Madame Butterfly

Peering through the butterfly framed window, a sex swing hangs nonchalantly.

Samurai swords hang from meat hooks overhead; the sex swing is all leather and chains.

These props are playfully at odds with their womb-like surroundings.

A warm pinkish hue lights the set, familiar symbols of suburbia and childhood, the white-picket fence and the Wendy house, frame the scene while a girl-on-girl porno flickers in the corner of your eye.

The set is full of aesthetic conflicts and playing with established societal myths is a trait that permeates the piece performed in this space.

This year, the inconspicuous Crane Lane in Temple Bar hosts one the Fringe’s most intriguing acts, as Aideen McDonald debuts her show Madame Butterfly.

The set is a site of contradictions in many ways.

McDonald says, “It is the womb of the show. It glows and pulsates. It’s like a crazy little nursery that sprang out of a Japanese jack-in-the-box. As a whole it has the feel of a magical, heightened, in every sense of the word, playpen.”

Yet at the same time, the set is a highly sexualised environment.

“The set is both a contemporary red light district window in full, if slightly skewed, swing and a take on an imagined, contemporary Geisha’s private salon,” she says.

To the fore, Madame Butterfly, as a prostitute in the window, has two personas (the flyers for the show advertise them separately), the virgin and the whore.

For all intents and purposes they are very similar to the eye, they both wear dildos, or dongs, to the initiated, one only slightly less intimidating than the other.

“The penis is a power symbol. The dongs speak to issues of gender construction and power relations,” McDonald elaborates.

It is in the background, the private salon space that Madame Butterfly invites you, on a one-on-one basis, to engage in a performance that will stimulate your ‘visual, oral and aural’ senses.

Men, if you’re thinking “I’d like to be stimulated visually, orally and aurally”, don’t get too excited: there is a catch — these tickets are for women only.

McDonald, who also works in the applied arts field, defends the move as she considers “working with single identity groups, in this case women, to be a productive means of addressing societal issues with a clear focus.”

‘Women only’ is also a comment on the context of the show.

“The less transparent establishments on this lane, the Boilerhouse sauna and the Emporium lapdancing club have been set up for the sensual enjoyed of men.”

Madame Butterfly only services women, engaging her female clients with a view to provoking self-analysis around issues of identity and intimacy.

“The process offers up a little sensual enjoyment for good measure”, McDonald assures.

She also adds, “I want to engage with women from across a broad section of society who work with or live with, issues directly affecting women. My hope is that the experience will be thought provoking through arousing all the senses.”

The show aims to raise questions. How do we feel about ourselves? What is our role in society? To what extent do we create our identity? What of femaleness? What of maleness?

But McDonald acknowledges, “Just as there are no new themes, there are no new questions. I don’t have the answers, only an active interest in the issues. These are questions I believe it is important for women to be asking themselves and each other.”

Pedestrian voyeurs will encounter and undoubtedly be engaged by the red light district act, the virgin and the whore in the window, “with a twist”.

Admittance is limited so individual “guests” willing to remove their shoes, enter the scene and enjoy Geishaesque acts of hospitality must book a ticket quickly.

Only the brave, the lucky and the fairer of the sexes will get to experience the full Madame Butterfly experience.

* Published in Issue 11 of Oh! Fringe, September 2009

http://www.ohfrancis.com/Web_Issue_11.pdf

What Style Means to Me

Twirling around watching the tiered ruffles rise and fall with the movement, I should’ve known then. This was the beginning of a serious love affair.

It was my First Holy Communion. I was six. And like so many landmark events, it was all about the dress.

I had a knee-length frilly tiered lace one, accessorised with fresh flowers in my hair. Natch.

Fast forward almost twenty years and open the doors of my wardrobe and behold: rails of garish ra-ra mini skirts, dresses and tops held together by delicate lace and the frilliest of frilliest French knickers.

The ties are clear. A tomboy through and through, this dress was the catalyst for a different side of me to emerge. A side expressed through style. Albeit, at this time, only at very special occasions.

Today, every time I wear a dress or skirt, my mother sighs with a defeated sadness, “And you’d never wear them for me…”

On an everyday basis, I was a jeans, t-shirt and trainers girl. A girl who rejected all the pretty dresses she was given, the dresses she now wishes she had in adult sizes.

There was the black velvet one with the round collar and red ribbon tied in a bow. There was the blue floral tulip dress and the ultimate! A ruched navy cord mini with a white blouse tucked in, topped off with a navy beret.

If I could time travel and wear these outfits every day, I would. But failing this, I relive the fabrics, textures and colours in my adult wardrobe.

As a tomboy in childhood and teenage years, jeans and t-shirts won out. Throughout teenage wilderness, like everyone, a personal style began to develop as a means of sharing my identity with the world.

Cue band t-shirts that screamed: “Hey look at me! I like this band. I got it at their gig. Do you like this band? Do you think they’re cool? Do you think I’m cool?”

A teenage diary reveals in the most cringeworthy manner, titled and swirled with glitter, a ‘1999 Style File’, which listed the fashion items of my desire - complete with magazine cuttings.

Objects of desire included: anything by Coca Cola ware, anything Paul Frank or Hello Kitty branded, stripy socks, tartan, band patches and band badges.

Embarrasing? Yes. Mostly. But saying that, my love of tartan lives on. A love lived vicariously through D&G’s autumn/winter 08 family of tartan campaign and perennially in Vivienne Westwood’s collections.

These days my wardrobe has plenty of space to accommodate new things, following ‘The Great Wardrobe Cull of 2009’.

The cull was a sort of cleansing event that happened this summer. After leaving college I decided that it was time to weed out the laddered tights, the tight band t-shirts and baggy skater jeans of my youth.

According to ‘the rules’ espoused by all fashion editors, anything that hadn’t been worn in two years was ruthlessly put in a black bag for the charity shop, ready to be loved again.

Like so many love affairs, it wasn’t that I stopped loving them; just we’d grown apart over the years.

It was a painful experience, but necessary for the long term.

An obsessive mental listing had begun in my head of the key items that it seems are absolutely necessary to function in society.

Firstly, two designer blazers (one navy, one black) were acquired from charity shop rummaging; a good white shirt was enlisted alongside high waisted skirts, plain t-shirts, converse trainers, gladiators, classic green Hunters, a cashmere cardi, a Breton top, Wolford tights, skinny jeans and city shorts.

A pretty safe bunch I admit, but a penchant for the silly and travel helps to inject some personality.

Chavvy dress jewellery, detachable bows that surface everywhere – Hair! Dresses! Collars!, old lady earrings, outrageous nail polish colours and chunky bracelets add a personal touch to the reliable staples.

Items found whilst travelling carry extra value, for their rarity and also for the pomp of saying, “Oh this old thing? I picked it up in Ibiza’s hippie market/Marrakesh/SoHo (delete where applicable) last month.” So very smug.

These little one-offs highlight the simple truth that style is inherently personal.

