MEET THE EDITORS
University is an absolute rollercoaster! Yes, I’ve said it, even if it is a cliché. As I enter my final semester of my final year, I can confidently say that it has not been easy. There have been moments of real struggle, but also unforgettable triumphs. With the end in sight, I’ve paused to reflect on what truly matters to me!
I know I will never be this young again in my 20s. I cherish the first time I worked out how to use the circuit laundry, or the time I first went to YOLO! I treasure the early morning runs with my friends and the coffee catch ups. I feel intense pride and fulfillment when I hand in an essay. Going to my first rugby game, attending themed nights, meeting new people, going to the theatre, film nights, and many many trips to the pub. Having deep late-night conversations with my friends, and cooking meals will all be my favourite foods. These are just a few treasured times that have shaped my experience at university.
University is so special, and the gratitude I feel towards my close network is immeasurable. You could describe all these experiences as truly euphoric.
However, university has also been faced with many challenges. There has been illness and FOMO, to experiencing burnout, to feeling homesick and having to navigate adult life for the first time. When you reach your lows, it often feels like you’ll never come back, but you must remember that you always do. It is important to find a balance, ensuring that you take time to enjoy your experiences, whilst taking a moment to step back and rest
Quench has also (as you all know), played a big part in my life at university. Watching my own development, as well as the growth of everyone on the team, has been truly inspirational to see. There are so many exciting events coming up to recognize everyone’s hard work, including the Student Publication Awards, where we’ve been shortlisted for six nominations, as well as the SVMA’s and CSM awards. I look forward to celebrating the work we’ve all achieved. That being said, I know that no external validation is needed to appreciate and celebrate the dedication everyone has shown at Quench. The team’s unconditional commitment to Quench is something that is a true testament, and I feel incredibly proud to witness it.
As we enter into the final few months of this academic year, we must appreciate both the big and small achievements. We don't want to look back in a few years time wishing we hadn't been so hard on ourselves.
I am incredibly grateful for my experiences at university, and as I enter my final semester, I am pushing myself to reflect on what I believe is most important to me, and I encourage you to do the same. Whether you’re in your first year or in your final year like myself, things will be okay, and you will be surrounded by people that bring you intense happiness.
I hope you enjoy reading this issue, reflecting on the extreme highs and lows of university and your own life experiences. I hope you feel inspired to take pride in all your achievements, because you are all incredibly deserving.
Katie
Euphoria is not exactly the first sensation that I would pring semester of third year. In fact, as I’m sure my fellow classmates can attest, it’s been a particularly challenging start to what is essentially the beginning of the end of my time here at Cardiff, especially given the recent announcements regarding the proposed
Reflecting on three years of monumental growth and nal push towards the end, springtime and graduation season beckon, bearing the promise of sweet relief from the sometimes euphoric yet sometimes extremely testing - and ultimately exhausting -
Despite whatever tribulations I might face, though, I immeasurable joy and pride brought by my editorship at Quench Magazine. A moment of euphoria I recently shared awards ceremony at the end of January. Quench swept the board, walking away with Best Publication, Best Design and Best Design (Print) in Wales, alongside numerous individual awards for members of the Quench team Katie Storrie, and Sam Davies. Massive
indisputably hard work ethic, amalgamating months of tireless and meticulous planning, ingenious problemsolving, resourceful networking, constant redrafting and nitpicking (!) and ultimately - executing to an unfailingly
What does euphoria mean to you? Is it a fleeting rush of adrenaline, the quiet joy of a moment well lived, or the overwhelming sensation of being truly free? In this issue of Quench Magazine, we explore euphoria in all its forms. For some, euphoria is found in the small victories: the first sip of coffee on a cold morning, a song that perfectly matches your mood, the warmth of laughter shared with friends. For others, it’s something grander – a moment of artistic inspiration, the thrill of travel or the sense of belonging in a movement greater than oneself. However it arrives, euphoria is deeply personal, and it often appears when we least expect it.
But euphoria isn’t always simple. In chasing happiness, we sometimes stumble into its darker edges – obsession, excess or the fear that it might slip through our fingers. This issue also looks at its complexities, the bittersweet nature of nostalgia and the search for meaning in a world that often feels chaotic.
Euphoria can be found in solitude as much as in connection, in the quiet spaces between achievements or in the energy of the unknown. It is a reminder of our capacity to feel deeply and experience life in its most heightened states.
Our contributors share their unique perspectives on euphoria, revealing their most exhilarating moments and the paths that brought them there. We hope their reflections connect with you, spark inspiration or perhaps remind you of a time when you, too, felt euphoric.
Meet the Team
Olivia Griffin Deputy Editor
Katie Storrie Editor-in-Chief
Julia Bottoms Deputy Editor
Harriet Ulett Head of Design
Eleri Watts Deputy Head of Design
Molly James Head of Social Media
Ella Simons Features
Servaise Ratnayake Features
Bhamini Khandige Culture
Team
Culture
Charlotte Hardie-Watts
Ella Collis Column
Kira Suttin Film & TV
Rhiannon James Film & TV
Jenny Algieri Music
Jemima Lake Music
Sam Davies Literature Isabel Chance Literature
Maya Jacob Fashion
Meet the team
Ellen Hollingshurst Food & Drink
Sabine Wilson-Patrick Love
Tegan Davies Copy Editor
Bo Burt Copy Editor
Isobel Blunt Page Designer
Amy Miller Page Designer
Llŷr Eirug Head of Clebar
Angelina Mable Fashion
Jessica Leigh-Fotheringham Travel
Carolina Peret Travel
Poppy Adams Food & Drink
George Clark Head of Beyond
Ola Rzeszut Page Designer
Olivia Nilsen Illustrator
Thandi Nia Carklin Photographer
Jamia Hussain Photographer
Damilola Akinkunmi TikTok Manager
Alyssa Jeanes TikTok Manager
Amelia John Copy Editor/X Manager
Alfie Bennett Beyond Social Media Manager
design by: Harriet Ulett
Features
Social Media and The myth
Finding Euphoria in Everyday
Travel
Gaining Aura Points
Euphoria After Hours
Column
The Debate about Euphoria
Food and drink
The Food High
Starving For Perfection
Film & TV
How Euphoria’s Make up sparked a Rebellion
When Escapism Becomes Addiction
Clebar
JOMO- y FOMO newydd?!
19
Music
The Effect Music Has on Us
The Birth of Psychedelic Rock
24 27 44 50 47
Literature
The Reading High Book Hangovers
Love
Euphoria of Self Pleasure
Culture
Party Culture, The Highs and Lows
Rebirth of Euphoria
Fashion
Fashion as Fantasy
The Role of Make Up and Fashion
Beyond Rosaleen Moriarty- Evans
photography by: Thandi Carklin
SOCIAL MEDIA AND THE MYTH OF EUPHORIA
Do you ever find yourself yearning to escape to a world which wasn’t so deeply troubling? A reality where no dictionary could ever possibly define the words ‘imperfection’, ‘responsibility’ or ‘heartbreak’? Sounds good, right? It’s somewhere you would be tempted to go to… Well, trick question! You already live in one (and it’s probably where you were just 13 minutes ago in an attempt to escape the gloomy confines of reality and delve into the sweetly sickening world of social media) but is any of it real?
With the rise and increasing popularity of documentaries like ‘The Social Dilemma’ and ‘The Great Hack’, you have most likely heard predominantly negative, and perhaps even shocking, revelations and insights into social media and the myth of euphoria. For example, how many times have you heard that Instagram is “bad for mental health” or that TikTok has created “a recent surge in anxiety amongst teenagers”?
Once the initial shock and novelty of these insights wear off, however, it seems that we willingly return to these apps ignorant of the power social media holds over us when we try to make our lives look perfect on the screen. Revelations such as these have also become somewhat recycled and worn-out, meaning that we tend to brush them aside without really considering how they are reflected in our everyday lives. Yet, social media has single handedly created a false narrative where the only way to experience euphoria is to effortlessly earn a six-figure salary, drive a luxurious car and inhabit an oversized mansion all by the age of 21; but what are the implications of this, and how much of what we present on social media is true?
Consider this - if you were told to give the world a glimpse into your life, would you select the glamorous, captivating details which are likely to lure people in? Or would you opt for the bleaker, unexciting parts which could potentially steer them away?
On social media, people have the freedom to construct an ideal model of themselves; with this freedom comes the desire to present ourselves not necessarily as flawed and human but as perfect and inhuman. Constant updates of what fancy restaurants people are eating at every evening, the sunny weather on someone’s trip to Spain, how much your old friend from school earns, the fun activities your old neighbours are up to...you name it, and social media will deliver it.
Yet, the issue is not necessarily in what we post, but in the expectations we have of social media - in the guaranteed emotional blanketing it provides during an exhausting day, or the euphoria boost it promises us which we desperately search for in our everyday lives. But what really constitutes this alleged, rather peculiar “euphoria”? Is it the pleasure of prying into other people’s lives and comparing their success to our own? Or is there a certain delight in wanting to make ourselves feel worse when already at a low point through envying everyone else’s achievement of euphoria? We easily forget that the posts we interact with on social media are carefully constructed glimpses into people’s lives, which often censor negative parts like the hard work behind someone’s achievements or the struggle within someone’s seemingly perfect relationship. Consequently, this paints the picture of everyone else’s lives as being far more fun and fascinating than our own.
