Epigram issue 376

EPIGRAM

01.02.24 Issue no. 376

The University of Bristol's Award Winning Page Independent Student Newspaper 5

BETWEEN THE SHEETS NEWS UoB removes Colston dolphin from logo, retains Wills and Fry building names p.4

FEATURES

Rebuilding a lesbian community in Bristol p.11

WIT AND WISDOM THE EPIGRAFT Epigram's blind date column, exclusive to the print... p.13

SPORT The University of Bristol Run Series 2024 p.23

Est. 1989 FREE

University of Bristol to host the SPA National Conference 2024 Milan Perera & Ella Woszczyk Deputy Editors

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he University of Bristol has been announced as the host of the prestigious SPA National Conference in the spring of 2024. SPANC will take place between April 12th to 14th next year.

The prestigious three-day event, known for recognising the outstandig contributions of student journalism, promises to showcase the best and brightest in student journalism.

The highlight of the conference is the awards night, which is scheduled for Saturday, April 13th at the Anson Rooms in the Richmond Building.

The evening will be dedicated to acknowledging the outstanding achievements and contributions of budding journalists from universities across the nation. The celebration aims to applaud excellence, innovation, and dedication exhibited under multiple categories.

The successful bid from the University of Bristol was led by the team from Epigram and The Croft, and supported by The Bristorian, That's What She Said and La Civetta. This decision also marks the return of SPANC to the South of England after 2015, when it was held at the University of Southampton.

The event is expected to welcome over 200 student journalists from across the country, rep-

resenting around 175 universities.

The University of Bristol, renowned for its academic excellence and vibrant student community, is primed to provide the ideal backdrop for this grand occasion.

During the bidding process there were several endorsements for the University of Bristol from publications and high-profile local figures.

On endorsing the University of Bristol, Thangam Debbonaire (MP for Bristol West) stated: ‘Bristol is a key cultural hub in the United Kingdom and student journalism at the University of Bristol is a reflection of that.

During my tenure as MP, I have had the pleasure of seeing the impact and potential of student journalism through meeting and being interviewed by students in Epigram, the

University

of

Bristol’s newspaper.’

• For the rest of this article please go to www.epigram.org.uk

Artwork courtesy of Amelia Jacob

SU condemns Home Office immigration plan

CONTENTS Editorial News Opinion Features Wit & Wisdom Arts Film & TV Music Sci-Tech Sport

P2 P4 P7 P10 P13 P14 P16 P18 P21 P23

Website - https://epigram.org.uk

ristol SU has condemned the proposed five-point immigration plan announced last week which seeks to cut the net migration rate in the UK from spring 2024.

Bakhtawar Javed, the International Students Officer, has offered a statement on behalf of Bristol SU. It details the plan's impact on international students studying at the University.

Bakhtawar states: ‘Unsurprisingly, the announcement of this plan has

made international students extremely anxious as it has led to a great deal of uncertainty for their future.’

Bahktawar described the proposed plan as ‘unfair and hostile to international students’ and reassured international students at the University that ‘I and Bristol SU will continue to show solidarity with international students.’

Bahktawar has written to the Bristol West MP, Thangam Debbonaire, in response to the proposed five-point plan and has urged other students to do the same thing in writing to their MP and challenging the proposed plan.

She added: ‘To take action against this decision, which has reinforced the feeling that international students are just collateral damage whose fears and anxieties are not fully comprehended, I urge all students to write to their MP.’ Bakhtawar has attached the letter she wrote to her MP for students to use as a template.

• Full details of Bakhtawar Javed's letter can be found on www.epigram. org.uk

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TikTok - @EpigramPaper

Seb Davies Third Year, Philosophy

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Editorial

Amelia Jacob and Roya Shahidi Co-Editors-in-Chief

W

elcome to the fifth issue of Epigram for the 2023/24 academic year!

We hope everyone had an enjoyable and restful winter holiday even amidst the dreaded January exams (which we find are always a miserable time with the weather).

With 2024 well under way, Epigram is fully back in swing and we’re looking forward to a busy final term in Bristol.

If one of your New Year's resolutions is to try something new and develop your writing skills, getting involved with Epigram is a fantastic way to do this.

Thank you to everyone who came to our Give it a Go during Refreshers – we loved hearing all your ideas! If you were unable to make it, scan the QR code on the opposite page to see how you can get involved with the paper!

There will be applications to join the editorial team at the end of TB2, so now is a great time to have a go at writing and see if you’d like to take it further in the next academic year.

We’ve got lots of exciting things coming up this term (writing our dissertations not included).

Firstly, we will be celebrating Epigram’s 35th anniversary in style with a ball at Goldney Hall on the 29th February.

All details will be on our Instagram so make sure to follow to see how you can get tickets.

As you may have seen from the front cover, we are also hosting #SPANC24 at the Bristol SU. This is the biggest event in the student journalism calendar and will involve talks, workshops and a blacktie awards ceremony. Check out the SPA’s website to find

out more about what they do and information on how to get tickets for the awards ceremony and workshops: https:// w w w. s p a j o u r n a l i s m . c o m / .

As usual, we will be running socials throughout TB2 – remember, you do not have to be part of our editorial team to come to these, we love to see our writers at socials too! This term, they will be weekly rather than fortnightly, and our first is taking place on Thursday 1st February at Steam (8pm-late).

Additionally, after its enormous success last year, we are hosting another Women in Media multi-day event in the week beginning 11th March. Further details on speakers and tickets will be confirmed soon.

We post details about our socials as well as any events on our Instagram so, again, it’s the best way to stay up to date! We hope you have had a brilliant start to the term, and good luck !

• You can contact Amelia and Roya at editor.epigram@ gmail.com, or by DM'ing @ epigrampaper_ on Instagram.

Editorial Team 2023/24 Co-Editors-in-Chief Amelia Jacob and Roya Shahidi Deputy Editors Milan Perera and Ella Woszczyk News Editor: Will Standring Deputy Editor: Amelia Shaw Digital Editor: Maud Humphries Investigations Editor: Ellyssa Ashley Rozahan News Reporter: Lottie Leigh Opinion Editor: Amaan Ali Co-Deputy Editors: George Jones and India Noon Digital Editor: Georgia Rowe Subeditor: Megan Ioannides Features Editor: Aidan Szabo-Hall Co-Deputy Editors: Dan Hutton and Nel Roden Digital Editor: Annie McNamee Subeditor: Ellicia Metcalfe Arts Editor: Rachel Bronnert Co-Deputy Editors: Ella Carroll and Isabel Williams Digital Editor: Phoebe Caine Film & TV Editor: Arron Kennon Co-Deputy Editors: Lauren Durose and Sofia Webster Digital Editor: Sienna Thompson Subeditor: Victor Bennett Music Editor: Jake Paterson Co-Deputy Editors: Benji Chapman and Dylan McNally Digital Editor: Cara Hene Subeditor: Susie Long Sci-Tech Editor: Dhristi Agarwal Deputy Editor: Lucas Mockeridge Digital Editor: Aarya Sagar Patil Subeditor: Will Kelly Sport Editor: Oscar Coupal Deputy Editor: Kieran Warren Social Media Managers Anouk Griffiths Phoebe Livingstone Proofreaders Zoë Blake-James Bobbi Carsley George Dean Imogen Rance

Want to write for us?

Go to www.epigram.org.uk and click the "Get Involved" icon on the top right-hand side of the page.

From there, you can access all our writer's groups, including those for our lifestyle magazine, The Croft. Each group posts commissions on the first of every month, for the print and online.

We welcome all writers regardless of academic background, and we'd love to hear from you.

Join our Facebook writer's groups!

News

Editor Will Standring Deputy Editor Amelia Shaw Digital Editor Maud Humphries News Investigations Editor Ellyssa Ashley Rozahan News Reporter Lottie Leigh

UoB removes Colston dolphin from logo, retains Wills and Fry building names After a year-long consultation, a £10m fund to address racial inequality and a logo update have been announced.

Roya Shahidi Co-Editor-in-Chief

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conversations she had with express their views – we want local community hubs such people to express their views. as the Rose Green Centre.

And also, as we go forward, She said she walked out with how you can get involved.’ the 'incredibly clear message': In an open letter, Evelyn ex'The names are far less imporplained the decisions in more tant to us than what you are detail: ‘I would like to thank doing in the here and now. everyone who took the time 'To address racism, not just to respond to our survey both within the university, although online and at in-person sesthat's really important, but sions, including several powalso within the erful and imEvelyn Welch: 'The wider community pactful events [...] that's where names are far less that were led we want the Uni- important to us than by local Bristol versity to put communities of its time, energy what you are doing in African and Carthe here and now'. and its money.' ibbean descent.

Regarding how 'Throughout, I the University will approach heard many distressing stopotential backlash to Repararies from those who had expetive Futures, Evelyn said: rienced racism and racist be‘What I would ask the people haviours while engaging with, with different views is to lisworking at or studying at the ten to other views. And to be University of Bristol. What beopen to thinking through how gan as a consultation on our they can participate in the Rehistory and building renaming parative Futures programme. became a powerful platform to ‘We won’t stop arguing over expose deep hurt and frustraour past […] people will find new tion with our slow progress and evidence, they will make new commitment to racial equity. arguments but this bit of the ‘I am deeply sorry for these consultation, which has taken damaging and hurtful exalmost six years […] is over. periences which continue to ‘It doesn't mean that the the present day, and I apoldebate is finished. The conogise to everyone impacted versation will continue, but by those injustices. We asthe focus will be how did our pire to be an inclusive instipast impact on where we are tution and we must do better. today and how can we create a ‘I know that some of these better, more inclusive future.’ decisions will not please Epigram also asked how everybody – but we have students can voice their opinlistened carefully. We must ions about the scheme. Evelyn tell our history in an honest, recommended that they conopen and transparent way, tact the programme through while at the same time putthe email address reparating our full weight behind tive-futures@bristol.ac.uk: substantive action to address ‘That’s exactly what we’re the broader issues of syslooking for. Both feedback, so temic racism and inequality people don’t feel like they can’t here in Bristol and beyond.’

he University of Bristol has pledged £10 million over the next decade to address racial inequalities in a new programme called Reparative Futures.

Its aim is to address racial injustice and inequalities both within the University itself and in the local communities it works with.

This update follows a public consultation over the past 12 months with students, staff and local communities. This was centred on renaming seven buildings with names linked to families and figures connected to the transatlantic slave trade or associated industries.

The following steps Image courtesy of University of Bristol will be implemented: 1) Retain all current names ethnically diverse commu- experts who are paid for their of buildings, including Wills nities will be appointed to expertise, but we don’t rely and Fry, and work with staff, support the University’s Re- on a small number. So, we students and the local comparative Futures programme. might bring in specialists in munity to ensure their full Epigram asked Welch how healthcare to look at particustories and historic connecshe would ensure that the lar issues, we might bring in tions to the University are burden of responsibility does specialists in schools and Widmade visible. The Universinot fall on these experts. She ening Participation for others. ty will work with staff, sturesponded: ‘We all take re‘So we will have an Advidents, and local sponsibility for sory Board, but we’re calling communities to creating a more this kind of pool of experensure the full The consultation centred inclusive Uni- tise accountability partners. stories of the on renaming seven versity of Bris- […] they will be renumeratinstitution’s or- buildings linked to the tol and a more ed for their time and they will igins, both posinclusive city hold us to account and we itive and nega- transatlantic slave trade. of Bristol. It's will hold ourselves to account tive, are made not just the re- for delivering the project.’ more visible.

Evelyn expanded on the desponsibility of young peo2) Remove Edward Colple of colour to do so. cision to keep the names of the ston’s dolphin emblem ‘We turn to a wide range of buildings, citing face-to-face (above) from the university logo. The removal of the emblem will be phased out over time, starting with a digital-first approach. Speaking to Epigram, the University's Vice-Chancellor Professor Evelyn Welch said that, at this phase in the consultation, there will not be a ‘whole brand refresh’. She emphasised how this process 'will take time'. She added that ‘depending on the consultation outcome’, the dolphin will be replaced with the open book already on the crest.

Reparative Futures will also build on ongoing initiatives such as the Black Scholarships Programme.

Images courtesy of Dan Hutton Partners and experts from

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epigram 01.02.24

Students to record attendance on new

location-tracking app

A new UoB app will track attendance using location verification and will centralise attendance data.

Seb Davies Third Year, Philosophy

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rom 22nd January 2023, attendance will no longer be recorded using various old methods used by the University, which included swipe cards and paper registers.

Instead, all undergraduate and postgraduate taught students will use the University of Bristol CheckIn app to record attendance at in-person teaching.

The app is reportedly easier to use and will allow students to ‘see and better manage your own attendance data across all your classes in one place’, according to the University.

The app is able to track attendance by ‘verifying you are where you say are the moment

you press check-in’, requiring location services to be enabled on your mobile phone.

The University has stated the app is only able to track your location when you choose to check in on the app, and does not ‘track you in the background, send location data to the University, or tell us your location at any other time.'

It is available to download on the Apple App Store and the Google Play Store, although it can also be accessed through

a web browser on either a phone or a laptop. For more information and queries about

the Check-In app, head to the University of Bristol Website.

Societies take a stand against SU's rejig of Senate House Since the announcement, stumean for them going forward. dents have expressed their op'It is worth stressing that the position. Especially prominent current use of the fifth floor of are performing arts societies, Senate House has only ever those most affected by a pobeen temporarily available to Cara Hene tential loss of rehearsal space. students. In no situation would Second Year, Politics & The president of A Capella the space currently remain Society, Aaliyah Butt, has writas it is. The University's plan International Relations ten an open letter to the SU, has always been to repurpose gaining 114 signatories.

It arthe space and if we weren't growing number of to take the space for our ofstudent societies gues that the repurposing of fices, then it would instead go have voiced their op- the Carpenter Room for perto a University department. position to the Student Un- forming arts societies during 'Our move is the only scenarion’s update to Senate House. the day 'ignores the demand io in which the future of Senate The change, scheduled after of evening rooms, as day time House rooms 5.20 and 5.22 for Easter, would see a number of rooms are more available Image courtesy of Bristol SU student group activity space the SU’s services move from as everyone has university.'

