861 Indigo (75th anniversary)

indigo@palatinate.org.uk

75 years of Palatinate and arts journalism

Indigo Editors, Charlotte Grimwade and Cameron Beech, consider the paper’s connection to the arts

The past 75 years have witnessed remarkable changes across arts and culture. From developments in the latest film technologies to the way in which we access our music, the arts have become increasingly accessible. Whilst the Indigo we know today didn’t actually come into existence until 2008 (though fifteenth anniversary celebrations may be on the horizon…), throughout Palatinate’s history the arts have always been a powerful element of the paper’s output.

Elements of this edition’s design aim to hark back to past iterations of the magazine

This edition of Indigo aims to celebrate 75 years of the paper, from the magazine’s myriad of engaging front covers to past Editors-in-Chief that have gone on to pursue careers in arts journalism. Elements of this edition’s design aim to hark back to past iterations of the magazine. From the small black and white symbols that proliferated the pages of sense, to the coloured columns from 2010s editions of Indigo

This is not your typical fortnightly edition of Indigo

The intention behind this edition’s front and back covers is to highlight our myriad of talented student illustrators, photographers and editors, both past and present. This is not your typical fortnightly edition of Indigo; rather this special edition acts as a time capsule, delineating the history of art journalism throughout the last two decades, and the ways in which art journalism has simultaneously evolved alongside culture itself. Our brilliant section editors have used this special edition as an opportunity to explore both

CONTENT

Archive (page 3), Features (pages 4 & 5), Visual Arts (pages 6 & 7), Books (page 8), Stage (page 9), Insert (pages 10 & 11), Music (page 12), Film & TV (page 13), Interview (pages 14 & 15), Creative Writing (page 16), Travel (page 17), Style (page 18), Food & Drink (page 19).

Indigo logo: Adeline Zhao

Cover image: Cameron Beech

Artwork of the week: James Macfarlane

the progress of the paper, the arts and Durham over the past 75 years. From Interview’s insightful discussion with former Editor-in-Chief, Tim Alden, on page 14, to Visual Arts’ focus on old sense covers on page 7, this extended edition of Indigo is a true celebration of everything our editors, both past and present, have achieved.

Artwork of the week: James Macfarlane

TEAM

Charlotte Grimwade, Cameron Beech, Melissa Rumbold, Roshni Suresh Babu, Siobhan

Eddie, Elizabeth Buckley, Theo Mudhir, Amelie Lambie-Proctor, Lydia Doyle, Lily Lake, Ruhee Parelkar, Annie Pickup, James Macfarlane, Rae Rostron, Alice Purves, Jacob Dax Harris, Lotte Micklethwaite, Charlotte Rodney, Isabella Harris, Tom Harbottle, Millie Adams, Eve Kirman, Elif Karakaya, Caitlin Ball.

CONTACT

www.palatinate.org.uk

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Have a question, comment or an article idea? Email us at indigo@palatinate.org.uk or any Indigo section email address

Image credit: Adeline Zhao

Harking back to sense

If you’re a fan of 2000s magazine culture don’t look further than Indigo’s very own predecessor, sense. Establishing its presence as Palatinate’s original glossy arts and lifestyle magazine, sense properly began on 12 May 2000 under editors Tim Bradshaw and Jules Fossett. The first edition is full of 2000s nostalgia, featuring a review of Gladiator and an interview with Guy Berryman, the bassist from Coldplay. Predominantly printed in black and white with an edgy sprinkle of lower-case, the first edition is definitley striking in comparison to today’s Indigo.

The first edition is full of 2000s nostalgia

One of the most interesting aspects of sense’s content is the magazine’s editorials. Split between ‘him’ and ‘her’, each editor seemingly takes the opportunity to either rave or rant about a specific topic that has interested them that week. So, in the spirit of Palatinate’s 75th anniversary edition, Indigo Editors Charlotte and Cameron have taken this stroll down memory lane as an excuse to consider their own time on the paper.

cameron charlote

To quote the protagonist from my favourite film: “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” I started writing for Palatinate as a fresher. Stuck in college accommodation in October 2020 I honestly didn’t have much else to do. After a solid number of articles under my belt I applied for Film & TV Editor on a whim over the Easter holidays. To my surprise, I got the role.

Editing the Film & TV section was one of the best experiences I could have asked for. I got the opportunity to work with incredible editors and writers. On top of that, my job was quite literally to read and write about the thing that interested me most. The role of a reviewer is to be critical but fair. To maintain an opinion, substantiated by evidence, that informs and potentially even entertains. I’ve read many questionable reviews from a range of di erent outlets in my time. Some intentionally and unnecessarily brutal. Others overly generous. Some of the best reviews I’ve read I’ve found scrolling on Letterboxd. Anyone can be a critic, in theory.

Since becoming Indigo Editor this January, I’ve had the pleasure of engaging with critical conversations across the artistic spectrum and I know that Indigo will maintain this over the next 75 years.

Since joining Indigo as Visual Arts

Editor back in January last year, I have learnt to absolutely lean into and to embrace my artistic side. I’ve had the opportunity to write articles on subjects such as how artificial intelligence is being used to bring colour back to the statues of Ancient Greece, the beauty found within the art of the grotesque, and the portrayal of love in Botticelli’s Primavera

I remember the first ever article I edited was on ‘Britain’s most insightful royal portraits’, the first ever illustration I commissioned was for an article on the digitalisation of history’s most renowned artworks. The first ever print edition I helped edit was a piece on love’s meaning throughout the ages as depicted in art. I was learning how to use WordPress, attempting to navigate the technicalities of Adobe InDesign and endeavouring to figure out how on earth to photoshop an image. Just a little over a year ago, I was experiencing all of my journalistic ‘firsts’ and now I am one of two editors overseeing Palatinate’s arts and lifestyle magazine, which is still utterly surreal to write. Despite still being in its infancy, Indigo, which turns fifteen this October, has already undergone many artistic evolutions, and I greatly appreciate the fact I get to be a part of this new landmark chapter.

