college tribune entertainment supplement26.2.13

BREDA CASHE

EPNRSH26.2.13 12

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Music EditorCiaran Breslin

Arts Editor

@conorfoxor

Conor Fox (aka Foxy

)

Fashion EditorRoisin Sweeney

I thankfully managed to stay awake long enough this weekend to have a modicum of control over what went opposite my photo. I’d been informed a ‘Lonely Heart’s’ advert. had been written in my honour – seeing as I didn’t get a single Valentine card last week,

I’m slightly disappointed that it wasn’t used.

Onwards and upwards.

Lisa Gorry has barely been off the phone the past few days; she chats to the Trailer Park Boys and Breda Cashe in this week’s Siren. Cashe directed the currently running

Tuesday’s with Morrie – a terrific play which I thoroughly enjoyed – and the Trailer Park Boys... well, they were hungover.

Speaking of plays, our newest contributor Jane Cowen reviews UCD Community Musical The Phantom of the Opera. If you didn’t catch it, you can just read her review and

pretend it’s your own opinion. It’s what I do most of the time.

The National Concert Hall is hosting the RTE Concert Orchestra this Thursday presenting Super Troopers – The Music of Benny and Björn. I’m not saying I’m going to

wear bellbottoms but I’m definitely not saying I’m ruling it out.

Stay artsy UCD.

As rumours continue abound as to whether we’ll have a UCD ball this year, I’m happy to announce to all interested parties that I got a ticket to Trinity Ball, which sold out in a day or two I think, and had it’s line up announced last week. I’m particularly looking

forward to Tiga and The Vaccines, as well as the bit when The Magician plays that I Follow Rivers song, which should make for a pretty iconic festival moment.

The UCD ball is all well and good but there’s nothing like being in the middle of Dublin City in a tux at 5am for a really unique experience, surrounded by people stumbling

around blearily while dressed up to the nines. The accompanying picture actually, which I keep forgetting to get them to change, is from Trinity Ball two years ago which was

probably the best night of the year. If we end up without a ball in UCD (or to be honest, either way) then I’d strongly recommend doing whatever it takes to attend this instead/

as well.

Also, there was the disastrous news last week about Jamie xx being rescheduled until June, on a date which conveniently coincides with The XX playing the O2. One of the

most anticipated gigs in Dublin judging by demand for tickets, which I’m probably going to miss now, so a real pity that its been moved. Oh, also I’ve been listening to a good bit of

Metric, who are awful good.

That’s about all I’ve got for now I reckon.

I’ve been completely absorbed by the Autumn/Winter shows for the last two weeks, taking in the pre-show hype on twitter, catching the live streams, then reading reviews. I’ve gotten

myself into an autumn mindset, and considering this is February, and the trends we’re seeing on the runways at the moment won’t be available until September, this is not a good

way to be. The democratisation of fashion has allowed anyone with an interest to have a huge amount of access to fashion month, something that was traditionally a trade show for

buyers and journalists. The shows will be over in the middle of March; the fashion world will sleep for a week, and then begin to digest trends. By the middle of April magazines will start calling in looks to shoot for the September issues, as a magazine goes into production three or four

months before it is released. This is why the Autumn/Winter shows take place at this time of the year, and it all worked fine until the internet got involved. Because we are now able to see shows instantly, we want the products instantly too. People are tired of Spring/Summer trends because we’ve been looking at them since September. Burberry have gotten around this problem by allowing consumers to buy straight from the runway show, but it doesn’t

seem right to be buying winter clothes at the end of February, no matter how cold it is. Opening fashion shows up to the public is a wonderful thing in many ways. The

industry was notoriously elite but now we all have a front row seat, however it becomes a real problem when potential customers, craving the new, want what the see on the runway

when it won’t be available for six months. When this season’s trends already feel old a change has to be made somewhere along the line.

I EE IST L M U S I C 03 The Siren’s Guide to.. The zoo 04 HMValuable?

A R T S 06 The music of the night Side By Side

07 What’s ‘Appening Guide to the best free apps

30 seconds with.. The Trailor Park Boys

09 Tuesdays with Breda Interview with Breda Cashe

F A S H I O N 10 NY, London, Milan, Paris A story of show seasons 11 Style Icon Loulou de la Falaise Chic/Eek Irish Design to Anne Hathaway

CONTRIBUTORS

Chris BectonKathryn ToolanJane CowenChristopher KenneallyElaine McDonaldLisa GorrySean O ReillyLauren TraceyAmanda Ouellette

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3

T he Smiths, one of the best and most influential

bands of the 1980’s, broke up in acrimony in 1987, as the disharmony between lead guitarist and melodist Johnny Marr and vocalist Morrissey became too much for the band to bear. Since

then, Morrissey has hardly looked back, releasing album after album of idiosyncratic indie-pop songs, drenched in his familiar dramatic persona, the acidic tongue and scath-ing lyrics that made up half of The Smiths appeal. The other half of that appeal, lay squarely at the feet of Johnny Marr who wrote some of the

By Ciaran Breslin

Album Reviewsmusic@collegetribune.ie26.2.13

Johnny Marr - The Messenger

The Sir en ’ s d e f in i t i v e gu id e t o…The ZOOStudent prices and spring, if you want somewhere

to skulk around and whittle down the long hours of the week, or dream on a safari but hate the overly contact nature of such trends, then the zoo is the

place that is for you.