It concludes, 'Overall, we are es'. They assure students remains secured. With a growthe Richmond Building to the speaking to Epigram they said ing University, the alternative fifth floor of Senate House, beyond shocked at the lack 'Our Officer Team will conthat if there were no 'concrete' is student groups lose access including their Welcome Desk of feasible alternatives to re- tinue to lobby the universialternatives offered then they hearsal spaces ty for more permanent, purto all six Senate and Staff team. would continue to The SU states that The ‘Oppose the and the lack of pose-designed study spaces.'

House spaces An expanded oppose the move In addition, members from Centre for Aca- Senate House Update’ a c k n o w l e d g e outright, highlight- the move would bring as the Univerregard- Drama Society created @ sity takes over demic Language petition has over 1000 ment ing the negative services closer to stop.senate.takeover on Insing the impact the whole floor.

Development impact the update campus. signatures. this will have on tagram, with 648 likes on its 'For now, we will replace the would have on their are working hard to find alterSU offices, as well as the Gro- all performing arts societies. first post: 'SAY NO TO THE society’s ability to function. native study and social spaces mit Room for students – both Furthermore, for this decision SENATE HOUSE UPDATES: The pair felt the SU had for students and are actively of which are currently located to have been made without SAVE OUR SPACES.' The acshown little transparency relobbying the University to free on the third and fourth floor any student society consul- count’s petition - ‘Oppose the garding the role of the Uniup some of the 500+ teaching of the Richmond Building. tation is beyond insulting. As Senate House Update’, now versity, saying that the origspaces that are infrequently Senate House's fifth floor a society, we want the SU to has over 1000 signatures. inal announcement cited The petition reads: 'The Uniused after 6 pm. As soon as we has been available to stu- provide a more coherent and student feedback as the drivhave a solid agreement on this, dents for five years – along- extensive alternative to the versity already lacks study er of the move, while subsewe will share it with you – as we side study spaces its main reduced rehearsal rooms and space, 5th floor senate curquent information states that rently prounderstand how important this function is the use of its six to actively include it is a university-led initiative. study performing Senate House fifth floor vides space is for our student groups. large rooms, available for res- the Epigram reached out to 'We have reached out to ervation by student societies. arts societies in currently provides study space for over Bristol SU for a comment.

164 students. consultation.' those student groups that have The SU states that the move all They responded, saying: space for over 160 The CarpenThe Student Unraised concerns about our move would bring services closer to 'Since we announced the students. ter Room is a to have further conversation. campus and highlights that ion has respondupcoming move of some Anyone who has concerns is two of the six rooms will re- ed to criticism, maintaining sports hall, not fit for study Bristol SU services to Senequally welcome to reach out to main available for societies’ that 'since the announcement purpose… it is not being done ate House at Easter, we know us if they would like to discuss use. It has also guaranteed we have consulted with stu- in the interest of students.' some students and student The President and Secretary anything else. For more inforstudents the use of the Car- dent groups and will be usgroups are concerned about mation on our move, please penter Room during the exam ing their feedback to fight of Drama Society are behind losing activity and study see our webpage and FAQ.' season next calendar year. for new student groups spac- the creation of the account. In space, and what this might

Student societies have voiced opposition against SU move from Richmond building to Senate House.

A

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epigram 01.02.24

Students to face fewer exams from September 2024 following academic year re-think The changes include TB1 exams in December 2024 rather than January 2025 and Welcome Week starting a week earlier.

Will Standring News Editor

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n a statement to Epigram, the University of Bristol has confirmed the initial details of the planned changes to the academic year from September 2024 onwards.

Although the full plan is set to be released in February, Epigram can out-

line the key aspects: • A move towards fewer exams for students.

• Teaching Block 1 (TB1) exams will take place in December before the winter vacation, instead of in January (from September 2024).

• Welcome Week will start a week earlier (Monday 9th September).

• Preparation weeks will be introduced, taking place the week before assessments and in the first week of TB1.

• Consolidation weeks will be introduced, tak-

ing place midway through each teaching block.

• The summer assessment period will be brought forward from 2025, allowing for an earlier summer vacation.

The changes have been made following feedback from students. In particular, students say that there is not enough time to plan for reassessments and that the winter vacation is overshadowed by revision for January exams.

A University of Bristol spokesperson said: 'In collaboration with students and

staff, we have been working on an updated schedule for the academic year that prioritises wellbeing and improves the student and staff experience.

'After many months of work and consultation with the University community, we are nearly in a position to announce all the details of these improvements. The new structure will start in September 2024.

'What we can say now is that Welcome Week will start a week earlier and the January exams will move to December,

meaning that students complete their exams before the winter break. We’re also adding in preparation weeks before assessments and a preparation week ahead of Teaching Block 2, which will function like a second Welcome Week.

'Overall, the University is moving towards assessing students with fewer exams and that is also reflected in the updated schedule.

We are really excited to share more details with our community in February.'

Five UoB alumni and staff feature in King’s New Year Honours

The five include two University professors, two University alumni, and a former member of staff.

Maud Humphries News Digital Editor

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ive University of Bristol professors, alumni and members of staff feature on the King’s New Year Honours list.

Vice-Chancellor Professor Evelyn Welch said: ‘On behalf of the University, I extend my warmest congratulations to Sir John, Professor Hutton, Sir Gregory, Sandy Mitchell and Dr Mebrahtu on these prestigious honours in recognition of their remarkable contributions to their respective fields.

Their achievements exemplify the University’s core values of making a positive impact to society through the

advancement of knowledge and education of future generations. They also serve as an inspiration to our academic and alumni community.’

The five who have been recognised for their significant achievements and contributions include two university professors, Professor John Iredale a clinical scientist, and Professor Ronald Hutton a historian. University alumnus Gregory Doran and Sandy Mitchell, who is also a current member of staff, and Dr Teame Mebrahtu, a former member of staff, also feature on the Honours list.

John Iredale, Professor of Medical Science, has been awarded a knighthood for services to medical research, including supporting young scientific talent and his work

in

inflammation research.

Sir John has recently returned to the university, having joined in 2016. A clinical scientist by trade, he is currently Chair of the Board of the Cancer Research UK Scotland Institute, Chair of the Lister Institute and was previously President of the Medical Research Foundation, a Trustee of the British Heart Foundation.

A CBE has been awarded to Professor Ronald Hutton from the University of Bristol's History Department, for services and contribution to history.

Professor Hutton joined the History Department at Bristol in 1981 and is a leading authority on the history of the British Isles in the 16th and 17th centuries, ancient and medieval paganism and magic, British folklore and the global context of witchcraft beliefs.

Gregory Doran (BA 1980), a University of Bristol alumni, has received a knighthood on this year's King’s Honours List.

Sir Gregory came to Bristol in 1977 to study Drama and English before training at the Bristol Old Vic Theatre School.

He began his career with the Royal Shakespeare Company (RSC) as an actor in the 1987-88 season, becoming an Assistant Director in 1989.

Sir Gregory stepped down in April 2022, after 35 years with the RSC including the last 10 years as Artistic Director.

Alumnus, emeritus mem-

Images courtesy of the University of Bristol

ber of staff and Chair of the Trustees of Lockleaze Sports Centre Sandy Mitchell, has been awarded a British Empire Medal (BEM) for services to sport in Bristol.

Mr Mitchell graduated with a degree in Aeronautical Engineering before joining the University’s Department of Aerospace Engineering. Whilst at university he played rugby for Churchill Hall and then Bristol Saracens. For the past 10 years he worked on a project to build a sports facility in Lockleaze and is currently President of the Bristol & District Rugby Football Combination.

Former member of staff, Dr

Teame Mebrahtu has been awarded an OBE. He was Bristol's first Black magistrate, an international advocate for peaceful integration and former University academic from the School of Education.

When his life came under threat in Ethiopia during the Mengistu regime, he applied and was granted refugee status followed by UK citizenship and came to Bristol to study for an MEd in 1972 and a PhD in 1980.

His service to the Bristol community was recognised by an invitation in 1984 to become a Bristol magistrate, thus being the first Black member of the Bench in the city.

Opinion

Editor Amaan Ali Co-Deputy Editor George Jones Co-Deputy Editor India Noon Digital Editor Georgia Rowe Subeditor Megan Ioannides

Opinion | Female safety on nights out is still not guaranteed Nights out in Bristol can be an amazing and fun experience for everyone involved. But, the streets at night can also be extremely dangerous especially for women.

Jessie Dutton Sociology, First Year

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here is a difference – though it may be subtle – between safety and security. Do I feel safe whilst on a night out? Safety being the 'condition' of being protected from, or not exposed to, danger, risk and injury. Do I feel secure, that is 'free' from danger or threat?

The answer? It's complicated.

My point here lies in the disparity between a 'condition' and 'freedom'. A condition is susceptible to change, to context and the environment, so maybe I do feel safe, sometimes, protected from possible harm. But do I feel secure, free from danger? Not ever completely. Freedom alludes to notions of liberation, perhaps even the holding of privilege. Privileges are something that has often fallen short of the female grasp.

Between September 1st 2021 and the 31st of August 2022, there were 4924 drug spiking incidences according to the National Police Chief Council.

Discounting, of course, those which were not reported or those which were discredited either by the victim or authority, that's roughly 14 a day and nearly one every two hours.

The majority of the victims were women. 60 percent of the incidents occurred in pubs, bars and nightclubs. Do you feel safe going out at night?

Growing up in a small village, where nearly every face was familiar, I walked home from the pub late and alone without any significant second thoughts or doubts. I felt relatively safe. Yet still, I covered every drink with my hand (my father told me to), I always texted to say that I had made it home (my friends would check), my location was tracked (my mother insisted)

and my brother always warned to not be naive. He had friends who had been spiked in situations that appeared nothing but innocent – the boyfriend of a girl he knew was hospitalised after drinking a drink that was offered to her – he was told that if his girlfriend had drunk it, she would be dead.

The spiking 'epidemic' – as it is so called – saw its peak roughly two years ago. But, when asked whether or not they feel safe when going on a night out, women from fifty years ago would likely offer the same answers as women do today. No, I do not. Yes, we’ve seen movements such as the 'Reclaim the Night' marches against sexual violence and gender equality and the growth of female-only night clubs, and perhaps a difference is felt. It is undoubtedly relieving being able to attend the bar alone, no unwanted hands, eyes or comments – I can be made to feel safe.

However, instituting separation as a prevention for harm and danger at the hands of discrimination doesn’t work.

According to a YouGov survey, more than 80 percent of women and 70 percent of men want safer pubs and bars.

Statistics might be high for both genders, but when sceptical desires are compared with sickening realities, the disparities ring clear – with an estimated 84 percent of sexual assault victims being female. Following this with data found by Birmingham Eastside, in three years, more than nine in every ten pub and nightclub sexual assault cases were closed without anyone being charged.

The question of how safe women feel when going out at night seems rather rhetorical.

So the answer, do I feel safer on a night

out? I know that personally, safety is something that I have convinced myself I have for my sanity above all else. I mean, gee... What a life to live, hey?

Keys between knuckles, fake phone calls, an inconspicuous jog, looking behind every five steps. Deep down though, I never feel truly secure. Never

sure that I won’t get harassed or assaulted. Never sure that I’ll make it home at all.

So, safety is something we remain in pursuit of. We are taught to be cautious, to be scared. We are raised on the assumption that, though ‘it may never happen to you’, safety isn’t guaranteed: it’s

conditional. Don’t walk home alone, cover your cup, don’t drink too much, watch what you wear. Still, even then, after every precaution, being safe... it’s really just luck.

Images courtesy of Alfie Dickens & Unsplash

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epigram 01.02.24

Opinion | The Arts and Humanities remain crucial in a tech-centric world While STEM subjects are important the Arts should not be rejected and are also crucial as we move towards a tech-centric world.

Alexandra Lam History and English, Second Year

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n our increasingly tech-focused world, the role of Arts and Humanities education has become a subject of debate. With more funding assigned to science and technology disciplines, the significance of an arts and humanities education has faded into the background – and the question is, should it stay there?

Recent years have witnessed a surge in funding for STEM education at both school and university levels, sparking a reconsideration of the relevance of arts degrees. Former education secretary Gavin Williamson dismissed Arts disciplines as ‘dead end courses that give…nothing but a mountain of debt’. We are already seeing a decline in arts education – Sheffield Hallam University withdrew English Literature as a degree in 2023, indicative of a broader trend. The government is facilitating this by channelling £1.4 billion in subsidy through the Office for Students, aiming to encourage universities to reallocate resources toward STEM courses. Bristol University English BA Disparaging remarks about student being £26,000, 15 ‘Mickey Mouse’ degrees make months after graduation comthe assumption that the Arts pared to £38,000 for a Comand Humanities lack general puter Science student it seems value. Questions arise: What’s more optimistic to go down the the point of learning about the STEM route. On top of funding past?

Should cuts threatenwe not focus The significance of an ing the acceson the future sibility of arts arts amd humanities and modernity? and humanieducation has faded Studying a subties education, into the background- the ject from the concernand the question is, Arts and Huing outcome should it stay there? manities field is the potenis a financial tial risk of arts gamble due to the lack of a subjects reverting to a privclear career path. In light of ilege afforded only to the afconcerns about student loan fluent. This has fuelled debate repayments and the cost-ofon whether STEM degrees living crisis, is it surprising should be subsidised due to that students would rather opt their perceived higher value. for a STEM degree to maximIn reality, neither the Arts ise chances of career success? nor Sciences should overshadWith the average earning of a ow the other. Whilst STEM

disciplines undoubtedly offer specialised skills, an exclusive focus on them risks creating a workforce with a narrow skillset. For a thriving workforce, what is needed is a diversity of thought. Having different people from different academic backgrounds fosters creativity and innovation that would be impossible to attain if everyone studied a STEM course.

Sciences, engineering, maths and the like are highly relevant, but the humanities provide another perspective of viewing issues – and it is no secret that better decisions are made when diverse perspectives and opinions are considered.

Solely relying on science does not offer a comprehensive understanding of the world.

The Arts and Humanities offer a distinct lens to examine and

understand society, imparting transferable skills sought after in any profession. These disciplines encourage students to think, critique, and persuade – often in the grey areas when there is not enough data available. In an increasingly tech-focused world, the arts and humanities are needed more than ever. In fact, it is estimated that the creative industries could generate 900,000 new jobs between 2013 and 2030. A crucial skill lies in the ability to decipher how language shapes opinions, particularly in an era dominated by misinformation – something not taught in a STEM degree. The adaptability and understanding of human experiences

fostered by this is essential, particularly considering the ethical challenges posed by technological advancements.

