College Tribune Entertainment Supplement29.01.13

2013 GIGS // PHILLIP PLEIN \\ WESTWOOD’S WORLD

LOCAL NATIVES \\ LORD HURON \\ ETSY

FILM REVIEWS // AWARDS SEASON

PATRICK WOLF

29.01.13 012

2

Music EditorCiaran Breslin

Arts EditorConor Fox (aka Foxy

)

Fashion EditorRoisin Sweeney

We’re not even back to college two full weeks and between receiving a host of new Christmas books, a fixed laptop meaning I can overdose on American television, and trying to ensure I catch as many Oscar nommed films as possible, the “I’m going to work so consistently this year!” mind

frame has completely vanished. And thank God for that.‘Everybody Matters’, Mary Robinson’s biography was one such book I received and it was one of the most inspirational memoirs I have read. It chronicles her life as a barrister, advocate, senator,

President of Ireland, UN High Commissioner for Human Rights and membership of Nelson Mandela’s ‘The Elders’ group of global leaders. Her memoir offers a roadmap in changing the

world; making mistakes and learning from them. For anyone with even the slightest interest in human rights or international affairs, ‘Everybody Matters’ will motivate and inspire you. Go read

it. Now.While not quite on the level of Robinson’s famous “Mná na hEireann” speech, Lisa Gorry

pinpoints such of the more infamous speeches actors have made upon receiving awards for their work. Check out our guide to what’s what in cinemas this week and try to see all of the ‘Best Picture’ nominations – you’ve got until February 24th! Having seen Les Mis, Django Unchained

and Zero Dark Thirty thus far, I’m swinging a lil bit towards Les Mis – what can I say? I’m a ‘Hugh JackFan’. Trying to pencil in Lincoln for some time this week, anyone want to come with me?

If you do, let me know – I’ll even share my popcorn.Stay artsy UCD.

@conorfoxor

Two highly anticipated (by me anyway) new songs were released last week. The Strokes have arguable operated on a sliding scale of quality since 2001’s era defining Is This It, an immediately appealing album that everyone loved

for some period of time and paved the way for a wave of indie-guitar imitators. Subsequent releases have retained bits and pieces of the easy majesty of their

debut, but never for a whole album. Since Room on Fire then, most have been hoping for what is inevitably advertised as a return to form, particularly

seeing as stylistically they never really developed that much. Which is fine, but removes a lot of critical indulgence. One Way Trigger, apparently a track off

the new album, then was released into the swarm of expectation this week and, shockingly, it inevitably isn’t the salvation hoped for. Based around an insistent

synthesizer riff that gives way at one point to a copycat guitar solo, it’s fairly bland. Most strangely, Julian Casablancas suddenly sounds like He-Man in that heyyeyyeya video, adopting an unrecognizable falsetto that’s lost in the synths. It really is pretty disappointing and an unfortunate reinforcement of the idea

that the Strokes are fast becoming a band that used to be great and relevant but no longer. The Knife on the other hand are back with aplomb. Without a proper album since 2006’s fantastic Silent Shout, the Swedish electro duo have teased their forthcoming album with an epic 9 minute tune called Full of Fire. All edgy echoing beats punctuated by bursts of jagged melody, it’s typically intense with

hints of theatrics, like a rave in a circus tent. I know which of the two albums I’m looking forward to.

Couture clothing is often seen as something of an extravagance, the shows presented in Paris last week were expensive to hold; with Chanel building a forest

inside the Grand Palais, and the clothing was expensive to produce; Valentino show notes stated that some dresses took over 500 hours work. On top of this the clientele is

tiny; there are about 2000 couture clients in the world. Many critics claim Haute Couture will die out, due to the fact that fashion houses

rarely make money from this element of their business, with the notable exception of Chanel. In my opinion, couture is still alive today because of two main factors, firstly, the publicity these shows provide is undeniable; these are the gowns that will grace

the red carpets at various award ceremonies in the coming months. Secondly, I believe that couture feeds a designer’s creativity in a way that ready-to-wear, which needs to

make money to survive, can not. Designers lucky enough to work in a house with a couture line have no boundaries;

they have much more financial and creative freedom. This also helps with the design of ready-to-wear lines and accessories, as ideas born from couture can be developed and edited. You can see this in particular with Raf Simmons at Dior; he carefully adapted Christian Dior’s classic codes in his first couture show, developed these ideas in his

other lines for Dior, and then took the opportunity of his second couture show to add much more personal elements to his designs, even creating a version of one of his most

celebrated looks from his time working at Jil Sander, a plain t-shirt with a ball gown skirt. The real importance of couture is that creativity, and not finances, rule the roost.

THE SIREN SPIEL

PHILIP PLEIN’S CONTROVERSIAL

PR STRATEGIES

PATRICK WOLF INTERVIEW

..........PAGE 6

...PAGE 1 1

‘You like me...you really like mE!’

..........PAGE 9

3

This week saw the release of the eagerly awaited second album from Local Natives.

Following on from the success of the self-funded Gorilla Manor, this indie offering is the first of their albums to not feature Andy Hamm, the original bass guitarist of the band. The band hail from LA, a collective of artists and mu-sicians that personify the words “collaborative effort.” For their second album, the band acquired a new studio and set about creat-ing the sounds and artwork for Hummingbird.

Local Natives have been com-pared to Fleet Foxes and Vampire Weekend, the faces of the Ameri-can alternative music scene. But

Who needs the UCD his-tory behemoth that is Diarmuid Ferriter when

you have us at The Tribune to sum-maries our nation’s meteoric rise in the 20th Century and extraordi-nary fall from grace.

