M AGA Z I N E
CUB ISSUE 565
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
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WELCOME
TO
Summer has ended. Autumn has arrived. The first semester of the year has started and that means ONE thing. Well, multiple thing’s but one big thing; CUB Magazine’s first issue of the 2017/18 academic year is here! As Editors-in-Chief we are excited to introduce a newly styled magazine with a simple and sleek interior for your reading pleasure (and those Instagram photos). With sixteen extra pages of arts and culture content, CUB’s 54-strong editorial team have worked together to create a magazine dedicated to students, by students. Inside you will find our popular sections including style, music, film and our columns which delve into issues surrounding mental health, politics and philosophy. As part of the new CUB style we have developed a new section committed to events happening around London that are worth checking out and more importantly, affordable for students.
ISSUE
565
We hope you enjoy reading this edition as much as we did making it. If you want to read more from our fantastic writers’ and find out how to get involved go to: cubmagazine.co.uk for weekly content and don’t forget to keep up to date with us by following CUB on social media: @cubmagazine
Editors-in-Chief
Abigail Hanley & Alice Barnett
E d i t o r s - i n - C h i e f
London
Abigail Hanley & Alice Barnett
Jacob Moreton, Hannah Hayden, Nicole Brownfield
Design
Photography Editors
E d i t o r s
E d i t o r s
Linnéa Borg, Raluca Semenescu, Michael Lau Hing Yim, Mela Phi Baldock
Josie Durney, Seren Haf Morris
Style
Christian Lynn, Greg Dimmock
Editors
Kiran Meeda, Tina Wetshi, Sarah Maycock A r t s E d i t o r s Eve Frayling, Connor Gotto, Maria Kästner Van Dam, Charlotte Rubin, Jenny Cox
Features
E d i t o r s
Harpreet Pal, Shamma Mughal, Saarah Ahsan-Shah, Sara Trett, Emily Young
Photo: Josh Rawlinson
Film
E d i t o r s
Music
E d i t o r s
Hermione Sylvester, Joe Steen, Sonal Lad
UniSex
E d i t o r s
Veena Dave, Bronte Smith, Chrissie Antoniou
C o l u m n i s t s
Peter Whitehead, Seren Haf Morris, Gina Gambetta, Harvey Moldon, Sophie Mitchell, Zannath Rahman, Samantha Vincent
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STYLE
8 - 11
ARTS
12 - 15
FEATURES
16 - 19
LONDON
20 - 33
COLUMNS
34 - 37
FILM
38 - 41
MUSIC
42 - 45
UNISEX
46 - 47
EVENTS
Taslima K, photo credits: Sleame @sleame69
There’s three hours left until the show begins and we haven’t got the final male model, the opening act cancels and our location has changed last minute. These are just some of the wonderful disasters that can occur on the day of the show you’ve spent just over a month planning. The panic and stresses become all worth the while as models walk down the catwalk and all the performers nail their acts. It’s the finale and all the designers walk back out with models in their garments, we’re outdoors and the chills of British weather starts to hit, but the vibe and energy of the event overpowers the atmosphere.
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HODZ, photo credits: Sleame @sleame69
A New Kind of Fashion Show
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Love Fashion Power Fashion Show was a project given to us by The Brixton Design Trail for London Design Festival. The theme this year was ‘Love is Power’ and after hosting a successful event with my collective: ‘Street to High-end’ in July, with the support of creative agency Livity, we worked with Livity again and many other creatives to produce a fashion show that reflected love and power.
The first designer was Dylan Mollentze, designer of Buiseid, an ethical brand passionate about sourcing fabric ethically. Dylan showcased his graduate collection called Heifer which “preached about ethical leather manufacturing and shaming the use of poorly sourced materials. Using a beef chart, patterns were made for the pony skin outerwear to turn the wearer into a subversive cow as a statement against unbeknown endorsements of big fashion corporations” – Dylan. Buised’s bold colour palette and oversized fits was followed by Anyoko’s colourful, African inspired collection using kente cloth. Anyoko’s brand Koko aims to make the wearer feel
ST YLE
We interpreted love is power as a creative’s love for their craft and drive and passion being their biggest strength in the creative industry. Four independent designers showcased their work at the show.
empowered and confident in themselves. For this collection, she used African prints to celebrate the continent and express her pride in her African heritage, something which is not always so easy to take pride in within the west. The final designers contrasted greatly, both collections used white as the main colour, however one was showcased with an up-tempo rap performance whilst the other had a live performance from soulful artist Iyamah. House of DZ (HODZ) founded by Sammie DZ Olawuyi interprets love is power as “the ability to make change happen”, House of DZ takes inspiration from growing up in London, reflecting hood culture and street life, the brand creates modern streetwear pieces with unique cuts. The final collection Taslima K is both fashion and politics, the brand seeks to educate and bring awareness to social issues. Words by Tina Wetshi
Buiseid, photo credits: Sleame @sleame69
Koko, photo credits: Sleame @sleame69
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Photo @fentybeauty
Fenty Beauty - A Movement As we are in the thick of the autumn months, there becomes more of a need to keep a bit of summer with us. What better way to stand out and glow, than with the most experimental, inclusive and beautiful makeup line to date from the woman herself, Rihanna.
use for blush, eyeshadow, lipstick, and so on. The success of Fenty Beauty launched in September has had a transformative impact on the beauty industry, increasing representation in an industry with a history of rigidity. Sir John, a well-respected makeup artist in the industry, a L´Oreal Paris brand ambassador, and the man responsible for Beyonces When choosing to describe Robyn Rihanna Fenty, makeup, which is equally as important, talks the most appropriate term that comes to mind, is frankly about the impact of Fenty Beauty, stating trailblazer. From her Fenty x Puma fashion lines and runway shows, to her bold, honest and unapologetic “Look at Fenty Beauty. People loved what she music, Rihanna is a force for change. The singers most recent venture into the beauty industry with did and loved that whole Rihanna release, makeup line, Fenty Beauty, has pointed out the because it feels inclusive, they feel like they can flaws in the industry with inclusivity. In the line itself, Rihanna and the team behind the brand, be a part of it. I know girls in Senegal or from have graced us with a smoothing primer, a range the Ivory Coast who say I can find a foundation of 40 different foundation shades, contours, killawatt highlighters, which are a blogger favourite, now and its 2017 and thats a problem we and a range of matchstix, with a multi-purpose have failed them in the beauty industry.� 6
Women with darker complexions can now be treated as equals to those with lighter complexions. All women can now glow like Rihanna. What could be better? Although this level of diversity in makeup has not been accounted for before the launch of Fenty Beauty, Rihanna's cosmetics has instigated a need for change. More than ever, In an interview at the launch of the brand, Rihanna there is a need and an importance for inclusivity. referenced her intentions for the line - “I want women all over the world to feel great. We are woman and we have challenges, we deserve to feel beautiful. I Words by Kiran Meeda want women of all shades to feel included and all races, and all cultures to be a part of this. I want all women to take part in this.� There is something beautiful in the motive to include every woman, and empower women in the way Rihanna does and has done.