Clothes are beyond function, they signify something about us to the world. It is how people choose to channel these signs through personal style that sparks my interest.

I love people watching in all social settings, the variety in the way people present themselves through posture, clothes, make-up and hair never ceases to fascinate me.

I live this voyeurism virtually through beautiful style blogs like Garance Doré and Liebe Marlene, escapist magazines, and through the influx of TV shows and films that seem to centre specifically on fashion. Gossip Girl is my ‘clothes porn’ du jour.

Growing up, style was a means of forging a sense of identity, but mid-twenties (and somewhat grown-up) the meaning of style has changed.

As responsibilities gather, style seems to becoming more fun. In your twenties, you have the confidence to take a few risks, with good and bad results - harem pants anyone?

Mostly the meaning of style for me, correlates to memories. The dress I wore to my sister’s wedding, the heels I tripped up on at my graduation, the dresses from my childhood are all snapshots of the past and some just can’t be parted with.

Ok, so I admit I wasn’t completely ruthless… I still sleep in a faded Metallica t-shirt. So sue me.

Alice Stands

Who the fuck is Alice, you ask? Alice Stands hails from Roscommon town and creates high-heeled electro pop for people who like to dance. Admittedly, it’s an unusual combination. Citing her influences as 90s dance tunes, rave and Sonic Youth, Alice speaks with Connected before she scampers off to San Francisco in the fall (as her new homeland might say).

How would you describe your sound?

If I had to pin it down I’d say acid pop – but that’s open to interpretation. I love dance music, I’m interested in taking the classical traits of a pop song – catchy riffs and simple lyrics – and combining them with a more sculpted sonic edge.

How important is style and image to you as a performer?

I think style and image is an extension of personality, which is very important as a performer. It’s another way to express oneself.

Are your stage outfits any different to your civilian clothes?

I don’t have costumes, though I’d very much like to with time! I dress up on stage; I love shoes, particularly stiletto heels.

Have you any recording plans?

I’m writing and producing songs in between gigs, expanding my live set all the time. I’m getting ‘The Game’ professionally mixed by Ger McDonnell, who has worked with Def Leppard, Manic Street Preachers and Martha Wainwright.

What kinds of synths do you use?

At the moment I use soft synths with a midi controller. I love vintage synths and there’s nothing I’d love to collect more when I have the time, space, money and roadies to carry them!

Your sound isn't very "Irish". Have you spent any time abroad?

From talking to people, there’s a very vibrant music scene all around Ireland. I’ve experienced Dublin first-hand where there’s a diverse music scene and lots going on. There are great opportunities for bands and DJs to play every night of the week. Independent festivals are cropping up more and more. Growing up, Knockcroghery in Roscommon had its own version of Woodstock called ‘Knockcroghstock’ – that wasn’t very “Irish” but it was a lot of fun and very colourful. Those two elements are very important to me when writing music. I have lived abroad. I lived in New York on a J1 one summer of college. I would be influenced by the New York music scene. There’s a certain edge, an attitude, a frankness that captivated me growing up. My music would be influenced in that way.

Describe a live Alice Stands show.

The show is constantly changing. I’m solo at the moment, where I play synth live, trigger drum beats and samples and sing with treated vocals. I’ve had guest vocalists join me and I’m very interested in collaborating with musicians, artists, dancers and DJs. I’m building up towards a theatrical performance, influenced by cabaret, dance and the circus – an ‘Alice Stands Tea Party’. I’m very interested in dance music, but feel where a lot of dance music lacks is the visual appeal of the performance. There’s nothing more electric than seeing live musicians on stage playing off each other and this is what I’m working towards.

How does your song writing process go?

An idea comes to me in some way, I start singing lyrics off the top of my head or a musical riff. Other times I could be practicing the piano on a song and get bored and start playing around with chords and land on something I really like. Different synth sounds inspire me – I might write a riff because I love the sound. After that, it’s trying to get as many ideas down as possible and arranging it as best as I can. Then leaving it for a while and coming back to it with no expectations.

Thoughts on Lady Gaga?

I think she’s a really interesting character. Growing up in New York and experimenting in the Downtown music scene there has to be something worth sharing in that. It would be amazing to tour with her sometime!

Alice Stands has a weekly residence in Eamonn Doran's on Wednesdays and is playing Upstairs in Whelans on 15 August with Heathers and Hooray for Humans.

www.myspace.com/alicestands

The Shed, interview with Eli McBett

The use of the words ‘spaces’ and ‘collectives’ amongst Dublinese creative types seems to be rising by the day. No longer is it acceptable to just get off your tits and have a dance on a night out, it is now part of the course to engage in some kitsch organised fun in the process.

But The Shed on Henrietta Lane is once ‘space’ that sticks to what it knows: art. Since their initial ‘Stranger than Paradise’ call for artists in 2006, The Shed has involved more than 130 artists in around 80 events all with Eli McBett at the helm.

Connected caught up with the founder/producer/artist to learn more... McBett attributes the establishment of The Shed to what she calls “Deformazione Professionale”, that’s chronic professional syndrome to us non-Italian speakers.

“I discovered to be affected by this syndrome many years ago, at the beginning of the 80's, when the urban context I was soaked in Roma, was dull and dry and all the past reference points were lost. Something like the Celtic Tiger was spreading sickness at that time in Italy.”

The globalisation or Americanisation of culture was a particular influence on the syndrome,“A shame for older forms of culture and heritage pervaded people, and developers took inspiration from the worst of American standards. This provoked in sensitive individuals, the positive deep wish to change the world with unique alternatives to collective suicide.” McBett says, “I was young at the time, but this environment was deeply influential in my development.”

The dominance of this syndrome for McBett led her to rejecting traditional academic institutions and “dusty bureaucratic infrastructures” and getting involved in independent cultural centres.

“We did Auto-Productions, producing off site theatre festivals and art activities that offered at the time a different way of expressing vision and perspective for cultural and political operators.”
In 1998, McBett arrived in Ireland and developed her views while working in ordinary jobs and creative projects on the side.

For a series of 14 installations aimed to Kilmainham Gaol, McBett required people participation, “I started teaching in jails, creating workshops with children travellers and in other contexts, and so, I went around interviewing individuals approaching them mostly through the community centres”, she explains.

This led to teaching people in rehab, in institutions and schools, with people with disabilities, teenagers in jail, children travellers, women in jail and people with mental disorders or disabilities.

But McBett is keen to stress that these were not groups, but individuals, “The creation of my art events includes individuals of various backgrounds, but they are all included on the same basis as whatever other collaborator. I adapt my actions to the individual personalities and avoid hierarchies.”

Government funding for these projects is at a minimal. The Shed received just €2,000 by the City Council art grant, which funded the centre for less than one month, and also got some flyers printed. In the past she got founded by the Istituto Italiano di Cultura only, despite being an Irish artist.

McBett says, “All the costs are covered by my personal money, my free non-stop work and other participant donations. I am repaying a personal loan with the bank that will bond me to this project unless some other source of income will help. Now an office team from Italian universities is temporary helping thanks to EU project Leonardo and Erasmus Placement.”

