CUB Issue 562 by CUB Magazine

CUB M AGA Z I N E

CELEBRATING 70 YEARS OF

ISSUE 562

C R E AT E D BY S T U D E N T S , F O R S T U D E N T S

WELCOME TO ISSUE 562 This is CUB’s second edition of the year, in celebration of our 70th Birthday.

It is filled with gorgeous designs by our talented designers.

HAPPY BIRTHDAY CUB!!

There is a review of Juju’s Bar and Stage, where we hosted our wonderful launch party in November. Those of you who follow us on social media can keep an eye out for our next event, which will again be free to CUB members (but open to all students – we’d love you to come along).

We’ve included a timeline of sex icons, the arts, and top albums since CUB’s creation; a look back at fashion and cinema in the 1940s, when CUB was founded; an exploration of the realities of working in the porn industry; contemplations on war, missiles, and the London Underground; as well as an article covering the Festival d’Avignon, which is also celebrating its 70th birthday. The issue also features an article on ‘Hapshash & the Coloured Coat’ and the Swingin’ 60s, a piece on the drinking habits of a Russian student, an examination of the double standards in the food industry, and work by photographer Loana Lacobescu.

EDITOR IN CHIEF ANGELICA HILL

DESIGN EDITORS

ISABELLA ASHFORD & NIKITA MURPHY

FEATURES EDITORS

HARPREET PAL, SARAH HOPKINS, JOEL PHILLIPS, ELEANOR JACKSON & YAYA LOURENA

ARTS EDITORS

ALISON MURPHY, CONNOR GOTTO, THALIA CHIN, BETH GRAHAM & BRIONY APPLETON

LONDON EDITORS

AÏSHA DIOMANDÉ & DANIELLA HARRISON

PHOTOGRAPHY EDITORS

ELEANOR JACKSON & JOSIE DURNEY

WWW.CUBMAGAZINE.CO.UK

If you are interested in contributing to CUB either in print, or online email me at editorcub@gmail.com. Enjoy reading everything!

Angelica EDITOR IN CHIEF

FILM EDITORS

AARON WEST, PAUL WEBB, GREG DIMMOCK & HANNAH HOLWAY

STYLE EDITORS

ALICE BARNETT, JESSICA CARROLL & AMY HEDGECOCK

MUSIC EDITORS

HERMIONE SYVLESTER, ALICE CLARKE & ALICE JENNER

UNISEX EDITORS

EMILY DEMPSEY, SEREN MORRIS, SIOBHAN LUFF, CHRISSIE ANTONIOU

COLUMNISTS

DIANA STANISLAVOVA, JULIA MARGETTS, JOLA JASSY, ZAC TURNER, ELLEN ROBERTSJAMES, AZMIN MISTRY & RIMA RASHID

@CUBMAGAZINE

F E AT U R E S

ARTS

ST YLE

FILMS MUSIC UNISEX FOOD C O LU M N S

HAPSASH & THE COLOURED COAT

LONDON UNDERGROUND 1863

REVIEW: JUJU’S BAR & LOUNGE

STRANGER THAN FISSION

ICONIC ARTISTS OF TH SWINGING 60s

HOW OUR CITY’S GREATEST INVENTION CAME ALIVE

THE LOW DOWN ON CUB’S LAUNCH PARTY VENUE

DO NUCLEAR WEAPONS KEEP THE PEACE?

WHAT YOU NEED TO KNOW NOW (explicit

DOWN THROUGH THE AGES

QM’S HIDDEN GEM

IOANA IACOBESCU

content)

LET’S TALK ABOUT PORN: REALITY OF LIFE IN THE INDUSTRY

A SPOTLIGHT ON THE ARTS

INSIDE ST BENET’S CHAPLAINCY

PHOTOGRAPHY FROM THE TRAVELS OF A QM STUDENT

WELCOME TO THE 40s

MEN’S & WOMEN’S FASHION IN THE 40S

THE EVOLUTION OF THE SUPERMODEL

GOING TO THE MOVIES IN 1940

SEVENTY YEARS OF MUSIC

A SEXY TIMELINE

FOODIE CONFESSIONS

THE SHAZADEH

DAMSEL UNDISTRESSED

EXCUSE MY FRENCH

A LIFETIME OF FACES

WHAT CINEMAS WERE SHOWING WHEN CUB LAUNCHED

THE BEST-SELLING ALBUMS OF THE LAST SEVEN DECADES

FROM MARILYN MONROE TO KIM KARDASHIAN

DOUBLE STANDARDS IN THE FOOD INDUSTRY

THE CHANGING FACE OF WARFARE EXPLORING THE EVOLUTION OF BOOZE 70 YEARS OF ARTS & CULTURE IN AVIGNON

WHAT YOU’LL FIND INSIDE

LO N D O N

HAPSASH HAPSASH HAPSASH & T H E CO LO U R E D COAT .

WORDS BY: AÏSHA DIOMANDÉ

Considering the longevity of CUB Magazine encompassing 70 years of social change, it would be impossible not to mention the Swinging Sixties. The swirling, synesthetic images of Hapshash & the Coloured Coat embodied the seismic movements of the countercultural period of the late 1960s. Based in London, the eccentric artistic duo comprised of Nigel Waymouth and Michael English. Although it was a chance meeting, they brought forward the visual revolution of graphic design, taking much inspiration from the soft, elegant lines of the Art Nouveau movement in the early 1900s. Enmeshed within the mystics of hippie counterculture, English and Waymouth took their name from the powerful Queen Hatshepsut, an Ancient Egyptian royal who figures as one of the most successful rulers of history. By weaving the visual past and contemporary together, Hapshash & the Coloured Coat emerged as innovative creatives who immortalised the ebb and flow of the late 1960s.

Images c/o TML Arts

Lysergic visions distinguished the iconic posters of Hapshash & the Coloured Coat, but much inspiration was drawn from the delicate illustrations by Aubrey Beardsley and the ornate images of Alphonse Mucha. The Art Nouveau aesthetic embraced organic forms and soft lines, which flowed within the long hair of the nymph-like muses. Hapshash’s incorporation of this concept juxtaposed the sharp, Modernist lines which exemplified the functionality of the metropolis. Instead, we are taken deep within a

