Epigram issue 370

Between the Sheets

EPIGRAM

The University of Bristol's Award Winning Independent Student Newspaper

They represent you:

How inaccessible are sports societies at the University of Bristol?

FEATURES

Casual sexism in seminars

WIT & WISDOM

A graduate's perspective on university vape culture

A breakdown of the 95th Academy Awards: who took home the Oscars?

Charlie and the authenticity factory

MUSIC

UBAFC 1ST XI fall just short of reaching national cup final

Will Standring News Reporter

SU O cers elected for 2023/24 year

The results of the SU 2023 Elections are in.

6,010 students on a turnout of 20.03 per cent, 7 per cent more than in 2022, voted for an array of representatives comprising Fulltime O cers, Network Chairs, Faculty Reps and Student Trustees.

The SU also held a referendum on their National Union of Students (NUS) membership, but voter turnout did not meet the threshold for the outcome to be deemed valid so the SU will remain a liated with the NUS.

The newly elected Fulltime O cers are as follows:

to increase the accessibility of housing for those without UK guarantors. Adam also plans to improve student groups and societies by tripling the SU’s Activity Hardship Fund and working with the Alumni Relations O cer to attract more high-prole speakers and funding.

ing events. He also aims to improve the quality of sport at the uni by increasing elite recruitment and improving the training of sports club committees.

Nicole Antoine was re-elected as Undergraduate Education O cer, running on a platform of extending opening times of study spaces, improving campus accessibility, and increasing wellbeing services in exam times.

She also wanted to increase provision of wellbeing and relaxation events, such as yoga and zumba.

Bakhtawar Javed was elected International Students’ O cer, winning out over 5 other candidates.

Adam Michael pipped Art Taylor to be re-elected Union A airs O cer. He intends to continue to reform the SU’s democratic structures and nalise the University Guarantor Scheme, which is set

Saranya Thambirajah was re-elected as Equality, Liberation and Access O cer (ELA) pledging to employ a proactive approach to trans healthcare and antiracism, as well as ensuring students receive the nancial and wellbeing support that they need.

UCU strikes: Freya Shaw

Pat Gibbs was elected Sports and Student Development O cer. Pat hopes to revive the university’s sporting community post-covid by introducing single-day sport-

Izzy Russell was re-elected as Student Living O cer after a campaign focussed on supporting students with nancial concerns, advancing student safety and making UoB a sector-leader in sustainability, with a particular focus on improving education about the climate crisis.

Temilola Adeniyi replaces outgoing Postgraduate Education O cer Lu Macey. Temilola pledges to represent the academic and wellbeing concerns of post-grads while providing inclusive opportunities for networking and socialising.

Bakhtawar focussed their campaign on three key issues that international students face: belonging, accessibility and graduate visas.

Bakhtawar stated that '1 in 10 students said that they did not feel connected to anyone at the university...I want to be an agent of change for international students by supporting and developing networks'.

A list of the new Network Chairs, Faculty Reps and Student Trustees can be found on the Bristol SU website. Continued on P3...

Editorial

possible without the dedication and hard work of our team. The success of Epigram is a testament to the importance of team e ort and collaboration and I couldn’t be prouder as Co-Editor-in-Chief of the paper.

James Dowden

Co-Editor-in-Chief

This week was an exciting one for Epigram and The Croft as the shortlists for the Student Publication Awards (SPA) were released. A mini-version of the Oscars for student journalism, the awards recognise the best achievements and work produced by student journalists right up and down the whole of the UK. Perched at a table on Woodland Road I nervously watched as the nominations came rolling through via my Twitter feed. In total Epigram and The Croft were nominated for a total of 10 national awards across a range of individual and team categories below. Awards are always ercely competitive and in total, the Student Publication Association which organises the awards said that there had been more than 1200 entries across all categories, so to get as many nominations as we did is a marvellous achievement and a testament to our reputation as one of the very leading students newspapers in the country. This is a great achievement and it wouldn't have been

What happened at our rst ever 'Women in Media' careers week?

In any organization or project, teamwork is crucial. It allows individuals to work towards a common goal, and it brings together di erent skill sets and perspectives. At Epigram, we have a team of writers and editors with every member of the team playing a vital role, helping us to be the best version that we can be in print and online. As we look ahead to the future of Epigram, we are excited to announce that senior team applications have opened this week. We are looking for individuals who are passionate about journalism, have a strong work ethic, and are committed to working as part of a team and we’d encourage everyone who is thinking of applying to do so! Speaking from personal experience, editing Epigram this year was by far one of the bests things I decided to do during my four years at university (and I will miss it so much).

Joining Epigram is a chance to be part of something special. It is an opportunity to work with a group of talented and dedicated individuals, and to contribute to a publication that is making a real impact. It is also a chance to develop new skills, build a portfolio of work, and make valuable connections within the

industry. If you are interested in applying applications close on Wednesday 29 April 2023 and best of luck! Finally, below you will see a round-up of what happened at our rst-ever Women in Media careers week. I was delighted to be able to attend one of the sessions and wanted to add an extra personal note of thanks on behalf of Mark and myself to Marine Saint, Freya Shaw, Emily Fromant, Madeleine Ellis, Nicole Quy and Sophie Brassey for their tireless work in executing a fantastic series of panels and advice sessions. It is something we hope that future generations of Epigram editors will continue with.

Nominations

Billy Dowling-Reid Award for Outstanding Commitment: Freya Shaw, Rowan Humphreys

Best Website

Best Science Publication or Section

Best Science or Tech Piece: Milan Pereira

Best Sports Section

Best Interview: James Dowden

Best Project or Initiative: Modern slavery in Bristol documentary, The Plate X Playlist – The Croft food team and Epigram music team

Best Newcomer Award (Rising Star): Nicole Quy

Editorial Team 2022/23

Epigram

Co-Editors-in-Chief: James Dowden and Mark Ross

Deputy Editors: Marine Saint and Alexander Sampson

Creative Directors: Freya Shaw and Oscar Hunter

News Editor: Radhika Gurnani

Deputy Editor: Lena Stein

Digital Editor: Aeliya Bilgrami

Subeditor: Shreyas Kanna

Features

Editor: Lauren Sanderson

Deputy Editor: Lily Farrant

Digital Editor: Tamara Letts

Investigations Editor: Aidan Szabo-Hall

Subeditor: Dan Hutton

Music Editor: Oscar Ross

Co-Deputy Editors: Jake Paterson and Josh Templeman

Digital Editor: Sam Cox

Subeditor: Susie Long

Sci-Tech

Editor: Emily Barrett

Deputy Editor: Dhristi Agarwal

Digital Editor: Carla Rosario

Investigations Editor: Tiberiu Toca

Marine Saint

Deputy Editor

The rst ever Women in Media Careers Week hosted by Epigram and the Croft took place over the last week, 14th-17th March, including 12 brilliant speakers and reaching hundreds of students across campus. This event series has truly been a labour of love: myself and Freya, Epigram’s Creative Director, devised the week over conversations last summer where thoughts of post-university applications and job opportunities began to seem unavoidable. In order to provide students interested in a career in the media industry with an insight into how to navigate this historically inaccessible and ever-shifting eld, we designed this event over the past months bringing together Bristol alumni, students, and some of the leading women in media.

The Women in Media Careers Week has left a veritable impression on the future of student journalism, a place where we can create a network of creatives within our cohort as well as learn from those shaping the industry. Our aim was to incorporate speakers from as many di erent mediums and backgrounds as possible to keep in line with the values of accessibility, inclusion, and diversity championing the careers week. From TV production based at the National History Unit here in Bristol, to radio presenters for Global news, television presenters, and creative CEOs, we aimed to inspire the next generation of those in the media workplace to pursue a career, especially those typically underrepresented in creative industries. The speakers involved in the incredibly engaging panel talks were as follows for the rst day, focusing on the transition from graduate study to journalism and the diversi cation of the industry: Miranda Krestovniko (BBC), Mel Rodrigues (Gritty Talent), Alice Bhandhukravi (BBC), Bronwen Thomas (BBC), and Jane Martinson (Women in Journalism). On our Wednesday talks, we hosted Heather Cartwright (Global), Alice Young

(Global), Kerry Shaw (Brownstone Cowboys Magazine), and Nikki Waldron (BBC), who discussed the regional and national di erences within media and the impact of COVID on the workplace. Before our social networking co ee morning for students to re ect on the week, we spoke with our nal panellists Sas Bonser (BBC), Nicki Shields (ITV/BBC/CNN), and Naomi Larsson Piñeda (previous political editor of gal-dem). Focusing on career changes, networking, and freelancing, the nal talks opened up yet another conversation regarding the exibility and changes to one’s career trajectory and the importance of women in media.

The Women in Media Careers Week was kindly sponsored by the Alumni Association Initiative, the University of Bristol crowdfunding, and Wills Hall Association, along with local businesses and donors. In light of the recent International Women’s Day embracing equity in the workplace and creating inclusive and representative opportunities, our Women in Media week endeavoured to celebrate the ethos of Women’s History Month and the need for more inclusive voices in the industry. It has been a pleasure to run this event with Freya and the support of our brilliant, all-female event team Emily Fromant, Madeleine Ellis, Nicole Quy, and Sophie Brassey, along with our dedicated lming team with the help of UBTV. The discourse surrounding the diversity of the media industry is one which we hope to have contributed to in an impactful, inspiring, and useful way for our audiences and local community.

Opinion

Co-Editor: Quinn Clearwater

Co-Editor: Nina Micciche

Digital Editor: Laurie Hallam

Arts

Editor: Rianna Houghton

Deputy Editor: Melissa Braine

Digital Editor: Pheobe Caine

Critic Columnist: Milan Perera

Subeditor: Ella Fraser

Film & TV

Editor: Evelyn Heis

Deputy Editor: Jake Tickle

Digital Editor: Amelia Jacob

Investigations Editor: Kalila Smith

Sport

Editor: Joe Green

Deputy Editor: Jojo Lewis

Digital Editor: Louis Edward

Investigations Editor: Eddie McAteer

Creative Team

Director: Charlotte Carpenter

Visual Designer: Elsie King

The Croft

Co-Editors-in-Chief: Emily Fromant and Nicole Quy

Style

Editor: Molly Grogan

Deputy Editor: Mia Flock

Digital Editor: Amy Marshall

Subeditor: Bea Buchanan-Lee

Food

Editor: Saiba Haque

Deputy Editor: Maya Glantz

Digital Editor: Lara Inglis-Jones

Subeditor: Emma Witham

Wellbeing

Editor: Sophia Smith

Deputy Editor: Ursula Glendinning

Digital Editor: Helen March

Subeditor: Zara Whistler

Travel

Editor: Finnuala Brett

Deputy Editor: Grace Burton

Digital Editor: Isobel Edmonson

Subeditor: Eve Baird

Lifestyle

Editors: Nicole Quy and Emily Fromant

Subeditor: Sophie Robertson

Want to write for us? epigram.org.uk/get-involved/

Follow us on:

Instagram: @epigrampaper_

Twitter: @epigrampaper

Facebook: EpigramPaper

TikTok: epigrampaper

Continued from p1... Network Chairs:

• Chair of Volunteering & Fundraising Network –

Ahmad Abd Halim

• Chair of Sustainability Network – Aleezah Aspinwall

• Chair of Multifaith Network

– Dilara Eren

• Chair of LGBT+ Network –Jake Kotelnikov

• Chair of Trans Network –Jamison Jewkes

• Chair of Care Leavers and Estranged Students – Louise Jones

• PGR Network Co-Chair –Minyan Hiam

• Chair of Widening Participation Network – Mitch Ashby-Laws

• Chair of International Students Network – Shivam Khurana

• Chair of Black Students’ Network – Silvio Madueke

• Chair of BAME Network –Zi Qi Sin

Full-Time O cers: (From top left)

Nicole Antoine (UndergraduateEducationO cer)

Bakhtavar Javad (InternationalStudents'O cer)

Temilola Adeniyi (PostgraduateEducationO cer)

Saranya Thambirajah (Equality,LiberationandAccessO cer)

Izzy Russell (StudentLivingO cer)

Adam Michael (UnionA airsO cer)

Pat Gibbs (SportandStudentDevelopmentO cer)

Bristol student awarded MBE after Olympicthemed fundraising for motor neurone disease

• In the latest Honours List, University of Bristol student Charlotte Nichols was awarded an MBE for her services to charity

• The fourth year medical student is 'overwhelmed' by the response from well wishers and the media

Milan Perera

News Reporter

Afourth year medical student was awarded an MBE by the Princess Royal at a special ceremony held at Windsor Castle on February 28. Nichols and her friend Stuart Bates raised more than £185,000 in aid of the Motor Neurone Disease Association (MNDA) in an Olympic themed fundraiser during the Tokyo Olympics in 2021. The pair took part in 102 uno cial parallel Olympic events during the process. Bates was also made an MBE for his part in the fundraiser but was unable to attend the event due to Ill health. They coined the Olym-

pian fundraising campaign, ‘the Spennylympics’ in memory of Bates' brother Spencer who passed away from motor neurone disease.

Nichols and Bates originally set a target of £10,000 for the nominated charity, but in her own words, she was ‘overwhelmed’ by the response from well wishers and the media where they clocked up a nal tally of over £185,000. In a time frame of 17 days the pair took part in 102 events which included horse riding, swimming, triathlon, marathon and pole vault.

Epigramspoke to a delighted Nichols on her recent honour and her life at the University of Bristol. When we asked about the event itself at Windsor Castle she recounted how she was excited to be receiving the honour from Princess Anne who is heavily invested in the cause as the Patron of Scotland Rugby, especially following the passing of ‘Doddie’ Weir. According to her, it was of little surprise that the Princess Royal inquired about her equestrian pursuits. Nichols attended the ceremony with her parents Sally and Steve, and sister Ciara.

The training and preparation for the events had been challenging due to the sheer scale of the project and she thanked University of Bristol for its unequivocal support throughout.

When we asked which prompted her to choose something as challeng-

ing as ‘the Spennylympics’ in order to raise funds for MNDA, she responded that she wanted to make it ‘special’ and ‘memorable’. The collective endeavours of Nichols and Bates were picked up by media outlets in 50 di erent countries and she could not be any happier for the coverage.

As a medical student she is of the view that the research into motor neurone disease has advanced in leaps and bounds over the years but there is still signi cant ground to be made and hence the importance of further funding for research.

Nichols, 23, is an active member of the university women’s rugby scene where she takes part in both playing and coaching, also having represented Ireland in touch rugby at the European Championship.

She plans to become an orthopaedic surgeon once graduated, based in either her native Oxfordshire or Bristol.

Continuing with her fundraising efforts, she took part in the annual CLICendales event at the O2 Academy where University of Bristol medical students will be raising funds for the charity Young Lives vs Cancer (CLIC Sargent) in a sold-out strip show.

When we asked Charlotte Nichols about her next prospective fundraising idea, she chuckled and said, ‘maybe a Winter Olympic themed one!’

CLICENDALES 2023: Bristol medics bare all in annual charity dance show

• Medical students take to the stage in their annual charity strip show aiming to raise £50,000 for the the charity 'Young Lives vs Cancer'

• The packed show took place at the O2 academy in the City Centre

• Planning already underway for next year

Milan Perera News Reporter

University of Bristol medical students danced before a soldout audience in their annual charity strip show at the O2 Academy on Saturday, March 11, to raise funds for the charity Young Lives Vs Cancer.