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With such a wide range of foundations, Rihanna has created products which not only perform well, but also impact upon the confidence and belongingness of people who have been ignored by the beauty industry. This kind of reaction from, what could be simply looked at as a makeup line, is, unprecedented.
Photo @fentybeauty
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What to do in your
Reading Week
A guide to Europe’s photography galleries
Words b y C h a rl ot t e R ubin
After a seemingly endless summer, uni has officially started. The average student’s life now comprises solely of lengthy hungover lecture hours and mentally cripling visits to the library. All are waiting impatiently for the next silver lining of the year: Reading Week. As everyone around you is making plans to go home or visit friends abroad, you come to the realization you don’t have any projects at all. Don’t worry; this is where CUB comes to your rescue. Here’s a list of the finest photography expositions and galleries around Europe right now - impeccable to tailor your dream city trip.
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ARTS
Fotografiska Museet, STOCKHOLM, Sweden
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Situated on the bank of one of Stockholm’s largest ports, Fotografiska houses one of the biggest collections of contemporary photography in the world. A number of remarkable expositions are on display right now, ranging from home-grown Paul Hansen’s Being There to, most notably, Vivianne Sassen’s UMBRA. Since the building is perched on the river that runs through the entire city, the museum also features a rooftop with gorgeous views of Stockholm. Now is the perfect time to visit, as there’s still plenty hours of daylight.
CAMERA WORK, BERLIN, GERMANY
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Berlin has long been one of Europe’s top destinations for arts and culture. There are myriad possibilities in for the visitor passing through Berlin – but this is the one you really can’t miss. Named after the artists’ magazine of 1903, CAMERA WORK owns one of the world’s most extensive private photography collections, comprising vintage as well as modern work of some of the most famous photographers in the history of photography.
MuCEM, MARSEILLE, France Admittedly, the MuCEM is not specifically a photography museum, nonetheless it deserves a spot on my list. Firstly, because they have their fair share of photography but secondly and more importantly, Marseille is one of the hidden gems of France. Plus, it’s the place to be for guaranteed sunshine in mid-November. Having opened in 2013, the MuCEM is still relatively new. It was built when Marseille was the cultural capital and is part of an effort to gentrify the city. To be honest, the building itself is worth a visiting just because of its extraordinary construction – and that is before you’ve seen any of the exhibitions. The museum’s spectacular, modern architectural features are tailored to fit between the ancient structure Marseille’s port. Additionally, as it focuses on civilizations and people throughout history, MuCEM is a slightly dissimilar institution. This results in a highly varied mix of expositions, meaning everyone can find something for their taste.
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CAMERA WORK, BERLIN, GERMANY
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As Antwerp is my hometown, I could be biased, but Gallery Fifty One really is one of the most reputed photo galleries in Europe. They specialise in fine art photography, dealing with both young emerging photographers and established artists from the 20th and 21st century. Experimental but not too abstract, relatable but not too simple. That’s what Fifty One stands for, and it has paid off. Now recognised as a major player worldwide, they have opened an office in New York and a second gallery in Antwerp. The success story is far from ending and for Londoners, a visit is just a two-hour train ride away.
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Despite Luhrmann’s universally successful efforts to modernise a play which seems, on first glance, so firmly rooted in its contexts, other directors have not been so successful. Benedict Andrews’ recent modernisation of the classic Tennessee Williams’ play Cat on a Hot Tin Roof proved extremely lacklustre. The gold panels acting as the backdrop resembled the foyer of one of those lifeless office skyscrapers situated in London or New York – perhaps the gold was there to symbolise the great wealth of Big Daddy, except it stripped the play of its southern character, the heat and steam which streams
out of Williams’ script, instead providing a very cold, insignificant set to immerse the characters in. This fact was not helped by the black bed and accompanying furniture situated on the sides of the stage which simply did not enhance the script, or even overlook the mediocre acting (Paul Newman and Elizabeth Taylor gel perfectly as Brick and Maggie in the 1958 film version – this is a must watch).
can TENESSEE WILLIAMS' SCRIPTS REALLY BE MODERNISED? 10
words by Eve Frayling
Image: http://www.officiallondontheatre.co.uk/news/backstage-pass/ gallery/article/item399378/production-photos-cat-on-a-hot-tin-roof/
Many of the world’s prominent directors have, and still are updating their scripts to mesh with the contemporary world. Take Baz Luhrmann’s 1996 update of Shakespeare’s classic Romeo and Juliet which transports the characters to a post-modern city named Verona Beach. Being an eternal lover of this adaptation I can easily say, on behalf of my fellow peers, that this is a much more accessible version of the play, particularly for its younger viewers; it oozes and intertwines danger, lust and humour, three of the most desirable assets a script can possess.
ARTS Photography: Magda Willi
Andrews’ contemporary 2014 adaptation of Williams’ most renowned and most popular play proved much more effectual – he redeemed himself when I compared this with Cat on a Hot Tin Roof. Gillian Anderson’s performance of Blanche DuBois in A Streetcar Named Desire was faultless, and Andrews’ particular set design, an unusual one at that, illuminated the universally recognised equivocality of Williams’ writing. The revolving stage constantly reminded the audience of the southern culture that New Orleans exudes due to
the space circling the set, acting as a prime spot to depict certain aspects of the culture; this was not easily recognisable in Cat on a Hot Tin Roof. The revolving set also trapped the characters in the constraints of Stanley and Stella’s marital home, particularly dramatizing the scene in which Stanley violently rapes Blanche. The bars making up the structure of the Kowalski’s home effectively depicted this very entrapment I’m talking about. So you see, a director’s choice of set can make or break a script. This is a fact which directors are required to ponder over for Tennessee Williams’ work, plays which
are deeply rooted in their political and social contexts as well as their locations. A modern stage can only be effective if it maintains the unuttered threads of, say, homosexuality in Cat on a Hot Tin Roof and female derangement in A Streetcar Named Desire, and subsequently enhances a stellar cast’s portrayal of corrupted characters.
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Advice to my First Year Self Two years ago I entered the blue gates of Queen Mary with mixed feelings; anxious and excited all at once. Based on my experiences, I’ve come up with some advice for my first year self, which maybe helpful to you if you’re just starting out at university... enjoy! Words by Shamma Mughal
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F E AT U R E S
Don´t overthink, just do it!
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It’s easier said than done, if you train your mind it’ll happen naturally. The more you dwell on whether you should apply to A job, join B society, or go to C social, you’re less inclined to go for it. Your mind overpowers your instincts and next thing you know – you end up declining a good opportunity. You’ll be left wondering what could have been, in a state of constant uncertainty. So, just do it... what is there to lose?