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dreamscape, far from the obligations of reality, and closer to the pleasures of the instinct. During the peak of their creativity, Waymouth and English’s partnership was likened to the experimentalism of freeform jazz; the whirling amalgamation of colour and history served as the cornerstone of their art. Spontaneity and chance meetings greatly characterised the social movements of the late 1960s. Nigel Waymouth studied economics at UCL before he started designing posters with the artist, Michael English; during a frenzied 18-month period, their rainbow silk-screened posters immortalised the underground happenings, clubs and concerts. Although the images are lush, dreamy compositions, there is a calculated element to their poster art which reflects the consumerist boom of the day. By crystallising the zeitgeist, Hapshash were able to tap into the iconic changes of the age. Alongside artistic projects, Waymouth was the co-owner of the eclectic Granny Takes A Trip on the King’s Road, which was often visited by Jimi Hendrix and Brian Jones. The boutique embraced a culture of communion, where customers would sit and enjoy the latest records, whilst trying on the latest decadent fashions. The tides of the social revolution were rising high on the political, musical and artistic fronts, and Hapshash’s imagery encompassed the sentiments of the period. The London-centric

counterculture was local and entrepreneurial, and served as a contrast to the mainstream. There was a personalised approach to the cultural shifts, which greatly appealed to the sense of communality within the “hippy” philosophy. The growing interest in Eastern philosophy alongside the rise of social consciousness within music and underground politics served as the cornerstone of the alternatives. Eventually, the counterculture emerged to the surface, and became widely popularised as a lifestyle to be emulated. Indeed, it was a sharp contrast to the dark austerity of the early post-war years, and the vibrancy was a welcome change to the bleakness that marked London for so long. Hapshash & the Coloured Coat were central to the evolution of graphic design, as they brought counterculture to life through their vibrant images; their influence continues to reverberate to this day, as the DIY approach to art enabled the creation of imaginative motifs to distinguish underground cultures. To float amongst nostalgia is a pleasant trip, yet there are ways to re-apply the radical content into our contemporary vision. In an age of independent online media, there is a reconfiguration of social discourses in terms of politics, gender and religion; the spirit of innovation carries on within art and speech, and will transport us towards the following stages of thinking.

London During the first decade of the 19th century, the early stages of steam and speed came into affirmation. The industrial revolution saw the use of steam locomotives on colliery and quarry lines. Over the years, train designs continually developed; Jessica Clot explains how the the idea of travelling under the streets soon became a reality.

civilians during the Blitz in World War One. Stations were crowded with sleeping bodies of men, women and children fearing for their lives. Oyster cards were introduced in 2003, and busking legalised, allowing music to fill the stations. Step-free access was created at Green Park in time for the 2010 Olympics, providing easier links to the Victoria, Piccadilly, and Jubilee line.

Designed for the people, the London Underground came into effect in 1863 and throughout the 153 years since its introduction, continuous extensions have been made. One of the most impacting extensions formed were train lines built between the city centre and suburban areas via Overground connections. This created easy travel access to occupations in the city for those living out in the suburbs.

With Queen Mary’s placement in East London, it is a welcoming university. With the gates open 24 hours a day, students and lecturers float in and out of the campus. Many students commute from their homes across London to get here. International students fly in to Heathrow or London City Airport, catching the tube to complete their journey to Queen Mary. The underground is an essential part of creating social inclusion.

In 1908, the famous Roundel Symbol reflecting the British flag colours was introduced. Whenever lost, citizens would head towards the red, blue, and white symbol. This recognisable sign became a comfort when exploring new areas of London, knowing there was a simple way to connect both people and places. Being the first interlinked transport system of its kind, the underground revolutionised how Londoners navigate the city. Other countries followed in London’s footsteps, inspired by the Underground. For example, Paris created the Metro and New York the Subway system.

Without the invention of the underground, London’s diverse cultural and entertainment pickings would be limited to the wider public. We may not have met the people we know or had the experiences we have had. The underground connects communities and makes it easier for Londoners and tourists alike to weave their way through their capital city.

This fast-paced transport system is embedded in rich history; the underground sheltered

As we celebrate CUB Magazine’s 70th birthday, the question is this: in another seventy years will technology have revolutionised the way we commute? Or will the good-old tubes still be running along as usual?

WORDS BY:SOPHIE HAINES Let’s be honest, going out in London on a student budget isn’t easy. Even happy hour is expensive! Well luckily for you, we’ve stumbled across a new bar that gives a 10% discount exclusively to Queen Mary students. While I can’t guarantee you won’t spend half of your loan in one night, at least at Juju’s Bar and Stage you will be taking home 10% more than you would on other nights (more money for take-out the next day to cure that hangover). Juju’s Bar and Stage is located in trendy Shoreditch, so you can feel like you’re one of those super urban young professionals (secretly we want to be like them as much as we say we don’t). As an added extra, Juju’s Bar and Stage isn’t just your typical bar or club that you would visit in (the now generic) Hackney. Rather, they have a variety of different events, from film screenings and competition nights,

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JUJU’S

BAR & STAGE

IMAGE BY: RORY NICHOLS to up-and-coming bands playing live. You can book tickets through their Facebook page for any of these events, and you’re guaranteed a good night. Even if you’re just looking for a standard bar night, their doors are open. Don’t worry, CUB has tried and tested this venue, we had our launch party there and we were not disappointed. The bartenders were friendly and can do some pretty cool tricks, and the drinks aren’t too expensive. A glass of Prosecco will only put you back £6, and that’s if you’re feeling fancy. Most drinks are under £6, with some of the beers coming in at 4 quid by Shoreditch’s standards, that’s a pretty sweet deal. Check them out on Facebook, and don’t forget to take your Queen Mary student card when you visit! 7

STRANGER THAN

FISSION

WORDS BY: Sebastian Klovig Skelton

On 18th July 2016, the right and honorable ladies and gentlemen of the House of Commons voted to renew the UK’s Trident nuclear weapons system. The decision was passed with 472 votes to 117, and marks yet another increase in the cost of the nuclear programme. In 2006 the Ministry of Defence estimated that the cost of building four new Trident submarines was £20bn. This projection included the cost of missiles, infrastructure and warheads. In 2011 the estimated cost of the programme grew to £25bn, and by 2015 the MoD was predicting Trident would have a £31bn price tag, not including the £10bn contingency fund. However, unlike the 2006 figure, the latter two did not include the cost of missiles, infrastructure and warheads.

The MoD has also declined to provide a projection of the cost for Trident’s predicted 30-year lifespan. The Campaign for Nuclear Disarmament and Reuters kindly obliged the public, estimating that it would cost £205bn and £167bn respectively. As a nation we are continually spending more and more on weapons that, if used, literally mean the end of the world. This logic is strange to me. However, when discussing nuclear weapons we are not really talking about the monetary value, are we? We are discussing our collective definition of peace. Many, such as influential American academic Kenneth Waltz, argue that nuclear proliferation actually creates peace. This is because the obvious destructive power of

“Those who like peace should love nuclear weapons.” Well shit, someone forgot to tell Kenneth that since the obliteration of Nagasaki and Hiroshima in 1945 war didn’t exactly stop… Whilst one might suggest that no war has been so devastating since the Second World War, to claim that this equates to peace is ridiculous. The nature of war has simply changed. After WWII the international system underwent a shift in which the US and the USSR became the most dominant super powers on Earth. Both powers knew the price of nuclear war was extinction, so to avoid this they simply exported their conflict to the battlefields of the Third World. Therefore this idea that nuclear weapons create peace is lunacy. Just because the human race made it through the Cold War doesn’t mean we didn’t come close to annihilating each other and it certainly doesn’t mean a situation won’t arise in the future where that is a distinct possibility. In fact, we could be in such a situation right now. On 12th October Russian President Vladimir Putin ordered the recall of all top Russian officials from overseas amid rising tensions with the West. Hell, we could be in the throes of nuclear Armageddon before this article even sees the light of day. If that does not elucidate the urgency of our nuclear situation, I don’t know what will. Another problem I have with this idea of