Simon & Garfunkel – At the Zoo

Warpaint- Elephants

The Beatles- I am the Walrus

Sinead O’Connor-The Wolf is Getting Married

The Joy Formidable- The Leopard and the Lung

Written about social situations rather than an actual the Zoo, Simon & Garfunkel know how to collate a fine list of animals,

orang-utan, antelopes and all the rest. I would prefer an additional reference to a red panda but alas, such wishes are not found in such

songs.

I like elephants, I love Warpaint, As a result of these two facts this was bound to make this list. I like to think the elephants of Dublin

Zoo spend 90% of their time having the bants with the giraffes,

which could be the case as they are two animals that clearly have a rapport. Then again the same

could be said about Warpaint, all the while they tease fans by not

releasing any new music.

Does Dublin Zoo even have a Walrus? I don’t know but they

clearly aren’t the most interesting of animals, this song does however

an infinite level of intrigue and enjoyment. I recommend

investing in the Magical Mystery Tour rather than the price of

entrance to Dublin Zoo, in the off chance you see one of these heaps

of blubber.

Ireland’s favourite over-sexed nut job

released an absolute gem of a song and

album in 2012. Alas nobody remembers

this; all they remember is her in heat on the

Late Late Show.

If I could offer the reader one piece of advice it would be this: Don’t, under any circumstances,

antagonise a leopard… The results won’t end well.

Any Whitesnake; First Aid Kit- The Lion’s Roar; LMFAO (as they are animals of a different kind); Heart- Barracuda; Miike Snow- Animal

Notable Omissions...

Jefferson Airplane-White Rabbit

Yes, this song, it’s about… err…

rabbits?

By Chris Becton

most appealing and recognis-able guitar riffs in pop music, from This Charming Man to How Soon is Now, and with-out who The Smiths would not have existed. While Mor-rissey plunged on with his tumultuous and sometimes equally brilliant solo career though, Marr largely put his feet up. A string of guest ap-pearances and brief tenures in both Modest Mouse and The Cribs has seen the guitar-ist drift around the industry, lending his iconic jangling Rickenbacker to what are largely individual and already complete sounds (both bands were well established by the time Johnny plugged in his amp). It never really felt like Marr could be bothered to try and recapture the undeni-able guitar genius that once lit up Morrissey’s baritone. Until now, 25 years after The Smiths, when he’s somewhat strangely decided to release his debut solo album.

The problem with this is that Marr was never a solo artist, and nor was he ever a front-man. His talent with a guitar is iconic in a way that very few guitarists can claim to be: his playing is as unique and rec-ognisable as a singer singing, like Jimmy Hendrix or Jack White. It feels a bit disingenu-ous to suddenly decide, after all this time, that sure, I’ll just sing and write a few lyr-ics myself, how hard can that be? Harder than he thought apparently. What’s good about the album lies, exactly as you would expect, in the riffs and melodies. The title track in particular, bounces and peals along very pleasantly, but Marr’s voice just don’t have the charisma of any of the vo-calists he’s previously worked with. Occasionally its genu-inely thrilling: European Me just sounds like The Smiths with a stranger singing, which is to say, eminently listenable but distinctly lacking in what

made The Smiths the band the were. Perhaps this is the best he can hope for: the further Marr strays from that tem-plate the more boring the re-sult. The new single, Upstarts, in particular loses some of his more iconic guitar lines, and just sounds bland.

Johnny Marr is definite-ly not a solo musician. He’s made to look cool lounging around beside a singer, effort-lessly picking out the kind of riffs that thousands of indie bands would kill for. The Mes-senger is probably worth a lis-ten just for the few nostalgia rushes that it includes, but re-ally it’s just a reminder of his outstanding talent, and how little he’s really doing with it these days.

music@collegetribune.ie

426.2.13 music@collegetribune.ie

aluable?Earlier this year, Deloitte, acting as receiver for HMV, announced that the high street store was to close for good in

Ireland. An iconic part of the commercial landscape of the country for the previous couple of decades, HMV for many people represented their main access point for music, as well as video games and films. The closure, which

has been threatening to become a reality for a number of years is often held up as emblematic of the changing face of music consumption, the lack of physical album sales and the rise of internet based shopping, with the receiver comment-ing that the “marketplace is very difficult given competition from web-based retailers and digital downloads”. Quite apart from the obviously tragic economic implications (the loss of 300 Irish jobs) music fans, artists, and publications have been

coming out in strong voice lamenting the loss of both a source of music and a part of musical culture, sharing their fa-vourite memories of the chain and explaining what HMV means to them. Here, two of The Siren’s most talented and char-

ismatic writers take opposing views on the implications of HMV’s closure, and how it will personally affect them.

I knew this day would come. It was inevitable, but I never anticipated the rapidity of the change. And yet, as I write this I am contradicting everything that I say by my almost sub-conscious actions. My laptop

screen mirrors that of any college student’s. I have four YouTube tabs opened and the green icon of Spotify is winking at me from the bottom of

the desktop. We live in a digital age, where music is a click away. Travel back 30 years and it’s an entirely different story. If you liked a band or a

song, you purchased their album – in LP, tape or CD form.

Walk up Grafton street and you’ll soon find yourself standing beside a graveyard. Look through the glass doors of the recently closed HMV store and try not to feel a bit nostalgic. Like a snapshot of the past, a quickly fad-ing era stares back at you, plastic discs encased in plastic. As a child from the country, traveling to the city was, kind of a big deal. Visiting music shops was a given, as there was no other way to purchase music. I remem-ber buying my first CD. With a trembling hand, I handed it to the cashier. He scanned it, then placed it carefully in a bag, adorned with a picture of a dog and a gramophone. It was handed to me – a physical representation of my love for music, and in this instance – the infinitely talented.. 5ive. Clicking a mouse and watching a file download is just not the same.