Image credit (from left): Charlotte Grimwade, Dylan Rana

Student journalism in Durham and beyond

In light of Palatinate’s 75th anniversary, Martha Powell reflects on the importance of student journalism

The pull quote in Palatinate’s first edition, published on Wednesday 17 March 1948, was as follows: “I like men, but I frankly detest the undergraduate specimens. Insincere, a ected, self assured and bombastic, they grate upon the very fibres of my feminine sensibilities.” Even after 75 years of the paper, and although its format has changed vastly, many of its founding sentiments remain. Student journalism is fundamentally important, in its support of the student body and surrounding area.

I recently attended a journalism careers event, and one of the things that stood out to me most was just how useful student publications such as Palatinate can be in opening doors to graduate programmes and beyond. One panellist explained her confusion as to why budding journalists wouldn’t get involved with a student publication on their doorstep, and if the list of previous Editors-in-Chief is anything to go by, Palatinate acts as a diving board into a pool of careers in journalism.

Student publications such as Palatinate are a orded a unique privilege due to the youth of their contributors, who are particularly receptive to change. Young voices bring fresh perspectives to journalism, as well as flexibility and openness, which enables student media to excel. With the rise of digitised video media, such as TikTok, it is unsurprising that Durham’s student journalism adapted ahead of the curve, as evidenced by the launch of PalTV in 2020.

Other subsections of Palatinate have evolved throughout its history, such as the launch of arts and lifestyles magazine Indigo launching in 2008, and the science and technology section making an appearance in 2018. The addition of the Comment and Satire sections also demonstrate the breadth of student talent and interest, as the paper has evolved to showcase all of Durham’s literary and visual talent.

An often underrated part of the job as a student journalist is the amount of fun to be had in the pursuit of research or ‘adding to my CV’. In the few months that I have written for

Palatinate, I have watched films, scrolled through TikTok and landed myself in deep Twitter threads all without guilt that I am avoiding my summatives. In all seriousness, this paper has enabled me to participate in student life outside of academics, whilst still contributing towards something that I will look back on and be proud of.

Without the paper, I as a reader would be unaware of many ongoing events in and around Durham. I am regularly amazed by the breadth that this paper has to o er, spanning headline news, interviews, sport, and creative writing. There is something for everyone, whether you want to be informed or entertained.

However, Palatinate is

Without Palatinate, Durham’s student voice would lack cohesion and unity, therefore reducing its strength. As students, we are incredibly lucky to have been a orded a platform for student journalism that carries with it immense prestige and history, and which ensures that everyone’s voices are represented and their needs and interests taken into account. Palatinate has held the university accountable throughout its 75 year long tenure and I can only hope it continues to do so in

I am not the first to suggest that student journalism is important, but I echo past iterations of this paper when I say that it is a fundamental pillar of the Durham experience. It is vital that Palatinate continues to operate as the torchbearer for Durham’s student voice, whether this is to protest rising house prices, celebrate our sporting successes, or just to air grievances over the male student body, 75 years later.

My favourite Indigo articles are those that delve a bit deeper into less-discussed aspects of the student experience, such as Velina Peykova’s article on the pressure to drink, or Dherran Titherington-Bragg’s article on disordered eating. Palatinate and Indigo are both fantastic platforms to explore these kinds of taboo topics.

My favourite Indigo article is called “Beyond the Durham bubble”, which explores the highs and lows of attending Durham University while living in Bowburn. The article was published at the height of 2022’s student housing crisis, and could not have come at a better time to help those students who felt pressured to find a house close to town!

Palatinate acts as a diving board into a pool of careers in journalism

There is something for everyone, whether you want to be informed or entertained

Image credit: Anna Kuptsova

Siobhan Eddie

Roshni Suresh Babu

features@palatinate.org.uk

Chloe Codling celebrates the paper’s history and muses on its future Palatinate in 2098

Since it was founded in 1948, Palatinate has given Durham students the opportunity to gain experience in journalism and to write about the issues they care most about. Every year sees a fresh cohort of aspiring writers who want to see their name in print, and Palatinate gives them the chance to do so. Over the years the paper has reported on a range of local, national and international news stories, and since 2008 Indigo has covered all things lifestyle, culture, and the arts. The success of the newspaper up to now is incredible, with the Palatinate widely considered one of the best student publications in the country, winning awards in 2018 and 2021. Not to mention the success of its video journalism platform, launched as PalatinateTV in 2020 and rebranded as PalTV the following year.

Palatinate has given Durham students the opportunity to gain experience in journalism and to write about the issues they care most about

Much of the success of the paper is credited to its adaptability, axing and introducing sections when demand requires, and venturing into online formats as patterns of media consumption change. With this in mind, let’s think about what Palatinate might look like 75 years from now.

Reporting on climate change

I don’t want to appear overly cynical, but it is impossible to think about life 75 years into the future without considering

climate change. Perhaps the situation might be urgent enough by then to warrant its own section in the newspaper – if not, the topic will certainly feature heavily across the board. Food, fashion, and science & technology all play a key role in either contributing towards or mitigating the e ects of climate change, so it is a topic which will infiltrate most sections of the newspaper.

Covering local stories

Over the years, the newspaper has seen a shift away from reporting on far-o international a airs towards covering more local news stories. These are the stories which most directly impact students and the local populace, so I’d like to see the paper continue to report on issues such as housing crises and UCU clashes (although I certainly don’t wish for these problems to continue.) A focus on local a airs is also important in constructing a proud North East identity for the newspaper, and prevents the alienation of locals who might want to read the paper too.

