MAGAZINE
ISSUE 556
CUB
CUB cover competition
LETTER FROM THE EDITOR
Welcome back to CUB magazine and issue 556, our first
for this academic year. We may only be a month in, but things have already been very busy and exciting over here at CUB, we designed Lionel, a leopard made of flowers, to win you over at the fresher’s fair, held our first meet and greet, went on a CUB crawl (get it??) and held our CUB cover competition. This year the focus is original work, we want your articles like always, but we also want your photographs and illustrations. CUB should be about celebrating the amazing creativity here at QM, so that’s what we’re going to do! With that in mind, thank you so much to everyone who entered our cover competition, we were overwhelmed with choice, and at one point I was considering a cover collage with all of your images. But, as with all competitions, someone had to win, so massive congratulations to Dominic Dee, who took the winning photograph. Your image is now on every media display around campus! Our front two pages are made up of some of the other images we loved, and we’ll be displaying more of the entries at our magazine launch on Tuesday 27th at Café 1001, so come along and check them out. There are an amazing variety of articles in this issue. From viewpoints on the anti-gentrification protests and the role of the Middle East in the refugee crisis, to a review of the Al Wei Wei exhibition and Unisex’s Sex in a Sentence. So forget about your work for a minute, sit back and enjoy as we take you through Columns, Arts, Music, Style, Film, Photography, Features, London and Unisex. If you’re reading this issue and kicking yourself that you weren’t involved with it- join our CUB contributor page on Facebook and find out how you too can be a part of CUB! There are still three more issues for this year, and we upload daily online, so if you want to be a part of it, you can make it happen. I hope you love this issue as much as we loved making it, Mattea Editor-in-chief Image: Charlie Bennett
SECTION GUIDE 1 // ARTS WHAT’S ON
11// STYLE LOUIS VUITTON EXHIBITION
5 // COLUMN POLITISTA 6 // MUSIC LANA DEL RAY REVIEW
15 // COLUMN ELLEN’S BOX
16 // FILM MACBETH REVIEW
37 // UNISEX CONTRACEPTION CONVERSATION
41 // EDITOR’S LIST 23// FEATURES REFUGEE CRISIS
31 // LONDON WE ARE THE ANGRY MOB FB//CUB magazine Twitter//@CUBmagazine Instagram//@CUBmagazine
1//ARTS
WHAT’S ON: London Theatres After completing its season in Blackpool’s Winter Gardens with numerous stellar reviews under its belt, Andrew Lloyd Webber’s hit musical returns to the London Palladium later this month. The show is perhaps a more traditional musical than The Book of Mormon, so if you want to see some all singing, all dancing musical theatre, this is definitely a must see!
PRINCE OF WALES THEATRE
What’s on: The Book of Mormon When: Now - December 2015
This hilariously funny musical has proved incredibly popular since it first opened back in 2013. This musical is a must see if you want to laugh for two hours straight. The show plays on satire and aims to make as many risky, but brilliant, jokes as it can. The plotline is for the most part light and easy to follow but the show itself is comedy gold.
£20-59
LONDON PALLADIUM
What’s on: Cats When: 23rd October onwards
Lottery
TICKETS
TICKETS
WORDS ALLISON MURPHY
NATIONAL THEATRE
What’s on: As You Like it When: 26th October onwards
If you’re looking for a lighter Shakespeare production, this is definitely the one to watch. A nice contrast to the dark seriousness seen in Benedict Cumberbatch’s performance as Hamlet. This is the first time the National Theatre has put this play on for over thirty years, so you may have to wait a while to see this production again if you miss it now.
£15-55
From New York comes the only double award winner at Edinburgh Festival (snagging both the Herald Angel Award, and the Scotsman Fring First Award) Penny Arcade: Longing Lasts Longer. Arcade mixes satire, memoir and a exhilerating dance soundtrack - less a traditional performance than a true theatrical experience
£10-20
What’s on: Penny Arcade When: 2nd - 21st Nov
TICKETS
TICKETS
SOHO THEATRE
CO//wikipediacommons
3//ARTS
AI
WEIWEI AT THE ROYAL ACADEMY WORDS EMILY RICHARDSON Ai Weiwei is an artist most well known for his activism, politically fueled art, and as a result, his contentious relationship with the Chinese government. You may know him for the thousands of crabs that took over a room at Blenheim palace, or for his iconic photo series depicting himself dropping a Han dynasty urn and allowing it to smash, with an expression of careless defiance on his face. His exhibition at the Royal Academy of Arts is in many ways a review of his past works, and it follows the events of his life till now. The exhibition is £11 for students, and this includes a multimedia guide, which gives you
information about the details and symbolism behind each of the pieces. There was so much to take in, its difficult to put all it down into a review, however I shall attempt to list some of my highlights. The beauty of Ai’s art is in the detail and its context. The materials are more often than not remnants of ancient Chinese architecture that has been salvaged. The sculptures are made from parts of temples and pieces of furniture, which are joined together to create something new, preserving the ancient Chinese craftsmanship in a modern way. The traditional methods, without glue or bolts, mean the conjoined items look as though they have melted into each other, defied gravity, or been folded as if they were paper. The beauty of Ai’s art is in the detail and its context. The materials are more often than not remnants of ancient Chinese architecture that has been salvaged. The sculptures are made from parts of temples and pieces of furniture, which are joined together to create something new, preserving the ancient Chinese craftsmanship in a modern way. The traditional methods, without glue or bolts, mean the conjoined items look as though they have melted into each other, defied gravity, or been folded as if they were paper.
The piece named ‘Straight’ is especially impactful, not only because of the simplistic aesthetic, but because of the intention and process behind it. The piece is a protest against the withholding of information by the government regarding the collapse of schools in the Sichuan province during an earthquake that killed thousands of school children, allegedly because of the corrupt methods used to cheaply construct the building. The process of salvaging the metal from the ruins and returning it to its original, straightened state, and arranged in the representation of fault lines, serves as a poignant tribute. The surrounding walls of the room bear the names of those who died. One of the most fascinating pieces was the room of 6 minimalistic boxes, each with 2 small windows, containing miniature representations of the different aspects of Ai Weiwei’s time being detained by the Chinese government. He makes a spectacle of the way he was strictly observed during his most intimate moments, such as sleeping and showering, and immortalises his 81 days of incarceration. The gallery filled up quickly, and the amount of people was in some ways a distraction from the installations, as his pieces need space to be appreciated - such as the wooden arches that, from above, depict the shape of China and Taiwan.
However, overall the retrospective of Ai Weiwei’s work was incredibly inspiring and thought provoking. Ai takes the ancient and makes it new, imbuing it with a political narrative. He questions authority, authenticity, and what we place value on. Everything has hidden meaning, and is reminiscent of some part of the artist’s life, which is inescapably intertwined with turbulent political involvement, culminating in this curation of his works; it is definitely worth the £11 ticket price.
