The Colossal Cost of Cheap Fashion

      The world was stunned by the sudden collapse of a factory in Dhaka, Bangladesh last week, which killed 370 people. Although the factory’s owner is currently being held by police after he was accused of illegally building 3 floors to the workplace, the true cost of cheap fashion is being realised by the public, as well as the connection between bargain produce and workplace tragedies such as this. Over 900 people are still missing after the partly Primark owned factory tumbled into rubble causing members the British public are campaigning against cheap fashion by protesting outside Primark’s flagship store on Oxford Street.

Want, Want, Waste

    A century ago hand-me-downs were on trend. It was both fashionable and necessary to own just a few key items of clothing, many of which once belonged to older siblings, parents or even grandparents. Nothing was thrown out until it was literally worn out. But now, many of us are so charmed into what’s on trend this season that the content of our wardrobes alters in the blink of an eye. In fact, a survey by QVC UK found that the average British woman owns 22 garments she never wears yet refuses to throw out. It seems British women spend £2.5billion a year on 500 million times of clothing we’ll never make use of. Even men own an average of 19 items of clothing they never use.

   The survey also discovered that only 12% of us regularly clear out our closets, implying that the majority of the British public keep buying new items of clothing without getting rid of what they already own. And with trends changing quicker than most of us can keep up with, it’s no wonder cheap fashion seems like the only option given the current difficult economic climate. But if you want to look good on a budget, who is suffering for your purse-friendly purchases? How do high street stores manage to keep their prices so affordable?

Recession’s Shadow

      Let’s face it, national law varies from country to country and therefore, the rights we have in the UK rarely expand to workers in the developing world. Executive director of Alternative Movement for Resources and Freedom Society (AMRF) reported that there are over “2.5 million garment workers in Bangladesh” alone. She explained that they tend to work 13 hour days for as little as £12 a month, which is the minimum wage in Bangladesh. And with families to take care of, homes to maintain and food to buy, it’s obvious that employees refuse to confront those in authority for fear of losing their job.

   High street favourites such as Topshop and Forever 21 offer an economical way of keeping up with fashion and adding to our ever-expanding closets. Perhaps British shoppers, 54% of which feel guilty for wasting money on clothes, just don’t have the money to purchase ethical clothing. Yet a Cambridge university report shows that in just 4 years, the amount of clothes bought grew by one third despite the recession. Even Marks and Spencer’s have opted to have their products manufactured aboard due to company cut-backs.

    

Change Your Ways & Your Wardrobe

     Third-world factories simply do not have the same health and safety standards that we are used to on our shores. The fact is, western stores supplied by factories, such as the site in Dhaka, should take responsibility for the production line of their goods. Instead, they take advantage of the minimal workers’ rights abroad, as well as how crucial the fashion industry is to the economies of countries such as India.

   However, H&M have taken a stand and are aiming to produce 100% ethical clothing by 2020 and last year began using more organic cotton than any other high street store in the country. Perhaps this bold move will cause more shops to follow suit given that children as young as 10 were found to be manufacturing clothing for Gap in Delhi. Although Gap denied the allegations, they have vowed to invest £98,000 into improving conditions for their workers in India.

      Cheap fashion can not only be a waste of resources such as fabric and fuel, it can also cost lives. Good quality, ethical clothing is an investment into something you’ll wear regularly, even if that means you have to dig a couple more coins out our pocket. So next time you hit the high street, look out for fairtrade fashion or even visit a charity shop and help put an end to the devastating cost of bargain attire. 

Oz The Great and Powerful (PG)- Walt Disney Pictures (08/03/2013)

Based on the ‘Oz’ novel series by L. Frank Baum, the long awaited ‘Oz The Great and Powerful’ hit the big screen on 8^th March. Its set 20 years before the Judy Garland driven escapades we all know and love from the MGM film ‘The Wizard of Oz’ (1939). This fanatical adventure flick plays host to the likes of James Franco (Oz/Oscar Diggs), Mila Kunis (Theodora) and ‘Scrubs’ own Zach Braff (Frank/Finley) and is essentially a prequel to the 1939 movie.

    Taking place way back in 1905, it tells the story of small-time circus magician Oscar Diggs being transported from the bleak, dusty streets of Kansas to the magical Land of Oz. He is prophesised to save the vibrant realm from the clutches of the wicked witch, Evanora (Rachel Weisz), but he’s not quite the wizard Oz’s inhabitants all been expecting. Sisters Evanora and Theodora send him on a hazardous quest to save the land and earn fame and fortune and he struts straight into the elegant arms of good witch Glinda (Michelle Williams). So our boisterous anti-hero, making use of his limited magical skill, must discover the truth behind who is good and who is evil before it’s too late, and (of course) become a better person in tandem.