F E AT U R E S

nuclear weapons allows a state to deter any would-be aggressors. In the eyes of Waltz, this removes the need for a state to fight for the sake of increasing security therefore eliminating a prevalent motivation to wage war. According to him:

atomic peace is that it is not real peace – it is peace through fear. Sure we haven’t had a leader of a modern nuclear state that is actually batshit enough to use them yet, but yet is the keyword here. Nuclear weapons may have forced our leaders to be cautious in the past, but what about now with the sharp increase in tension between Russia and the West? What about the coming decades? In every government there have been abuses of power. In 1994, John Ehrlichman (an aide to Overlord Richard Nixon) admitted the drug war was initiated specifically to target anti-war protestors and black people. More recently the Chilcot Enquiry confirmed what everyone already knew – that Iraq was an illegal war. With all of this knowledge about the dishonesty of government’s, why do we trust them with nuclear arms? The reality is that we are pouring increasingly ludicrous sums of money into these weapons of extinction. The even scarier part of this reality is that there isn’t much we can really do about it. If one nation were to relinquish their nuclear power in our current thought system, they would be left vulnerable – every nuclear state would have to do it at once and that is simply not realistic, there is just too much distrust. We need to change the way we think. Building international relationships predicated on the fact we are a singular human race rather than a collection of nations all competing for the same global resources would help. I am well aware of the complexity of politics in the modern world and I am definitely not saying this change will happen over night. It will be a long process. As humans we are unique in the fact that we no longer need to change to fit the world – we can change the world to fit us. Since around the time that CUB started, 70 years ago, that is exactly what we have done. If we choose the world we have created thus far, where peace is not possible without fear, then humanity probably does not deserve to survive the creation of nuclear weapons.

Down Through The Years...

A Spotlight on the Arts

The 1920’s saw the rise of fan culture, mass hysteria and the birth of the icon; Bette Davis, Mae West and the Beatles created a legacy for the new era of celebrity. The conception of film, pop culture, and the digital age gave life to a new world of fame with shinning stars glimmering throughout the decades. Connor Gotto takes us on a journey through the years giving a spotlight to these culture rich years, their icons, movements and their iconic moments.

1950

By 1953, most British households had a television thanks to the coronation of Queen Elizabeth I. With the growth of television came the introduction of the household name. Fan culture became a part of everyday life and the faces of the movie screen found their place in the homes of Britain’s. The likes of Clint Eastwood, James Dean and Marylyn Monroe became key figures of, not only art culture, but social culture. Similarly, Broadway was at its peak in the 50s. And with the help of television, its popularity only grew. A joint CBS/NBC broadcast of Ethel Merman and Mary Martin’s 1953 live performance from the Center Theatre attracted over 60 million viewers, and the live recording of the event sold in excess of 100,000 copies in two days. Working across multiple platforms, the arts began to have a profound impact on the world – not only lifting spirits in the wake of war, but beginning to establish sub-cultures and uncovering issues that required discussion.

1960

The 60s were about students. Students having voices. In Greenwich Village, New York the likes of Bob Dylan, Buffy Sainte-Marie (who won Billboard’s ‘Best New Artist’ award the same year that the Beatles emerged) and Joni Mitchell pioneered movements against the Vietnam War, and in favour of environmental conservation and indigenous rights. Songs like Masters of War, Universal Soldier and Big Yellow Taxi have endured the test of time and are still relevant in today’s society. Things have changed, but perhaps not enough.

1970

The 70s saw the rise of many of the ‘classic’ artists, as we see them today. The Eagles, Fleetwood Mac and David Bowie were all products of their time, and so founded the popular culture that we know today. The world began to view the wars didactically, with 1977’s Oscar-winning Julia a key example of a reflection of how society can stand in opposition to discriminatory behaviours by those in authority – be they anti-Semitic or otherwise. Disco music was at the height of its popularity, and it seemed the world was ready to come out of the darkness and into a new, Technicolor light.

Top Of The Pops’ spot from 81-88 in spite of growing fears surrounding the LGBT community and the heavily stigmatised HIV/aids epidemic (of which he sadly died in 1995).

1990

2000

Nelson Mandela was released from imprisonment in 1990, becoming the first black president of South Africa in 94, while Bill Clinton faced impeachment proceedings following his second term in office in 99. Theatrical productions, such as 96’s Shopping and Fucking (recently revived at the Lyric Hammersmith), dealt overtly with taboo subjects, while the Spice Girls’ brand of ‘girl power’ tackled gender equality head on. Issues were being dealt with openly, much like the 60s, initiating the social reforms seen in more recent years...

The road to equality seems clearer than ever before. Stage shows, movies and television now more widely embrace idiosyncrasies, with leading artists actively promoting acceptance and inclusivity. Through technology, we can all keep better connected, which has helped to develop a greater understanding of people from all walks of life. The world now, it seems, has become a far more holistic and loving place.

While if you ask most people about the 80s they look all wide eyes and whimsical, at the 90s they just seem to nod. Yet, it was a time of great advancement, and a progression can be seen between the world then and now. Music began to revert back to more organic roots, perhaps as a longing for simpler times, and the commercialisation of the Internet meant easier connectivity around the world, and with it acceptance grew.

ARTS

1980

As time rolled on, and technologies developed, it seemed that the possibilities were limitless. And with it, freedom of expression became more liberal. Comedians like Victoria Wood and Kenny Everett were at the top of it all as pioneers of their craft. Wood was the first widely regarded female comedienne, who’s witty observational style targeted both the upper and working classes, and managing to not divide but unite the two through finding common ground. Everett was bold and openly gay, managing to hold the prestigious ‘post

Consequently Section 28 of the Local Government Act was passed in 1988, prohibiting the promotion of homosexuality and the gay “pretended family relationships”. As a result, the media was subjected to political censorship, leading to a misrepresentation of the LGBT community. Ultimately, the bill was repealed in 2003, though at the time it seemed to be a huge step backward.

As technological advances continued, the consumerist’s landscape totally changed. Twitter has allowed a more personal connection with those leading in the arts, while platforms like Periscope eliminate the need to leave the house – you can watch concerts and live events from the comfort of your home. Productions from the RSC and Royal Opera House and now streamed live to cinemas, making them more widely available at far more accessible cost.

That’s not to say we’re there yet, but I think we’re definitely on our way...

QM’S HIDDEN GEM:

St Benet’s Chaplaincy WORDS BY: BRIONY APPLETON

I’ll be the first to admit that I’d never given much thought to visiting the multi-faith chaplaincy on Queen Mary’s Mile End campus. A fellow student spoke about Ella (the chaplain there who is unbelievably wonderful) and her desire to turn St Benet’s into a performance venue so I couldn’t resist checking the chapel out.