Bruno Mars- Just the Way You Are - Michael Collins

If I had a eurow for every time I heard someone call Michael Collins ‘Babe’, I might have €3. Such is the heroic Knight in Shining Armour

Welsh rockers, The Joy For-midable, have returned with their second album,

‘Wolf’s Law’, an album that feels much more complete compared to their debut, ‘The Big Roar’, which had far too much in the way of fill-er, yet showed tremendous prom-ise. Wolf’s Law is a great example of how you can create a great album without reinventing the wheel.

The Joy Formidable thrill by solely being guitar thrashingly, drum pummellingly loud. This al-bum is no different. “Tendons”, “Bats” and “Maw Maw Song” sat-isfy a primal desire in rock music, which is to be noisy. These stand to enforce the fact that The Joy For-

such a broad categorisation is unfair to the band, who’s modern psych folk/rock sound is unique. To cut the jargon, Hummingbird is great. Written after tours with Arcade Fire and Edward Sharpe and the Mag-netic Zeros and co-produced by The National’s Aaron Dressner, it would be easy brush it off as a “try hard”, a carbon copy of Manor. Well, if this is your view – you’ll soon be eating your words. “Breakers”, a standout track on the album. Crackling gui-tars propel through harmonies of synth and voices, if you don’t bris-tle after this song, you should see a medical professional. “Columbia” combines a strong armed drum set with the distorted cry “Am I loving enough?” “Bowery” completes the album, an indie anthem to fully si-lence the haters.

Hummingbird is a January blues dissipater. Its a hard month, but the Natives have managed to ex-pertly execute our blues, with a pi-ano, some guitars and drums and a bath full of talent. It was released on Friday the 25th of January via Infectious Records.

midable are at their best when they are loud and getting progres-sively louder as songs go on.

“Silent Treatment” briefly sees ‘Wolf’s Law’ veer off track halfway through, with the band clearly conscious of being a one trick pony. Instead of being emo-tive or a statement of their versa-tility, this uninspiring, musically ‘pretty’ song raises the question of genuine lyrical inability. Despite emotional intentions, lyrics man-age to feel shoehorned around the music. This is the case with many of their songs, which is a forgiva-ble sacrifice for great music. With such a slow piece in “Silent Treat-ment”, having a poor interrela-tionship between music and lyrics can’t help but be criticised.

Despite “Silent Treatment” be-ing allowed to sneak onto the al-bum, Wolf’s Law is a scintillating follow up from a band showing that are destined for great things. Even when taking in to considera-tion my pro-Welsh biased slant.

The Siren’s definitive guide to… IrishHistoricalFigures

Chris BectonKathryn Toolan

By Chris Becton

Album Reviewsmusic@collegetribune.ie29.01.13

The Joy Formidable - Wolf’s LawLocal Natives - Hummingbird

funk Michael Collins gives off. He has long been painted as the defini-tive Irish patriot, and there is there is only one other man that can do justice to the adoration many Irish people feel towards Michael Col-lins, and that man is Bruno Mars.

Django Django- Wor: Eamonn de Valera

Dev hung around for a good half a century, at more than one occa-sion he was involved nationwide fisty-cuff. As a hard noised and di-

visive character in Irish history, a bouncy number suits him nicely as he (probably) enjoyed a jive himself on those heavily moderated dance halls of the 1930s.

Yeah Yeah Yeahs- Maps: Eoin MacNeill, Richard

Feetham & JR Fisher The 1924 Boundary Commis-

sion didn’t do these lads too any favours, especially UCD’s very own Eoin MacNeill. All they had to do was draw a line, and they cocked it up. If it wasn’t for these lads I could be living in Tyrone right now, God Tyrone is lovely.

Fleetwood Mac- Little Lies: Charles Haughey

Oh Charlie… We all know of what he got up too. His less than ethical escapades are infamous as he is seen to have taken the entire nation up the rear end. The Mac know how it is.

The Smiths- This Charming Man: Bertie Ahern

Speaking of being taken up the rear end, Bertie charmed his way into our hearts and into the Dáil, knowing both which horse to back and when to get out. Yet there is

an underlying fondness associated dear old Bertie, after all he is a love-ly and charming fellow. Proving all elections are a popularity contest, just ask Mr Obama.

Men at Work- Land Down Under: Enda Kenny & the

LadsNot many people have been ex-

empt from recent austerity budg-ets. From broken promises on the protection of vulnerable in society to economically regressive policies, the boys and girls we voted in have hit us hard and created nationwide disenchantment as to the viabil-ity of austerity and our own future prospects finding work at home. If repeated social cut backs and great-er taxation have left you too feeling disenchanted by the government, just remember, there’s always Oz…

Notable Omissions...

Marvin Gaye- Let’s get it on: Sean Quinn; Aloe Blacc- I Need A Dollar: The Irish people as a whole; The Steets- Dry Your Eyes: Brian Cowan; The Sex Pistols- God Save the Queen; Martin McGuiness; Papa Roach- Getting Away With Murder: Gerry Adams;.

Lord HuronLonesome Dreams

You may not have heard of Lord Huron. That's okay. The indie folk band origi-

nate from Los Angeles and re-cently finished supporting a lit-tle band that go by the name of, Of Monsters and Men, but they have yet to gain the worldwide recognition they deserve. Their debut studio album Lonesome Dreams was released in October of last year in the United States and had it's UK and Irish release this week.