Fake it ´til you make it
Appear confident even if you’re not. Thousands of other students are in the same boat as you. Though they look like they know what they’re doing, a lot of them really don’t. Go in with an optimistic attitude and don’t doubt yourself, you made it this far! Avoid falling into the rabbit hole, and being confident will become second nature.
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Don´t lose yourself
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Whilst constantly meeting new people at a variety of socials is a positive thing, it’s easy to lose sight of yourself. I’m not saying don’t go, but consider setting yourself some boundaries; remember who you are and what you want from your time at university. This new-found independence means you’re in complete control, so don’t blindly follow the crowd. Make a choice.
Be patient, you´ll find your crowd
University is a diverse melting pot. You’re bound to find a group or even just one person you’ll click with. Don’t force friendships, let them happen naturally and you’ll soon find your place –it’s trial and error and for some it’ll take longer than others. It’s all part of the process.
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Stress less and prioritise your time
As soon as you’ve accepted the fact that you won’t make every lecture on time, and you’re not going to complete every piece of reading, you’ve already minimised half the stress. Give priority to achieving the best results in your assignments and exams that will determine your final grade; the earlier you accept the fact that you may not complete all the work that week, the better.
Don´t take yourself too seriously
Loosen up and make free time a priority. Looming deadlines make it difficult to break out of study mode, which can be harmful to your health. So, take time out, re-energise and return with a full tank of fuel to conquer that assignment! Your productivity levels are likely to increase.
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Feel free to adjust this list as you please. It’s not official advice, just some helpful tips to get you through! Try to enjoy your time at university, it’s your last chance to make as many mistakes as a student before you enter the next chapter of your life. Make the most of it!
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THE GOOD, THE BAD
S
W E
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THE EMOTIONAL Philosopher Rebecca Roache says swear words are used to “vent” our frustration. Roache says “if you’re angry or particularly happy, swearing is a catharsis. [...] Swearing also centres on taboos. Around the world swear words will tend to cluster around certain topics.” Roache identifies the complexities behind swear words; “...swear words are taboo-breaking for the sake of taboo-breaking. The whole point is that you’re not allowed touse them, but they exist just for that rule to be broken.” This hints towards emerging feelings of freedom, and rebellion, in choosing to swear despite the rules - leading us to form our own opinions about which swear words are acceptable. But, if we start comparing how foul-mouthed we are to the next person, based on what’s acceptable speech, it becomes difficult to recognise alternative reasons for swearing. Youtuber Gregory Brown (known for cofounding the ASAPScience channel) released a video in 2016 called: Should You Swear More Often? It offers explanations for what swear words are, and demonstrates how they are used as a ‘reflex’ from experiencing physical pain. Known as Lalochezia, defined by thefreedictionary.com as: ‘emotional discharge gained by uttering indecent or filthy words’. More importantly, Greg identifies how swearing creates a relaxed feeling in social situations. In the video, the three strangers become, almost instantly, comfortable in conversation. While humorous, it is an undeniably realistic depiction of how casual swearing in most professional and social situations can work as an ice breaker. Words by Harpreet Pal
F E AT U R E S Physical and chemical changes also occur when we swear; a component being the increased levels of adrenaline. Greg explains a science experiment which illustrates the impact of swear words. Dr. Richard Stephens, from Keele School of Psychology (2017), recruited 64 volunteers to participate in a test. Each volunteer was asked to place their hands in a tub of freezing water for as long as possible, whilst repeating a swear word of their choice. They then repeated the experiment, using a less offensive word. The adrenaline created from swearing meant those who generally swore in moderation could withstand the pain twice as long as those who swore casually. Ultimately, for those who swear in their everyday speech, such adrenaline is reduced considerably. Does this mean the use of a swear word is an effective means of emotional expression, or is it just the way people like to communicate today? We stumble across these colourful words daily. On social media, the street, public transport, university students... occasionally even university lecturers... The list is endless. Whether we decide to curse at the top of our lungs, or utter profanities under our breath, we want to elaborate our specific and succinct emotions in situations we find infuriating. Overall, there are plenty of benefits which come from swearing; and it’s important to recognise how using swear words is a creative process that is constantly evolving.
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Dixie’s turns Hooters Words by Charlotte Whittaker 16
LO N D O N
Let me set the scene. It’s the first Monday’s Calling of the year. You’re having the time of your drunken life, wondering how you survived a summer without free entry into your not-so-guilty-pleasure. Then, too soon, it’s 2am. You don’t want the night to end, so when one of your mates asks, “Dixies?”, you’re more than happy to extend the night by an extra half an hour in Mile End’s most beloved chicken shop.
Or so it was. Much to the ignorance of freshers that have never been to Mile End before starting at Queen Mary, Dixies Chicken underwent an extreme renovation over summer. What were once blank walls now display extremely large pictures of attractive women promoting meat. Yep, you read that right; attractive women are on a chicken shop’s walls. These women are obviously sexualised; one has her mouth opened widely (…hmm…) in anticipation of eating a burger and the other is holding a plate of chicken next to her prominent cleavage. She even has the shop’s name stamped across her chest. So what is the message of these sexualised meat eating women? That attractive women consume their products, therefore you should as well? Or is it using their seductive prowess to entice more customers into their shop? The latter seems ridiculous as Dixie's gets more than enough business from Queen Mary students on a night-out, and the former seems kind of pointless, as only 3 million people in the UK don’t eat meat (and if you’re ethical enough to not eat meat in the first place, I doubt some sexualised photographs are going to persuade you otherwise). The meaning is clear; the women are there simply because they look good. It’s the classic case of women being objectified, presented as overly sexualised entities that seem to only exist for the male gaze. Instances like this set ridiculously unrealistic standards for what women are “supposed” to look like, teaching young girls that their bodies are not their own, but for all to view and enjoy. But not only is this promoting toxic expectations for women, it is completely sexist and frankly backwards. Who would have thought that, in 2017, chicken shops would be using sexualised images of women to promote their brand? It clearly illustrates that regardless of women’s progressing status within society, the only thing that really matters is our bodies. It will be interesting to see if this renovation is worth it; I doubt it will bring much more business, but I also doubt that, despite its blatant sexism, it will reduce business either. Most of Dixie’s profits comes from drunk students, and let’s face it, when you’re pissed and hungry, who cares about how the chicken shop is decorated? It’s just a shame that what was once a drunken treasure now undeniably promotes such sexist imagery, and if a simple chicken shop now uses women’s bodies simply for decoration, perhaps women haven’t progressed as far in society as one would originally think.
