have a total of sixteen episodes. Currently the scripts for the first eight episodes have been scripted and most have been filmed, but if the strike continues for much longer, there is a danger Lost will not return to our screens until 2009.

“My concern about running the episodes we will have made is that it will feel a little like reading half a Harry Potter novel, then having to put it down. There is a mini cliff-hanger at the end of episode eight, but it’s like the end of an exciting book chapter; it’s not the end of the novel. Damon and I didn’t write episode eight differently, with the strike in mind. We wrote it to be the ending of episode eight,” announced Lost executive producer and writer, Carlton Cuse when asked how

the strike will affect televisions biggest show.

Since Cuse and Lindelof want the season to air uninterrupted, without any sort of hiatus, it is likely that they will air season four and five back to back come 2009, rather than give us half in 2008 if the strike continues. It seems if the strike lasts, we’re destined to settle for repeats and reality television.

Many well-known actors have already shown their support to the WGA, most notably Alec Baldwin who hopes the writers get the contract they want. “As an actor who has worked in film and television since 1980, I have always been pretty clear about the fact that we are nowhere without the writers in our industry. And that goes beyond the scary concept of a world of unscripted reality TV. Television and film writers are responsible for some of the greatest literature in the history of our society.”

Siren

FILM

TH E

College Tribune

13th November 2007

11

Living up to legendary expectations Beowulf has been considered one of English literature’s greatest works and the film version certainly lives up to that accolade. It is also the first epic film to be filmed fully in 3D. Director Robert Zemekis rounds up an all star cast which includes Brendan Gleeson, Anthony Hopkins, Angelina Jolie, and John Malkovich to create the most action-filled film of the year.

In a legendary time of heroes, the mighty warrior Beowulf (Ray Winstone) battles the demon Grendel and incurs the hellish wrath of the beast’s ruthlessly seductive mother

(Angelina Jolie). Their epic clash forges the timeless legend of Beowulf and Beowulf’s character shows that even the strongest beings can be weak as he makes a pact with the Devil himself.

The creepy 3D imagery brings so much to the film as the graphics and fight scenes are now even more vividly violent and gory.

However the 3D and CGI does make certain scenes too unrealistic and makes the viewer feel like they’re playing a video game. This can be forgotten most of the time though, as the acting throughout is nothing less then sensational.

The ancient tale introduces the various crossroads we encounter in life; love, deceit, religion and corruption. This is a classic tale of good versus evil but also deals with what happens when the hero makes a deal with the dark side.

This is a film that should be seen; not just for the fans of violence and thrillers but also for the 3D experience, and the film has been dubbed the ultimate action flick. Packed to the brim with blood, nudity and plenty of fight scenes, it truly lives up to those expectations.

Maximillian Harding

August mush ■

August Rush npppp

August Rush was never going to be anything other than an incredibly slushy and romantic offering. It tells the tale of two beautiful young musicians from opposite sides of the track, Louis (Jonathan Rhys-Meyers), a charismatic Irish guitarist and Lyla (Keri Russell), a talented cellist, who proceed to fall madly in love, sharing a night of passion atop a New York roof.

Fast forward twelve years and we are introduced to Evan, the product of the steamy encounter of Lyla and Louis, but separated from his parents through a series of unfortunate events. Now, propelled by an otherworldly sense of purpose, Evan abandons his orphanage and follows the music he hears all around him, as he goes in search of his parents.

It’s from this point that the film goes beyond cheesy and descends into what can only be described as an unbelievable mush. Though we can tell we are supposed to be rooting for this young boy as he struggles on the streets of New

■

In the Shadow of the Moon

nnnnp

York, swept along by an incredible musical talent, and while we can accept that a certain suspension of belief is asked of the audience by directors, Sheridan really pushes it here.

From Robin William’s Fagan type character and his gang of street urchins to Evan’s unfolding musical genius, coincidence a er coincidence follows one implausible scenario a er another. Along with that, character development is superficial at best while every imaginable stereotype of the fighting, drunken Irish is compounded.

The only redeeming feature of this film is its musical score which is genuinely outstanding. Other than that, August Rush is a cringeworthy disappointment and should undoubtedly be avoided at all costs.

Orla Kenny

Funeral fun Death at a Funeral is the latest film in a string of comic gems that include What About Bob, In & Out and Bowfinger from director Frank Oz in which the story centres on a funeral and the general chaos that ensues before and during the service.

Daniel (Matthew MacFadyen) is a decent young man still living at his father’s home, and when his father dies, it is up to him to organize his funeral. A generally solemn and reverent event, this funeral will be like none you have ever experienced before.