Lord Huron are a quar-tet, front manned by the band's founder Ben Schneider. The band get their name from Lake Huron, where Schneider de-veloped the Lord Huron sound whilst travelling between Los

Angeles and Northern Michigan. Lonesome Dreams has

received mainly positive re-views, Rolling Stone highlight-ing their “robust vocal harmo-nies.” Lord Huron take your hand and lead you gently into their simplistic, nostalgic, ro-mantic environment. In “Time to Run,” Schneider entices you to “Run away with me it'll all make sense.” Lonesome Dreams layered melodies are it's strong-est assets, complimented by it's bittersweet lyrics. The entire album flows effortlessly, almost too effortlessly – do not listen to it whilst driving as it has been known induce sleep. Soothing is an understatement. “Ends of the Earth,” the first track of the album introduces us to our melancholic Lonesome Dreams, plying us with poetic groupings and tangy guitar. Without a doubt the highlight of the album is “Brother.” It epitomizes the Lord Huron sound. Soaring vo-cals, simple rhythms, throbbing nostalgic drums – underrated but effective. Straightforward but beautiful.

Lord Huron may not be mas-sive yet, but they will be. If fur-ther proof is needed, watch their NPR “Tiny Desk” concert.

Kathryn Toolan

music@collegetribune.ie

429.01.13 music@collegetribune.ie

WWW.BELFIELDFM.IE

Tom O’ Sullivan introduces you to his one stop radio shop for all things entertainment

Craic le tUasal Tom - one of Belfield FM’s (not exactly) latest, but definitely great-est music and entertainment shows around at the moment.

As the name suggests it is in Irish, yes. But don’t let that stop you; because this show launched last semester is building up quite a following and a name for it-self. With a collection of music, movie reviews, competitions, all the week’s top gossip on items from the X-factor to Justin Bieber’s no-factor as well as the headlines of the day,and of course, a special guest each week - it’s easy to see why this Friday evening drive time show has something for everyone. Think ‘Top of the pops’ meet the ‘Late Late show’ meet that hot Irish speaking guy you met in the Gaeltacht and you have it! From humble beginnings on the student airwaves have come many seri-ous voices of many seriously famous people. Past guests include Minister Dinny McGinley, National Moot Court’s finalist Peadar Ó Lamhna and more. However, semester two promises to be even more fruitful with RTÉ’s Miriam

LOOKING FOR CRAIC?O’Callaghan & Mary Kennedy, Dean of Business Colm Ó hÓgartaigh and musician John Spillane just some of the many celebrities that have just been confirmed to appear on the show. Com-petitions with fantastic prizes are said to be well on their way for this show - just as you thought it couldn’t get any better. With jokes, banter and blather and requests always being welcomed, what more could you ask from a radio show? So open your iPhone diary now and block-book your weekly fix of craic - Friday evenings at 6pm.

@CraicLETOM

UPCOMING GIGS FOR 2013

RIHANNA @ THE AVIVA - JUNE 21ST

BIFFY CLYRO @ THE MARCH 28TH

NEIL YOUNG @ RDS - JUNE 15TH

LIL WAYNE @ THE O2 - MARCH 8TH LUMINEERS @ THE OLYMPIA - FEBRUARY 16TH

EMINEM @ SLANE - AUGUST 17TH

5arts@collegetribune.ie29.01.13

SECONDHANDBOOKSALEHUNDREDS OF SECOND-HAND GOOD QUALITY BOOKS FOR YOUR COURSE IN UCD

IN AID OF

BOOKS ON SALE AT JJ LIBRARY TUNNEL

LIBRARY TUNNEL, JAMES JOYCE LIBRARY, UCD.

JANUARY28th 29th 30th 31st

MONDAY 10am - 4pm

TUESDAY 10am - 4pm

WEDNESDAY 10am - 4pm

THURSDAY 10am - 4pm

Books from...Norton Anthologies \\ Literary Theory // Philosophy // ArtArt History \\ HistoryLinguinistics // FrenchGerman \\ EconomicsMathematics // Science

From...

€1

arts@collegetribune.ie

629.01.13

I was approached by publishers to do an autobiography and I said

you Are fucking crazy

“

who should truly call themselF AN artist

there are very few people

7arts@collegetribune.ie29.01.13

British singer-songwriter Patrick Wolf, pop music’s resident virtuoso, has never felt confined by the constraints of the music in-

dustry – much to many record labels’ annoyance – and demonstrates this in both his music and attitude. After ten years in the limelight, Wolf released the acoustic album ‘Sundark and River-light’, the most stripped back, musically aware re-cord of his career. The album consists of new ar-rangements and re-recordings of songs from his career to date and documents his struggles and euphoric moments on each CD.

“It’s something I’ve done a lot in the last ten years – doing acoustic based tours – and people always asked ‘why don’t you have record-ings of your acoustic stuff?’ I love the sound of live recording... my first tour ten years ago I was playing in boat clubs and pubs, playing the ac-cordion – just mics and busking and stuff. In a lot of the songs – the roots are really very simple - folk songs with just one instrument – that’s how they’re written. I thought rather than making an-other huge production or doing a compilation of ‘the greatest hits’ or whatever it would be much more exciting to make a whole new album and re-arrange stuff yet still show people in a way what the original sound sounds like.”

Picking the right compilation of songs wasn’t the easiest endeavor for Wolf. “It was work, yeah, it did take a lot of fo- cus and was slightly draining but it was pretty obvious comparing dif-ferent songs and hearing what dif-ferent people thought, it was like survival of the fittest really...”