At the time of going to press, McBett is still applying for funding from the Arts Council, as she has every year - for the last decade.

But McBett says, “The real difficulty is finding individuals keen to participate in long term no profit projects. To have some regular supporters from the same audience would facilitate our independence from institutions and the possibility to equip the space and facilitate the artists in presenting their work for free. The more we are independent the less we need to waste time on bureaucracy.”

Irish pub culture is cited as one hindrance to The Shed, “My main hope is to start a proper artist/art-operators resident collective. There are plenty of difficulties in finding individuals so focused and also prepared in experimental performance and installations, such as the local culture and custom which pushes people mostly to socialise and meet in pubs.”

McBett encourages everyone to visit, “Come and introduce yourself, tell me what you usually do, what you would like to do here, and let's bring in whatever you like to exchange with others your creative experience in a once-off night.”

The Shed hosts international residences, monthly events, daytime workshops and classes, and a resident collective. www.mcbett.net

"The music I use is already timeless to me, when you're already using a lot of classic sounds already, another 10 years on top of that isn't very much really. I'm not one for trendy gimmicks. I prefer solid, simple ideas."

Ten years on from his breakthrough album Mr Scruff is still Keeping it Unreal, playing his trademark six hour sets, creating his own distinctive potato head visuals and generally, causing a ruckus. We caught up with the rumoured fish affectionado ahead of this month's Button Factory gig and found no truth behind those Troy McClure-esque rumours. Dang.

You're playing here on the 12th of June, what can Irish fans expect? Will it be a 6 hour set?

Yeah, whenever I play, I always play all night. It’s a lovely venue with pretty decent Guinness, a good sound system and great crowds, so I’ll just build on the last time. I always play a wide range of stuff and I’ve played a few times at the Button Factory and feel very comfortable there. So just have fun and let loose really. The usual Scruff thing ― just lots of different kinds of music and a really good party vibe.

You seem to have a lot of eclectic influences from almost every genre, is there any music you don't like?

Yeah loads! There’s a lot I can’t stand. I don’t like really hard music like Pendulum, drum and bass, trance, really hard house or that kind of thing. I like music with a bit of space and a bit of swing to it, so anything that’s really full on isn’t really my thing. But other than that, my ears are pretty open. I think it’s a bad idea to say I’d never listen to that. I always check things that I don’t like, just to see if there’s been any development or any way for me to get my head round it. But generally, hard aggressive music isn’t my thing, but at the same time I love my bass and very heavy music. But I do like it to have a bit of a swing to it too.

What’s with the sea-life references?

It just came from charity record shopping and that sense of humour. I just happened to have a lot of under water references. There’s no particular obsession with the sea. It just what the charity shops were giving up to me at the time. People seem to think I’ve some obsession with whales and fish but it could’ve been about any subject, it just happened to be about the sea. It was just nice to give a bit of focus to those tracks by making them about a specific subject, rather than having just random daft spoken word. It was a sort of geeky comedy challenge to try make a story about a specific subject of hundreds of snippets from different records.

You've done a lot of musical collaborations, have you ever collaborated on the visuals?

Yeah I have done previously when I did a single with Fingathing. A lot of my videos have been in conjunction with a Manchester company called The Soup. I do enjoy that and it’s good fun. Although my cartoon style is quite limited, in terms of how far it can develop as it’s so simple, we do enjoy trying to push it in different directions and seeing what happens.

Why did you choose the World Development Movement as benefactors of 'Make Us a Brew'?

I work with a lot of different charities, but World Development Movement especially. I’ve been working with them for about 13 years, since they asked me to get involved with a compilation they were doing. Myself and my friend Guy used to DJ at a world music night called One Tree Island back in the 90s, and they asked us to compile a compilation album for them, the proceeds of which went to their charity. So I think the fact they approached me for my music, meant that from very early on we had a great connection. So we’ve just stuck with them really. We have moved the charities around, if we’re travelling and someone asks ― we give the money to a local charity instead. We must have supported 40 or 50 charities over the years, but WDM is the main one. They campaign for awareness for a lot of important issues that are neglected or people don’t know much about. I think it’s really important.

You studied art at Sheffield Hallam, did you come up with your potato head visuals there or was cartooning discouraged?

Those cartoons are a lot older than that. I was in my early teens when I started drawing in that style. When I was 15, I was pretty much drawing as I am now. So it came out a long time before I studied for my degree, and I’m still doing it now. So I just hit on that style and carried on, it’s almost like my handwriting now.

Sheffield is a city pretty renowned for its musical output. Was the scene there an influence on you?

Not really. No more an influence that any other place. A lot of electronic music came from Sheffield like Human League and Cabaret Voltaire and that kind of thing. Then later on the Warp label, which started in 1990, and all their output ― a lot of that crazy electronic music was hugely influential to me. But I think that would’ve had an influence anywhere. I was listening to it before I went to Sheffield. I was never a proper student there, I was working and studying part-time so I didn’t ever live in Sheffield or go out in Sheffield. I never really absorbed any of the cities’ musical culture in a direct way. It was all from records.

You’ve allowed your music to be used in a good bit of advertising. Have you taken any flak for it?

Kind of. ‘Get a Move on’ was in a lot of adverts in the late 90s. I’d probably think twice about doing that these days, now I know what these big companies get up to. I’m not used now in adverts in the last few years. It is used on telly a lot, but I don’t get say in that, like if its used in the background, when you release a record you relinquish that say in what people do with your music Sometimes it gets used in really average situations, but sometimes it’s like ‘Wow, that’s brilliant’. There are really cool people who say you’re a sell out ‘because more people hear you music, but in America, advertisements get people into my music as my music wasn’t played on radio. It’s an odd situation. Aphex Twin has this as well, when he advertised Pirelli tyres in the 90s. So you were getting quite experimental electronic music on mainstream TV, but all the radio stations were saying: ‘This is far too specialist, we can’t play this in the day time’. But you’d switch the telly on and there it was. I think telly is rubbish, I hate and I don’t watch it. But television adverts are one of the only ways that an independent electronic artist is gonna get their music heard in the mainstream. In one way you’ve got to get your music out there in any way, but I’m a lot more considerate of how the music is used nowadays, now I definitely think twice. You learn from experience.

‘Kalimba’ was used for Windows 7, was that a good experience?

I think so. All the web advertising is an odd thing. Oh, that was given out with Windows, wasn’t it? All that kind of stuff I just hear about it, I’m not really into computers or television, so these kinds of things seem to pass me by. But it’s one of things where someone buys a computer and the track is there, in one way it’s giving it away but how else are they gonna hear it? They’re not gonna hear it on radio. Unless I find it really offensive I kinda let my music be used for stuff. Windows was quite a good way of reaching people, and it’s not really tied to something. Your music isn’t being used to advertise a particular brand of sausage roll, it’s just there and people can share it with their mates or whatever.