In HMV, all were welcome. Whether you had arrived with the sole inten-tion of picking up whatever had wormed it’s way into a chart position, or you were there to thrall through the shelves to find the album by that band with that song that does “dum da dummmm dum,” the welcome mat was out for you. If you had a question - you asked an employee for assistance, whilst at the same time enjoying some witty conversation with a person that you knew had an interest in music, in some form or another. Music buy-ing was an experience, which can not be replicated by clicking an icon and watching something save onto your computer. Although there are still some music shops around the country, they are a dying breed. Once the mp3 was invented, the CD knew it’s time was limited. And nowadays if you own an LP, you’re suddenly part of the vague/undetermined “hipster” movement.

The closing of HMV saddened me. It was a real reminder that business is business, and if there is no demand for an item, there will be no sub-sequent supply. It caused me to take a nostalgic trip down memory lane. It caused me to take out my Dad’s LP of “Born in the USA” by Bruce and angrily listen to it whilst at the same time cursing my generation for their stupid desire to “progress” and “develop as an intellectual species.” But as I put away my tiny violin and make myself a cup of tea, I’m reminded that it’s not the end of the world. Music is still brilliant, regardless of how we choose to experience it. Sure I’ll miss HMV, but time heals all wounds. In the words of the great 5ive, “I know it’s not great, but it’s okay – we’ll keep on moving on anyway.”

Why I’ll Miss HMV...

I haven’t bought a physical CD in at least seven years I don’t think, and that’s a conservative estimate. Actually I would have probably bought my mother one for her birthday or something a couple of years ago, but even

she has subsequently mastered Pirate Bay, and spends all her time asking me “what seeders and leechers are”. So that’s that, HMV is of almost entirely no use to me.

Don’t get me wrong, I have fond memories of HMV and record stores in general, but they stopped when I was around fourteen or so. The reason HMV was regarded as an institution is because, for many years, it was indeed the pinnacle of musical fandom, the best, most accessible and most exciting source of music. Back then, it was thrilling to physically flick through the back catalogue of the various bands that I was beginning to experience, but as my musical taste and experiences got more expansive and nuanced, the less HMV had to offer to it. Soon there was no thrill to be found in record stores. When-ever I’ve been in them in recent years, I’ve barely noticed any interesting music, just the usual rubbish we ignore on the radio. So while I can appreci-ate the nostalgia, it’s nostalgia for an era that hasn’t existed in nearly ten years, not one that has just snapped shut with the doors of HMV on Grafton St.

To me, the excitement, the charm and potential in music consumption today is inextricably linked with the digital age. The sheer volume of music we have access to means that, as far as I’m concerned, we’re by far and away the luckiest ever generation. Indeed, there’s a kind of arrogance in suggest-ing otherwise. There’s nothing innately impressive about going to lengths to acquire certain music: either you want to get it or you don’t, so the easier it is to achieve the better. There was a time when going out to HMV to buy a CD was the most exciting and efficient way we could appreciate music, and I agree with Kath, clicking a mouse and watching a file download is indeed just not the same. It’s better.

Similarly, I have almost no interest in actually owning a CD, the supposed tactile satisfaction of a plastic box and a few liner notes. At its best, I suppose it can be an understandable throwback for those who are maybe a bit less comfortable with technology. At its worst, It seems to me to be just buying into an unrealistic aside, the desire to create an air of elitism that has thank-fully been eradicated by the ubiquity of music. If there is any place for elitism in music (which for better or worse, there probably is a bit) it lies purely in appreciation of the music itself, not in arbitrary things like where you get it. There’s no glory to be found in passing off anachronism as heroism, walking around like Joan of Arc with a melting Walkman.

The need for physical album sales, and it’s long term implications for the music industry is another argument entirely, and we may indeed end up rue-ing the day HMV began deteriorating, as less money being generated results in less funding available, meaning less new bands and new music. Right now though, I barely noticed HMV closing and it hasn’t affected the torrents of new music I have access to. My advice to anyone who feels differently would be to be thankful for the unprecedented access you have to music, and invest in better broadband.

Why I Won’t Miss HMV...

By Kathryn Toolan By Ciaran Breslin

arts@collegetribune.ie

6

Jane Cowen

It is no easy task taking on one of the most popular and successful musicals of all time but UCD Com-munity Musical made it look effortless. Their ren-

dition of Andrew Lloyd Weber’s The Phantom of the Opera was packed with passion. From the stunning vocals to the clever set design and the comedic timing to the technical surprises, they presented the audience with such an array of talent that the standing ovation seemed to last a good five minutes.

The bitter cold queuing and unexpected wait before being seated were soon forgotten once the orchestra began to play the overture, led by musical director Kil-lian Grumley Traynor whose excellent guidance can be clearly seen through the outstanding and seamless blend of vocal and instrumental unity. Under the di-rection of Sean Gilligan the cast delivered stellar per-formances full of energy and emotion.

Jeremy Crothers as The Phantom brought such feeling and depth to the role with soft heart wrench-ing vocal moments along with his eerie presence both on and off stage. Emily Doyle as Christine Daaé daz-

zled the audience with her astounding voice and vulnerable performance. Both actors delivered the iconic musical numbers such as “The Music of the Night” and “The Phantom of the Opera” with moving sentiment and dynamic range.