150 medical students from different year groups shed their inhibitions and danced through the night in a myriad of routines with references to popular culture. This year marks the 30th anniversary of the event and the organisers originally set a target of £50,000 and so far they have raised over £60,000, surpassing their final tally last year.

The theme for this year’s performance was ‘The Only Way Is Clic’, a mischievous reference to the ITV reality show. It also included dance routines based on hit TV shows such as The Apprentice, I’m Celebrity Get Me Out of Here, Love Island, Below Deck and Great British Bake Off.

CLICENDALES is an all-medic, annual charity dance show fundraising for Young Lives Vs Cancer which provides help and support to children, young adults and their families going through a cancer diagnosis. It has raised over £400,000 over the years for the charity.

Bristol alumni, former CLICENDALES participant and Instagram sensation Dr. Maddy Lucy Dann kept the proceedings moving in full flow as she made a guest appearance as the compere for the evening.

Charlotte Nichols, a fourth-year medical student who took part in the much-loved Granny Dance routine pointed out that: ‘Performing at Clic was the most exhilarating experience, and for the best cause! It was so great to see all of our hard work pays

off to create an amazing show and raise loads of money!' The dances ranged from all-male, all-female, mixed, and half-strip (underwear) to two all-male and all-female full strip routines at the end of the show.

Epigram also spoke to George Pack, another fourth-year medical student who took part in the Love Island themed mixed routine. As someone who took part in the event several times he explained the importance of the annual event: ‘Getting your kit off on stage in front of that many people is certainly a unique experience.

'Each year it seems that the quality of dancing gets better and better and this year felt incredible. It feels extra rewarding to know that all the work we have put in goes towards raising money for such an important charity.’

Speaking exclusively to Epigram, Liam Carly-Howe, one of the Managing Directors of the event pointed out that: ‘Clic is such a spectacular night which raises an incredible amount of money for a really important charity. The whole cast have worked so hard throughout the year and have helped to raise more money than we have raised before; in excess of £60,000! These

fundraising efforts will make such a massive difference to so many families and everyone involved should be immensely proud of what they’ve achieved. Bring on Clic 2024!’

In the central committee for this year’s event, Carty-Howe was working alongside Tilly Gardener, Joint-Managing Director, and Georgia Hall and Cerys Mack, the Artistic Directors. Apart from his administrative duties Carty-Howe also choreographed and danced in a routine based on I’m A Celebrity Get Me Out of Here with a cheeky reference to the former Health Secretary Matt Hancock who took part in the reality show in Down Under last year.

The organisers are already planning for the CLICENDALES event for 2024 which they hope would be even bigger and better than this year's sold out show.

Liam Carty-Howe

Liam Carty-Howe

'Getting your kit off on stage is certainly a unique experience'

Opinion

Twitter: @EpigramOpinion

How inaccessible are sports societies at the University of Bristol?

The financial inaccessibility of sports societies is fuelling the mental health and obesity crisis among students

Charlotte Kyle Spanish and Politics, Second Year

Many of us will have spotted a new marketing bombardment around campus, with adverts for campaigns such as the Bristol Run Series 2023 and the Bristol moves + app splattered on every university-owned TV in a 2 mile radius. These signature cranberry-red themed images are part of the University’s newest attempt to coax undergrads away from heart failure and liver disease - a seemingly sensible idea.

The Bristol Clean Air Zone: crawling towards a better city

infamously difficult to join, with a £200 membership fee and rigorous trials, not to mention the familiar hazing rituals that involve tasks like downing litres of pure vodka.

There are opportunities which attempt to increase accessibility, such as the Activity Hardship Fund, but students can only apply for up to £100 in grants per academic year, a sum which for working class students is frankly offensive. Another keen footballer friend of mine is part of a successful university team which finished second nationally, and was offered the opportunity to compete at an international competition in Croatia, but unfortunately, he was forced to reject the offer as the baseline cost of the trip was £400 (before extras such as food and drink), which for him would mean sacrificing his budget for the next six weeks.

Noah Evans discusses Bristol's Clean Air Zone, the local environment and what Bristol can learn from other progressive cities

Noah Evans Civil Engineering, Fourth Year

In writing about the city planners of the 1700s, Richard Sennett comments: 'These planners wrapped themselves in the mantle of biological science … free-flowing traffic became as analogous to a healthy circulation in the body.'

He continues, 'Walking lost its value in this scheme, and the (pavement) became less important than the carriageway, because freedom of movement was equated with speed of movement'.

anised during the day, but still open to cars at night to allow for deliveries, a compromise made to appease local shop owners, some of whom petitioned against the change.

My principle criticism: it is a change which should have happened years ago

While both of these campaigns are generally pretty positive (with the Bristol moves + app you can get freebies such as hot drinks and hoodies from hitting certain exercise goals after building up points based off your step count from a health app), sports such as running and cycling which these initiatives promote are missing out on a vital element of exercisesocial interaction and camaraderie. It was a recent conversation around the dinner table in my student home with the boyfriends of two of my flatmates, that made me question the approach to fitness that is being pushed in our direction. One of these partners happens to be from UWE (The University of the West of England), and the discussion that we ended up entering showed a harsh unspoken realitysports societies are incredibly inaccessible at the University of Bristol. Our friend mentioned the UWE sport app, which offers free sports sessions for all students, ranging from football to yoga to basketball to strength and conditioning. This kind of relaxed, social approach to sport is hard to find at Bristol, with UBAFC (University of Bristol Association Football Club) being

A push needs to be made to encourage cheap, inclusive team sports

According to Bristol Post, the University of Bristol is in the top five most imbalanced universities in the UK in terms of its proportion of advantaged and disadvantaged students, with only 4.6 per cent coming from the most socioeconomically underprivileged areas. This is a shocking statistic when compared with an average of 12 percent across higher education institutions on a national scale. It is easy to spot why measures to make sport financially accessible are so painfully inadequate - these are issues which impact a minority of our student population.

And for a university to fail to offer accessible opportunities for team sports is to fail to provide mental health support - endless studies have proven the importance of social interaction as well as fitness for mental health, and the kind of camaraderie offered by popular team sports such as football is hard to find in other places.

With suicide being named the biggest killer of men under 45, it seems bizarre that the option of turning up to a football pitch on a Sunday afternoon to kick a ball around with friends and other likeminded people doesn’t exist at university.

So, to protect the health of Bristol university students, a push needs to be made to encourage cheap, inclusive, flexible team sports for people of all backgrounds and abilities, so that we’re able to guarantee that every student has access to the invaluable enrichment provided by group sports.

It would be an absurd notion to construct a city entirely for today’s purposes and technologies. Of course, the centuries ahead must be considered, and to do so we can look at the centuries behind. While technologies have come and gone, the flâneur has survived. A good city should breed such a species of inhabitants who walk for pleasure.

The Council hopes that this measure will incentivise the public to switch to electric cars

In its current state, however, Bristol is far from achieving this goal. Bristol’s clean air zone (CAZ) has been introduced to 'reduce public exposure to nitrogen dioxide' to meet government-set legal limits for pollution.

This is to be achieved by restricting the presence of the highest polluting cars, promoting the use of cleaner vehicles, and encouraging walking, cycling, and using public transport. A charge must be paid by drivers of vehicles which do not meet the pollution standards in the zone.

The council hopes that this, and other measures, will incentivise the public to switch to electric cars which would no doubt reduce automobile emissions in the centre.

While the justification for the clean air zone presented by Bristol City Council focusses largely on the public health issues related to air pollution, it is also mentioned that surplus revenue will be invested into transport improvements 'to make it easier for people to walk, cycle and use public transport'.

This surely shows the intention for long overdue improvements to Bristol’s infrastructure and the further reduction of the presence of cars in the city centre.

Unfortunately, this is a mindset which has prevailed from the 18th and 19th centuries and is seen in the huge urban development which took place in the latter half of the 20th century, although many of the worst cases exist, of course, in America rather than Europe.

While it has been known for at least two decades that this car-centric mindset is not conducive to the happiness of a population, the bureaucratic barriers now in place make undoing the damage a daunting task, with the smallest of changes potentially taking years to implement.

Perhaps now with the clean air zone we are seeing the first steps, and a potential pathway, to a safer, friendlier Bristol.

Grenoble, the 2022 European Green Capital (a title given to Bristol in 2015), while not as progressive in its cycling infrastructure as the Dutch cities, may present more achievable goals which Bristol could aspire

In Grenoble, people in cars are either delivery drivers, or lost

to. Large areas in the centre of this french city, whilst being accessible to cars, are dominated by pedestrians.

The people found in cars in such areas are either delivery drivers or lost. Here the need to be constantly aware of traffic is removed, pedestrians are seemingly much more social with their companions, and are permitted to admire what would otherwise remain unappreciated details of the city. Collisions may be frequent, but one has far less reason to be concerned with bumping into a fellow pedestrian than with being struck by a two-tonne car.

Progress towards this case where the pedestrian is king may have been observed by some more veteran students in Bristol: Princess Victoria Street, in Clifton Village, is pedestri-

A similar positive change is the construction of 'cycle super-highways' (as opposed to simple painted-on bike lanes) near Temple Meads which are hopefully the beginnings of a citywide network of safe cycle routes.

Returning to Sennett’s quote, of course speed of movement is important for the effective functioning of a modern city, and when this can’t be found it becomes a point of annoyance for many inhabitants; but this speed of movement doesn’t need to come at the expense of the pedestrian or cyclist.

Moreover, it is known that increasing the number of lanes on a road doesn’t relieve congestion, rather, the inverse is true. By reducing the number of lanes on a road, the observed congestion is reduced, albeit sometimes after a short lag-period of mayhem, in a peculiar case of demand meets supply.

The space saved could then be used for cycle lanes, a wider pavement, and even planting trees turning a potentially dull street into a pleasant avenue.

It is easy to say that cycle routes and public transport need to be improved but this doesn’t mean that such a comment isn’t true; is it foolish to think that the green air zone could see a reduction of cars in the city centre, allowing such improvements to take place? As humans we will, by and large, take the easiest option presented before us; in making driving more difficult, as the green air zone does to an extent, people may be less inclined to choose the car as their preferred mode of transport, but only if taking the bus, cycling, or walking appears to be the easier, quicker, and safer option.

What further change should we hope for and demand in the near future? The development of alternative transport is essential if we want to see fewer cars in the city centre; an arguably radical measure would be the introduction of “car-free” days in areas to truly demonstrate the impact of

cars on how we interact with our city. Ultimately, we should want to live in a city which rst accommodates those travelling in the most human ways, that is to say either being physically active or being with company as we commute.

Lasting change will certainly take time to be introduced, the plan to implement clean air zones was introduced in 2015.

This change away from car-centric cities is long overdue, having known the detrimental e ects of such systems on inhabitants for decades.

This leads to my principal criticism of the clean air zone: it’s a change which should have happened years ago; while this would have been the best time to start this slow process of redevelopment, the second-best time is now. To enact these grand changes we must become, for a time, a selfless population acting for the future.

In gradually approaching such ideals, to stroll for pleasure should become accessible to all, and in this case, each of us can be pushed to reconsider our relationship with the city.

Epigram is hiring!

Applications are now open for the Senior Editorial Team in charge of taking Epigram into its 35th year.

The closing date is Wednesday 29th March 2023. If you have any questions, do not hesitate to get in touch and email editor@ epigram.org.uk

Editor in Chief:

Responsible for the overall management and running of Epigram, as well as liaising with the University Press O ce and Bristol SU, among other relations. Also responsible for the management of the News team including the coverage of major and breaking stories and liaising with national media outlets. Oversees the Editorial Team’s creation of the print newspaper and works with Sub-Editors and Deputy Editors to edit and produce the final version to send to print. Works with both the Business Team and Online Team to ensure the smooth running of all of Epigram’s operations. Please see online for a full role description.

Deputy Editor:

Responsible for supporting the co-Editors in the production of the newspaper and the general organisation of the publication, helping to oversee all the di erent teams of the paper and ensuring the quality and accurate output of content.

The Croft Co-Editors-in-Chief:

Responsible for the overall management, design and running of The Croft, as well as liaising with local businesses and PR contacts among other relations. Oversees the creation of the lifestyle magazine, and works alongside the partner Co-Editor-inChief and Section Editors to edit and produce the final version to send to print. The Editors-in-Chief are also responsible for commissioning/ writing the content for the lifestyle section. Co-Editors-in-Chief will also be responsible for hiring, alongside their editorial team, a creative director/ social media manager, to maintain The Croft's online presence and reputation for digital excellence, including the management of all social media channels. Please see online for a full role description.

To apply for any of these roles, please send:

- An ideas sheet, outlining your vision for the direction of the newspaper or The Croft, depending on role (no more than two sides of A4;

- A covering letter;

- Your CV;

Please send to editor.epigram@gmail.com, or thecroft.epigram@gmail.com, depending on the role you are applying for. The deadline for applications is Wednesday 29th March 2023.

Editor Deputy Editor Digital Editor

Casual sexism in seminars

been relatively respectful, though in conversations on class divisions and other male-dominant theories, I can think of some examples where a male peer has been condescending or dismissive towards myself and other female students’.

Second

Year English

In recent years, women have made up the majority of university students. While this marks a significant step in the right direction for inclusivity in higher education, has it changed women’s experiences with sexism at university?

Epigram spoke to female students about their experiences with sexism in University teaching spaces.

In 2020, the Higher Education Policy Institute (HEPI) reported that female students now make up 56.6 per cent of the UK undergraduate cohort, with their male counterparts amounting to 44.1 per cent. We might therefore assume that proportionate representation persists in higher education teaching fields, however, this is not the case.

When asked about where she thinks sexism in the subject area stems from, she believed that it ultimately boils down to some men ‘undervaluing the opinions of women and feeling a sense of competi-

Women in Academia

hadn’t witnessed overt instances of sexism on her course. However, ‘almost all male law students possess a certain arrogance I had not encountered before university’.

When asked why she thought this was the case, she stated, ‘it is undoubtedly linked to the fact that they are more likely to pursue the more 'prestigious' and financially-rewarding areas of law’.

She concluded by quoting Baroness Helena Kennedy’s book, Eve Was Framed (1993): 'Men head for the high-rewarding areas of practice, but women find their place doing poor folks’ law.'

In conversation with Dr Goya Wilson Vasquez for International Women's Day 2023

Sarah Henderson

Fourth Year French, Spanish and Portuguese

not about confidence, but how some feel that being an academic entitles them to talk for others.'

Advance HE found that, despite there being more female than male postgraduates, women made up only 47 percent of academic staff and 28.5 per cent of professors in 2022. These statistics demonstrate the stark reality for women in higher education: although they are proportionally represented at lower levels, they quickly become the minority when progressing further in their careers.

As Professor Selina Todd writes, this reinforces ‘the masculine nature of the environment within which they work and study’.

However, it might be assumed that sexism is less prevalent at undergraduate level, where female students represent the majority. To gain insight into sexism in classroom spaces, Epigram spoke to a second year Sociology student. When asked about her encounters with sexism in seminars, the student stated: ‘Despite Sociology being a female-dominated subject, I have noticed some instances of conversational domination from the few men on my course.

‘In seminars concerning gender, I find that the men present have

tiveness due to being on a predominantly female course’, suggesting that a course with a higher number of female students does not necessarily make it an indiscriminate one.

The male to female disparity in university teaching spheres is one of many fields that sees a decline in women’s representation in higher level positions. This pattern is especially prominent in Philosophy, one of the most male-dominated professions in the humanities, with men accounting for 71.2 per cent of the profession.