Expansion of PalTV and online journalism

Recent years have seen shifts in patterns of media consumption across the world. It would not be a shock if by 2098 the newspaper stops publishing its print format, instead focusing exclusively on the online paper and video journalism outlets such as PalTV.

for local stories, and watching Instagram Reels or YouTube videos, a pattern which I predict will continue to head in this direction in our increasingly online world.

Social media

In a similar vein, I predict that the significance of social media – for promoting the newspaper, as well as influencing its content – will continue to increase. Perhaps Indigo will introduce an ‘Internet’ or ‘Social Media’ subsection, in which the latest trends are explored, celebrated or challenged. Although it is impossible to know whether a platform like TikTok will still be around by 2098 – who knows, maybe Vine will make a comeback – the influence that these trends have over the lives of young people is too tangible to not be reported on.

PalatiDates

Increasingly, news consumption is taking the form of listening to podcasts, asking your Alexa

Since The Independent reported in 2019 that 72% of Durham students find their future spouse at university, everyone wants a slice of Durham’s dating scene.

Hence PalatiDates, a matchmaking service from the stars. Although it is both a written segment of the paper and a YouTube series by PalTV, I predict that the PalTV series in particular will go from strength to strength, as the video format is easily consumable. Especially because dating sites are such a minefield and meeting people in person is becoming increasingly unlikely, PalatiDates is a great way to potentially meet the love of your life – and if not, at least it’s entertaining (for everyone else.) Lighthearted and funny series like these are key to the sustained engagement of a wide audience.

I see bright things ahead

I see bright things ahead for Palatinate. So long as the paper continues to report on the stories that matter then the publication will go from strength to strength. It has already proven its adaptability and awareness of readership demands. As long as it continues to listen to students, 2098 will see the successful celebration of 150 years of Palatinate.

By continuing to listen to students, Palatinate will go from strength to strength

Image credit: Anna Kuptsova

visual.arts@palatinate.org.uk

Visual Arts Editor, Rae Rostron

From hobby to study, Visual Culture and Visual Arts have had many definitions over the years, and those definitions have led to di erent levels of respect in the critical field. As a historian of photography and archaeology, Christina Riggs has researched how the di erent fields of archaeology, art, and history have developed alongside colonialism.

As part of her research, Riggs was involved in organising and designing the exhibition currently on display outside of the Bill Bryson Library.

Photographing Tutankhamun came about from a collaboration with the Oriental Museum; “we kind of knew each other”, Riggs told us, and so the exhibition came about naturally as a commemoration of the “centenary celebration of the discovery of the tomb,” in November of 2019. Of course, the limitations of Covid-19 could not be avoided, and Riggs admitted that the exhibition was not an exact translation of what she had envisioned: “some of them [the boards] work together,” and she confirmed that she was proud of it as “a first attempt,” encouraging the future to hold better communication between institution and artist. The exhibition itself was originally designed thematically, focusing on sections regarding the tomb itself, the type of photography techniques used, the Egyptian archaeologists, and politicians, and one panel of reflection –answering the question of why the tomb was photographed at all. Though the final result took a more chronological approach, it has succeeded in being clear-cut, eye-catching and accessibly informative, accompanied with a text of only fifty words. Riggs told us that cramming “so much information into such a small text” is one of the most challenging parts of curating, so much so that she occasionally puts it forward as an assignment for her students: how much can you say about art in this tiny little space?

Riggs hopes that the next exhibition, or display, can be “in a more public area,” reaching the public and students alike. We then went into depth about the Professor’s own academic background. We asked about her interest in Egyptology. She replied that, “first, I’m not an Egyptologist. I was, but I don’t identify myself as that anymore. I pursued it – I did study it, I studied archaeology through BA and MA in the States and then I came to England to do my doctorate, so I worked on art from Ancient Egypt and then I went to work as a museum curator at my first job, after my PhD.” Despite an intense passion and interest in this field, Riggs revealed that it was there, at the University of Manchester, that she “was confronted physically and intellectually with the history of colonialism

in museum collections. So whereas my training in Archaeology and Egyptology, and Classics, taught me to look at all this information about the past as if the knowledge of the past is apolitical: removed from the political context from which that knowledge was produced.” Speaking further about her experience working in a museum, Riggs replied that she was “faced, every day, with notes from a curator’s in the 1920’s handwriting which could have racist labelling – some in the galleries, some of it was also in storage.”

At first, Riggs told us that she had thought about staying within that label, so that she might “question or change the field from within”, but that eventually it caused her to “step out” and she has since privileged the “productivity of being undisciplined.” In this new realm of Visual Culture, Riggs began to focus more on photography: “photography is everywhere,” she claimed, “photography changes everything”.

Riggs shared her unique and fresh perspectives on the usage of not just Visual Art, but Visual Culture: “I like visual culture because art kind of suggests that something is made to be art; it’s made with a certain purposes. Visual culture maybe lets us bring in stu that circulates much more widely,” causing us to rethink how we had defined art and culture ourselves, and hopeful for what these new ideas about the field mean for the future. Our passion for Visual Culture was no doubt met with equal excitement and there is no doubt that the History of Visual Culture department is in safe hands.

The exhibition will remain outside of the Billy B until June 2023. So, the next time you’re on your way home from a lecture, or you fancy a quick study break, take a peek; look at the variety of expression, make the most of the timeline that shows you how and when the culture developed: in what ways, and by what means. Ask yourself what the purposes of Visual Culture can be and hold yourself accountable if you’ve ever dismissed it too quickly.

As Riggs simply puts: “It just underpins everything.”

, recounts a recent interview with Christina Riggs

“We need more not less”: The Value of Culture!