I scoped out the venue before the show, and on days where I find the library too loud or overbearing, the chaplaincy is my new favourite space. It’s also important to note that I’m Wiccan. It’s a non-conventional faith that not a lot of people understand, so for me it’s nice to feel safe and welcome in a multi-faith area. One of Ella’s most important and only rules is to be kind, and I can’t sing her praises enough. The show, Outside the Box: A Live Show A bout Death was written and performed by Liz Rothschild, a performance maker, death celebrant and groundskeeper for the dead. The show is a compilation of true stories and fictional tales, sprinkled with music associated with funerals, a hand woven casket, an urn and other death-central objects. To begin with, I didn’t know if the stories were her own experiences or not. Then I realised it didn’t matter; that that mystery was part of

the importance of the piece to begin with. To add another performer would shelter how widespread and inevitable death is. The funny, honest and intimate stories shed a light on what it’s like to mourn, to grieve, to see death and to remember it’s sting. Outside the Box is a piece about letting those experiences with death happen on our own terms, it’s about knowing that there’s no one way to mourn and that it’s okay to feel death, to see it for what it is and live through it. Outside the Box isn’t just a live performance about death, it’s a show about living death. I’ve been very lucky throughout my life; the most significant human death I remember was my great grandmothers. I was too young to really understand what that meant. I shared my story, as did many others at the Q&A session with Liz after which we all shared a meal in the front room. I’m really excited to see what Ella has planned for the coming year and I’m so glad I had the opportunity to see the show. St Benet’s Chaplaincy is open to everyone, and you can find it on all of the Queen Mary maps, right next to Queen’s Building. If you ever find yourself without a seat in the library come to St Benet’s.

I’ll see you there!

ST YLE

Welcome to the

40’s

Words by: Amy Hedgecock During the Second World War, among many other things, clothing was rationed. However, it was still considered a necessary investment. In 1945 a poster was produced on savings plans entitled ‘Plan your future, Save with a plan’. It featured ‘your career’, ‘your home’, ‘your holiday’, ‘your car’ and finally ‘your outfit’. Keeping up appearances was considered particularly important in the 40s, and when CUB was officially launched in 1946, the rationing was over and the post-war dreams of purchasing new clothing became a reality. Celebrity style icons were out in force from Joan Crawford debuting square shoulder pads, to Ginger Rodgers in her gold embellished gowns. Fashion in the 40s was all about glamour. The everyday woman wore dress suits, with an A-line skirt, blouse, suit jacket and often, jewels. So many jewels! Statement earrings! Statement necklaces! Statement bracelets! If jewellery was worn, it was worn to be seen. Women didn’t wear the dainty, delicate pieces that we often see today, pieces were bold, over-sized, and gleaming, they added instant glamour. The everyday man also often wore suits, with wide-legged trousers, a waistcoat, blazer, a

tie and usually a neatly placed handkerchief in their top pocket. Men’s fashion was about always appearing sophisticated and smart. Suit colours were limited – black, grey, brown or blue, often paired with a trilby or straw hat of some kind. Like men, women also valued their accessories. They often paired their dress suits with large, formal hats or hair flower clips. Many women also wore matching mid-arm reaching gloves. Accessories were used to add formality to outfits and more importantly, glamour. But glamour wasn’t just for smart dress. Beachwear wise there were no flip-flops and kimonos. When the bikini was invented in the 40s, women were pairing their pointednipple bras (which later inspired Madonna) and high-waisted briefs with stiletto heels and elegantly handled parasols. The first CUB readers may well have been ladies in full dress suits, with huge sparkling jewels and hats. Men in a three-piece suit fit with a hat and pocket square. Or maybe they were women in the brand new bikini, sporting heels to the beach or sitting poolside with their parasol. They were simply keeping with the contemporary style, just as we do today.

The Evolution of the Supermodel Words by: Seren Morris

A lifetime of faces Fashion is an ever-changing industry. With new trends arriving every season, more designers arriving on the scene, and an increasing amount of fresh names and faces to remember, it is more than fair to say that fashion is perpetually developing. An important element of the industry that has changed, along with the demands of the industry, is the supermodel. From the Bettina Grazianis of the 1950s, to the Kendall Jenners of today, the evolution of the supermodel is a fascinating, but drastic one. The 1950s is said to be the decade that introduced the first supermodel. Bettina Graziani is the name most associated with the time; she modeled for Dior and Givenchy, and she is credited, along with her tiny waist, with launching Diorâ&#x20AC;&#x2122;s iconic look that we are so familiar with today. From the beginning of their existance, supermodels have always had an influence on the industry, and vice versa; the model and the modeled seem to have always been adapting to one another. This is especially true of 1960s, which brought us Twiggy; with her short pixie cut, wide eyes and stick figure, she became closely associated with the Mod movement, which is a defining feature of the decade. Other famous swinging sixties models include Jean Shrimpton, and perhaps more notably,

Naomi Sims, who is considered the first black supermodel. Then were the 1970s, and with this decade came Lauren Hutton, who holds the record for gracing the cover of American Vogue a massive 26 times. The 70s is an important time for fashion, as this decade was the first time a black model, Beverly Johnson, appeared on the cover of American Vogue. Next up, the 1980s, which is considered the birth of the modern supermodel. Elle Macpherson and Christie Brinkley were the faces of this era; the beginning of a time where models not only modeled for fashion brands, but for brands such as Pepsi and Ford, for example. This was the beginning of models becoming spokespeople, rather than only fashion models. However, the peak supermodel era is without a doubt the 1990s. Models such as Kate Moss, Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford became increasingly famous; the supermodel was back on the cover of fashion magazines, they began earning higher salaries, started famously dating celebrities, and were the hot news of the gossip columns. This was the decade that supermodels became celebrities. The 2000s, however, saw models becoming

ST YLE Images c/o Vogue Paris

businesswomen. Tyra Banks created America’s Next Top Model, Heidi Klum launched Project Runway, and Gisele Bundchen began a line of sandals and clothing that has earned her the elusive title of ‘highest paid model’ for over ten years - and counting. Nowadays, we now have a new breed of supermodels. The 2010s brought us a world of modeling where your Instagram following actually has an impact on your career prospects. It has been reported that some brands won’t even consider models who have less than 500,000 followers online. This is where our ‘instafamous’ models enter; Kendall Jenner, Gigi Hadid, Cara Delevingne, Karlie Kloss. In 2016, you won’t ever see a model only on the pages of a magazine; she will be on your Instagram feed, your Facebook timeline, and probably all over your TV too. The supermodels of today are not only models, but social media stars; two titles that have become almost interchangeable over the past couple of years, to the dismay of a number of people in the fashion industry. Whether we like it or not, the social media stars of today are dominating the fashion industry. But for how long? Perhaps the evolution of the fashion industry in the 2020s will bring a drastic change, and maybe this change will invite a new type of supermodel along with it.

Going to the movies Words by: AARON West

1940

The Best Years of Our Lives Focusing on three servicemen re-adjusting to their lives after war, this film was an instant hit, becoming the highest grossing film since Gone with the Wind, and it remains the sixth mostattended film of all time in the UK. It went onto win seven Academy Awards. Yet it is rather unknown to modern day audiences; despite there being possibly no other film which epitomizes the anxiety and distress of the time after WWII better - one of the very earliest movies to explore the joyless and ruined lives of individuals who experience the horrors of war.