Raoul was played by Stuart Pollock who de-livered rich solos and acted as our hero through-out the show. The comedic timing of both Sarah Gordon as Carlotta and Glenn Murphy as Ubaldo was flawless and their singing outstanding as they gave much needed humour to the dark plot of the show. The lighter musical numbers were shared between them and the comedy duo of Ci-arán Murphy as Monsieur Firmin and Jonathan Dungan as Monsieur André, who entertained the audience with their oblivious attitude to The Phantom’s death threats particularly during their shameless flattery towards Carlotta during the song “Prima Donna”.

Aly Coyne as Meg Giry leads the ballet group with grace and her anxious nature builds the

dramatic tension indicating The Phantom’s sinister presence and Nicole Doyle as Madam Giry foreshad-owed The Phantom’s attacks singing beautifully. The ensemble made the show vibrant with energy and the gorgeous harmonies were endlessly impressive, par-ticularly in the song “Masquerade”.

In relation to set design the clever use of the pro-jector used on the backdrop must be commended for literally setting the scene. The reversible theatre box-es on each side of the stage framed the opera within the performance while also changing to indicate new scenes. Special effects dazzled us from a crashing chandelier to flames on stage. Few props were used and few were needed as the show revolves around the musical delivery and the cast certainly delivered the goods in that respect.

The sense of unity and passion that UCD Com-munity Musical put on stage made this huge feat a huge success. The tension on stage had the audience on the edge of their seats and the reaction at the fi-nale said it all as everyone rose from their seats in applause.

26.2.13

This documentary is an in-depth discussion about the recent transition from film to digital cameras in filmmaking with

some of the biggest names in the business. It chronologically discusses the many innovations and seminal films on the new digital format, interspersed with countless outstanding interviews. This is all wrapped up in a neat package presented

by Keanu Reeves. The film does have a slight bias towards digital

however it does still highlight what artists and filmmakers have been able to accomplish with both film and digital; both sides well represented with regards to interviews. Side by Side features interviews with world famous directors, top cinematographers, colourists, engineers and also artists themselves as they fight their corner about the practicalities of working with film and digital.

The film is an amazing piece of art itself. You cannot help but respect the work that went into making it. Keanu Reeves is an excellent host, and his

interviews with the cream of filmmakers will amaze you with their content and insight. The technical side of this documentary that investigates the history, process and workflow of both digital and photochemical film creation

Now showing in the IFI.

SIDE

SIDEBY

may be trying for some, but trust me it makes a satisfying whole.

This is one that may slip past you, and if you let it that would be a crying shame. Track it down and view it. It is a must watch if you have any

interest or any love for cinema as an art form.

Director and Writer: Christopher Kenneally

By Darragh O’ Connor

2012: 99mins

The Music of the Night

By Jane Cowen

7arts@collegetribune.ie26.2.13

So how have things being going for you since the show ended? -They’re good, good... We’re kinda hungover ’cause it’s kind of early in the morning here [It’s 10.29am in Canada]

That’s not such a bad state to be in; it’s the sign of a good night before!-That’s true, we had a great night.

What have you guys been up to? You’ve got a movie coming up soon haven’t you? it’s starting filming in March?-Yeah; March... we’re looking forward to that.

And can you tell us what it’s going to be about?-We have no idea. [Queue laughing] We just kinda show up and throw the cameras on.

What are you looking to get from the movie?-The money.

Really?-Yeah, free cigarettes and free booze, it’s pretty cool.

Is it just about the money and the free stuff?-Basically, yeah! Julian usually signs a bad contract, so it’s usually just free money and free booze [that we earn].

And you’ve been touring? How has that been going for you?-Constantly; we’ve been touring all over the United States, we went down to Australia and New Zealand last year. ... Yeah, it’s been good times, lots of touring.

And how do the Australian audiences take to the Trailer Park Boys?-It was pretty good; everywhere we go seems to be really good. Dublin’s our favourite place to go though.

And you’re coming back in May?-Yeah, May we’ll be there.

How do Irish audiences compare to the American or Canadian audiences?-Oh they’re way cooler than the Americans. They’re just like the Canadians, it’s like being home; everyone likes to drink like we do and swear like we do so...

On that subject, do you know that there’s a show in Ireland called the Hardy Bucks? [Hardy Bucks claims to be inspired by the Trailer Park Boys]-Yeah, we met those guys, they’re pretty good partiers.

What does the future hold for the Trailer Park Boys?

-Well, we’re still trying to retire...

Retiring, already?!-Well yeah, like, maybe still have the camera crews coming around, ya’know, not having to worry about cash anymore.

Do you get fans coming up to you wanting to party as hard as you guys?-Yeah, people just throw dope at us all the time, it’s great.

Would you ever think about moving out of your trailer park, now that you’ve got all this money?-I’d definitely move to Dublin for a little while.

Do you think you’d ever come to UCD, come for a visit?-Yeah, I don’t see why not, a lot of people like to party there

Yeah, but our student bar is closed though.-That sucks... we might get some liquor and start selling it to the students there...Then everybody wins! Thanks for the tip!

And with that, I left the l ads to recover. The Student Bar might be safe for now, but as for the world on the arrival of their new film? Watch this space.

Thirty Seconds with...

The Trailer Park BoysKnowing that Ricky, Julian and Bubbles, also known as Rob

Wells, John Paul Tremblay and Mike Smith, step right from the set into interviews, I was somewhat nervous about chatting with

the infamous Canadian rabble-rousers, whose mockumentary maverick “Trailer Park Boys” has inspired our very own Hardy

Bucks. Having established that the lads were somewhat hungover, I chatted with them about reopening the Student Bar, retiring, and

partying with the Hardy Bucks.

What’s ’APPening?