Not only does social media perform that essential function of escapism, but it plunges us into a fictional land governed by witty captions, flawless posts and constant trends such as ‘the clean girl’ aesthetic. But even within these trends there appears contradiction. ‘The clean girl’ aesthetic first emerged in 2022 and promotes a minimalist, natural approach to beauty by emphasising light makeup and a radiant complexion. It has since dominated social media, through its ability to offer women an effortless approach to beauty. Yet, this trend is unattainable for most people because it requires the participants to be young, unblemished, white and in possession of a good income to work.
We have become so conditioned to rely upon social media for escapism and euphoria that we sometimes struggle to find this in the everyday, ‘mundane’ aspects of our day-today lives. The issue with this is that such euphoria cannot be attained. It will always direct our attention towards what we do not have by thriving off comparisons, vicious competitions and toxic ideals of happiness.
Remember that on social media, the world is our stage. We can either support this pantomime by serving our role as faithful audiences, or we can establish a boundary between the fairytale of social media and reality by finding the euphoria in our everyday lives.
words by: Soanna Khan design by: Katie Storrie
In Search for Euphoria
We often feel we need to chase after it to achieve it, especially when it’s shown on social media as these big accomplishments or lavish materialistic lifestyles. However, true happiness often shows in those simple, everyday moments that bring us joy, making us stop and appreciate the here and now, a pausing moment of bliss in the rush that is University life.
But why do these little things matter? In our busy world, where stress can quickly pile up, finding happiness is essential to maintaining a healthy mental state. Making sure to include a small piece of everyday euphoria in our routines can bring us comfort and familiarity, keeping us grounded and reminding us that happiness isn’t reserved—it’s deserved!
Examples of these small joys can be found everywhere; some you may already do them without noticing. Taking the time to listen to raindrops, tapping the window or hearing birds chirping, crossing off something on your to-do list, random acts of kindness, and comfort foods can all bring a sense of warmth to our daily lives, letting us appreciate the little things that often go unnoticed.
One of my everyday euphorias is having a warm cup of mocha or hot chocolate. Whether poured from a kettle in my kitchen or served by a barista, each sip melts away the day’s worries and grounds me in the present moment—extra points if I’m also listening to music. While the moment itself may not last long, its impression on my mood does.
Appreciating the small joys in life can help us be more present and aware of the beauty around us, whether it’s the sun on our skin or a warm beverage. If you haven’t done so already, I encourage you to find your own ‘everyday euphorias’ to bring a bit of brightness to your day!
words by: Alanah Blayney
True happiness isn’t always found in grand achievements. More often, it’s the little things – the small rituals and daily joys – that bring genuine contentment.
One of these small but meaningful rituals is grabbing a coffee, whether alone or with a loved one. There’s something about sitting in a cosy café, watching the world go by, and savouring a well-made drink that feels luxurious. It’s a treat to myself, a moment to pause, reset, and simply exist.
Despite what others might say about saving money by making a coffee at home, the experience of going out for one is irreplaceable. Cardiff, with its abundance of charming coffee spots, makes this even more special. Each café has its own personality, from bustling independent roasteries to quiet, tucked away gems that feel like a personal retreat. No matter how late I am, I will always find time (and money) for this little luxury – priorities, right?
The warmth of a cup in my hands, the hum of background chatter, and the aroma of freshly ground beans all contribute to a feeling of indulgence that enhances my day. It’s a simple pleasure that helps me start my day with a sense of calm and appreciation. These moments of quiet joy make even the busiest days feel more balanced and intentional.
Beyond coffee, I find euphoria in the little acts of self-care –whether it’s a peaceful walk through a park, taking the time to read a book, or treating myself to my favourite pastry. These small choices serve as reminders that life isn’t just about responsibilities, but also about savouring the present.
In a world that constantly pushes for more, there’s something powerful about embracing the beauty of the everyday. The joy we find in small moments adds up, creating a life that feels fuller and more meaningful.
words by: Wiktoria Alicja Gabara design by: Harriet Ulett
photography by: Thandi Carklin
The Debate About
Many people assume that euphoria is a positive thing, whilst that is mostly true and it is considered as a joyous feeling by the masses, there are negative aspects to the feeling too. Euphoria is defined as being “a feeling or state of intense excitement and happiness” by the Oxford Dictionary and as “a feeling of extreme happiness or confidence” by the Cambridge Dictionary. The debate that surrounds euphoria is concerned with this idea of extreme happiness, the origins of this type of happiness, whether it is natural or induced, and ultimately if euphoria is a good or bad thing.
This amplified sense of joy that characterises euphoria can be caused by many things. Some of these causes are natural, even healthy, engaging the brain’s reward system and neurotransmitter pathways, as stated by californiaprimerecovery.com. Simple things such as exercising, trigger the release of happy hormones like endorphins, serotonin and dopamine. For example, some runners say they experience a “runner’s high” after completing a period of strenuous exercise, a term that was adopted by scientists in America in the 1970s. Laughing also releases
these happy hormones, you know what they say, “laughter is the best medicine”. In addition, listening to music or singing releases the hormone oxytocin. Eating certain foods such as dark chocolate can also boost your mood and cause euphoric feelings. Doing any of these things will allow you to achieve a natural state of euphoria, or a ‘natural high’, and can massively improve a person’s mental wellbeing, without any negative consequences. When euphoria is framed in this way, it is difficult to see the downfalls of it. However, euphoria is not only activated in a natural way, euphoric feelings can also be produced artificially. Despite it naturally being a sign of good mental wellbeing, an extreme sense of euphoria can be a symptom of severe mental health issues.
The main way in which euphoria can be artificially produced is through external substances, for instance drugs. Namely, psychedelic or hallucinogenic drugs like LSD, methamphetamine, magic mushrooms and ecstasy but also drugs such as cocaine and ketamine which can have hallucinogenic effects. Though a drug-induced euphoria is only temporary, if these types of drugs are consumed
About Euphoria Column
excessively over a long period of time, users will build up a tolerance and will need to take more of the substance to feel the euphoric effects. This can lead to addiction, and not taking the drug can result in symptoms of withdrawal and dysphoria-like feelings, which is the antithesis of euphoria.
Furthermore, a heightened or extreme euphoric mood can be an indication of a mental health condition. To distinguish between an exaggerated degree of euphoria and a positive euphoric state, it needs to be determined if the euphoria is related to specific happy events or not. If it is not, then this could be a symptom of a mental illness like bipolar disorder. Whilst the treatment of this type of euphoria is dependent on the mental health issue that is causing it, and primarily consists of therapy and medications, you can utilise natural sources of euphoria as an alternative. Abraham Maslow, a humanistic psychologist conceived the notion of ‘peak experiences’, which are moments of intense happiness, fulfillment and awe-inspiring joy and are regarded as an integral part of healthy human functioning. Aspiring to feel this natural sense of euphoria, recognising the importance of peak experiences as a way to help addiction issues naturally and holistically.
So, what is the answer to the question: is euphoria a good feeling or a bad feeling? In all honesty, it is not as black or white as to whether euphoria is inherently good or bad. There are both positive and negative aspects of euphoria. While euphoria is an emotion that many of us aim to feel naturally and are able to, there are many people who will turn to substances such as drugs and alcohol to enable them to experience a euphoric feeling. Artificial euphoria and natural euphoria are not the same feeling; while naturally induced euphoria is safe, can boost your health and have positive long-term effects, artificial highs and drug-induced euphoria can have a detrimental impact on your health, are expensive, highly addictive and dangerous. Additionally, severe euphoria can be a sign of a deeper issue and may be a symptom of a mental health condition. Euphoria caused by a mental illness can lead to a person becoming delusional, and as result could cause them to become a danger to themselves and others. On balance, naturally occurring euphoria is a positive and is vital to our health as human beings, but artificial euphoria and euphoria due to a mental health condition are the negatives surrounding euphoria.
words by: Ella Collis design by: Harriet Ulett
Glow Up: How Euphoria’s Makeup Sparked a Rebellion
Since its first season, HBO’s hit series Euphoria has dazzled audiences with its combined creative vision and flair for the dramatic. Despite the darker undertone of the series, makeup artist Doniella Davy hasn’t held back when it comes to representing Generation Z through the bold and extravagant looks that feature heavily in the show. From glittery neon eyeliner to gemstone-encrusted eyelids, Euphoria’s makeup looks have ricocheted across social media and into the shopping baskets of the younger generations. Representing boldness and free spirit, the rich colour and temerity of Davy’s looks echo the freedom of expression and gender fluidity prioritised by Generation Z.
Inspired by 1960's supermodels Twiggy and Nina Simone, as well as 1970's glam rock and the modern trends that define Gen Z, the makeup designs have been curated to accentuate the character’s personalities. With dramatic looks particularly featured on main characters Maddy (Alexa Demie), Cassie (Sydney Sweeney), and Jules (Hunter Schafer). One of the stand out makeup looks to me – which sparked several trends on social media – was Maddy’s winged eyeliner, often highlighted with accents of neon.
The Euphoria makeup team have utilised their platform and global reach through the series to portray makeup as the ultimate tool for self-expression, and a valuable asset for people to unashamedly portray their most authentic sense of self; particularly shown through Maddy ,who uses her makeup as tool to express her emotions and orchestrate how she wants to be viewed by other people. This reflects, and has influenced, the makeup trends of younger generations, as it has encouraged them to explore bolder and brighter looks in order to achieve their own portrayal of self-identity.
With HBO confirming that Season 3 of Euphoria started production on February 10th, I can’t wait to see what the makeup department has in store for us.
words by: Rhiannon James
Initially releasing its first season in 2019, the drama series is known for its boundary-pushing representation of this generation’s teenagers and the issues they face throughout their lives. However, one of the biggest standouts from the show has been the bold and creative makeup looks, designed by makeup artist Doniella Davy. The show follows a diverse ensemble cast as they face turmoil surrounding substance abuse, sexuality and friendships, and the makeup reflects their journeys and their character traits as a method of self-expression.