A final-year English and Philosophy student told Epigram, ‘Even in seminars where there are quantitatively equal numbers of men and women, women’s voices are almost always drowned out or made to feel inferior, so the majority of the time it seems as if men dominate the subject. Having spoken to friends who take other subjects in the Arts and Humanities, it seems as if this gender inequality issue is especially bad in Philosophy.’

‘Many of the academics in the department are undoubtedly aware of it. I’ve had numerous lecturers ask specifically for more women to vocally contribute in seminars and lectures. When I represented the subject on an open day it was even suggested that we should be prepared for questions regarding the lack of female academics in the department. It was ironic given that I was the only woman on the panel.'

The gender disparity in higher level positions is likewise exhibited in the legal sector, where women make up 61 per cent of solicitors, but only 35 per cent progress to become law firm partners.

Epigram spoke to a second year Law student, who said that she

In both Sociology and Law, female students shared similar experiences of subtle sexism in the classroom, and an undoubtable recognition that, though they make up the majority of the cohort, their career progression is statistically limited.

In STEM subjects, this phenomenon is referred to as the ‘Leaky Pipeline’, defined as: ‘[T]he progressive reduction in women’s participation at the different stages of the career progression in the science, technology, engineering and mathematics (STEM) fields’.

The lack of representation of women in STEM fields might contribute to this phenomenon, discouraging female undergraduates from pursuing higher positions. Here at Bristol, only six per cent of engineering professors and seven per cent of science professors are female.

Speaking to Epigram, a second year Economics and Modern Languages student agreed that, though she hadn’t experienced explicit sexism, there is still a noticeable ‘divide’ in lectures and seminars.

She also noted that, ‘in a weird way, there being fewer girls than boys motivates me to succeed’.

Women’s representation at undergraduate level has not eradicated the issue of sexism within the classroom— though subtle, it is still present.

The poor representation of women in higher academic positions suggests that sexism remains a structural issue in the sector.

If this is the case, it is unlikely that sexism in the classroom will be eliminated unless the wider issue of gender representation in academic fields is addressed.

In honour of International Women’s Day, Epigram sat down with Dr Goya Wilson Vasquez, Senior Research Associate and Lecturer in the Department of Hispanic, Portuguese and Latin American Studies, to discuss her views on the challenges faced by women in academia, how feminism influences her research, and advice for women pursuing a career in academia.

Goya came to Bristol to study for her PhD in Education, and has since been working on projects focused on memory and political violence in Latin America. Explaining how women play a central role in her research, she said, 'We always make sure that we have groups that come from a very feminist standpoint, like women’s organisations, such as La Ruta Pacífica in Colombia or Trenzar in Peru.'

Goya highlighted the importance of engaging with feminist groups when conducting research on the post-conflict discourse, as not doing so risks losing women’s voices. 'In mixed groups the women’s voice can be diluted,' she said. 'It is always important for us to work with at least one feminist group, one which doesn’t just work with women but that explicitly defines itself as feminist.'

On the barriers that women in academia face, Goya reflected, 'If you were to ask a man this question, they would probably be happy to list off four barriers. If you ask this to a woman, she will search for information to back up her opinion before saying anything. That's

'Academia both reproduces these structural barriers and reinforces them; it values very white, male perspectives.' There is a noticeable discord in the perception of female academics compared to male ones, illustrated in student evaluations. 'Women are evaluated much more harshly than men. We are more likely to doubt what women are saying than what men are saying.'

Goya stressed that precarious contracts, which the University has been criticised for, disproportionately affect women. 'There are many more women in precarious positions than men, and I don’t think the University is doing enough to combat this. The structure of the University focuses on, and rewards, individual work rather than teamwork. But most of the bigger projects, which rely on teamwork, have women working on them who do not receive due recognition or secure contracts. Women also carry out a lot of unpaid labour, taking on ‘invisibilized’ tasks.'

On how the University can address these inequalities, Goya said, 'They need to be willing to advance women in academia, rather than have this illusion that everyone is in the same position. We need to directly consider women, women of colour particularly. If the University decides to support that, we will make more progress.

There is an image of the university that doesn’t reflect what is actually happening, not only with gender but also with race.' Goya gave wise words for women pursuing a career in academia: 'Follow what you're passionate about, or find it! Fight for your space. Find a community around you that shares that passion and helps you shine, that supports each other, that makes you laugh. I think we need to laugh more!

Epigraminvestigates women's experiences of sexism in higher education, and how this can impact careers

Nel Roden

'The Leaky Pipeline': The progressive reduction in women's participation at the different stages of the career progression in the STEM fields.'

'Women's representation has not eradicated the issue of sexism within the classroom'

'[Philosophy is] one of the most male-dominated of the humanities, with men accounting for 71.2 per cent of the profession'

The Wave is setting an example in Bristol's food and hospitality industry

Saiba Haque goes undercover in the kitchens of Bristol's The Wave to explore their progressive hiring process and kitchen culture

Saiba Haque

Food Editor

The food and hospitality industry has always been notorious for its toxicity and abuse. Over the past year, TV shows and films such as The Bear (2022) and The Menu (2023) have contributed towards a serious discourse shedding light on this alarming issue. It’s safe to say that the issue of toxic work environments and staff mistreatment in the food industry is getting more attention now than ever. However, talking can only do so much, and efforts certainly cannot stop there. Bristol’s own The Wave, located in Easter Compton, is working hard to actively subvert and dismantle the normalised toxic standards in the industry. Their kitchen team sets a leading example of how the food industry should and, in the future, could operate.

A few weeks ago, I wrote a Busker’s Banquet Food Review featuring Chef Dan Ashford, who works at The Wave. I was fortunate to have a brief conversation with Chef Dan, in which we spoke about his worldly

experience in the culinary arts, his passion for food, and his disdain for the pompous and unsustainable ‘style over substance’ ideology in fine dining. He also discussed the food and hospitality industry’s ugly reputation of toxicity and abuse, and the damaging impact this is having.

‘We, as a part of the industry, are trying to change this bad reputation by setting a better and more positive standard. The place where I work, I believe, is a great example of that! It’s up to us to make good changes for the future of the industry.’

I was immediately intrigued. With the notoriously poor reputation of kitchen environments, Chef Dan’s claims were hard to believe.

But I was curious to see exactly how his place of work was implementing positive changes. At the beginning of March, I visited The Wave to gain an understanding of how their kitchen team operates, and was pleasantly surprised.

The Wave Bristol is described as ‘a slice of the ocean inland’, where visitors can surf and bodyboard on consistent and safe waves every day of the year. It is one of the only operating inland surfing venues in the UK, and has been almost ten years in the making. The venue’s amenities include a gift and equipment shop, a restaurant and café, as well as a campsite with cabins for overnight stays. People can relax, surf and eat amazing food, whilst reap-

ing the benefits of ‘blue wellbeing’.

Chef Dan explained the inner workings of the establishment. It is he, alongside his senior team of chefs, who work on most of the food and recipe development, rather than the establishment deciding on the final menu. This allows the chefs to exercise their creativity while developing recipes, whilst also catering to customer demands.

I got the opportunity to witness The Wave’s inner workings first-hand when visiting for the day. In order to gain a more authentic perspective of the kitchen environment at The Wave, Dan and I decided that I should go undercover for the first half of the day. Posing as a prospective Commis

Chef Dan. 'We evenly distribute the roles each day, but change the roles around so that everyone in the team can have a chance to experience and cover different areas in the kitchen. This also keeps the morale up as people in the team feel equally respected. There are days where I am front-of-house and there are days where I wash dishes.’ I put on my chef jacket and apron, and Dan introduced me to the team before things kicked off for lunch. Everyone was welcoming and patient, letting me know where the kitchen utensils and equipment would be while I was on dish duty. When asked about their experiences working at The Wave, most responded with relief that this is the best hospitality establishment they have worked in. Staff member after staff member attested to the grace and respectful communication exercised in the hectic environment. The employees are also allowed to surf whenever they please during their break days, and The Wave offer employee discounts on food.

'The Wave is open to hire anyone interested in honing their kitchen skills, as they do not require previous experience'

ens, even I was pleasantly surprised. Dan and I eventually revealed, with a heavy heart, that I was only a temporary addition to the team. And I mean it—their team was the most organised and respectful that I’ve ever worked with, and I would gladly return should the opportunity arise. The food and hospitality industry indeed has a lot to learn from The Wave, and the sooner the better.

This comes at a time when the world of restaurants is suffering from record amounts of disinterest in joining the industry.

‘We are currently dealing with very low interest in kitchen positions, and understandably so. There’s a lot of damage that has been caused by the previous generation that we’re trying to undo by putting wellbeing and respect first!’

In fact, Chefs Tillie and George both agreed that the operation of The Wave’s kitchen differs from any kitchen they’d worked in previously, in the best way. I witnessed this even at the busiest times of our shift, while working with Tillie in the fry station. Even on the occasion that something unexpectedly went wrong, everyone maintained their composure and no one was insulting, demeaning

The Wave is open to hire anyone willing and interested in honing their kitchen skills, as they do not require previous kitchen experience. This is eliminating another barrier to entry for newcomers, which has become a problem for the dwindling workforce.

From my other kitchen experiences, I too would be reluctant to return to working in such a toxic environment. But I can say with great confidence that The Wave has altered my perception. I will definitely be back to say hi to the team, enjoy the amazing food and (if I ever learn to swim) give surfing a go.

'Chefs Tillie and George both agreed that the operation of The Wave's kitchen differs from any they'd worked in previously'

Epigram / Saiba Haque

Jeremy Paxman’s Wagamama orders, getting recognised in Clifton Down Sainsbury's and memorizing maps: Behind the scenes with the UOB University Challenge team

The secrets behind facing off with Jeremy Paxman on the hardest quiz show on television

James Dowden Co-Editor-in-Chief

Fingers on the buzzers, here’s your first starter for ten…

It’s become one of the most iconic lines on television over the past 60 years as the series University Challenge has gained cult status amongst the British public.

Fiendishly tough questions, the pressure of television and having Jeremy Paxman as quizmaster make it compelling viewing in it its habitual Monday 8:30 pm slot.

Bristol’s links to the series were even documented in the 2006 film Starter for 10 starting James McAvoy. In it, McAvoy’s character ultimately is unsuccessful in his quest to join the University Challenge team after helping a fellow candidates during the trials.

Yet for the class of 2022/23, the first trial was one of several stages they had to go through in order to reach the lure of the televised rounds and a coveted place in the pantheon of University Challenge.

This year’s team consists of chemistry student, Tess Richardson, economics and maths student, Jacob McLaughlin, physics and philosophy student, Alejandro Ortega, medicine student, Sam Kehler and Biology student Ted Warner.

Sam admits that he hadn’t watched much of the show before coming to Bristol and recalls how he and his first-year halls mates (in true student fashion) had turned watching the show into a drinking game.

With his first-year halls of residence locked down and no possibility of a Monday night out on the Triangle, Sam and his flatmates settled down for some quizzing and an evening in, huddled around a small TV screen.

‘Before coming to university, I hadn’t really watched any of University Challenge but when we were locked down we had a drinking game made out of it and then I applied for it after that’ Sam explains.

In contrast, the captain of the team Tess signed up after noticing an email come through advertising trials for the team. ‘I think I liked the quiz team's Facebook page but never went to any of the meetings or anything like that. Then I got an email

saying about the University Challenge trials. It kind of peaked with my obsession with the show at the time just after lockdown and I was watching old episodes on YouTube.’

After a couple more buzzer rounds the five, made up of four plus one reserve, were selected for this year’s team but there still remained a lot of work to do in order to get onto one of the live shows.

For the current series over 122 teams applied to be on but only 28 are lucky enough to make it onto the live televised rounds up in Salford where the show is filmed.

Tess remembers the nervous wait to find out whether they had been accepted onto the show with the team having had to attend an interview and complete yet another quiz in front of producers.

‘I was so nervous because basically they called me and I knew that they would say whether we had got on the show or not.’

Jacob on the other hand was in fact taking a relaxing nap after a morning seminar.

‘I had something in the morning at uni and then I came home and I decided to sleep. I was like by the time I wake up we would have heard either way.’

In the end, Jacob was waking up to exciting news as the Bristol team was selected to be on the 2023/24 series of University Challenge.

Once the team knew they’d be in the live rounds on television they continued swotting up on their general knowledge for one of the toughest quiz shows out there. They rewatched old shows, practising with buzzers and even printed out and memorized maps. The maps came in hand as some last-minute revision on the train up to Manchester helped with a question in their opening match.

As Jacob recalls, ‘on the train up we were like looking at these maps I had printed off and for our very first episode I remember I was looking at them and then a question on something I was looking at beforehand came up.’

On a few more occasions some last-minute latenight practice came in handy.

‘Yeah, there was a couple of times where we were like talking about something the night before, and then it came up in the show which was satisfying to get as well’ Sam recalls and Jacob adds that in particular ‘we were talking about state capitals [the night before] and it was almost word for word one of

the questions that he talked about.’

For Sam, the whole experience really hit home when they first arrived up in Manchester for the broadcast section of the show. ‘It was all very fun traveling up. When we actually stepped into the studio I think I was very visibly nervous.’

For Jacob it was a mix of feelings: ‘on the one hand, you can't forget that you're in there. On the other hand, it's just like you're watching another one. But you've just got to forget that you're actually on TV.’

On one day of filming there was nearly a disastrous moment when the team’s mascot, Isambear, a cuddly toy bear that has been passed down by previous University of Bristol University Challenge teams, was forgotten just before filming was due to start. Luckily a last-minute dash back to a Manchester hotel room meant a crisis was averted as Isambear took up his place on the famous’ set alongside the four.

On another occasion, it was Paxman himself who was late to a shoot after popping out for a mid-afternoon Wagamama.

Paxman has developed a fierce reputation over the years for grilling students on their general knowledge having presented the show since

1994. Although his fierce reputation precedes him on set, during filming the Bristol team found him to have a cooler light-hearted side – his secret pleasure for Wagamama included.

‘I think maybe he was late for one of the shoots as someone said he had been getting a Wagamama with his partner’ Ted recalls.

‘But yeah, he was kind, and the people who work on the show are really nice and a lot of effort into making you feel as relaxed as possible’ Jacob notes.

The team has reached the quarter-final stage after defeating Oriel College, Oxford, Queen's University Belfast and Newnham College, Cambridge.

To round off, as our conversation finishes off, the cult following of the show has led to some of the team being recognised around Bristol. For Jacob one time in Clifton Down Sainsburys particularly stands out.

‘You get people coming up to you and saying good luck. It’s a bit weird how sometimes you are being recognized on campus. It’s happened a couple of times and I had a bit of a conversation in Sainsbury's once.’

The series is broadcast on Mondays on BBC Two at 8:30 pm with Bristol currently in the quarter-final.

Tess Richardson

Wit & Wisdom Graduate Corner

Having graduated last year in Film and English from UoB, Jake Thompson analyses the transition from student to salarié.This week, Jake discusses: 'Elf and Safety' - reflections on vape culture at university

and impulsive, such as students. The ergonomics are sleek and comforting to hold, just like an iPhone. The bright colours and promise of sugary flavours appeal to our inner infant as they sit alongside the sweets and chocolate on every shop counter.

in truth, far removed from ‘real’ life. In the workplace, a disposable vape is only an occasional treat, surreptitiously used alongside some after-work pints.

Not only does the ever-flashing disposable vape feel like a nicotine-hued caricature of a children’s toy, but it also doesn’t coalesce with the day-to-day o ce structure. It is for sporadic, not constant use.