Your earlier stuff like 'Keep it Unreal' haven't really dated. Why do you think this is?

I think because I’m not really that bothered at what’s going on at any particular time. I don’t really make tunes that sit neatly in any particular genre. A lot of the music I use is already timeless to me, when you’re already using a lot of classic sounds already, another ten years on top of that, isn’t a very much really. I surround myself by so much music that I don’t make the mistake of trying to make it sound too current or too trendy. My production style is very open. It’s a real mish-mash of stuff, so it can’t be pinpointed so easily, and hopefully has a bit more longevity. I’m not one for gimmicks; I prefer solid, simple ideas.

What are you listening to at the moment?

The new album by Quantic is really good. I managed to blag a copy of that a few months back and I’ve been playing incessantly. That should be out in a few months. He’s been living in Columbia for a few years, working with some incredible musicians. So that hasn’t been off my stereo. I went to Chicago last week and bought a load of mad, old, obscure disco records too, so that’s been great fun. I listen to a lot of old and new music all the time. I make sure I’m constantly hearing music that’s new to me so I can get excited about it and hopefully pass some of that enthusiasm to the people on the dance floor.

Hen Party

Feather boas, L-Plates, willy straws, pink cowboy hats and ass pinching.

Hen parties have a habit of dividing women into two camps; those who relish the absolute freedom that comes with wearing a silly hat (you can do anything - fact) and those who shy away from penis paraphernalia, preferring to wile away the hours looking embarrassed, but dutifully holding back the maid of honours hair.

But Henparty, the band, do not incite the same divides. If you like pop music, can jump around like a loon to, you’re welcome to the Henparty party. Woody Harrelson’s 1982 mug shot greets visitors to www.myspace.com/henparty, an inconspicuous choice you might think. He is a handsome man after all.

But knowing that the mug shot is the result of an incident concerning Harrelson’s drunken dancing in the street (no lie), reveals some part of what Henparty are all about.

Packing more mystery into an interview than Scooby Doo manages to stuff in the Mystery Machine, future pop stars Henparty chat with Heineken Music — leaving us more confused, yet more intrigued than ever.

From the outset the band cite their influences as, “Dutch post-punk combo The Sit, The Clean, Tall Dwarfs, Halo Benders, Guided by Voices and Beat Happening”, Henparty are adamant they make “pop music, and no mistake.”

Their MySpace hosts no actual pictures of the band, unless the band is comprised of two chickens, two bin bags, Ross Kemp, Danielle Westbrook, Steve McFadden and a bear. We can only dream.

According to group, the band is comprised of “Omar Plastic and Bear McFlurry”. So there really is a bear at least.

The duo say they look like Woody Harrelson “only during the month of October”. Adding, “We resemble two black spar value bin liners more. Eye of the beholder stuff, y'know?”

Questioned on where they’re from, the band try to explain. “It’s hard to say. We're definitely not from the north of south, anyway. It's an east-west deal.”

Galactic City Heard and Mc Donald Islands are cited as their hometowns. But the trees are not made of chips on Mc Donald Islands as you might expect, “It's barren. Zero nutrition and it's full of thousands of teenagers in tracksuits being dicks.”

The band got together on “One hot sticky drunken night” in 2009. But they insist they “can't really get into it here.”

Being of 2009, Henparty embrace technology when it comes to song writing, “We take a cut and paste attitude towards making our music.” Literally it seems, “We use e-mail, which we feel is underused on the modern music scene.”

A live Henparty gig can get a bit rowdy, “It gets pretty full on. Very cathartic. If it's been a bad week, we'll just beat the hell out of each other for 35 minutes and leave any music to chance.”

The bottom line is, if you like “blob-rock guitar chops and electrifying ride cymbal work”, and you know what that is, you might dig Henparty.

Omar Plastic and Bear McFlurry requested it is noted that no animals were hurt during the creation of the band.

Catch them while they still look like Woody Harrelson.

Hen Party tracks are available to download from www.myspace.com/henparty

Straglers

"A lot of our finest work has come from drinking sessions yeah. There’salways a new song created when the cans of Tuborg are about."

Hailing from their self-proclaimed ‘cultural home of Europe’, that’s Coolock to you and me, Straglers have returned from a brief hiatus as a foursome with a new single and an album release in the pipe works. Connected caught up with founders Colin and James to chat about pushing live boundaries and creepy convents in Cavan.

Where have you guys been all my life? Or the last few years even.
Colin: The album has taken quite a while to record, mix and master. We produced it completely ourselves, and after recording we needed a little break, a chance to step away from the album and attack the mixing stage with fresh ears.
James: The hiatus was just that we needed to re evaluate where we wanted to be as a band, and how we where going to do that. We never stopped writing, or fell out, just took a step back had a look at things. But it feels like a new band now, so everything is sweet.

How have Straglers changed since we saw you last?
Colin: We’re now a four piece, with an extra member on board. The live set up has changed quite a bit. New gear, new techniques.
James: We’re working closely with a visual artist he's gonna incorporate a live visual set into our gigs. Also, we will be recording a closed room live DVD with this visual show included; we think it’s very important to keep pushing the boundaries in the live environments.

The video for the new single Bitches in the Basement is a bit disturbing.
Colin: Yeah, the Director Russell Cooley had a lot of ideas. He was on the same wavelength as us. We wanted something a bit different, not the usual performance type video. That didn’t appeal to us. It’s more like a little mini film, a moody, dark piece of work.
James: We'd been chatting with Russell about the song for weeks and we just threw ideas around about what the song was about and we were clear that we didn't want a "band performance" video. So he just came back with a complete idea from start to finish of what the concept would be. The idea of "what comes around goes around" is the underlying message, so be careful and you have been warned!

The derelict gaff looks pretty ace.
James: It’s a convent in Cavan that been derelict since 1985. It’s a massive big gaff that’s in rack and ruin. Pretty eerie place.
Colin: There’s four storeys and literally hundreds of rooms, a church, boiler room. The place looks so amazing; it would be a shame if it was ever refurbished.

How’s the album progressing?
Colin: All wrapped up now. We’ve just the artwork to sort out now. It’s quite ambitious as a debut we’d like to think. Our influences are quite varied, and that comes across on the recordings. We like the idea of each song being different to the next.
James: We recorded fifteen songs for it but painstakingly whittled it down to ten. It’s quite schizophrenic in a way, because it chops and changes, yet the album flows really well. We approached it from a song to song basis, rather than trying to get a "sound for the album". That can get very boring. Too many albums after track four start to sound the same. Having said that, it definitely sounds like Straglers.

16 cans, 4am – is that the usual song writing process?
Colin: Sometimes! A lot of our finest work has come from drinking sessions yeah. There’s always a new song created when the cans of Tuborg are about. Songs can come from anywhere though.