Many artists write an album to close a certain chapter of their lives and once the hard work is completed they tour, move on to the next record and the cycle contin-ues. Patrick has never been one for any sort of routine or cycle to abide by, as you may have grasped by now. Although he doesn’t really work to a set pattern, he does admit he found it rather strange trawling back through the years in order to produce Sundark and Riv-erlight. “Yeah... I do move on quite quickly from each re-cord as a project -right down to the visual presentation, I move on quite rapidly from one e x -treme to the other. That for me was quite odd. It’s not really in my nature but It was a really great thing to do as a writer because I learned so much about my writing patterns, you know, repetitions, It was a very good thing to do before I move onto my next album and my next ten years.”

Wolf hoped the album would open up interpretation and meaning in his songs within an ever-oscillating industry. “I wanted to make it very much like the feeling of a songbook and fo-cus very much on the lyric, as a story. A lot of peo-

ple are hearing that songs that they had liked as a studio recording and then they hear this new ver-sion and they can understand more what the song is about. I think that’s very important. Something like ‘Paris’, for me, that version on ‘the country’ is industrial and adolescent vocal...for me that’s something very specific of it’s time rather than something that is timeless and I wanted to reset the song. I know it’s very important to people. I’ve seen people tattoo the lyrics all over themselves... This version you can listen to for the next 30, 40 years as you get older rather than be stuck in this teenage-bedroom studio production. “

Wolf tells me that he has to be alone to work and that he “ can’t write with anybody in the house or anyone around [him]... I do need a lot of space and solitude definitely. I always have done. It doesn’t mean that the writings lonely, it’s just the only way I can think.”

Though a relative veteran of the music in-dustry, Patrick Wolf is still a young man in most of the world’s eyes. Last year marked the tenth anniversary of the UK singer-songwriter’s record-ing career, and presents a resolute conclusion to a somewhat turbulent career.

At 28 years of age, he has conquered the morbid notion that is the ‘27 club’, all the while manag-ing to rise above the follies of the oft-rabid British

Changing Coat: Patrick WolfWith an upcoming intimate gig in the Sugar Club and the release of his album

Sundark and Riverlight, The Siren catches up with musician and hipster

fashion icon Patrick Wolf

Where....The Sugar ClubWhen......23rd MarchPrice.......€18

press. In fact, he doesn’t think much of pop culture at all. “I was approached by publishers to do an au-tobiography and I said they’re fucking crazy, like, 29 years old, I know I’ve had a lot of really exciting things happen but I’m not that news/culture thing where you’ve got a story to tell, but I did realise that I did have to do something to do with the ten years.”

He possesses a similar view to ‘artists’ to-day, saying that they ought to “be themselves, to not follow what other people want out of them or not to make just to please other people. I really think that’s important. That’s why there are very few people who should truly call themselves art-ists these days because we’re living in a time where everyone makes to please other people or makes products in order to get money off of people. I think we have to define what an artist is because everybody goes on the x factor and they chuck this word around as if it means something, but it doesn’t really.”

Touring without a full band has allowed Wolf to get back to basics – but at the same time, it is a testament to how far he’s come as an art-ist. “The tour has been fantastic. It’s been in a way a return of the audience that kind of turned their back on me during Lupercalia which was I guess was more experimental and avant garde side. For them to come back again and join the audience is great – to see old faces and old fans. Then there’s the more mainstream crowd from the last record. It ties together all the different crowds that have come to see my shows.”

Ever reinventing and innovating his sound, Wolf knows all too well the demands of an industry where you are expected to become a mimicry of yourself (queue the auto-tuned Jason Derulo). “I found it very confusing when I went

the first time ... from Lycanthropy to Into the Wire. I was very shocked to see that a lot of

people didn’t seem to have the ability to understand that a human being or a writer can change their per-spective on life quite quickly. It was quite shocking for me. ...Was it something of the music industry or was it art? My problem is with

the way culture is now is unusual...I always felt people don’t ever read

your body of work...communica-tion. It’s something I learned very early on – about ten years ago –

not to give a fuck about this. I real-ized you win audiences and you lose

audiences as you go along and the right people stick around.” What’s next in the cards for Mr

Wolf? “All I can really see ahead of me is tour-ing this year. I’m going to spend some time in

San Francisco and write. Constantly writing, con-stantly touring and communicating. I haven’t de-cided what album may happen next but I guess I’m still reaching...”

BUY TICKETS HERE!

arts@collegetribune.ie

829.01.13

Rebekah Rennick, auditor of UCD’s Trampolining Society tells

Elaine McDonald what exactly the “Tramps” are doing:

What has the society been doing this year? Anything new or is first semes-ter just initiating the newbies?The society has had a very good first semester, but second semester is truly where the fun begins. In Decem-ber we put all our hard work to use by winning the IV Shield. This com-ing semester we’re hoping to contin-ue our winning streak so it’s a jam-packed semester of bouncing!

The Irish Student Trampoline Open is in Cork this April! Is it all about bringing home the gold?Last year UCD took 2nd place in the entire competition which was an in-credible feat! This year, with an army of both old and new members, we’re hoping to keep up our great reputa-tion and take home the gold this time.

You guys are famous for your major trip to Scotland towards the end of this semester! What goes down or is that top secret Tramps information?I was only an innocent fresher this time last year, and I was inundated with both outrageous and hilarious anecdotes from my fellow trampo-liners about this elusive trip. I felt like I was being invited into this other world; wide eyed and desper-ately wanting to see for myself. From showing those English/Scottish clubs exactly how we do it in Ireland on the trampoline (and on the dancefloor) to bagging some medals; it’s a great trip.