You’re hung-over, you’re in the throes of nausea and you have a 9am lecture in the Health Science building. Fun. Your only concern is probably trying to get to Centra for a chicken fillet roll and pass out as the lecturer explains that this is the lecture that will prove to be piv-otal to your summer exams. While the cold wood of the desk might be wonderful, save future you some effort and regret with this dicta-phone application. Allowing you to record your lecture, save file names and change the file format, this app means you’ve pretty much got your notes to hand before exam fever hits. They can even be converted to mp3 or saved to your laptop.

Remember you will actually have to hit record on your phone before you pass out.

Easy Voice Recorder Copper Face JacksEveryone likes to get the shift, sometimes people

become desperate. Coppers have gaged the levels of desperation and created an app to alleviate the prob-lem. With the option to get yourself on the guest list or cheap list, all the while never leaving the spot next to the socket in the library, this application pretty much has the blurry end of your night out sorted.

You can also do shout-outs to your friends via the neon sign on the night and request songs, with Call Me Maybe being excluded. I hope. Even if you’re spectacularly drunk when you decide to hit Coppers, there’s a tab that tells you whether you’re near the beloved menagerie of mistakes or if you need to stumble a little more in the other direction.

8tracks labels itself as ‘handcrafted radio’, allowing you to open your mu-sical tastes to a range of undiscovered musicians and genres. Simply type in what kind of music you feel like listening to like ‘indie+ happy’ or even the artist’s name and you have thousands of playlists labelled as such. Furthermore, you can create your own playlists and save them to the site.

This proves useful on the bus home to Galway, particu-larly if you have forgotten to charge your iPod, forgotten your iPod, haven’t updated your library in five years or, you

8track

We’ve all been there, you’re stuck somewhere, in the rain, there’s not a single mode of transport in sight. Now, to save one from pneumonia and relying on a bus, which is as elusive as Wally, this app uses GPS tracking to find your location and send the nearest taxi there in un-der 10 minutes. You can save your details, like your home address, beforehand and even your banking details.

This allows the fare to be taken from your account, for a small fee, with a receipt sent to your email im-mediately as soon as you’ve gotten home. The bank account option is a Godsend, saving one from the most awkward of situations where you’re fumbling for change and trying to decide whether a pa-perclip acts as legal tender or should you throw in that Mars bar you found at the bottom of your bag and pray for the best.

Hailo

A text message costs approxi-mately 32c to send, it costs the phone company 0.3 cent. Credit can be a massive drain on funds, particularly if you’re one of those people who feel compelled to up-load pictures of what you’re having for dinner onto every social net-work about 10 seconds after it has left the kitchen.

Whatsapp is basically a free messaging service, all it requires is an internet connection and friends who have the application installed. That’s all, and with free Wi-Fi in abundance, you’ll be sending your friends a picture every meal time. Oh goody.

WhatsApp

To make sure you utilise your smartphone smartly, Elaine McDonald checks out free applications that

might get you out of a predicament

By Lisa Gorry

arts@collegetribune.ie

826.2.13

WINE TIMEWine is a complex and fantastic thing. There are so many differ-ent grapes, countries, styles and flavours that it’s seriously tempt-ing to pick up the cheapest thing on offer. But think about it this

way, you wouldn’t buy a six-pack of Dutch when you could have

Heineken for a euro more. Exactly. We’ll make it easy, sit back, get a glass and check out these quality

wines.

This is a very light white with a similar flavour profile to Pinot

Grigio. If you like something with peach/pear fruit this will suit you

down to the ground. Very easy drinking, it’ll set you back a handy

€6.99.

Soledoro Trebbiano, Italy, 2010. (€6.99)

Chicken Run Sauvignon Blanc,

Chile, 2012. (€8.99)

Soft red fruits, cherry, and subtle strawberry notes, this wine has a medium body and is very easy to drink. It will go excellently with food, but is also happily drinkable on its own. If you’re someone who

appreciates the rioja style will definitely love this.

Marques De Aldaz Merlot, Granache, Tempranillo,

Spain, 2010. (€9.99)

For your drinking pleasure, Chicken Run also comes in the form of a phenomenal Shiraz. Also €8.99, expect juicy forest

fruits, currant and berry. It’s spent a little time in oak which has imbibed it with a subtle spici-

ness and just a touch of vanilla. As with the white, this wine is

organic.

Chicken Run Shiraz, Chile, 2011. (€8.99)

For some strange reason, people often overlook Chilean wines. I

have no idea why though, because bottles like this one will definitely have you coming back for more.

For €8.99 you’re getting a top quality wine with a touch of tropi-

cal fruit, citrus and classic sau-vignon herbiness. It’s also 100% organic, which like most organic wines gives it a touch of serious

class.

Malbec. You’ve probably never even heard of it. It’s a dark, rich grape that used to live in France, but recently moved to Chile and

is doing pretty damn well for itself. This Malbec in particular has a stunning deep red hue, and is both fruit forward and

earthy. Ripe berry fruit with an undercurrent of tobacco and chocolate, get into this now - before it goes all mainstream.

Norton Barrel Select Malbec, Chile, 2009.

(€12.99)

By Seán O Reilly

I began by asking Breda how she felt about her extended success, given the current economic climate... “It’s great to see people coming to the theatre. It’s escapism, and I sup-pose that’s the business we’re in, getting people to leave their troubles behind.”