Similarly to its core characters, the makeup in this show has inspired many on their journey to self-discovery, From dazzling glitter and rhinestones to vivid graphic liner. It has shifted global beauty trends, challenged the status-quo of ‘wearable’ makeup, and launched social media trends with users remixing their favourite looks - with makeup brands following suit and joining in on glitter tears, facial adornments and more.
Euphoria has showcased how makeup can be used as a device for storytelling in television and has made it that much more real by representing its characters authentically. For example, though Jules’ makeup looks are predominantly bold and experimentative, they are also used to convey her current emotions, such as season one starting with bright colours and shifting into darker shades and harsher shapes to reflect her struggles as the season progresses. Seeing these bold aesthetics on teenage characters, and on such a mainstream platform, has normalised breaking boundaries and encouraged society to become more accepting. Despite the last episode of the show airing in 2022, audiences are still waiting for news of a third season and the show's lingering effects has prioritised individuality amongst Generation Z and a desire to leave their mark on the world (even if it is with glitter).
words by: Angelina Mable design by: Eleri Watts
Lost in Euphoria, when escapism becomes addiction
Watching TV shows and films like Euphoria, The Wolf of Wall Street and Scarface, I couldn’t help but question how far creators go in depicting the intoxicating allure of indulgences. Could this be the new norm? Where is the line between storytelling and glorification? And how much influence do these narratives have on real-life choices?
Euphoria doesn’t just tell a story- it crafts a euphoric experience. With vivid visuals and an evocative soundtrack, it pulls viewers into the emotional, chemical highs of its characters. Rue, played by Zendaya, offers a raw look at addiction and manages to balance moments of mesmerising escape with the brutal consequences of substance abuse and the reality of relapsing. But is it too mesmerising? Euphoria’s aestheticisation of Rue’s drug abuse often seems to romanticise the very darkness it seeks to expose. In the Season 1 finale, Rue’s relapse is depicted through a beautifully choreographed, almost poetic sequence. While the scene is visually captivating, it risks making some viewers see drug use as desirable or intriguing enough to try rather than conveying the harsh reality of addiction.
Meanwhile, The Wolf of Wall Street seduces audiences with the dizzying rush through hedonism. The film’s kinetic energy mirrors Jordan Belfort’s drug-fueled lifestyle, making excess look exhilarating. Audiences are drawn into the world of luxury- yachts, parties and piles of cash, yet beneath the glitz lies a moral ambiguity: is the film celebrating Belfort’s audacity or condemning the hollow pursuit of wealth? The allure of these stories lies in how they invite audiences to live vicariously through their characters, experiencing the thrill of the forbidden without consequences. Therein lies the ethical dilemma of films and TV shows between glamorisation and cautionary stories.
Euphoria and The Wolf of Wall Street treads this line. Euphoria portrays Rue’s addiction with brutal honesty- her highs are euphoric, but her lows are devastating. However, its aesthetic brilliance raises questions about whether it beautifies the pain that drug use brings or if it shows the realistic consequences of drug abuse. Similarly, The Wolf of Wall Street uses a comedic tone and spectacle to make Jordan Belfort’s debauchery seem like a fun rollercoaster ride devoid of consequences. The film even closes with Belfort still profiting off his story. However, there is somewhat of a cautionary tale as the creator shows the consequences of Belfort's actions as he loses his family and is forced to shut down his company.
It’s impossible to discuss indulgences in the media without addressing the normalisation of substance use. Marijuana, once demonised on screen, is now portrayed as a casual habit and much can be said about its regular use in society. Characters light up a blunt without a second thought, reflecting the shifting societal norms around cannabis and how society has become increasingly influenced by the media to use drugs. The impact of narratives like The Wolf of Wall Street and Scarface on the perceptions of drugs depicts one of power and success. They present a seductive blueprint of rebellion and reward, making risky behaviour seem more thrilling and consequencefree. These films and TV shows don’t just entertain; they resonate. They became cultural touchstones, influencing the viewer's lifestyle, music and fashion also!
This brings us to the age-old debate: do creators have a moral responsibility for the message they send? Some argue that filmmakers and showrunners are artists, not moral custodians. However, others believe that there is a level of responsibility that the creator has whilst depicting drug addictions. Whether or not you agree, creators should be made more responsible in creating narratives that focus on depicting the brutal consequences and the impact it has on the user and those closest to them. More than ever, there’s an importance in the media to not romanticise the very real experiences of people who suffer from drug addiction but to warn and sway against it. As audiences, we are not passive consumers. The influence of the media is undeniable, but so is our power to interpret and challenge the narratives we consume on these euphoric experiences. Whether glorifying or cautioning, these films and TV shows continue to resonate because they tap into universal truth: the pursuit of euphoria is as human as the consequences that follow.
words by: Monique Yabut design by: Eleri Watts
You Wanna Guess the Effect Music Has on Us?
That moment when the DJ plays Charli XCX and the entire club erupts – voices soaring, bodies moving in sync – can only be described as euphoric.
It’s the rush of emotions, the fleeting sense of invincibility, the feeling that this is the height of life. That same euphoria strikes when the taxi driver turns on the radio and a Jay-Z song comes on. But what causes this response? The answer lies in the psychology and neuroscience of music.
Music has an extraordinary ability to make us feel – excitement when the beat drops, dancing to Hot To Go, or the joy of singing Bohemian Rhapsody with friends. These intense feelings aren’t just subjective experiences but are deeply rooted in our brain chemistry. When we listen to music, our brain’s reward system is activated, flooding us with dopamine; the neurotransmitter linked to pleasure from food, sex and other euphoric experiences. Researchers at McGill University found that even anticipating a favourite part of a song (dare I say, the bridge of champagne problems) can trigger a dopamine surge, creating a cycle of expectation and reward, heightening pleasure
But music doesn’t just make us feel good,it energises and connects us. Studies show that when we hear our favourite songs, multiple brain regions light up, responsible for motivation, emotion and arousal. Remember Last Friday Night (T.G.I.F.)? The instinct you feel to turn to music while getting ready for a night out builds excitement, boosts confidence and fuels anticipation. A University of Michigan study found that people repeatedly listen to their favourite songs because they create a sense of familiarity and heightened enjoyment, reinforcing our brain’s pleasure circuits. Music isn’t just something everybody hears; it’s something they feel because no one else can feel it for you – only you can let it in.
Our brains seem wired for movement when we hear music – our hips don’t lie. Research by Chen, Penhune and Zatorre using fMRI scans found that motor areas activate alongside auditory regions in the brain, suggesting a deep connection between sound and movement. But why does music make us want to dance the night away? The answer may lie in the mirror neuron system. Music is almost always created through physical action–pressing piano keys, strumming a guitar or beating a drum. These actions activate audio-visual mirror neurons, which respond to seeing movements and hearing them (Molnar-Szakacs & Overy). This subconscious activation in premotor areas fuels our instinct to move, making dancing to music almost inevitable.
Euphoria and sadness might seem like diametrically opposed forces, but music shows they’re deeply connected. Just as an electrifying beat can make us feel invincible, a sorrowful melody can evoke a surprisingly deep sense of pleasure and relief. This is known as the paradox of pleasurable sadness; while we avoid sadness in life, we seek it out in music because it provides emotional release in a safe, controlled way. Neuroscientists suggest that sad music triggers prolactin and oxytocin release-hormones linked to comfort and bonding, similar to relieving a good cry. This may explain why Coldplay’s Fix You resonates so deeply, it mimics the body’s natural consoling response.
That moment when the DJ plays Charli XCX and the entire room comes alive – the beat syncing with heartbeats, the chorus belting out in unison and the feeling that this is the height of life. However, there are also the quiet moments; the late-night drive when a familiar melody pulls you into memory, the song that turns heartache into something beautiful. Music isn’t just something we hear; it’s something we live, something that shapes our emotions, connects us and makes us feel invincible, even if just for a moment. Whether it’s euphoria on the dance floor or the comfort of a sad ballad, music can move us; that makes it so powerful.
Article Playlist:
Guess – Charli XCX, Billie Eilish
Rush – Troye Sivan
Party in the U.S.A. – Miley Cyrus
Hot To Go – Chappell Roan
Bohemian Rhapsody – Queen champagne problems – Taylor Swift
Last Friday Night (T.G.I.F.) – Katy Perry
Unwritten – Natasha Bedingfield
Hips Don’t Lie (feat. Wyclef Jean) – Shakira, Wyclef Jean
Dance the Night – Dua Lipa
The Room Where It Happened – Original Broadway Cast of Hamilton Fix You – Coldplay
Euphoria – Kendrick Lamar
words by: Samira Abbey design by: Eleri Watts
The Birth
Late 1960s psychedelic rock contributed to the hippie cultural movement that swept the youth of America, and later the UK and parts of Europe, by resonating with widespread discontent over the violent socio-political climate. The late 60s followed the trauma and global repercussions of WWII, and by this time, a ‘boom’— whether baby or otherwise—was underway. As society began to recover, people became more optimistic as life grew more colourful, with fashion, music and culture painting a brighter landscape than that of previous years.
Psychedelic rock became a form of escapism and rebellion against social norms for both artists and audiences alike, as music provided a unique means of self-expression. It allowead individuals to communicate their innermost feelings and beliefs freely, without fear of direct political or social consequences. As a result, it also became a catalyst for advocating positive societal change, aligning with movements like the Civil Rights struggle, anti-Vietnam War protests, the Feminist movement, environmental awareness, and the broader youth-led call to ‘Make Peace, Not War’. Bob Weir (of the Grateful Dead) states “the music was the soundtrack to the revolution” when reflecting on the era as a whole. (Inside the Music: The Psychedelic Era”, 2007).