And, given the health implications of vaping, maybe going cold turkey is not such a devastating prospect.

'Overheard at UoB'

In print only...

Much has been written within these pages about the perils of addiction at University - a problem often considered especially troubling in Bristol.

The latest compulsion, however, is not one purchased shadily in luxury German cars.

It is instead found in all of Bristol's cornershops, o -licenses, and service stations.

Disposable vapes, such as Elf Bars, Geek Bars, and Lost Mary’s are now commonly used by a wide demographic of people. From hipsters to goths, football hooligans to young professionals, what seemingly began as a student night-out essential has become commonplace across age, class, and cultural divides.

However, these are devices specifically marketed for the young

And whilst traditional vaping devices required an incessant amount of logistics in getting them to function, disposable vapes are ready for use upon purchase. You don’t even need to charge them, let alone fill them with liquid.

I’d warrant to say that they are the most e ective nicotine delivery system ever invented.

With their explicitly youthful visual appeal and ease of access, vapes are an antidote for the uncertainty of our times, something felt especially by students. For those unsure of the world around them, distilling and determining your needs onto a singular fixed point - a disposable vape - can bring just a little bit of regularity, all the while providing a consistent, compulsively addictive nicotine hit.

But as a recent graduate, I’ve realised that the regularity of consumption embedded in university vaping culture is,

Auntie Oscar's Advice...

The University of Bristol’s third most insu erable homosexual is here to o er his words of wisdom to all who ask! This month’s theme?

Let’s talk about sex...

So many people are terrified of the subject, and uni can pressure us to lose our virginity if we haven’t already, so Auntie Oscar is here to ease you in… and out, and in again...

1. Consent is KEY

A terrifying number of people don’t have a good understanding of consent in sex. It’s very simple, the only type of yes is enthusiastic and not at all coerced! If there is ever any doubt, then it’s best not to go ahead.

2. Sex is weird, embrace it

Sex is gross, and weird, and hilarious. We get cramps, we fart, we say the wrong things. So why not laugh in the face of it! There’s nothing worse than something embarrassing happening during sex, and nobody mentions it, just have a laugh! There’s something very sexy about giggling and having fun with it.

3. Don’t be afraid to explore

How on earth can you expect to give someone the night of their life if you don’t know what you like? It’s important to take time to yourself. Explore your own body, what feels good, what doesn’t and how your body functions. This I promise you will make sex better for you, and whatever sweetie (or sweeties) you choose to partner up with.

The severe adverse medical e ects of these imported vessels of sugar and nicotine has been widely reported.

Beyond tooth decay and ‘popcorn lung’, a single Elf Bar contains the same nicotine content as two packs of cigarettes, boosting the average nicotine consumption up to that of a chain smoker.

The concentration of the sugar/nicotine blend over stimulates the dopamine receptors to oblivion - as the vape becomes symbiotically connected to your body, an additional limb of sorts.

A limb which provides nicotine in essentially any situation; in the park, club, pub, library, toilet, train, or the comfort of your bed. So the next time one experiences the deep-seated, existential dread of the twice-flashing light, signalling the disposable vape’s untimely death, don’t panic. Even if for nothing other than the sake of not looking like a sixth former, dispose of your vape for the last time.

4. Asking is sexy!

Asking your partner what they like is not weird, or unsexy, it’s the opposite! People seem to think that sex is a game where you can’t ask anything, and you have to speak in riddles, but this isn’t the case. Of course you won’t know what the other person wants if you don’t ask them! It can be really sexy if somebody says: “what are you into” or “what can I do to give you a good time?” Don’t tell me that isn’t super hot!

5. Don’t ever feel pressured

People who come to university as virgins, or who are just inexperienced seem to feel this immense pressure to gain more sexual experience. I certainly felt that way (I’d only had sex once before uni). But your level of experience should never be a reason to have sex. If you want to have lots of sex, go for it! Have those hookups, that hot girl summer! But at the same time, if you want to date, and take it slow, and find someone you really care about to have sex with, then go for it, you romantic!

"Wait, tsunamis aren't caused by the moon"?

"I got the ick because he said he didn't have an air fryer"

"*Dry coughs* I don't know why my lungs have been so completely fucked lately *continues vaping*"

"When I vape I like to pretend I'm a 17 year old fuck boy"

"I'm probably the only person to have mentioned hurricane katrina while being ngered"

"Where's my vape"

Charlie and the Authenticity Factory

being altered out of their distinctiveness: every decade for half a century Dahl has had to be sanitised since, even for his own time, his views were exceptionally bigoted and he was not afraid to print them.

Charlie Graff

MPhil English

Penguin have come under fire recently for, once again, altering the texts of the notorious bigot and beloved children’s author Roald Dahl to conform to what the Telegraph has been calling ‘the hair-trigger sensitivities of children’s publishing’. Responding to the criticisms, Penguin have announced that they will be publishing a new Roald Dahl Classic Collection alongside the revised versions, aiming to both quell and profit off of the national outrage the revisions have sparked.

The arguments which have been brought against Penguin can be categorised into two types; (a.) we should not censor books which come from a different era, or we will rob ourselves of valuable historical documents and be left with an inaccurate view of a sanitised past; and (b.) we should not censor Roald Dahl’s books, as he was an excellent writer with a classic, distinctive style that we risk losing by repeatedly revising his texts.

In 1983, he wrote an article for the New Statesman where he said, ‘There is a trait in the Jewish character that does provoke animosity,’ going further to add that ‘there’s always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on [Jews] for no reason.’

1983 was a long time ago, though just as close to our time as to Hitler’s.

there can be no argument that we risk losing an authentic historical document by altering Dahl’s texts.

The historical documents are the uncensored originals, which are already nowhere purchasable from mainstream book retailers and haven’t been so for fifty years. It would be very surprising if the planned Roald Dahl Classic Collection does anything to change that; Penguin have said only that it ‘will be based on the texts that were published prior to the recent revisions’, which is suitably vague. Though many outlets have begun to praise Penguin’s decision to release

a happy mid-ground between revision and conservation of Dahl’s texts. They claim that the most recent revisions exceed this happy mid-ground by changing too much. So, forget the historical argument, pundits are willing to agree that Dahl’s originals are unfit for publication and should be ‘censored’ to some degree.

This makes the ‘censorship’ question quantitative rather than qualitative, as if ‘newspeak’ was permissible for them in small doses. Of course the historical argument relies on the idea of an uncensored text serving as an historical document. A lightly censored text would not serve this purpose. But since the notion of a ‘happy mid-ground’ of revision contradicts the historical argument, it also contradicts the aesthetic argument which is secretly premised on the former: if some degree of revision does not affect the authenticity of the text, what degree of revision does?

What is more significant: The 1973 revision that turned the Oompa-Loompas from pygmy slaves kidnapped from ‘the very deepest and darkest part of the African jungle where no white man had been before’ into the orange folks fans of Dahl’s work know and love; Or the 2023 revision that made Augustus gloop ‘enormous’ rather than ‘fat’?

The Telegraph is happy to publish that the 2023 revisions ‘mute the original sense’ of the revisions they are revisions of. Would they say the same of the 1973 revision?

Apparently they are too ‘woke’ for this essential step. If censorship is wrong because it erases the original meaning of the text, why is the Telegraph only calling for Penguin to reinstate revisions made as recently as 2001, 11 years after Dahl’s death? Surely we should liberate Dahl’s originals, with all of their misogyny, racism, classism, ableism, fatphobia, etc. uncensored.

To quote Brian Cox, anything less would be, ‘a kind of form of McCarthyism, this woke culture, which is absolutely wanting to reinterpret everything and redesign and

These two arguments, (a.), the historical argument and (b.), the aesthetic argument, appear at first to be both rational and unrelated; we would instinctively apply either argument to any publisher seen to be going back and editing beloved cultural treasures, whether in the name of ‘wokeness’, as right-wing commentators allege, or otherwise.

In the case of Dahl, however, we begin to see the common-sensical notions of historical accuracy and distinctive style breaking down, revealing a common root: authenticity.

First, there are no ‘original’ Roald Dahl texts, beloved by all, which are

Even the Telegraph is willing to admit that ‘[f]ew would defend retaining the “n-word” in contemporary publishing, or any number of other outdated racial slurs which bring the modern reader up short and do not add to the text.’

What this reveals is that the aesthetic argument for not changing Dahl is not premised on what he actually wrote or intended to write, but a version of him produced by revisions of the texts. In the aesthetic argument, the ‘authentic’ or ‘classic’ Dahl is not the same as the original Dahl.

As such, the historical argument contradicts the aesthetic argument.

If, in the name of the aesthetic argument, one maintains that a certain degree of sanitisation is permissible, since the ‘authentic’ Dahl we lament losing is the one with the racism toned down a tad, then

the ‘originals’, the publisher has made no mention anywhere at all of releasing original texts, only ‘classic’ ones.

Paradoxically, however, the aesthetic argument also relies on the premises of the historical argument, contradicting itself; if Dahl’s distinctive style is under threat of erosion by repeated revisions of his texts, then surely it is only the original publications of his texts which represent his style authentically.

To refer to revisions of the texts as authentically Dahl’s, despite the fact that they already contain changes that Dahl did not write or intend, implies that acts of revision, or ‘censorship’ as pundits would like to term it, do not necessarily affect the authenticity of the texts in any meaningful way.

To resolve this aporia, conservative pundits have suggested that there is

Is Tim Burton’s 2005 re-revision of the Oompa-Loompas back to being pygmy slaves a step towards a more authentic rendition of Dahl? Or is the authentic Dahl better captured by Mel Stuart’s 1971 version with singing, little orange people, a version which predates and was copied by Dahl’s 1973 revision?

Is Dahl’s distinctive style even the product of his own hand, or is it the product of the many revisers, the myriad, nameless Oompa-Loompas, charged with making his work palatable for children?

What we begin to see is that, without the historical concept of authenticity as ‘what the author wrote’, the aesthetic concept of authenticity as ‘the writer’s distinctive style’ is neither here nor there.

The ‘authentic’ Dahl of the aesthetic argument is one more Willy-Wonka: a face to put on an industrial apparatus that no longer needs its namesake and is constantly trying to clean up the mess left by him. But if Dahl didn’t write everything he wrote, what is his distinctive style?

say, ‘Oh, that didn’t exist.’ Well, it did exist. We have to acknowledge our history.’ Perhaps Salman Rushdie is quite correct in calling these new changes ‘absurd censorship’.

I would argue that conservative pundits and ‘free speech’ advocates, as they call themselves, are still far too ‘woke’ according to their own premises; they have not gone far enough in defending the preservation of Dahl’s works.

The Daily Mail has printed that Penguin ‘must still go further, and cancel the new censored versions completely.’ I believe that the Daily Mail - indeed all of Murdoch’s outlets - must still go further and join me in calling for Penguin to immediately stop printing any revised editions of Dahl’s work.

Dahl should be printed as he intended himself to be read, in his distinctive style. And since the pundits insist that Dahl’s works should serve as important historical documents, I believe that these originals should be no longer filed under ‘Children’s Fiction’, where they would be highly inappropriate, but in their proper place in the ‘History’ section, near other fictions of historical importance, such as 'Mein Kampf'.

Charlie Graff argues that telegraph writers have not gone far enough in defending Roald Dahl from censorship

'join me in calling for Penguin to immediately stop printing any revised editions of Dahl's work'

'Dahl should be printed as he intended himself to be read, in his own style'

Review: The Wildlife Photographer of the Year at M Shed

Phoebe Mackie reviews

The Wildlife Photographer of the Year in its fifty eighth year of running

Phoebe Mackie

Third Year English

In its fifty eighth year of running, The Wildlife Photographer of the Year has once again come to M Shed in Bristol. The 100 photographs are on loan from the Natural History Museum in London and, as a born and bred Londoner, the Natural History Museum was a regular haunt of mine growing up. In comparison to the Natural History Museum’s exhibition of dim lighting and blown-up

images spread over several rooms, M Shed went for a much more minimalist approach. The exhibition took place in only one long, clean white room which gave space for the beauty of the photographs to shine. Additionally, this lower budget exhibition allows M Shed to sell adult tickets for £7, in comparison with the Natural History Museums' £17.

The most prestigious exhibition in its field now reaches over 90 countries around the world and the images truly reflect that diversity. There is an abundance of skill shown through these photographs, but perhaps the most effective and eye-catching is their use of humour. Animals' expressions caught in a moment of hysterical panic as predators go in for the kill catch us between a laugh and a sigh. Or, an animal captured in a strangely human-like pose, the po-

lar bear looking out of the window of an abandoned house, its paws gently resting on the windowsill and a curiously knowing expression on its face, as just one example.

We are surrounded by a culture of growing awareness about the issue of climate change, which is increasingly darker as the urgency grows. Marches, protests and documentaries call our attention to strangled turtles by plastic can wraps, floating plastic islands and homeless, orphaned baby monkeys. Professor Steve West, Vice Chancellor of UWE Bristol, discussing the Wildlife Photographers of the Year exhibition, notes that “This thought-provoking and prestigious exhibition is more important than ever, as it shines a light on our precious natural world, and the steps we must urgently take to protect it”.However, the photos do not only

draw attention to the fragility of the natural world but celebrate it by humanising and humourising it. The photographers' ability to find the playful fun in nature gives a fresh and unusual perspective of the natural world. This exhibition is predomi-

nantly a celebration of what we still have, rather than what we have lost by reckless human intervention. In doing so, it evokes gratitude towards our stunning planet, rather than guilt at how we have destroyed it. The exhibition runs at M Shed until the 29th.

Art Spotlight: Surrealist photography

Saiba Haque showcases

her surrealist fantasy photographs of seafood

Saiba Haque

Food Editor

Upon conducting research for the February print issue for The Croft Magazine, I was looking

into surrealism in food/cooking. I soon found Salvador Dali’s cult cookbook (Les Diners de Gala) filled with vibrant illustrations and photographs of food taking on the aesthetics of his surrealist fantasies. The dishes featured in this cookbook were presented in the surreal and eccentric styles of his usual works which made for a visually impactful experience.

I was struck with inspiration after seeing a lithographic photo work called Les Panaches Pananaches (As-

sorted Panaches). The inspiration from this led me to cook, present and conduct a photoshoot with shrimps and a whole seabass. The outcome of this direct inspiration was the piece that I would like to call The Invasion of the Seabass; displaying the cooked food (mainly the shrimps) as surreally coming to life, taking over the seabass by piercing through it. A rather brutal scene! The second piece, An Internal Tragedy, further plays with this idea. There appears to be a shrimp with a severed head which seemingly looks like it fell out of a jar. However, it also appears that the rest of the shrimp, in the jar of shrimp stock, are in utter chaos, whilst another shrimp is trying to escape the scene. What may have happened? Would this in any way be related to the Invasion of the Seabass as well? That's up to the interpretation of the observer.

Both of the photographs aim to blur the lines between the tangibility of real life and surrealist fantasy. Which is why the background/set-up of the whole piece, in both photo-

graphs, is intentionally made to look like it's taking place in a makeshift photo studio, to symbolise the pursuit of creativity.

Milan Perera interviews

The Art of Conducting

Milan Perera

Arts Critic Columnist

Over the last few months Epigram arts writers have had the opportunity to review some of the nest productions of musicals and operas created by fellow University of Bristol students, including a stirring rendition of Gypsy. Behind the soaring music that propels the drama forward, there is one individual who dictates terms on the orchestral sound that lls the theatre: the conductor.