As someone with no flexibility, lots of jumping and spinning makes me cringe? Is being in Tramps the equiv-alent of being an elastic band? It definitely takes some getting used to! You never know, there could be a little bouncer inside of you waiting to get up on that bed, so I wouldn’t hesi-tate to join and see for yourself!

For someone who is planning on join-ing Trampoling Club this semester what could they expect from one of your nights out? You have never had a proper night out until you’ve hit the tiles with UCD Trampoline Club. There hasn’t been a Trampolining night without some-one doing flips or splits of some sort on the dancefloor. If you’re itching to see for yourself, we’ll be having our Refresher’s Night Out on the 4th of February.

Racing Reminiscence

Shane Meagher looks back on the Marx Brothers’ 1937 classic, ‘A Day at the Races.’

By the time they made A Day at the Races in 1937, Groucho, Harpo and Chico Marx were well established as comedy gi-

ants of their day. Having already starred in six films together, and still basking in the massive success -both artistically and financially- of their excellent 1935 film A Night at the Opera, there were high ex-pectations for A Day at the Races, and it did not disappoint. It’s got everything you could possibly want: a weighty plot, a strong directorial vision, the acting is excellent, and, of course, it’s hilarious. Like many of today’s comedies, this film has a serious romantic plot be-hind all the laughs, but the comedy is far more unpredictable, zany and per-haps even revolutionary than the mak-ers of today’s films would dare to allow in a romantic comedy. Dr Hackenbush (Groucho Marx), a vet, is called upon to work in a sanitarium by the wealthy

Mrs. Upjohn (Margaret Dumont), who is completely unaware that Dr. Hack-enbush’s medical skills don’t extend beyond animals. Attracted by the fi-nancial benefits of working in the sanitarium, Dr. Hackenbush chooses not to correct this error of judge-ment, and poses as a physician. The sanitarium is facing financial prob-lems, and so a singer named Gil spends his life savings on a racehorse to try to gain enough money to save the sani-tarium from bankruptcy, and marry his girlfriend Judy. With the help of Tony (Chico Marx) and Stuffy (Harpo Marx), Gil tries to overcome the obstacles pre-venting his horse from winning the race, mainly a Sheriff who is intent on making sure that the horse does not even get the chance to take part in the race. This may sum up the storyline of the film, but it still leaves out the most important thing: the comedy.

While some parts of this movie may have dated a little, the bulk of this film seems as fresh and original as it did in 1937; the wit of Dr Hackenbush in particular stands the test of time, as do many of the off-the-wall comedy scenes. It is easy to see how the likes of Monty Python have been influenced by the Marx Brothers. A Day at the Races will have you in fits of laughter, and its storyline is also as compelling as any of today’s romantic comedy blockbusters. This is definitely worth a watch if you’re a fan of off-the-wall comedy.

Buffy as a show was a benchmark of 90’s culture; at the very least everyone read-

ing this is aware of the name. It put creator Joss Whedon (the man behind Dollhouse, Firefly and The Avengers) on the map. The series spawned the spin-off Angel, and a graphic novel franchise that runs to this very day. Although most people between 18-25 were aware of Buffy growing up they were too young to appreciate or actually understand its subtle elements during the original run; Buffy has somewhat of a bad reputa-tion with most opting for Fire-fly or Dollhouse instead. It is often dismissed with a slight grimace at the mere mention of the show’s name. Why? The Twilight ef-fect. Ah yes, the blurring of vampire lore from a thing of horror into a tame and bland love story plot device. So I urge everyone who is of this opinion

to reconsider and watch Buffy. And with the newly released boxset you have no excuse. The set has every season con-tained within, each episode is restored in super high qual-ity sound and video. The story is simple: Buffy is the Slayer, a girl born to fight all matter of evil from Demons to Vam-pires. The best and the worst of the series’ run is captured here, from the fantastic first three seasons, to the dip of season 4 and the Renaissance of the latter 5th season. Watch the “Hush” episode from sea-son 5, and you’ll be hooked. Each disc has a fully interac-tive menu and a host of special features. The interviews, com-mentaries, outtakes, Easter eggs and features are perfect supplemental material, and not in the least bit excessive.

Even with a quick viewing of just a few episodes from each season, will show you why this show still has relevance in 2013 and hopefully slay the negative perceptive of Buffy. There is some-thing here for everyone, no matter the age group, gender or tempera-ment. This one is a must buy for any fan of Joss Whedon, or anyone who wants to be thor-oughly e n t e r -ta ined b y s o m e c lass ic p i e c e of 90’s t e l e v i -

With ‘The Original Vampire Saga’ rereleased (and currently on sale!) Darragh O’Connor finds himself slayed by Whedon’s genius

6 0 S e c o n dS o c i e t y

arts@collegetribune.ie

929.01.13

It’s that time of year again: AWARDS SEASON. The glitz, the glam, the gossip: it’s the time that just keeps on giv-

ing. Me? I’m a movie fanatic. Love, live, long for movies, and what bet-ter time of year gives us the time and cause to curl up in front of the cinema screen other than that mopey month of January between Christmas and Spring. We’ve been thoroughly spoiled for choice the last few weeks, between the spell-binding Les Miserables, the com-pelling Lincoln, and the down and dirty Django Unchained. It seemes there’s been something for every-body. Likewise, the awards sea-son provides a little something for everyone too. If the movies aren’t your thing, maybe the fashion is: the Oscars in particular leave little to be desired in the dress-coveting stakes and god knows that E! En-tertainment are only waiting to suck you in with their 24-hour cov-erage. However, if you’ve ticked neither of the above, then you fall into the last category, and it’s the category, I feel, which has the most universal appeal and amighty stay-ing power.