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University students all over London are currently in the throes of a dramatic seasonal change: unlike the more welcome shift from winter to spring, summer to autumn brings with it the fresher’s flu and pure existential dread at having to actually enter the library again.
materially versatile objects into the environment. Whereas an outing to see art in London is often pinned on massive institutions such as the National Gallery, the use of the English Gardens created an air of accessibility as well as durability. The outdoor garden fittingly provides a breath of fresh air, and we were assured that this was no white-gloved However, in a more positive vein, autumn is also restoration venture. Works were just as present as a significant season for London’s art festivities. any tree or picnicking family in the park, and, as Frieze Art Fair is an annual contemporary art fair the exhibition draws to a close, just as ephemeral. run by the publishers of Frieze every October, which features hundreds of artists from hundreds In order to capture the seasonal change of international galleries. In anticipation for the of light as well as withstand the outdoor fair in Regent’s Park this year, The English Gardens conditions, many of the sculptures involved were transformed into a free outdoor sculpture bronze and metal work. John Chamberlain’s garden. Open from July to October, the space FIDDLERSFORTUNE (2010) caught our was specifically designated to track that seasonal eyes immediately, in no part due to it’s change from the summer into the autumn, and striking pink shade and the delicacy of the the role that this played on the integration of such aluminium which completely contradicts the scale.
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LO N D O N The knot could be at the end of a necklace, or a drawing rendered in metal along the lines of Calder. In the way of arresting colours, we were particularly pleased to find Taruto Kuwata’s Untitled (2016) teeming with assistants as if in the midst of a complete makeover.
an impending fall, it seemed too inviting not to test the theory. We found ourselves staring up for quite some time into a very cement-looking tree.
Whether it be for a chilly picnic or a mid-term study session, London is full of resplendent outdoor areas that exceed the everyday patch of Were the twin ceramic sculptures to suddenly come grass. Hailed by Sadiq Khan, Frieze’s innovative alive as glitzy glam rockers or trash television stars use of space has affirmed London’s creative and we would not have been surprised: imagine ice inquisitive attitude regarding public gardens. cream cone meets butternut squash with tresses of pink, blue and gold. A feast, but one that would And, of course, after visiting the sculpture definitely give you a toothache after too long. garden, we couldn’t help but swing by Queen A sculpture which I personally found irresistible Mary’s rose garden for a fittingly CUB date. to lie under was Gran Elefandret (2008) by Miguel Barcelo. As the arboreal construction plays with Words by Hannah Hayden
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g i r l t a l k : t h e D w o r d
I’ll be honest, coming up with an idea for this edition’s column was a bit difficult. It’s the start of the third year and it seems like everything is happening all at once. We’re bombarded with reading lists, weighted down with new responsibilities, and for those impending graduates among us, the dreaded D word. That’s right, I’m breaking the taboo and talking about The Dissertation. We can’t quiver every time it’s mentioned, right? We can’t break down every time some unassuming second year asks how it’s going... Because right now, it’s going well (ask me again in May, I might have a different answer). I’ve been told that the key to a great dissertation idea is writing about something you’re really excited to learn more about. Write the dissertation you’d like to read. That’s why I’ve chosen to look at how women are presented in dystopian fiction, specifically what that presentation says about our prediction of the future ‘woman.’ I’ve actually had this idea for a few months, since reading The Handmaid’s Tale. This novel, its TV adaptation, along with everything else going on in the world right now makes this a really exciting time for feminist literature, and hopefully a great time to be writing this dissertation.
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C O LU M N S However, while it’s an incredibly important time for women’s rights, I’m a little nervous what this subject might uncover. I’m worried I’ll finish those 10,000 words and come to the conclusion that women are doomed, because that’s how it’s looking like. It’s not a coincidence The Handmaid’s Tale skyrocketed to a newfound popularity the same year Trump got elected. With stricter laws being passed on contraception and abortion, it seems as though women are losing control over their bodies, more so than before. Every step forward results in two steps back. But this also made me realise women’s roles are, more often than not, so intrinsically linked to their bodies, especially in terms of fertility and sexual reproduction. The Handmaid’s Tale is the perfect example. Margaret Attwood’s prediction of the future of women, if we are to read her novel as such, suggests that women will be judged solely on their ability to reproduce, not dissimilarly to how society currently judges an individual on their ability to work. The social structure in The Handmaid’s Tale exists, it’s just waiting to be reapplied to women and reproduction. I don’t want this column to be a condensed dissertation proposal. Instead, I’d like it to be a space to think about these ideas presented to us in literature, and the dialogue between contemporary politics and feminist art. There’s a lot happening in the feminist movement right now, and although it’s generating an important conversation, it’s also rooted in very real problems. Let’s hope it’s not true what they say about life imitating art; or else, I can only hope that the contemporary novels of the near future depict a more positive trajectory for us women. Words by Seren Haf Morris
Image: https://www.pexels.com/photo/art-boy-colors-decoration-191415/
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Is the future
Bright for extending the
human lifespan? 22
Sophie: Should we? Undoubtedly, immortality would be a rather profound achievement for the human race. Whilst this isn’t necessarily feasible within our current scientific and technological scope, it’s worth questioning the ethical nature of extending life as a concept. Is it wrong to try and medically extend our life spans beyond what is natural? Have we already crossed that line through the practice of medicine in itself?
LU M N S FCIO LM
Welcome to the circus of HEADCANDY, as it makes its first appearance in print. We columnists, Sophie and Harvey, discuss some slightly heavier and darker stuff. With autumn gathering pace and the days getting shorter it seems fitting we start at the end, turning our gaze to the campus cemetery to ask: how long?
that humans are essentially social beings. The philosophical theory of communitarian anthropology outlines the main value of human life to be our relations with others, and ability to form a cohesive society. Aristotle notably supports this claim, stating that man is by his nature a social and political being, belonging to a polis; a community. In light of this thought, extending the human life span would threaten the sanctity of the polis - as humanity would be rendered apart in not only in terms of material means, but also through our right to life. If lengthening a human life through buying or earning it were possible, social cohesion and equality would be difficult to say the least. Finally, the inherent meaning of life has a role to play in this debate. By extending life, would we be diluting and thus degrading the natural order of things? Arguably, yes. The biological fetters of the body put us in the same camp as any other organism that will decay over time, meaning we must seek whatever meaning and purpose possible within our given time. If, hypothetically, the factor of time were removed, it’s possible that our search for meaning would become futile. Whilst the extension of the human lifespan isn’t something you’ll have to make a stark decision on in the imminent future, it’s worth questioning whether longevity and meaning are interlinked in the sphere of human life. Words by Sophie Mitchell
Life as an entity is intrinsically valuable. But, due to this fact, it may risk becoming a commodity if the human life span were able to be extended dramatically. Unless it could be extended to an equal length for every person, then blatant inequalities in class, status, ability and circumstance would inevitably allow some to extend their lives, whilst others remained without. Exacerbating this ethical concern is the fact
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an ailment generally caused by smoking and air pollution. Despite this, it’s little known by the general public, especially compared to cancers of the lung and respiratory tract which claim far less lives than COPD (1.69 million). Diabetes and Alzheimer’s (grouped with other dementias) also make the list. These are our postmodern plagues; they aren’t spread, they come from diet and lifestyle choices carried out over lifespans that were unimaginable 200 years ago. In other cases, like cancer, we are just seeing the result of our bodies buckling under the strain of years they never evolved for. There is no longer a single bacterial culprit - it’s a conspiracy of factors and influences from your genetics and environment that cause death. Working out how the conspirators are connected is a Gordian knot of receptors, enzymes, blood pressures, cholesterol levels, physical activity, and many many more.