When I went to see Gypsy at the Winston Theatre in early February, I made sure to sit at the right-hand corner of the front row to catch a glimpse of the orchestral pit underneath the stage. I could not help but marvel how a downbeat from the baton held by Madeleine Warren prompted a mesmerising sonic cascade that began to ll the theatre. It was as if the downbeat caused a spark of electricity. She brought various sections of the orchestra on cue and gave instructions on the texture, tempo and the dynamics of the sound with hand movements and facial expressions. I found the whole spectacle fascinating.

How is it possible that the only person who is not playing an instrument has the biggest in uence on the texture of the sound? From a distance it was as if some mysterious powers were trapped between the palms of the conductor.

On the back of the soaring success of Tar, starring Cate Blanchett, there was a renewed interest in conducting. To unravel and unpick the art of conducting, Epigram had the great privilege of interviewing

conductor and composer David Simkins who has been the driving force behind some of the biggest university musical productions.

‘Conducting is communicating’ summed up Simkins. The sound of an orchestra even under the same conductor is never static. ‘The orchestral sound is temporal. It cannot be repeated’, Simkins continues. Even with the same orchestral piece, with the same orchestra, under the baton of the same conductor, the sound has a unique sonic imprint each time.

He elaborated this point by recounting one of his recent experiences. In preparation for a tour in Germany, the Bristol Symphonia rehearsed at St. George o Park Street, but when they played in a hall in Germany, the texture sounded completely di erent, although they practiced it to precision. In his opinion the acoustics of the building and the architecture play a crucial role in the projection of the sound. And this is where the conductor steps in.

I put to him bluntly, ‘what exactly does a conductor do?’ ‘A conductor is an interpreter. In front of him are roughly one hundred highly talented musicians who know their parts. The conductor’s duty is to construct a composition in stages, like a painting, with the help of those musicians’. According to Simkins, the conductor is there to guide the group of musicians with the aesthetic ideas formed by the conductor regarding the particular composition. The conductor has a duty to the original composer to approach it with empathy, without self-indulgence. Contemporary composers tend to be more direct and detailed in their directions on how they wish their music to be played, especially regarding the tempo (clearly marked with beats per minutes), marked on top of the score and dynamics such as allegro(fast) or pianissimo(soft). But even so, there is the necessity of needing someone to have the nal say in how these dynamics should be executed. For example, a passage that is gaining intensity (crescendo) has to be conducted. With hand movements and facial expressions from the conductor these bits of information are conveyed to the musicians. I then asked Simkins to demonstrate how to convey softer sound (pianissimo) and how to create a crescendo. He obliged and kept his hands close to his body and his wrist rm, whilst moving the tip of the baton in

smaller movements. When he wanted to create a gradation of increasing sound his hands moved away from the body and the shapes he drew in the air with the tip of the baton bigger.

Simkins jokingly referred to the ba-

an integral part of the experience.

This mystery may have been used and abused by some conductors who project a cold, distant and god-like persona. But he is of the opinion that conducting has moved from the days of ‘autocrats’, who more often than not built a wall between the orchestra and the audience.

ton as a ‘magic wand’ like in Harry Potter. He instructed me that an orchestral sound always begins with a downbeat – a downward movement of the baton and the bar nishes on an upbeat. The function of the left hand is to provide a cue for an entry for a soloist or a section (for example second violins). With a raise of an eye brow or a nod, so many nuanced musical instructions could be relayed.

Simkins reiterated that it is not just awless mastery of technique but creating moments which are profoundly human. Music is beyond dots on a piece of paper, capturing the cornucopia of human emotions from elation, joy, resentment, sorrow to magnanimity. The word he kept returning to was ‘empathy’, which according to him is of paramount importance, not only to the composer but the audience, who are

In concerts, Simkins makes sure to turn around to the audience and provide some context to the individual piece or the programme. He pointed out that the post-lockdown period marked a sharp drop in concert attendance, which forms a part of his research thesis for his Masters degree in Music and Innovation.

With regard to compiling a programme for a concert, he points out that sometimes the conductors have to be creative in order to entice the audiences, mixing crowd pleasers with less familiar pieces, whether it is a number from the Lion King or a movement from the Eroica symphony.

The scholarship surrounding the understanding of music has developed in leaps and bounds; Simkins explained the ‘shapes’ of di erent emotions in a standard piece of music. Noticing the quizzical look on my face he explained that it is described in great detail by Manfred Clyme in his book, ‘Sentics’. He drew a graph on a piece of paper and explained its curve, where it starts on a higher coordinate but drops drastically to almost the horizontal axis, but just before the end of it gains a slight spike, ending on an optimistic note.

Simkins reiterates that it is not a requirement to be a master of an instrument in order to take up the baton, although there are those conductors such as Daniel Barenboim or Vladimir Ashkenazy who were fully edged soloists before embarking on conducting.

‘If you have a passion for music, if you are able to communicate the emotions embedded in those pieces of music, if you have an empathy and something in your mind, you can make music, even without a great technique.’

David Simkins has a mission; this mission is nothing less than bringing the transformative power of music to audiences and connecting with individuals. It is no doubt that his parallel career as a composer provides him with a unique perspective on how compositions are layered.

David Simkins to discover what lies behind the art of composing

'How is it possible that the only person who is not playing an instrument has the biggest in uence on the texture of the sound?

Film & TV

A Breakdown of the 95th Academy Awards: Who took home the Oscars?

Here's a rundown of the best moments and winners from the 95th Academy Awards

Grace Burton Third Year, Social Policy and Politics

The 95th annual Academy Awards ceremony has come to a close, leaving audiences with a reinvigorated love for the power of storytelling and an appreciation for the hard work that goes into making the lms we adore.

The most stand-out moments include historic wins for both Michelle Yeoh and Ke Huy Quan, who respectively won Best Actress and Best Supporting Actor for this award season's powerhouse and tonight's Best Picture, Everything Everywhere All at Once (2022). Quan emotionally thanked his 84-year-old mother, sobbing, ‘Mom, I just won an Oscar!’ as he accepted his award.

Michelle Yeoh also made an in/ spiring speech about using her Oscar as a ‘beacon of hope and possibilities’ for young boys and girls who look like her, having made history by becoming the rst Asian woman to win the Best Actress category. She went on to thank her extended

family in Hong Kong for helping her at the start of her career and allowing her to stand on their shoulders.

Another notable win went to Brendan Fraser for his performance in The Whale (2022). While fans were surprised that Austin Butler didn’t take home the big win for his performance in Elvis (he should really drop the accent now), anyone who knows the tragic history and treatment of Fraser for the last twenty years at the hands of the Academy knows nobody deserved it more. Quan and Fraser exchanged a loving hug, beaming with joy at the bounce-back of their careers.

While Yeoh and Quan’s wins were cause for celebration, there were also some notable snubs throughout the evening. With many taking to Twitter to express that Angela Bassett was robbed by Jamie Lee Curtis for Best Supporting Actress. Her role in Black Panther: Wakanda Forever (2022) was the rst nomination for a black woman in a Marvel lm this year. Michael B. Jordan and Jonathan Majors o ered their condolences to Bassett from the stage shortly after her loss with the sincere words, ‘Hi, auntie. We love you’. This comes after the controversial omission of Viola Davis from nominations for her role in The Woman King (2022).

However, Ruth E. Carter made history once again with her second win for Best Costume Design, becoming the rst black woman to win multiple Oscars in any category. Last year, she took home the same award for her costume designs in Ma Rainey's Black Bottom (2021), and this year for Black Panther: Wakanda Forever. With Everything, Everywhere, All at Once amassing seven wins for a lm about and for people of colour, it is clear that the Academy is positively changing after pushback for more representation. However, this representation was lost in the nominees for the Best Director category as not a single woman was nominated. The lack of female representation was particularly striking given the number of lms which could have been nominated, such as Sarah Polley’s Women Talking (2022) which won Best Adapted Screenplay.

Polley ironically thanked the Academy for ‘not being mortally offended by the words women and talking so close together’. It highlighted the work that still needs to be done. Jamie Lee Curtis, who won Best Supporting Actress, demanded to see ‘more women anywhere, anytime, all at once’ winning. Despite this, it was heartening to hear the Daniels duo dedicate their

award to ‘the mummies of the world’ that nurture their children’s creativity. Daniel Scheinert also made pointed references to the current ‘don’t say gay’ controversies sweeping America by shouting that dressing in drag is a ‘threat to nobody!’ which was met by huge applause.

Other worthy mentions include Rihanna’s performance of Lift Me Up, paying tribute to the late Chadwick Boseman, or Lady Gaga’s emotional performance of 'Hold My Hand' from Top Gun: Maverick. Although both lost out to the feverishly catchy 'Natuu Natuu' from RRR for Best Original Song, which saw composer MM Keeravani playfully sing his own tune for the audience instead of a speech. This win was a rst for Indian lms, and as Deepika Padukone rightfully said, ‘if you don’t know Naatu, you’re about to’. Also, getting to meet Jenny, who played the donkey in The Banshees of Inisherin (2022), was a fan favourite on Twitter.

Overall, the 2023 Oscars were a night to remember, lled with history-making moments and thought-provoking speeches. While there were certainly some snubs and controversies, the ceremony served as a reminder of the power of storytelling and the importance of representation in the lm industry.

Commemorating early Hollywood cinema in light of the Academy Awards

Take a trip down memory lane, commemorating early Hollywood cinema and this extraordinary era of lm- making.

Bailey Margolis, Third Year, English

Award season is around the corner, an occasion dedicated to rewarding the creative and artistic e orts of lmmaking. The past year has observed the release of numerous lms covering a wide range of subject matter, some of which take in uence from the industry’s greats, looking back to early Hollywood lmmaking for inspiration. The rise of early cinematic in uence

in modern lmmaking has generated a reminiscence of Old Hollywood that springs to mind the industry’s most de ning eras. Each Hollywood decade has produced signi cant and memorable lms; however, the 1950s remains a particularly de ning and pivotal era of the lm industry—a time characterised by technological and artistic advancements that, in turn, honed the craft of lmmaking and acting.

The following list is exemplary of the artistic perfection that is characteristic of this special era of lmmaking.

1) Sunset Boulevard (1950) Billy Wilder’s Sunset Boulevard (1950) remarkably reveals the harsh realities facing silent- lm actors

who were unsuccessful in maintaining their stardom during Hollywood’s transition into sound lms. Sunset Boulevard centres around its narrator, Joe Gillis (William Holden), a struggling screenwriter. When escaping his nancial troubles, he stumbles upon former silent- lm star Norma Desmond (Gloria Swanson). During their time together, Joe becomes increasingly drawn into her world and, through his narrative lens, reveals the darkening extent of Norma’s mystifying delusions that characterise her detachment from reality.

Sunset Boulevard exists in a dual realm that blurs the boundaries between ction and reality.

Life imitates art in the most frightening ways. It is undeniably a cine-

matic masterpiece.

2) Sabrina (1954)

Sabrina (1954) is, in a word, perfection. Wilder’s romantic comedy takes place in Long Island among the high-society Larrabee family. The story focuses on the chau eur’s daughter, Sabrina Fairchild (Audrey Hepburn), who is hopelessly in love with the playboy son of her father’s employer, David Larrabee (William Holden). This earnest portrayal of infatuation in its purest form gives the lm its endearing and timeless quality. Sabrina is dreamlike, visually stunning in its high-class opulence and romantically infused by ‘La Vie en rose’.

3) Some Like it Hot (1959)

Set during prohibition-era Chicago

in 1929, Some Like It Hot (1959) takes direct inspiration from a time characterised by social and nancial instability. A period underpinned by the powers of mobsters and ma as and economic instability that saw the constant displacement of individuals struggling for nancial security. The lm capitalises on these bleak themes to create the greatest comedy of all time.

The lm follows broke jazz musicians Joe (Tony Curtis) and Jerry (Jack Lemmon), who are forced to ee the mob-ridden streets of Chicago after witnessing a mob hit.

Desperate, they subsequently join an all-female band headed to Miami, disguising themselves as women, and soon become obsessed with fellow bandmate Sugar (Marilyn Monroe).

International Women's Day in Film & TV: How the role of women in the industry has changed

How have women's roles in the industry changed from the 1950s to today?

Jessica Lees, Third Year, Politics and Sociology

The role of women in the industry has certainly changed over time. Women have come a long way from the 1950s generally. This is identified from the glamour of The Golden Age to the strong feminist leads of the 2010s and to the variation we see today for both actresses and directors.

The Golden Age

When you think of actresses in The Golden Age, Marilyn Monroe, Audrey Hepburn, Grace Kelly, Elizabeth Taylor, Bette Davis, and Vivien Leigh are typically some of the names that come to mind. What coincides with these big names is the glitz and glamour of the era: the beginning of the paparazzi and the age of icons.

Women like Marilyn Monroe and Elizabeth Taylor have been characterised as sex symbols who have been adored for their beauty for decades. But that’s precisely it; women in The Golden Age were in movies in which their role was often aesthetic-based, a stunning aside to the focus, which would be the strong male lead.

The 1990s and 2010s

However, there were still many iconic movies that were made which had women in lead roles, such as Gentlemen Prefer Blondes (1953), All About Eve (1950), Cleopatra (1963) and Breakfast at Tiffany’s (1961). With such roles as these, actresses began to break out of the mould of supporting roles and were able to show a real affinity for acting. Women have always been far more prevalent in front of a camera than behind. In The Golden Age, female directors were few and far between. The first female filmmaker was Alice Guy-Bláche, a French director whose work was created just before the start of The Golden Age and was influential in cinema, making over 1,000 films, yet remains mostly unknown. All these women and their characters have influenced the work produced today with their contributions to cinema.

From The Golden Age to the feminist era of the '90s and 2010s, there has been a swap from glitz to gritty; with characters like Sarah Conner, played by Linda Hamilton from Terminator 2: Judgement Day (1991), Lisa Rowe, played by Angelina Jolie in Girl Interrupted (1999) and the all-time feminist movie that is Thelma and Louise (1991) with lead characters played by Geena Davis and Susan Sarandon. The '90s was an explosion of feminism which gave more access to actresses to explore storylines and characters that had grit to them or who were written to be open to a deeper exploration into the character.

Characters, such as these, gave the message to girls and women that you can be both physically and mentally strong, face adversity, and yet still be a compassionate and kind person. The Harry Potter (2001-2012) movies also had a stronghold worldwide and saw the introduction of the character Hermione Granger played by Emma Watson, a girl who is praised for her cleverness and academics but is also a loyal friend who advocates for justice.

er representation of women of colour both on and off the screen. Women are prevalent across all screening platforms creating work that is hard-hitting, inspiring, creative, and true to life. Alongside the ever-increasing talent of both young and older actresses who come to the screen with versatility and presence.

The 2010s was a time of dystopia and the supernatural. One of the stand-out roles for feminist, action, and dystopia was Jennifer Laurence as Katniss Everdeen in The Hunger Games (2012-2015) franchise. This character faces unimaginable strife and hardship and, as a result, is strong, tough, and often hard-faced with her admirable bravery and archery skills.

The '90s and 2010s saw a flurry of talented female directors, with the first-ever female director Kathryn Bigelow winning an Oscar for the movie Hurt Locker (2008) in 2010. Generally, the '90s to the 2010s showcased an array of talent both on and off the screen with the ability for women to have complete freedom in their work and further lead the way for the future.

Today and What Next?