Moreover, in the 60s, a large number of people became more experimental with recreational, mind-altering drugs. Psychedelic music became reflective of this and druguse influenced not only fashion and political perspectives in the 60s, but also the instrumental sound and lyrics of popular rock music. Having taken influence from earlier genres like folk rock, blues, and jazz, psychedelic rock was a well loved amalgamation of musical soul, but with a new exciting twist. As well as those who enjoyed the music, those making it began to align themselves with the hippie movement, leaning into the psychedelic drug scene themselves and adapting their performance style to appeal to others doing the same.
Key figures like The Beatles shifted toward experimental music, particularly in albums like Sgt. Pepper’s Lonely Hearts Club Band, which is underscored by magazine interviews, i.e., in a Queen Magazine interview McCartney admitted, “It opened my eyes” when referring to LSD (The Beatles Interview Database). McCartney later expressed frustration with the interviewer, who had implied that he was responsible for encouraging fans to use drugs.
Ps of
McCartney countered, telling the interviewer—and, by extension, the media— “No, it’s you who’ve got the responsibility.”, highlighting the influence the media had at the time in reinforcing prescriptivist societal ideals.
Another influential figure of the psychedelic genre was Jimi Hendrix, who used various effects to create a sound that was completely new at the time- incorporating feedback, distortion and reverb in an intense and exaperimental way. In an interview in the documentary Woodstock: The Director’s Cut (1994) he stated, “I play the way I feel... it’s just music, it’s just feelings”, further demonstrating the link between psychedelic music and self expression. He continued to push boundaries with his unapologetic fondness of psychedelics with a story, now synonymous with rock mythology, beginning to circulate that he even placed a tab of LSD under his headband during a performance.
Other pioneering artists included Soft Machine, The Doors, Crosby, Stills, Nash & Young, Pink Floyd, Jefferson Aeroplane, (original) Fleetwood Mac, The Grateful Dead, Bob Dylan, and so many more.
The role of festivals in the propulsion of psychedelic music was unique and unfamiliar; the emergence of festivals, such as Woodstock (1969), Bath festival (1969) and Isle of Wight festival (1968), gave people a safe, natural environment to experiment with mind-altering substances. Moreover, aside from the all consuming and mind altering festivals, the medium of listening to music at the time would have been Vinyl records, a unique, raw sound. It provides a sense that listening to music, even in casual settings, was a real event. The reduced instrumental and technological range meant that what was produced was unfiltered, breath-filled, potentially stuttering music that utilised, and even facilitated, its imperfections rather than editing them out.
Overall, the psychedelic rock music and culture of the 60s has been profoundly influential to the subsequent evolution of music, fashion, and political culture. Music is always shaped by what came before it, and newer artists— such as Sticky Fingers, MGMT, Psychedelic Furs, King Gizzard & The Lizard Wizard, Mako Road, Psychedelic Porn Crumpets, and Tame Impala—are a testament to this enduring legacy and the ongoing influence of 60s psychedelic rock culture as a whole. The unique qualities of dreamy guitar stylings, unconventional song structures, surreal lyrics, reverb and delay, among others, have contributed to its lasting impact and continued relevance. Psychedelic rock remains a form of escapism and freedom for many, while also acting as a vehicle for social change and personal liberation.
words by: Phobe Essex design by: Julia Bottoms
Psychedelic Rock
To learn more check out:
Books, Articles and Documentaries
◊ Riders on the Storm by John Densmore (1990)
◊ The Rise of Psychedelic Rock and its Cultural Impact, Rolling Stone Magazine. https://www.rollingstone.com/ rock/psychedelic-impact/
◊ Woodstock Festival Archives, Woodstock: The Music and the Memories. Retrieved from https://www.woodstock.com/history/
◊ (Documentary) Inside the Music: The Psychedelic Era (2007)
◊ (Documentary) Festival Express (2003)
◊ (Documentary) The Summer of Love (2007)
The Highs of Reading
Finding Euphoria in Uncertainty:
How Dolly Alderton’s Writing Made Me Feel Seen
When I left for university, I was convinced I’d finally find my people. Everyone says your late teens and early twenties are when you meet lifelong friends – the ones who understand you better than you understand yourself. The ones who make you feel at home even when everything else is shifting. But as the months passed, I found myself feeling more alienated than connected. I watched people form effortless friendships, slipping into the kind of closeness I had expected to find, while I was stood on the outside, looking in.
It was around this time that I picked up a copy of Everything I Know About Love by Dolly Alderton. I had expected a fun, lighthearted memoir about navigating adulthood, but what I found was something deeper –something that made me feel seen in a way I hadn’t before. Alderton writes about the idealism we place on friendships, the heartbreak of realising that some connections aren’t meant to last, and the quiet grief of feeling adrift in your twenties.
One passage that struck me was her reflection on the friends who shaped her early years, the way friendships evolve, and the acceptance that sometimes, the people we expect to be there forever simply aren’t. Reading her words felt like both a warm hug and a deep exhale. It made me realise that I wasn’t failing just because I hadn’t found my people yet – that loneliness wasn’t a sign of doing something wrong, but rather a natural part of growing up.
Alderton’s writing didn’t promise me that everything would magically fall into place, but it reassured me that it was okay to be in this in-between phase. It made me believe that the right friendships come in their own time – and that, in the meantime, I am enough on my own.
words by: Wiktoria Alicja Gabara
Euphoric Representations: Ghosts of the Shadow Market
Literature shapes the way we see ourselves and the world, making representation a crucial element in storytelling.
Growing up, character days at school were both exciting and frustrating—I loved the idea of stepping into the shoes of my favourite fictional figures. Yet, I always found myself trying to fit into the mould of cisgender, heterosexual, white characters. No one truly reflected my identity, and that absence was a quiet but persistent reminder that people like me weren’t meant to be the heroes of their own stories.
That changed when I read Ghosts of the Shadow Market, part of The Shadowhunter Chronicles, where I first encountered Ariadne Bridgestock. Seeing a queer woman of Indian descent in a fantasy series—a genre that often erases people of colour and LGBTQ+ identities—felt like a breakthrough.
Character days had always been about adapting to what was available, but suddenly, I had a character who, at least in heritage, resembled me. Looking back, it’s clear that I was thrilled by something that should have been more normalised. Ariadne was Indian by heritage but was adopted by a white family. Still, to 13-year-old me, the presence of a queer Indian character, even in a small way, created a sense of belonging that I had not felt before.
There is a universality in Ariadne’s story that transcends ethnicity, proving that representation in literature has the power to transform our sense of self and belonging.
words by: Samira Abbey design by: Julia Bottoms
Hangovers Book
We all know and love Holly Jackson’s book series A Good Girl’s Guide to Murder and how it focuses on a student trying to solve a murder case that happened seven years ago. Spoilers ahead for anyone who hasn’t read the first book! The ending of the book, where Pip Fitz-Ambodi discovers who the real killer of Andie Bell was, and the puzzle that Pip finds to complete her jigsaw was a very thrilling moment for me. The best part about the discovery was knowing Mr Ward was the one to cause Andie Bell’s head injury, and the book just ends at that point by revealing that he was the murderer, but of course whenever there’s 30 pages left to a book you definitely know that there is more to the story. When reading Pip’s thoughts, and the moment she figured out who the real murderer was, I was completely shocked seeing someone so close to Andie Bell being the one who killed her. Andie Bell was murdered by her sister Becca in a moment of rage. This was a great plot twist for readers who enjoy being tricked by the author into believing something, and then just being hit by a bus when realising there’s more to it. It transported me back to my Year 7 self watching Alison DiLaurentis’ murderer, revealed to be her sister, and how unexpected and scary family betrayal can be.
words by: Alicia Tariq
The hangover feeling I had after finishing Daisy Jones & The Six was arguably worse than the after effects of alcohol. For those of you who don’t know, Daisy Jones & The Six is a novel by Taylor Jenkins Reid following the story of a band (The Six) throughout the 1970s. Loosely based on Fleetwood Mac, the novel details the band’s formation, rise to stardom and their ultimate demise in the music industry. Uniquely, the novel is written in the format of interviews conducted with each band member, which was a style of prose entirely new to me. However, I believe that through the personal lens of the interview style I was able to relate more strongly to each individual character. This being a factor which definitely added to my severe attachment to this book, viewing all the band members as central protagonists. This is the kind of novel that you will love so much that you
never want it to end, but it does and devastatingly so. Luckily I was somewhat cured when the TV show adaptation was released in 2023 but then I had to experience it all again, this time with a written soundtrack, somehow immersing me even further in the universe of my favourite band. I finished this book for the first time in 2021 and can say with conviction that I am still yet to find a book that has captivated me as wholly as Daisy Jones & The Six.
words by: Juliette Harink
Our Wives Under the Sea
Julia Armfield’s endings have a habit of leaving the reader in pieces, not unlike the literal state of the narrator’s watery partner at the end of Our Wives Under The Sea. In terms of book hangovers, this is perhaps the story best suited for total emotional annihilation. We follow married couple Miri and Leah, recovering (and worsening) from Leah’s sixmonth disappearance during a marine expedition to the bottom of the ocean floor. When her wife returns, she does not return entirely human. Despite incorporating uncanny features, most commonly found in Gothic horror literature, the novel poses serious ethical and moral questions about the function of grief following a tragedy. It is less clean cut to mourn a disappearance, the unknowing outweighs any possible catharsis. However, what do you do when the person you fell in love with is no longer the same when they return? We find ourselves sympathising with Miri’s turmoil, her preference for Leah’s period of absence conflicting with the life and love she’s shared with her partner. As Leah’s appearance and behaviour begin to deteriorate and human bodies become monstrous, Miri finds herself mourning a kind of half death; despite the fact that Leah is still alive. The reading slump I found myself in after finishing the final chapter took me much longer to break out of than I would’ve liked, still snagged on its beautiful representation of female grief. Armfield’s careful use of horror only enhances the shared bereavement between the reader and Miri.