Clear-cut, eye-catching and accessibly informative

Image credit (from left to right): Rosie Bromiley, Thomas Tomlinson

VISUAL ARTS

visual.arts@palatinate.org.uk

Front covers: delving into the archives

Visual Arts Editor, James Macfarlane, looks at a selection of early-2000s Indigo covers

Garish? Gaudy? Lurid? In times gone by, the front covers of Indigo, then called sense, were wildly di erent from today’s.

Printed onto glossy paper in a smaller sized magazine format, the front covers were most often photography based, telling readers what articles they would find on the inside. With a reduced number of sections, including just books, music, film, theatre, and college news, the publication was much gossipier and had more of a magazine feel than it does now.

Flicking through a stack of magazines from the archives, these four covers stood out to me the most. Their bold colour palettes, quirky fonts and lack of regularity make them all completely unique, whilst still retaining the sense vibe.

Bold colour palettes and quirky fonts

There is a real sense of the early 2000s in these covers. This whole ‘Y2K’ aestehtic is created mainly through the fashion and the graphics, but it is interesting to think about the influence sense would have had over students at the time of publication.

In a time where the internet was still finding its feet, this magazine would have acted as a mellenial Durham students’ equivalent of a social media platform. Providing stage reviews, adveritsing upcoming events, talking about new cinema releases, as well as updating readers on what was happening in each college that week.

More of a magazine feel

Even though these covers are all from over 20 years ago, it is interesting to consider the similarities between the university now and then, and Indigo now and then, to its equivalent. The mention of ‘epiphany term blues’ for example, is a student expereince still widely experienced today.

Despite these covers appearing kitsch and almost retro, it is never a bad thing to look back on the past - particularly at the roots and foundations on which Indigo, as we know it, was established. It is also of paramount importance to remember that at the time, these covers would not have been anything but normal, it is just now that they appear to be from a time gone by.

From top left, clockwise: 640

books@palatinate.org.uk

75 years: a timeline in books

Florence Cli ord looks back at the most influential novels

One of the joys of literature is its individual, subjective appeal: the personal importance we attach to the narratives which most speak to us. So the task of narrowing down the most influential books of the past 75 years is enormously daunting — some might go so far as to say impossible. Any survey on influential books will have its results heavily skewed by the demographic answering it. A respondent in New Delhi, Beijing, or Moscow will likely give very di erent answers to the average Durhamite, who in turn will have an alternative view to people living across the length and breadth of the UK. Condensing 75 years of literary history into 800 words is no mean feat — so this is hardly a scientific study! Inevitably this is a largely Westerncentric, English-language list, and I’ve stuck to fiction for ease (and one diary).

I’m not claiming that these are necessarily the best books of the past 75 years (although some of them are). The only criteria is that these books have all had a huge influence on how we see the world, each other, or literature as an art form.

1984 - George Orwell (1949)

Is there any book whose content has proved such a grim harbinger of the future, or whose language has become an inseparable part of everyday speech? 1984’s toxic, reality-manipulating surveillance state and paranoid political landscape took the world by storm and has never ceased to be jarringly relevant. Orwell’s masterpiece has a strong claim to the title of the most influential book of the past 75 years.

The Diary of a Young Girl - Anne Frank (1952)

Although first published in 1947, the harrowing diary of a young Jewish girl living in the shadow of Nazi persecution was translated into English in 1952. It’s not a book that particularly requires introduction: everyone has heard of it, if not read it, and Frank’s legacy extends far beyond literature. It is hugely powerful, not just as a literary text, but as a window into a world of tragedy and a stark reminder of human loss.

The Lord of the Rings Trilogy - J. R. R. Tolkien (1954-6) Tolkien’s epic adventure made high fantasy no longer a niche genre but popular and successful mainstream literature. The works have been translated into at least 38 languages, introducing millions of readers to Middle Earth, and spawned a film series that brought even bigger audiences. Tolkien made a case for fantasy as not just reading for children, but for everyone.

Things Fall Apart - Chinua Achebe (1958)

Achebe’s masterpiece brought the lived experience of colonialism centre stage, in this story of one man’s fight to preserve his community from change. It allowed Achebe to present the culture and language of his homeland to an English-language audience, reclaiming a literary form that had previously been dominated by white, Western writers. In the

process, he opened up possibilities for generations of African and other under-represented writers to tell their stories.

To Kill a Mockingbird - Harper Lee (1960)

Like other books on this list, Lee’s masterpiece about a white lawyer defending a black man accused of rape in 1930s Alabama has become more a cultural force than just a book. The story came out shortly before the Civil Rights Movement transformed America, mirroring a country mired in racial divisions, and has become a symbol of standing up to injustices and the importance of tolerance and truth.

The Bell Jar - Sylvia Plath (1963)

Possibly no other twentieth-century figure exerts such a grip on the collective imagination than Sylvia Plath. This semi-autobiographical novel is a huge part of that, tangled up in complicated questions of writers’ legacies and the separation of art from real life. Beyond this, The Bell Jar is a story of mental health, trauma, and the societal oppression of women, one of the first to expose the brutality of the patriarchy, and which still resonates fiercely today.

The Satanic Verses - Salman Rushdie (1988)

Rushdie’s critically acclaimed novel, inspired by the life of the prophet Muhammad, was banned in Pakistan for its blasphemous content. The Ayatollah Khomeini issued a fatwa calling for Rushdie’s death, and riots, assassination attempts, and killings have followed. The story and its death count illustrate the power words wield and the lengths people — especially authorities — will go to in order to silence them.

Harry Potter and the Philosopher’s Stone - J. K. Rowling (1997)

In spite of the controversy surrounding the author, it’s hard to deny this series’ impact on recent literature. Harry Potter is a household name, both influencing children’s fiction and forming one of the most successful film franchises in history. Two decades on, the books and their author are now sparking di erent and more serious conversations, but have hardly left the headlines or cultural consciousness since first publication.