THE PERSONAL is POLITICAL CO//PIXABAY
6//COLUMN
s a g n i h t h c u s o n s ’ e r e th women who wear the hijab and denying them the agency to make that choice, it’s a form of oppression? words Charlotte Watson Feminism has become something of a hot topic in the news in the last couple of years, with shows like Lena Dunham’s Girls advocating a one-size-fits-all sex positive movement and artists like Taylor Swift rebuking their old ways to become all new and inclusive (even if you wear short skirts and she wears t-shirts). Some of the most vocal proponents of a very particular brand of women’s liberation are FEMEN, a radical feminist group founded in Ukraine in 2008, a collective of women allegedly put together by a Simon Cowell style mogul of feminism. Interests include: not wearing tops, writing on their chests in black marker – how do they wash that off ? – and being rampantly Islamophobic. FEMEN describe themselves as committed to ending the religious exploitation of women, but fail to see that in using demographics of women – particularly Muslim women, in this case – to further policy objectives is more demeaning than the practices that the group supposedly object to. One of the founders of the group, Inna Shevchenko, was quoted as comparing the wearing of the hijab to “the blood and all the crimes” in Islam, and has called for women to remove the hijab in the name of women’s solidarity. It can’t just be me who wonders who let these women decide that they could speak on behalf of the rest of their gender – how hard is it to see that by speaking over the choices of
And why stop at Islamophobia when you can call for the criminalisation of the sex industry as well? For a group of such outspoken feminists they can hardly say they’ve done their research – research has shown time and time again that the easiest way to further endanger sex workers is to push the trade underground, denying access to services that could provide vital support. The central flaw of FEMEN’s position is their desire to present choices in binary opposition to each other – wearing the hijab does not mean you’re oppressed, supporting the regulated legalisation of sex work does not mean you’re a 100% certified member of the patriarchy. There are grey areas in every aspect of human choice because humans are complex, and to present issues in the context of either good or bad is inherently harmful. Maybe the most feminist thing FEMEN can do is allow other women to finally be able to speak for themselves.
The central flaw of FEMEN’s position is their desire to present choices in binary opposition to each other
-ism
DON’T LET ME BE MISUNDERSTOOD: T H E AESTHETICS O F HONE YMOON
Ever since her 2012 debut Born To Die, Lana Del Rey has been intensely scrutinised: is her music a highbrow, carefully meditated aesthetic, or haphazard nostalgic Americana? Is she a postmodern icon of Sinatra and Nirvana pastiche or the empty pre-fabricated product of our modern generation? her new album Honeymoon supplies us with more ethereal dreamscapes and offers clues to answer these questions.
W
words Rodrigo CT
hilst Ultraviolence saw her play with a more electric sound, she now hits the breaks and
embodies the female crooner that she has always presented herself as but never quite
sounded like. In Honeymoon, her Lolita imagery and Old Hollywood style match her music more closely, but both beg the question: does her nostalgia serve a purpose? Critics agreed that Born To
Die was problematic due to her erratic channeling of influences, reappropriating here and there, without any specific goal in mind.
Her third record has a new-found empowerment and musical homogeneity, more ambitious and
less radio-friendly, with a soaring six-minute titular track.After being the most popular female artist
on Spotify in the US and hitting high in the charts with ‘Summertime Sadness’, there is a sense of independence rather than pressure surrounding Honeymoon Lana Del Rey. She has received backlash in the past for her questionable female politics and interviews romanticising suicide –
when promoting her sophomore album she told The Guardian ‘I wish I was dead already’ – but this
time around she aims to be the serious artist whose work speaks for itself, as she produced the album herself and has given little press over it.
In light of this, her invoking of powerful female artists such as Nina Simone and Nancy Sinatra
feels more right now than ever. The album interlude ‘Burnt Norton’ is a grainy, softly spoken rendition
of T. S. Eliot’s poem that aligns faultlessly with her nostalgic appropriation. Curiously, her music has never been as soundtrack-appropriate as now, perhaps due to her collaboration with Tim Burton on
Big Eyes. Delving into the background, she is out of reach and refuses actual proximity - in ‘High By The Beach’ she is over us, the public and music journalists: ‘The truth is I never/ Bought into your bullshit/ When you would pay tribute to me’ as she shoots paparazzi in the accompanying video. C/O:Wikipedia
Ever the ethereal songbird, perhaps what makes her interesting is what renders her problematic.
She treads a line between serious and lowbrow, with the climax of this being a faultlessly executed, elegant video to her existential doobie lyrics ‘All I Want to Do/ Is Get High By The Beach.’
8//MUSIC
“GOOD...FOR A GIRL” WORDS ANtigoni Pitta O v e r l o o k i n g what has been written about music is like overlooking music history itself. It’s no lie that popular music relies on press to ensure its survival, with magazines like Rolling Stone and NME seen as the be-all and end-all of information on music, new and old. Their contributors hold the future of every new release in their hands, with the power to make or break an artist’s career. If music journalists are meant to reflect the public’s opinion, isn’t it a bit problematic that most of what has been written and said about music has come from the pens of male writers? Opening any music magazine exposes the field’s main flaw, which is that it has always been and remains to this day, a boys’ club. Music journalists can create legends overnight as easily as they can undo them, often making legends of themselves in the process. The figure of the ‘rockstar journalist’ has been mytholigised for decades, making this job seem like an unattainable fantasy straight out of Almost Famous. Legendary rock writers like Lester Bangs and Nick Kent, whose – admittedly amazing – careers came with a side of sex, drugs and rock ’n’ roll have indirectly influenced our general perception of what being a music journalist actually means, feeding the egos of many aspiring young men who want a break in the field. Why have I said men? Let me ask you this: Have you ever heard of Ellen Willis? How about Jessica Hopper? I wouldn’t blame you if you haven’t. These women are music journalists, pioneering as females in a male-dominated field. The former was employed as the New Yorker’s very first music critic in 1968, while the latter, an original riot grrrl, is currently Pitchfork’s Senior Editor. As much as we don’t like to admit it, women have played their part in music history just as well as men have. Sadly, music journalism is intrinsically linked to the music industry, an industry that
systematically subjects women to sexism, sexual harassment and exploitation. The masculinist aesthetic of rock music in particular has reduced women to either products or consumers of the mainstream music industry, birthing the perpetual image of the groupie/ fangirl, exclusively used to describe devoted female fans. There is really no male equivalent for those terms because a male music fan can ultimately go on to become a music journalist and get to voice his opinion publicly, while a female fan on the exact same path will be treated as a novelty; not as a journalist, but as a female journalist.
Young women need to be told that they don’t need permission to voice their opinions. They need people they can identify with, and in a field as volatile as journalism – not just music journalism – equal representation can only do good. The problem will only cease to exist when we let go of the term ‘female music journalist’ and start embracing these women for what they are: journalists.
CO//Flickr/Wikicommons
Jessica Hopper has recently published a book called ‘The First Collection of Criticism by a Living Female Rock Critic’, a collection of essays spanning her 20-year career that also brings to the surface many of the unspoken issues in the field of music journalism. Following the release of the book, addressing women and other marginalised groups on Twitter, she posed a very simple question: “what was your 1st brush (in music industry, journalism, scene) w/ idea that you didn’t “count”?”. The tweet got hundreds of replies by women and non-binary folk sharing their personal experiences that proved to be extremely thought-provoking. Reading through them made me realise that I had gone through similar experiences myself, first as a female music fan and later on as an aspiring journalist. Despite my love for music, the thought of pursuing a career in music journalism had never crossed my mind, simply because nobody ever told me I could. Reading a collection of Lester Bangs’ essays, as much as I admired his fearless, acerbic tone, did not motivate me to write my own material; it made me wish I could do it. And that is exactly where the problem lies.