Harvey: Could We? Regardless of whether we should - the human lifespan is not the same challenge it once was. In the UK, for example, from the 1600’s till present day life expectancy has more than doubled. This upward surge in life expectancy is worldwide too; Ethiopia’s has increased from 34 to 59 over 53 years (1953-2008). It’s certainly impressive, but with a modern perspective the problems seem easy. Once bacterial infections were the biggest killer, but after you fast forward through the invention of epidemiology; salvarsan 606; modern vaccines; and penicillin, what are you left with? The WHO reports the top ten global causes of death roughly every five years. In 2015, the list did notably include tuberculosis, road accidents, and lower respiratory infections. But the two biggest killers, for 15 years running are heart disease and strokes. One entry claiming a whopping 3.17 million lives in 2015 is Chronic Obstructive Pulmonary Disease (COPD);
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Overcoming these killers will require more than just conventional research and treatment. It will require overhaul of society. Lifestyles would have to be changed, awarenesses raised, and the air cleaned. This would have to be the greatest co-ordination in human history, and even after then, there’ll still be new things to treat. Life goes on, and so does death. Words by Harvey Moldon
F IO LM C LU M N S
Mentioned today in HEADCANDY: Aristotle’s ‘Politics’ https://www.amazon.com/Politics-Aristotle/dp/160459764X Life Expectancy Changes In Various Countries https://ourworldindata.org/life-expectancy/ The World Health Organisation’s Top 10 Causes of Death http://www.who.int/mediacentre/factsheets/fs310/en/
HEADCANDY appears weekly online, accompanied by the photography of Josh Rawlinson who we are endlessly indebted to. If you’re a fan, check out more of his work at www. instragram.com/joshua. rawlinson.
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First year is made for making friends, finding something in your degree that you like, and making mistakes.
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Words by Peter Whitehead ... what if politics but too much? So, my column is nominally about politics, but the print deadline is too soon to talk about Conference season, so instead I want to talk about us students, and our obsession with linear progress. It is not unreasonable to expect linear progress at GSCE level. After 2 years of Maths, you should be better at maths, getting gradually better each month. That’s basically a fine attitude, because primarily, you’re learning skills. For instance, English GCSE is basically ‘can you situate this in context?’ – which leads to that whole ‘Plath writes this sad thing because Plath was sad’ thing. Look, I’m not one of those people who’s going to
say that kids should choose their own books and only do lessons they like. I don’t even think University students should choose their own books. I mean, good lord, curriculums obviously have problems, I’m just saying that though choose our own books sounds like The Sort Of Thing One Ought To Say On A Module Feedback Form™, if you asked me at 18 what I wanted to read you’d have a true teen-angst reading list. There’d be so much Bukowski. (Bukowski’s work is best summed up by Modest Mouse’s song of the same name – ‘a pretty good read, but God, who’d wanna be such an asshole?’) At University, expecting linear progress will do nothing but hurt you. As students, we expect progress to be linear, to begin with 2:2s, say, then progress to 2:1s and 1sts. Once we’re in 2:1 territory, we ought to establish ourselves there and ensure that we don’t slide backwards. A 2:2, at that point, represents a failure. Once we’re getting consistent 1sts, a 2:1 is utterly unthinkable. When I was in first year, I did basically fine, then went backwards in my progress for a short time. I didn’t quite know how to feel, but it wasn’t great. I was,
C O LU M N S
if not disgruntled, then certainly far from gruntled. Looking back, those bad marks were a better learning experience than a first. They taught me how to write. But I hated myself for getting them. I’d look at them and think that I’d just got a 2:1 last week. Was the bad mark a fluke, or was the good one? I don’t think it’s petty or unusual to want to categorise oneself as something - an A student, a B student. After all, the spectre of high school terminology will appear at the feast whenever it can in first year writing – trust me, no one is impressed by ‘semantic field’ – and so will that secondary school mentality that one can be an ‘A student’ or a ‘C student’. In fact, if you’re a first year reading this, let me give you some advice. First year is made for making friends, finding something in your degree that you like, and making mistakes. So fuck up. Fuck up abundantly and with great aplomb. Do well, then fuck up, then do well again. My marks went backwards and forwards as I found my feet. I was too formal, then too casual, then too contextual, then not contextual enough. You need to find your voice as writer, and that’s an ongoing process. I very much doubt that anyone sits back and feels they’ve truly found their voice. I doubt even the academics who mark you feel that way about their writing. So work hard, but don’t worry about the marks being linear. Progress will come.
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Image: https://www.pinterest.co.uk/sergioscoelho/h-m-a-f-w-29-a-l-bowley/
You may have seen my column last week involved an ‘interview’ between my friend, my flat mate and I. I left out one of his questions, ‘Does having mental health problems affect your relationships, like with boyfriends?’. I didn’t include it as I wanted to expand on what we said.
ME: In a previous relationship my partner wasn’t able to understand me, he tried to be supportive, but seemed to think my anxiety and depression were like broken arms. It was an upward road and would be fixed. He’d get annoyed if I seemed to be going backwards e.g. I missed a counselling session because I felt like total sh*t and couldn’t bring myself to talk about my feelings, I was thrown comments like ‘you don’t want to get better’, ‘you're just living in the past’. And in arguments my problems were used against me. (at which point my flat mate politely interjected with ‘yeah but he was a total c*nt.’).
Who stole the tarts? Words by Gina Gambetta
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C O LU M N S
FLAT MATE: I’m lucky as I’ve never been in that situation. My boyfriend also suffers with mental health problems, so we are able to talk about it together, we get each other’s mood swings and feel more comfortable in ourselves. And also by being with him I now understand what it is like to be with someone who suffers from it, rather than just being the one who is.
I feel like my column is always discussing massive issues relating to mental health, I’ve analysed government policy, the perception of mental health vs physical health and the link between substance abuse and it. However, I want to also talk about simpler things that are more relatable, relationships are a good start.