The speeches:

It would seem that award-accepting is a very emotional and confusing time for a star. They’ve built them-selves up in their heads and they’ve knocked themselves down. They’ve practiced their dignified oh-yeah-they-deserved-to-win faces in the mirror, and have even squeezed in a humble oh-you-shouldn’t-have face as well, just to cover all bases. They’ve worked so hard and they’ve dreamt so big and now is their time to show just how articulate and wit-ty and appreciative they really are. However, it would seem that whatever careful planning and construction goes into the creation of an acceptance speech is pretty much forgotten or rejected once the incredulous star realises that they’ve actually won. Having Goog-led my day away on old Youtube clips of grateful winners, I came to the conclusion that there must be something in the lights on those stages, ‘cause people most definite-ly do be cray. Case in point? Roberto Benigni. When accepting his Oscar for Best Foreign Film in 1988, not only did he jump into the crowd and onto people’s seats, but he

ws quoted as announcing that he “would like to be Jupiter and kid-nap everybody and take them to the firmament and make love to every-body”. Mm-hmm: cray cray. Then we have the more emotional breed of star, and here I refer to Ms. Gwyneth Paltrow. On accepting the Best Actress Oscar for Shakespeare in Love in 1999, Paltrow reacted not unlike some-one who had just been told they had three months to live. Sobbing thoughout her speech, and thank-ing nearly everyone she’d ever known, her performance merited an Oscar of its own! Topically enough, consid-ering her Oscar nomination this time around, Sally Field has also gone down in speech-making his-tory as a lady who may have lost the run of herself a little on stage. Hav-ing humbly received an Oscar in 1980, it seemed that Sally had really felt the power of her second award in 1985, in proclaiming “I haven’t had an orthodox career, and I’ve wanted more than anything to have your respect. The first time I didn’t feel it, but this time I feel it and I can’t deny the fact that you like me. Right now, you like me!” Respect? Not so much. Ridicule? Well that’s

a different story... There’s so many I couldn’t fit in, but then that’s what You-tube’s for. If these have wetted your appetite for a bit of acceptance-speech bashing, let’s hope that February 24th doesn’t disappoint us this year. My money’s on Anne Hathaway to lead the way...

‘You Like Me, You Really Like Me!’

By Lisa Gorry

Director: Tom Hooper

Starring: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried

Plot: Based on the Broadway musical based on Victor Hugo’s epic Les Misérables, the film follows the story of Jean Valjean (Jackman), released after nineteen years for stealing a loaf of bread, and man of the law Jal-vert (Crowe) who swears to catch him. Singing ensues as does a revolu-tion. Vive la France!

Why watch it? The French revolution appears to be based entirely on rides drinking wine and singing tunes – which is the sort of revolution we can all get behind. Oh, and, you’re curious to see if it deserves all the Awards nods.Why not watch it? 158 minutes of non-stop singing. Non- stop singing.

Director: Kathryn Bigelow

Starring: Jessica Chastain, Jason Clarke, Joel Edgerton

Plot: Bigelow (The Hurt Locker) directs “the story of history’s greatest manhunt for the world’s most dangerous man,” a dramatisation of the American operation for Osama bin Laden. Criticised for an allegedly pro-torture stance, Zero Dark Thirty is an unflinchingly intense and intellectually challenging film.

Why watch it? Explore the dark side of war and decide if the means to an end are worth the price paid.

Why not watch it? Aside from Chastain’s single-minded stubbornness that she is right – and, of course, we know she is – the film’s plot is primarily about the unveiling of facts.

Director: Steven Spielberg

Starring: Daniel Day-Lewis, Sally Field, David Strathairn, Joseph Gordon-Levitt

Plot: Lincoln focuses on the last four months of President Abraham Lincoln’s life; in particular on January 1865 and his attempt to pass the Thirteenth Amendment to the United States Constitution which outlawed slavery and involuntary servitude.

Why watch it? If you’re a fan of Day-Lewis, this film is made for you with the actor’s talent shining through in portraying Lincoln’s calm self-confi-dence and patience during a turbulent time of American history.

Why not watch it? Some of the historical inaccuracies may irk you – but unless you’re a Lincoln buff, that probably won’t bother you.

Director: Quentin Tarantino

Starring: Jamie Foxx, Christoph Waltz, Leonardio DiCaprio, Kerry Washington, Samuel L. Jackson

Plot: A spaghetti-western, Django Unchained is set in the Deep South and Old West. Foxx plays Django, a freed slave, who treks across the United States with a bounty hunter (Waltz) to rescue his wife from a plantation owner.

Why watch it? Fans of Westerns will enjoy Tarantino’s take on the genre which also explores America’s slavery past.

Why not watch it? Tarantino’s distinctive style just doesn’t appeal to you and you’re not a fan of having to flinch from violence every five minutes.

ZERO DARK 30 LINCOLN

DJANO UNCHAINEDLes Misérables

Entrepreneurs Anonymous

Top of your Commerce class and want to get a head start on setting up your own business? Entrepre-neurs Anonymous meetings are free and informal and give you access to a person with industry or domain expertise who’s will-ing to give a short talk and share their knowledge. Next up is Rus-sell Banks, CEO and co-founder of

Conker.io.

Free, 6pm, Tuesday, wMacTurcaill’s.