‘Bitches in the Basement’ is available on iTunes, alongside a remix by Hugh People. ‘The Kids are Deranged’ album set for summer 09 release.

www.myspace.com/straglers

Dark Room Notes

"It helped change the atmosphere in the studio, it's amazing what the donning of a pair of speedos and an eye-patch can do for a song. There are some photos that will never see the light of day." (Ed: probably just as well)

Galway/Dublin/Wicklow hybrid, Dark Room Notes emerge from the er... dark room to bring fans and followers their debut album, ‘We Love You Dark Matter’.

Having relegated the pre-programmed beats to the sidelines, in favour of a real-life, living, breathing drummer (a move which the band say has brought “irreplaceable energy” to the group), DRN bring their blend of electro rock to the Academy this Thursday to throw the proverbial champagne bottle at the album.

Connected say ‘Godspeed’ and chat with the foursome, so tight they speak as one, ahead of the launch.

You recorded the new album We Love You Dark Matter in London, why so?
We wanted to get away from home and to leave behind the distractions of every day life in Dublin. Of course in London there are many, many other distractions, but the change of scenery helped to keep us fresh while going through an exhausting recording process. We also discovered that cost was pretty much the same as in Dublin, and there was access to far more toys.

Would it be fair to say the album is a little bit heavier than previous work?
Our previous output was recorded in a more sterile atmosphere and probably lacked a lot of the impact that we felt when we played it live. All of this album was recorded as live as possible, and the energy that this captures gives it more impact, which probably comes across in certain songs as heaviness. But the album does have it subtle, quieter moments too. We like to bust out the big riffs though.

What did producer Ciarán Bradshaw bring to the table? Apart from the obvious, that is.
Ciarán planted the tree, cut down the tree, carved the table with his bare hands, set the table, cooked the food, served the food, cleared the table and washed the dishes. All with a smile on his face. The album just wouldn't have happened without him. He brought a golden glow to the table, he has an insane amount of technical knowledge, an unquenchable thirst for adventure and exploration, a brilliant spark of imagination, the keenest ear possible, but it was the golden glow that allowed us to get into the space where magic could happen. He's been working with us from the beginning and I honestly don't think we would be the same band without him and it definitely wouldn't be the same album. Who else would dress like a warrior to help the vibe of a song?

Your recording process - one track a day - sounds very methodical. How was it really?
Well a day can be a curious thing, so while it might sound very methodical it really wasn't how it felt, being in the centre of crazy London and having our very own bike gang was great. We had some crazy adventures on our breaks. Having said that we did have a plan, there was method to our madness, it was mostly Ciarán though who took care of the method, we took care of the madness.

You used vintage synths on the album, any interesting previous owners?
Yeah! They've been studio synths since the Berlin days of Bowie and Iggy Pop so I'd say they are probably the most interesting synths in the world.

Did you use analog or digital synths?
We used quite a few old analogue synths (Moogs, Pro-One, Putney) in the recording of the album, but unfortunately our own collection of synths doesn't stretch beyond digital at the moment. We hope this will change very soon.

How important is it to get into character for recording?
We found that after a few days of intense heat and intense concentration, it was a real help to seek out new, sublime and ridiculous costumes from the markets of Brick Lane. It helped change the atmosphere in the studio. It's amazing what the donning a pair of speedos and an eye-patch can do for a song. There are some photos that will never see the light of day.

You supported Kraftwerk last year in Kilmainham. What were they like in person?
Unfortunately they were a little stand-offish and kept themselves to themselves. I can however confirm that at least one of them has a mickey. And they eat sandwiches.

You heading to Depeche Mode?
You paying?

I like your hat.
Hats are always on my mind.

www.darkroomnotes.com

Dreadzone

"Giving away music has become a necessity but the work of the musician or artist must have value, it's how you achieve that, the traditional role has reduced but others have sprung up so we must adapt and go with the flow. Download is the future."

Festival stalwarts Dreadzone return to Dublin for another expectantly energetic live show, on the rather dry stage of the Academy - weather not-permitting.

With a sixteen year history behind them, the group have just released their new single, which marks a stark departure from their previous work. We caught up with writer, producer, DJ, drummer and general 'holding things together' lynch-pin of the London dub-dance outfit, Greg Dread, to talk music, line-ups, USB sticks and other such ramblings.

In the last sixteen years, a myriad of styles and musical trends have come and gone, yet Dreadzone remain. How would you say your music has changed since you set out? How would you describe your music today?
The change has been more song orientated I guess, the first album was more linear, instrumental and sample driven, as we progress there is much more live instrumentation, lyrics and melody. We have always kept our principles of rhythm and sound pretty much the same. I would say we are more driven by writing the perfect pop song at the moment, and why not?

The new download For a Reason is quite accessible and radio friendly, what kind of reaction have you had to it so far?
The reaction has been extremely good, everybody seems to be liking it and accepting that we can be diverse in our approach. There is nothing wrong in being accessible, we have fans of many ages and walks of life, as the income from music dwindles, we need to cast our net wider.

For a Reason is download only. What are your thoughts on downloading vs. more traditional modes of releasing music?
Giving away music has become a necessity but the work of the musician or artist must have value, it's how you achieve that. The traditional role has reduced but others have sprung up so we must adapt and go with the flow. Download is the future.

You released a Dreadzone USB with music, pictures, artwork and videos. Where did that idea come from?
I believe it has been done before by some people, it just seemed a natural idea to sell them as merchandise. We thought it would be good to fill the USB with decent Dread stuff. But we also found that people have yet to become used to this format.

Will you be showcasing much from the forthcoming album at the Dublin gig? Any hints of what to expect at the gig and on the album?
There are many new songs in the set and updated versions of older stuff, we shall always provide something new and exciting for the crowd. The songs have been developed during our shows and have been the better for it.

You've created music from a home studio previously. What freedoms or limitations have you found with working from home?
I did have a home studio for a while but this current album is being put together in a space we have rented in central London, I have found it rewarding to get up and go into work everyday and set out to achieve a certain amount. It has a great live room so have been capturing some good performances from people; it's a good place for rehearsing for shows too.

You've two new members in the band, Chris Compton and Chris Oldfield. What have they brought to the group dynamic?
Both have brought good ideas and a calm Zen like approach to what they do, they believe in the band and have given so much good stuff. We had to re-invent the band and were able to do that easily with these guys. There is a good feeling of positivity in the group right now.

You've had quite a lot of line-ups. Do you find it easy to slot in new members/energies?
We find it easy to work with people, as long as the chemistry and ideas are there. They haven't really changed that much, I'm still working with Leo from Bad Days, and can't imagine playing with another bass man, and Earl 16 has been with us for a long time.

Have you any plans to re-collaborate with any vocalists you've worked with before?
I am always on the look out for good people, we are currently using a very talented female singer called Marcie Arnold who has an incredible range and versatility, and found it hard not to use her on many tunes.

Are any future remixes under the alias Mafia Tone in the pipe work?
Mafia Tone was something that represented the work I did with Ben Balfonic in the earlier part of the decade so won't be doing anything under that name anymore.