My advice, for those with mental health problems, be open. I’m not saying on the first date whack out your anti-depressants and give them an in depth saga about your oedipal urges for your granddad, but as you get closer to them, slowly let them into the fold about it. Not only will it mean you can talk to them and you won’t feel the need to conceal your ‘down days’, but the more they know, the more they’ll be able to help and understand. And never think because you have a problem you don’t deserve happiness. And for their partners, you’re not an emotional punchbag, but be patient. You’re going to see tears, panic attacks and have a lot of late night chats.
It seems, we are quite empathetic in them, a survey by Mind concluded that 63% of people with mental health problems found that their partners ‘weren’t fazed’ and were ‘really understanding’ when they explained their conditions. By being in a positive relationship your mental health is likely to improve, Relate, a relationship support provider, noted that 60% of those surveyed said their condition was improved by being in one. However, Mind also discovered that three in five people said it had caused break-ups in the past.
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P H OTO G R A P H Y
PHOTOGRAPHY For our first print issue of the year, CUB’s photography editors bring you images from autumn that inspired them in London. Images supplied by Josie Durney and Seren Haf Morris.
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P H OTO G R A P H Y
I love when leaves fall Straight into my hands when I walk through the park If only your hands could fall Straight into mine when I Walk through the park Josie Durney 33
All's Well that Ends Well
The Best Movie Endings of All Time So the Summer just came to a close, and as we know, it’s one of those endings that we dread and lament as it passes: back to education, back to work, back to Autumn. But endings aren’t always bad. In fact, in the film world, the ending is that all important part of the narrative that can leave us exiting the cinema with a great grin on our faces, or abandon us as we contemplate for hours on just what it all meant. With this kind of responsibility, there’s always a sense that one anticipates just how a film will wrap up its narrative. Therefore, I’d like to revitalise that word ‘ending’, by looking back at cinema’s finest conclusions, and how they left us either satisfied, brooding or just begging for more.
The Third Man (1949) Carol Reed’s classic British Film Noir was famous for a number of reasons: its pioneering expressionistic camerawork, its unique zither score courtesy of Anton Karas, its unforgettable performances from Joseph Cotton and Orson Welles. But ultimately, it’s in the invigorating final chase involving Harry Lime (Orson Welles) and his frantic attempt to escape the authorities and Cotton’s Holly Martins, that lends The Third Man a spot on this list. A lengthy sequence, Reed takes us on a whirlwind marathon through the sewers of Vienna, as Lime grows increasingly desperate at finding a way out: the brilliantly paced editing leaves us thrilled, the baroque camera angles distort our allegiances. As Lime fails and falls, we too drop a little by the wayside, saddened by the loss of this charismatically crooked villain. But we’re not alone. In what is arguably the least conventional ending to a classical crime film, our primary protagonist Martins doesn’t get the girl. Alida Valli, who plays Lime’s previous flame Anna Schmidt, simply strolls past Martins as he waits for her on a stretch of road: the hero has not been true to this title, responsible for the death of his old friend Lime, and losing a lover as well in the process. Dark, thoughtful, irresolute, The Third Man’s final scenes define it as one of the finest films ever made. 34
FILM
Se7en (1995) Although it might contradict my original intent of an optimistic portrayal of endings, Se7en unsettles its audience right up until its shocking final confrontation. And what a confrontation it is! Having been led on a labyrinthine trail of monstrous murders, Detectives Somerset (Morgan Freeman) and Mills (Brad Pitt) finally get their hands on killer John Doe (Kevin Spacey). But Doe isn’t done with killing. Leading Somerset and Mills on one last journey into hell, Doe reveals his last hand: he’s murdered Mills’ wife (Gwyneth Paltrow) and has made himself the conclusive target, one last nail in humanity’s coffin by having Mills, a protector of the people, commit a crime of passionate vengeance. Dealing with a disturbing philosophy, which reflects the utter depravity of humanity’s lack of morality, Fincher throws us in the deep end, and leaves us reeling from what we’ve seen. With fantastic performances from Pitt and Spacey, this ending is one you won’t forget, because it’ll remind you rather harshly that life isn’t as bright as it sometimes seems.
E.T. The Extra Terrestrial (1982) In its final moments, E.T. achieves the impossible: it simultaneously brings out tears of joy and sadness. Having reached the end of their adventure, Elliott must say farewell to his foreign friend, E.T. With the operatic swells of John Williams’ perfect score, the intimate and assuring close-ups courtesy of Allen Daviau and the brilliantly affecting performance of Henry Thomas, this scene is some of Spielberg’s finest work. The very moment E.T.’s finger lights up, reminding Elliot that he’ll never be far away, will leave you an emotional wreck. A life-affirming finale to a phenomenal film.
So there’s a few of my picks. A whole roster of different takes and tastes, I think it’s a testament to the variety of emotions that cinema can leave us experiencing: from liberating sentimentality in E.T. to unbearable despair in Se7en, cinema is a complex web of versatile events that will leave you feeling something different no matter what you see. And it’s in these endings that we leave with something to remember and cherish. Have a think about what your favourite film endings are and why. It might tell you something about yourself that you didn’t expect.
Words by Christian Lynn
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THE
DEA
Words by Greg Dimmock The Film Critics are dead! The Film Critics remain dead! And we have killed them! The position of the Film Critic in modern society is tentative to say the least. Gone, with a few rare exceptions, are the days of giants; a time when the industry was dominated by individuals. Posters of upcoming releases would wear the unavoidable gleam of their shining names - Ebert, Siskel, Kael - with a sense of uncompromising pride. Conversely, a frown, a negative remark or a dreaded two thumbs down from any of these übermenschlich critics, could ensure that an upcoming release was dead on arrival. They spoke and their voices mattered; it was a period of trusted sentries. However, with the rise of the internet, it became easier for people to construct platforms of their own, and thrust their opinions out onto the masses. Both blogging websites and YouTube emerged as alluring stomping grounds for the modern-day moviegoer to parade their content. Even though some of the golden generation transitioned nicely into this internetbased period (rogerebert.com), the time of
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OF THE watchtowers transitioned to a period akin to the post-tower-of-babel world: a cacophony of sound, some of which makes sense, most of it overwhelmed by the disturbing nature of abundance. To anchor what is a ‘credible’ review and separate it from a casual typing away to the void, there was a shift away from the individual Film Critic towards a foregrounding of the outlet. You need only look at any movie poster to see how Empire, The Guardian and The Hollywood Reporter take precedence over the person writing the words on the page. An increase in the number of opinions dilutes the effectiveness of the Film Critic’s name as coin. As the internet developed, it also spawned something more powerful: social media. Twitter, Facebook, Instagram all enabled movie studios to shift away from the guiding voice of the Film Critic, towards a bot-centric mentality in which name recognition in search engines is at the forefront of every PR mogul’s mind. This is not to say that gleaming five-star reviews are not utilised by studios. However, a negative review is not that damaging in terms of a promotional
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C I T I R C M L I F campaign. Saying online in a review or tweet, “Batman Vs Superman is the greatest movie of all time”, has a very similar impact as remarking, “Batman Vs Superman is the biggest turd I have ever seen.” As long as the title is there, the film is still being promoted and garnering name recognition. Of course, no film wants to have negative publicity. However, the well-articulated, well-formulated argument of the Film Critic holds a confusedly balanced level of agency as a post from a member of the public. It is now the clichéd case that everyone has the capacity to be perceived as a critic. Meaning, the Film Critic becomes indistinct from the crowd – a calculated voice fighting against a bombardment of shouts. What is now broadly accepted as Film Criticism remains tied to the medium it seeks to critique. That being said, it is constructed to entertain in itself, rather than instigate critical conversation. The YouTube roster of film critics (ranging from Jeremy Jahns to Grace Randolph) manage their own image and brand – as much as those despicable reality stars – subsequently confusing the objective arguments of critics in the past.