The Princeton University Tigressions

The Princeton University all girl Acapella Group are performing in the Fitzgerald Chamber in the Student Centre. The Siren has no clue why they are here but we are extremely excited to seethe with jealousy at our own lack of talent. Let’s hope someone gets pitch-slapped. Jazz hands at the ready.

Free, 5pm, Tuesday, Fitzgerald Chamber.

Queen of TartsAn enchanting tea room nestled in the heart of the Old City, Queen of Tarts is far too cute to imagine. A perfect place for a second or third date; just try not to shift in the corner like the couple beside The Siren. We recommend the scones; €3.50 for one with clotted cream and raspberry preserve for the fat-ties, €2.95 for skinny minnies who only want the (not quite skinny)

preserve.

Cow’s Lane, Old City, Temple Bar.

Made in Dublin: Films

Every evening between 6pm and 10pm, 18 short dance films are shown on a loop. Lasting around two hours in total, the films are made by renowned national and international dance artists and film makers. Curated by Núria Font, the series is part of Dance Ireland’s ‘Made in Dublin’ festival, a celebration of Dance Ireland’s

21st anniversary.

Free, 6pm, Wednesday 30th – Saturday 2nd, Meeting House

Square, Temple Bar.

Don’t M i s s

This

culture present in London in the late 1960s. He was known to have an eccentric personality and a deep interest in art and politi-cal activism, this clearly added to Westwood’s anarchic attitude which is represented in her early work, in which used the medium of wearable statements to show her rebellious radicalism.

Westwood and McLaren had a drive to bring the ideology of sexual fetish to the streets of cul-ture sodden London. They bought a shop, originally called “Let it Rock”, and re-named to “SEX”. The shop embodied the complete stereotype of “punk”. It was no-torious for vulgar and crude slo-gan t-shirts e.g. “Paedophilia” and “Cambridge Rapist”. In 1976, Westwood put a swastika, along with a crucifixion scene and the head of the queen on a shirt, which was headed by the logo “Destroy”. She claims that this is the shirt which contributed to her first getting notice in the punk-rock fashion scene. West-wood claims, “What this t-shirt is saying is that in those days we hated the older generation and we didn’t expect anything from them, not their taboos, not anything.”

Westwood’s first fashion

fashion@collegetribune.ie

1029.01.13

Vivienne Westwood person-ifies the subversive origi-nality of British fashion.

The story of her successful career differs from the usual designer history. Her career has been full of conflict, drama, and attitude.

Westwood made her first stamp on the fashion scene in 1971, when she met Malcolm McLaren, the manager of the iconic punk rock band The Sex Pistols. McLaren influenced her by intro-d u c i n g her to the u n - derground

Haven’t heard of etsy.com yet? CHANGE THAT! It’s the next big internet shop-

ping craze. Etsy.com is a New York based artisan style website for handmade and vintage items. From jewellery to clothes to home and living, it’s got it all. With over twenty categories to look through, there’s no doubt you’ll find some-thing that you like. First set up in 2005, Etsy is the brainchild of Robert Kalin, Chris Maguire, Haim Schoppik, and Jared Tarbell, and has contin-ued to grow, handling $400 mil-lion in sales in 2010. The offices are cool, the staff is young and the atmosphere is relaxed, it’s the pinnacle of a second wave dot com success story. Etsy.com is a site which welcomes both fine art and handmade crafts. So whether you are a professional artist looking to

make a living or simply a hobbyist making a few bob on the side, esty.com is your market. It’s become a sort of a community where arti-sans of all kinds can connect with each other, making it a captivat-ing site for us to browse around. It’s a very easy to use site, and has the air of a craft fair except every-thing is at one online destination. You could spend so much time looking through all the site has to offer; even the iPhone cover cat-egory is simply amazing! And no matter what you are looking for you’re sure to find it. The pricing on the site is reasonable, although shipping is extra seeing as the site is American based. However, it’s worth every cent. The products you are getting are like no other, they’re unique and tell a story. As I mentioned Esty.com not only sells handmade items but

also sells vintage pieces. One stip-ulation of the site is that vintage pieces must be at least 20 years old. Although the pricing can be a little steeper, it’s not hard to see why. The vintage items which they have in stock are simply breath-taking, the wedding dresses in particular. One of the categories in the wedding section is called “alternative”, it’s one of my fa-vorite categories to look through. Check it out, the dresses are a tiny bit edgier and a bit different to the norm. Even if you don’t plan on buying , it’s worth a look just for inspiration. The sites jewelry section is incredibly popular, as the selec-tion is far greater than what one might find on the high street. The key to finding items on the site is to and assess what terms are be-ing used for the style of items you

show was held in 1981. The theme of this show was ‘pirates’. This de-but showcase was filled with eth-nic cuts and baggy trousers, and with this collection, Westwood ce-mented her relationship with rock ‘n’ roll. Music and her fashions had an undeniable link since the Sex Pistols, and now Spandeau Ballet and the New Romantics rocked her pirate line constantly.