10//MUSIC
THE BUFFALO CARTEL moist sounds, modesty, and making sacrifices words Poppy Waring
I’m sat in a campfire-esque circle with
such as Wolf Alice, but only performing in
the band in the fading summer weather.
small venues to a bunch of friends rather
We’re in Hoxton Square – the band are
than huge crowds of adoring fans. It’s
playing Zigfried Von Underbelly later on in
clear that they aren’t afraid to experiment,
the evening – drinking cheap off-licence
drawing from all their various influences
beer because, as is standard in London, the
and ideas to produce some really awesome
drinks at the venue are horrifically overpriced.
music. I mean, Nat (lead vocalist and
Or at least they are for a student and some
keys) is a massive PJ Harvey fan whereas
struggling musicians. CUB have sent me
Luke (guitar) and Bryce (drums) get lost in
over because Chris, their bassist, is ex-QM
a conversation about how amazing the Lord
and it’s always nice to see people who have
of the Rings soundtrack is at one point, and
walked the same grim paths as us in Mile
we all spend about 10 minutes talking about
End doing exciting things beyond the realms
how good Tame Impala are. It’s not just this
of uni.
open-mindedness to their listening habits though, it’s the experimental nature of the
For a band who’ve only been together a
band’s approach collectively to song writing
year, they are surprisingly relaxed and in tune
which is really exciting. Nat gets really into
with each other. Live they have a stunning
telling me about how they’ve been recently
energy, sounding not unlike new bands
experimenting with where they record.
You can listen to The Buffalo Cartel on Soundcloud at www.soundcloud.com/ thebuffalocartel Apparently the bathroom sounds ‘moist’, with ‘natural reverb’. But as they say, the XX did it, and it does sound great. They’ve got big dreams of playing venues such as the Roundhouse (‘the dream’ says Luke), or Hammersmith Apollo but for now they’ve set their sights on playing smaller, but no less well-known, venues like Nambucca, putting together an EP, and trying to get some shows outside of London. But it’s not easy to get started up in the music industry
these days, and it’s not just due to the
Buffalo Cartel have become disillusioned
than you think you are’. And they throw in a
decline in physical sales, or the fat cats of
with the incestuous nature of coincidental
warning that you will probably end up spending
online sales and online streaming. For bands
‘networking’ in the ‘bizz’. This being said,
all your money and time on equipment and
like the Buffalo Cartel it goes even deeper. ‘A
they certainly aren’t giving up anytime soon.
rehearsals. But I suppose that’s not that much
lot of promoters in London prey on unsigned
They play like a band determined to make it,
of a sacrifice if you really want to make it...
new bands. Not getting paid at all, not even
and have the songs, and sound of a band
like drinks tokens, totally take advantage.’
way more experienced than they are.
Which, for someone like myself, a fan, a writer and a musician, is a tad disheartening
They’re probably the best people to give
to hear. How are we supposed to foster
aspiring student musicians some advice
and create new art, if the industry won’t
about starting something special: ’Don’t give
support fledgling talent? Bands such as The
up’ and ‘don’t be modest either. You’re better
12//STYLE
Louis Vuitton :
The Exhibition Words Annie Giles
Louis Vuitton has opened its doors to the public, inviting them to step into the world and mind of Nicholas Ghesquière, Louis Vuitton’s Women’s Artistic Director. Following on from Series 1 and Series 2, the third installment, which refers to his third collection Autumn/Winter 2015, showcases the influences and creative process which contributed to the making of this stunning fall collection. For me, the word ‘exhibition’ is by no means adequate in describing this collection of rooms. It is simply a journey. A journey through the mind and emotions of a single individual with the ability to design such an intricate collection.
They did not fail at leaving the best two rooms until the end: The accessories gallery and the walk-in-wardrobe, they speak for themselves. Firstly, an all white room (including mannequins and cabinets) showcases the luxury items to their potential and somehow makes the collection seem all the more stunning. When you think you have enough things to put on your christmas list, the tour guide leads you into the final room. The entire collection hangs effortlessly in the glass cases and visitors can see (and feel) for themselves the Savoir-Faire craftsmanship and attention to detail.
From the initial thought processes to the perfected final pieces hanging delicately in their glass cases at the very end. Ultimate wardrobe goals.
Series 3 showcases both the historical past of the brand and its future direction. And boy does the future looks exciting.
A suspended geodesic dome, a replica of that built for the fashion show at the Foundation Louis Vuitton in Paris, begins the exhibition, representing the ‘odyssey in time and space’. From the offset, you are completely immersed. The defined shadows of the structure, low temperatures and strong lighting and wind fully prepares you for the journey to the Winter Collection. W
‘It’s the perfect combination between the tradition, the story, the excellence of luxury... celebrating the past and projecting the future’.
Being in the mind of Ghesquière is by no means a calm and collective experience. A tunnel leads you into this whirlwind. Designs, models and products fly on and off the screen which appears to be moving around you (do not attempt to go after a Draper’s session). In the centre stands open a classic Louis Vuitton trunk which projects this imagery on to the circular room and in the process has you questioning whether the walls or floor are moving. 10 points to the design team. Every part of this exhibition has clearly been thought out intricately. A room full of life-size rectangular screens live stream the Autumn-Winter 2015/2016 fashion show at the Louis Vuitton Foundation. Visitors have the opportunity to have a front seat at this infinite show with models showcasing the five looks of the collection: East meets West, Exploration, Masculine-Feminine, the New Classics and Cool Rock Spirit, with the aim of being wearable pieces yet being futuristic and unique. Watch out for Freja Beha who opens the show wearing a white sheepskin coat. It is quite possibly the most beautiful coat I have ever seen in my whole entire life.
Nicolas Ghesquière
14//STYLE
Beyond the Catwalk
Words Emily Goodman
London Fashion Week, Paris Fashion Week, and the rest: stressful for PR’s, tiresome for journalists and really quite easy for the average student, who can waste away the day simply scrolling through the proceedings via media updates and/or the swish of a finger on Instagram, discovering which fashion blogger beat their rivals to post the first, freshoff-the-catwalk snap. Not to mention Snapchat; who would have thought a photo messaging app for frisky teenagers (although hard to deny we don’t all love it) would feature the Burberry Prorsum show as one of their daily stories, let alone a round-up of daily New York Fashion Week highlights? If it were possible to look at Snapchat statistics, the number of views these stories had were probably quite low, although this is mere speculation. Realistically though, what do these high profiled and expensive weeks in the fashion calendar really mean for students? Of course, many of us will revel in the stunning, abstract, perhaps embarrassingly awful collections of designers. But for others, it is a week reminding us that our wardrobes probably won’t ever contain any of these desirable designer labels, and we’re best sticking to East End thrift stores, finding vintage gems for a couple of quid. It is not all misery, however. Oddly, think about ‘Fashion Week’ without the fashion: forget the spectacle of glamorous shows, ignore repetitive stories about front
row VIP’s and overlook that feeling of jealously when pictures emerge of stars and models stumbling out of clubs at 3am, while you stare at your growing pile of work. Instead, recognise that this fashion event, occurring only twice a year (Autumn and Spring) is something we can actually learn from. ‘Fashion Week’, in whatever city it lands is an event which takes a monumental amount of preparation and thought from people of all different professions, be they designers, event organisers, even the odd teenage intern. It is a week where creativity flourishes, and we’re lucky enough to see the very best work of renowned international designers; styles today that we’ll recognise in years to come as being ‘trendy in our day’. Ultimately, it is a week of pure commitment, from everyone involved. Whether that’s the confidence a designer has in their collection, or a model walking the runway, ‘Fashion Week’ is a performance of passion and dedication before our eyes, so let’s remember that while we’re sadly checking price labels. And before this all seems a little excessive, turn yourselves straight to Gigi Hadid’s Instagram post during Paris Fashion Week in response to trolls of social media: “I’m a hard worker that’s confident in myself, one that came at a time where the fashion industry was ready for a change...if I didn’t have the body I do, I wouldn’t have the career I do. I love that. I can be sexy. I’m proud of it.