words by: Ruby Lucas design by:
Amy Miller
A Good Girl’s Guide to Murder
Daisy Jones & The Six
Fashion as Fantasy: EscapingRealityThroughTheSurreal
Breaking realities, creating fantasies, bridging worlds; fashion has long been a channel for self-expression and allows individuals to play with transporting their audiences into entirely new dimensions. It’s almost euphoric in a way, how a designer’s creativity can use high fashion as a portal out of dreary reality through surrealism and fantasy illusions. Whether through unexpected uses of fabric, elaborate craftsmanship or fantastical runway presentations, fashion is not just about setting trends but can be used to retreat from the mundane every day. The surrealist art movement, originating in the early twentieth century can be seen as an evident influence in many fashion collections over the decades. This often translates as distorted proportions and pushing the boundaries of conventional clothing; turning clothing into sculptures or visual illusions. Some key designers that embody this euphoric surrealism are Schiaparelli, Harris Reed and Loewe.
Italian designer Elsa Schiaparelli celebrated this artistic movement, making her fashion house synonymous with it and the avant-garde aesthetic which she started in the 1930s. In the present day, under current creative director Daniel Roseberry, this inspiration continues. The house incorporates unexpected elements that have now become motifs of the brand like gilded body parts, sculptural headpieces and exaggerated proportions. The world of Schiaparelli straddles the line between bizarre and beautiful, taking you out of reality and building a realm without rules like what body parts should look like. Roseberry was even quoted before the Spring 2025 show in Paris that he wants to suspend the weight of reality for the audience. That show in particular was extravagant and the most recurrent motif being the sharp curves creating an illusion to the models’ bodies that was almost otherworldly.
Another designer that plays with exaggerated silhouettes is Harris Reed, known for theatrical and gender-fluid designs. Reed’s work challenges traditional fashion norms, celebrating self-expression and identity outside of real-
The Role of Fashion and Make Up in HBO’s ‘Euphoria’
In HBO’s hit show Euphoria, fashion and makeup are not mere aesthetic choices, but integral elements that define the characters, their struggles, and their identities. This is what sets the show apart from others. Cassie Howard, played by Sydney Sweeney, is a prime example of how these visual elements are woven into the narrative. Her fashion choices throughout the series show how her early sexualisation and desire for male validation caused her to lose her sense of identity so that she could appeal to her love interests.
Throughout season one, Cassie’s makeup, often consisting of conventional and classic looks like a smokey eye, appeals to the male gaze and fails to reflect her true identity or emotions. While the other characters use their bold and experimental makeup choices to boldly express their personalities, Cassie’s appearance feels more performative rather than an authentic expression of self. Her vibrant makeup during the ice-skating fantasy scene in episode 8, however, is her most expressive look throughout the first season, which was purposely crafted by makeup artist Doniella Davy to demonstrate how iceskating is an important part of her identity. The reference to Alabama Worley in the Halloween episode is my personal favourite look, as, like the True Romance call girl, Cassie is desperate to be loved.
In season two, Cassie’s radical fashion and makeup choices reflect her identity crisis, with her style developing into a mix of Maddy and Jules. She begins to experiment with more bold and expressive makeup looks in a desperate attempt to please Nate, and swaps out her cutesy outfits for skimpy sets. In one episode she can be seen wearing the same custom Seth Pratt set as Maddy –she becomes so obsessed with attempting to gain Nate’s attention that she starts to cosplay as Maddy. Cassie certainly knows how to use her style to mirror her feelings.
words by: Maya Jacob
HBO’s Euphoria is known to have unruly plot points, questionable characters, and eye-catching makeup and fashion. Euphoria’s Maddy Perez, played by Alexa Demie, has grown to become a fan favourite character. Many people aspire to emulate Maddy’s character, and one of the aspects that is impressionable to many is her wardrobe and makeup. Maddy’s makeup plays a big role in her presentation as her makeup is bold and dramatic - for one reason or another, it is hard to ignore, and hard to look away from.
Maddy’s makeup acts as a visual manifestation of her confidence and self-esteem. As the show unravels, audiences are let into Maddy’s world and can identify her desire to be seen. Maddy’s worst fear is to be considered average, and so she does everything in her power to visually set herself apart from the crowd. Makeup can often act as a mask, and Maddy uses makeup to create a facade of power and control through her exaggerated and outlandish looks, especially when she is feeling particularly vulnerable or insecure. Maddy’s makeup is no doubt provocative and has caused many Gen-Z audiences to be influenced to either recreate her looks or try to replicate the maximalist wardrobe in their outfits.
Maddy’s arguably most iconic makeup look features bright blue eyeshadow with white rhinestones which create a dramatic wing. Gen-Z audiences have held Euphoria-themed parties in which many attendees would have attempted to recreate this makeup look. While Maddy’s iconic makeup could be considered a result of her insecurities and inability to be vulnerable, it has unquestionably inspired a new generation of people to be bold and assertive both in personality and in their presentation of themselves. Modern media such as Euphoria have shaped how the modern generations have learned to present themselves, and how they wish to be perceived.
words by: Bhamini Khandige design by: Sadie Smith
photography by: Thandi Carklin
Gaining Aura Points Through The Aurora Borelis
The aurora borealis, or the Northern Lights, is a mesmerising natural phenomenon of what looks like a colourful light display in the sky. Witnessing the Northern Lights is a euphoric experience few are lucky enough to see, as the conditions for catching a glimpse of nature’s light display are usually very specific. They are most commonly seen in high latitude regions near the Arctic and Antarctic circles during winter and where there is minimal light pollution. However, the Northern Lights were recently making headlines, as people as far South as Cardiff could see them in the UK. But what exactly are the Northern Lights and why were they visible in the UK?
The phenomenon is created when charged particles from the sun, known as solar wind, interact with the Earth’s magnetic field. These particles get channelled towards the poles, where the magnetic field is weaker, allowing them to enter our atmosphere and interact with gases. Common colours to see are green, red, blue, violet and yellow, and they depend on which gases the solar particles collide with. The reason many in the UK were fortunate enough to catch a glimpse of the lights is due to a geomagnetic storm. These storms happen during periods of high solar activity, which disrupts the Earth’s magnetosphere. The result- a fabulous show of nature’s beauty.
The Northern Lights are beautiful and have even been associated with ancient mythological stories. For many, seeing the Northern Lights is a once in a lifetime experience and something definitely worth travelling far and braving the cold. Thousands of travellers visit Scandinavia, Canada, Alaska and the Poles every year to see the lights. Adrienne Bosworth recalls seeing the Northern Lights in rural Alaska in National Geographic and describes it as a ‘window into the cosmos.’
Euphoria is the exact feeling to describe witnessing the Northern Lights. The unpredictable beauty and uniqueness of the experience, coupled with the anticipation and patience of waiting to finally see them, leaves viewers stunned and in awe. While I have never been lucky enough to see the Northern Lights, I imagine the experience would leave me with an intense feeling of serenity. I consider seeing the aurora borealis as a privilege, as if nature is sharing its biggest secret. Merely seeing photos of the phenomenon is enough to take my breath away, and I am still amazed that such a phenomenon even exists. I have had it down on my bucket list for quite some time now, so when I finally see the Northern Lights, I will only feel one emotion: euphoria.
words by: Jessica Fotheringham design by: Ola Rzeszut
Hours After Euphoria
There is nothing quite like partying under the stars at Hideout Festival in Novalja, Croatia. This five-day festival transforms Zrce Beach into a paradise of music, sea and memories.
From the moment I arrived, the energy was ecstatic. The festival features top DJs and artists from drum and bass, electric, house and techno, making Novalja a paradise for music lovers.
Unlike traditional festivals, Hideout takes place on the Adriatic coastline, allowing festival goers to dance under the stars, with the ocean just seconds away. The breathtaking views, music and clubs make Croatia a unique and special place to party.