Image credit: Rosie Bromiley

stage@palatinate.org.uk

More than just fame

Stage Editor, Amelie Lambie-Proctor, celebrates Durham alumni stage careers

Growing up as an aspiring artist in a world with an extremely narrow mind of what success in the theatre industry looks like does bring its challenges. I can imagine that many of us aspiring thespians out there have experienced similar emotions as we sat across from our parents announcing our plans for drama school… I think we all know how that went. Let’s hope time does really heal and those crushing conversations are stripped from memory.

There are theatre-makers establishing their careers in all sorts of communities

However, it is in fact possible to empathise with these concerned parents. Having built a reputation of being an extremely harsh, unwelcoming environment, entering a creative industry is daunting. For all the West End and Broadway stars that have made it into the limelight, there are a plethora of those who have not. We often mistake the limelight for success and forget there are theatre-makers establishing their careers in all sorts of communities. Becoming a household name is not the only way to be successful on the stage. Local theatres need set designers, essential to the Edinburgh Fringe are inventive writers and where would we all be without our beloved Christmas pantos? No production has ever been created by a single being. It’s impossible. As a cohesive endeavour, there are a number of jobs available and us theatre lovers have the extreme fortune of the possibility of being paid to do something we love. As Palatinate celebrates its 75th anniversary, let’s take a look back at some Durham alumni who have achieved success in the theatre world and taken advantage of the wider industry that could o er us more opportunities than we think.

Tim FitzHigham

Tim FitzHigham is a comedian and also a world record holder, although self-confessed daredevil might be a more appropriate description! Having been a part of St Chad’s College, Fitzhigam went on the comedians’ pilgrimage to the Edinburgh Fringe and it was here in 1999 that he was nominated for the Perrier Comedy Award for Best Newcomer. His success at the Fringe continued in 2000 when

he won a Spirit of the Fringe Award. Having worked with the BBC, presenting on CBBC and continued performances at the Fringe, FitzHigham has rocked the theatre world. As far as world records go, he possibly has the best world record title ever. FitzHigham paddled a paper boat down 257.5km of the River Thames raising £10,000 for comic relief! He has also rowed a bathtub across the English Channel and inflated the world’s largest man-inflated balloon.

Kristen Buckmaster

Kristen Buckmaster became a stage manager after having studied English and History at Durham. She went on to complete an MA in Stage and Event Management at the Royal Welsh College of Music and Drama. In her career, Buckmaster has worked on a wide range of shows from Legally Blonde the Musical to Our Town. Some of the many theatres she has worked in include the Bristol Old Vic Theatre, Old Vic, and Aldwych Theatre.

Her passions lie in piecing together collaborative work

Her passions lie in piecing together collaborative work and new drama. A prime example that work does actually go on behind the scenes, Buckmaster has tackled an insane amount of productions and is an inspiration to us all with her clear passion for the arts.

Ambika Mod

Having studied English at St Mary’s, Ambika Mod was part of the Durham Revue and was also president. This is where she discovered her love for comedy!

With the Revue, she went to the Fringe. She recently starred in the BBC’s This is Going to Hurt, her first major role in television.

A devoted comedian, she started out doing comedy by night, after her day job as a personal assistant for Condé Nast. As a regular performer at The Free Association in London and having established herself as a performer at Durham, Mod shows us a career as a performer is something that is within reach.

An inspiration for aspiring comedians

Naz Osmanoglu

Naz Osmanoglu graduated from Durham in 2008 from Van Mildert College. Another comedian who started out in the Durham Revue, Osmanoglu is a member of the sketch trio ‘WitTank’, who have featured on BBC Three. Osmanoglu is Anglo-Turkish and visited Turkey in 2015 where he performed some stand-up shows. He has also performed at the Fringe and appeared in a BBC Three series called Flat TV. Taking his hilarity international, he is an inspiration for aspiring comedians. Opportunity is out there! The stars that line our newspaper headlines are not the only people of theatre. Unexpected opportunities are there and remind us that we should strive to be the best theatre-maker we can be. Strive to inspire, even just one individual, as that can hold more power than any level

Thursday, 9 March 2023

Image credit: Victoria Cheng, Anna Kuptsova, Isobel Warwick

Image credit: Victoria Cheng, Anna Kuptsova, Isobel Warwick Thursday, 9 March 2023

music@palatinate.org.uk

Elgar’s The Dream of Gerontius in concert

Visual Arts Editor, James Macfarlane, writes on Durham University Choral Society

After seeing a stellar performance of Elgar’s The Dream of Gerontius at the BBC Proms last summer, I was thrilled to find out this work was to be Durham University Choral Society’s Epiphany Term project. Following their recent performative successes, including Vaughan Williams’ A Sea Symphony and a choral reimagination of Fantasia on a Theme by Thomas Tallis, evidently nothing is too ambitious for this accomplished ensemble.

Involving over one hundred of the university’s finest choral singers, 26 February saw The Sage, Gateshead filled with a mélange of majestic Elgarian schmaltz and robust, cataclysmic dynamism. Singing alongside Cleveland Philharmonic Choir

to Huntley for her rich timbre, inspiring an angelic, glowing power. Pearse’s roles were conveyed with true conviction, sharing his resounding tone, creating an inexpressibly profound stage presence.

Nothing is too ambitious for this accomplished ensemble

Lloyd-Roberts also deserves ine able credit for igniting the work’s captivating narrative, battling through illness, sharing his powerful quasi-recitative approach, truly living and breathing the gerontic role. The concert was a success and DUCS are indebted to Cleveland

A true spectacle of regional pride

and accompanied by the Mowbray Orchestra, the magnitude and enormity of sound produced was palpable. It was particularly poignant for DUCS to collaborate with professional local musicians, including our own conductor John Forsyth MBE, in a true spectacle of regional pride.