Gilda An under-appreciated noir, which is set not in the gloomy streets of an American metropolis, but in the glamorous casinos of Argentina with a triangle of mysterious characters who seemingly have no past. Featuring the infinitely glamorous, no. 1 pin-up girl during the war, Rita Hayworth, as titular ultimate femme fatale, Gilda. The fourth atomic bomb ever to be detonated was decorated with a photograph of Hayworth and had “Gilda” stenciled onto it – referring to her ‘bombshell’ status.

FILM

It’s a wonderful life

Everyone knows about this film - it is undoubtedly the most famous film of the year, and one of the greatest Christmas ‘touchstone’ movies. This is partly because it is a fantastic film, but mostly because it entered the public domain by accident, earlier than normal. In 1946, when the movie was filmed, U.S. copyright protection lasted 28 years and could be renewed for another 28 years. However the producer neglected to renew the 1946 copyright in 1974. So the film entered the public domain. It could be and was broadcast by any and all TV stations. Hence the tradition of the annual Christmas screening was born.

La Belle et la Bete Divided into six episodes, or ‘vignettes’, about the liberation of Italy from the Allied invasion from 1943 to 1945. Paisan was radical in its time, using non-actors and real locations; it was a key proponent in the neorealist movement. It has and continues to inspire many filmmakers, even today in war-torn regions of Syria. I would offer an explanation of the film, on its basic theme and nature, but I cannot, for it is not an ordinary film— neither in form, construction nor in the things it has to say.

Images c/o Roger Ebert, The Red list, Mental floss, Alchetron & Movie Fan Central

Paisan

Created by French poet and filmmaker Jean Cocteau, this visually opulent adaptation blows the later Disney film out of the water. Watching this, I was struck by its commitment to retain the original fairy-tale’s sense of magic and grandeur. I was reading online when I came across a comment that perfectly summarises it: “show this to your kids instead of the cartoon, so they’ll know that magic is real”. This is a magic that has been lost from the cinema-going experience for some time. The whimsy of it all, the event, and the authenticity - all will likely never return.

70 YEARS OF MUSIC 40s LLADS DUST BOWL BA rie woodie guth

70TOs THE BAR

8 N& PETE JOHNSO NS O ALBERT AMM P: BIRTH OF BEBOR O N E BIRD ON T

er charlie park

In the 70 years since CUB was born, the world of music and what we buy and listen to has changed infinitely. Here’s a look back at the biggest selling albums from each decade of CUB’s existence, and a favourite chosen by each of our Music Editors.

60s 50ss 80s GOLDEN RECORDS

ELVIS PRESLEY KIND OF BLUE

Miles davies

SGT. PEPPER’S LO HEARTS CLUBNELY

the beatles

THE SOUND O

ORIGINAL SO

F MUSIC

UNDTRACK

WITH THE BE ATLES

THE BEATLES

MY FAIR LADY SOUNDTRACK

original broadway cast

HERMIONE SYLVESTER’S FAVOURITE ALBUM OF THE 60S:

FOREVER CHANGES - Love (1967)

“This was a hard one. The 60s was such an influential time, with The Beatles, Velvet Underground, Bob Dylan – the list goes on. I picked Forever Changes as my favourite album because Love were a band that are always lost behind the shadow of the 60’s icons. This album needs to be reminded of its greatness. It influenced pretty much everyone,

but more obviously, it influenced the likes of The Stone Roses and Arctic Monkeys. The album takes you on a surreal journey down streets paved with gold, where water is blood and telephones are red. This is not the swinging 60s but a time of ringing paranoia and fumes of psychedelic euphoria – the real rock n’roll.”

7ER0TRsOUBLED WATER IDGE OV

BROTHER IN ARMS

90s

BAD

(WHAT'S THE STORY) MORNING GLORY?

DIRE STRAIGHTS

simon & Garfunkel GREATEST HITS

Michael Jackso

TUBULAR BELLS

Michael jackso

ABBA

MIke Oldfield

MUSIC

80s

70s

THRILLER

OASIS STARS

SIMPLY RED

SPICE

SPICE GIRLS

ALICE CLARKE’S FAVOURITE ALBUM OF THE 80S:

Disintegration - The Cure (1989)

“Described by Melody Maker reviewer Chris Roberts as being ‘as much fun as losing a limb’ at the time of its release, Disintegration is nevertheless the album which propelled The Cure to true global success and is one that deserves to be adored. The hypnotic yet enchanting sounds of Disintegration alongside some of Robert Smith’s most poetic lyrics, immerse you into a world of despair but also beauty and passion. From the opening with ‘Plainsong’, you find yourself sinking in a synth-heavy soundscape which is lush, all-consuming and magnificent. It is a song that stands alone in its beauty, yet it is the track which sets the mood and tone for the rest of the album perfectly. It is no surprise

ALICE JENNER’S FAVOURITE ALBUM OF THE DECADE SO FAR:

that the track has appeared on film soundtracks, most notably during the coronation of Louis XVI in Marie Antoinette. Disintegration is a record which is sure to have you feeling some type of way – it is a magnificent treasure.”

0 0s BACK TO BEDLAM

james blunt NO ANGEL

dido

BACK TO BLACK

amy winehouse

10ss (SO F A

Blackstar - David Bowie (2016)

“January 2016 came burdened with a lot of bad news, but none more heart-breaking for the music world than the passing of David Bowie. Having created over four decades worth of iconic music, constantly changing in style and genre, it should have been expected that Blackstar would be a strange new sound, but still moving and innovative. Following his death, only two days after its release, the album then took on a whole new meaning as many of its dark and tormented lyrics revealed the artist’s true knowledge of his own mortality. Blackstar is now seen as a most touching parting gift from a true genius to many generations of loving fans.”

ADelE 25

ADELE ED SH

EERAN 19

1950s

Marilyn Monroe

When thinking of a sex symbol of the 1950s, there is only one name that comes to mind: Marilyn Monroe. Not that there wasn’t an abundance of blonde bombshells during this Golden Age of Hollywood, but none are as iconic as Monroe. With her platinum blonde hair, envious curves and breathy voice, there is no question why she became an icon of her time. Due to the ‘dumb blonde’ characters she would play, and arguably due to her difficult background, she became a symbol of desire for men; a vulnerable woman, unaware of her sexuality, made to seem sexually available, and even attainable to the male audience. Monroe was a reflection of the changing attitudes towards sex during the 50s; unlike the the femme fatales of the 1940s, sex became seen as more natural and less dangerous.

1970s

Linda Lovelace

Linda Lovelace is arguably the most famous porn actress of all time. In 1972, Lovelace starred in the hardcore porn film Deep Throat. The film was massively popular with a mainstream audience, and became one of the first and highest earning pornographic film ever released on video tape. However, she is also known for a drastically contrasting attitude toward sex. In 1980, Lovelace published her book Ordeal, which states that she was coerced into the porn industry by her abusive ex-husband, Chuck Traynor, and that she was held at gunpoint during the filming of Deep Throat. She then joined the anti-pornography movement and campaigned against pornography for the rest of her life.