Beyond the main stage, the excitement continues with boat parties and beach raves. Dancing in the sand beneath the stars and listening to the waves crash while surrounded by friends creates memories that last a lifetime—giving Croatia an incredible reputation for fun and partying.
words by: Isabelle Breaker
There is nothing quite like a girls’ trip to mainland Europe. Relishing the summer heat in an unknown city with your best friends, ready for a night out after a nutritious dinner of Lays paprika crisps. Your luggage has become one communal wardrobe, and makeup is littering the tiny Airbnb you found for that really good price. Last year, my friends and I found ourselves in Prague, a charming cobblestoned city with a buzzing student-led nightlife. Offering endless funky bars and clubs with live music, Prague is undoubtedly the place for an exhilarating night out. As we hopped from bar to bar and danced into the small hours, I felt I hadn’t a care in the world. Yet it wasn’t just the thrill of a club dance floor that best describes ‘euphoria’, but also the delight of being in a beautiful city with my favourite people.
words by:
Kitty Connolly
Barcelona’s nightlife is an immersive, almost mythical experience. The city thrives on a rhythm that starts late and pulses through the night until the early morning. Unlike other places where the party winds down by 2 AM, in Barcelona, the clubs begin to fill up at 2, and the real fun doesn’t kick off until the early hours. Music spills out of venues like Pacha and Opium, where the beats of reggaeton, house and Latin rhythms dominate. It’s not just about nodding heads – it’s a whole body, passionate dancing. Whether it’s bachata or the electric sway of reggaeton, the dance floors are alive with movement. My friends and I followed the same thrilling routine each night: drinks in the Gothic Quarter, dancing until 6 AM, then heading straight to the beach to catch the sunrise over the Mediterranean. The blend of energy, freedom, and endless possibilities makes Barcelona’s nightlife unforgettable – and a ritual many can’t resist repeating.
words by: Wiktoria Alicja Gabara
Sharm El Sheikh, located on Egypt’s beautiful Red Sea coast, is so much more than just its gorgeous waters and beaches—it’s a fantastic spot for international partygoers looking to enjoy the vibrant nightlife. Every night during my hotel stay was incredible. Worldclass DJs played tracks from different countries, and an electrifying bunch of dancers made the atmosphere feel like one big party you didn’t want to end. It felt like a celebration every evening! There were even nighttime performances for the little ones to enjoy the magic of music and dance, catering to all ages and creating memorable experiences for everyone! By balancing the laid-back vibes during the day and the lively energy at night, Sharm El Sheikh doesn’t hesitate to make every night feel like a new adventure filled with unforgettable moments.
words by: Alanah Blayney design by: Amy Miller
The Food
“The next time somebody critiques you for eating you can tell them that your decisions
Sensory Specific Satiety (SSS). Whether you know what SSS means or not, you have definitely experienced it before. It’s the feeling that you get after a meal when you’re full but find a little extra space upon seeing the dessert menu; being so stuffed that you don’t want to think of ever eating again but at the mention of ice cream, you are suddenly granted the capability to eat more. Surprisingly, the idea of having a “second stomach” actually has more fact to it than it may seem.
Sensory Specific Satiety is the scientific reasoning behind how full we become whilst eating a meal or perceiving our level of hunger. It is linked to our desire to want to eat more based on what is on offer: the pleasure derived from a specific food will decrease during and after its consumption, leading to a reduced desire to eat that particular food. This mechanism plays a significant role in regulating food intake and meal termination and is influenced by various sensory properties of food, including taste, smell, texture, and appearance. In simple terms because the food has changed, we find room for more food despite previously “feeling full”.
Several studies on SSS have been conducted to look out how a panel of test subjects react to foods based on their repetitiveness and visual stimulus, and their relationship to volume of food consumed. The test served four courses to two groups of people: the first group were served courses with the same types of food, and the second group were served different types of food for each course. They found that those in the second group who were served different
types of food for each course ate an incredible 60% more. SSS plays a vital role in our diets by connecting our desire to eat food with a desire to increase food variety. If your plate of food is more or less the same colour (beige seemingly being the predominant palate of students who lack a mother’s watching eye) you may feel less happy and bored with the lack of a sensory experience from the food. By focusing on the colours of your food you increase the satisfaction of the eating experience. What’s more you also increase the nutritional value through adding splashes of greens or reds (and no, ketchup does not count here). Therefore, this simple reaction between food and colour that happens as a result of SSS can help make healthy
Food High
eating dessert after claiming you were full, decisions are backed by science.”
Yet, SSS can also pose some risks when it comes to diet and eating habits. When presented with a variety of food options all at once, for example at buffets or at Christmas dinner, we become excited at the possibilities and our interest in eating is at an all-time high. As a result, we pile up our plate with different types of food and create an almost artistic pile that is a feast for the eyes but not so much for the stomach. Your brain remains interested in eating through everything on your plate and you lack judgement or that natural “full” feeling, making you susceptible to overeating.
Additionally, eating a lot of palatable foods i.e. foods that are easy to enjoy due to high salt or sugar content will always keep you interested regardless of colour, and can encourage unhealthy eating. A Greggs lunch of a sausage roll, wedges, and crisps may be a monotone beige but it will not incite boredom because the simple salty, meaty flavours are tasty regardless of colour.
Which all makes the maintenance of a healthy, balanced diet understandably difficult. The want to buy pizza because it tastes good and is easy to cook is completely understandable, but in doing so, you are not completely satisfying your emotions. But by aiming to add colours to your plate of food when you’re cooking, even if it’s by adding a simple side salad to your chicken nuggets, it will make it so much easier to enjoy your food and feel better about eating it.
SSS is our body’s natural way of keeping us engaged in wanting to eat food and making sure the food we eat is actually good for us. The idea that we eat with our eyes and that we have a second stomach for dessert means that we keep a balanced and nutritious diet whilst also keeping happy with changing flavours and foods. So, the next time somebody critiques you for eating dessert after claiming you were full, you can tell them that your decisions are backed by science.
words by: Amber Al-Wafai design by: Annalise Dellow
Starving for Perfection
The landmarks of our day consist of continuous energy flow, input and output of sleep, stress, work, water, oxygen–and food. Everything revolves around gaining and losing in a cycle, where challenges to balance can overthrow our lives, and ultimately dominate them.
It’s incredibly difficult to comprehend our own need for homeostasis, hence a reliance on vitamins, meal plans, workout regiments, influencers, all these products and producers reminding us that we can’t self-regulate. That we are doing something wrong: we are failing at being human.
Trying to escape the failings of the modern experience, its unsurprising people have turned to a paleo diet or refuse ‘processed’ foods. Blaming consumerism and modernity is a fair response to the inescapable accusation that developed society eats unhealthily, yet it makes the wrong assumptions.
Diet culture is an ouroboros: it (re)produces the narrative it claims to destroy in infinitum. It does this through constant adaptation and assimilation, re-framing a diet into a 30-day challenge into a ‘lifestyle’.
There is a hypocrisy of the freedom narrative within diet/lifestyle discourse, as it ultimately restricts, creates rules that overlap and overlap until there is no memory of what and how we ate and therefore what we were.
In trying to discover how we should consume, we miss out on the real experiences of how we want to consume: we’ve traded our means for our ends.
Inevitably, there can be no universal truth on diet and it is that which gives it meaning. The morality and religiousness with which we treat our eating habits defies what a real lifestyle is about. We cannot live everyday like it is our last, but neither can we burden our lives into meaningless regimens, shaped by predatory dietary philosophies.
words by: Lydia R Byrne
The only book I currently have on loan from the library is Overcoming Binge Eating by Dr. Christopher G. Fairburn. Front and centre at the library’s wellbeing section, it’s all you really need to know about my relationship with food.
I can’t remember the last time I wasn’t either on a diet or thinking about starting one. Since at least the age of twelve, I’ve been aware of my body shape, others’ judgements and every bite I put in my mouth. That awareness didn’t stop me from eating, though—if anything, it fuelled a cycle of emotional eating. More recently, I’ve learned that it’s also a form of ‘dopamine mining,’ a term used to describe how people with ADHD (like me!) seek out dopamine boosts.
The cycle goes like this: I eat to get dopamine, usually from sugar or carbs. Then I feel guilty for eating ‘junk.’ That guilt makes me feel worse, so I eat more to soothe myself. Then comes the anger, the vow to ‘be better,’ the carefully planned meals that last a day or two before a low-dopamine day sends me right back into the cycle.
Over the years, I’ve learned to recognise this pattern and, most of the time, I can break free from it before the real bingeing starts. But no matter how much effort I put this internal battle, food remains both comfort and enemy. I know, logically, that it doesn’t have to be either. One day, I hope it won’t be. One day, food will just be… food.
words
by:
Megan Ingram-Jones design by: Isobel Blunt
JOMO- y FOMO newydd?!
FOMO – ni gyd siwr o fod wedi’i deimlo fe rhyw dro mae’n debyg! Yn yr oes ddigidol yma, mae’r ymdeimlad o FOMO, ‘Fear of Missing Out’, yn brofiad eithaf cyffredin. Heb os nac oni bai, mae dylanwad platfformau cyfryngau cymdeithasol ar ein bywydau yn gallu amlygu’r teimlad i ni. Drwy sgrolio drwy ein ‘feeds’ ar gyfryngau cymdeithasol a gweld ‘posts’ ein ffrindiau, cyd-fyfyrwyr yn mwynhau ar nosweithiau allan, mewn gigs neu unrhyw ddigwyddiad diddorol; anodd yw peidio cymharu. Wrth deimlo felly, mae’n hawdd cael eich denu i fynd ar nosweithiau allan neu fynychu digwyddiadau nad oes gennych wir ddiddordeb ynddyn nhw, ac sydd efallai yn gwneud i chi wario yn ddi-angen. Mae’r teimlad o FOMO yn gallu rhoi pwysau arnom i deimlo’r angen i fod ymhob man, ac i uwchlwytho cynnwys ohonom yn ‘mwynhau’ (er efallai nad dyna’r gwirionedd) er mwyn i bawb arall gael ei weld. Er ei bod yn bosib, ar adegau, i fwynhau’r nosweithiau allan neu’r digwyddiadau hyn, nad oeddech chi wir wedi ystyried eu mynychu, mae modd eu hosgoi, heb deimlo unrhyw FOMO!