Modern popular criticism is not really a source of insight that promotes us to judge a film’s quality. Rather, we return to these sources as a method of integrating into the community. A key example of this being the rise of retrospective readings/viewings of film reviews. In years gone by, it may have been considered pointless reading the reviews post your viewing of the film. However, now, the review becomes part of the movie-watching experience, something people anticipate as a piece of entertainment, rather than considered as a source of information or insight. There are, of course, exceptions to these scenarios. But one has to wonder whether the current climate of film criticism is too concerned with being an entertaining entity unto itself, rather than what the original Film Critics stood for: strong personalities, yes, but with a primary aim for promoting film culture. Anyways. Are you immensely pleased.
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THE SOUND OF THE
MOVIES Music is one of the most significant characters in a film, often enhancing or just lying quietly in the background of a scene, only revealing itself to us when we’re humming it on our way home from the cinema. The CUB music editors have chosen their favourite film soundtracks that are tense, nostalgic and romantic - sometimes all at the same time.
The Perks of Being a Wallflower (2012) The Perks of Being a Wallflower is the perfect mixture of friendships, love and loss in one story. Therefore, it was obvious that only the author Stephen Chbosky could direct the film with dignity and heart. For me, the movie soundtrack is a great way to bring the whole franchise together and it’s probably my favourite because it screams nostalgia which is the best way to summarise the story. With classics like ‘Heroes’ by David Bowie and ‘Come On Eileen’ by Dexys Midnight Runners as the films anthems, it’s reminiscent of an old mix tape you would’ve made if you were a child of the 1980’s. By listening to it, you feel like you’re going through life with the main character Charlie and following the trials and tribulations of life. It’s not very often that an album can evoke such an immersive experience where you can find a connection to each song in some way. It’s the kind of album to make memories with. Words by Sonal Lad
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MUSIC
High Fidelity (2000) In a way, it’s personally cheating to have High Fidelity at number 1 since the film takes place in a record store saturated with rock and pop. Yet the adaptation of Nick Hornby’s novel charmingly expressed the pains and obsessions of its audiophile protragonist through its diverse, dynamic and decade-spanning soundtrack - Rob uses his top 5 records to speak to the audience in ways that the affable asshole can’t articulate. High Fidelity has some gloriously cinematic, musical moments - Barry White’s essential presence in one of the top 5 cheesiest and most hilariously disturbing sex scenes, and Jack Black’s reluctantly heartfelt rendition of ‘Let’s Get It On’ that concludes the film. Yet the deeper genius of this soundtrack is its crafty use of the melodic wisdom of Bob Dylan, Elivis Costello and Lou Reed in a way that feels more authentic and at ease it with itself than the cunning tendency of film scores that tinker with our emotions. The way the characters talk, argue and obsess over music may betray their snobbery, but ultimately the close proximity between us and them is assumed through the subtle and affecting use of pop music that colours their emotions. It reminds the audience of the needs and desires whether animal or artistic - that we all collectively share. Words by Joe Steen
Under the Skin (2013) It doesn’t just get you under your skin, it’s a termite that digs into your mindscape and utterly overwhelms you. This is the very scary but also rather beautiful score to Jonathan Glazer’s masterpiece, Under the Skin, written by the British Composer Mica Levi (who has since written an equally spellbinding soundrack for the Natalie Portman film, Jackie). Levi wrote the score as a reaction to watching footage of Scarlett Johansson’s character hunting in the streets of Glasgow. Johansson plays a blank faced, erotic alien-predator, who seems to have no understanding of human emotion (do watch the film for THAT chilling beach scene). The result is a surreal concoction of strings that at times cry (‘Love’), roar (‘Meat to Maths’) and moan (‘Lips to the Void’). The Music unravels in such a unique, hypnotic fashion (recalling the scores of Jonny Greenwood and Vangelis) that you can’t help but see it as a score that fell to earth. Words by Hermione Sylvester
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It’s late evening and I’m in what looks like a large garage in South London. Smiting lights beam on alcohol stained eyes and the air is thick like an old Dog’s breath. Phones ring. Beer bottles clatter. Then a hush. Silence. A figure emerges with an eruption of sound – guitars, drums and cheers. The figure is King Krule. This was all back in mid-September when Krule played a ‘secret’ gig in south London, which sold out in minutes. And what a gig it was. He played some of his classics (‘Out Getting’ Ribs) as well as a few of his new singles (‘Czech One’ and ‘Dum Surfer’). The music was great, but what really struck me about that night was the secrecy, mystery and intimacy of the actual gig. That moment watching Krule in a grubby little exhibition space will only be a memory for a few – a distinct quality of underground music and one which I believe makes it more of an enduring sound than Pop. Though, that is not to say that it is exclusivity that makes underground music what it is. I detest exclusivity. Rather it is mystery and there’s a big difference: you can always try and solve a mystery. The mystery quality of Underground music is what makes it more of a permanent figure than pop music. Okay, in the grand scheme of things, Krule isn’t a ‘big’ artist, hardly touching the monolithic pop figures of Taylor Swift or Justin Bieber. But Krule doesn’t care nor should he. As he said in a recent interview with the New York Times, making it big quickly has a certain disadvantage (money aside): “You see kids, they make one good track, they do one great feature and then they’re everywhere, they’ve got a million people watching them,” he said. “I wanted to develop and preserve my art.” What Krule is getting at is that Pop music places itself firmly in the present – you’re standing right in the sun sort of thing, whereas artists that crawl in the underground world of music last a lot longer. Underground music ‘preserve(s)’, while Pop music is transient, forever changing. Words by Hermione Sylvester 40
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The Sound of the Underground 41
HAPPINESS A Written Snapshot by Gesa Maria