Today we see an even greater number of female directors with Greta Gerwig, Chloé Zhao and Shonda Rhimes and an even great-

Although women still have more room to fill up in the industry as a Vanity Fair article provided statistics that 'women made up 33% of executive producers, 34% of writers, and 35% of directors, they only comprised 20% of cinematographers in both narrative and documentary films in 2021–2022.'

The role of women in the industry has changed. Today we are better off for the work done by feminist films, courageous characters, and pioneers such as Alice-Guy Bláche. The future for women in the industry is bright and full of creative freedom.

International Women's Day in Film & TV: On Female Directors making Herstory

Nolan, Tim Burton: the list goes on.

Given this, it would be easy to undermine women's role in the movie business, especially when it comes to directing. However, female directors have been incredibly influential, creating great art and paving the way for future directors just as much as their male counterparts.

Alice Guy-Blaché

late 1800s to the early 1900s, when Guy-Blaché was debuting her career, she was likely the only woman creating and directing films at this time. Despite this, her work is often overlooked, but her talent and pioneering efforts have given women a voice within the industry as it still stands today.

Lana and Lily Wachowski

More recently, they have co-directed season one of the Netflix series Sense8 (2015-) and have worked on solo projects – for example, Lana filmed the 2021 film The Matrix Resurrections.

Nia DaCosta

youngest filmmaker to direct a Marvel film! I personally cannot wait to see this film and to see all the other great things that DaCosta has in store for us.

Charlotte Wells

The world of film is one historically dominated by men, and this patriarchal legacy still has an influence on the industry today. If I ask you to name a movie director, chances are that you are likely to name a man. You may be thinking of Steven Spielberg, Quentin Tarantino, Christopher

It seems impossible to look back at the history of filmmaking and not talk about Alice Guy-Blaché. Born in France, Guy-Blaché (1873-1968) was not only one of the first filmmakers ever to create a fictional narrative film, but she was also the first woman to direct a film.

In fact, for a number of years in the

Sisters Lana and Lily Wachowski, otherwise known as The Wachowskis, are American film and TV directors, writers, and producers. Their directing debut was in 1996 with the crime-thriller movie Bound, and their success only continued as they later worked on the hugely popular Matrix franchise (1999-2021).

Nia DaCosta is new on the scene in the film industry, but that does not mean she is any less amazing than any of these other directors.

DaCosta has directed several crime thrillers and horrors, such as Little Woods (2018) and Candyman (2021), the former of which she won an award for at the Tribeca Film Festival.

In August 2020, DaCosta was hired to direct the upcoming film The Marvels (release date TBC), making her the

Just like Nia DaCosta, Charlotte Wells is also a relative newcomer, gaining recent success with her debut feature film Aftersun (2022). Indeed, Wells won the award for ‘Outstanding debut by a British writer, director or producer’ for Aftersun at the BAFTAs this year.

The movie explores the relationship between a single father and his daughter, reminiscing on a childhood holiday in which it becomes apparent that her father was struggling with parenthood.

Jessica Scaffdi Saggio, Third Year, Sociology

A compilation of some

of

the best female directors that have significantly shaped

the industry

From the page to the screen: the best book to film adaptations

Celebrate World Book Day

with these fantastic film recommendations.

On March 2, school children across the world dressed up to show off their favourite characters from their most beloved books. I can only imagine that writers found an overwhelming wholesomeness in the images of youngsters portraying the characters they worked so hard to create.

In contrast, when film adaptations are announced, there is regularly a fear amongst readers that these interpretations simply won't do their literary counterparts justice. Here is my selection of all that do.

Fantastic Mr Fox (2009)

With the current conversation surrounding the editing of Roald Dahl's books, I was wary of including this film, but whilst Dahl is a controversial and problematic character himself, Wes Anderson's adaptation of Fantastic Mr Fox is one I consider perfect.

Anderson's renowned stylistic cinematography sets this film apart from any other adaptation of Dahl’s works. The combination of stunning animation, vibrant colours, and attention to intricate details makes this movie an undeniably incredible film that is enjoyable for all demographics. Anderson’s talent is matched by that of the star-studded cast; the likes of Meryl Streep, Willem Defoe and Bill Murray deliver notewor-

thy performances, and still, George Clooney’s exquisite depiction of the protagonist outshines them all.

Whether it's Mr Fox’s idiosyncratic whistle or the children’s song to denounce the gluttonous Boris, Bunce and Bean, this movie encapsulated the mischievous energy that characterised so many of Dahl’s stories.

The Wizard Of Oz (1939)

Were you aware that Buddy Ebsen, originally cast as the Tin Man, was hospitalised only nine days into filming after the makeup used to transform him into the metallic man turned out to be poisonous?

Regardless, Baum's tale of a young Dorothy (Garland) and her companion Toto being whisked away to a land of munchkins and flying monkeys is one that has inspired a multitude of films, tv shows, musicals and other literary works. However, I believe it is Victor Fleming's movie adaptation that is the best portrayal of this fictional world. With technicolour having been introduced only seven years prior, the vivid significance of the yellow brick road, ruby red slippers, and emerald city enhances the imaginative land Baum described. Despite its age, The Wizard of Oz continues to be a classic, and deservedly so. The story is one that has been adapted continuously from The Wonderful Wizard of Oz (1910) to Disney's Oz, The Great and Powerful (2013). Yet, Fleming's creation is undeniably the most iconic, the most relevant, and does Baum's tale the most justice.

Hidden Figures (2016)

Margot Lee Shetterly's novel tells the story of Katherine G. Johnson (Henson), Dorothy Vaughan (Spencer) and Mary Jackson (Monae), the real women whose significant and substantial involvement in the American 'Space Race' went unacknowledged for fifty years. Of course, the biographical nature and non-fictional genre lead to a high level of accuracy in its adaptation, probably more so than other films in this list, but my inclusion of it is mainly due to the enormity of the performances the lead actresses give. It is no wonder that Melfi's adaptation was nominated for over 90 awards, winning more than a third, when every aspect of this film was so flawlessly curated.

The Devil Wears Prada (2006)

I haven't actually read Lauren Weisberg's The Devil Wears Prada; in fact, I only recently became aware that it originated as a book. David Frankel's adaptation is widely known, loved by many and generally just a good film; its solid position within the multitude of great noughties romcoms makes me believe it can also hold its own in this category. Weisberg's novel sets the stage for ambitious women to succeed despite hostile work environments and toxic relationships. I've heard that the ending of the novel is kinder to the character of Miranda Priestly, but I personally cannot think of better character development and plot lines than that of the film. With a great soundtrack, memorable characters, and an iconic opening scene, The

Devil Wears Prada (2006) has to be as good on the screen as on the page.

The Hunger Games (2012)

Competing alongside Harry Potter (1997), The Maze Runner (2014), Divergent (2014) and Percy Jackson (2010), it was hard to pick which Young Adult (YA) novels were adapted best, but ultimately I decided upon Suzanne Collins' The Hunger Games series. This may partially be due to her lack of cringey characters and general unproblematic writing, but I think with its perfect casting, intricately crafted relationships, and the superiority of the costume department, this movie easily graduates from the stereotypes of the YA gen-

re to stand alone as an impeccable movie series.With the prequel set to be released this year, many fear whether it can live up to the original movies; the concern that the fans exhibit only helps to exemplify the magnitude of these films and the influence they had on a generation.

Of course, I could go and mention a variety of other adaptations like Breakfast at Tiffany’s (1961), Little Women (2019) or even The Princess Diaries (2001); I think what all the aforementioned films project is that whilst it is literature that creates the ability for these tales to be translated onto the screen, the movie adaptations have the capacity to elevate their original texts.

Daisy Jones and the Six is a deliciously entertaining adaptation, with added flare

Although changes have been made, the show has managed to meet and, at points, exceed expectations

Jordana Seal, Third Year, English and Theatre

The Daisy Jones and the Six (2023) is a TV adaptation of Taylor Jenkin Reid's bestselling book, and the first three episodes are now streaming on Amazon Prime. The book and show tell the story of the famous fictional band's downfall

immediately after a sold-out show at Soccer Field. The story is told in a documentary format from the band's perspective in the ‘90s, with the drama playing out in flashbacks.

The narrative's documentary style translates better on screen, making the fictional band appear real. This is amplified by the original songs, makeup and cinematography that are straight out of LA in the ‘70s. The TV show adaptation of Daisy Jones and the Six plays on ‘70s visual nostalgia in a way that the book was unable to do.

The first three episodes focus on Billy (Sam Claflin), the lead singer of the band and his relationship with

his girlfriend/wife, Camila (Camila Morone). These episodes, on the surface, reduced Camila to a timid wife figure rather than the vivacious character she is in the book. However, this seemed to be an active decision. In not being as gusty as she was in the book, she is established as the supportive bedrock of the group or the unofficial sixth member. This was effectively shown through her hair and makeup, which remained the same in the flashbacks and present-day interviews. Her aesthetic was simple but ingrained in who she is as a character, establishing her sturdy and essential role in

the group. The first episode establishes Billy and Daisy's (Riley Keough) childhood backstories alongside each other, and this sets up the parallels between the characters right from the start. Their shared electric personalities introduced the twin-flame concept that was so prevalent in the book and grows throughout each episode.

The cinematography is captivating and shows LA in a gritty and lustful way, making the viewer desperate to be part of a time when the music scene was so exciting and full of opportunity. The costumes also played on nostalgia extremely well; the character's repertoires all consisted of bootcut

jeans, flowing tops and pointy boots. What is truly commendable about the show is the way that they don't glorify drug abuse or cheating. It is able to imply how certain characters use their up-andcoming rockstar status to take advantage of these vices without displaying these scenes graphically; the subtext is great. This means that, at times, the show is a little too glossy. It would be nice to see more grit in the next few episodes, digging deeper into the serious topics displayed. However, the chemistry between all the characters makes for a great watch, and the music certainly complements the sunny setting making it a perfect cure for cold weather blues.

Lauren Durose, Third Year, Liberal Arts

IMDB

Cocaine Bear is a grizzly and campy horror you just have to see

Now entering the Sharknado and Snakes on a Plane universe, a cocaine-fuelled bear is the latest hit in the canon of lms that are so bad they're great.

Arron Kennon, Second Year, English

In 1985, an American black bear managed to consume $2 million (34 Kg) worth of cocaine which had been left in the Tennessee wilderness by Colombian drug smugglers. The bear was later found dead in Georgia, having su ered an overdose. These events earned the bear the appropriate name of Pablo Escobear.

In Cocaine Bear (2023), Elizabeth Banks looks to diversify her directorial portfolio after Pitch Perfect 2 (2015) and Charlie’s Angels (2019), teaming up with writer Jimmy War

Breaking down Din's new experiences and the alienation that accompanies this

Chris Leonard, Third Year, English

W

The rugged expert warrior, who was raised to ght from the teachings of his cult, has been softened by his un-

CourtesyofUni

Given the lm’s status as an obvious creature-feature type B movie, the CGI is surprisingly e ective, and the bear is brought to life in a way which ensures that the audience is thrilled.

Banks’ directing does not hold back with the gore, indulging in ying limbs, decapitation, and organ removals. The pieces come together with such anarchic fury, infused with undertones of parody, all making for a preposterous yet exceedingly enjoyable lm.

It seems unlikely that anyone going to see the lm expected much subtlety or psychological nuance; more than su cient hype was built surrounding the lm based on the absurd premise alone. It is somewhat unfortunate that Banks and Warren did not commit fully to a lm lled to the brim with B-movie thrills and fun.

The moments away from the action only serve to arrest the momentum of the lm. When the lm focuses on the relationships within the rag-tag group who are out in the wilderness with the bear, it disrupts the pacing, and these moments are given neither the time nor care

to conjure any sort of sympathy or sentimentality from the audience.

In fact, I’d hazard a guess that I was not alone in hoping that the bear caused as much destruction as possible, the safety of the characters never crossing my mind.

This is not a criticism of the acting, however, which was central to the slap-stick humour throughout. The lm opens with Matthew Rhys admirably playing the drug smuggler who cannot leave the cocaine behind without having a few lines rst.

Ray Liotta puts on a performance which tragically calls back to his signature role as Harry Hill in Goodfellas

(1990), a reminder of his importance to cinema in light of his recent death.

The canon of lms which never needed to be made yet would surely leave the world a darker place if they ceased to exist is small yet slowly expanding. It contains classics such as Snakes on a Plane (2006) and Sharknado (2013).

Cocaine Bear, with its unapologetic fusions of farce, gore and thrill, along with its stellar cast, may just be the best one yet. A lm which has an ambulance at full speed chasing a black bear who has ingested a child’s body weight in cocaine is not one to be missed.

expected guardianship of the toddler, Grogu, colloquially referred to as 'Baby Yoda'. The pair continue their journey to discover the truth about Djarin’s religion, Grogu’s powers, and the future of the post-war and post-empire galaxy. The rst episode of the season provided a fresh new quest, exciting and vibrant worlds, and a fantastic new score by Ludwig Göransson.

ho we are and where we come from are questions which everyone faces, especially those who are displaced, in a spiritual crisis, and having to care for a baby. Season 3 of The Mandalorian (2019- ) continues Din Djarin’s (Pedro Pascal) journey of redemption and self-discovery as the universe continues to shed light on the truth of his upbringing.The rst episode opens with an initiation ceremony in which a young Mandalorian boy is about to receive his helmet: the most sacred possession of a Mandalorian warrior.

This ceremony is interrupted by a giant space crocodile turtle bursting out of the water, and the ght which ensues between the Mandalorians and the beast brilliantly reminds us of how and why recent Star Wars shows work: a ght for survival in an unforgiving environment.

Djarin and Grogu’s entrance nal-

ly wins the ght for the Mandalorian group, a group which is happy to expel Djarin for breaking their creed.

The Children of the Watch, which forbids its members to remove their helmets, is the cult Djarin was indoctrinated into, which had splinted o from the mainstream and more liberal Mandalorian religion. The revelation that they are a cult is still a recent and unprocessed concept for Djarin.

At the forefront of this season seems to be Djarin’s journey to Mandalore. As an apostate who seeks not only communion and redemption with his cult but also seeks information about the truth about his cult as he grows disillusioned after meeting Grogu, Djarin is in an identity crisis. His new quest to nd the truth pushes him closer to Mandalore, the original world of the Mandalorians, which was destroyed years before.

This immensely personal and

religious return to a homeland which he never knew should reveal truths about Din Djarin that he isn’t even aware of. The arrival to Mandalore is teased by the character Bo Katan (Katee Sackho ), a regular Mandalorian who abhors the Children of the Watch’s teachings.

Bo Katan reminding Djarin that there is nothing special to be found on Mandalore highlights the core mystery of the show: what it means to be Mandalorian. Perhaps Djarin won’t nd the answers he is looking for on the planet.

Or perhaps he will nd something which will change his life forever.

This show has tackled relevant and hard-hitting themes such as religious extremism, reluctant fatherhood, and belonging.

Season 3 addresses all these in its rst episode whilst drawing us in for the future episodes to come.

Michael Marais: Unsplash

IMDB

IMDB

Music

Songs & Spots: Six tunes for six places in Bristol

Take a soundtracked tour across Bristol with Epigram'spicks for the perfect songs to enjoy some of the city's most famous neighbourhoods.