With sibling rivalry, a missing bottle of hallucinogenic drugs, an assortment of tiresome relations and the deceased’s midget gay lover (Peter Dinklage) this film

■

Death at a Funeral nnnnp

will have you rolling in the aisles.

There is a superb cast but the one to watch is Alan Tudyk who is without doubt the star. He plays the part of the hapless son-in-law to be, who finds himself completely out of it thanks to the misplaced attentions of his fiancée.

This film is a charming twist on the exploration of the dysfunctional family.

Filled with death, murder, blackmail and a handicapped old uncle who is also the most unbearable pain in the neck, it promises a dash of wit and charm mixed in with a few genuine surprises.

FILM RETROSPECTIVE

A fantastic journey It is far too seldom that films like Sky Blue are released and it is even worse when they are overlooked and underrated. Premiered at the 2004 Sundance Film Festival, Moon Sang Kim’s Sky Blue won the acclaim of critics but not the attention of audiences that it deserved.

Similar to many science-fiction animations, Sky Blue is set in 2142 A.D. War and pollution have destroyed mankind down to a lingering few; the survivors live in an organic sanctuary

■

Sky Blue (2003)

named Ecoban.

Cast out from Ecoban, our hero Shua fights to release Earth from the pollution which Ecoban creates and in doing so is reunited with a lost love who presumed him dead for years and is torn between his love for her and the fate of the world.

Visually Sky Blue is a stunner. Seven years in production and employing some of the worlds finest animators, the

results can only be compared to films such as Miyasaki’s Princess Mononoke or Otomo’s Akira.

Sky Blue’s animation is not its only unique quality; the film’s settings and characters are hugely accessible and has a strong vein of social commentary that cannot be ignored.

Moon Sang Kim named Disney’s Fantasia as one of his biggest influences and when watching Sky Blue you certainly get the same feeling of being immersed into a highly imaginative fantasy setting.

If you are a fan of animation and mind blowing special effects or if you

simply want to see something that is not mainstream, then Sky Blue is certainly worth watching.

Adam Watts

Death at a Funeral is another example that no one does comedy quite like the British. If you like comedy and you are looking for something to brighten your day, it is recommended that you don’t miss the funeral service of the year.

Amanda Farley

12

Siren

BOOKS

TH E THE

College Tribune

13th November 2007

More Harm than Good Barra Ó Fianáil takes an in-depth look at world-renowned American economist William Easterly’s most recent bestseller, The White Man’s Burden Why do we get out of the way for ambulances? Such action, with its inherent risks, seems to carry so little payback for us. If we do it simply because we are good people, can we ask that others be benevolent in this way? Society does require such mandatory goodwill.

The prospect of somebody refusing to move his vehicle to accommodate an ambulance would repulse society, and rightly so.

In his new book, Professor William Easterly examines these issues of social benevolence in a global context, and risks societal censure by telling us that the efforts of the West to aid the Rest have done more ill than good. A controversial, hard hitting proposal, particularly in today’s world, where we seem more aware than ever of our duty to help our impoverished brethren. These days, questioning our motives for doing so is not cool.

But question our motivations for giving such aid Easterly does. Is it to relieve humanitarian suffering, to promote economic growth among floundering countries, or to promote healthy democracy in countries where democratic institutions do not have a strong hold or history? In addition, one of the book’s main hypotheses is that aid can be effective (but generally isn’t) at achieving only the first in this list, and fails absolutely to achieve either of the latter aims.

The Millennium Development goals declare that “we will spare no effort to free our fellow men, women and children from the abject and dehumanising conditions of extreme poverty”. Surely such a collective effort by the international community can be nothing but laudable?

Easterly screams out a deafening ‘NO’, rejecting any such impunity as dangerous nonsense. His attacks on utopian

■ ■

The White Man's Burden William Easterley

nnnnn plans to do such things as “achieve universal primary education” are hard to hear, and easy to disregard as stemming from cynicism or apathy. Hear it we must however, because in Easterly we meet a man whose care for those living in poverty resonates throughout his work, a man who is willing to stand up for these poor men and women and what he sees as our genocidal acceptance that foreign aid is good, good enough.

In the first of many snapshots, a collection of moving essays that appear between the book’s chapters, we meet Amaretch, a ten year old Ethiopian girl who lives in the countryside outside Addis Ababa. Everyday she wakes at 3am to collect eucalyptus branches then begins, bent double, the day long walk into the city to sell her firewood.

“I don’t want to carry wood all my life” says the young girl “I would prefer to be able to just go to school and not have to worry about getting money.” It’s unsurprising perhaps that when a group of Western television cameramen encountered the depths of poverty in Ethiopia for the first time, they went back to their hotel rooms and cried their eyes out.

This, says Easterly, is the right response.