A Sexy TIMELINE 1960s

The Pill

Though the pill may not strictly be a human sex icon, you could argue it revolutionised the world’s attitudes to sex far more than any person could. With the introduction of contraception we were able to take control of our sex lives unlike ever before, and with this came the birth of casual sex and free love. No longer were women threatened with fears of pregnancy anytime they got intimate with a fella. So in the end the sixties spawned mini dresses, experimental artists, music and political change rather than unwanted children.

Grace Jones and David Bowie

1980s

The 1980s saw a change in music and fashion from the 70s. The 80s was about being striking, modern and provocative. In 1981 MTV hit our screens and thus the rock stars of that decade are the ones who became the sex icons. Grace Jones and Bowie stand out because they became iconic not just for their music but also for their looks. Though Ziggy Stardust burst onto the scene in the 70s, he continued to evolve and challenge what we may typically think of a sex symbol playing with androgyny and challenging gendered perceptions of sexy. Grace Jones similarly has gone to inspire countless artists with her androgynous style. She created her own image of sexy which none could match. Her defiance to conformity is part of what gives her power and sex appeal as an icon.

Pop Princesses

The noughties brought us the pop princesses who quickly earnt their place in the sexy Hall of Fame. The likes of Britney Spears, Beyoncé and JLo taught us how sexy was done by storming red carpets, and dazzling in their music videos. For most of us who grew up in the 00s we saw these pop divas and either wanted to be them, or be with them. The epitome of this is the Pepsi ad featuring Beyoncé, Pink and Britney Spears rocking the sexed up gladiator look while selling us soft drinks. These ladies, along with other musical heart throbs, set pulses racing as the birth of a fangirl/boy culture saw these celebrities go from singers to global sex icons.

UNISEX

2000s

Words by Emily Dempsey, Siobhan Luff & Seren Morris

2010s

KIM KARDASHIAN

Like it or not, the sex icon of our current day is undeniably Kim Kardashian and the endless line of sisters following in her sexy footsteps. Whether she’s championing nude selfies or showcasing her world famous rear, Kim K represents the rise of social media sex icons. Recently questions have been raised as to whether this is approriate behaviour for a mother of two, or if her equally iconic husband Kanye approves. Regardless, she will continue to show us the power of a “hot” body and good lighting. The world waits with bated breath to see how she will “break the internet” next.

It is only in the last few years that CUB has had a section dedicated to all things sex. Since its first publication, CUB and the rest of the world has undergone a huge change in the value and appreciation it places on this topic. In celebration, we’ve put together a timeline of significant sex icons to highlight changing attitudes over the years.

1990s

In light of the history of sexual icons throughout our world, neglecting to look at arguably one of the classiest and sensual forms of sexy would be foolhardy - the art of burlesque. “Burlesque has been a word used since the 17th century, deriving from the Italian word ‘burlesco’”, according to British Burlesque dancer Betsie Bon Bon. It’s safe to say by our standards, 1800’s Burlesque was not the sexiest but I’m sure it caused a few sexually ruffled feathers back in the good old days. After its dip in popularity, its resurgence may have been predominantly prompted by the multi-talented Deeta Von Teese and her strut-of-her-stuff, martini glass style in the 1990’s. There are moments, (in the bedroom, in a strip club etc.) where stripping is sexy, but adding a seductively slow, smoky eyed, black-on-red, hair and lips, strut around a stage, nail bitingly prolonged strip tease, with a touch of class, could put burlesque as arguably the sexiest movement of the late 20th century.

Images c/o Media2, Bearing Arms, Whosay, Yahoo & Wikimedia

REBIRTH OF BURLESQUE

Foodie Confessions

Words by: Jola Jassy

Throughout history, gender roles have dominated our society, filtering through to today. Women have been willingly and unwillingly banished to the confines of the domestic sphere, and the kitchen, which seems to always have been regarded as the ‘‘woman’s place’’. Deemed as the home-maker, a woman would most commonly reside in the home, taking care of the children, keeping the house clean, and dinner cooked for the husband upon arrival home from work. But since the emancipation of women, giving them the ability of having paying jobs (disregarding the ridiculous pay gap), being able to vote, and having the ability to contribute to society, and live personally chosen lives, there are industries that still disregard woman as skilled enough to work in; my focus, the food industry. The foundations of both our survival and pleasure, our relationship with food is dependant on the chef, or person cooking the food. This role was most suited to a woman, cooking for her family and so on. But it seems that as soon as a woman wants to transition from the home kitchen to the professional one, there is no place for her. Take Niki Nakayama, owner of the only female run Kaiseki restaurant N/Naka, world renowned for her modern style and boundary breaking cooking. Yet she is no where to be seen on the 50 best restaurants in the world list. To further show that women are shunned from the culinary industry, if you take a look at the same list, there is not one female chef (other than one which is a male/female duo) listed; the food world is totally dominated by men.

FOOD Images c/o N/Naka

In no way am I condemning the success of these men, my favourite chef, Magnus Nilsen, owner of Faviken in Sweden, is listed on this site, I am however highlighting the lack of the female presence in an industry built on the shoulders of women. And in this world of men and their culinar y success, lies the subsection of ‘‘Best Female Chef” to whom Dominique Cren received this years title. What deems this inferior is the idea that ‘female’ becomes the operative word; she is not a chef, she is a female chef. No male chef has ever been called a male chef. When a woman creates food for her family, she belongs there, but when she wants to make a living of it, make money from it, and showcase her skills, she does not belong, and must push harder against boundaries and obstacles to be recognised. Niki Nakayama in Netflix’s delectable food series Chefs’s Table discusses the stigma around female chefs, and describes her experience of customers refusing to eat her food once Niki’s sex had been revealed, therefore being the driving force behind her erecting a wall between her and her guests so that they would be oblivious to the atrocities of a female chef.