    Produced by fantasy fanatic Joe Roth (‘Snow White and the Huntsman’ and ‘Alice in Wonderland’, ‘The Great and Powerful Oz’ is bursting with Instagram worthy colour editing to form a retro wonderland. Beginning with a mesmerising black and white prologue, which can’t help but echo Victor Fleming’s 1939 opening, the use blend of monochrome and dazzling digital filters brings all the eerie elegance, wizardry and detailed illusion you’d expect from a Disney fantasy. The attention to detail is impeccable and in particular, brings classic Disney villain Evanora to life in all her gleaming green glory and the all-powerful yet passive Glinda.

    The film’s $150 million budget has not gone to waste as so far, it’s raked in revenue of around $480 million, but it still manages to possess a kind of quaint charm. Co-writers David Lindsay-Abaire and Mitchell Kapner have produced an ingenious, engaging and emotive screenplay that exhibits the award-worthy flair of the bewitching Mila Kunis specifically. If there was ever a role that demonstrates your diversity as an actor it’s Theodora, as she wavers seamlessly from romance and youthful delight when she first encounters Oz, to heartbreak and ultimately obnoxious wickedness at the hands of her sister.  

    Danny Elfman’s soundtrack provides throws film-goers into the dizzying highs and lows of emotion and make-believe. Having already brought films such as ‘Men in Black’, Spiderman’ and ‘Batman’, it’s no surprise Elfman was hired to breathe life into the Emerald City. Having said that, the production design of ‘Oz the Great and Powerful’ is impeccable and enchanting and will please long-term Oz lovers and new fans alike. Visually, it’s on par with the world’s biggest blockbusters and really presents a flamboyant feast for the eyes with glistening waterfalls, picturesque mountains and vast forests, as well as an epic blend of kitsch textures. Even the title’s illustrate a monochrome puppet show style sequence that’s worthy of any Burton movie.

    The make-up and costumes are also nothing short of stunning with dazzling shades so enthralling you’ll feel like you’ve been thrown into Oz too! Ruby reds, (funnily enough) emerald greens and gleaming sparkle make the world of conniving sorcery, conventional heroes and self-discovery complete. Director Sam Raimi has formed an overriding theme of looking for the magic in our everyday lives and provides audiences with a perfect, engaging merge of CGI and old-school Hollywood worthy sets.

    ‘Oz the Great and Powerful’ is a lovingly-detailed, nostalgic film with illusions and mystery round every corner and in every detail of production. The Land of Oz is such a cherished childhood memory for so many and Raimi’s really done it justice, made use of the incredible special effects of modern film technology and upheld the fundamental difference between good and evil.

4/5

Frank Turner- Tape Deck Heart (22/04/2013- Polydor)

     Since the release of his first studio album ‘Sleep is For the Week’ in 2007, 31-year-old Folk/Punk singer songwriter Frank Turner has expanded his fan base by touring and performing as much as possible. Once the frontman and vocalist of Post-Hardcore Million Dead, Turner’s non-stop schedule has really paid off commercially given the success of his last album ‘England Keep My Bones’ (2011), which peaked at number 12 in the UK, along with the stacks of award nominations, including 4 NME awards in 2011 and 2012.

    It’s safe to say his politically-driven, classically liberal tracks have clearly hit a spot with many UK music fans. Turner announced his fifth studio album on Twitter, ‘Tape Deck Heart’ following the end of a long-term relationship. The album was recorded in California and gets its title is intended to reflect anyone who has an innate love of music.

    It’s clear from right from the start that ‘Tape Deck Heart’ illustrates all the best attributes of Frank Turner’s flair. His notable lyrics and gritty vocals form the huge, warm sound of ‘Recovery’, which premiered on BBC Radio 1 on 4^th March 2013 and was released on iTunes the next day.

     The hasty, seemingly effortless charm of this classic ‘I’m so over you (but actually feeling hopeless)’ track shoots a sense of optimism straight through you from start to end, despite its negative subject matter, “Somebody I don't really know just gave me something to help settle me down and to stop me from always thinking about you.” His lyrics are wordy, intensely descriptive and honest as ever and blended with the blast of a full band and perky piano, ‘Recovery’ is seamless in both content and production.

    The songsman makes use of bold and bright tones in ‘Losing Days’, which shares some similarities with The Cure’s ‘Friday I’m in Love’ along with the physical and emotional hardships of  heartbreak. It also demonstrates the record’s underlying theme of tattoos thanks to tattoo artist Heather Ann Law’s striking artwork along with physical scars and internal heartache or regret we all carry around with us. 