After her split from McLaren in 1983, Westwood opened her second shop, Nostalgia of Mud. These stepping stone on her journey to fashion royalty led her to a new source of inspira-tion; this was delving deep into history for her ideas. In contrast to her initial ethos of punk, her new direction was somewhat more respectful of the past. She did not want to play the role of “rebellious teen-figure” anymore and wanted to spread her cultural knowledge. She firmly follows the ethos that “you have to discover the origi-nality of things that exist in the past”. By looking backwards as well as outwards at the youths on the streets who had always intrigued, she expanded her creativity. She wanted to ex-plore the past in a clever way. A bell shaped crinoline skirt she

A n n i n k a E . B a r r y d e l v e s i n t o E t s y , a n o n l i n e h u b o f c r e a t i v i t y a n d c o m m e r c e

Into the westwood

designed can be seen as an at-tack on the domineering style of Margaret Thatcher, who had Britain under her thumb. West-wood’s anarchic attitude which existed during her punk days still shines through here. Re-

cently, her return to more tra-ditional themes may look as though the 70 year old punk has softened, but her clothes have a deep, radical core when ex-amined with a close “Vivienne Westwood” savvy eye.

Ilike, the general Etsy term to de-scribe a style might be something different to what you would usu-ally use. So whether you are simply look-ing to waste a few hours having a look through the categories, find some inspi-ration for your next outfit or purchase some pieces, esty.com is your place to go. It’s hard to click out of the site without pur-chasing some-thing!

Shauna Hayes explores the world of Vivienne Westwood, ahead of this summer’s punk exhibition at the MET in New York

fashion@collegetribune.ie

1129.01.13

Chic

EEK

Daria Strokous A new face emerging

from the sea of models walking the runways,

this striking white haired beauty opened the show for Dior, and closed one

for Prada and Donna Karan. Definitely a face to

remember for 2013!

Feminine FloralsA staple element for your wardrobe this season, designers such as Gucci and Prada lead the way with their floral offerings for SS13, and many high street designers have taken the trend and ran with it!

Miss VogueVogue UK have announced

that they are launching a teen magazine in May, the difference between it and Vogue? Cheaper clothes!

Sounds good.

GREYThis complexion draining

colour is taking a back seat this SS13, its all about geometric black and white

all over.

The Urban Decay Naked Basics PaletteEverybody wants them, and nobody can find them! The new version of what has been UD’s most popular palette in years has become like gold dust in Dublin.

Nicole Richie’s Golden Globes DressThat style with that colouring and THAT make up? It just makes her look matronly. Style flop.

NOTHING PLEIN

Style Icon: Diana Vreeland

German designer Philip Plein is no stranger to wild and wacky stunts that come oh

so often in the fashion world. This designer often couples his designs with publicity stunts galore, which he often claims is all in the name of “style.”

Plein first made a name for himself in the year 2000 w h e n he launched t h e “PHILIP PLEIN,” home ware collec-tion. This initially began designing furnishings for his friends and family, but sky rocketed into much more. In 2004 a fashion line for men and women followed, and received great re-views from fashion critics. Known for his harsh designs and utilitar-ian and masculine clothes Plein quickly became a forerunner in the ever ambitious circle of designers and fashion houses trying to en-sure their clothes receive the best in show status from fashion critics.

Plein comes under fire from many however for his increas-ingly bizarre stunts to publicise his clothes. Only recently he sent many of his models down the runway with guns and wearing gas masks,

but this blatant display of the glo-rification of violence has begged the question in many; should there be a line drawn between artistic expression and the downright ob-scene? Quotes such as “Life’s a game and it’s not fair” and “Only kill for love” were stencilled in red on models’ bodies in Plein’s efforts to “create a message.” In the wake of increasing amounts of gun at-tacks on civilians in the US how-ever Plein’s strategy has been la-belled by many as downright

alarming. In May he defied convention by having a

transsex- ual model

feature in one of his shows and smoke a cigarette on the runway. His taste in models is also looked upon with a raised brow, two of his shows featuring celebrities Lindsey Lohan and Ed Westwick as mod-els. Even when all the stunts are looked past, and the basic ele-ments of fash- ion are being a s s e s s e d , Plein’s designs h a v e been dubbed as “ o u t - dated and boring at

best,” by featuring the seen before jeans,

grey tee’s and skulls. In the increasing quest

for praise and prominence amongst fashion royalty such as

Anna Wintour, and the recent job vacancies at Balenciaga, Saint Lau-rent, and Dior, is it possible that a once talented designer has lost its way? Is it no longer about the fash-ion? Is Plein a designer who has lost perspective? For Plein it seems that gone are the days of quality and care in the collections being presented at runway level, and he believes we as society have em-braced the loud and the brash pub-lic spectacles that we are subjected to in all forms of culture. Perhaps articles like these prove that his tac-tics work.

Lauren Tracey assesses Designer Philip Plein’s unsettling PR strategies

L a u r e n T r a c e y 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 , D i a n a V r e e l a n d

By Lauren Tracey

style as so, “I’d like to have on the most luxurious cashmere sweater; the most luxurious satin pants, very beautiful stockings, very beautiful shoes — marvel-lous — and whatever would be suitable around the neck.” She was not a flashy dresser she fa-voured quality more highly than anything else, and this reflected daily in her simple and well fitted suits, dresses and jackets, always worn with dramatic, elegant ac-cessories.

During her tenure at Vogue, Diana Vreeland was the woman the entire world

looked to for style advice and guidance. As editor of one of the most influential women’s maga-zines in the world her word could make or break a trend, a design-er, or a model. Unlike some of the other editors of Vogue, whose personal styles never entered the public consciousness, Vreeland herself was a true style icon.

Vreeland described her own

Diana was also a key factor behind many of the long last-ing fashion trends we still have with us today. She is the woman who helped popularise animal print. When a young Yves St Laurent showcased them in an early collection, she was the one who pushed them to the public through her magazine.

Vreeland headed up one of the most popular magazines in the world, and she was aptly fit for such a role.