Are you still running Dubweiser in Notting Hill Arts Club?
No, but we are thinking about starting another club night in London somewhere. We have some good ideas for it and we have great bunch of people who could come together and make it work. This would be another strand of what we do to keep the energies flowing.

You've become known for your obscure samples, particularly from film. Are you a big movie buff?
I do love movies and explore the many genres as much as possible, and always have my sample seek radar on. I just collect them and run through bits when I am looking for something in particular.

What's next for Dreadzone? Any ballpark date for the album release?
More new music (free and for sale) more shows, live and DJ, a summer full of festivals and a challenge to overcome the financial problems of all business, including our own. One thing sticks out for the future is utilising the internet. Watch this space for an expanded online version of the Dreadzone experience. We plan to get the album out for this year but as it's not finished yet so I can't really give an exact date.

Dreadzone play The Academy on February 20. Support by Breakology.

www.dreadzone.com

DJedjotronic

"I think it's easier to love a beautiful vinyl sleeve than a computer screen. But for a DJ set, it's not the same work. Playing with a laptop allows you to do some live editing and bootlegging. I guess, if you don't like computers, you have a problem with electronic music."

French electro head DJedjotronic is depressingly the same age as me. At the ripe age of twenty three, he has made a splash not only at home but further afield (or should that be asea..?).

Regardless of inane wordplay, DJedjotronic has made his mark in music since he ditched the guitar hero and hairy rock in his teens, and started showcasing his producing on MySpace. The Parisian is a big fan of the self-made element of the site, un-coincidentally perhaps, since it led to many collaborations and a platform on which to release new material.

Earlier this year, DJedjotronic released his curiously awaited second solo EP, Dirty and Hard, on acclaimed Boys Noize Records. It is quite a feat especially considering that Jeremy, to his mother (presumably), lost the hearing in his right ear. Despite doctors’ advice to quit music, he kept at it. ‘I had no choice, music is the only thing I can do. It's about vital need’, he explained ― and more, when we caught up with him ahead of his Button Factory gig.

Are you looking forward to playing Dublin?
I'm very excited about playing in Dublin; it's my first time there. For my DJ set you can expect that I won't be too drunk to play. More seriously though, I'll try to play more and more self made tracks and edits in my DJ set, in order to make something more personal.

Describe your sound in 5 words.
Rough, Romantic, Rave, Exotic, Cumshot.

How did you initially get involved in mixing and producing?
I’ve played music since I was a little boy. I played classical guitar for ten years, then during my teenage years I decided to buy drum machine.

Where does the name DJedjotronic come from?
Umm… It's my first girlfriend who found this crappy name. I decided to keep it, even though it's not easy to pronounce.

Aside from ex-girlfriends, who have you been influenced by?
My friends and family.

Dirty & Hard was released on Boys Noize Records, how did you get involved with the label?
MySpace magic. We were talking for a year about releasing something together and now it's real. But I'm a little bit of a perfectionist so I take my time to make something good.

What kind of reception have you had from the EP?
I received very good feedbacks about Dirty and Hard EP. People like Erol Alkan, Proxy, Acid Jacks or Jackson play the tracks. That’s really great. Even Benny Benassi play-listed it on his radio show.

Which do you prefer, music with words or music without words?
I really like to work from lyrics. I mean, sometimes a simple word could create a melody in my head. Then I just have to transpose it on my keyboard. Sometimes it's better without words, when the melodies speak for themselves.

You’ve done quite a few collaborations, is there anyone that you would really love to work with?
I would really love to work with Mirwais (Ahmadzaï) and Prince.

How did the collaboration with SPOEK come about?
We met on MySpace. I sent him a mail. He sent me some lyrics. We started to work on it. I really like his voice.

What do you say to vinyl-loving, laptop-haters?
I'm actually using CDs. I think it's easier to love a beautiful vinyl sleeve than a computer screen. But for a DJ set, it's not the same work. Playing with a laptop allows you to do some live editing and bootlegging. I guess, if you don't like computers, you have a problem with electronic music.

What do you think of the current electro scene?
Very exciting.

Any opinions on Lady GaGa?
I prefer Katy Perry.


www.myspace.com/djedjotronic

YSL death prompts debate on AIDS stigma

Reclusive and fragile, Yves Saint Laurent became the grand malade of French fashion when he withdrew from societal limelight, and began battling a mysterious illness in the late 1980s.

Despite dealing with his illness privately, Saint Laurent did not officially hang up his measuring tape until early 2002.

The designer’s business and former-personal partner Pierre Bergé accredited the retirement to Saint Laurent’s frustrations with the fashion industry. “We have entered the era of marketing, at the expense of creativity,” he said.

But YSL’s retirement came as no surprise. Throughout the nineties; the designer became gradually more and more withdrawn from fashion circles, emerging only twice a year for brief bows at his haute couture shows.

Reportedly, the designer spent the decade in and out of Parisian hospitals; his rare public appearances revealed a fragile, dishevelled and disorientated man.

Rumours surrounding the designer’s health naturally followed. Gossips and the press tagged YSL with three Ds – “drink, drugs and disease”.

The designer directly addressed the drink and drugs rumours at his retirement press conference, "I've known fear and terrible solitude," Saint Laurent said. "Tranquilizers and drugs, those phoney friends. The prison of depression and hospitals. I've emerged from all this, dazzled but sober."

When he died in June 2008, ambiguous reports from The Associated Press stated the fashion icon had died “following a long illness”. This led to intensified rumours surrounding this mysterious illness. As a result, Pierre Bergé was forced to publicly state that Saint Laurent did not have the AIDS virus.

Gossip columnists were quick to question this - outlandishly highlighting the designer’s sympathies with sufferers of the virus as some sort of proof. In 1993, YSL dedicated his January couture collection to Rudolf Nureyev, the Russian ballet dancer who had recently died of AIDS at the time.

These rumours have found fresh wind due to last month’s record-breaking auction at Christie’s, which saw the designer’s collection of treasures and art fetch €353.5million, a large sum of which will go towards AIDS research.

This press intrusion into Yves Saint Laurent’s personal life is relentless even posthumously, but without leaked medical records, the true nature of his death will not be known and speculation will no doubt continue.

In reality, whatever illness he suffered from is irrelevant. However, press and gossip insistence and the staunch denial by Bergé does raise questions about the stigma of AIDS and whether it is still prevalent in society today.

AIDS has been associated with marginalised groups such as homosexuals, drug users and sex workers and it cannot be denied that such associations result in discrimination and stigmatisation.

An attitude epitomised in the extreme by former US Senator Jesse Helms who routinely opposed AIDS research funding because he believed sufferers contracted the illness through “deliberate, disgusting, revolting conduct”. He later did approve funding for AIDS support for Africa, but not for the U.S.

There is a strong tradition of ‘undisclosed illnesses’ in the celebrity world and among the general public when it comes to HIV and AIDS.