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UNISEX If you regularly (or, like the most of us, irregularly) journal, you inherently curate your memories and experiences. The inability to record everything down to the tiniest detail of your day limits those words on paper to what truly mattered to you – the good, the bad, and the ugly. Therefore, to write is to censor, unfortunately. I actually prefer to organise my memories anyway. When flipping through my old diaries, I find snippets of joy that would have been forgotten if they hadn’t been documented. I also come across stale heartbreak and loss, hardship and pain. But since, in writing and with life, I make an effort to focus on the light and warm moments - the metaphorical sunshine predominates. A written snapshot of what makes me happy now, in this exact moment, while I am typing away on my laptop to the sound of the bustling city life outside, includes some constants in my life: the nectar of the gods (coffee), fuzzy socks (how is it October already?!), and the anticipation for an event-packed weekend. But there are some more facets that I would like to share with you. Last night, the first friend I made after moving to London invited me to cook a shared dinner in our accommodation’s communal kitchen. Suffering from fresher’s flu and far from feeling sociable in the slightest, I dragged myself to the top floor, fueled by FOMO and my friend’s positivity; I half-heartedly brought a bag of chips. Before I knew it, there were seven of us - all sharing confusingly amazing sweets such as watermelon flavoured KitKat, small sips of cheap rosé, and some black bean instant noodles. We swore to cook together again, except everyone would bring a typical traditional dish from their home country. The night carried us on, music was turned up, and we (or at least some of us) danced on the benches to Despacito. In that moment, sniffly and feverish, I could have burst with happiness and warmth. I am also thankful for a tall dude’s help to reach that last hidden pack of unsweetened almond milk on the highest shelf at Tesco yesterday. I am grateful for the sweet TFL lady who helped me buy an Oyster card and added five pounds to it while declaring: “Your first ride is on me.” I am grateful for the loving humans I have met in London so far; for new friends who text me when they eat grilled cheese sandwiches at two o’clock in the morning, because they know I will appreciate that piece of information. I am so proud to be rooting for my little sister, who is gracefully hurdling through her last year of high school, and yet beyond everything, I am happy to have made the leap to move from Germany, my home country, to London in order to begin my new chapter. Take a written happiness snapshot for yourself, and you will probably nostalgically smile about it in 20 years down the line.
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Words by Veena Dave
B PLAN I moved into my wonderful new 2-bedroom flat at the beginning of September, with no real expectations. My initial plan to move in with an ex-flatmate fell through at the beginning of August, which led to a lot of panic to quickly find a place before first semester kicked in. I’m one of those people that like having a plan, an idea of what to expect. So when this fell to pieces, I was shook.
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After a period of anxiety, I texted a friend on my course who I knew was still looking for a place to live, and it all just went from there. We decided to live together, and the house hunt started again. The flat we now live in was actually the last place I went to visit, and from the pictures online, we really weren’t expecting much from it. A few words of wisdom: don’t always trust the pictures on spareroom.co.uk.
UNISEX Having viewed the flat, I immediately rang Chris (my flatmate) and started talking in a very high, excited tone because I was in love. I’m not sure if it was entirely down to the flat itself, or if it was the pure joy of seeing somewhere decent after dragging myself to the countless, shabby house-viewings beforehand. I was relieved, to say the least. Jump forward to now, and it’s pretty great. I’ve cooked, or more accurately, helped cook more dinners together in the last month than I did over the whole of last year. I honestly feel more like an adult than I ever did before, and the best part is that there’s no bullshit. If Chris is doing the cooking (as he does most nights), then I’ll help chop the vegetables and do the washing after we’ve eaten. Both of us take it in turns to clean the flat every week, and everything just fits. It’s been a seamless transition from friends to flatmates to best friends. We’re now attempting a healthier lifestyle in our flat, so my Terry’s Chocolate Orange* has been placed on a top shelf I’ll never be
able to reach. Instead, I am redirected to a delicious smoothie waiting in the fridge. My eating habits have dramatically changed for the better, and I just feel more ‘adult!’ I think it all worked out for the best, and this has taught me to try to relax, when certain things don’t go ‘according to plan.’ This definitely isn’t how I imagined things would work out, but that’s ok because it clearly wasn’t meant to happen in the first place – sometimes Plan B is the way forward, we just need a little nudge to get there. It may be tough at times, you may feel pretty shit about it, but keep moving forward, and it’ll work out. After living here for a month, I wouldn’t change it at all.
*Note to self: do not forget position of said chocolate in case of emergency.
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- E V E N T S LONDON
26. oct - 28. oct Musuem’s at Night: Select museums across London will be opening their doors at night to the public One event on offer: "chance to visit Charles Dickens’ Victorian home for a night of fortune-telling and magic in the spirit of Halloween" - Tickets at www.visitlondon.com Now - 3. dec BallieBallerson "An adult ball pit situated in Shoreditch promising a staggering 1 million balls" - £3.75 tickets (half price) 3. nov - 28. jan The Museum of Witchcraft and Magic at The Victor Wynd Museum of Curiosities, Fine Art & Natural History "Pop-up museum, objects on display range from a witch mirror, a waxen curse life-size doll, spell and charm recipes as well as artefacts from a dark magician’s altar." - £8 3. nov - 4. nov Bonfire Night "Alexandra Palace Fireworks - Happening twice this year due to popularity. Firework display, ire parade, street food stalls and an Oktoberfest craft beer village all additions with tickets" - Booking necessary 10. nov - 30 dec Finnish Rooftop Sauna "The Queen Elizabeth Rooftop Gardens will be installing a Finnish sauna overlooking London’s skyline as a part of the Southbank’s festivities this winter" - 70 minute sessions - Booking necessary 11. nov Festival of Remembrance in Trafalgar Square "Hosted by The Royal British Legion, with music and readings performed, as well as the traditional 2 minutes of silence"
Photo: Josh Rawlinson
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- E V E N T S ARTS
FILM
21. sep - 28. jan Basquiat - Boom For Real Exposition At Barbican Art Gallery
20. oct The Death of Stalin Curzon Aldgate
23. sep - 10. dec Jasper Johns: Something Resembling Truth At the Royal Academy of Arts
3. nov Murder on the Orient Express Curzon Aldgate
27. sep - 7. jan Iconoclasts: Art out of the Mainstream At Saatchi Gallery
3. nov The Killing of a Sacred Deer Genesis Cinema
Now - 25. feb Opera: Passion, Power and Politics At the V&A
13. oct The Snowman Genesis Cinema
7. oct - 3. jan Dalí / Duchamp At the Royal Academy of Arts 18. oct - 28. jan Ilya Emilia Kabakov At the Tate Modern 26. oct - 11. feb Cézanne Portraits At the National Portrait Gallery
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C OV E R I M AG E BY S E R E N M O R R I S