     'Tape Deck Heart’ has the potential to strike a chord with just about anyone with its reoccurring references to those cuts and bruises, whether physical or not, that just won’t fade. Lyrically, Frank Turner does what all songwriters aim for- he tells a story, “I used to think that I would never live past twenty-five, and when you think like that each day is a gift if you survive.” This track is both versatile and commercial and refreshingly makes use of the mandolin, which hasn’t been done so beautifully since Rod Stewart’s ‘Maggie May’.

   Although the album’s polished in terms of production thanks to Rich Costey (Interpol, Weezer and Muse), ‘The Way I Tend to be’ proves Frank Turner hasn’t lost his edge. This track is rich and flawlessly driven by a mandolin riff. It’s radio-friendly and fundamentally full of self-remorse along with just a hint of hope. The sing-song rhythm of robust ‘Plain Sailing Weather’ is made up of benevolent swagger and sorrow, ‘It was a wonderful life when we were together and now I’ve fucked up every little God-damn thing.” It reflects the album’s personal and intimate theme of inward thoughts, desires and regrets and Turner’s huge desire for happiness and self-reliance.

    ‘Good & Gone’ is proof that Frank Turner’s political and social principles have yet to ebb from his music, “Sometimes the things you need are right back where you started from. So fuck you Hollywood.” He may have a major label behind him, but the Englishman remains as poetic and reliant on crowd-pleasing spoken wordplay as ever. ‘Tell Tale Signs’ reflects his rich, raw talent and incredible individuality as an artist.

   Artists’ connections with their fans are what keeps them selling records, but let’s face it, it’s unusual to hear an artist question where and how you might listen to their work, “Maybe you’re sitting on the back of the bus…”.  ‘Four Simple Words’ (which are “I want to dance”, just in case you were wondering) sparks a bond with the listener with speed variations, humour and gang vocals, and truly indicates Frank Turner’s diverse song-writing skills. This song was released on Christmas day last year as a free download.

    The arrangement of ‘Polaroid Picture’ is impeccable and driven by the universal premise that the world is all-too-often, all-too-rapidly shifting, “Make sure you take a Polaroid picture and keep it with you forever to remind you that everything changes.” Frank Turner is a perfect example of an observant songwriter. His bitter social commentary in ‘The King Fisher Blues’ is coherent and sincere. It, along with ‘Anymore’ express Frank Turner’s softer side, which is a simplistic one band and his guitar vibe and vivid lyrics that’re so teeming with pain that it’s almost difficult to listen to.

    As a testament to one of his best friends, ‘Oh Brother’ reflects how down to Earth Frank Turner is despite his success and mournful ‘Broken Piano’ is no different. This track demonstrates the singer’s diverse vocal range and experimental nature when it comes to song arrangement and his adoration for England. Although the mesmerising sound effects could be deemed a distraction to begin with, they merge seamlessly into the delicate piano section and war drumming-esque conclusion. The joyful verve of ‘We Shall Not Overcome’ is so forceful it demands you listen to it smiling. Ironically, it’s almost as bright as an Evangelical Christian song. Could Turner be taking tips from his piss-take of organised religion in ‘Glory Hallelujah’ (2011)?

    We all know the story. It’s said Gene Simmons has slept with 4,600 women and this track ‘Where for Art Thou Gene Simmons?’ comments on the implication that musicians tend not to see the need to be faithful or committed when it comes to romance. But Frank Turner clings to his rare trait- sincerity, “Not that I can point the finger I’ve been a sinner just the same. ” It’s also clear that the songwriter also clings to the simple things in life, one being his tattoos. ‘Tattoos’ is a love song for inked bodies and the memories and controversy they spark.

   ‘Undeveloped Film’ tells the narrative of discovering an old box of photographs and exploring the memories and people they can help you recall. This song is incredibly intimate because of the minute details Frank Turner has opted to reveal. Despite the fact that pop culture isn’t something he tends to appreciate, Turner’s reference to “Donnie Darko daydreams” in ‘Time Machine’ reflects upon his personal history as well as history in itself side by side. It’s an unusual blend and intelligent form of songwriting. ‘Cowboy Chords’ almost acts as a gift to the songwriter’s fans; an attempt to explain who Frank Turner really is. By separating the vocals and guitar, each instrument basks in the spotlight and is showcased clearly to the listener.