Women in the Kitchen: THE DOUBLE STANDARDS IN THE FOOD INDUSTRY

So how do we, as a society help bring more women into the food industry? Simple, let women have the same opportunities growing up when dreaming of their ideal job as men!

ioana iacobescu a journey with a camera

ARTS “My name is Ioana Iacobescu, a second year Economics student here at Queen Mary. From the age of 8, I have kept a photographic log of all the places I’ve visited, and the adventures I’ve been on, in an attempt to keep my memories from fading. My photo album is my journal. As a young girl, I recall my dad travelling with his film camera in one hand and my red beret in the other. At the time, I was merely the subject of the pictures he took; I would jump in puddles or throw autumn leaves in the air, as he watched through his lens, capturing the spontaneity of it all. “The picture has to make you feel something”, he would always say. By the time I was nine, I found myself on the other side of the lens. If I were to narrow the transition down to one point, it would be the moment I snapped a stream of sun through my window projecting the most magnificent spectrum of colour onto my wall. At that age, I knew not of technicalities such as aperture or shutter speed, but only the irreplaceable feeling of taking “the perfect shot” that made never want to leave my place behind the camera. From that point onwards, I explored what the photograph could be: from over-refined landscapes and untouched

skyscapes, to food and ‘outfit of the day’ snaps. Pictures from museums, the seashore, and cozy restaurants also added to my growing eclectic album. At some point I almost gave in to the temptation of turning my Instagram page, where most of my work is posted, into one of those aesthetic “travel blogs”. I remember taking so many pictures of the same spot, waiting for cars to clear the streets or arranging leaves on a piece of pavements. It only took me that long to get sucked into the quest for followers and likes. My focus slowly shifted to posting what I thought others might like to see. Some months later, I was scrolling through my page and realised that it could’ve been anyone’s page. There was no emotion attached to my content, and then it dawned on me. I finally understood why the girl running through puddles was so captivating for the photographer. The moments of joy, content or anger were everlasting on the film, and just by looking at them, one could instantly travel back time. My aim now is to keep my open journal updated, with the knowledge that it brings me happiness, and the hope that it does the same to others.” Follow Ioana’s journey on Instagram: @soberpigs

g g n n i i n n r r a a WLet's W talk about

Porn

WORDS BY: joel phillips

Over the last few decades the consumption of pornography has sky-rocketed, with the inception of pornographic sites, users can browse a plethora of dirty videos to their heart’s content in absolute privacy.

To gain further insight of the field and to gain a better understanding of those working in it, I gathered and collated information from the life of an up-and-coming Student-turnedpornstar from Manchester.

The rise in popularity of porn has led to a lucrative career path for former models, actresses, escorts or even the girl next door. But it’s irrefutable that there is a nasty side to society’s new-found habit, for those with any history working in porn being judged as irredeemable, filthy and immoral. However, many pornstars regardless of their background would argue that it’s not only empowering but for once they stand dominant among all their male colleagues, in both roles and salaries and hence deserve more merit. With so many pornstars such as: Sasha Grey, Lisa Ann and Pamela Anderson succeeding outside of porn, working vociferously to fight against the contemptuous traditional perception of pornstars, we must ask ourselves is it time we adopted a new perception of these promiscuous professionals?

Former Manchester Met Fashion student Jade, also known by her stage name Carly Rae-Summers graduated in 2012, however she decided to put a career in fashion & design aside to pursue a much kinkier career in pornography. Jade got involved during her second year at university posting naked pics and videos for paid viewership. Regrettably Jade reported feeling alone and isolated at university saying:

“I found it really difficult to make friends.” “I would cry every night, and I had depression for a really long time. I just didn’t want to be there.”

F E AT U R E S Although, Jade was going through a “dark time”, she found comfort in cam-Girling, a form of pornography where one undresses and performs sexual acts on oneself to a live audience to raise money. In an interview Jade discussed using toys in her mouth, vagina and bottom as well as making personal videos for wealthier viewers, she confessed: “I suddenly had a hundred pounds in my bank account every few weeks, so I got to go shopping, it just made me feel happy.” “I absolutely loved it. I do it because it’s a fetish for me. I love the concept of getting filmed and other people watching me.” Jade has also reported that she feels safer having sex in the porn industry claiming that she has never caught an STI in the past, in contrast, she admitted in her personal sex life to: “getting chlamydia up the bum”. Jade also feels deeply uncomfortable with the prospect of having a boyfriend while working in pornography after her previous relationship fell apart when her boyfriend became paranoid, accusing her of sleeping with the director and camera crew. During BBC’S “why I chose porn” Jade opened up about painful memories of being sexually assaulted in the changing rooms at age 16 saying: “I can just remember him ripping my shirt and grabbing my boobs. It’s not like he raped me but, what he did to me I thought about every day for six years.” It’s indisputable that anyone knowledgeable of Jade’s previous experience of sexual assault, alienation and depression during university, would question as to whether or not Jade truly, at heart wants to do porn. Some may assume, she, as a consequence of

her history and the way men have mistreated her in the past, feels that her only worth is to have sex on camera, but Jade is adamant that “porn is serious career prospect for the short run or the long run” she further stated that “I want people to understand that it has changed me for the better. Diving head first into the adult industry meant I had to grow up fast. It’s helped me develop into a confident, well-rounded person. It’s given me an understanding of life I would never have achieved by going down a different career path. People need to get it out of their heads that the porn industry is full of damaged woman with no other choices, so many of us are educated and could easily pursue other careers if we wanted, I’m yet to meet anyone in porn who feels pressured into doing it.” “I’m in total control of what I do and I like it, I consider myself to be a feminist.” Although Jade’s experiences as a pornstar have yielded fun, fame, money, and many perks, such as paying for a first class flight to Los Angeles, and twelve hundred pounds pay for a two-day shoot in sunny Barcelona, it’s not all glitz and glamour as she discusses the bizarre requests and debacles she has faced: “I did a shoot once where a guy was really rough with me, I actually started to bleed and had to take a break for an hour” “Starting out when I had to make a name for myself, I had to do scenes that I’m not proud of; I once shot a scene where multiple men masturbated before cuming into a funnel inserted in my mouth.” “While browsing my twitter it’s shocking to see just how many vile men try to hire me as a prostitute; it’s as if they think we’re all whores in our real lives, they don’t understand that porn is a profession, not a lifestyle.”

g g n n i i n n r ar a

THE CHANGING FACE OF

WAR T H E

S H A Z A D E H

Unbelievably, CUB was founded a year before the beginning of the Cold War period. Azmin Mistry explores just how much warfare has changed since then. War is an institution which is inscribed in law. The differences in warfare before and after the the Cold War period are used as the dividing line between ‘old wars’ and ‘new wars’. But how much have things really changed since then? The existence of nuclear weapons fortunately managed to prevent the USA and USSR from actually going to war with each other. The two powers engaged in an intense nuclear arms race. Although by the mid 1950s the world was a far more dangerous place to live in, this mutually assured destruction was what prevented all out war. To use one of the weapons would have been suicide. This was critical in shaping the future political landscape and ensuring that we didn’t face another world war. The distinction between ‘old’ and ‘new’ wars has gained great currency within recent years due to Mary Kaldor. She argues that ‘during the last decades of the twentieth century, a new type of organised violence has developed.’ New wars are characterised as ‘loot-seeking’ wars where there is not much public support and usually start for private gains, making them criminal.‘Old’ wars are typically seen as conflict waged between opposing states, and usually arise from the attempted modernising of a state, rather than the disintegration of one. These ‘justice-seeking’ wars generally had much more public support, a strong political purpose and were controlled wars that followed protocol.