FROM GREEN TO GOLD
Words Sophia Dass
With the arrival of autumn comes the onset of cooler weather, the influx of overpriced pumpkin spice lattes and an onslaught of university work. Admittedly, our student loans have illuminated our barren bank accounts just as the haze of fiery leaves illuminate the city streets. However, you need not fritter away your maintenance loan on that coveted autumnal apparel, as the chances are that you already have the foundations for fall crumpled in the bottom of your summer suitcase. Here are my top tips for making a simplistic yet stylish shift between the seasons:
1)
Untangle your tights.
If you orientate towards a year-round ‘all black everything’ aesthetic as I do, you’ll have an abundance of these babies tangled up tightly in the back of your wardrobe. Tights will prolong the life of your oh-sosweet summer dresses and skirts and add a little grunge to your guise. If you are a cold-blooded reptile like me, then I suggest opting for a couple of pairs of cable knit tights with tons of texture. This look is about as autumnal as Borough Market during the run up to Halloween.
2)
Max out your maxi dresses.
Do not banish these beauties to the back of your closet until next June. Your maxis will remain effortlessly elegant throughout the autumn season: simply slip on a cropped blazer, chuck on a chunkyknit jumper or knot up a thick denim/chambray shirt.
3)
Pick up a parka.
Like an eclipse, the parka possesses the power to obscure the light and bright appearance of your summer apparel. A shade of khaki or beige will bring an earthy element to your look and will cancel out the pretty pastel tones associated with summer style.
4)
Layers on layers on layers.
Essentially, this summarises all of the above. We haven’t quite made it to winter yet, so it is not your aim to resemble frosty the snowman – and, what I mean by that, is to avoid bulkiness at all costs. Layer long line tank tops with cropped sweaters and lean towards a lean bottom half – leather leggings and skinny jeans are staunch staples.
CO//wikicommons
16//COLUMN
Ellen'sBox
You dont have to be posh to be privileged
Writing this column in the style that I do, something I think a lot about is the idea of privilege. I think (well, I hope) that we all have at least a basic awareness of what our privileges are. It’s very easy - and I think too an unfortunate extent pretty natural - for us to moan about things that others couldn’t contemplate complaining over. These things fall across the majority of subject matters, too, and so of course, feminism is not exempt from that. In fact, in the fight for equality, it’s vital we understand that whilst yes, things are a bit shit for us, they’re much shitter, in very different ways, for someone else somewhere else.
be ok. Whatever it was, actually, it was likely that I would be ok. They would sort it out.
I’ve been meaning to address this topic for a while as it’s really important that we do, and I think I’ve found a way of doing it that’s maybe a bit unusual (and personal) but might offer an indication of just how aware we need to be.
However.
A little while ago I went to the doctors after spending a few months too long waiting - albeit patiently - for a certain little red train to stop at my station. I was asked if I had been having unprotected sex, I said yes. I was asked if it was a frequent occurrence, I said yes. I was asked if I was trying to conceive. I said no. The doctor looked confused; I looked embarrassed, and then I cried. But, as the doctor assured me, if I was pregnant, it would be ok. If I had an STI, I would
CO//wik
icommon
s
I have a lot of issues with the ways that sex education is taught (or not taught) in schools. I have a lot of issues with the fact that contraceptive responsibility usually falls upon women rather than men, girls rather than boys. I want to make it clear that I am talking about consensual sex, and that I understand that sometimes you get a mad pash-on for someone and absolutely have to bang them there and then.
We are all taught the consequences of unprotected sex. We know that a sperm and an egg together make a baby. We know, even if you can’t spell them, that various infections can be spread through bodily fluids and make our bodies poorly. This knowledge is not shared everywhere. A lot of women are not in the position to be ‘sorted out’. Whilst it’s a shame that things like medical care, education and the right to have/enjoy sex are counted as privileges, they are because there are plenty of people without them. I am educated enough to know not to have unprotected sex, and I am stupid for repeatedly deciding to do it. In being reassured about how fine I was going to be, I was hit in the face with a massive realisation that I was taking advantage. That other women wouldn’t have been fine. It’s difficult for me to word how horrible and spoilt I felt; I should’ve been more aware. I know it doesn’t feel like a privilege to have to take a pill that makes you feel shit, or have a bar in your arm, or a metal coil inside you. Nor should we have to feel grateful that we can have sex, or for something everyone should automatically have access to anyway. Since, though, we have this privilege, we have to take it, we have to listen to those in need and we have to know when to shut up. We also have to keep the snowball rolling so that it gets better, and bigger - so that ‘privilege’ operates on a wider scale.
FILM REVIEW
MACBETH The Perfect Double for Toil and Trouble
Y
words Alexandra O’ Donovan
ou would have thought it near impossible to make a play adaptation, performed thousands of times before, original; yet director Justin Kurzel stands to prove you wrong in his version of Shakespeare’s Macbeth. Although the adaptation does keep true to the original format of the play, maintaining the original Shakespearian vernacular and not attempting to modernise the setting, there is something in the vast expanses of land and attitudes of the characters from beginning to end which differentiates this film from what one would see in a stage production. Visually the film is nothing short of stunning. Cinematographer Andrew Arkapaw contrasts the beautiful, serene landscapes of Scotland with the harsh brutality and bloodshed throughout the film. This juxtaposition creates horrifying beauty. This is most apparent in the opening battle scene, made up of real time and eerie slow
motion shots, the gore is enough to make one wince whilst remaining transfixed by the screen. Equally transfixing is the closing battle scene, the fire set in the forest that foretells Macbeth’s downfall tingeing the scene red, emphasising the sheer amount of blood shed in the wake of not only the war but also in Macbeth’s pursuit of power. Michael Fassbender plays the decline in mental stability that Macbeth undergoes in his movement from decorated war hero to disgraced murderer superbly. His Macbeth’s a tremendously masculine, dead-eyed tyrant, which makes his fall into madness all the more disturbing; movements from disquieting calm to fits of rage make his performance utterly captivating. His reaction to the death of Lady Macbeth, lifting and dragging the limp body of Cotillard from her deathbed whist maintaining a fixed, stony stare is a real stand out moment not just for Fassbender’s acting, but for the film as a whole. Whilst Cotillard does well in her
there is something in the vast expanses of land and attitudes of the characters from beginning to end which differentiates this film from what one would see in a stage production
portrayal of Lady Macbeth, her incredibly expressive face near telling you her dialogue before she even says it, it felt as if she were being overpowered by the overwhelming masculinity of Fassbender’s Macbeth. When one thinks “Lady Macbeth”, it is usually as a dominating force over her husband, enticing him into performing his treacherous doings. Whilst this is the case for Cotillard initially, her performance of the opening soliloquy is chilling, as is her subsequent persuasion of Macbeth; yet as the film continues, it would appear it was in fact she that was too full of human kindness making her performance of Lady Macbeth’s final “out damned spot” soliloquy a little lacklustre. However, this is only one flaw in an otherwise brilliantly acted, costumed, shot and directed film. The intensity of the film makes one feel emotionally drained upon leaving the cinema and remaining in awe of what you have just see. An utterly stunning film that will act as a real standpoint in the careers of both cast and crew.
an sw er s
an d
qu es tio ns
18//FILM
Armed with clipboards and pens, CUB Film visited this year’s Freshers’ Fair to find out what you’ve been watching...