He dedicates this book to Amaretch and to the millions of children like her around the world.

But how then can Easterly criticise the international system of monetary aid set up to help girls like Amaretch and solve other such needless tragedies?

Easterly presents to us a maddening scenario whereby these humanitarian tragedies are indeed shown to be needless, but because the foreign aid system has

consistently failed to deliver for those it purports to help, millions of such heartbreaking stories will continue. $2.3 trillion dollars in foreign aid over the past five decades, Easterly points out, has still not managed to get twelve cent medicines to children to prevent half of all malaria deaths, or get four dollar life saving bed nets to poor families, or three dollars to each new mother to prevent five million child deaths, or enable Amaretch to go to school.

The current system, which revolves around the World Bank, the International Monetary Fund, the United Nations and various national aid agencies, involves giving a large proportion of what is known as ‘foreign aid’ to the wrong people in the wrong way. Easterly criticises the impotent attempts made by these institutions to reengineer whole societies, with historical routes and societal networks and workings far too complex and intricate even to understand, by giving large sums of moneys to o en hopelessly corrupt if not monstrously tyrannical administrations.

When we fall short of the Millennium Development Goals, which Easterly says we inevitably will, his book purports to

show strong historical evidence to suggest that the collective nature of our aid institutions will leave little room for actual accountability for any particular person or group, for any particular failings, and that we will escape our collective guilt again by assuring ourselves that more must and will be done. New goals will be set, and as we once again get lost in our emotive rhetoric, Amaretch will still be carrying firewood.

It’s comforting and perhaps natural to think that eliminating unacceptable levels of poverty would be enough to ensure the efficient spending of aid budgets, but The White Man’s Burden puts forward a convincing case that, even in a field as noble as development, a lack of accountability can, and does, lead to unfathomable inefficiencies.

Easterly sees hope in those whom he

calls Searchers, the people and small operations who work on the ground and find projects that work for those in need, and who then carry out these projects efficiently. The incremental improvements made by such groups in the lives of the Rest are presented by Easterly as the only way forward. The rest is futile, with the author claiming that we can not reengineer societies into healthy market-based democracies, and collective utopian goals will fail.

Easterly, as an economist, brings the free market into the development sector to an unnerving extent perhaps, but he himself recognises that he has few answers and that even those few may not work. He will however, leave you convinced that improvements must be made, because what we’re doing, isn’t working. Ask Amaretch.

Telling tall tales Caitrina Cody attended the modern adaptation of The Playboy of the Western World at the Abbey Theatre and was drawn into the marvellous world of Synge’s psychological masterpiece When a young Nigerian man arrives at a North Dublin pub owned by a drug-dealing gangster, he spins a tail that soon has the locals hanging on his every word. But is Christopher Malamo the real thing, or has the attention simply gone to his head?

The Playboy of the Western World is an Irish classic, with a controversial history. Causing riots at its first performance back in 1907, it has been given a modern twist by writers Roddy Doyle and Bisi Adigun who have situated the play not in the rural Ireland of the early twentieth century, but in present day Dublin.

The title character is Christopher Malamo, (Giles Tererra) an educated Nigerian man who seeks refuge in the

■ ■

The Playboy of the Western World

nnnnn

criminal bosom of the James family and falls for acid-tongued barmaid Pegeen Mike (Eileen Walsh).

The script has been adapted in true Roddy Doyle fashion, with the dialogue littered with expletives and colloquialisms that add to the fast-paced hilarity of the play. Liam Carney is superb as the witty but menacing Michael James, father of the family, and Angeline Ball shines as the Widow Quin, a glamorous older woman with a sharp tongue but a good heart.

The play is packed with comedy, particularly through the interaction of Christy with the local girls as he at-

tempts to impress them with tales of his legendary deeds. Pride, however, normally comes before a fall and fans of John Millington Synge’s famous play will anticipate the arrival of a very unwelcome guest on the scene, Old Mr Malamo, (Olu Jacobs) who will put an abrupt stop to

Christy’s fun and games.

Dealing with themes of community, heroism and conflict, the central message of Synge’s play is le intact. The power of fine words and tales of great deeds can be seen to exert the same mesmerising power over this Dublin community as it did over Synge’s peasant community at the turn of the century.

Certain scenes do have a tendency to descend slightly into the territory of slapstick however, particularly the scene in which the locals turn nasty, an

event that could potentially call for more subtlety.

Ultimately, this adaptation of The Playboy of the Western World is a rich and humourous version which should not be missed.

The play will finish its run at the Abbey on the 24th of November, so take advantage of the Abbey’s special rates which allow students to buy tickets for €10 upon presentation of a student card.

For more details, go to www.abbeytheatre.ie.