Freddie Mercury was one celebrity who was criticised for his reluctance to admit his HIV status; he admitted the illness on the day he died. It can never be known how many people have suffered from this continuously ‘undisclosed illness’.

In recent years however, big name celebrities have lent their faces and voices to help de-stigmatise the illness. There was the ‘What’s Going On’ album which featured pop stars from Britney Spears to Michael Stipe covering the eponymous Marvin Gaye track to raise awareness and proceeds for AIDS programmes.

Product Red has been a successful model of branding by Bono and businessman/politico Bobby Shriver, which has seen big name multi-nationals like Apple, Converse, Armani, Dell and American Express release Red products specifically marketed as supportive to the AIDS effort in Africa. This has seen over $110million raised to support life-saving work.

U.S. basketball star Magic Johnson who is directly affected by HIV has been an active spokesperson in campaigns to help HIV and AIDS awareness. The sports star healthy appearance after seventeen years since diagnosis gives a hopeful and unashamed public face to living with HIV, demystifying the mysterious illness for future generations.

Women's Media

The beauty stage and pamper zone are under construction.

Eighty-thousand mini boxes of Special K are on standby.

Womans World 2009 [sic] is coming.

The event, hosted in the RDS, is yet another consumerist, marketing binge which will see beauty and fashion businesses pitching their wares at women of all ages – giddy from complimentary fizzy wine and the intoxicating smell of sample perfumes.

Now in its third year, Womans World is not the first event of its kind, and it is not the only one in the industry either. As these events become more and more frequent, the singularity of one voice for women in the Irish media in turn, becomes more and more glaring.

Symptomatic of this voice is a certain type of language. Warning words include; ‘fashionistas’ and ‘glamarama’, and references to cocktails, Carrie Bradshaw and Manolos are also used to titillate potential customers.

The three day show intends to reign in Irish women with the allure of exhibitions and stalls in “fashion, accessories, make-up, tanning, jewellery, wine-tasting, shoes, nails, hair and healthy eating.” A ‘Womans World’, apparently.

Currently, its website is quite vague on the specifics. But crucially, the site is pink. Very pink.

Earlier this month in the same arena, TV3 hosted its first ever Xposé Live event (or ‘haven’ as they dubbed it), which showcased “all the glitz and glamour of the fashion, beauty and health and lifestyle industries.”

These industries were divided into colour-coded areas in the RDS: pink for beauty products, purple for ‘high-street chic’, black for designer jewellery and couture and finally, green for relaxation, health, fitness and nutrition.

The predictable pattern that has emerging is not exactly veiled. The same formula was spoon fed to Irish audiences at the Trinny and Susannah’s Style in the City event hosted last September.

It was Off the Rails that sparked the trend for these events, their annual ‘glamtastic’ fashion and beauty showcases have been running for over six years now and the Xposé Live event seems to have modelled itself on its as The Style Exchange, Fashion Village, The Ultimate Pamper and Well Being Zone and Boutique Boulevard.

In their press release RTÉ asked; “Cocktails, Champagne and Strawberries what more could a girl ask for?” whereas this month the Xposé urged women to “grab your Manolos girls and join us for a fashion extravaganza!”

To give credit, at least the Xposé, Style in the City and Off the Rails events do highlight that these are industries and interests, but Womans World 2009’s offensiveness lies exactly in the name - ‘a woman’s world’.

The complete saturation of this discourse in Irish media is becoming more and more apparent. Although the magazine pool is small, each one seems to feature article after article of shopping secrets, beauty buys, celebrity gossip and self-help/confidence articles, with little variation.

It’s a far cry from the US who have well established titles like Bitch, Bust and Ms., all of whom have been offering readers something a bit difference since 1996, 1993 and 1971, respectively. Yet Ireland’s most progressive move in mainstream Irish media seems to be the adoption of a ‘no diet’ policy by U Magazine.

Closer to home, one ‘A5 antidote to the guff that passes for women’s media’ is celebrating its fourth issue. Edited by journalist Marie Berry, KnockBack magazine has given UK readers some alternative to the commercial magazine industry. Berry was inspired to found KnockBack after leafing through magazines whilst working in a call centre.

Berry says following one magazine binge, she felt patronised and manipulated by what she had read; “By the time I left the building that day I felt like an ugly, masculine, washed up neurotic. They had turned a spotlight on things I had never even considered worrying about. Is my forehead shiny? Am I silky enough? Is my boyfriend cheating on me? Has my dad paid for sex? Do I want matt skin like Liv Tyler or a radiant shimmer like some other broad? Why IS Donna so very thin? What am I wearing?!”

She articulates the thoughts of many, “Glossy magazines concentrate on the flaws and fallibility of celebrities while simultaneously selling us products to look like them, it’s too obvious. The game is up”, Berry says.

Cue KnockBack.

The magazine does not feature advertisements, it relies on donations to stay afloat, which means the editorial team never have to compromise content. Throughout the issues, are articles that challenge the everyday sexism of pop culture, as a result the humour is not dissimilar to what you might find in lads’ magazines.

In the third issue, articles included: ‘How to Lose 85 pounds in just two hours (by visiting a style consultant), ‘Why we Don’t Wanna be Feminists’ and ‘Woman’s Intuition, The Feminine Razor: A Consumer Guide’.

The latter road tested the sharp minefield of the disposable razor world; “My left leg under the influence of Gillette takes to running down a beach in a pink bikini, while my right, a victim of one fourth of a 15p, stays at home with a pie.”

This kind of quirky humour peppers KnockBack and makes their handling of even conventional topics to be off-kilter.

They have also featured a run of ‘offensive’ headlines from other women’s’ magazines to ‘point and laugh’ at. These ‘offensive and patronising’ headers include: “Genius! Lily Allen’s Eyeliner – How To” and “The Weekly Guide To Your Life – Men > Real Life > Shop”.

Despite the saturation of women’s media, Berry is optimistic; “Media for women is emerging from its diet-induced coma, it’s changing into something much more engaging.” Considering the magazine is public funded and is successfully publishing its fourth issue, it would seem many other agree.

Zadie Smith is also a fan; “Receiving the zine in the post made me feel that the present situation for women is possibly not as absolutely fucking awful as I had previously felt it to be. It was a little ray of pink and black hope.”

Here in Ireland the situation is finally beginning to change. Naturally with a smaller demographic alternative print is more expensive and accordingly, less viable. But one ‘anarcha-feminist magazine’ is bucking the trend.

The Rag, now on issue three, is a content heavy A4 produced by the Rag collective, a group who distinctly align themselves with feminist causes. The magazine is certainly more academic that its foreign counterparts. Articles in the most recent issue look at ‘gender binaries’, feminism in Muslim countries, lengthy book reviews and it also features a sort of ‘feminist how-to’ which asks, ‘I’m a feminist… Now what?’

Currently The Rag is the only printed alternative in Irish women’s media, although the first issue of Lash Back, another Irish feminist zine is ‘coming soon’. Undeniably financial restraints do limit print possibilities, but there is also a distinct lack of an Irish-specific, humorous and non-didactic voice in the ‘no overheads’ world of blogging.