Brad
Sarah & Gemma (QM FilmSoc)
worst film: Sharknado weirdest film: Hausu
Yasmin Lydia
film to be shown in schools: Pulp Fiction
guilty pleasure: bad rom-coms
Ashiq Robin
grossest film: American Pie favourite director: Tarantino
20//FILM
screen to screen Living in the golden age of television has meant that we have lived through some of the greatest shows of all time. From the iconic Walter White gracing our screens to the equally malicious Devious Maids, television has really come into its stride. So it’s no wonder that Hollywood is eager to jump on this bandwagon as quickly as possible, monopolising on its success. But is this necessarily a good thing? words Savena Surana
It
seems like they know what the audience wants, and
impossible to match, Agents of S.H.I.E.L.D being a prime example.
they’ve almost always turned out to be box office hits;
Interestingly the popular hit series Mr. Robot was originally
The Simpsons movie grossed £120 million and Entourage £30
intended to be a film before its creator Sam Esmail decided that it
million despite neither being praised on their stellar performances or
would work better as a mini-series, resulting in one of the best shows
innovative storylines.
of summer 2015 and proving that choosing the right format is key to
Even older reboots are seeing success across the board, such as The
a successful entertainment entity.
Man from U.N.C.L.E, part of Henry Cavill’s recent run of good hits.
Both TV and Film should learn from one another and learn what
21 Jump Street launched Channing Tatum into a status outside of
format suits the story best; film should take on board the creative
rom-coms and cheesy dance movies whilst Mission Impossible did
risks taken by television producers to sustain the interesting and
the same for Tom Cruise’s career, cementing his action man profile
engaging narratives that can be found in many shows. Rather than
and spiralling into an incredibly successful franchise. Even classics
stealing plot lines and characters from one another, the two biggest
such as The Addams Family and The Untouchables started out as
forms of entertainment should be sharing ideas and methods.
popular television shows, going on to help define their respective genres. But does this work vice versa? Spin-offs such as Bates Motel (Psycho) and the upcoming Damien (The Omen) prove that audiences want something more than the stories they’re getting. A lot of these shows owe their
film should take on board the creative risks taken
conception to the critical acclaim which Fargo received, itself owing
by television producers to
to both the masterpiece of a film it’s based on and a brilliant cast.
sustain the interesting and
But does this regurgitation prove that producers have run out of ideas? A pre-made audience can leave writing sloppy, assuming that they already have an interest no matter how poor it is. Moreover, expectations can be made so high for any new material that it’ll be
engaging narratives that can be found in many shows
22/PHOTOGRAPHY
IMAGES Emily Gillings-Peck
24//FEATURES
Refugee Crisis Why isn’t the Gulf doing more? It’s pretty hard to avoid reading about the terrible situation Syrian refugees are in, scores of articles and reports have not understated the dire situation thousands of people are facing, and the photograph of Aylan Kurdi lying on the beach is still etched in many people’s minds as a reality check and a painful representation of the sheer horror being felt by many refugees. That being said, when I first started finding out about the huge exodus of Syrian refugees wishing to find some sort of security outside their wartorn country, I was astounded to find out that the only Arab countries willing to open their borders are Lebanon, Turkey, Jordan, Egypt and Iraq. With Turkey being the most popular destination
for refugees to seek asylum (currently Turkey harbours around 1.9 million refugees, with Lebanon coming second with 1.1 million registered refugees), it is quickly becoming more and more difficult for it to accommodate such a massive expansion of its population. As the numbers do nothing but increase, it’s only getting harder for Arab countries that already accept massive numbers to keep opening their borders and ensuring that people have somewhat of a stable living situation. Having said all of this, my main concern is, what are all the other Arab and Gulf states doing? Aren’t countries like Saudi Arabia, Bahrain, Qatar (to name a few) extremely rich and capable of dealing with people who
CO//WikipediaCommons
genuinely need all the help they can get? Saudi Arabia, the 13th largest country in the world, is currently refusing to accept any Syrian refugees on the basis it might de-stabilise society and lead to further sectarian and ethnic tensions in the region. But surely less stable countries such as Lebanon and Turkey understand the implications of allowing refugees to settle, and are willing to go ahead with any collateral consequences? And, more importantly, and what must really be stressed here is that a majority of refugees do not actually want to move country; they do so because they have no other choice. It goes without saying that the Middle East has
recently been the hub of many a controversy and struggle, but this refugee crisis should not be taken lightly. Treating refugees as ‘migrants’ automatically assumes that they are leaving a country out of choice when really there is no option, think of it this way: if your country was war-torn and you had to worry about whether or not you and your family would make it through the day on a daily basis, wouldn’t you up and leave in the safest way that you can? Shouldn’t it be a given that if a country like Syria is going through such a powerful and destructive chapter, we should all work together to ensure that we minimise the damage done to innocent lives? Words Nour Kobayter
26//FEATURES
So you might’ve heard that Jeremy Corbyn is the new Labour party leader. His rise to prominence signals a major ideological shift in the party, but also - hopefully - in the future of British political discourse. Since Corbyn’s dramatic victory it seems that meaningful political conversation has been renewed since there is more and more to differentiate the two leading parties. It all rested on Labour’s leadership: as the figurehead of the opposition, they define the political paradigm. So what could have been in Labour’s future in the hands of the other candidates?
c/o:wikipedia-commons
The Old Labour Revival
If Corbyn was portrayed as an unelectable ‘lefty’ idealist, then Andy Burnham was his electable doppelganger. He arguably holds many of the same values as Corbyn, as he stressed throughout the debates, but is aligned with the political field as it stands. This made him centre-left on the political spectrum, as opposed to Corbyn being clearly on the left-wing. Oversimplifying, you could say he was the pragmatist to Corbyn’s ideals - and this shows, given that Burnham came second in the election. Both Yvette Cooper and Liz Kendal, however, are harder to define. They failed to be significant or outspoken enough to attract voters. They became representative of “establishment-Labour”, merely echoing the remarks of the cabinets they served under (namely Gordon Brown’s and Ed Miliband’s). It’s true that in some ways they were left-wing, and they could’ve been progressive landmarks as female leaders, but overall they came off as politicking centrist Blairites, lacking clear identities and values that people could support. We can see from the opposing Labour leaders that the party is ideologically and principally divided within itself, demonstrating two strains of Labour: what the party stands for, and what the party used to stand for. At its conception in 1900, the Labour party was the
political expression of the trade-unionist movement, looking to protect workers against the harmful excesses of the late Victorian-industrial capitalism. It’s important to keep in mind that this was at a time when workers were dying in factories because of poor working conditions and the negligence of business owners. In the post-war years of 1945-1951 the party established the ‘welfare state’ based on the 1943 Beveridge Report, turning its back on the gloom during WW2. This outlined social services for all, including the likes of the NHS. Here is where the party’s overall social-democratic, pseudo-socialist values largely stem from. This is also the image of Labour that is now retroactively called ‘Old Labour’ after Tony Blair. A split began emerging around this time, with Wmembers like Hugh Gaitskell representing a right-wing strain, leading to internal conflict in 70s and 80s; a dark era. Labour lost the 1983 election because the public preferred the more right-wing Social Democratic Party. Labour consequently didn’t win office until 1997, when Thatcherite Blair took over and announced ‘New Labour’: a large step to the right. This pulled the party to the centre of the political spectrum - successfully appealing to more voters. Since then, we’ve seen British politics continuously shifting to the right. When it came to Ed Miliband’s Labour leadership, the problem was that when he finally attempted to differentiate his cabinet from Blair’s or Brown’s, he allowed himself to be branded ‘Red Ed’ by the press: demonization by the Murdoch media as if he were a Communist, when in reality he only slightly shifted the party left – back to the centre. He submissively let the right-wingers treat him like a chew toy until it was too late.