Elgar’s The Dream of Gerontius (1900) considers the journey of a pious man’s soul from his deathbed to judgment before God. Adopting theologically poetic text written by Cardinal John Henry Newman, Gerontius (Je rey Lloyd-Roberts) encounters an angel (Anna Huntley) who guides him to judgement. On their journey, they encounter a priest and the Angel of Agony (Morgan Pearse), culminating in a final reawakening to glory.

The concert’s soloists were sublime, and a mention must go

Philharmonic Choir for this collaborative choral venture. The Sage also deserves huge kudos for providing a platform on which professional student musicmaking can happen.

The collective thanks to John Forsyth MBE go without saying; he helped revive the ensemble post-pandemic and continues to inspire the next generation of singers. DUCS’ President, Tom Cameron, and his executive committee have worked tirelessly, so congratulations to all.

John Forsyth MBE

What enticed you to pursue a career in music education?

Singing has always been in my life, like breathing, but for a while I wanted a career as a Classical Guitar soloist. However, I missed singing and came to realise the lonely solo life wasn’t for me. My involvement in Music Education is a story in itself; I have always found it compelling. I love being able to nurture young and older minds to understand and love the beauty and joy of music-making.

What do you like about working with DUCS, and student singers in particular?

DUCS for me is a sheer joy. At 75, music removes all age barriers and when I work with the choir, I feel we are indivisible. We are simply musicians making music. Each member of the choir brings youthful vigour and a desire to learn, grow, share experience and of course, wonderful voices. The Dream of Gerontius is a work that I cherish for its beauty, intellectual challenge, and statement of belief

Tom Cameron (DUCS President)

Do you have any highlights from your time in DUCS?

DUCS was the first society I joined at Durham, and it has given me so many wonderful experiences. The highlight of my time with the choir so far would be last year’s Bernstein’s Chichester Psalms and Mozart’s Requiem concert, performing to a sold-out Cathedral. John always tells us how music is all about moments; the thirty seconds of silence after the finale of the Chichester Psalms was certainly one of those special moments.

Why should singers audition for DUCS?

As president, I am responsible for the artistic direction of the society and am honoured to have worked with groups such as the Royal Northern Sinfonia and the Cleveland Philharmonic Choir this year. DUCS o ers amazing musical experiences, including an international tour to Poland this year, and anyone with an interest in choral singing should audition!

Image credit: John Carter

Celebrating cinema in Durham

Alice Purves

and

Jacob Dax Harris

In celebration of 75 years of Palatinate, we want to shine a light on the world of cinema within the Durham community. Durham Student Film is a society dedicated to providing students eager to break into the industry a chance to enhance their skills, meet other people interested in production and direction, and (most importantly) make their creative ideas a reality. Esther Duckworth – a second year student and Director of this year’s Film Festival – has been given the incredible opportunity to shoot her short film alongside a dedicated crew after winning the society’s coveted ‘script hust’, where members submit their scripts with a chance to materialise their creative innovation.

The DSF tackles one of the biggest roadblocks for students trying to enhance their skills and bring their creative visions to life: tech. A lot of us leave our script ideas on the backburner because we can’t rely on shoddy phone cameras and unreliable battery-life.

Film holds a dear place in the heart of Durham University

In the world ofYouTubers and streamers, many people expect a high level of professionalism and expensive hardware, even from beginners. But for paying members of DSF (£15 for one year, £25 for life) this equipment is all ready at your fingertips. The DSF also hosts 24/48 hour filmmaking challenges. By the end of one of these challenges, you’ll have a short film written, shot, and edited, and importantly, still have time to complete that summative you’ve been procrastinating.

Film holds a dear place in the heart of Durham University, whether through a student’s camera or pitched up on a projector screen by one of the many societies dedicated to bringing the pictures into student life. The Durham Student Film society is going a step further with this year’s Durham Film Festival – giving students the chance not only to come together and share in the cinematic experience, but to showcase their own talents on the big screen and play a part in Durham’s cinematic history.

The Gala, which will host the festival, was for some time Durham’s sole picture house, and even now is only one of three licensed cinemas in the city. Located in Millenium Place, The Gala

discuss the student role in Durham’s film scene

is run by the local council and prides itself on its accessible screenings and a ordable prices –a standard £5 entry fee for all ages. The festival organisers are hoping to sell tickets at an even lower price, giving everyone the opportunity to see what Durham filmmakers have to o er.

But just like the wider world, cinema is struggling more than ever, and the industry is becoming an increasingly inaccessible place

which is increasingly surrendering its culture to students who will live there for a few years before heading o to other ventures. Following the University’s announcements of 2022 to renovate and potentially split up Hild Bede College, the BFS has similarly lost its 60-year home with no telling when, or if, it will ever be housed again.

Film festivals are a way to bring us back to the art of ideas

Streaming services and multimillion blockbusters are making local cinema and amateur film obsolete. It’s easy to become apathetic, to feel as though cinema is something to engage with sparingly and that filmmaking is inaccessible for the average person. Local film festivals are a way to bring us back to the art of ideas, to shut o from expectations of over-saturated productions and to have fun with creativity.

The Majestic Cinema, located in Gilesgate, was open from 1938 up to 1961, before closing its curtains and being converted into a bingo club until recent years. Similarly the Palladium Cinema which was in Claypath opened 1929, before converting to a bingo hall in 1976 and, later, a church. Until 2016, you could still see the then-derelict building, and imagine its previous glory – though you may not have known that, inside the abandoned remnants of a rich past, there was a fullyfunctioning projector which would never be used again. The Palladium has since been demolished and rebuilt as private student accommodation. Following recent approval, the former Majestic Cinema (now known as Apollo Bingo) will also be demolished to make way for accommodation.