I know you’ve probably been asked this a hundred times before, but why Tuesdays with Morrie?“I read the book a number of years ago, when my own dad was not well so it had a kind of resonance with me. I read the script and thought people would like it... We all know people who have died or who have suffered; the thing about this is that the characters that are involved, one, they’re very close. You know, they’re friends so you get that sense of closeness and intimacy between people, and then also Morrie deals with this illness with a huge sense of humour, so it brings a great bal-ance between [the dark side and the light side].”

And has Mitch Albom seen the play?“He hasn’t seen the production no, but we did meet him last Novem-ber.”

What was it like to meet him?“Fabulous, he’s a really nice guy. I was a bit scared about meeting him because I thought maybe he wouldn’t be as nice as I thought he was go-ing to be, but in actual fact he’s a genuine, really lovely man. He gave us some great insight into what really happened.”

Tuesdays with BredaLisa Gorry sits down to talk to acclaimed director and producer Breda Cashe

On a more general level, what got you into directing and producing?“Well I’ve just always been interested in the theatre, it’s been one of my hobbies [Breda was a member of the theatre company, The Strand Players], so I have it in my background. From a business point of view then it just seemed to make sense to me.”

Why stage, why not film or TV? Was it just that you had a lovefor the theatre itself?“I loved going to the theatre - it was as simple as that!”

Tell us more then about your current production, Joyced!.“Joyced is a production with Caomhaigh O’Kelly, written by his father Donal O’Kelly a number of years ago, about all of the characters who populate Ulysses really, and it’s a really good, humorous kind of play. We did brilliantly at the Edin-burgh Festival... got amazing reviews.”

So what can we expect to see from you in the future?“Well, we’re just looking at a number of productions which we hope to tour in the autumn and that Tuesdays with Morrie will continue. There’s some we can’t even talk about yet!”

Putting it in a broader context then, what’s your opinion on the state of the arts in Ireland at the moment?“Well I mean, I think arts, like everything, goes through its own doldrums. I think there’s a lack of money, a lack of sufficient funding to support all the different art forms, and I think artists are finding it a struggle, but then so are bankers and bak-ers; it’s just a difficult time. But the arts generally thrive in times of adversity.”

Finally, what advice would you give to aspiring directors now?“Just go and do it! Because, you know if you don’t, you’ll probably regret it... Just see where it takes you!”

Tuesdays with Morrie will run from the 13th - 18th of May at the Gaiety, with tickets from €19.65 (including booking fee) from the following outlets: Box Office: 24 Hour booking line: 0818 719 388; Group Contact Information: Ph:+353 1 6486029 or group.sales@ticketmaster.ie

Director: Sacha Gervasi Starring: Anthony Hopkins, Helen Mir-ren, Scarlett Johansson

Plot: Tells both the behind-the-scenes story from one of Alfred Hitchcock’s greatest films, Psycho, and the story of his marriage to Alma Reville (Mirren). Hopkins, with the help of some great prosthetic work, eerily embodies the titular character. Why watch it? If you’re a Hitchcock fan, it’s an interesting insight. Mirren is unsurprisingly wonderful, and it gives Alma Reville the atten-tion she deserves for her part in the Hitchcock story. Why not watch it? It’s interesting but stays on a superficial level, never fully delving into the curious mind of the legendary filmmaker, which is a missed opportunity.

arts@collegetribune.ie

926.2.13

Director: Jonathan LevineStarring: Nicholas Hoult, Te-resa Palmer, John Malkovich

Plot: R (Hoult), a strangely introspective zombie in an apocalyptic future, forms a relationship with Julie (Palmer), a human, and the power of her contact starts to bring him and other zombies back to life, changing the fate of humanity as they knew it. Why watch it? It’s an amusingly romantic combination of (500) Days of Summer and Zombieland. Nicholas Hoult straddles a fine line as R the zombie but manages to just pull it off. Why not watch it? If you’re into zombie movies, the inaccuracies cre-ate more plot holes than plot.

Don’t M i s s

This

Warm Bodies

A Good Day to Die HardDirector: John MooreStarring: Bruce Willis, Jai Courtney

Plot: Released here on Valentine’s Day - presumably for all the single people looking to

avoid the snuggling couples - this is the fifth installment of the Die Hard franchise. John McClane finds out that his son is just as much of a badass as he is. Why watch it? Willis may be getting old, but he’s still rolling around like he always has. The action is decent, if nothing else. Why not watch it? Do we really need another Die Hard? (Yes, apparently, as there’s going to be another after this.)

MamaDirector: Andres Muschetti Starring: Jessica Chastain

Plot: Based on the short film of the same name, two feral children found in a cabin in the woods are put into the care of their uncle. They have to adjust to normal life and their new mother figure (Chastain), but they seem to have brought something back with them - a sinister guardian they call “Mama”. Why watch it? There’s a good middle section full of scares, and the CGI used throughout, especially the unnatural movements of the two children, is really well executed. Why not watch it? It contains every horror movie, from the creepy children to flickering lights, and it’s not as original as it pertains to be. The original short film is much creepier.

Hitchcock

By Kate Duffy

FILMS4

It’s a Man’s WorldIf you were to check UCD’s Gen-der Equality facebook group you’d think it was only women and their (many, many) issues that mattered – say it ain’t so. Following from their feminist panel last month, the guys at Banter are hosting a discussion on what it means to be a man today, why we don’t talk about what’s bothering us – and why we should. Open and fresh discussion – it’s more than a bit of

Banter.Free (apply online), 19.30, Tuesday 26th, Twisted Pepper.