Pam nad ydych eisiau mynd ar noson allan, neu ddim awydd mynychu rhyw ddigwyddiad sy’n cael ei gynnal, dylid ceisio osgoi meddylfryd negyddol y FOMO ac ystyried y ‘colli allan’ fel cyfnod i’w fwynhau. Yn gwbl groes i FOMO, mae JOMO, ‘Joy of Missing Out’ yn dangos yr ochr bositif i aros i mewn, a pheidio â theimlo’ch bod yn colli allan ar nosweithiau neu ddigwyddiadau, a hynny er mwyn blaenoriaethu’r hunan a gwneud yr union beth yr ydych CHI am ei wneud. Yn syml, mae JOMO yn cynnig cyfle i unigolion ddianc rhag pwysau a disgwyliadau ‘party culture’ y platfformau cyfryngau cymdeithasol. Felly, yn hytrach na mynd ar noswaith allan yn yfed o 7yh tan oriau man y bore y diwrnod wedyn pan nad oeddech chi wir awydd gwneud hynny, byddai unigolion sydd ddim yn poeni am golli allan ar hynny, yn defnyddio’r amser i ymlacio ac i wneud beth bynnag sydd yn mynd â’u bryd ar yr adeg honno. Mae JOMO yn galluogi blaenoriaethu lles yr hunan, deffro gyda phen clir, a dim ‘hangxiety’ yn agos.
Yn sicr, mae’r arferiad o beidio mynychu nosweithiau allan wedi dod fwyfwy poblogaidd ymysg pobl ifanc gyda gwaith ymchwil yn Awstralia yn dangos bod 71% o Gen Z wedi lleihau’r nifer o nosweithiau allan sy’n cael eu mynychu ganddynt. Dywed Eleri Davies, myfyrwraig or drydedd blwyddyn, “ers i fi fynd allan llai aml fi’n teimlo fel bo da fi fwy o amser i neud pethau, a blaenoriaethu gwaith Uni. Fi hefyd yn teimlo’n well achos bod fi ddim yn profi’r hangxiety na oni arfer teimlo ar ol night out”. Mae’n amlwg felly bod cymryd amser i fwynhau JOMO yn arwain at unigolion i deimlo’n well amdanynt eu hunain.
Os hoffech chi gymryd amser i recharge a pheidio mynd ar noswaith allan am unwaith, beth am ystyried defnyddio’ch amser i wneud un o’r gweithgareddau isod:
Dod o hyd i Ddiddordeb newydd:
Wedi bod eisiau cychwyn diddordeb newydd ers tro, ond heb ffeindio’r amser i ddechrau? Mi fyddai trawsnewid eich FOMO i JOMO yn rhoi’r cyfle i chi wneud hynny. Boed yn arlunio, dysgu chwarae offeryn neu iaith newydd mae’n gyfle i chi adennill amser wedi’i golli.
Treulio Amser Gyda
Does dim angen i weithgaredd JOMO fod yn gyfnod unig ogwbl. Gellir treulio amser gyda’ch ffrindiau, mynd am dro gyda nhw, mynd allan am bryd o fwyd neu eu gwahodd draw i dreulio amser efo’ch gilydd.
Cwblhau
Fel myfyrwyr Prifysgol, rydym ni gyd yn gwbod pa mor drwm gall pwysau gwaith Prifysgol fod ar adegau. Yn ogystal â hynny, efallai bod gadael gwaith tan y funud ola yn rhoi pwysau ychwanegol arnoch i geisio cyrraedd terfyn amser cyflwyno aseiniadau. Pam ddim defnyddio’r amser yma i weithio ar eich aseiniadau er mwyn ysgafnhau’r pwysau ac adennill amser, yn y pen draw, i wneud gweithgareddau eraill?
Ymlacio
Mae’n swnio’n rhywbeth syml, ond fe allwch ddefnyddio’r amser yma i gael recharge a rhoi traed lan! Gallwch wylio’ch hoff raglen, ffilm neu ddarllen llyfr newydd yr oeddech wedi bwriadu’i ddechrau ers amser.
Felly, y tro nesaf y teimlwch FOMO yn cael effaith arnoch, trowch o’n rhywbeth positif. Meddyliwch am JOMO, a rhoi tro ar un o’r syniadau uchod i osgoi unrhyw sefyllfa allai achosi pryder di-angen i chi. Gwnewch yn fawr o’r amser i ymlacio ac i recharge eich batris cymdeithasol!
geiriau gan: Llŷr Eirug ddarlunio gan: Katie Storrie
photography by: Thandi Carklin
Euphoria of Self-Pleasure
Female pleasure and sexuality are not traditionally something that one is taught to embrace. But when Dirty Dancing was on the telly and Patrick Swayze swung Jennifer Grey around that cabin in the Catskills and two hot, sweaty and sexy bodies became one... a bolt of lightning struck 14-year-old me, a light switch came on and something shifted. My bog-standard British state school education in which I was lectured endlessly on the importance of condoms and birth control pills to prevent babies and diseases had meant that I understood perfectly well how to have sex... but nobody really told me why I would want to have it in the first place. In those early days it was that lightning bolt that led me to discover that all I needed to have a good time was a quiet room and my right hand.
Boys are almost actively encouraged to masturbate. From the time they hit puberty, the miracle of ejaculation and the
“Ladies can embrace their own lightning bolts”
joys of having one off the wrist are introduced to them as perfectly normal habits. With the rise in mainstream internet porn becoming so easily accessible many of us are given a warped idea of what sex should be like, with female pleasure rarely considered (I mean how many mainstream porn videos ever depict a man going down on a woman?). Being able to masturbate gave me the agency within my own sex life to prioritise my pleasure rather than simply being beholden to how a man would expect me to perform. I can thank female masturbation for helping me discover what I enjoyed and giving me the confidence to take charge in those early sexual fumblings. From getting your own pleasure during a solo wank to enhancing experiences during partnered sex. I hope that all my fellow ladies can embrace their own lightning bolts.
words by: Arielle Melamed
“The choice is yours; your body is yours”
For generations the world has told us women to be ashamed of our bodies: the idea that we must be beautiful but never allowed to admire ourselves. Western culture has decided that female pleasure is a taboo and anything but what it should be… pleasing. Masturbation is a common subject of masculine humour then becomes the elephant in the room for women.
Let us take for example the well-loved show Gavin and Stacey… While Gavin and his mates are laughing about having a wank, Stacey then becomes the show’s punchline as she jokes about having masturbated three times out of boredom much to the disgust of her male counterparts.
But ladies, we should feel no shame! Nothing says confidence like knowing who you are and what better way to explore yourself than starting with your own body. While historically men have claimed women’s bodies as their
own property, we now reclaim it as our own. For what is more empowering than saying we do not need anyone else to pleasure ourselves? The world is our oyster once we master our own body. Self-pleasure is made up of freedoms: whether that be letting your imagination run wild, reading a book, or deciding whether today I want to use my vibrator instead of my dildo. The choice is yours; your body is yours and, in turn, the whole experience is yours. Your clitoris can become your stress relief button. You close your bedroom door, lock out the anxieties of life and just escape at the click of a button… or the flick of a bean.
words
by: Lowri
Player design by: Isobel Blunt
Euphoria is the beating heart of party culture. Whether it represents the climax of happiness or an intoxicating feeling, it’s bold and can be addictive. But beneath the glitter and neon lights, euphoria has its flaws and consequences. It’s a cocktail of different feelings: the highs, the lows and the vulnerability, all wrapped up in sweetness and sequins. Party culture thrives on the different facets of euphoria. It’s not always about having fun, it can be about losing yourself and finding yourself or simply pretending for one night. The sensory overload of a party is meant to pull you into the moment and never let you go, the bass vibrating through your body, the flashing lights, the heat of bodies… for a few hours, the outside world and your problems don’t exist. The euphoric feeling is comparable to being in a bubble of sound and light where nothing matters except when your drink runs dry.
Euphoria and Party Cuture
Music is the backbone of any party, let alone the euphoria inducing ones. I think what primarily makes a night successful is whether the DJ plays your favourite party songs. For me, it’s the moment when you’re about to leave, and suddenly, We Found Love starts playing. Certain genres, however, are designed to evoke emotional peaks, such as EDM or disco. There’s definitely a science behind music, the beat builds, the tension rises and then it drops, and the crowd erupts. It’s a collective release that feels bigger than yourself, which I’m sure many have experienced. Singing along to an anthem at the top of your lungs with hundreds of strangers creates a sense of unity that’s hard to replicate anywhere else. The only place comparable would be the communal love that girls experience in the club bathroom.
Euphoria isn’t only about the music; it can also be about indulgence. Parties thrive on excess, from alcohol to substances to one-night stands. There’s a certain thrill in pushing boundaries, in staying out until sunrise and doing things you otherwise wouldn’t. It’s rebellion wrapped in glitter and a way of escaping the mundaneness of everyday life. The experience, in fact, is somewhat dreamlike; everything is created to make you feel like you’ve stepped into another world, from the fashion to the aesthetics of the room. And yet, for all its highs, euphoria is fleeting. When the music stops, the lights come up and the cleaning staff start their tireless job, reality comes crashing back. The sticky floors, the ringing in your ears and the raspy voice, although I’m not sure if that’s necessarily a bad thing, are a stark reminder that the magic doesn’t last forever.