It is not a matter of pitting STEM fields against the Arts – rather that they compliment each other. The Arts and Humanities certainly have a crucial role in a tech-centric world. Every subject should be valued, and graduates with a variety of degree subjects ensure a workforce that is not only technically adept but also possesses the creative and critical thinking capacities essential for addressing the challenges of our technologically advancing world.

Image courtesy of Andras Vas via Unsplash

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epigram 01.02.24

Opinion | Dating apps have transformed modern dating therefore there is no wonder that we are not as easily able to walk up to each other and start conversation. Why bother when you can do it online? Whether through a DM or on a dating app, rejection is Lucy Hillier much easier through a screen.

History, Second Year When creating our profiles, we pick the most attractive photos of ourselves in order to inge, Tinder, Bumble. get more matches. However, In this digital age, datwhat we do not acknowledge ing apps are in abunis how harmful this actually is. dance and so easily available.

We are judging people solely So it is no wonder that, to on looks and missing out on the many, it would be the preferred things we would option to find find in everya partner.

'It is so easy to see interacThese platsomeone’s first image day tions like body forms promand dismiss it straight language, eye ise connecaway, creating a contact, banter, tion, but the shallow approach to etcetera. It is question that dating based on people so easy to see looms large is someone’s first whether they image and dismiss it straight are more harmful than helpful. away, creating a shallow apAs we delve into the realm of proach to dating based on dating apps, it becomes appeople looking their best. This parent that they embody a reflects into society as our exdual nature—providing both pectations become higher, with opportunities and challenges. everyone in search for their I know most of us, if not all, perfect ten. With would love to 'Tinder especially is the the abundance of meet someculprit of this due to the choice on dating one organiease of swiping left and apps and many cally. To have right and lack of words on attractive singles a meet-cute profiles. At least on Hinge at your fingerstraight out there are prompts that tips, its hard not of a film. let you gage someone’s to have a ‘grass But these is greener’ mentality making it days it just seems impossible. difficult to choose someone and Online culture has created a commit. This myriad of options lack of confidence and fear has created a hook-up culture. of judgement and rejection,

Dating apps have permanently changed the way we meet people, as use of dating apps increase the prevalance of Hook up culture.

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Image courtesy of Unsplash

Tinder especially is the culface-to-face rejection, offering prit of this due to the ease of a safe space for those lacking swiping left and right and lack the confidence to venture into of words on profiles. At least traditional dating scenes. They on Hinge there are prompts are also helpful for members that let you gauge someone’s of the LGBTQ+ community personality. These apps can as they offer a safe space to create immediate gratificameet people with the same tion making preferences.

'Dating apps, despite it easy for a There have been casual fling their potential benefits, hundreds of sucpose a double-edged or one night cess stories of stand. This people meeting sword for those is perfect if grappling with anxiety each other on that is what dating apps – it and mental health you are lookis actually being for, but if you want somecoming the norm. I’m sure we thing more serious it becomes all know a couple who have more difficult to weed through. connected online, highlighting It can also be disheartening to that these apps aren’t all failed go through all the dire small talking stages and hookups. I talk over text to discover that think that they can serve as a all they want is sex. But, like great way of putting yourself I said, if that’s what you out there and building up your are after its brilliant. confidence in the dating world.

Dating apps, despite their I hate talking to and getting to potential benefits, pose a know people online – texting double-edged sword for is often monotonous and dry. those grappling with anxDating apps can, therefore, iety and mental health be useful when you agree to issues. meet up straight T h e away, but most 'Dating apps can, constant therefore, be useful when of the time they cycle of end up being a you agree to meet up rejecbrief messaging straight away, but most tion and interaction with of the time they end up ghosting outcome. being a brief messaging no can take However, this is interaction with no a toll on just how they self-esteem.

However, work for me. Basing my opinthe anonymity of swiping ion on one example is not a provides a buffer against useful overview. We can see the immediate sting of how they have been success-

ful and that they provide an easy tool for searching for a connection, harbouring spaces to put yourself out there without having to face the pain of face-to-face rejection.

They have made finding people in real life a lot harder and more of a scarcity, but dating could be changing once again.

Pear, a new social experiment, throws a curveball at the digital dating game, ditching apps for a simple ring that acts as a beacon for singles in real life.

Thursday, its sister app, fuels the flame with city-wide meetups, turning virtual connections into vibrant face-to-face encounters. This could be the new avenue that modern dating goes down, inviting people to make conversation in real life without the pressures of talking and meeting online.

The digital age has completely evolved the way in which we do pretty much everything.

Therefore, it would nearly be impossible to think that things would stay the same for dating.

Striking a balance is key, much like online shopping coexists with physical stores, dating online doesn't eliminate the possibility of meaningful connections in real life. It is about navigating both the digital and tangible realms for a holistic approach to modern dating.

Image courtesy of India Noon

Features

Editor Aidan Szabo-Hall Co-Deputy Editor Dan Hutton Co-Deputy Editor Nel Roden Digital Editor Annie McNamee Subeditor Ellicia Metcalfe

‘ We w i l l f i g h t f o r w h a t w e b e l i e v e i n’ | D o e s student activism pro duce real change? want to do something about this and find solidarity with each other through action.’

When asked about the values of SAB, the member said Issy Fraser the group, among a wide vaSecond Year, English Literariety of issues, was focused on ‘Anti-racism, anti-classism, ctivism is embeddecolonisation, disability inded within Brisclusion and trans liberation’. tol's political histoIt was emphasised that SAB ry. The Queens square riots do not claim responsibility of 1831, the Bus Boycott of for the actions on their social 1963 and the toppling of Edmedia pages, as their role ward Colston's statue in 2020 is to ‘Document and publiare events which demoncise radical student activity.’ strate how Bristol has long While actions like the disrupacted as a hub for resisttion of the Pro-life stall at the ance and counter-culture.

Welcome Fair in September Epigram, in conversation 2023 have not been claimed with students from the Uniby the group, they aim to versity of Bristol, investigates bring a greater awareness to how young people are continthe problems uing this legaEven if protests and cy of activism. movements occur within of platforming In March 2022, a system that is difficult a society they view to be inStudent Acto change, people's volved in ‘The tion Bristol understanding of key spread of an(SAB) was issues will be enhanced ti-abortion valcreated by a ues that seek to bio-politically group of students who were control peoples bodies and their involved in a rent strike and right to self-determination.’ supported UCU strike action.

Similarly, the group does Speaking to Epigram, not claim involvement in a member of SAB — who the two recent protests in wished to remain anonyQueen’s library and Senate mous — outlined the group's House, where students voiced concerns and ambitions. their support for Palestine.

On what prompted the One of the most important group’s formation, the memissues that face young peober said: ‘Most of the people ple is the climate emergencurrently organising within cy. With our futures uncerSAB were not there at its contain and the ability to change ception [...] But I think that how governments act limited, at the time a lot of students students at the University of were very angry at both the Bristol are moving towards university’s management of collective action and protest to the Covid-19 pandemic and put pressure on key players. the response by the police from the Kill the Bill protests.

Epigram spoke with student It was natural for students to activist Charlie Siret, who is a

Izzy Fraser speaks to student activist groups to learn about

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Image credit: Kyle Bushnell / Unsplash

Image credit: Ehimetalor Akhere Unuabona / Unsplash

member of Extinction Rebellion Youth Bristol (XRYB). Charlie explained that while other XR groups have similar goals, XRYB is ‘More youth orientated and climate justice orientated’.

Through their recent ‘Free Buses, Fair Buses campaign’, XRYB have argued for free bus travel within the West of England (including North Somerset) for all students, apprentices and individuals under the age of 25.

Discussing their methods, Charlie stated ‘We enact a wide variety of actions, from outreach to direct action blocking airport flyer buses, which culminated in an occupation and a march.’

The group have previously occupied the offices of the WECA (The West of England Combined Authority) to demand action on what they perceive as ‘Bristol and the West's broken bus system.’

Interviewed by Epigram on the day of the occupation, one of the protestors outlined their reasoning for occupying WECA's offices: ‘Since the start of our campaign last June, we have seen lots of talk but little action from politicians, while the situation has gotten worse, with dozens of routes cut. Real people across the West of England are being affected by these unre-

protests, movements and demonstrations occur within a system that is difficult to change, people's understanding of key issues — and the solutions needed to tackle them — will be enhanced.

XRYB have been previously critical of the University of Bristol, most notably their response to the Kill the Bill protests in early 2021, which were formed in response to a proposed government crackdown on protest rights.

The official statement from the university was that it stood with the council in the ‘Disgust’ it had for protesters who ‘Turned a peaceful protest into a violent ending where police officers were injured, property damaged, and our city in the headlines for all the wrong reasons.’

This response, in their eyes, lacks serious consideration for the reality of those protests. As Charlie puts it, the university failed to acknowledge that ‘The police were the ones who instigated it and who were battering the attendees much more than any harm given to the police officers.’

This claim is given weight by the government inquiry into the police's actions which

found evidence of not only the excessive use of force, but also of the inability for the police force to distinguish from violent and peaceful protestors.

This confusion lead to medics and legal observers being amongst the 62 people that were injured during the demonstrations.

Regarding student activism, Charlie said: ‘There’s groups out there for whatever you care about — there’s climate groups, there’s racial justice groups, there’s disability justice groups.’

Emphasising the importance of being vocal about injustice, he said ‘We are proving a point that we will fight for what we believe in, and we aren’t going to achieve these goals without fighting for change’.

With a disillusioned younger generation and a government determined to create barriers — like limiting the right to protest — for individuals who want to engage in activism, it is clear to see why groups like SAB and XRYB are gaining such traction. The work of young people like Zac, Charlie and the members of student action Bristol emphasise the importance of collective action and prompt our current — and future — leaders to consider how we can make our society fairer and more equitable.

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epigram 01.02.24

‘I didn’t necessarily feel there were many people like me’ | Rebuilding a lesbian community in Bristol Imogen Rance examines how lesbians are cultivating a community in Bristol.

Imogen Rance Proofreader

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ristol has a long history of lesbian communities and spaces, yet in 2024 you’d have difficulty locating any dedicated lesbian venues in the UK, let alone in Bristol itself.

Faced with dwindling opportunities to meet other lesbians in person, how do students experience and explore their sexuality in Bristol, do they feel the city still has a lesbian scene, and is such a concept still important to them?

Outstories, Bristol’s LGBTQ+ history group, has recorded the existence of various lesbian pubs and clubs throughout the city’s history. Chantelle’s on Whiteladies Road operated as a small lesbian club from around 1977 to 1982 and The Scarlet Coat was a lesbian club on Union Street, open between 1984 and 1990.

A weekly women’s only disco night is also recorded at Roxy’s, an otherwise straight club on Fairfax Street which ran in the early 1980s. Regarding this night, Outstories writes ‘Although the majority who went were lesbians, straight women went too as it was somewhere they could have a dance without being pestered.’

The lesbian scene in Bristol has certainly changed.

While other LGBTQ+ bars and nightclubs such as OMG and Queenshilling exist today, no lesbian pubs or clubs remain in the city. There is an LGBTQ+ society at the University of Bristol, but no specific society for lesbian students.

To g a sense of individual student perspectives, Epigram spoke to Saskia, a lesbian and third-year English and History student, who described her expectations of the lesbian scene at Bristol prior to arriving at university: ‘I think I expected there to be more of a community at the university, or at least that I would find one straight away. I came from having lots of queer and lesbian friends at home, and it was a bit of a culture shock.’

She recalls ‘finding it difficult in the beginning to feel

had “part of” the queer commu- versity nity at Bristol because it was c o n t r i b u t e d one that still very much cen- to her sense lesbian tred around men. I remember of feeling lonely on nights out identity, Sasbecause my friends would find kia said, ‘I’m men to “get with”, meaning I very grateful was often stranded in fresh- that I do a huer’s week, feeling out of place. manities de‘I’ve often also struggled with gree, because a fear of feeling “predatory” q u e e r n e s s discussed around other women, which is held me back in social and openly withnight-out settings and prob- in the literaably was part of the reason I ture and hisavoided clubbing in first year.’ tory I study.

‘I have foIt is clear that while there are my some spaces and communities cused toopen to lesbian students, they studies do not necessarily provide the wards queerenvironment or support stu- ness anyway, dents are seeking. Phoebe, as it’s a lens a lesbian and third year Film that has always interested me, and Television student, had a so in part it’s been my shapsimilar ex'It did feel like a lot of ing of my course p e r i e n c e social events, especially rather than the in her first in freshers week, were course itself that has done this. few weeks heavily dominated by ‘For example, at universithe straight scene' I chose to write ty.

Speakabout queerness ing to Epas monstrosity in Sheridan Le igram, she said: ‘It did feel like a lot of social Fanu’s Carmilla, last year, a events, especially in fresher’s novel that wasn’t actually on week, were heavily dominated the reading list. […] To be honby the straight “scene”. I had est, I think it would be hard to my own personal development avoid queerness on our course, to do now that I was final- but as a lesbian it’s something ly in a city where I could ex- that always frames my perplore my identity, but I didn’t spective of life, so of course it really have any queer expe- affects my academic interests.’ riences or discussions until I Phoebe concurs: ‘I've met had found other queer people quite a lot of other queer peoand friends to hang out with. ple who are on my course, so ‘It was difficult trying to it has definitely helped me explore, at times, because I personally with my identity, didn’t necessarily feel there finally being able to interwere many people like me.’ act with other queer people Despite the lack of a spe- and lesbians within a workcific lesbian community, both space and a social scene.