Now, given the current political landscape, Labour will probably appear weaker – since centrist voters will likely abandon ship in the wake of ‘lefty-Labour’. But actually Labour should become stronger in the long term as the party will appeal to former corevoters: Labour’s most passionate supporters. For British politics, this ushers in an alternative approach that has a better chance of securing government than the progressive, but small, Green Party - who largely share similar values. As you can probably tell, I quite like Corbyn. His calm, polite demeanour is a welcome change, which focuses discussion on issues and policies rather than personalities. Ironically, this highlights the immaturity of other politicians. And even though I don’t agree with all his views - on the EU, for example - I would trust him to lead Britain. Still, I’m only cautiously optimistic – things can go horribly wrong so quickly in formative years. That said, we should always be cautious with things that matter. Labour’s future looks good. So, in this paradigm where the left was virtually eliminated from mainstream politics, where progressives have the “establishment blues”, Corbyn emerges as a bastion of Old Labour. Regardless of his policies, his rise to Labour leader signifies a public rejection of New Labour and its short-sighted politicking and point scoring. For British politics, this signifies the return of the bold left-wing to political discourse, and a rejection of austerity. Words Nasif Haque
28//FEATURES
. . . e g a i r r a M d e g A r ra n
Arranged marriages may be unfamiliar to modern western culture, but, in all other parts of the globe, it is not so. Perhaps one of the reasons for this is the centrality of the individual in western culture. An arranged marriage originates from societies where community is central, rather than the individual. As a British Asian Muslim, I am a combination of both western culture but also South Asian traditions and religious traditions. Therefore, both the individual and community are central to my understanding of a harmonious society: the individual-withincommunity. From this extends my first point: for those of us who follow this individual-community concept, an arranged marriage is a completely natural way to find a companion. One of the difficulties that people seem to have with arranged marriages is that the two individuals do not have much choice. On the contrary, just because the families or the parents arrange the marriage, it in no way negates the choices of the individuals. A proposal is brought to the individuals by community and then they decide whether they wish to go forward with the arrangement. It does
not take away choice. Community (family) bring a proposal and the individuals then make a choice depending on the knowledge of the family and also what they themselves think and feel about the proposed partner. This swiftly takes me to my next point. Do the prospective marriage partners really get to know each other? Well, that is entirely up to them. Some couples do not like to get to know each other before marriage for cultural and religious reasons, some take a few months and some take a year. It is entirely dependent on the individuals involved. Furthermore, arranged marriages may be deemed ‘dangerous’ for the same reason – not knowing your marriage partner. But, as the families are connected, there is a level of security. If the families know each other, the individuals are more likely to be polite in order to keep the peace between families. The idea that an arranged marriage is somehow opposed to a ‘love marriage’ or ‘marrying for love’ is too simplistic. Having an arranged marriage does in no way mean that you miss out on love. It also doesn’t mean that you’re forced into a relationship or that you don’t know your marriage partner. Some partners do not wish to know each other before marriage, if that arrangement works between the individuals and the family, then who are we to decide that it is wrong?
Maryam Abdullah
c/o:wikipedia, pixabay, deviant-art, flickr
An arranged marriage is traditionally defined as being “a marriage planned and agreed by the families or guardians of the couple concerned.” However, a more accurate definition of an arranged marriage is a marital union that is suggested or proposed by the two families involved.
According to the Oxford English Dictionary, the term “Arranged Marriage” is defined as any marital union that is “planned and agreed by the families or guardians of the couple involved.” Though often criticised as out-dated and outlandish, particularly by secular standards of love and courtship, arranged marriages still capture the hearts of many individuals – particularly in certain cultural and societa l contexts. Ask ten different people what an “arranged” marriage is, and I guaran tee that you will get ten very different responses. Perhaps the greatest testimony to this is the very fact that “arranged marriage” is often misconstrued to be the same as a “forced marriage”. Yes, in latent terms, the two are very different; and yes, the Western media certainly adds fuel to fire, but surely if “arranged marriage” is open to so many different interpre tations and possibilities – both historically and in modern contexts – there is nothing to prevent a natural blurring of the two?
Yay
Unfortunately, what the Oxford English Dictionary doesn’t tell its reader is that reaching an ‘agreement’ is never as straightforward as it seems. Marriage, whether heteros exual or otherwise, is always a complicated process – parents, guardians, even friends – do not necessarily make it any easier, nor do they always have the best of intentions in mind. Notwithstandin g the countless stories of men and women being pressured and/or convinced that arranged marriage is their only option, there is oftentimes an ideological or generational conflict of interest that goes with it. How younger generations perceive marriage may not necessarily be how older generations do. There is also that fundamental question: what about love? I certain ly don’t endorse the idea that arranged marriages completely erase the element of love betwee n two individuals – love is deeply personal, multidimensional and it’s something that develops over time. Nonetheless, there is always a potential risk that love – and equally as important, sex – is overlooked in discussions preceding arranged marriage. In an arranged marriag e – being the two who actually exchange a lifetime vow of commitment, loyalty and sacrific e to one another – are not respected and consulted throughout the entire process, there are real risks – and real disappointments – for both sides. And really, who wants an unhappy or unloving marriage?
Nay? or
Aisha-Asher Morgan
30//FEATURES
Pig Gate A Tail of our Times Sunday night, and as though somebody has left their roast in the oven for too long, the smoke of burnt fat and blackened flesh hangs in the air. Twitter crackles into life: Pig-Gate. Upfront the story seems implausible, we all ask how anybody can do such a thing, but remember, this isn’t about just anybody. Prior revelations about Cameron, his Bullingdon background and the Conservative Party’s press office’s attempts to suppress that background, should make us all suspicious. This is a club whose members smash private property, simply because they can afford to pay the bill; a club whose members burn £50 notes in front of the homeless for fun. Known Cameron information surrounds this pig story, contextual slices of bread that make this bacon sandwich all the more plausible. I think the most interesting part of this whole story is what it tells us about our politics. A man who makes a number of multimillion pound donations to a political party is given a place in parliament that he has effectively bought, and is then promised a place in government in exchange for more money – which is then used to outspend your political opponents. The system is rotten. The pig is merely a vehicle by which we come by this information, we cut away the crackling to appreciate the fat under-belly beneath. Russia has an autocracy, Iran a theocracy, and we have a chumocracy. In this chumocracy, sons of gentlemen govern for the wealthy and themselves via reciprocal donations, buttressed by a pliant and privately owned media. Half of the current cabinet went to private schools. Of the privately educated MPs, one in ten went to the same single school. Nepotism doesn’t even cover it.
The pig is by no means the only recipient of Cameron’s malice. Pork-related revelations about the PM made in the past weeks fade into insignificance in the light of his other behaviour. For young people, he tripled tuition fees and then slashed maintenance grants for poorer students and there are already plans to take away free school meals for infants. Added to this, we now have ever rising energy bills, rising food prices and higher VAT. Even housing associations are to be privatised, with private rent rates rising. For older people, there are the indignities of the bedroom tax, cuts to pensions and longer NHS waiting lists. At a time when these problems proliferate for British people and with over a million people relying on food banks to avoid starvation, the PM chooses to cut inheritance and corporation taxes. And this is a man who refers to refugees and asylum seekers as a “swarm”; a noun for the very insects that inherit the remains of his big pig adventure. That’s it really. For Cameron there is nothing but contempt for the least advantaged and this disgusts me more than his alleged treatment of the deceased pig. That pig is our contemporary metaphor. Politics in this country can be carved up, sliced to the bone and its proceeds eaten by a few wealthy and powerful individuals. We, the public, are the pig in almost every respect – just alive to witness the horror. So amidst the Sunday night smoke, staring at this picture of pig and chief politico, the ending of Animal Farm comes to mind: “The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which”.