Being on the exec for Durham’s third licensed cinema, Bede Film Society, I know first-hand the time, e ort, and honestly the disappointment which goes into running a cinema in a collapsing industry. It is di cult to consolidate the love I have for film with the constant reminder that cinema and local history have been so easily disrupted and left to be forgotten, instead making way for the advancements of the University into a city

If you would like to submit a project – there is still time to enter. Any student can enter, with just £10 for general student entries and £7 for entries from North East student applicants.

The judges will be looking at substance over style, so no matter what equipment you have to hand, no matter whether you’re a maths student with an eye-watering sixteen-or-more contact hours a week, you get involved.

And if you don’t want to send something in, you can definitely look at what Durham has to o

The festival will run from 12-13 June.

Image credit (from top): Victoria Cheng, Anna Kuptsova

Looking back at Palatinate with Tim Alden

Indigo Editors, Charlotte Grimwade & Cameron Beech, talk to Palatinate alumnus Tim Alden

To celebrate Palatinate’s 75th anniversary, our Indigo Editors sat down to talk to Tim Alden, previously the editor of Palatinate and now Art Director at the i . Tim graduated Durham University in 1981 having studied English Literature, and has since had an impressive career working for many of the best-known national newspapers both as a journalist and art director.

Tim started working for Palatinate in his second year at Durham, becoming editor in 1980, a job which he still remembers very clearly. Talking to Tim, it is clear how much has changed in the last 40 years at Palatinate and in press in general. From the the size of the team to the creative process and distribution, changes in technology have made a huge di erence to running a paper. “You would design the whole newspaper by manually, typing out your stories, cutting them up and then gluing them down.”

When it came to the visuals for the newspaper, there were no digital cameras or stock images, so Tim took a lot of the photos for the paper. “The dark room was two or three streets away from the o ce and I’d regularly find myself walking the streets of Durham at 3am with freshly produced set of prints to go in the paper.”

While rushing to meet deadlines is certainly still a familiar feeling to most students, we have the luxury of being able to do most things from behind our computer, sending our emails and documents wherever we need at the click of a button. Meanwhile, as Tim recalls, in 1980 getting the paper to the printers was somewhat more involved.

“The student union had a really beaten-up Cortina Estate, and I was the only person at Palatinate to use it. Before printing, at the last minute, we would get all 24 pages together, sling them in the back seat of this blue Ford Cortina. To this day I remember driving down the motorway, having to constantly adjust the steering to not leave the lane because the steering was so loose on the car.”

When discussing the

stories Tim worked on at Palatinate, the scoop Tim remembers the most was discovered largely by luck. “The Palatinate o ce used to be on the top floor of the Dunelm building and look out over the prison. When working out of hours, we noticed a bunch of people sitting on the roof of the prison. We ended up getting a national scoop on this massive prison protest. And being such a highprofile prison at the time the press was very interested. So, we ended up kicking o a national story which was pretty cool.”

We ended up kicking o a national story

Working for Palatinate and in his position as editor – a role he won by a single vote – has had a lasting impact on Tim and

Ideas born at Palatinate later inspired larger creations. “We introduced a new section called ‘Durham Types’ which was run by John Cummings. Every week he would pick a classic student type – the rugby player, the trendy, the druggie, and he would write a spoof based upon somebody that we probably all knew.”

“Then 10 years later, I was working The Telegraph Saturday Magazine, and we launched a really similar thing called Social Stereotypes which became a massive hit, which I think indirectly translated from what we had done at Palatinate It’s interesting how things you try out at university actually

sometimes do actually work.”

Tim left Durham in the midst of a recession. “There were 3 million unemployed and the moment you stepped out of the Durham bubble, the reality of the situation was completely obvious. It was grim and it was hard finding a job. I found that the only thing I was equipped for was being a journalist.”

After a job at a Welsh local newspaper, Tim went down to London without a job. “Just by sheer chance, I managed to get myself a job on a fashion trade magazine where I got very involved with the visual side of producing a magazine. After going freelance, I mostly got jobs a designer. And then The Telegraph o ered me a job. And I have followed the design path since’

The great joy of journalism is getting to meet fascinating people and go to interesting places

When asked about journalism as a career, Tim is clear that it is not a job you get into for money. “There aren’t very many wealthy journalists. But that’s not why people do it –you do it for the variety of the job. The great joy of journalism is getting to meet fascinating people and go to interesting places”. Even as the industry changes and more and more moves online, getting to meet people and hear their stories remains a constant, even if those stories are told over Zoom and published online.

Image credit: Tim Alden

indigo.interview@palatinate.org.uk

In conversation with Walk On T

Interview Editor, Charlotte Rodney, discusses what’s to come from Walk On

he modern initiative known as the Walk On Charity Fashion Show has taken Durham by storm in recent years, seeing its inspiring models and innovative designers embrace both the runway and the ever-growing challenge of ensuring a sustainable future. In conversation with some of the Walk On team, I had the opportunity to hear about all things diversity, sustainability, and creativity, the three core values that President Maiya Dambawinna emphasised as being prioritised above all else. She notes that “...obviously there are so many fashion shows in Durham that standing out from the crowd can be quite di cult…the fact that we put those values above all else is so important to us.”

Walk On’s spotlight on diversity might be what draws so many people into this novel and energised world of fashion in Durham. Speaking on what diversity in the fashion industry does and ought to look like, Walk On Model Louise Coggrave explained that “I think at Durham it’s hard to stand out from the crowd...there’s a monopoly of quite frankly just white people.” explaining that fairness and intersectionality should be prioritised in the fashion industry.