Benjamin Smith

Second Year History

Clifton:

King of New York - Platonica Erotica

Walking through Clifton offers an opportunity to feel like you’ve made it. You’ve graduated and you’re earning enough to live in the fancy part of Bristol. So as you’re walking through the lovely streets of Clifton, manifesting this future, you need a song that evokes the grandiosity and

in the summer as you look out over the city and harbourside, and so it needs an equally beautiful song to go along with it, and Masakatsu Takagi’s song Grace, from his album Private/Public is a stunning track. The core of Grace is an enchant-

of laughter over the top of a synth line this builds an enveloping atmosphere, filling the empty silence that comes with Redland in the dead of night before the drum beat then comes in, propelling the song forward. This song is one of the finest examples of ambient music creating

the vocal line, with the slightly murky production pushing the other instrumentation into the background, creating enough noise to prevent any external voices or sounds interrupting while keeping space for the song itself to be elevated.

Stokes Croft:

Abbaon Fat Tracks - Tricky

This list wouldn’t be complete without at least one song from a Bristol artist, and so let Tricky provide a soundtrack while you spend your time in overpriced vintage shops on Gloucester Road, or trying to get a feel for ‘real’ Bristol culture. Trip hop represents a melding of musical styles, of breakbeat with hip hop, R&B and even elements of post-punk. Abbaon Fat Tracks, from the ground breaking album Maxinquaye, embodies this, with the smooth vocals of Martina Topley-Bird swirling over the broken drum beats and the mumbled, aggressive backing lyrics of Tricky himself. If there’s one word to describe this song it

would be cool, and that perfectly sums up how Bristol students feel walking through Stokes Croft.

Harbourside:

Concorde - Black Country, New Road

This is another slightly personal one for me, as I lived around the harbourside when Ants From Up

There, my favourite album of last year, dropped and so as Spring was turning to Summer, that album, but especially Concorde, became associated with sunny walks around the harbourside. Concorde builds slowly as it builds heartbreaking lyrics draw you in, with themes of nature linking it to the Harbouside But this is really all about the song’s climax. After rising and falling a couple of times Concorde explodes with an emotional release from singer Isaac Wood followed by an incredible instrumental peak, and there’s no better place to experience this moment of musical bliss than looking over the harbourside as the sun glints off the water.

opulence of the area - as well as some of the potential issues that come with this kind of wealth. King of New York, by Platonica Erotica fits the bill, as the rich and lush instrumental, provided courtesy of the band Deathcrash, provides a slowly building background to lyrics which are sung beautifully, but still pierce, speaking of “corporate beauty” and “vapid words”. And of course the chorus line “I’m the Sunday Times” is perfectly suited to Clifton as the Times is surely the newspaper of choice for those who are lucky enough to live there.

Brandon Hill:

Grace - Masakatsu Takagi

Brandon Hill is one of the most beautiful spots in central Bristol, especially

ing, flowing piano melody, which is then joined by soaring strings, and a vocal performance which feels like an additional instrument, with words being stretched and melded to best add to the arrangement. These elements come together to form a heavenly song, elevating the gorgeous views of Brandon Hill.

Redland:

In a Beautiful Place out in the Country - Boards of Canada

To confess, this was inspired by a specific experience for me, walking home through Redland at 5am from an afters, with my headphones in when this Boards of Canada track came on. That’s partly why this entry comes with a caveat - this song goes perfectly with Redland - at night. Opening with recorded audio

an all-encompassing atmosphere, putting the listener into an almost trancelike state and this just suits the empty, silent streets of Redland at night perfectly.

Woodland Road:

Swallome - Midnight Snacks

The walk down Woodland Road in the middle of a weekday can be stressful. The rush and chaos of hundreds of students rushing to their lectures can sometimes call for putting headphones in and drowning out the surrounding noise. I wouldn’t blame someone in this situation for wanting to blast something loud and heavy, but for me a slower, softer song, played as loud as possible is better suited to both block the sounds of everyone else while also injecting a sense of calm, as I realise I’m showing up ten minutes late to my seminar. Swallome is a beautiful lo fi track, with a soft beat and the melody mainly pushed by

Photography by Oscar Ross

Amazing live music in Bristol this April

nerds call this 'The Kevin Parker Paradox', don't be caught lacking.

Enter Shikari - SWX - Sunday 16th April

Oscar Ross Music Editor

March was a big month for live music, but stick with us, April looks promising.

DMA's - Rough Trade BristolSunday 2nd April

Big fan of 90s Rock? Great, so are the DMAs. The Australian trio come to Bristol for an in store show and Rough Trade that will be sure to throw you back into your early teen obsession with the Gallagher brothers, plus, who doesn't love a show in a record store?

Billie Marten Live + Signing -

Rough Trade - Friday 7th April

Get that sweet-sweet sad indie x with Billie Marten. With her softly plucked guitar and quiet et powerful vocals, Marten is sure to get you all in your feels, so remember to keep your cool if you hand her your tear stained vinyl to sign.

Ross from Friends - Motion - Friday 7th April

On a far more upbeat note, house trailblazer Ross from Friends is back in town with his unmistakable mix

of delicate, warbling synth lines and thumping bass drums. Get yourself to Motion to a heavy night of sweaty, cross eyed ravers with no sense of personal space or well, space in general, but trust me, its worth it.

Frankie Stew & Harvey Gunn - SWX - Monday 10th April 2023

Now the fact that this show is sold out already and Isiah Rashad didn't upsets me greatly, but I can see why these two have drawn such a crowd. With chill, emotive beats and drawling, broken up bars, the dup has been pushing out sad boy UK rap gold for years, and that's not a criticism, its just a description

of my lockdown Spotify Wrapped. If you can fraud yourself a ticket, de netly do, and if you have one and don't wanna go, hand it to the closest person wearing north face or carhartt, they'll really appreciate it.

Wunderhorse - Clwb lfor BachWednesday 12th April

Do not go to this sober, that's all I'm saying. 'Leader of the Pack' is a driving, angry song, and to be honest I'm tempted to go just to see how crazy it is on stage. Also, a warning to anyone going who doesn't know Wunderhorse that well, "it's actually just one guy, not band" is something you'll be hearing a lot. We music

Personally I don't listen to Enter Shikari, but if you're interested in a bit of techno mixed with emo rock, this show is for you. Once again, probably best to have a couple before this one.

shame - Rough Trade - Tuesday 18th April

Following their latest album Food for Worms, gungy, up-and-coming indie rockers shame return to Bristol with thier breathy, punky vocals and overdriven guitar lines. Car Seat Headrest Fans, this one is right up your ripped jeaned and ciggie covered street. Do make sure to wipe all the ash o your vinyl before you hand it to them for signing.

The Teskey Brothers - O2 Academy - Tuesday 25th April

The Teskey Brothers are the most soulful Australians you'll ever hear. Fueling blues, soul and modern production into a hearty and generally awesome feel of neo-soul that could be straight out of 70s America. Go for the vocals alone, and to see what these guys look like, because it is not what you would expect.

Editors' Picks: Best Recent Releases

Live at Bush Hall by Black Country, New Road

Josh Templeman Co-Deputy Editor

UGLY by Slowthai

Oscar Ross

Music Editor

Call me a cynic but I was really hoping this album was going to be bad. Don’t get me wrong ‘Doorman’ is a banger, and lots of Slowthai’s tunes are well-written and produced modern bangers, but there’s something I’ve always disliked about him as an artist. While I stand by my view that the singles running up to the album were close to the worst of Slowthai’s work, tracks like ‘Never again’ and ‘Tourniquet’ are punky, bare-knuckled punches to the stomach. UGLY pokes that dark, twisted part of our brains that make us both disturbed and happy, which is far better than more of the same.

Beautiful, ethereal, pioneering – I’ll never run out of words to praise Black Country, New Road’s Live at Bush Hall. With tearjerking lyricism and the luscious soundscapes, this project continues to cement their place as one of the most jaw-dropping acts of the decade. Yes, it’s technically a short lm of a gig rather than an album and I’m bending the rules slightly for this pick, but I couldn’t care less. ‘Turbines’ is easily the most breathtaking song I’ve heard all year and I’ve still not quite recovered from my rst listen.

WOW by Kate NV

Sam Cox Digital Editor

Food for Worms by shame

Jake Paterson Co-Deputy Editor

Five years on from their stellar debut Songs of Praise, shame’s third album is riotous and even features backing vocals from Phoebe Bridgers. Charting lad-rock and more experimental postpunk, the band’s relentless touring schedule comes out in abundance in the music. Scathing moments such as ‘Six Pack’, contrast tracks like ‘Orchid’ and ‘Adderall’, that take a downbeat turn towards something emotionally resonant. Epitomised by lead single "Fingers of Steel", the album is truly anthemic and holds real cathartic power.

Russian electronic composer Kate NV tweaks the minimalist aesthetic of her previous two records – Room for the Moon and для FOR – by opting for an even more kitsch, esoteric sonic landscape, seamlessly blending the electronic and the acoustic. Take ‘confessions at the dinner table’, which ingeniously combines a video game-style synth motif with glimpses of violin and saxophone to create something which sounds genuinely unique.

Take It or Leave It by Shambolics

Teasing the April release of their EP U Serious Boi?!, Scottish indie-rock band Shambolics’ fourth new single “Take It or Leave It” sets the bar very high for the quality of the upcoming record. With inspirations spanning The Beatles, The Smiths, The Strokes and countless more, Shambolics have created a brilliant soundit’s a great contemporary take on the Classic Rock of the seventies. Alongside the EP’s other released tracks “Living in Shadows”, “What’s Going On in Your Head”, and “Like a Breeze”, this record is the perfect thing to add to any angsty, maincharacter-energy playlist.

Live gigs: The best way to start the Easter holidays and try to forget about your essays

Drug Store Romeos

Susie Long Subeditor

Featured Image: Wunderhorse Credit: Helen Whitaker

Featured Image: Wikiwand

SciTech

Editor Deputy Editor Digital Editor Investigations Editor

The psychology behind protest

What is the psychology behind protests and strikes?

Milan Perera

Arts Critic Columnist

For the last few months, the nation was enveloped by a wave of protests, strikes and pickets that also dominated the airwaves. The likes of Mick Lynch and Eddie Dempsey have become household names and they seem to exert more influence than any mainstream politician or a journalist. Our own institution has seen its fair share of strikes over the last few weeks as the UCU launched a fresh string of strikes. Why is strike action gaining currency in the current zeitgeist? What is the sociology and psychology behind this time-honoured mode of expression of opposition and anger? Several psychological theories attempt to explain why people participate in protests and revolts. One such theory is Social Identity Theory, developed by a British social psychologist, Henri Tajfel, which suggests that people are more likely to engage in collective action when they identify with a particular group or social category and perceive a threat to that group's well-being or status. This theory implies that people may be more likely to participate in protests and revolts when they perceive their social identity is under-attack. To put it more bluntly, in terms of revolutionary politics this is an example of 'Us' against 'Them'. The overused adage of 'Strength in numbers' sums this up aptly. Walter Philip Reuther, the American labour and civil rights activist puts it more eloquently:

'There is no power in the world that can stop the forward march of free men and women when they are joined in the solidarity of human brotherhood.'

The minimal-group studies were interpreted as showing that the mere act of categorising individuals into groups can be sufficient to make them think of themselves and others in terms of group membership instead of as separate individuals.

Another theory that explains the psychology of protesting is Resource Mobilisation Theory, which suggests that individuals and

groups are more likely to engage in collective action when they have the necessary resources, including money, time, and social connections, to do so.

The theory was first outlined by the American academics, John McCarthy and Mayer Zald in a research paper they penned together in 1977. This marks a significant departure from emotions as outlined by the Social Identity Theory. When this theory first appeared, it was a watershed moment in the study of protests and movements because it focused on variables that are sociological rather than psychological.

According to this theory, social movements are not dictated by emotion-driven collective thinking.

Nevertheless, emotions play a significant role in the psychology of protesting and revolt. Many protesters experience a sense of anger, frustration, and powerlessness in response to perceived injustices or oppression.

These emotions can motivate individuals to take action and challenge the status quo. Additionally, emotions

like hope, solidarity, and camaraderie can fuel collective action and help sustain protests and revolts over time.

Symbols of protest can act as motivators triggering collective action and as unifying symbols for group solidarity against perceived injustice. Protest symbols such as placards, banners and in some cases, effigies, deliver a vital role in activating collective thinking.

For protest symbols the simplicity and potency are of paramount importance as they should capture the attention of the viewer immediately and win them over to their side of the argument. Often, it is an effective simple formula that captures complex and nuanced arguments without the jargon.

For example, here is a protest poster that appeared during the UCU strikes at the University two years ago. It is called “Four Fights”. In terms of language this is very well thought through as the rolling out of “Four”

and “Fights” together is an example of alliteration, a literary device used by writers from Shakespeare to Margaret Atwood which immediately grabs the attention of the reader. The discussion of pay and working conditions would easily clock up several thousand words but the protestors managed to do the impossible by com-

Emily Barrett Dhristi Agarwal Carla Rosario Tiberiu Toca

pressing it into four short phrases.

The power of simplicity is apparent throughout history, where political strategists and artists alike strived for simplicity and protests are no exception.

The psychology of protesting and revolt is complex and multifaceted, and understanding it requires an examination of both individual and collective factors that contribute to the decision to engage in collective action.

Emotions play a significant role in the psychology of protest and revolt

For protest symbols the simplicity and potency are of paramount importance

The high-bandwidth gateway to your mind

Brain-computer interfaces: a concept out of science fiction

Tiberiu Toca SciTech Investigations Editor

The concept of brain-computer interaction (BCI) is straight out of a science fiction film. The kind of plot line used by cyberpunk game designers and authors is the notion of connecting a person's brain to a machine to enhance the person's capabilities and help them overcome the constraints of their flesh. But it is quickly becoming a fact.

What are BCIs? BCIs are machines that communicate with the brain. They can receive, send, and instruct energy to other computers. BCIs are specifically tiny processors that link to your brain. Think of brain-monitoring devices as blood-pressure sensors that do not wrap around your arm. When neurons communicate with one another, they release tiny quantities of electricity. These signals are detectable by artificial instruments. Computers can analyse those electrical patterns thanks to BCIs. For example, the computer might detect a sig-

nal and identify it as the pattern you would typically use to attempt to move your arm. The ability to move a robotic arm using the same pattern-tracking capabilities is not, comparatively speaking, a huge leap.

Artificial instruments can detect these signals, and computers can analyse the electrical patterns through BCIs. One application of BCI is to enable people with tetraplegia to control robotic arms directly with their brain activity. This is distinct from BCIs having the capacity to discern minds.

To build functional BCIs, developers only need to know that our brains experience an electric pulse in a region equivalent to where our limbs move. Therefore, if we check for a heartbeat there and discover one, the BCI will infer that you are trying to stretch your arm. BCIs are still more complicated than that. Some BCIs not only sense pulses but also initiate them. By electrically stimulating the brain directly, BCIs are being designed to identify epileptic seizures before they occur and even stop them.

The intellect and brain are often called science's final frontier. Brain-computer interfaces are the newest method for understanding the mysteries of the psyche. Publicly funded programmes like the Human Brain Project have aimed to hasten the study of our brains

to better understand them, treat diseases, and enhance cognitive performance. Several businesses in the private sector are trying to create efficient brain-machine interfaces for a variety of applications. Neuralink, founded by Elon Musk, is developing tools to aid people suffering from disabilities, memory lapses, hearing loss, blindness, and other neurological issues. They plan to sew tiny electrodes that resemble strands into the human brain so that artificial intelligence (AI) can directly access and control the brain's cells. Neuralink has raised $373 million in financing since its establishment in 2016. On the other hand, Kernel is developing the next iteration of brain measurement systems using time domain-functional near-infrared spectroscopy. Their Kernel Flow is the world's first wearable full-head

coverage TD-fNIRS system that can maintain or enhance the performance of current benchtop systems. The goal of Kernel was initially to create a method to store memories external to the brain and upload fresh memories to the hippocampus, the brain's memory centre.