Words Alfie Turner Illustration Josie Roughneen
4
London markets not to miss WORDS: Megan Huntly
c/o:wikipedia-commons
Borough Market
Located on the South Bank, Borough Market is, for me, one of the more well-known, classic London markets. The name alone is iconic and, admittedly, this does make it very busy, but the huge variety of food and drink on offer means it is not to be missed. Indeed, Borough Market is one of London’s oldest and largest food markets and has the feel of a vast, slightly more exotic farmer’s market. Saturday is the best day to go, with the most stalls on offer selling everything from burgers to paella to chocolate-flavoured wine (yes, really). Over 100 stalls wind through several buildings sat underneath a busy railway line, which helps to give the market a distinctive and exciting feel.
London is well-known for its vast array of markets. Portobello, Spitalfields, Petticoat Lane – you only have to list a few and already the image of a bustling marketplace, filled with stalls and shoppers and proper cockney markettraders flogging their wares instantly springs to mind. And with the days now drawing in (does anyone else know where this year has gone?), a trip to a market is the perfect autumnal day out, giving you the opportunity to grab a coffee and have a good old wander. And (dare I mention it just yet?!) with Christmas looming ever closer, it’ll give you the chance to hunt down something slightly more original than a Dairy Milk Tray for your mum this year. So, take your pick from my top four London markets and get exploring.
c/o:flickr//eguidetravel
Slightly closer to home this time, Brick Lane Market is set in the heart of the East End. Open on Sundays, the street is lined with stalls selling clothes, furniture and bric-a-brac – a veritable gold-mine of second-hand goods. A visit to this market is also a good opportunity to sample the curry houses, bagel shops and cafes that line Brick Lane, all of which are open alongside the market, and to see the fantastic street art on offer. Given its close proximity to Queen Mary, Brick Lane Market is in easy reach, therefore making it the perfect place to explore on a Sunday morning.
Duke of York Square Food Market
For the slightly more adventurous among us, the Duke of York Square Food Market can be found on Saturdays, just off of the King’s Road in Chelsea. But don’t let that put you off. There will be several inevitable encounters with Chanel-clad women holding tiny dogs, but the market itself is surprisingly relaxed. Like Borough Market, Duke of York Square is a food market, but on a much smaller scale. I would recommend it for nothing else if not the best fudge I have EVER had in my life – like, ever. It’s also fun to make a day out of your trip; the market is next to the Saatchi Gallery, which is always worth a visit, and the King’s Road is a beautiful and interesting high street to explore.
Columbia Road Flower Market For those of you wanting something a bit different, a visit to Columbia Road Flower Market is a must. The market itself is really breath-taking – and often used as a location for film crews. Each Sunday the narrow street is transformed into a sea of colour and is completely packed from side to side by market-goers, with stall-owners offering a huge array of basically every plant and flower imaginable. Music is often played, while calls of ‘everythin’ a fiver!’ give a proper, East End vibe to the market. This hustle and bustle, combined with such striking visuals, gives Columbia Road an incredibly unique atmosphere and I always find myself coming away with a smile on my face.
33//LONDON
Brick Lane Market
34//LONDON
We are the angry
Mob
c/o:Flickr// BlondinrikardFrรถberg
Words: Katie Gill
Were Brick Lane’s anti-gentrification protests justifiable? Gary and Alan Keery, owners of Shoreditch’s Cereal Killer Café have been given a hard time from the moment their shop opened back in December 2014. At the opening of the café, a reporter from Channel 4 pointed out that Tower Hamlets is one of the poorest areas of London, and asked the owners if they think that £3 for a bowl of cereal is affordable for the local people. A fair question, but also a question that implies that the Keery brothers simply overprice their cereal for the fun of it. They obviously have rent to pay on their shop, plus their stock is imported from other countries to provide a vast and interesting selection of cereal (there would be no point in opening a cereal café that sells bog standard cereal you could get for yourself from Tesco). Obviously the stock is priced at a certain amount so that they can make some profit and keep the shop open. As a student (from a working class background, I might add) living in the east end, I can definitely appreciate that certain cafés and restaurants are pricey. I don’t pretend to be an expert on business, but those things sprung to mind whilst watching the awkward exchange between the reporter and the café owners. The controversy and anger surrounding the Cereal Killer Café took a dramatic turn on Saturday 25th September, when anti-gentrification protestors swarmed Brick Lane wearing pig masks, writing ‘Scum’ across the shop front and throwing red paint at the windows. Children were inside the café at the time and onlookers said that the situation was terrifying. The café was targeted by protestors (who use the hashtag #fuckparade) because it is seen as
a representation of how working class families in one of London’s poorest boroughs are being driven out by the rich. Whilst it is understandable that local people are pissed off by overpriced, hipster pop-ups and novelty establishments around the east end, the attacks on the Cereal Killer Café seem unjustifiable. The Keery brothers own two cereal cafés, they have built a small, independent business, which is actually good for our economy. Small businesses create jobs for local people, which puts money back into the community, and they inspire others to develop their own businesses, resulting in innovative and diverse installations in the local area. For this reason, the targeting of the Keery’s business seems illogical. The brothers cannot be blamed for the rising house prices in the east end, they are just two men trying to make a business work and surely this should be something to be celebrated, not punished? As The Guardian’s Audrey Gillan points out, the protestors did not attack Boris Johnson’s decision to take the control of the Bishopsgate Goodsyard project out of the hands of the Tower Hamlets and Hackney councils, which will see the development of two skyscrapers with no social housing. This will have a huge impact on the local community, with businessmen and wealthy Londoners lining up to nab a luxury flat. Therefore, surely larger companies and the ‘big people’ behind such dramatic changes to the local skyline should be held responsible for gentrification, not small businesses such as the Cereal Killer Café.
36//LONDON
The Big Smoke vs. The Big Apple I am a Londoner, born and raised in the East End. My mum is practically Peggy Mitchell (but much less fucking annoying) and my dad took jellied eels to work in a tuppaware box. I know hundreds more cockney rhymes than ‘hank marvin’*. I’m an original, love, so ‘AVE IT. But my London heart has recently been stolen by a city called New York, where I have spent the past three summers. Yet which one should be crowned the best city in this crazy world...?
“You got nicknamed my son” The Big Smoke: The industrial revolution hit the capital in the nineteenth century. Perks were fancy fast trains, new factory machinery and coal-heating for our homes. A big loss was the smoke. It was everywhere. Unsurprisingly, the name stuck after the London smog of 1952.
vs.
The Big Apple: Yeah, there is a street in New York called ‘Big Apple Corner’, but surely this sparkly city wasn’t named after that. It turns out the fruit flew to stardom when sports journalist John Fitz Gerald adopted the catchphrase in his horse-racing articles in the 1920s. So what came first, John or the street? John did. Well done John, you absolute legend.
“Welcome to hipster central, sweet’eart” East London: No need for an explanation really. Let’s all look around us, and revel in what we see. All those beautiful colours. MUCH better than the Paul’s Boutique jacket phase.
vs.
Williamsburg, Brooklyn: The home of indie rock and electroclash (not sure what that is) and a huge local community of up and coming artists, it’s safe to say we’re in the hipster hood baby. It’s the home of indie rock and electroclash (not sure what that is) and a huge local community of up and coming artists, it’s safe to say we’re in the hipster hood baby.
