When I first ventured abroad on a study abroad programme to a place in Ireland called Maynooth, I was enchanted by the spirit of adventure. I booked a flight that would arrive two days earlier than my semester abroad programme started so as to spend a couple of days experiencing all that Dublin, this capital city in foreign soil on which my feet had never tread, could offer. So I booked myself into Avalon House, a swanky hostel as far as hostels go, according to the Dublin Rough Guide in 1999, and probably still is today, I haven’t been back there in about 15 years. I do know from their website, they still seem to do a healthy business.
And it was a nice place. Sure, you still share rooms, but it was cosy and clean and had more in the way of amenities than my now better traveled self knows that some hostels have, which is not much, having stayed in hostels in other parts of Ireland and Spain since then. But the majority of you know what hostels are like. You’ve got to be careful in selecting them. This is where you rest your head for the night. This is where you go to seek respite from the hard day of globetrotting, of become more worldly wherever you are.
Which is all to say that I was ill prepared for a hostel as sleek, stylish and cool as the Generator Hostel here in London. I was fortunate enough to attend their relaunch party on Thursday evening and you can see that it was quite the happening atmosphere. If this is what hostels are like nowadays, I might have to revisit this mode of accommodation.
The night was buzzing with an atmosphere of bacchanalia and revelry. Bright young things lithely lounged in a comfy and welcoming atmosphere smoothly designed with an eye for detail. If Generator can make you feel this welcome on a launch night, think what they can do if you stay at their hostel.
Infused with a heavy rhythm provided by NTS Radio and Eglo records, the party was a sensory circus, complete with free photo booth, dance floor and chill out area.
So, if you find yourself in this fine capital and need a base from which to explore, Generator is a great bet. Rooms are reasonable and stylish. Service is friendly and accommodating. And hey, does a party like this not suggest something of the spirit of their hospitality?
Generator has eight hostels throughout Europe including Copenhagen and Venice. I didn’t ask about loyalty cards, but this is definitely a brand that inspires return custom.
Book rooms now at Generator London. Enjoy!
I was ready to like Leonardo DiCaprio as the eponymous protagonist in this upcoming adaptation directed by Baz Luhrmann. I had forgiven them both for Romeo and Juliet and had come to accept that cinematic effort in all its smoking guns glory as a useful and exciting way to introduce teenagers to one of the most difficult stories Shakespeare has to offer in terms of engagement and narrative.
I thought Carey Mulligan would work as the beautiful, thoughtless and morally bereft Daisy Buchanan, and I actually thought Toby Maguire was perfect for Nick Carraway, the deceptively innocent looking young man from the Midwest who comes out to New York to make a living and resist the city corrupting his soul while he hypocritically claims the moral high ground.
Nor am I so close-minded as to think that a non-American director can’t handle an American story. Sam Mendes did too good a job with American Beauty for anyone to think that.
Apprehensive though my English teacher’s heart was about this sublime story being given the Hollywood treatment again, I had been convinced by various parties and was ready to believe that it could be done with style and still convey some sense of the aesthetic wonder that is Fitzgerald’s prose.
And then I saw the trailer.
It left me with something nameless beyond apprehension, something approaching dread. How can you tell a quintessentially ‘Jazz Age’ story without jazz? What this trailer appears to do is take Gatsby out of the roaring 20s, and place him firmly in the twentyteens (that seems all right, doesn’t it?) not so much roaring as swaggering with his trousers around his knees and his bling firmly on show, dressed to impress.
Which is not to say I have a problem with the presence of hip hop or even Jack White’s cover of U2’s ‘Love is Blind’. I can actually see the parallels and the reasoning perfectly. The song that was chosen for the trailer, ‘No Church in the Wild’ by Jay-Z and Kanye West, seems to ‘teach the lesson’ of Gatsby, dropping lines like, ‘When we die the money we can’t keep,’ but it also talks about ‘the girl in all leopard… rubbing the wood like Kiki Shepherd,’ not quite the flapper dresses, feather boas and the Charleston of the roaring 20s.
But still, I can see the temptation. In all honesty, there is a lot of rap that is about acquiring material wealth and flaunting it as a kind of two fingers to an oppressive state and rigid class structure that has made it all but impossible to acquire such wealth or any sort of social mobility. And Gatsby is a man who makes his fortune dishonestly but for what seem like the right reasons, holding a quixotic candle for years to one day impress Daisy in the same way Pip one day would like to be ‘good enough’ for Stella. So the excess, the decadence, and the emptiness is all there. And I can see that.
But why then does it need to be updated? Why take away the joie de vivre of jazz that ultimately evokes the hollowness of the glitz and glitter indulged in by these characters, especially when that loud whizz bang blare of apparent life and unthinking esprit serves to heighten the depths of pathos at the end?
It’s not as though it’s a story that’s completely alien to us. The young and the restless of a generation get carried away speculating with money they either don’t have or that doesn’t exist or will never come back from bad loans but no one heeds the warnings because everybody’s having fun. No one wants to hear about it because everybody’s too busy spending money and partying. The desolation when the party stops is stark and unbearable. Sound familiar anyone?
Those of us who have been in education or in theatre or just appreciators of beautifully composed language know that translation is an occasional but lamentable necessity and that something is always lost. Will what appears to be one long F Scott Fitzgerald inspired music video manage to convey the existential longing in lines like ‘Men and girls came and went like moths among the whisperings and the champagne and the stars…’ and the subsequent tragedy, or will this story be a narrative with the life-blood cruelly drawn out of it? Will this, in the more modern sense of the word be, simply a tragedy?