Jenna MarblesThe L&H knocking it out of the park once again; LawSoc, The Siren hears Daisy has plenty of time between modelling gigs if you want to contact her for some advice on how to get in guests. YouTube “celebrity” and all-round motor mouth Jenna Marbles will be bringing her trademark wit to Astra Hall. We’re planning on sitting at the back so she doesn’t

abuse us.€2 to join L&H or free for mem-bers, 17.00, Wednesday 27th,

Astra Hall.

UCD Jazz FestivalIn its third year, this festival prom-ises to be “even bigger and better than before!” – according to the facebook page promoting the fes-tival... We can’t quite fault UCD JazzSoc for the line up of events they have going: free daily perfor-mances at one pm in the Student Centre; the Aoife Doyle quartet and the Tetratonic quartet in the Student Centre on Tuesday and Thursday respectively; and Rich-view Memorial Hall hosting the Phil Ware Trio on Wednesday. An

event in Richview? Ambitious.Nightly events €5 (ticket for all three events - €10), 19.30, Tuesday 26th, Wednesday 27th,

Thursday 28th, UCD.

LoreAn adaption of The Dark Room, this offering from Cate Shortland follows Lore (Saskia Rosendahl) in the weeks after the Nazi collapse; delivering her siblings to their grandparents with a Jewish refu-gee in tow while battling with the unravelling of her Nazi assump-tions. A word of warning – bring your specs so you can follow the

subtitles.Entry fee varies, all week, the

IFI.

Oscars Roundup

fashion@collegetribune.ie

1026.2.13

NY, London, Milan, Paris – A Story of Show Season

Mid-way through the Winter 2013 shows, Lauren Tracey Assesses the Differences between the four major

fashion weeks

NY - OdlR

LONDON -GILES

-PRADAMILAN

IR

AP

S

-DIOR

The biggest events in the fashion world are undoubtedly New York, London, Milan and Paris fashion weeks. During these showcases of designers propositions for the upcoming seasons, a new star can be born, a trend can be made, and a designer can fall from grace.

Every year London displays the work of young, hugely creative talents. New York is always the place to look for a cool up and coming brand, and the designers have the kind of business savvy not usually seen this side of the Atlantic. In Paris there is an utter explosion of elegance and creativity, the hugely powerful houses snap up all

the best designers who usually developed in London or NY. In Milan, thanks to the history dating back hundreds of years, craftsmanship is on show, ‘Made in Italy’ means quality. Established in 1961 London is one of the least traditional of the four fashion weeks, it has a massive volume of young creative designers who aren’t afraid to experiment. This is not simply because London is a melting pot of talent where every second person has an innate ability to create couture. No; this is because in London organisa-tions and fashion houses take time and effort into investing into their youth to ensure that the talent and creative flair London has always been known for has never died away. Once such organisation is called ‘Fashion East,’ They are a non-profit organisation set up in 2000, and each season they give young designers a bursary, catwalk show-production, PR support and expert advice to help them launch their labels. Originally off-schedule, they were given a slot on the official LFW timetable, consolidating their reputation for successfully scouting and presenting Lon-don’s best and bravest new talent. It is measures taken such as these that cements London’s reputation for youth and challenging designs. London is also equipped with two of the best fashion schools in the world, Central St. Martins and London College of Fashion. In New York the emphasis is more on branding and business, the designers that show here owe a lot to the NY department stores, who can make or break a designer, because of this the design caters more to buyers than that in London. It’s a real problem that there isn’t much of a support system for graduate designers, hopefully they will adopt a similar approach to London when they see it’s growing importance on the worldwide stage. The first New York Fashion Week was held in 1943, the event was designed to attract attention away from the French fashion during world war two, and to try and create a culture of American design. For the Americans the purpose of fashion week was all about building American brand awareness, thus helping to create the business atmosphere that many notice of New York Fashion week today. Their plot was a success, and fashion magazines like Vogue increasingly featured American fashion. Writer Brooke Bobb for the Huffington Post writes “New York Fashion Week’s claims to fame are for being the first to showcase models and designers of now epic fame. Names like Calvin Klein, Michael Kors, Christy Turlington and Linda Evangelista were born off of the Big Apple’s runways. And although last year the shows were moved from Bryant Park to Lincoln Centre, the spirit and the styles still definitely have roots in the tents at 42nd street.” Originating in 1910, it is Paris Fashion week that is the oldest fashion event. Many fashion critics say that New York knows the business, Milan knows the craft, London has all the courage, but Paris is the dream. Al-though designers and trends change every season, and in the world of fashion it is very few trends that really stick around, Paris has managed to encapsulate the fantasy of fashion. While most of the major house in Paris are run by huge businesses, LVMH, PPR, the Gucci group, the city and it’s designers still retain their creativity. Peo-ple fall in love with Paris fashion because it transports you, it makes you dream. Whether you’re looking at the relaxed elegance of Chanel, the whimsy of a Vuitton show, or the modern new silhouettes at Dior, you don’t see the money making and the saleability of the clothes, you see the designers vision, something that they have retained against all odds. “Paris is the ultimate fashion mecca, chic beyond chic, the home of immortals like Chanel and Dior, the city of light. Paris shows this sea-son were truly representative of that ideal, showcasing impeccable design, brilliant innovation, and a sense of true showmanship.” Says fashion critic Sharon Wiez-berg. Paris has its own sense of timelessness and his-tory that one simply cannot emulate at any of the other fashion weeks. Lastly we have Milan, a city that has been known as the source of quality fashion craftsmanship for hundreds of years. Milan gains critical acclaim with designers like Prada and Bottega Veneta, and gives fashion month its sex appeal with shows from Dolce and Gabanna and Dsquared2, but it lacks new talent. Very rarely will a critic or a buyer get excited about a new designer in Milan, and this begs the question as to where it will be in the next twenty years? But for now it is known as a successful fashion week. The four fashion weeks are vital to the industry, and as they are mid-way through displaying their wares for A/W 13, the fashion world focuses on these cities with baited breath, just waiting to be wowed.

fashion@collegetribune.ie

1126.2.13

Chic

EEK

Irish DesignDerry’s J.W. Anderson

and Dublin born Simone Rocha had two of the most

forward-thinking and relevant shows at London Fashion Week. Both have

hugely bright futures ahead of them.