The Highs Lows and Everything in Between
During one of my first nights out during freshers, I felt this duality. The club was full, the music was great, and I had my favourite vodka cranberry in hand. The night was perfect. Eventually, reality crept in, and the need for fresh air pulled me outside. What started as a thrilling start to my night ended in a cold walk home. The high was incredible, but the comedown was sobering. This is one of the many paradoxes of wanting that euphoric feeling in party culture. Parties are spaces of joy and connection but can also be spaces of loneliness and self-doubt. Especially when you consider yourself to be the infamous ‘best friend’ amongst your girlfriends. And yet, we keep chasing that euphoria you remember your favourite nights out to have been like. Party culture keeps evolving over the years, from underground raves to massive festivals, the search for euphoria remains unfound. It’s what keeps us coming back: the overpriced drinks and insisting men. So, is euphoria worth it? I think for most it’s about the chase. Because even if it’s fleeting and leaves us questioning our choices with a pounding headache the next morning, when we feel the desire to feel that certain pulse, it’s impossible to resist.
words by: Charlotte Hardie-Watts design by: Ola Rzeszut
Rebirth of Euphoria
HBO’s Euphoria critics alike relationships. its visceral world of art beauty, gender
See, Think of her relationship the cinematography subverting transgender about what Art has long which are narrow in scope. infamous self-portraits, has shaped these iconic by transgender muse. Through who gets to
One of the most The Birth of of female beauty painting, Venus, sea, her nude unattainable
long, flowing Botticelli’s goddess.However, it’s a reclamation. in the role ideal of femininity women. It pushes think of as beauty, physical appearance redefine oneself. centuries of has always beauty, Euphoria that beauty object of male defining her
Euphoria has captivated audiences and awarded through its intense portrayal of identity and relationships. What sets it apart from other teen dramas is imagery, particularly the way it draws from the history to explore pressing questions around gender and love. In the episode “You Who Cannot of Those Who Can,” Rue (Zendaya) reflects on relationship with Jules (Hunter Schafer), during which, cinematography reimagines classic masterpieces, traditional beauty standards and putting transgender women at the forefront of the conversation beauty truly means.
long been used to dictate societal ideals of beauty renowned for being impossible and often scope. From Botticelli’s angelic Venus to Kahlo’s self-portraits, the canon of female beauty in art shaped how the world sees women. In Euphoria, iconic images are reinterpreted, with Jules (played transgender model and activist Hunter Schafer) as the Through these reimaginations, the show questions embody beauty, love, and femininity.
most alluring recreations is of Sandro Botticelli’s Venus (1485). Regarded as an iconic depiction beauty in the Western art world, in Botticelli’s Venus, the goddess of love, emerges from the nude body depicted as divine and her beauty unattainable for mere mortals. Jules embodies this with her flowing hair and an ethereal presence that echoes goddess.However, this isn’t simply a retelling, reclamation. By placing Jules, a transgender woman, of Venus, Euphoria challenges the traditional femininity as something that’s limited to cisgender pushes the boundaries of what we’ve come to beauty, suggesting that beauty is not only about appearance but about identity and the freedom to oneself. The image of Jules as Venus subverts of classical ideals, although this mythology been tied to the idea of unattainable, perfect Euphoria changes that narrative by emphasising can be imperfect. Jules is not the passive male desire that Venus traditionally represents, own beauty on her own terms.
Director Sam Levinson draws inspiration from René Magritte’s surrealist painting The Lovers (1928), where two figures with their faces obscured by cloth appear to kiss. Love is portrayed as something hidden and inaccessible. In Euphoria, this concept of veiled intimacy comes to life as Rue and Jules share a complex connection, their identities and desires obscured by the layers of their relationship. Mimetic to Magritte’s lovers, their bond is not easily defined by traditional views of romance.
Euphoria excels in its use of the image of obscured faces to symbolise hidden aspects of identity, especially in a queer context. For Jules and Rue, their love isn’t easily understood by those around them. The cloth covering the figures becomes a metaphor for emotional barriers faced by those navigating their desires in a world that often doesn’t acknowledge their identities. In Euphoria, these barriers are both pzzxersonal and political, unfolding in a space that’s intimate yet profoundly public.
An artistic climax is reached with a recreation of Frida Kahlo’s Self-Portrait as a Tehuana (1943). Kahlo’s gaze is defiant and simultaneously vulnerable, reflecting her struggles with love and loss. On her forehead is an image of her husband, Diego Rivera, visualising their complicated relationship. Jules poses in a similar manner to Kahlo, with Rue’s image painted on her forehead. The symbolism is of a love that transcends the external and enters a deeply personal realm.
Just as Kahlo’s self-portrait reflects her full identity, Jules’ pose communicates her connection to Rue. The idea of beauty as something fragile is challenged. In both versions, beauty isn’t about perfection, rather embracing complexity.
Jules is at the heart of Euphoria’s reimagining of artistic masterpieces. She is the standard, and in her, beauty is authentic and constantly evolving. Euphoria reminds us that beauty is never fixed, it’s personal, ever-changing, and emphasises that we will inevitably be seen for who we are and loved regardless.
words by: Katherine Boon design by Isobel Blunt
Artist, Inspirational Speaker, Media Presenter, Campaigner & Prolific Volunteer. Former
High Sheriff of Country Glamorgan
What initially inspired you to pursue a career in the media?
My interest in the media started when I was 2, there was a lot of coverage in the media to do with thalidomide. Having been interviewed on a regular basis for documentaries and newspapers and magazines, I kind of thought this is fun and I’d like to do that. That was the catalyst for me wanting to be on the other side of the camera, or the microphone, or writing the article about it.
What was the process of getting into university, and how did it feel to be Cardiff University’s first disabled student?
As a disabled person to get a decent education when I was young was difficult. In 1970 they did a slightly different version to the 11+, and they also included the school I was at. It backfired because six of us passed. 4/6 were able to go to the local comprehensive, but two of us (me included) used electric powered wheelchairs so we couldn’t go there. It was about another three years and a new headmaster, and he pulled lots of strings and had contacts with the headmistress of the only school in the UK that gave disabled people an education, it was called Florence Trelaws school. I spent about three and a half years there. Then I went to college and did some more O levels and a business studies course. I then came back to Cardiff to go to a college in Colchester Avenue, that was my first foray into education alongside non-disabled peers. When I finished the course there, one of the tutors came in with a UCAS form and said you need to apply to university. I just laughed and never thought I would go to university, as I didn’t think I had that calibre of education.
I then applied, at the time to the two universities in Cardiff, Cardiff University and now Cardiff Met. Cardiff Met psychology department was on a two-level hill, and the interview was a strange one, with one lecturer on the desk who said this is a bit of a waste of time for both of us, and he said this isn’t accessible so there’s no point coming here. I wrote to Cardiff University who called me for an interview, and it was the opposite, it was 6 people on a panel, including the Head of Psychology, Head of Student’s Union, and I even think the janitor was in there! It was gruelling but they asked: How will you manage and what can Cardiff do to help? I went back in, and they said they’d like to offer me a place. It was a huge learning curve for all of us, as they never had a student like myself.That was my foray into Cardiff University.
Beyond 51
How did you overcome the challenges of writing and studying with your disability during university?
With the help of peers, pen in two hands resting – and a table at the front of the lecture hall, with the pen in my fingers or my mouth. When it came to my exams I had them dictated. I did my exams in a separate room and that was transcribed from the tape.
If you could give one piece of advice to students with disabilities who are looking to pursue a similar career in the creative industries, what would it be?
It’s a lot easier now to get into the creative industries then it was in the 1980s. But the advice I would give for anybody, would be to get involved or volunteer at a local radio station, or local newspaper, or whatever area of the creative industries you want to get involved in.
Your promotion of the social model of disability with RMS Consultancy is impressive. What more can be done at universities to raise awareness that societal barriers, not impairments, create disability?
There’s no point having the social model and not practising it. I guess I’d demand the university puts the policies in practise and not just have it as a written statement. Were are disabled by the world we live in, we have impairments, but we call ourselves disabled people because the world in which we live disables us. True inclusion is where disabled people and non-disabled people learn and study together, even if that means the disabled person needs a little bit of extra help and support.
How has media representation improved since you started your career, and what more needs to be done?
I think 8 to 10 years ago you wouldn’t have seen many disabled people on television, other than being reported on. You’d have seen them in the news, heard about them on the radio, but the story would have been about them. Hardly any one on television, in dramas, or in films, very rarely as presenters. If so, we would have been depicted in stories as villains, pitied or as tragic characters, not as just an ordinary everyday character. Now you get more of that, but that’s only really come about in the last 5/10 years. In pictorial things you need to be able to see what’s what, so take EastEnders for example: a quarter of the characters if they go into equal reality, would have to be disabled people, but there’re still not, you get the token wheelchair user or the token person with a mental health issue, or token visually impaired person. It’s better than nothing, but it doesn’t really depict reality.
Can you share insights into your work as a mouth artist and what inspired you to start painting?
I’ve always enjoyed art, especially drawing and painting with a pencil or brush in my mouth. Early on, school didn’t focus much on academics, so I found joy in creativity. However, life and business took over, raising a family and running a business, which delayed my return to painting. For years, people from the Mouth & Foot Painting Artists Association encouraged me to join. After 25 years of disability training and campaigning, I was tired of focusing on legal aspects of disability discrimination. Instead, I wanted to emphasize best practices. A friend encouraged me to submit a portfolio, and in December 2012, I was accepted as a student. Since then, I’ve been fortunate to have 9 of my paintings reproduced in 21 countries.
Looking to the future, what is next, for Rosaleen Moriarty Simmonds OBE?
That’s a real difficult one and we’d all love to have a crystal ball to look into that future. But, for one year I was high sheriff of country Glamorgan from 2022-2023, I thoroughly enjoyed that role, I met some incredible people, went to some fascinating places, but also If something similar came up I wouldn’t say no. In the meantime, I’ll continue with my painting and advocating for the rights of disabled people and my talks and the odd bit of media work, but not as much as I’d like. You know what, I would really like (if you’ve got any contacts) to have a cameo role in Dr Who or Casualty, something like that, something outrageous!!
words by: George Clark design by: Katie Storrie images courtesy of: Rosaleen Moriarty-Evans
ewfforia yw’r teimlad o fod mewn cariad