A classic example of a ‘new war’ is Saddam Hussein’s invasion of Kuwait in 1990. Iraq invaded Kuwait on the basis that they had been guzzling Iraqi petroleum by ‘slant drilling,’ Kuwait was a large producer of oil which meant lower revenue for Iraq. Iraq was also unable to make the $14,000,000,000 loan repayment to Kuwait after they helped finance the Iran-Iraq War. Saddam Hussein managed to annex the Emirate of Kuwait just two days after initially invading it and a few days later claimed that it would be the 19th province of Iraq. For the next 7 months, Iraq would occupy Kuwait, loot the immense wealth, violate human rights and create complete chaos in the hopes of debt forgiveness and control of oil resources. The international community all stepped in. India vacated over 170,00 overseas citizens back home, China and the USSR placed trade and arms embargoes on Iraq, NATO heavily criticised proceedings and the USA issued direct ultimatums to Iraq of withdrawal or war. 12 resolutions were passed by the UN Security Council which demanded immediate withdrawal of Iraqi forces from Kuwait. Countries that had traditionally had close diplomatic ties with Iraq also called for them to vacate Kuwaiti territory. All major powers globally condemned Iraq’s actions. It was clear that Kuwait had been invaded purely for economic reasons. It is not just the reasons for going to war that have changed in recent times. WithW the rise of non-state actors such as terrorists, the enemy is no longer clearly defined or confined to a specific area. Globalisation, social media and news coverage technology have all played key roles in the progress of networks such as transnational terrorists. While they do not wage chaos and engage in immoral activity for the financial reward (even though most ‘new’ wars have this as their principal objective) , they instil fear and insecurity through symbolic acts of crime and violence, defining them as criminal. So, if ‘new’ wars are to be the predominant form of future warfare, shouldn’t the strategies we use at an international level be reviewed? How can we, as a global community, strengthen the weaker states in the hopes of preventing inter-state conflict?

UNDISTRESSED As we reflect on 70 years of CUB, Diana Stanislavova considers the evolution of another longstanding friend: booze.

Image c/o Freepik

Her group chat’s been overwhelming her phone with messages, all her mates have finally managed to coordinate a night out and she’s been given the green light go ahead. She’s at home around ten-ish and begins to get ready for pre-drinks. She slips into a pair of soft bootyhugging tights that mask her insecurities, a pair of sexy strappy stilettos thrown on top to sensualise the illusion of elongated legs. She adorns a killer dress that accentuates all her out-of-this-world curves; she’s a warrior ready for combat just as soon as she decorates her canvas in an array of colours that define her. Lustrous sapphire blue at the eyes, a raunchy vermillion red at the lips, a highlighting sunset amber at the cheeks. Her combative face paint is supreme, her figure enveloped in a minuscule frock that is just short enough to tantalise. This bird is dressed to impress and ready to be fought to be caught. What’s the fun in the lay without a little fire, a little chase? She’s a brazen heroine ready to take the plunge into the adventure of a London night out, which begs the question: How long have people been boozy anyway? People have possessed the need to quench this irrepressible thirst as far back as 9,000 years ago during the Neolithic period when prehistoric man was already indulging in the habitual tipple that eases the strain of life. In China’s Yellow River Valley, ancient man was flirting with the risky business of brewing grog with an alcohol content of 10 per cent, according to Patrick McGovern’s research. We have developed a love affair with the drink historically but that’s not all folks, apparently

biblically, we are also known to dabble in the momentary indulgence, ‘Let beer be for those who are perishing, wine for those who are in anguish! Let them drink and forget their poverty and remember their misery no more,’ as written in the New International Version of the Bible (Proverbs 31). Drowning our student sorrows takes on a whole new meaning when you think back to the age-old suckers who introduced us to the concept: our academia-induced woes can always be relieved by downing a pint. Sadly, the effects remain palliative; we are yet to find a cure. We fell in love with the idea of liberation through mass intoxication a while back, but does the recreational pastime still come with expectations? As a Russian woman, the label brings a myriad of assumptions about my drinking habits. Apparently it is a given that I should be a heavy-weight vodka drinker. So it can be a suprise when people discover that I am in fact a ‘light-weight’ with a shuddering hatred of the ‘drink of my people’. The stereotype has latched onto me and proven strangely hard to shake. Do not get me wrong, alcohol-related humour is prone to induce hilarity even in the best of us and is a great source of banter on a night out. However, if a girl stands in a club and you initiate a flirty conversation and come across the ‘where are you from?’ question, don’t instantaneously jump at the chance to buy a vodka shot and expect her to down it gratefully. Firstly, because the attention may be unwanted, secondly, the list of crude jokes she’s heard on the basis of her culture is extensive and, as you are not the first. Perhaps asking whether she would like a drink at all is a better way to go. After all, the inquiry might save you a few quid and the awkwardness of a rejection.

C O LU M N S

Damsel

excuse my

FRENCH

Year Abroad: Culture

WORDS BY: ELLEN ROBERTS-JAMES

Image c/o Christophe Raynaud de Lage

C O LU M N S

70 years of arts and culture in Avignon As we at Queen Mary celebrate 70 years of our Arts and Culture Magazine, by a magical Erasmus coincidence here this summer Avignon celebrated 70 years of its famous Arts and Culture festival. The Festival d’Avignon combines art, theatre, music and dance in the city’s famous palace and all across it’s many courtyards and theatres, creating a sort of Edinburgh Fringe French counterpart – the entire city becomes a stage. 70 years ago, the famous actor and director Jean Vilar founded the festival. His career started on a small stage in Paris, where he became insufferably aware of the narrow-minded and selective nature of the theatre world. He wanted to build a people’s theatre, somewhere free of constraint, where people of all ages and talents could showcase their work and celebrate contemporary art and culture in a non-elitist environment. And so the Festival d’Avignon was born. Each July, tens of thousands of people come from far and wide to watch and take part in the festival, shooting Avignon’s tourism through the roof. The Festival d’Avignon is now France’s oldest festival, and certainly its most famous. It is internationally known within the world of performing and contemporary arts, but unlike festivals like Edinburgh Fringe, it is hardly as well-known with non-thespians. It’s a great shame too, because the festival boasts theatre and art, old and new, in many languages and from a variety of cultures – providing something for everyone.

The city’s passion for theatre and visual arts is equally prominent throughout the rest of the year too. Avignon’s streets are usually swarmed with posters and flyers for shows, and a theatre of some sort sits on every road you turn down. Even here at university many students study performing arts and put on regular performances for students and the rest of the city as well – we recently found ourselves sat inside Avignon’s Opera house for a musical talent show put on by the Performing Arts Department at the university. The performances put on by the students and teachers ranged from classical Spanish guitar to a violin quartet, reminding us of the diversity and talent that Avignon attracts and produces every year, both as a city and a university. Sadly, this year we arrived in Avignon towards the end of the festival. The streets were covered in crumpled flyers and the theatres were closing up for the end of the season. The only attraction leftover was the old man with two dogs in a pram who loiters in the main town square. So, although Avignon can feel pretty dreary towards the winter months, we can’t wait for our return in sunny July to see the city and its festival in full bloom. And so for those of you who love French theatre and art, or who have ever felt that EdFringe just isn’t quite French enough, Avignon could be just the festival destination you were looking for.

fin. 31

C OV E RCIOV M AG BYAG L UECBY A UPPER E R EI M