Synchron is a brain interface startup that is developing technology to revolutionise the lives of people with paralysis. People without any or little physical mobility can use the Synchron Switch, which is implanted through blood vessels, to control technology such as cursors and smart house appliances. While many competitors must perform open brain surgery to implant their BCIs, Synchron relies on a less invasive strategy that draws on decades-old endovascular techniques. The Stentrode, a stent made by Synchron, is

implanted into a large vein next to the motor cortex and is equipped with small sensors. The Stentrode is connected to a chest-under-skin antenna that collects and transmits unprocessed brain data to outside devices. Although the quality of the brain signal is not ideal, the procedure is less invasive and more accessible because the device is not implanted directly into the brain tissue.

With Synchron's technology, people who have severe paralysis or degenerative diseases like amyotrophic lateral sclerosis (ALS) can regain their ability to interact with loved ones and the outside world by typing, texting, or even using social media.

BCI is fraught with dangers and unknowns, just like any newly developed technology. It is crucial for developers to consider the moral and legal ramifications of complex and terrifying scenarios before BCI matures.

For instance, innovative BCI technology may be used to control feelings or even lessen pain.

What occurs when military people are not as afraid when they are in battle? What neurological side effects might soldiers encounter upon returning home if they lack their "superhuman" qualities? The moment is right now to consider these possibilities and make sure that safeguards are in place.

International Women's Day: How can we embrace equity in STEM?

What does equity mean for women in science and technology?

Emily Barrett SciTech Editor

March 8 was International Women’s Day (IWD) and the theme this year is ‘embrace equity’. But what does that mean for women in science, technology, engineering and maths (STEM)?

The organisers of IWD define equity as the acknowledgement that each person has different circumstances, and they should be allocated ‘the exact resources and opportunities needed to reach an equal outcome’.

We have all heard the various statistics about the proportion of women studying STEM subjects at

university, but the reality is more complex than numbers can hope to convey. According to 2021/22 data from the Higher Education Statistics Agency (HESA), female students make up the majority of those studying medicine and dentistry, but only represent 20 per cent of engineering and technology students.

It is clear that ‘women in STEM’ are not a homogenous group and may encounter different struggles depending on what they study. Furthermore, the representation of women at undergraduate level does not reflect the proportion of those who continue to STEM careers, and those who attain higher-level positions.

In light of this, what can universities do to represent the message of International Women’s Day this year?

While the circumstances that influence students to choose STEM subjects are largely out of universities’ control, there are steps they can take

to create a welcoming environment. For example, creating a sense of community for students: the University of Bristol has a Women in STEM and a Women in Engineering society which host regular events and provide women with a chance to meet others who share their experiences.

Peer mentoring also has a proven impact on the experiences of women in STEM. A study in Nature Communications found that female engineering students who were assigned a female peer mentor – as opposed to a male mentor and no mentor –showed improved ‘psychological experiences in engineering, aspirations to pursue postgraduate engineering degrees, and emotional well-being’.

University careers services have a role to play as well. Targeted careers workshops could tackle subjects such as interview confidence, unconscious bias and recognising gendered wording in job adverts. Ac-

cording to a 2011 study, gendered wording in job adverts ‘can maintain gender inequality in traditionally male-dominated occupations’. They found that when women read job adverts with more ‘stereotypically masculine’ wording, they found these

jobs less appealing.

Another problem that plagues women in STEM is impostor syndrome – a feeling of self-doubt and perceived incompetence that persists in spite of somebody’s personal achievements.

This affects people at all stages of their careers, and so promoting the work of inspiring women, as well as inviting them to talk about their experiences, could help undergraduates to realise that they are not alone in their feelings.

However, it is important to remember that the experiences of women in STEM are not all the same. Besides gender, there are many other aspects of somebody’s identity and their circumstances that can influence their experience of studying STEM at university. This is central to the theme of IWD 2023 – that equality of outcome is achieved when everybody has access to the resources they need.

Milad Fakurian/Unsplash

UBAFC 1st XI fall just short of reaching National Cup final

Midfielder Dan Sutton had Bristol’s first clear sight on goal after Reuben Gabbs won a free-kick in a promising position, but his low effort was comfortably gathered by the Loughborough keeper.

Joe Green Sports Editor

UBAFC’s run in the National Cup has unfortunately come to an end after the 1st XI were handed a 2-0 semi-final defeat by a strong Loughborough side.

With a spot in the cup final at stake, Bristol made the early trip to Loughborough for a 1pm kick-off in less-than-ideal weather conditions.

The 1s came into the game off the back of several impressive victories in the competition, including a 4-3 thriller against Hartpury, a 1-0 win over Cardiff and a 4-0 thrashing of Essex.

The game’s opening exchanges set the tone for what would be a relatively even first fifteen minutes, with both sides moving the ball efficiently and asserting themselves physically.

However, no clear chances were created, aside from a handful of set pieces for each team that failed to threaten the goal.

Another opportunity came when a long ball from Bristol was speculatively flicked on by the Bristol striker, although the keeper was again untroubled. However, the home side were starting to be looser in possession and a misplaced pass at the back gifted Bristol a corner.

The corner would lead to the game’s first moment of controversy, as a high and looping delivery from the left-hand side was fumbled by the keeper into his own net after being placed under considerable pressure by Bristol’s onrushing attack.

Bristol’s celebrations were cut short however, as the referee deemed the keeper to have been unfairly barged when attempting to gather the ball, much to the relief of Loughborough and the bemusement of Bristol.

The incident perhaps gave Loughborough a wake-up call as they began to pose more of a threat going forward. A strong run forward from a Loughborough midfielder was finally dealt with on the edge of the six-yard box, but only delayed the attack as the ball was put dangerously back into the box to the Loughborough No. 9 who thankfully could

only direct the ball into the gloves of Bristol keeper Jack Dennehy. Loughborough continued to cause Bristol problems particularly down the right flank, although a well-worked counter-attack from the visitors led to another Bristol corner that the Loughborough keeper again had issues with, as he unconvincingly punched the ball only far enough for his defender to have to clear for another corner, although nothing was to come from the second delivery.

As the first half neared an end, the game remained open with both sides being fluid with possession in midfield only to fall short in the final third. Sammy Garcia briefly got in behind for Bristol but was tracked down, while Josh Gordon also made a promising run forward from leftback although his ball across the face of goal failed to find a man.

Bristol’s clearest opportunity – other than the disallowed goal – came right on the stroke of halftime when a Bristol head flicked a corner towards goal, with only a last-ditch Loughborough clearance preventing Bristol from going into the break ahead.

The second half would prove to be a less even affair, as Loughborough immediately looked brighter and wasted a golden chance to score after 50 minutes as their unmarked striker missed the ball entirely at the back post when any

touch would have likely resulted in a goal after a ball in from the right.

Loughborough would not have to wait long for another opportunity however, as the searing pace of the home side’s right winger took him past several Bristol players and into the box.

A mistimed tackle from a Bristol defender then brought the winger down after the ball had gone and the referee did not hesitate to point to the spot and award Loughborough a penalty.

Dennehy dived the right way but the penalty was nevertheless converted coolly into the bottom left corner to give Loughborough a 1-0 lead with just over half an hour to play.

The deficit was then doubled just two minutes later when a Loughborough corner was flicked on at the near post into the top right corner to make the score 2-0, with the keeper helpless and the defence caught flat-footed.

With their chances of reaching the final now suddenly in serious jeopardy, Bristol began to more urgently probe for a way back into the game. Another chance came when the Loughborough keeper, who had already appeared shaky with his hands, attempted to deal with a high ball full on the volley, predictably resulting in a Bristol corner which was again headed just over.

Loughborough would remain the dominant force in the second half however, with several chances stem-

ming from the pace of their attack that Bristol could not deal with. Dennehy remained resolute in goal to save a number of speculative efforts and keep Bristol in the game, but his teammates were unable to keep enough of the ball to establish momentum and generate tangible chances.

Work-rate remained high as the game entered the final ten minutes despite elimination looking increasingly likely, although Loughborough were able to draw several fouls in promising areas and take the sting out of Bristol’s attempt to mount a comeback.

With five minutes to go Bristol finally managed to have an extended spell of possession in the final third, and there were strong penalty appeals after the ball appeared to strike the arm of a Loughborough defender.

The referee was uninterested however, and Loughborough were able to conserve their two-goal advantage up to the final whistle and secure their passage to the National Cup final.

Despite the defeat, Bristol’s commitment could not be faulted on an afternoon when they came up against a challenging opponent.

After the game, a club spokesperson said, 'A disallowed goal in the first half leaves thoughts of what could have been, but the lads can be proud of a tremendous cup run, which will hopefully set a standard for years to come'.

UoB students complete 100km cycle for Ukraine

Nine friends took part in a fundraiser to raise money for Ukraine

Louis Edward Digital Editor

To mark the anniversary of Russia’s invasion of Ukraine, Maks Oberemokhas set eight of his friends the challenge to cycle a 100km route to raise money for Ukraine’s war effort. They set off from Trowbridge, on just the

other side of Bath, before heading in a loop in the shape of Ukraine.

Three University of Bristol students took part in the challenge that was expected to take 8 hours and include plenty of hills. Many of the group were not even serious cyclists!

Maks is Anglo-Ukrainian and many of his family are from Sumy, a city just a few miles from the Russian border. After

a terrifying few months, his grandma and a few others were able to flee the area and find sponsorship in the UK.

You can still donate to the GoFundMe 'Running for Ukraine' and help reach the £5000 goal

'I’ve still got family there who can’t leave. They are being terrorised by artillery rounds and rockets that are randomly being fired over their village. I recently spoke to one of my friends and his mental health is really suffering from the constant shelling,' said Maks.

'I’m so relieved to have some of my family here though, many of them I hadn’t seen for three and a half years. We’ve been having lots of big dinners – my grandma won’t stop cooking for us all!'

In March last year, at the outbreak of the war, the same group of friends ran a half marathon from Trowbridge to Bath, raising £22,000 for Ukraine in the process. Following it up

The route started at Trowbidge then headed in a 100km loop in the shape of Ukraine

needed something special, so Maks took his time to draw the route in the outline of his family’s home. 'It was tricky making a route that matched the shape of Ukraine. To make it work we’ll have to do some really big hills. It’s going to be a struggle!'

After a gruelling Sunday, the friends gathered for a Ukrainian feast courtesy of Maks’ fam-

ily, including his grandmother’s special meal, pov, an Uzbekistani dish of pork and rice. They have so far raised £2,625 for Ukraine with a goal of £5,000. You can still go and donate to the GoFundMe, ‘Running for Ukraine’. Jake Nickerson, who helped organise the half-marathon, is one of the three UoB students who took part. He said before, “Most of us aren’t cyclists so it could be a tough day on Sunday. But it’s worth it help the many Ukrainians who are suffering right now.”

In a match filled with drama and controversy, Loughborough narrowly defeat Bristol thanks to two second-half goals, bringing an end to UBAFC's cup run

Maks Oberemokhas

Maks Oberemokhas

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Nail-biting win for University of Bristol's korfball team

University of Bristol secure come-frombehind victory over Bristol Thunder 5s

Eddie McAteer Investigations Editor

University of Bristol's korfball team defeated Bristol Thunder 5s by a single point in the tightest of games. The topsy-turvy fixture saw the students emerge victorious, despite being behind for much of the game.

As February drew to a close, the University Korfball team took to the sports hall court of Bristol Grammar School for their fixture against local side, Bristol Thunder fifth team. Much of the team had arrived early to watch Exeter 1s take on Thunder’s first team and were treated to an end-to-end game of real quality.

However, once the clock rolled over to 2:30 p.m., the main specta-

cle (at least from a UoB perspective) began. Thunder, kitted out in sky blue, started things off and quickly made their way into the Bristol half. A solid defensive set soon repelled them and launched a threatening Bristol counterattack. Unfortunately for the university side, they couldn’t make the pressure count despite numerous efforts on the hoop.

Eventually, Thunder found themselves with the ball in the Bristol half, only to turn the ball over and find themselves one goal down thanks to Bristol’s no.3, Ed Wagner. After taking the lead, Bristol were faced with a barrage of efforts from their opponents and eventually conceded the equaliser. As is customary in Korfball after two points, the teams then switched sides, meaning that attackers became defenders and vice versa.

Following the change, Thunder pushed on and took the lead before conceding a penalty, which was calmly converted by Nicole Jean-Louis to level the scores. What followed was a real game of cat and mouse. Thunder

took the lead on several occasions, only to be pegged back by Bristol each time. Eventual MVPs, Jean-Louis and Wagner both scored to keep their team in the hunt, with Wagner scoring a hattrick before the half was even out. Despite these goalscoring feats, the University side went into the second half one score behind their local rivals. Upon starting the second half, it didn’t take Bristol too long to equalise but once again they fell behind. It looked as if the game of cat and mouse was going to continue for the entire game, but Bristol tightened up the defence and stifled Thunder’s attack.

With the score at 7-6 to Thunder, Bristol began to edge territory and possession. They were eventually rewarded with a penalty but unfortunately missed it. Not that it mattered too much, as Alice Lomas scored from behind the post soon after. For those who aren’t familiar with the sport, there is an area past the post where teams can still score from, and Bristol used this to their advantage.

The half sped up a little with the scores equal, and Bristol started to look the more likely to score. They were once again awarded a penalty, but once again the ball only

came agonisingly close to going in.

The game was very much in the balance, but, despite their dominance, Bristol couldn’t edge themselves ahead. That was until Club Captain, Maddy Stubbs, stepped up to give them the lead for the first time since the opening point.

As the first half had shown, though, a one-point lead is far from comfortable, and Bristol knew they needed to score more in order to see off their opponents. They upped the pressure on the Thunder defence, keeping hold of the ball for long spells, and managed to draw a foul. Unable to score directly from this platform, the team could have lost their heads, but once again Stubbs found herself in space and calmly slotted the ball through the hoop.

With a two-point advantage, it was very much Bristol’s game to lose, which they nearly did. Thunder, desperate to regain the lead they had held for so much of the match, threw everything they had at Bristol. The game had been so tight it was almost inevitable that they would score, the question was whether they could score enough.

A swift counterattack brought

them to within one point, but a frantic attack in the closing seconds of the game wasn’t quite enough for them to equalise. At the final whistle, Bristol’s students were victorious in a truly nail-biting finish.

After the game, Stubbs credited the team’s defensive performance for the win, but was obviously thrilled to have scored the points that gave them a cushion.

Stubbs also said, ‘It was a very stressful game, but also very fun as we just had to keep going. It could have gone either way, but we just kept going and it definitely paid off in the end.’

The season has been one of development for the side, as over half of the team only started the sport this year.

Despite their influx of new members, they currently sit fifth out of nine in the South West Korfball Association’s second division with one game remaining. The game will be a fifth-place play-off on finals weekend and, in one of those classic quirks of sports, they will once again take on Thunder 5s.

Thunder will surely be looking for revenge, as well as fifth place, but Bristol have beaten them once and can build on their previous victory to make it more convincing this time. For anyone wanting to cheer them on, the fixture will take place on 25 March at City Academy.

Epigram / Eddie McAteer

'The game could have gone either way, but we kept going and it paid off in the end'

Bristol Korfball