The closest thing to a non-print outlet was the club night Noveau Vadge, which was very short-lived. The club night was set up to showcase an eclectic mix of music, photography, zines, arts and crafts and “dot dot dot”, but hosted just one night in Seomra Spraoi. The future of the ‘monthly event’ is still uncertain.

Noveau Vadge’s motto is, ‘Looking to showcase women who do shit!’ Time will tell whether new collectives and established institutions decide to follow their lead. In the meantime, we have Womans World and Xposé for company.


www.ragdublin.blogspot.com

http://www.myspace.com/lashbackdublin

http://www.myspace.com/nouveauvadge

http://www.knockback.co.uk/

Rise of the Cupcakes

Sex and the City sparked another trend when Carrie scoffed them at New York’s famous Magnolia bakery. Jessica Simpson vomited them up on Newlyweds. This year MAC released Sugarsweet, a cupcake-themed make up range. Cupcakes are invading every aspect of popular culture.

Increasingly an acceptable and common gift in lieu of wine and chocolates, these little bundles of frosted joy are increasingly showing their faces at christenings, hen parties, weddings and baby showers.

Keen to cash in on Google’s most-searched recipe, Irish bakers have been experimenting to find the perfect formula and new businesses are springing up to feed the growing demand. Sweet Cupcakes in Dún Laoghaire is one new venture set up by husband-and-wife team, Paddy and Mel.

The duo say, “The cupcake appeals on a number of levels - the look, the taste and the size. It’s not the same as having a slice of cake. We see people walking along and when they see us, their eyes light up.”

Sweet Cupcakes sell at the Bloomfield shopping centre every Saturday, “We bring four large boxes of cupcakes and normally sell out in between three or four hours, earlier sometimes. We did a school fair and we were the only stand who sold out, again long before closing time.”

Paddy and Mel started their cottage business from Blackrock market just before Christmas 2008, and business has been booming since. In the same month, Lolly and Cooks, formerly LaraLu Foods in Georges St arcade began selling cupcakes too.

Owner Laragh Strahan says, “I’m unsure if it’s just a fad. Maybe in a few months, we’ll be moving on to something else. But for the moment, our cupcake trade is doing really well.”

Although a rainbow of colours smile up at you from the counter, Laragh says, “The icing is probably the most noticeable thing about them, but every filling is different too. The cake base itself can be customised. Cupcakes are very versatile.”

Purely for research purposes, we tried Lolly and Cook’s most popular cupcake; the Coconut and Raspberry Goblin Bliss (€2.30). With a raspberry filling and soft sponge topped with fresh buttercream, shavings of fresh coconut and a plum raspberry on top; it was pure bliss at first, but also sickeningly sweet.

The company do special commissions as well as trading from the stall. “We’ve provided cupcakes from everything from weddings to corporate events, all personally tailored. We’ve made icings to match bridesmaids’ dresses and added business logos to our corporate cupcakes”, Laragh says.

Bridal magazine Confetti have been championing cupcakes on their website for savvy brides and grooms, as a way of getting around cake cutting fees at hotel receptions.

Kate Deegan of BlossomBabies.ie, based in Monkstown, recently began selling cupcakes (€24 per dozen) alongside baby clothes, linen and blankets. Kate says, “I'm quite new to the scene but since I've started up there definitely has been an increase in popularity round here. Most of my orders are for kids parties, with an increasing number for weddings. I think people are increasingly thinking of cupcakes for weddings in an attempt to cut costs.”

Kate says individual traders who work from home with fewer overheads are a good bet for those wanting to cut costs, “Bakeries tend to charge quite a lot for each individual cupcake still. From browsing the wedding forums I gather that a lot of people are doing them themselves, with varying degrees of success. They still work out a lot less than a wedding cake, either way.”

Food pornographers Marks & Spencers are the first UK or Irish supermarket to develop an own-brand cupcake Matt McAuliffe, product developer for M&S, went to New York to research the perfect recipe. He told The Sunday Times,“In America, the ratio of sponge to buttercream is about two-thirds to one-third. That’s really sickly — it has been hard to make it palatable for British tastes.”

Mc Auliffe’s solution was to use fresh fruit to flavour the buttercream and add fruit compote to the sponge and voila the English cupcake was born.

Testing their glitter-dusted Strawberry & Vanilla cupcakes (four for €3.49), we found the icing was certainly less generous than a café cupcake, but also, less sickening.

The only downside of the M&S cakes is the availability of ‘nutritional’ information on the box. Yes, 20.4g of fat per cupcake is more information than we wanted to know, thank you. These figures are happily not available at cafes and bakeries, which gives the latter the edge.

But many must disagree. Our visit to Grafton Street’s food hall revealed that M&S cupcakes were selling like er…, hot cakes, while traditional favourites like almond fingers and fairy cakes languished on the shelves.

Fashion and hip sets are also reflecting this cupcake culture. Dublin club night Le Cirque and venue Seomra Spraoi lay out cupcake buffets to sweet-toothed scenesters, taking a break from the board games and colouring books on offer.

Urban and ‘Suburban’ Outfitters (the latter in Dundrum), unofficial authorities of the ‘trend index’, have been peddling the Magnolia Bakery recipe book, cupcake-shaped lip balms and cupcake motif t-shirts since 2006.

Sounds sweet, but it’s not all cuteness and light. Urban Counterfeiters, a watchdog consumer website, highlight how Boston designer Johnny Cupcakes’ trademark t-shirt “Make Cupcakes Not War” was copied by the trendy chain.

“A while after sending in samples of his t-shirts so that the mega chain might consider buying some off of him to sell in their stores, Johnny Cupcakes was notified by a friend that they were carrying them — without his knowledge. Turns out Urban took a concept off of one of his samples and made their own version.” Johnny Cupcakes successfully sued Urban Outfitters for an undisclosed sum.

The cupcakes rise as kitsch culture du jour is a curious one.

According to Google Trends, the word ‘Cupcake’ was googled more times than ‘financial crisis’ in September 2008, many say their popularity is indicative a return to safe, cheap and cheerful pleasures, and are a sweet diversion from reality.

Blogger, journalist and cake fancier, Kim Vallee says, “As comfort food, eating cupcakes can lessen the burden of the economic crisis for a few minutes.”

Earlier this month, Newsweek ran a feature on how the grim global economy is creating a boom in cheap and cheerful entertainment. The article surmised that in tough times, people gravitate to cheer pleasures to escape the reality of recession. If this is so, we may consider cupcakes the Slumdog Millionaire of the food world.

Symbolic of times, the formal navy façade of an estate agent in the village of Enniskerry in Co. Wicklow has been painted bright pink, to pave the way for a new old-fashioned cake shop, opening soon. It seems the trend, like the financial crisis, is showing little sign of abating.

Let them eat cake, indeed.

* Picture courtesy of Laragh Strahan of Lolly and Cooks, Dublin