Phoebe and Saskia have found ‘I felt able to express idesolidarity in other ways. When as with my film work from asked if her course at the uni- the perspective of a lesbi-

an and felt heard and, more not necessarily fully lesbian importantly, understood.’ but is definitely queer. It’s It is worth noting the corre- taken time, and mostly I’ve lation between evolving con- found queer friends through cepts around identity and the TWSS [That’s What She changing landscape of the les- Said, UoB’s feminist magabian scene. Lesbian dedicated zine], and film society, rather spaces have significantly di- than any of the LGBT socials. minished over the last couple ‘I went to a couple in first of decades in Bristol and across year and didn’t feel like I fitthe country, but ted in […]

Recently events recently events [though] I’m catering to lesbians, catering to lesat a place non-binary people bians, non-biwith my sexnary people uality where and trans people and trans peoI don’t have have made something ple have made to rely as of a resurgence. something of a much on resurgence. In the summer having lesbian friends to feel of 2022, Bristol Butch Bar comfortable in my lesbianism. emerged, offering a hub for The lesbian scene has also the butch community in Bris- grown in my time at Bristol, tol. They welcome butch les- especially with Misscoteque.’ bians, non-binary people and Saskia notes she needs a lot trans people and meet on the of ‘queer energy’ to feel comlast Tuesday of every month. fortable in her friendships, a Misscoteque, too, is a lesbian perspective Phoebe agrees club night established in March with: ‘I do find it important to 2020 by Bristol alumni Georgia be around other queer people.

Dimore-Miles and Amaia Em- They don’t necessarily have to merson during their time as identify as lesbians, but being students. Their events are in- with other queer people has spired by the lesbian discos of been crucial for me in expressthe 80s and are open to queer ing my feelings about my own women, non-binary and trans identity and my relationship. people. After a quiet period in ‘It does often feel, although the latter part of 2023, Miss- accepted, that straight people coteque’s return this year, don’t always understand my recently announced on Ins- relationship and my identity.’ tagram, is highly anticipated.

Community is still imThese events represent the portant to lesbian students foundations of a new lesbi- at Bristol today. However, an scene that has evolved to changing ideas about identiaccommodate contemporary ty, sexuality and gender exideas around sexuality and pression have necessitated gender expression, regener- the creation of more inclusive ating a community in need spaces. Bristol, it seems, is of solidarity and safe spaces. slowly rebuilding the lesbian On finding a sense of com- scene that its students need.

Images courtesy of Unsplash munity, Saskia notes, ‘I have found a community that is

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epigram 01.02.24

In conversation with The Grieving Pint: the charity working to destigmatise men's mental health Seth Morgan speaks to The Grieving Pint to learn about their aims and ambitions for the future.

Seth Morgan Second Year, Politics

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n England and Wales, three in four suicides are males.

Epigram spoke to University of Bristol student Ben Mason, founder of the men’s mental health charity The Grieving Pint, about how his organisation encourages and supports young men to speak about their mental health.

The Grieving Pint provides bi-weekly sessions at independent pubs. It aims to de-stigmatise the idea of young men sharing their feelings by creating a relaxed, safe space in which individuals can feel comfortable in discussing their mental health. It also facilitates social, responsible drinking as an alternative to unsafe drinking practices.

Initially launched in Bristol, The Grieving Pint now has

branches in Bath, Exeter and Swansea. Ben hopes to establish the sessions in Newcastle, Leeds, Nottingham, Edinburgh and Manchester by the end of the 2024 academic year.

Ben told Epigram that following the loss of his mother in February 2022, ‘The only time I would speak about the nature of my headspace was over a beer. That formed a concept for me, because having a drink is great, and opens you up a bit, so I put those ideas together.’

This first materialised in April 2023, when The Grieving Pint held its first session with around 40 attendees.

Now established in major cities with plans for further expansion, it has since fulfilled and surpassed Ben’s initial goal of wanting ‘One conversation, one person helped.’

Epigram asked Ben whether he felt that the Grieving Pint was reflective of the inadequacy of the University of Bristol’s mental health services.

Although he recognised that traditional channels — such as those provided by the Univer-

sity — work for some people, here or there so people see his personal experience with it daily and know that there university services left him are non-judgemental placfeeling ‘Insecure, confused es for them to feel safe, talk and uneasy.’ He emphasised about what they’re feeling that some people need a more and build support systems.’

It is this stigmatisation informal, social approach.

The men’s mental health that The Grieving Pint seeks charity, HUMEN, ranks the Uni- to challenge, aiming to norversity of Bristol at 68 out of 80 malise the idea of men distop UK universities for student cussing their mental health.

Ben doesn’t place impormental health and scores their service provision as ‘Very poor.’ tance on the number of people Speaking to Epigram, Joce- attending the sessions, saylyn Wong — Welfare Officer for ing that ‘The whole concept the Student Union Wellbeing is consistency. The Grieving Network — said she thought Pint’s job is to make sure we that specific support for men’s provide a service, bi-weekmental health ‘Is actually quite ly, at the stated location. lacking.’ While noting that the Whether people turn up or university’s wellbeing services not, that’s not in our scope.’

Part of the importance of The are intended to be broadly inclusive, she added that there Grieving Pint lies in its very existis nothing ‘Specifically directed ence; it’s there if people want it.

Alongside having an enjoyaat men’s mental health, which I believe there should be.’ ble time at the pub, The sesDiscussing what more could sions provide a familiar, welbe done by the university to coming environment where support men experiencing poor men feel comfortable enough mental health, she highlighted to confide in one another. the need to ‘Raise awareness There is no pressure to talk and de-stigmatise men’s men- about mental health. Rather, tal health. Even just a poster Ben says ‘It might be that only

10 percent of the time people are talking about the problems they’re facing. The point is, The Grieving Pint is there to facilitate that conversation, even if it doesn’t dominate the time.’

The Grieving Pint also acknowledges the issue of young men using alcohol as a coping mechanism. For Ben, The Grieving Pint is ‘Promoting collective and responsible drinking, countering young men drinking alone.’ He stresses that drinking alcohol is not a prerequisite to partaking in the sessions: ‘The beauty of the name is that you can have a pint of water, you can have a pint of lemonade.’

Promoting socialisation, de-stigmatisation and responsible drinking practices, The Grieving Pint provides an environment in which men can better understand their own mental health, and that of others.

If you or anyone you know are struggling with their mental health, please access support via the University’s Student Health Services, Bristol Nightlines non-advisory listening service, The Grieving Pint and the Mind website.

Inaccessibility in university sport: the eco nomic realities of joining a sports society Jess Cohen explores the financial costs of playing sport at university and the resulting barriers to participation.

Jess Cohen Second Year, Sociology

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articipating in sport offers individuals a sense of purpose and is a great way to take a break from the stresses of daily life.

Physical activity can leave you feeling happier, more relaxed and less anxious, whilst creating opportunities to meet like-minded people. Being held accountable by a friend or not wanting to let your team down can also be a great motivator to show up. So, what better way to benefit oneself both physically and socially, than through a sports society?

However, as easy as joining one of the many sports teams on offer at the University of Bristol may sound, it is not always a viable option for all students. Inaccessibility and elitism within the domain

of university sport can be caused by a range of factors, most notably, because of the costs and expenses involved.

Generally speaking, sports involvement, both as a participant or as a spectator, requires the possession of disposable income. Some sports are notoriously expensive and therefore particularly exclusive. Rugby, for example, is considered a ‘posh’ sport because of its high costs and traditional associations with prestigious institutions.

The majority of players in Rugby Union’s Premiership went to fee-paying schools, as did more than a third of those playing county cricket. With joining fees for most sports societies exceeding £100, becoming a member is simply not financially viable for some students.

Arguably, this paradox first comes to light through school inequalities; whilst wealthy private schools may be able to invest in specialist coaches, facilities and equipment,

this is often not feasible in state schools, where insufficient funds may lead to fewer sporting opportunities for students.

The education watchdog, Ofsted, has warned state schools that the competitive sport they offer is ‘average at best,’ hence why so many private schools continue to ‘dominate at an elite level.’ Furthermore, data shows that independent school pupils in the UK do almost triple the number of sports compared to students at state schools.

One third-year English student, who wished to remain anonymous, explained that ‘As a person who went to a state school, sports like hockey and lacrosse weren’t even taught, which are the sports that are very popular here in Bristol. I never had the chance to play them at school.’

Considering that the standard of sports education can vary so greatly depending on the facilities and resources available at given schools, students inevitably arrive at university with differing levels of experience

and expertise in particular sports. Telegraph Sport’s research has revealed that, with the exception of the European Championship-winning women’s football team, ‘National squads in major team sports have a far greater proportion of players who came through the independent sector than state schools, despite only seven per cent of the population being privately educated.’

From the offset, it appears that the students who went to schools with esteemed sports teams and received elite level coaching may be more likely to be selected for the university squad. As a result, students who went to state-schools may see certain sports societies as intimidating environments, dominated by already steadfast friendships and cliques.

Even though university clubs and sports teams can provide a space for some students to develop positive relationships and establish friendships, finances may hamper participation among those with

less money to spend. For instance, membership prices for joining one of the men’s rugby teams can range from £195 to £315, with these costs excluding the extra expenses of kit and equipment.

The Bristol SU has introduced the Activity Hardship Fund, an £150 grant, supporting students with funding for society joining fees, trips and other costs that can be prohibitively expensive. National organisations such as England Hockey have introduced the National State School Festival; ‘An important step in broadening access to players from all backgrounds.’ The ultimate goal here is that hockey will eventually represent a more inclusive and diverse body of players, coming from a variety of socioeconomic backgrounds.

• For the rest of this article, please visit: www.epigram. org.uk

Artwork by Miranda Mercer, Third Year, Veterinary Medicine

Wit & Wisdom

Graduate Corner Journalist Catherine Shuttleworth talks to Epigram about working for The Independent, finding your niche as a writer and why you don't need LinkedIn to network.

Isabel Williams Arts Co-Deputy Editor

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hen Politics and Sociology student Catherine Shuttleworth pitched her first ar-

ticle at age 15, she wasn’t expecting it to lead her to a career in journalism.

‘I’d always loved writing stories and stuff,’ she tells me during our Zoom call, ‘I used to want to be Katy Perry. When I was a kid I used to write shitty songs and be like, ‘‘I’m gonna be a pop star.’’ Her first pitch was made to an online, independent publication called Gurls Talk, set up by British-Ghanian supermodel Adwoa Aboah, whose advert Catherine’s mum had spotted online. ‘So I sent off an email being like, ‘‘I want to write about bisexuality,’’ because

that’s how I identified at the time,’ Catherine explains. ‘I want[ed] to write about how I feel like it’s met with quite a lot of hesitancy and I think a lot of people don’t see it as an identity. Then it got accepted, and I was 15 years old and I was like, ‘‘Fuck,’’ like, ‘‘oh my God, this is something I can do.’’

Her first paid gig was an article for a publication called Blogosphere, which covered trends and news in the world of YouTube influencers. The publication paid her £150 for the article. ‘I remember just jumping up and down, like that was the most money in the world for me.’ Looking back on the moment now, she confesses, ‘I was really glad that I started when I did, because I’d nev-

er accept something for that money now,’ referring to the pay as ‘disgusting’ considering the amount of effort that goes into crafting an article, whilst admitting it to be a very normal sum for starter rates. ‘But obviously I was a teenager; I was living at home, so I could afford to take not-very-wellpaying jobs that were going to give me bylines. Because a lot of the time you’ll find that, with pitches and editors, they’ll say, ‘‘We just want to see what you can do in your name.’’ It’s not about where you’ve been published; it’s about what you’ve been writing, but you have to be able to show that.’

It is this genuine enthusiasm for writing that has remained integral to Catherine’s work

as a journalist. A quick look at her Linktree on Instagram reveals a wide variety of articles covering fashion trends, feminism, political conflicts, mental health, LGBT+ rights and a range of artistic topics, all subjects very close to the writer’s heart. She tells me that she thinks personal subjects such as mental health and cultural issues’ were her initial niche, but that she has moved away from these topics more recently. Many of her early articles were opinion pieces relating to her experience as a young person with an eating disorder, and whilst this helped her to develop her writing and establish herself, she realised that she was ‘selling parts of a very vulnerable story – that wasn’t even entirely over at that point – because I wanted my name out there and that’s what publications were going to pay me for.’ She illustrates the potentially problematic nature of this with the story of another writer’s article, which had gone viral on Twitter a few years ago.

• For the rest of this article please go to www.epigram. org.uk

THE EPIGRAFT Epigram's blind date series returns, exclusive to print!

This month...

Tanya meets Corin

What do you study?

English

What do you study?

Bioinformatics MSc

First impressions?

On time, friendly, intelligent.

First impressions?

Quiet, but very sweet and friendly.

Any highlights?

I had never been to the Highbury Vaults before and really liked it there.

Any highlights?

Discussing and proposing a mayonnaise base pizza at Domino's.

Describe your date in three words.

Chatty, casual, interesting.

Any awkward moments?

He spilt a glass of water on me hahaha.

Second date?

We both agreed that we didn't see it going anywhere but he was nice and it was fun to go on a blind date.

Describe your date in three words.

Exciting, fun, interesting.

Any awkward moments?

I knocked over a pint of water and some went on her.

Second date?

We decided against it.

Arts

Editor Rachel Bronnert Co-Deputy Editor Ella Carroll Co-Deputy Editor Isabel Williams Digital Editor Phoebe Caine

Spotlight: student artist Neve Husaini Patrick Clarke interviews Neve Husaini about her art and her creative journey.

Patrick Clarke Second Year, Politics and Spanish

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eve Husaini is a young and exciting artist and student whose art has been growing over recent years. Her visually delectable pieces focus on nature, highlighting her passion for the environment and all semantics of beauty. I spoke to Neve from her home in Southwest London where she was spending the Christmas holidays, halting one of her many painting sessions so I can ask her a few questions.

P: I suppose we should start with the most obvious, could you tell us a bit about yourself and your art?

N: Hey! I’m Neve, I’m a 20 year old Spanish and French student at the University of Bristol from South West London. I’ve been painting for about 10 years now and mainly focus on landscapes with oils.

P: What first got you into this type of art?

N: I started painting primarily in oils in lockdown when we were sent home from school, the days felt really long, and it was also 30 degrees here in London which was quite oppressive and difficult for peo-

ple who didn’t have gardens. I started to really get obsessed with the parks and enclosed spaces in London which we were allowed to go out and exercise in, which became really important for Londoners.

A particular one I just loved was Isabella Plantations inside Richmond Park, which in April and May has the most amazing pink and purple azaleas and rhododendrons. When the rules loosened a little, I would spend hours day every day which inspired a lot of my oil landscapes and pushed me into this type of art.

P: I know you’ve had several exhibitions now, could you tell us a bit about them?