FurLike it or not it will be everywhere next season. Alex Wang had fur gloves, Versace had strange fur bumblebee coats, Fendi had fur everywhere, including on headpieces.

Jennifer Lawrence for Dior

The actor’s first campaign for Dior has been released,

and it’s incredibly beautiful. She replaced Mila Kunis, and is a far

better fit for the brand’s new direction under Raf

Simons.

Party Live-StreamsKarl Lagerfeld will be

streaming the opening of his new store during

Paris fashion week, queue extremely good behaviour and a rather boring party.

Rihanna for River IslandWhile New York fashion an awful quality, far too naked collection that drew the press away from young designer Thomas Tait’s show, which was on at the same time during London Fashion Week.

Anne HathawayIs it normal to hate someone you’ve never met so much? She was incredible in Les Mis, seems like a fairly normal person, and yet many people can’t stand to see her succeed. As I’m sure she will have at the Oscars by the time this goes to print.

Style Icon: Loulou de la Falaise

By Roisin Sweeney

SHOWstudio.com was cre-ated in 2000 and since then has endeavored to push the

boundaries of the fashion world. The idea of “moving fashion” was the brainchild of a Nick Knight, a British fashion photographer. The website has pioneered fashion film and has created a new medium in which we can appreciate fashion with moving images in digital form. When the website launched it was a new and innovative idea as it al-lowed for high fashion to be ac-cessed on an international level like never before. Previously a very closed off area, now it is only a click away. SHOWstudio.com has allowed

people to be able to witness behind the scenes of designer’s studios, so now any fashion lover can wit-ness the creative process of their favourite designer. One of the most incredible things about this website is just how instant it really is. Now we can watch catwalk shows live as they are happening. The website has been lucky to work with some huge figures of contemporary fash-ion including Alexander McQueen and Kate Moss. At the moment the site is concentrating on promot-ing fashion illustration, as well as live streaming panel discussions on fashion month’s most exciting shows. SHOWstudio.com has worked on more than 300 projects and has not only stuck to the world of fashion but has extended into mu-

sic, art and food. One of the main aims of the website is to show fashion in a new way

never been seen before and to change the way we experience it. Has it done this? Well, if you

haven’t been on the website – go on it now! It will change the way you see fashion. Fashion photography will be taking a back seat because fashion film is the way forward. It has completely reinvented the fash-

ion image. The website says in its mission that it wants to show fash-ions entire creative process “from conception to completion” and be-lieves that by doing this it will be beneficial both for the audience and the designer. By seeing the process not only is it exciting but it makes us love and appreciates the piece more. Not only that but we get to see the mind behind our favourite pieces, we get to see the master at work. This should be every fashion fan’s mecca. It allows for us to be involved in the projects and the site even encourages contribution and for us to respond it. Can this website get any bet-ter? Well, in 2009 SHOWstudio.com launched SHOWstudio Shop. This incredible addition offers hand-picked objects from differ-ent catwalk shows and studios and also some hand-crafted items by designers in a live studio space. What more could we ask for? The first article was created by Gareth Pugh in 2009 and since then many other designers have followed suit. SHOWstudio.com is well worth having a look at. Even if photogra-phy is more your thing it’s incred-ible to see a new medium in which we can appreciate fashion.

SHOW STOPPER

Loulou de la Falaise, born in 1948, created an unforgettable free-spirited and bohemian style by which Yves Saint Laurent was hugely

influenced. She was born into a family of women in which fashion was massively important. From her great-grandmother to her mother, Loulou’s inspira-tion was an all-inclusive Irish, English, French line. At age 21 in New York, she was discovered by Diana Vreeland, editor of American Vogue, who instantly knew her long stick legs, strawberry blonde hair, and wild style would make her a star. Modelling being one of many fortes, Loulou moved into working more directly with the styling side of things. Starting with a green-dyed fox fur coat that Saint Laurent gave to Loulou as a gift, their col-laboration forever became a landmark in the world of fashion. He loved everything about her strong and

witty style. Saint Laurent commented, “Her presence at my side is a dream.” Much of her style was very apparent in Saint Laurent’s elegant Parisian collec-tions, which led to the nickname “Yves Saint Lou-lou.” For De la Falaise’s second wedding, she wore midnight blue Yves Saint Laurent, her hair decorated with glistening moon and stars. She claimed that she wanted to look like a night sky in Morocco. Loulou de la Falaise was never a woman of simplicity: “I don’t like black, you wear black when you’re miserable.” Her style was daring, and nothing short of inspirational. She designed and constructed hundreds of pieces of jewelry –strings of extravagant stones, giving an over the top, signature look. After Saint Laurent’s retirement, Loulou formed her own label and opened a Parisian boutique, La Maison de Loulou.

A m a n d a O u e l l e t t e l o o k s a t t h i s w e e k s s t y l e i c o n , L o u l o u d e l a F a l a i s e .

Anninka E. Barry takes us inside the world of SHOWstudio.com, a wealth of fashion visuals.