  Peel back the woeful exterior of ‘Tape Deck Heart’ and you’ll discover of nostalgia-riddled, confessional storyteller with a refreshingly raw talent. This album is painful, graphic and relatable and with the likes of Mumford & Sons storming the charts both here and in the states, aguish has never been more mainstream.

5/5

Lana Del Ray- ‘Young & Beautiful’ (07/05/2013 Interscope)

          Ever since the New-Yorker landed her first record deal six years ago, Lana Del Ray has gone from strength to strength. Her debut single ‘Videogames’ went viral on YouTube in August 2011 with  over 20 million views and her second album ‘Born To Die’ sold over 3.6 million copies. She’s endorsed and modelled a clothing line for H&M and has won dozens of awards including the Q Award for Best New Thing, a GQ’s Woman of the Year award and a BRIT award for International Pop Female Solo Artist.

    Del Ray is noted for her alternative, cinematic style which entwines perfectly with the unique flair of world-renowned director Baz Luhrmann. His latest film ‘The Great Gatsby’ is due for UK release on 10^th May, with the soundtrack, featuring Lana Del Ray’s sultry track ‘Young and Beautiful’ becoming available on 7^th May. The compilation features the likes of Amy Winehouse, Jack White and Jay-Z, who also produced it as well as the film.

    ‘Young and Beautiful’ is a wonderful example of soundtracks doing exactly what they’re supposed to; either enhancing what audience’s see on screen or painting a picture in the mind of a listener and forming a strong emotion. Del Ray’s distinctive voice is simply captivating, and the perfect instrument for cinema. Her matchless dark undertones come shining through her lyrics, reflecting the personal traces in the song, “Will you still love me when I’m no longer young and beautiful?”

    Although it’s a little repetitive, the track is nothing short of striking and the repetition only enhances and emphasises the instrumentation and lyrical content. It’s almost as if Lana Del Ray uses her music as an outlet for her heartache and anxieties, which makes it all the more powerful to experience. For instance, the timid, intricate tones of her voice as she sings “I know you will.” Seem as if she’s attempting to convince and reassure herself that her relationship will last.

    The instrumentation of ‘Young and Beautiful’ is so simplistic, consisting mainly of a piano, violins and melodramatic drumming that it does not override Del Ray’s gentle , echoing voice. In terms of style, it’s rather similar to the more heartfelt tracks of ‘Moulin Rouge’, another Luhrmann classic, such as ‘Come What May’ and ‘Nature Boy’ ; eerie, poignant and very emotive.

     The song is fundamentally about utter adoration, trust and almost obsession in a relationship and really strikes a chord by addressing society’s apparent fascination with physical beauty. But it’s also well-produced, poetic and showcases Lana Del Ray’s smoky vocals incredibly.

5/5

Watsky ft. Kate Nash- ‘Hey, Asshole’ (Watsky/Steel Wool Media- 18/02/2013)

Famous for his slam poetry, George Watsky has already released two studio albums and several EPs and in 2006, he was named the Youth Speaks Grand Slam Poetry Champion and Brave New Voices International Poetry Slam Champion. Since then he’s been well-known in the States and internationally. Quirky singer-songwriter Kate Nash however, has enjoyed a platinum-selling album with ‘Made of Bricks’, a UK number 2 single ‘Foundations’ and a BRIT award.

    ‘Hey, Asshole’ is a fresh, rare collaboration between a comedic rapper and serious singer-songwriter. Lyrically, it’s both ironic and intelligent and makes use of a classic comedy component; the world around us to tell a story “I don’t see a fucking rainbow and my coffees cold.” Often compared to Lily Allen, Kate Nash has retained her distinctive sound and style and is the perfect addition to this humorous fusion.

   Watsky himself is just about as individual as they come and the track is everything Hip-Hop should be. It’s rapid, clever and rhythmic and admirably produced. In fact, if you took away the lyrical content of ‘Hey, Asshole’, it could easily be mistaken for a chart-topping Hip-Hop song. But it’s Watsky’s lyrics that make him such a standout artist in a world of throwaway mainstream songs.

    ‘Hey, Asshole’ is coherent and contagious in the best sense. The sheer speed of the rapping is astounding and the way it meshes with Kate Nash’s witty, prominent style is pretty much faultless. This is everything you want in a comical track.

4/5

Could Tablets Wipe Out Magazines?

     They sit around our houses for weeks on end gathering dust and get passed from person to person. They turn up to meet our friends, they’re with us on long haul flights, in the bath or even whilst curled up on the sofa. Magazines are entertainment, social and informative tools that seep their way into our everyday lives, but could their decreasing sales since the 1950s be down to technology?