N: When I was in year thirteen, I was still painting all of the landscapes from lockdown and my art teacher was trying to push me away from it, she thought they were basic and boring and didn’t show enough creativity or innovation and I basically said no, I was just so obsessed with beauty within art and at that point in my life, post lockdown, only wanted to focus on beautiful things. Then one day, the art technician, who was an artist outside of school, saw my final pieces all of which were landscapes from Isabella Plantations and thought they were lovely. She showed

them to the woman where her art is exhibited and was introduced to Elizabeth, who runs the Prince and Pilgrim in Richmond, whom I have been painting for ever since.

P: What was your most recent exhibition about and what inspired you to paint this?

N: It’s the winter collection at the Prince and Pilgrim in Richmond (which is ongoing), the pieces are mainly inspired by wild swimming. I’m a member of the society at university and I’ve been painting scenes from our many escapades which has been nice as it’s been a much more personal relationship with my painting as they’re scenes which are in my memory. For me, painting a memory treats the memory with much more care and love than just having it in my mind, it solidifies the memories.

P: Aside from all things beautiful, any inspirations in your art in general?

N: I am very much ‘art for art’s sake’, sometimes I feel like the only person my age I know who will paint a landscape for its beauty and call it a day. I think as modern artists you’re really pushed away from just painting beauty because it’s seen as shallow, superficial and maybe even a bit kitsch, but I don’t think I’ll ever get bored of painting nature and beautiful things.

If someone wanted to understand your art in one piece, which would you sug-

Images courtesy of Patrick Clarke

gest they look at?

The piece which solidified my style and seemed to grab a lot of attention on a commercial level would be the scene of the pink and purple flowers in Richmond Park. I guess I’d just call it ‘Isabella Plantations’.

And finally, could you offer some advice for if someone were to read this wanted to follow in your footsteps and start growing their art.

• For the rest of this article, please go to www.epigram. org.uk. You can see more of Neve’s art @neve.husaini.art on Instagram and her recent exhibitions at www.princeandpilgrim.com or in person at Prince and Pilgrim in Richmond, London.

Finding artistic inspiration at home Annie McNamee gives an insight into her home city of Glasgow, and how to see the art in your own hometown.

Annie McNamee Features Digital Editor

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niversity is time-consuming. Keeping up with seminars, readings, essays, and lectures whilst attempting to eat some food and maybe shower every day is a more impressive balancing act than tight-roping above New York City. So, naturally, extracurricular hobbies often fall from our priority lists. For me, the idea of writing for purposes beyond explaining the use of religious imagery in nineteenth-century poetry becomes but a dream,

a vague light at the end of a Wordsworth-shaped tunnel.

And that tunnel is where I stay, at least during term time.

Bristol may be known for its colourful houses and street art, but being a busy student does not lend itself to creativity. It’s hard to relax enough to do anything except worry about the fact you’re not being productive, let alone take enough time to create something good. Because of this, all of the work I’m the proudest of is made when I’m at home.

The first time I came home from uni I remember feeling as though my entire life there had been a dream. Hiatt Baker evaporated into a hazy idea.

It was just a story to tell. And yet, home was different. Walking down my street I could tell that something had changed,

I just didn’t know what. All the houses looked the same, all the same people lived in them, and my brother still walked home from school with the same friends. The feeling was strange, and so of course I immediately began to write.

Art is usually just a thing that we do to make sense of our awful, bizarre world. Returning to a place you used to know intimately as an outsider is an awful, bizarre feeling, so it makes sense that it would be inspiring. Plus, returning home for me means coming back to Glasgow; the closest thing I’ve ever had to a muse.

Glasgow is a city most people at Bristol know very little about. I have sincerely been asked if I pay international fees, or if we ‘have Sainsbury’s up there.’ Down south, it’s not

thought of much, and when it is, it tends to be conflated with drug abuse and knife crime. You’re all missing out.

Glasgow’s character as a city is unique. It is harsh but caring, it breathes in rain and music; it has the best £7 pasta dish in the country and I’m willing to bet good money on that. I’d like to say that there’s just something ineffable about Glasgow specifically – that anyone who finds themself strolling along the Clyde or rejecting a high five from a cheerful drunken man would immediately feel the magic and hail it as a creative paradise ­– but unfortunately, I am told this is not the case. To most people, it’s just another place in another country they’ve never visited. What makes it so special is probably not carved

into the sandstone walls, but what happened inside them.

It’s hard to get this point across without sounding like the inside of a 50p Clinton’s Valentine's Day card.

I ask you to indulge me for a moment without prejudice as if we were both middle-aged wine mums.

Going home drives inspiration because it allows us to easily understand how much we’ve changed. Walking into your bedroom, unaltered since you were sixteen, and cringing only proves that you have lived since then. Nostalgia, which I believe to be a form of cruel and unusual punishment from the brain, reframes old memories.

• For the rest of this article, please go to www.epigram. org.uk

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Pursuing an arts degree as a First-Gen student As a first generation student, Caitlin Atkins reflects on their Arts degree and the importance of valuing it.

Caitlin Atkins Third Year, English

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ursuing arts wasn’t always set in stone for me; I very nearly went into life sciences. STEM is presented to us as the sensible choice, with job opportunities, post-graduate funding, and the guillotine hanging over our heads – money. Ever since deciding I wanted to study English, I’ve had jokes thrown at me about becoming a teacher, or a librarian, or just being unemployed. I get it still, even in my final year, even when I love what I study. From

friends, family, strangers – anyone who hears my degree title. Arts is simply not seen as value for money, and this put a lot of pressure on me as a teenager. I’m a first-generation student and university wasn’t an assumed path for my life. It was a financial decision I had to articulately defend, and studying Arts, specifically, has made it one I’ve had to keep defending.

Despite this, I’ve never regretted it. When I initially arrived at university and realised English fell under the Faculty of Arts, my instinctive reaction was outrage. Surely humanities – good, sensible, traditional studies – surely, they deserved their own faculty?

Not STEM, but not Art either.

Somewhere in-between. Art wasn’t going to get me hired.

I believe this says more about the reputation Arts subjects have than my own feelings;

you only need to see what our government thinks of ‘rip-off’ degrees. As I’ve gone through my degree, and met a wonderful kaleidoscope of artists, I’ve embraced being part of the faculty. I’m proud to study an Arts degree and I feel it has offered me far more than the years of school-style memorisation and examinations my STEM friends trudge through, all for the job prospects at the end. Stepping back from the economics we are so frequently fed when considering our futures, Arts studies force you to evaluate our society, and I have learnt so much about my personal values, and continue to be challenged every week.

Studying art is really about studying people; their motivations, their desires, their principles. It’s about questioning origins and cross-examining stories. It’s not about truth or fact, and in reality, our so-

ciety very rarely plays by the rules of truth and fact. #FAKENEWS. You get to university, and you’ve suddenly found yourself an adult, in a society that expects things from you, that you don’t know how to do.

And you’re surrounded by other adults, who also don’t really know what they’re doing, in a place where everyone wants to change things for the better, but no one can agree on what “better” looks like. You have to take everything with a pinch of salt, and no one has the answers you’re looking for.

But studying Arts offers you a way to navigate that madness.

It teaches you how to think for yourself, how to debate, how to take being told that your opinion is weak, how to articulate your thoughts, how to prove your opinion is worthy. How to understand and connect with the most basic, ancient forms of human ex-

pression. I don’t agree with the way education is given a monetary value – as if learning how to be a functioning, well-rounded human being has a price – but to anyone shrinking at the huge financial investment that university is, especially if you don’t have support from home, I would say that it’s worth it.

Graduate prospects aren’t nearly as bleak as the jokes would have you believe.

Equally, they’re rarely as specialised as STEM opportunities are, but that doesn't stop you from finding your way in the world. University is the first couple of centimetres on the tip of the iceberg that is adult life, and studying Arts not only has allowed me to pursue my passions, but has prepared me for the world in ways I would never have expected.

The art of protest: exploring art and activism Ella Carroll reflects on the connection between art and activism, analysing how art is used as a form of activism in Bristol.

Ella Carroll Arts Co-Deputy Editor

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ristol is perhaps one of the most politically active cities in all of the southwest and it also happens to be home to some of the most creative and artistic people too. These two factors combined, result in a plethora of protests taking place throughout the city every year and each one is ornamented by various artistic displays of all kinds: creative posters and signs, performance art and chants and music. What each protest demonstrates, therefore, is how art is a method by which protest can be done intellectual, tactful, and emotive way.

This method of protest is certainly not unique to Bristol, however. Throughout history, art has long been used as an effective, stirring form of protest. There are numerous instances from decades passed where art has been used as a tool to raise awareness about certain issues or to enhance the act of protesting. The AIDS Memorial quilt, made in 1987, is a classic example of this. The massive, panelled quilt contained almost 50,000 fabric squares to memorialise each victim of

the AIDS crisis, and it sought to not only acknowledge those who had lost their lives but to illuminate the insensitive and shambolic way in which their government dealt with the crisis. From this, it is evident that art can be an emotive technique used to protest injustices. But in Bristol more specifically, art has long been used as a means of social commentary. Banksy’s various graffiti pieces which one can see dotted across the city, are perhaps the most famous example of Bristol art. In his works, Banksy highlights various social injustices and inequalities in an evocative way and the very nature of his art – the fact that it is technically illegal ¬¬– is what makes it, by nature, a form of protest. Furthermore, the streets of Bristol are embellished with various murals and works of graffiti, which serve a similar purpose. But in physical protests more specifically, Bristol seems to have a wealth of talented artists who

Images courtesy of Chloe Simpson via Unsplash & Ella Carroll

use their skills to help whatever cause they are supporting.

I have fond memories of the first protest I ever attended in the city and the various creative hand-painted posters and banners which proud students held. Performance art, music and chants are also techniques which are utilised to create a communal and spirited atmosphere. Indeed, art of all forms seems to be a witty and creative medium through which protesters can express discontent and it is an eye-catching method too. Not only is good art noticeable at a protest, which means photographs are taken and the issue is given more publicity on social media and local news, but also it humanises the protesters, showing them to be interesting and talented individuals who possess opinions that matter. It is this human element that is perhaps what makes art such an effective medium of protest. In times of crisis

and distress, art reminds us that humans continue to persevere, and creativity can still flourish, even in lessthan-ideal conditions. Whether it be dance, music, banners, or works in a gallery, art is a unifying force that drives rebellion and forces us to call into question societal norms.

Film & TV

Editor Arron Kennon Co-Deputy Editor Lauren Durose Co-Deputy Editor Sofia Webster Digital Editor Sienna Thompson Subeditor Victor Bennett

Narratives of resistance: A celebration of Palestinian Cinema An exploration of invaluable Palestinian voices in light of the Arnolfini cancellation of Palestine Film Festival events.

George Dean Proofreader

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hroughout the ongoing genocide in Gaza, there has been prevalent anti-Palestinian bias in the Western media, recently emphasised in December 2023 by OpenDemocracy’s media research study on BBC reporting, which has proven that 'Palestinian perspectives were given far less time and legitimacy' than Israeli perspectives.

In a similar vein, there has been widespread censorship and suppression of Palestinian/Palestine-sympathising creatives. This has been evidenced here in Bristol by the Arnolfini gallery, which in November 2023 removed two events set to be part of the Palestine Film Festival, including a screening of Farha (2021) and a poetry reading led by activist and rapper Lowkey, whose songs include critiques of Israeli occupation and apartheid.

In light of these trends, it is more vital than ever before to shine a light on Palestinian art forms; film is an area with rich creative offerings and has proven a compelling way to present narratives of Pales-

tinian struggle and resistance.

They Do Not Exist (1974), directed by Mustafa Abu Ali, is available on YouTube and is a righteous call to Palestinian resistance. Ali established the film division of the Palestine Liberation Organisation (PLO), and has been heralded as the ‘founding father’ of Palestinian cinema.

In this film, he blends documentary and fiction to astounding effect. The opening shots depict ordinary life – children playing, women at food stalls, men drinking coffee.

This is intertwined with footage of Fida'e revolutionaries, during which the Palestine resistance song 'Fedayee' is played.

Included is coverage of a fatal Israeli air raid against Nabatieh refugee camp, 16th May 1974. There is a sense of cruel irony as harmonious classical music is played over a scene of Israeli fighter jets being loaded with bombs.

Ali draws attention to the rhetoric of Israeli political leaders, which makes for haunting parallels to statements of genocidal intent since October 7th which South Africa referred to in their case to the International Court of Justice (ICJ). A pertinent example was from Golda Meir (Prime Minister 1969-74): 'Palestinians!!! whom they are..?? they never EXIST.' During the attack, a quarter of Nabatieh camps were razed – a speech by a member of the Palestinian resist-

Armistice Day March 2023 // Courtesy of Arron Kennon

ance outlined that these 'barbaric raids against refugee camps' revealed the 'fascist mentality of the Zionist leaders in Israel' and 'prove[s] the intentions of genocide.'

Ali effectively demonstrates how sustained violent oppression inevitably foments anger and desperation, thus creating the conditions for armed resistance: the final shot depicts a man sitting pensively, wearing a keffiyeh, plagued by traumatic visions of violent conflict.

The Tale of the Three Lost Jewels (1995), directed by Michel Khleifi, is also accessible on YouTube and harnesses magical realism to explore how two Palestinian children attempt to construct a viable youth during the First Intifada (1987-93), in which Palestinian resistance to Is-

It Must Be Heaven (2019)

It Must Be Heaven (2019), directed by Elia Suleiman, explores the psychological experiences of Palestinian diaspora, through deadpan and surrealist dark comedy. The

The Tale of the Three Lost Jewels (1995) raeli military occupation was met with brutal and disproportionate countermeasures.

The film is centered around a dreamy, gentle young boy named Yusef, whose father has been imprisoned and whose brother is on the run.

He becomes infatuated with a 'Gypsy' girl named Aida, headstrong and enigmatic. Yusef and Aida develop a tender love for each other, centered around the inter-weaving of their vivid and expansive imaginations.

The picture of Palestine which Khleifi fosters is not only one of military occupation, checkpoints and curfews, but also the colour, warmth and joy which remain in the heart of Palestine.

protagonist is played by, and intimately based upon, Suleiman himself, giving the viewer an insight into the dark intricacies of his mind and self.

Seeking an escape from his home in Nazareth, he travels to Paris and New York. Both cities are near deserted, and under repressive military occupation and police surveillance.