“Excuse me, could you take a picture of us please?” The Big Ben: We’ve all met Ben before, standing proudly in Westminster as the iconic image of London. He’s a really nice lad, when he’s not too busy posing for pictures. Originally built on 10th April 1858 as a replacement palace after the old one was destroyed in a fire (why does this always happen?) Benjamin is one hundred and fifty seven years old and still handsome as fuck. It’s actually the bell tower that’s called Big Ben, not the clock itself, nevertheless we all still call it Ben because… well, no one cares that much.
vs.
The Statue of Liberty: A lovely woman holds a torch and a tablet, upon which is inscribed the date of American declaration of independence (July 4th 1776). It was gifted by France one hundred years later, in 1886. Want to see it? Buy a rowboat, because nothing says freedom better than boarding a heaving tourist boat with a tour guide in an ‘I HEART NY’ bucket hat booming into a microphone.
Finally, whilst New York has many tasty diners for local regulars and tourists, some of which are open twenty four hours a day and are a lifesaver for drunk twenty somethings who stumble in at 5am when the house music has died (the poor souls probably walked twenty blocks, they are so desperate for food bless ‘em), London has a single equivalent, perhaps even an upgrade on these diners. A place that is far classier, far cheaper, and far more culturally vibrant. I’m sure you’ve heard of this one. No Woo Woo pitchers two for £12 in New York? No Spoons? London wins this battle me china.*
*Cockney rhyming slang - look it up
WORDS: Sophie Hollis Image: Dominic Dee
38//UNISEX
THE
CON
TRACEPTIVE VERSATION
WORDS LOUISE BRACKEN
My experience of THE IMPLANT hasn’t been nearly as gruesome as horror stories I'd previously heard; the actual inserting of the implant is less painful than some jabs I've had in the past. The biggest difference for me is that my periods have stopped, although there’s no guarantee of this happening. BUT, it is one of the most effective methods of contraception around so there's basically zero chance of a mini you crawling around in 9 months after a passionate night! Apart from the temptation of wobbling about your implant in your arm in the first few weeks and sometimes getting extra cranky when you're stressed, I'd highly recommend it, and it lasts three years! But remember, kids, always wrap up! You may be preventing childbirth but STIs are another kettle of fish entirely!
I always knew the pill wasn't right for me because I suffer from migraines, and hey, I'm forgetful. When my doctor recommended THE NUVA-RING, I was sceptical. It seemed daunting, but after she explained why it was the perfect fit for me - pun intended- I decided to give it a try and ended up really liking it. Inserting the ring is little different than inserting a tampon, and for three weeks I don't have to worry about contraception. It releases doses of hormones low enough to not disturb my migraines or moods, but high enough to still remain just as effective as the pill. Of course there are some negative aspects, such as it has occasionally fallen out during sex. I have also had partners tell me they can feel it, but no one has ever complained. I had one guy ask me if it was s glow stick once; I never saw him again.
I went on the pill as soon as I started having sex regularly. Because I suffer from migraines, I was put on the PROGESTERONE ONLY PILL and I stayed on it for nearly three years. Retrospectively I realise that a lot of that time was spent in a kind of hormonal fog; a state of underlying sadness replete with random bouts of nausea, headaches, light irregular bleeding (i.e. lots of stained underwear). Ironically, the pill killed my libido, and then made me think that my lack of interest in sex was natural for me. In short, it made me feel weird. The most unsettling thing is these changes to my moods and to my body weren't so noticeable that I immediately recognised the pill as something that didn't work for me, but subtle enough for me to remain on it until I spontaneously decided to see what difference not taking it would make. Me and my boyfriend started using CONDOMS at this point with the intention of me getting the (non-hormonal) coil some time in the future, but now that we've got used to them again, and since I've heard some horror stories about the coil, I think we'll be sticking with condoms; at least until a male pill is invented (soon please!). At first I was sceptical, in case they dulled his sensitivity, in case they felt weird, or killed the mood, but instead, I find they encourage you to be more creative in bed, since the 'penis in vagina' part is restricted until the condom is on, you spend longer on the build up, which is very beneficial for people with vaginas! I also value the feeling of stability that comes with knowing what my body is doing and when. I worry that teenage girls are handed the pill at a time when their hearts and minds aren't yet fully formed, when they don't yet know what is or isn't normal for them, and by the time they realise, that 'normal' may have changed. Condoms are the best of the worst, for me, for now.
I have been on the COMBINED PILL since I was 15 years old and I have suffered headaches, mood swings and stomach cramps. But these are nothing to write home about. Women on the pill are at risk of serious health complications – we are more likely to suffer from DVT, pulmonary embolisms, strokes and rare cancers. Sometimes I get really scared about what I’m doing to myself by using it, but at the same time I am also aware that I’m in control of my body. The pill makes me feel like I have an adult relationship with my body, because I’m responsible for it.
CO//STATICFLICKR
SEX in a sentence... ‘
Words Ruby Kilroy Sex is complicated, it’s that weird line between something purely physical, like
A BODILY FUNCTION, and something emotional. Maybe even spiritual’
‘
‘ It’s a sensation ’ ‘ Weird and wonderful ’ fun ’ ‘ ’ CLIMAXING ’ ‘ natural It’s something ‘ ’ I’m still trying to understand ’
It’s a hot, sticky, mess, but it feels really good
It’s a bit of
It’s about
‘
really
It’s very it’s not sacred, you can’t put it on a pedestal. We just come to it in our own ways
‘ ‘
, isn’t it?
LOVE
When two people each other very much, they hug in a special way…
’
Physical contact where people are involved that stimulates your sexual organs. Does that cover everything? I feel like it covers everything.
’
‘
It’s how
I understand
I mean it’s not just penetration is it? It’s, like, everything. When you do
ANYTHING SEXUAL with someone, that’s sex
’
’
It’s not something I’ve actually done yet, but I think it’s just about being
comfortable
with yourself
’
and someone else
‘
my partner
41//UNISEX
‘
‘
Sex is a COMMUNICATION between two people. But I’m a sucker for love, sex with love is so much more meaningful than sex without love.
’ ‘ IT’S ’ NONE OF YOUR BUSINESS’’
CO//wikipediacommons
42//ED TEAM
Editorial Team
Editor-in-Chief & design: Mattea Todd Deputy Editor & design: Molly Skinner
Design Editor: Daniel Swann Features: Nour Kobayter, Alfie Turner & Ellen Robert-James Arts: Emily Richardson, Alison Murphy & Angelica Hill London: Megan Huntly, Katie Gill & Sophie Hollis Music: Hattie Long, Laura Potter & Georgie Farmer Film: Aaron West & Savena Surana Style: Emily Goodman, Annie Giles & Sophia Dass Unisex: Louise Bracken & Ruby Kilroy Columns: Ellen McMahon, Georgia Miller, Charlotte Watson & Jola Jassy
Photography: Emily Gillings-Peck Illustrator: Josie Roughneen
Head of PR-Marketing: Robyn Cusworth PR-Marketing: Lizzie Horrocks
FB//CUB magazine Twitter//@CUBmagazine Instagram//@CUBmagazine
This Issue was funded by QMSU
With thanks to all our competiton entrants: Dominic Dee Charlie Bennett Francis Thevipagan Friyanka Pau Muhammed Idrus Jake Bufton Sophia Alvarez Barnes Khadeejah R Constanza Casati Kanahaya Alan Aaron West
IMAGE Charlie Bennett