    Life seems so swift nowadays thanks to the likes of laptops, smartphones and tablets. But these technological stepping stones are having a disastrous effect on the British magazine industry.

Why Pay for Content?

         Although you might have to fork out for magazines, you cannot deny that they spoon-feed you what you want to read, whether it’s fashion, sport or celebrity news. But one cannot avoid the question of why anyone would willingly pay for reading matter when they can find it online for free.

     Reading is so swift and simple thanks to the internet; there seems little point in waiting for your friend to finish reading a magazine cover to cover when you can both read something simultaneously on a website. Why wait to show someone a news piece or photograph physically when you can share it on their Facebook wall using your ipad in seconds?

         It appears that the majority of the British public, as well as readers abroad have gotten to grips with reading online. Just over 47% of American adults reported that they read some form of news or information on their smart phone or tablet, according to a 2011 survey published by State of the Media and Pew Internet. But what effect does this have on magazine sales?

Technology’s Knock-On Effects

      According to About.com, approximately 84 million iPads had been sold worldwide by the 21st of September last year, which is having a vast knock-on effect to magazine sales in the UK and the world over.

 

         The co-manager of JVM Newsagents in West London, Mala Ranchhoddas, painted an uncertain picture for the future of the print media industry and her own livelihood. In fact, she solemnly told me that her and her husband had been forced to sell their shop because of a huge drop in profits. “Well magazine sales have gone right down to be honest; it’s not what it used to be.” she said. “People just buy what they want to read and get the rest for free online.”

    However, she did pin-point how popular magazine subscriptions remain, proving that some members of the public are willing to pay for reading matter they really relish. “People save money by subscribing.” said Ranchhoddas. “But times have changed; some magazines are more like £4 now!” With these extortionate price tags, it’s no wonder potential magazine readers are being drawn in by the slim, sleek and shiny form of tablets.

Mala Ranchhoddas and her husband

     Alison Clarke, a legal secretary from London expressed sadness towards the idea of print media dying out, and suggested that “Magazines would sell more if they were cheaper, especially because everyone’s hard up financially!”

      A student from Canterbury, Nancy Goldie, attempted to explain the decline of magazine readers in the UK through the concept of convenience, “I suppose everything you need is on them.” she said. She is also of the opinion that there is bleak future in sight for print media; “There'll probably come a time when hard copies of magazines are virtually extinct because we can all access the same information for free, and without leaving our house with tablets. It's kind of ironic that people would rather spend hundreds of pounds on a tablet to read websites than go out and spend a few pounds on a magazine.”

Money, Money, Content

    The Guestlist Network is a free monthly London based publication and website. Its editor and creator, Oshi Okomilo is a street smart, happy-go-lucky chap who seems to have a purple cap permanently attached to his head.

   Oshi explained that by refusing to fall behind by printing yesterday’s news, the publication keeps print media alive and keep their young readers engrossed. “Whatever the form journalism takes, it's all still about content. With developments in technology over the past few years, the demand has been for more content, rather than content of a higher quality.” he said.

   But something the Guestlist Network’s team have grasped is retaining as wide an audience as possible for their work. Although the publication makes use of technological advances, they encourage their young market to read both online content and the printed matter by releasing online exclusives such as video interviews, news pieces and photographs. However, the focus tends to be on the monthly release and they even publish an online version of it on their website that, using Uberflip, actually makes authentic page turning sounds.

    Increased sales of tablets could be decreasing the quality of written media, “You will rarely see an article the size of something from The Times written for an iPad so articles are often shorter.” said Oshi. He explained that readers have become somewhat lazy and want to read the news or about their interests as quickly as possible because of how hectic modern life has become.

Compromise to Survive

   Top-selling magazines such as Glamour and Nuts also combine the technology we’re all embracing and the content they need us to pay for to stay in business. They release a magazine as well as updating an official website and social networking pages throughout the day.  

    Despite the fact that according to WH Smith, between 421 and 602 new magazines are launched every year, to thrive in the industry in the current climate, it seems there is no option for magazines other than to give their readers what they want;  the incorporation of technology.

   Unfortunately, even that doesn’t work on occasion. In December last year, The Daily was shut down after being in circulation for about 2 years. The tablet only publication had been accused by reports of wasting $30 million annually and was forced to dismiss employees. But perhaps their lack of popularity was down to their attempt to blend the traditional print form with the tablet rather than focusing on just one.

        In these financially testing times, magazines and newspapers should be doing anything to keep their heads above water, or copies on shelves. Tablets have severely decreased sales but there is no reason why more publications can’t embrace the current tablet culture as many already do.