Suleiman’s speech is minimal, meaning that a sense of quiet terror pervades throughout the film, thus exposing the blind indifference which frequently defines European and North American responses to Palestinian suffering.

Notably, there are meta mo-

ments which document Suleiman’s alienating experiences within the film industry and comedy is often thought-provokingly harnessed as a form of nonviolent resistance.

It Must Be Heaven is available to watch on BFI Player.

Farha (2021), directed by Darin J. Sallam, re-tells the horrifying events of Al-Nakba (the Catastrophe) through the eyes of a 14-year-old girl, Farha, whose dreams of being educated and opening a school for girls are quashed.

Between 1947 and 1949 during Al-Nakba, 700,000 Palestinians were violently displaced from their homes.

Harrowingly, the death toll of Palestinian civilians since October 7th has now surpassed 25,000, which exceeds the total death toll of Al-Nakba.

When their village is attacked, Farha’s father hides her in a storage room. She later sees a Palestinian family, including two young children and one baby, lined up on a wall and murdered in cold blood by Zionist militias.

The plot of Farha was based on a story that Sallam heard from one of her mother’s friends; Sallam has stated that whilst she did not deliberately attempt to do this, there are clear parallels to be drawn with Anne Frank.

Farha is available to stream on Netflix.

Film images courtesy of IMDb

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Anti–Ukrainian sentiment in Russian Cinema How has propaganda in film been utlised

by Russia in their campaign against Ukraine?

Mia Iseult Murray Second Year, Chemistry

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eeping through the underbelly of an unrestricted cinema that knows no bounds, is an endemic utilisation of film as a tool for propaganda. The gradual political corruption of art has made film a fickle courier of deliberate mis-information; a story is never just really a story. In the absence of originality, elements of bias, persuasion and promotion have flourished.

Coincidentally it would seem that those are the very connotations of propaganda. And as we universally accept, a coincidence is never just a coincidence, just as a story is never just a story.

A relationship built on subterfuge between politics and film has long been in existence, one with no expiration date. Film has mechanised the deliverance of mass propaganda enforced by governmental bodies throughout history – one must only look at Nazi Germany in the prelude and duration of WWII for a quote unquote 'masterclass' in the mass exposure to propaganda.

Prior to Hitler’s ascension to

leadership, the German film industry was a creative one, superfluous in the active participation of creative Jewish actors and film makers alike.

All that changed upon Nazi domination of the film industry. Jewish people were forbidden to work, and the 1933 institutionalisation of the Reich Ministry for Peoples Enlightenment and Propaganda dawned a new horizon for German cinema. A hijacking of industry saw film made the silent weapon. Subserving fascist and anti-Semitic ideology, so much so that cinema would never again be the same. A generation of around 1200 feature films were produced in the Third Reich; some 100 are blatantly consummate propaganda. Viet Harlan’s anti-Semitic Jud Süß (1940) and Hans Steinhoff's Hiltejunge Quex (1933) are examples of films used by the Nazi regime to rationalise and justify their crimes against humanity.

It would appear the present leadership in Russia have taken a page out this book. This February will mark two years since Russia’s invasion of the Ukraine. There is of course a long history of political tension between the two nations - that is not in dispute here.

The production of countless Russian films has, however, since the turn of the century attacked the Ukrainian nation,

romanticised war and glorified Russian military endeavours.

S i g n i f i c a n t l y, during the onset of the invasion a collective force of Ukrainian filmmakers demanded the global termination of Russian film screenings: ‘The boycott of Russia Cinema and culture is an attempt to cleanse the world of the propaganda of a terrorist state’ said Ukrainian filmmaker Nariman Aliev in 2022. (In the aftermath many prestigious film festivals did indeed cancel all screenings of Russian cinema.)

In 2000, the independent blockbuster Brother 2, directed by Aleksei Balabanov, was released. It since has become weaponised in the war against Ukraine.

The protagonist of the movie is a rebellious young Russian gangster and the villains of the film, morally corrupt American–Ukrainian mafia. The film struck a chord with Russian audiences, quotes from the film have become commonplace catchphrases. When Putin declared war, his words ‘the real strength lies in justice and truth’ is a para-phrasing of a line from this film – ‘where is

Solntsepyok (2021) // Courtesy of IMDb strength, brother? Strength is in truth.’ This specific quote was written onto a Russian army vehicle in March 2022.

The line has become an emblem for Russian patriotism and strength in war.

In 2021, Russian cinema saw the premiere of the feature film Solntsepyok, directed by Maksim Brius and Mikhail Vasserbaum. It’s important to mention the film's patron was none other than Yevgeny Priozohin, who was commonly known as ‘Putin’s Chef’, for being such a close confidante of Putin (before his eventual rebellion of course).

The film is semi-fictional. It takes place in 2014 and depicts the war between Russian separatists and Ukrainians in the Lugansk Peoples Republic following the Revolution of Dignity. It centres around the patriarch of a family as he

wrestles with resistance to war, before eventually succumbing and joining the pro-Russia separatists. The film is confusing, brutal and without factual accuracy. But when a film is more concerned with fashioning motivation for war - where would be the need for truth?

There is notable, defining instances of propaganda to deliver anti–Ukrainian sentiment. From ethnic caricatures of Ukrainian soldiers as right-wing skinheads, or to the Ukrainian army appearing to shell their own villages and in one rather vivid scene, raping women and injuring babies in senseless acts of violence.

Remarkably, the film was released just a year prior to Putin’s full-scale invasion of Ukraine.

Timing truly is a strange thing.

Or then again, perhaps just another coincidence.

The Holdovers: as poignant as it is hilarious

A modern classic from the mind of one of the great 21st century directors.

Sean Lawrenson Second Year, English Literature

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nyone who has been to the cinema in the last two months has almost certainly seen a trailer for Alexander Payne’s latest film, The Holdovers (2023). Whilst the voiceover and freeze frame shots suggest the film would just be another B-Movie comedy, it is so much more than that. Initially, I did what I imagine most people would, I laughed at the trailer for

its absurdity, but the film is quite beautiful, at times very poignant and above all else, extremely funny. It evokes the search for connection and purpose in Lost in Translation (2003), combined with the shattering emotion of Aftersun (2022), neatly wrapped up in the humour of Ferris Bueller’s Day Off (1986) The casting was an inspired choice. Paul Giamatti excels as Paul Hunham, the despised teacher of Ancient History at an American boarding school, filled with what he views as conniving, privileged kids born with a silver spoon firmly in their mouths. Giamatti manages to capture a complete, almost

Dickensian (think Scrooge if the spirits came in the form of a grieving dinner lady) transformation in character.

The interactions towards the film's conclusion between Hunham and Angus Gully (Dominic Sessa), the only ‘student holdover’, are some of the most heartwarming scenes I have seen in a cinema for a while; a stubborn adult who never had kids and a neglected child forming their own weird family.

Of course, the key to this weird home-fromhome is Mary Lamb, the aforementioned dinner lady.

Da’Vine Joy Randolph’s portrayal of Mary, deftly

balancing grieving with a desire to see people be happier, was by far the standout of the film.

Not only do I think it is the perfect film for winter (it is full of idyllic snow-filled shots of the New England landscape), but there is also a warmth that shines through so vividly.

A comedy that tries drama always has to earn those moments of seriousness. You cannot just go from slapstick humour of a chase scene around the halls of a prep school, to quite damning scenes about grief and abandonment, unless those scenes lay the groundwork for this to happen. The

underlying sense that no one is happy, and everyone is simply trying to make the most of it pulsates throughout the first half of the film, surrounded by the humour.

Everything that went into the film seemed to work perfectly.

From Payne’s direction, allowing the actors to embody their characters, to the performances themselves.

Even in the littlest details, such as Mary Lamb’s home furnishing, you can find aspects of joy and anguish.

The film will have you laughing, then sobbing, before then leaving with a smile and a solitary tear down your cheek.

Music

Editor Jake Paterson Co-Deputy Editor Benji Chapman Co-Deputy Editor Dylan McNally Digital Editor Cara Hene Subeditor Susie Long

The Bamboo Club: the iconic St Pauls venue we mustn't forget Hosting artists such as Bob Marley, John Holt and Desmond Dekker, The Bamboo Club in St Paul’s was one of the first venues in the UK to cater to a diverse audience.

Matilda Sunnercrantz Carter Third Year, Music

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ith its Carnival first being held in 1968, the neighborhood of St Paul’s in Bristol has been a multicultural hotspot for decades. With more than ninety-one languages spoken in the area and many stories to be told, the stories about The Bamboo Club seem to hold special significance in the community. In fact, St Paul’s Carnival used to start at The Bamboo Club before taking on the streets. In BBC Radio Bristol’s 2016 documentary Beautiful People: The Bamboo Club Story, we get an inBeing the first UK venue that sight on how the club came Bob Marley ever performed to be and countless wonderat, the club became one of ful anecdotes from people the “it” places to perform for who loved the club dearly. many Reggae, Bluebeat, Rock Founders Lalel and Tony steady and Ska icons such as Bullimore felt that there was John Holt, Desmond Dekker a need for a diverse and weland Jimmy Cliff to name a coming venue. few. Frankly, With Lalel being It truly became the a mindblowing Jamaican and heart of the Africanlist of names.

Tony being EngD e s m o n d Caribbean community, lish, they faced Dekker perwhilst also welcoming a lot of prejudice in a time whomever wanted to be formed at the club only three when interracial part of it. days after he relationships had been anwere frowned nounced as the first Jamaiupon. Despite the number can man to be number one of pubs and clubs scattered on Top of the Pops with his across the UK, these environ1969 superhit “Israelites”. The ments weren’t welcoming to club became all the rage and people of colour. With a big everyone was talking about it. dream to change that, Lalel They would also host nights and Tony took it upon themwhere local bands could perselves to create a safe space form, giving everyone an opfor the growing African-Caribportunity to gain recognition. bean community in Bristol. In a Yet it is important to note 2016 Interview by BBC Inside that The Bamboo Club wasn’t Out West, Lalel explains how only a place of performances she felt going to your average and dancing, it truly became English pub or club at the time: the heart of the African-Car'The treatment wasn’t nice. ibbean community, whilst also Because you’d walk in there welcoming whoever wanted to and no-one would talk to you, be part of it. The people cared they’d look at you strange, for the club, it was a place to so you weren’t comfortable, be free and appreciate eachoso you didn’t bother to go.' thers differences, whilst sharOn the 28th of October ing their love for music and the 1966 they opened The Bamcommunity. Tony explains how boo Club on 7 St Paul’s Street Bamboo wasn’t a place where

by Portland Square. This would they could make fortune. become the start of one of the 'When clubs were chargmost iconic and fundamental ing down in the Centre a parts of St Paul’s history today.

pound to go in, we were city in the attitudes towards charging five shillings. Our the club. With the Bristol Bus club was very much a soBoycott towards Omnibus in cial club for the community.' response to their refusal of Hosting annual Christmas employing people of colour parties, the club wasn’t only a happening only three years place for parties but a valuaearlier in 1963, Bristol was ble spot for families to gather. still deeply affected by racism In Michele Curtis’ 2016 article and segregation. At this time, A People’s History of St Paul’s you can understand how impublished by The Bristol Cable, portant The Bamboo Club’s we find that The Bamboo Club existence was to the commuhosted five bars including Carnity that cherished it dearly. ibbean restaurant, 'The Orange Whilst it’s important to note Grove' and The Cave Bar for that there’s still plenty of work dominoes and darts. Bamboo needed regarding these issues was also the headquarters of in Bristol today, what Lalel the Bristol West Indian Cricket and Tony achieved with the Club and their football team. club is a crucial chapter in the And last but not least they journey to dismantling racism housed theatre workshops for and segregation in the city. the community to engage in, The club soon grew to begiving everyone something to come a venue hosting anyone enjoy at The Bamboo Club. who held similar beliefs and 'The Club is a West Indian values as the artists that were club but is not solely for West known to perform at Bamboo.

Indians,' says In BBC’s Beautiful Tony Bullimore in People: The a BBC interview Bristol was still deeply Bamboo Club from the 60s. affected by racism and Story, it is exHowever it plained that segregation. wasn’t all that despite punk easy for The having a comBamboo Club. With the oppletely different sound to the pression and racism people of usual Bamboo sound, it as a colour faced in the UK during genre held the same drive, 60s and 70s, it was inevitable attitude and spirit. It was refor the club to endure some bel music with the same will challenging times. With police to empower the people and constantly circulating the club let their voices be heard. The and parents frantically calling iconic punk band Sex Pistols them to stop their kids from were booked to perform on attending the venue, there the 21st of December 1977, was a bit of a divide across the only a few days after trag-

edy would strike the club.

On the 19th of December 1977 The Bamboo Club would unfortunately face a tragic and abrupt end. After Lalel and Tony had left the club for the day they received a call with the heartbreaking news that the club was on fire. It completely burned down along with valuable photography of the artists that had performed at the venue, Tony’s personal collection of over 15 000 records and much more, leaving The Bamboo Clubs legacy in the hands of the people lucky enough to have experienced it.

The Bamboo Club was unfortunately never rebuilt. Therefore, these stories told by the many people who experienced The Bamboo Club are not only interesting to hear, but also what keeps the memory of the iconic club alive decades later.

I think it’s important that we keep telling these stories and learn about the fascinating history which lies within the cities we live in. Go ahead and support your local venues and cherish what makes Bristol so special. The city would simply not be the same without our rich culture. And if you ever pass 7 St. Paul Street, take a minute to spot the blue plaque honouring its legacy.

Images courtesy of The Bristol Post

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Moles Closure: what's next for the South West's grassroots venues?

Epigram investigates the closure of Bath's beloved grassroots venue Moles, and what this indicates for other venues in the South West.

Emma Laroche Third Year, History

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wo students meet eyes, both from opposite ends of the country, invigorated by the magic these walls encapsulated. An unknown Oasis almost being denied their performance by a reluctant Philip Andrews. A makeshift stage, barricaded by the managers from the jam-packed crowd there to catch a glimpse of The Cure.

A place to meet lovers, to propel your passion for music, to witness the beginning of The Smiths alongside 40 other audience members. After a blitz of increasing costs, economic uncertainty, and absolute lack of support…

Moles has closed its doors to its beloved community.

‘We are not the only grassroots music venue to close in the past year. Over 120 other venues have closed as well, which is over

15% of the sector. Places that mean as much to others as Moles means to us.’

Whilst its closure has caused ripples in national news, covered by the likes of TimeOut and BBC, Philip Andrews and Tom Madiccott situate the loss of their venue

dreams are going to come true but in reality you sink down into a dreadful sloth or else you run away screaming.’ The socio-economic crisis has been decades in the making; Philip purchasing the lot before the landlord transformed it into a block of flats.

Image courtesy of Moles

alongside a wider declining industry of grassroots venues all over the UK and in Bath.

He recounts how a hitchhiker warned him that ‘Bath is a kind of Alice in Wonderland kind of place where you think the streets are paved with gold and all your

In their statement, they grieve the enormous history and cultural bravado that was Moles.

Time and time again, the bands and artists the venue has hosted has, according to Time Out, earned it its ‘icon status’. Legendary acts

like Ed Sheeran, The Killers, Fat Boy Slim, Blur, and Radiohead have graced the stage with their presence.

Maddicott chuckled that the magic in these grassroots venues is unwittingly witnessing the next Oasis.

This history continued to make Moles the cultural nerve centre of Bath. Oscar and the Karma, the last band to perform in this iconic venue, professed that if they had known they were to be part of the last show at Moles, they would have revered its history, played something in its honour. It has always been ‘THE place to play’, their lead singer declares.

He remembered their first time on that stage, ‘Feeling blessed to have somewhere so historic, so rich with life beneath our feet’. Indeed, alongside its musical history, the venue recounts its importance to the community.

A success story has seen a petition saving The Snug in Atherton, Greater Manchester. The venue’s owners have benefitted from the Music Venue Trust’s ‘Own Our Properties’ plan, and have

now gained the support from creative industries minister John Whittingdale who claims to prioritise the UK’s vulnerable grassroots music venues. As of right now, there is no clear view of Moles’ future other than its closure, but its loyal supporters and the wider music community rallying behind the venue remain hopeful for its rescue.

As grassroots venues suffocate from impossible conditions, communities ask themselves what contributions can make a significant difference.

This is a structural crisis, one that demands governmental and legislative intervention.

At the same time, our university readers may refract the gaze onto ourselves and question our impact upon the independent music industry.

Bristol is an even larger hub of independent and grassroots venues and the recent influx of students throughout the past few years participate in the gentrification and commercialisation of local institutions. These historic and cultural venues pump blood into the cities you love and remain vital to their soul.

In conversation with Alabama 3 'Bristol always gets us in the f**king zone like, do you know what I mean?' Larry Love discusses Bristol, the new album, booze and more

Benji Chapman Co-Deputy Music Editor

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ithin 48 seconds of speaking to Larry, he's outpouring his love for Bristol. 'Bristol is a really wise musical city,' says Rob Spragg- better known by his stage name Larry Love.

His coarse Glaswegian accent squeezes out of the tiny speaker of the iPhone sat on my desk. Our chat, which was so suddenly energised with a love of the city, is briefly interrupted by a call from his son: I stare into space as I wait to hear back from him.

After assuring me his son is alright, and more swearing, Larry gets back into the topic of conversation we started earlier. 'Alabama 3 come from Brixton. Brixton's kind of really multicultural and Bristol's got the same- shall we say- tragedies and triumphs, you know what I mean. The Windrush generation and all

that, Caribbean culture has really influenced it.' Larry's doing a lot of the work for me here- I don't even have the mention it and he's letting known his love for the city, drawing a parallel between its heritage and the place of the band's inception in London. 'I find it a really bouncing city...

It's in the paving stones,' a place I imagine that was as receptive to the group's eclectic fusion of acid-house, techno and country music when it emerged in Brixton where they made their start.

Like the separate and diverse heritages that Larry discusses in the two locations, their co-habitual musical histories also come together to form something new which is excitingly fresh and distinct.

His music is inductively connected to the place of its creation, and meshes with Bristol in this sense. Larry recollects one of his first gigs in Bristol as a youngster, seeing Motörhead on the Bomber tour at St Pauls. Between details concerning the sound-system, he hazily calls back to a walk past Turbo Island before emerging in a pub run by a Rasta-

farian. 'I've got lost many a time in Bristol... Dangerous times and funky times.'

Larry's music may be something he self-designates as 'not to be taken too seriously,' but he's keenly aware of the cultural identities which constitute its existence. After telling me a story about the time he nearly got the band kicked off a US talk show, fooled by the innocence of the band's gospel preacher choir, for excessive smoking and boozing he switches to a more serious tone. 'We're kind of culturally re-appropriating

a lot of black music as well.

White musicians are asked to be very careful of that.'

I'm struck by how quickly Larry segues from joking to sincerity, but very tastefully he elaborates. "I've always been aware of it, basic racism in music. I love Elvis and all that but he just nicked off Big Boy Crudup and people like that, and that's always been the story. Same with Led Zeppelin ripping of the blues.

I started listening to the band, discovering them as most people do in their song 'Woke Up This Morning', bet-

ter known as the theme song of The Sopranos. 'In lockdown 18-24 year olds were really getting into it, and that's what's hard for me. The person who wrote the f**king song still bounces.' Larry's determination to get up on the stage with just as much energy as he had 28 years • For the unabridged interview please visit: www.epigram. org.uk

Image courtesy of Sonic PR.

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SciTech

Editor Dhristi Agarwal Deputy Editor Lucas Mockeridge Digital Editor Aarya Patil Sub Editor Will Kelly

Is spacetime an illusion?

SciTech explores mysteries of space and time, challenging conventional perceptions through the lens of quantum mechanics groundbreaking theoretical

Cali Stott Third Year , Mechanical and Electrical Engineering

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pace and time have long been considered fundamental, distinct when described by Newtonian physics and then united in Einstein’s theories of relativity in the early 20th century. Our comprehension of the world is grounded in the dimensions of space and time; we engage with a 3-dimensional reality and navigate our experiences with the concepts of past, present and future. Within science, these concepts have allowed us to render robust explanations of everything we experience at scales of a thousand times smaller than the nucleus of the atom to the size of the observable universe 15 billion light years across.

However, as quantum physics delves into infinitesimal scales, space and time begin to crumble and it is revealed that they may be nothing more than an evolutionarily handy perception of reality.

Image courtesy of Edward Sutton / Flickr The emergence of quantum mechanics stands as a turning point in dismantling the notions of space and time.

Coined “spooky” by Einstein, experiments like the double slit experiment and Heisenberg’s uncertainty principle introduced perplexing phenomena that left physicists mystified. The former showed that light behaved both as a wave and a particle and, most strikingly, that the act of observation itself transformed the behaviour from wave-like to particle-like. It was also revealed that at the quantum scale particles defy classical predictability and exhibit random behaviour (as seen in radioactive decay), unlike the bodies abiding by the rules of Newtonian physics (e.g. if you flip a coin and have all the necessary information about the mass, force, position, air resistance etc acting on the coin then you can predict the outcome with a certainty of 1).

The nature of these discoveries has prompted a philosophical re-evaluation amongst scientists. For decades a materialist view held sway – matter is the fundamental constituent, and therefore consciousness must have emerged from it. But recent discoveries challenge this consensus.

If electrons and photons can transform from an energy carrying wave into a particle upon observation, could our observation contribute to the very existence of the matter shaping our reality? This idea leads us to the notion of idealism, recently gaining traction amongst theoretical physicists and philosophers. It postulates that matter and the physical universe may just be just the way the one reality, made of consciousness, appears from the localized finite perspective of a human mind. Matter might just be part of the way reality appears; not what reality is.

Recent discoveries in theoreti-

cal physics further propel this shift, one example being the amplituhedron, a mathematical geometric structure introduced by Nima Arkani-Hamed in 2013 which dramatically simplifies the formulas for computing the probabilities of subatomic particles colliding and scattering in a variety of ways. “The degree of efficiency is mind-boggling,” said Jacob Bourjaily, a theoretical physicist at Harvard University who contributed to the development of the idea. “You can easily do, on paper, computations that were infeasible even with a computer before”.

The previous formulas, derived from Feynman diagrams, assumed physical processes which evolve locally in space and time, unlike the amplituhedron whose structure is removed from two principles integral to physics as described through spacetime; locality (the notion that particles can interact only from adjoining positions in space and time) and unitarity (probabilities of all possible outcomes of an interaction must add to 1).

The amplituhedron reveals deep symmetries hidden behind space-time by abandoning the assumption that they are fundamental, giving rise to the idea that there is a more fundamental structure from which spacetime is born.

Another notable discovery contributing to this notion is one which awarded Alain Aspect, John F. Clauser, and Anton Zeilinger the Nobel Prize in Physics in 2022. Their exper-

iments with entangled particles – particles which are able to affect the characteristics of each other despite being large distances apart – demonstrated violations of Bell inequalities, tests which distinguish quantum mechanics from classical theories with hidden variables. A handy explanation from Nobel Prize website: “Quantum mechanics’ entangled pairs can be compared to a machine that throws out balls of opposite colours in opposite directions. When Bob catches a ball and sees that it is black, he immediately knows that Alice has caught a white one.

In a theory that uses hidden variables, the balls had always contained hidden information about what colour to show.

However, quantum mechanics says that the balls were grey until someone looked at them, when one randomly turned white and the other black. Bell inequalities show that there are experiments that can differentiate between these cases. (This experiment) has proven that quantum mechanics’ description is correct.

The balls are grey, with no secret information, and chance determines which becomes black and which becomes white in an experiment.”

• For the rest of this article please go to www.epigram. org.uk

Consumer psychology and holiday shopping SciTech dissects the consumer psychology surrounding holiday gift-giving, exploring the multifaceted factors that shape perceptions of the "perfect gift."

Aisling Rawlinson Third Year, Geography

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s the holiday season draws to a close, and students return to Bristol, the question of “what did you get for Christmas?” will become commonplace once again. The idea of what constitutes a ‘good Christmas present’ is influenced by social and psychological factors concerning altruism, thoughtfulness, and monetary value. Re-

search has shown there exists a range of psychological factors that influence the act of gift-giving and the interpretation of the gift by the receiver.

Consumer psychology behind the desire to give and receive gifts particularly in the holiday period can shape our varying perceptions of what defines a ‘good gift’. As well as this, with the holiday shopping period starting earlier and lasting longer, it is increasingly important for businesses marketing strategies, which may in turn influence consumer psychology around this period.

Consumer behaviour and holiday shopping is influenced by psychological, cultural, social, and economic factors.

Gift-giving can create networks of social solidarity be-

tween friends and families, developing mutual obligations and the social norm of reciprocity. Christmas gifts are seen are largely reciprocal, gift-givers will often expect a gift in return, and if this expectation is not met relationships may become strained.

This leads to the worry of getting the ‘right gift’ and matching the monetary value of gifts received and given.

Therefore, the act of Christmas gifting becomes an interesting social and psychological phenomenon which serves to create feelings of social solidarity and the affirmation of relationships between friends and families. Christmas gifts have also been found to be important for maintaining relationships, as they come

to represent symbols of relationships themselves. Virtually all gifts convey symbolic meaning, which is personal to each individual gift giver and receiver. This serves to increase and maintain social bonds and relationships. Social and emotional influences such as feelings of social obligation, social solidarity, and reciprocity, influence the modern act of gift-giving, leading to Christmas becoming a highly profitable time of the year for businesses. Because of this, many businesses seek to capitalise and tailor their marketing strategies to capture the attention of gift-givers, leading to the commercialisation of the Christmas holiday period.

Marketing shapes consumer perceptions

by associating products with specific values or lifestyles.

The use of seasonal themes and imagery in marketing campaigns aim to appeal to consumers’ emotions and nostalgia around Christmas, as well as create a sense of urgency and pressure to select the ‘perfect gifts’ long ahead of Christmas day.

Individual gift choices are shaped by emotional and social factors. The significance of the type of gifts bought and received differs between individuals.

• For the rest of this article please go to www.epigram. org.uk

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epigram 01.02.24

Casgevy: the world's first CRISPR therapy SciTech investigates the prospective developments in biotechnology policy regulation, elucidating both its potential benefits

Genevieve Panton Third Year, Biochemistry

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RISPR-Cas9, a groundbreaking gene-editing technology discovered in 2012 and awarded the Nobel Prize in 2020, has recently achieved a significant milestone with the approval of the first CRISPR-Cas9 drug, Casgevy.

This landmark approval, initially granted in the UK for the treatment of sickle-cell disease and β-thalassaemia in November 2023, was followed by the US with Food and Drug Administration (FDA) approval for sickle-cell disease treatment in December 2023. The European Medicines Agency (EMA) has recommended Casgevy for approval and will finalise its decision next year.

Sickle-cell disease (SCD)

and β-thalassaemia, both caused by genetic mutations affecting oxygen delivery to tissues, have long presented challenges in treatment. A bone marrow transplant has previously been the only cure for SCD, and β-thalassaemia often requires monthly blood transfusions. Casgevy, made

by Vertex Pharmaceuticals and Crispr Therapeutics, targets the genetic mutations responsible for these conditions.

Genetic mutations can lead to diseases, because genes contain the instructions necessary for building proteins. When these instructions are faulty, the resulting proteins may not function as intended. In the case of SCD, there's a mutation in the gene responsible for producing haemoglobin.

Haemoglobin plays a crucial role in carrying oxygen within red blood cells. However, when haemoglobin is synthesised incorrectly, red blood

cells adopt a distinctive crescent shape. As these abnormal cells move through blood vessels, they tend to clump together, slowing down blood flow and reducing the supply of oxygen to tissues. This process triggers episodes of severe pain referred to as 'pain crises,' significantly impacting a patient's quality of life and potentially leading to other health complications, some of which can be fatal. Similarly, β-thalassemia results from a mutation that reduces the production of haemoglobin, leading to anaemia, osteoporosis and can cause heart and liver problems.

CRISPR-Cas9 is like a pair of scissors. Patient’s stem cells are taken out of their bone marrow and edited in a lab using Casgevy, which works by cutting and disabling the BCL11A gene.

This gene normally prevents the production of a type of haemoglobin found only in

fetuses. By turning off this gene, the body can generate fetal haemoglobin. Unlike the adult version affected by SCD genetic mutations, fetal haemoglobin is not impacted. The edited cells are then put back into the patient’s body, resulting in the production of a functional form of haemoglobin, leading to better oxygen flow.

Extending successfully to β-thalassaemia patients as well, this therapy removes the need for frequent blood transfusions or life-threatening transplant procedures, massively improving quality of life.

While the approval of Casgevy is cause to be optimistic, the widespread use of the drug is still in its infancy.

Like most gene editing treatments, it comes with a hefty price tag, approximately $2m per patient in the US. The UK has yet to determine the drug's cost. For now, the global reach of Casgevy remains limited to high-income coun-

tries until it becomes more affordable and accessible.

Despite Casgevy’s proven safety thus far, CRISPR technology remains controversial due to its potential to edit genomes in an unknown way, known as 'off-target' effects. Like all new drugs, patients treated will be monitored closely in the coming months, but crucially, Vertex Pharmaceuticals will follow the progress of patients for the next 15 years to determine the long-term safety of the gene-editing drug. These concerns have been around since CRISPR-Cas9’s discovery.

Notably, ethical considerations have arisen regarding the potential application of CRISPR-Cas9 in editing human embryos.

• For the rest of this article please go to www.epigram. org.uk

SpaceX: stark industries or galactic empire?

Scitech explores SpaceX, the pioneering aerospace company that has achieved milestones such as the development of reusable

Oscar Zimmerman Third Year, Physics with Scientific Computing

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hen talking about SpaceX, we all know a few things: they want to colonise Mars, their rockets blow up all of the time, and Elon Musk is running the show. But beyond these few sparse details - what actually is SpaceX? What have they achieved? What’s the difference between SpaceX and NASA? Over the 2000s, SpaceX has been breaking records consistently, with some of their achievements being: The first privately funded, liquid-fueled rocket (Falcon 1) to reach orbit (28 September 2008) The first privately funded company to successfully launch (by Falcon 9) The first privately funded company to successfully launch , orbit, and recover a spacecraft (Dragon) (9 December 2010) The first private company to

send a spacecraft (Dragon) to the International Space Station (25 May 2012) The first landing of an orbital-class rocket’s first stage on land (22 December 2015).

The first private company to send a satellite into geosynchronous orbit (Starlink).

The first orbital launch of an all private crew (16 September 2021).

The flight test of Starship which became the tallest and most powerful rocket ever launched (20 April 2023).

These achievements represent one of SpaceX’s biggest goals, increasing the private availability of space travel.

With technological breakthroughs such as the Merlin and Raptor engines, which allow for the landing of rockets, and the Dragon Spacecraft, which pivot SpaceX as a company concerned with reusability and accessibility. What is most clear from this list however is the frequency of the word ‘private’. This highlights the biggest difference between SpaceX, and the other major name in space: NASA. SpaceX is privately funded it raises its money the same way any private contractor

Image courtesy of Space X does: private investments, government contracts and commercial partnership.

Meanwhile, NASA’s budget comes from the USA's federal budget, and is about $22 billion a year (which is about .5% of the fiscal budget).

SpaceX is a company, not an administration, so all of their money is privately raised (about $2-3 billion dollars), alleviating itself of the burden of politics. Their reputation for unsuccessful launches isn’t as much of an issue as it would be with NASA, as SpaceX does not have to worry about the opinion of the taxpayer - only whether they fulfil their contracts (which includes NASA, the DoD, and the Pentagon).

Fulfilling these contracts may be how SpaceX pays the bills,

but to what end? Musk has repeatedly stated a personal goal of human settlement on Mars, reflected in his company’s work. SpaceX plans to use the rocket Starship to launch to Mars, where it will set up a crewed base for prolonged exploration and settlement.

This would be the first step to colonisation, and the beginning of a long road that would have to reach beyond the limited capabilities of SpaceX. Musk has speculatively stated 2029 as a launch date, although with the recent failed launch of Starship, that date will most likely be pushed back. This is contrasted against NASA’s mission to Mars - which they predict will occur in the early 2030s, and would

be for research purposes.

The prospect of colonisation is hotly debated, with figures such as Lord Martin Rees and Neil deGrasse Tyson.

Lord Rees, when asked on the issue in 2021, said ‘The idea of Elon Musk to have a million people settle on Mars is a dangerous delusion.

Living on Mars is no better than living on the South Pole or the tip of Mount Everest.’ While Dr Tyson called Musk’s venture ‘unrealistic’.

So what does 2024 hold for SpaceX? Already, the successful launch of Axiom-3 has started the year off right, with it also being the first crewed launch from Cape Canaveral since Apollo 7. Other future launches for this year include a launch of 22 Starlink satellites to low-Earth orbit (launch date 19th January - so the results of the launch are unknown from time of writing). Beyond that, SpaceX hasn’t released their launch schedule to the general public, and the current priority will probably lie in the analysis of the failed Starship launch.

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epigram 01.02.24

Working at Sevilla FC social media Kieran Warren speaks with James Magee and James Dowden to find out what life is like working in social media for Sevilla FC.

Kieran Warren Sport Deputy Editor

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ecently, I travelled to Seville to visit my former flatmate James Magee and my friend James Dowden, who are both working within the operations of Sevilla Football Club (FC). I spoke with them to gain more insight into their roles within the club and about the opportunities it brought. They both have previously worked for Epigram.

Magee and Dowden have studied at the University of Bristol in Modern Language degrees, with Dowden graduating in the summer 2023 and Magee currently on his year abroad.

Using their knowledge from their degrees and experience of working for Epigram, they have both managed to secure work for Sevilla FC within the English Social Media department, where Magee is an intern and Dowden an English Social Media Executive. Both individuals were extremely keen to make a splash within the working world on their year abroad, having the option to either study or work whilst overseas. Dowden comments: ‘I chose to work and, being an avid football fan, thought it would be a dream to see if I could somehow end up work-

ing for a football club.’ As a keen lover of football, myself, I would certainly not disagree that it is an incredible opportunity to secure work for a club, however it was far from a simple task. Dowden described his experience of applying through ‘writing letters to every professional club in the two tiers of Spanish football’ and ‘many trips to the post office’; he only received one offer, that being Sevilla FC. After several email exchanges, Dowden was invited to work as an intern for their English Social Media team for the start of the 2021/22 season (a role that Magee has since taken on in a similar fashion), with a full-time role being offered to Dowden for the 2023/24 season following his graduation. Within his role, Dowden’s main priority has been to ‘help provide as much English content to grow and expand our international fanbase across the world.’ Dowden and Magee found some unique success in achieving this, from a meme that they made during the international break for Sevilla’s English X (formerly known as Twitter) account. The meme referenced Snoop Dogg’s stunt of supposedly quitting marijuana, comparing it to the pain that the international break brings club football supporters. The post received 134.4K likes and over 10M views, proving to be a relat-

able and popular meme; in turn, this brought more coverage to the account, something Magee stated ‘has been hard to do due to the club’s poor performances.’ The English social media department within Sevilla FC is an expanding area, which holds more prominence within the sporting world, through expanding on various platforms such as Facebook, Instagram and TikTok. Both Dowden and Magee play crucial roles in these areas, ranging from pre-match conferences to helping with matchday photography; it certainly seems that they are gaining a wide variety of experience within their roles.

When asking Magee and Dowden what their favourite moment has been whilst working with Sevilla FC, they both shared the same answer: the Sevilla-Real Betis Derby. This is a huge derby within the city of Seville, which Dowden described as ‘unlike anything I’d ever seen before, where the city comes alive on the day of the game’, regarding it as ‘one of the best matches in Europe.’ When discussing the significance of working for Epigram with regards to benefitting them in their work within Sevilla FC, Magee stated that ‘the idea of having an editor at Epigram to respond to and to receive direct feedback from’ was crucial to improving his article structuring abilities.

Magee also noticed that whilst

Image courtesy of Kieran Warren working in Seville he could freely ask questions about style guides and approaches to writing where he would be answered with a similar hospitable kindness that he experienced at Epigram. Magee highlighted how he found his transition to Sevilla FC quite the challenge, especially acclimatising to the new culture; however, with Dowden mentoring him, he has found it a wonderful experience so far.

Following this transition, Magee has seen this as a ‘unique and incredible’ opportunity: one of which he, alongside Dowden, recommends for others to follow. When dis-

cussing how to break into the football media industry, Dowden commented: ‘write for your student paper, your local non-league club: it all helps build up that portfolio and get yourself seen’, thus outlining the significance that even basic roles can have in putting yourself on the map. ‘The industry is full of people who are willing to help: simply send a direct message to someone whose career you would love to have one day and ask for a coffee or a phone call. You would be amazed by the number of people who want to help and will give up their time’.

The University of Bristol Run Series 2024 Seb Davies explores all of the exciting things the next edition of the University of Bistol Run Series has to offer.

Seb Davies Third Year, Philosophy

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he Bristol Run Series returns in 2024, bringing a number of virtual and in person events. The run series is aiming to get people more active, irrespective of whether you live in Bristol or somewhere else in the world.

Alongside boosting activity, the run series aims to create a community for those involved, with the #WeAreBristol. The Bristol Run Series is designed

for runners of all ability, with no need to be an experienced runner to get involved. For 2024, the series includes three different pathways, each with three events that can be completed either virtually or in person. Those new to running can join the ‘lets get started’ pathway, taking part in a 2.5km, 5km or 10km run. The ‘keep me moving’ pathway features 5km, 10km and a half marathon, whilst those who are experienced runners can join the ‘time to dare’ pathway taking part in either a 10km run, a half marathon and even a marathon! Once you have chosen which pathway is most appropriate, those wishing to take part can sign up online, at

https://airtable.com/appnvcnGrAximywE6/shrom4xxbjSjSIGPB.. Runners taking part get access to a support hub which provides advice and training programmes to help them prepare. Runners who complete all three events, whether that be in-person, virtually or both, will receive a BRS 2024 finishers medal. However, if you wish, you can choose to not claim your medal and instead the cost of the medal will be donated to the University of Bristol’s Healthy Minds programme.

The BRS supports and promotes the Healthy Minds programme, designed to help and support students who suffer with mental health dif-

Image courtesy of the University of Bristol website ficulties during their studies.

Both virtual and in-person events will be taking place from February through to July, with the full event schedule

being found online, at https:// w w w. b r i s t o l . a c . u k / s p o r t / events/run-series/schedule/.

Sport

Editor Oscar Coupal Deputy Editor Kieran Warren Investigations Editor Laura Nesbitt

New Year, New Runners Oscar Coupal interviews a collection of University of Bristol students to find out why running is such a popular New Year's resolution.

Oscar Coupal Sport Editor

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e are welcomed into 2024 by January’s glacial temperatures and an annual blossoming of a fresh group of runners inspired by New Year’s resolutions. For many people, the beginning of the new year represents a time to implement change and develop routines. From a psychological perspective, the reason why we implement resolutions is to create actionable plans for self-improvement, turning inconsistent behaviours into habit. After all John Norcross, a professor of psychology from the University of Scranton, claims that people who make New Year’s resolutions are ten times Image courtesy of Unsplash: Miguel A Amuito more likely to achieve their gym. The students we interond Year, Mathematics) also goals than those who do not. viewed see running as a pertestifies: ‘I wanted to imAs someone who personally fectly viable option for improve my fitness to support struggles to swap the warmth proving strength and fitness my dancing, as we have comof being inside at this time of for daily life and sport, at both petitions coming up where the year for a pair of running social and competitive levels. the routines will require lots trainers and Strava, I am inRunning has a large catalogue of stamina.' For some, goterested in the reasons as of physical benefits for the body, ing for a run is a preferred to why so many students at including better cardiovascular alternative to the often-inthe University of Bristol have health, higher quality of sleep timidating atmosphere of the decided to start running. To and a stronger immune system. physical benefits he experifind out more, Epigram has Shaw spoke on the physical ences from running: ‘Overall, spoken to a collection of stubenefits he experiences from I just feel fitter and as a result dents, in order A professor of I experience to unpack the less illness. I psychology from the physical and also think I will University of Scranton, mental impliclaims that people who pick up less cations of takinjuries and ing up running,make New Year’s resolutions will be able to o v e r c o m i n g are ten times more likely sustain harder low motivation to achieve their goals than challenges in and the reathose who do not. football as my sons that got body becomes these students more acclimatised to running.' hooked. Epigram spoke to Studies have also shown that Second Year Economics sturunning can improve mental dent Thomas Shaw, about wellbeing. Having completed why he took up running as a run, naturally occurring enhis New Year’s resolution. He docannabinoids are released commented: ‘I always did in your body which provide a bit of casual running, but short-term feelings of reduced this year I wanted to start stress and calmness. Running taking it more seriously by also supports some people to consistently going on runs lessen their sense of loneliand improving on my five ness and can alleviate feelings and ten-kilometre times. The of anxiety. Epigram spoke to main reason is to better my Second Year Geography stufitness for playing football, dent Archie Macleod about any as well as the more general changes to his mental clarity health benefits.' It is clear that he has experienced as a that people run as a means result of taking up running. He to improve fitness for their notes: ‘I feel like I have done other sporting hobbies. Newsomething constructive durbie runner Lily Cotton (Sec-

running, I wonder how our interviewees sustain motivation to get themselves out of the house, especially in the winter months. Epigram spoke to Luke Hale, (Second Year, Politics and International Relations) about what helps him to get his running shoes on: ‘I always lack motivation; however, I find running with friends is my best motivator.’

Interestingly, Cotton commented: ‘I just convince myself that I really want to get outdoors and get some fresh air. I think of the “getting outdoors” aspect before I even think about the running aspect, which really helps with my motivation.’ The way individual runners overcome a lack of motivation is unique and personal to each person. Our interviewees seem to suggest it is a combination of mindset and social aspects, like running with friends and competing for fastest times, that gives them the motivation to continue running. Recently, the University of Bristol Athletics and Cross-Country Club (UBACCC) discounted ing the day, even if not much membership fees by 40 perelse has been going on. It also cent and announced ‘Give it a helps to add some to structure Go’ sessions, in order to enmy day.’ Shaw remarked on courage students who made the subject of mental health: running their New Year’s ‘Personally, I think the largest resolution to come along. benefits [of running] I feel are Will you pick up running as on my mental health. It gets your resolution this new year? me out of the house and into nature… It’s also a great way to Image courtesy of Unsplash: socialise with friends!’

However, despite all the aforemen- Massimo Sartirana tioned positive implications of