Louise speaks of her extremely positive auditioning experience where she emphasised that “I felt so welcomed… and there wasn’t a tagline of diversity on my head…” It is clear that Walk On have put in genuine e orts to not use diversity as a quota to be filled, but a value to be understood. Maiya explains that during the audition process “it wasn’t a case of what you look like…” but rather they wanted to select individuals who were able to promote their core values.

FareShare North East is the charity that Walk On have chosen to work with this year. Vice President Arabella Peak-Smylie notes that the inspiration behind working with FareShare, a local charity, is that “You’re working towards something that you can actually see.” FareShare continues to make a notable impact within the community, which we can all contribute to. Walk On have put FareShare at the forefront of promotion for their work, engaging with Durham University’s charitable community. Head of Events Penny Zacharatou, noted that the collegiate system at the university means there is a sense of

forward to, and what to do if we haven’t been able to secure tickets to the shows. Walk On has partnered with the live streaming platform, VIOU, who have been breaking into the luxury sustainable fashion industry. Viewers can watch the shows live and donate through their stream. A unique feature of this platform is that some of the clothes may be put up for sale on their website after the show, as Louise pertinently comments that “The whole point of fashion is the designers.” Arabella then gave us exclusive insight into the highly anticipated event on 1 June. Walk On will be hosting a catwalk event in the Town Hall, where the traditional backdrop of stained glass windows meets modern fashion. Maiya explains that “I would massively encourage anyone who really appreciates fashion and wants to get into the fashion world…it’s going to be a great opportunity for networking…” What’s more, Penny has hinted that next term will also be filled with ‘summery’ events taking advantage of the good weather and freedom from exams!

The people, the energy, the vibes...

interconnectivity amongst the students which can be relied on when promoting for charity. Maiya explains that “All of the money that we raise will be given towards their warehouse costs, being able to run their vans, and ensuring that their food redistribution service can continue more e ectively.”

Sustainability is equally as championed by Walk On, and is done to an extent that many of us don’t appreciate. Whether that be late nights spent by Arabella in the Bill Bryson Library hand-cutting model scouting cards, or extensive e orts taken by the team to order stamps, stickers and more, made from sustainable materials, it is clear that the team have not cut any corners when mitigating any negative impact on the environment. Although we wait with baited breath for the announcement of the designers, Maiya assures us that they are all UK-based, simultaneously promoting local talent as well as ensuring minimal delivery emissions.

Luckily for us, Walk On has given Indigo the ‘inside scoop’ on what events we have to look

The sense of community shared by the Walk On team has not been lost on me, and it is very clear that an authentic passion to make a di erence shines through in their work. When I asked the team what their favourite part of working with Walk On was, the inspiring range of answers I received really spoke to their passion and dedication. But perhaps Louise summed it up best with “The people, the energy, the vibes...” We can’t wait for what comes next from Walk On.

Image credit (from left): Minie Chan, Ollie Riley-Smith, and Bea Handley

I think at Durham it’s hard to stand out from the crowd... there’s a monopoly of quite frankly just white people

Dearest Durham

Anna Johns, Eden Ward and Creative Writing Editor, Theo Mudhir, dwell on Durham

All of a sudden July has reared its head, sneaking in, obtruding into the room where we sit silently on the two sofas. The seats have sagged under the weight of endless nights doubled over in laughter, darkened with the fumes of exuberance floating through this barely functional student home. Here we all are at the end of it, still beside one another, the living room floor has disappeared under boxes of our belongings, our clothes, our books, our notes, the photos have come down from the wall, flecks of paint have come down with it and we run concerned fingers over its jagged edges. It seems such a flippant concern in the background of what we really face, tomorrow we will go to sleep far-flung across the country, without weary goodnights in the living room, we will see each other only in the holidays, fleeting co ees in London, maybe at a wedding. The people who have punctuated slow mornings, nights of reckless hedonism, all in the house in which we watched the last of our youth fade will suddenly join the waiting list for a gap in the calendar. I can already imagine the memories losing vibrancy over time, I can foresee a phone call and we are straining to remember “God was that Jimmy’s or Klute or…”. I think for a moment this all felt unending, as though we were invincible, as though these friends were an extension of ourselves, manifestations of all our warmest moments. We are still sitting, no one knows what to say. We will flip through the TV channels, laugh when someone trips over the boxes as if they aren’t a blinding omen to the death of these days. The cat we have fed every morning sni s tip of my finger and rubs her cheek against it, purring, not knowing this room will soon lose our scent. I look to my dearest friends and I know Durham will always and forever be our city.

Theo Mudhir

Anna H and I move into our new flat on Sutton Street

It was as if we were eight again

Arguing about who got to be fake mum and fake dad

to our fake son and fake daughter

Frying up fisher price plastic sweetcorn

On a garish primary coloured stove. Except this time it was just the shelves,

Groaning under chickpeas and nutritional yeast and other vegan nonsense. And no microwave. Freedom is not as it was advertised: I skip school; wait longingly for the scolding from my mother I lie on the floor, and I can stay there. All I do each day is get older, make jigsaws from piles of leases and lecture notes, Use anti-aging cream at twenty-one to hide the evidence worry about my skin dripping and folding, worry they’ll find out my cells have been dying, worry how this time last year I was twenty. I have a conversation with the landlord, briefly. I am not the lead tenant, I explain. Then put the new soap in the bathroom. Sweaty and singing To myself about things I never did.

Anna Johns

Boat Trip

Over the summer’sbridge, flies descend in some heavy storm. Clouds of sprites buzzing against a June sunset. The sky and her patterns pinch at my neck The sting is sweet, my cheeks ache. The world turns and you are my mirror. You are my mirror and nothing matters. Nothing, except how the ivy swarms up the riverbank, how laughter sits heavy on my chest. how her eyelashes lie against flashes of colour rose tinted cheeks river hued irises. I lean my head back catch the kisses thrown from the bridge I know this place so well. This place barely knows me at all.

Image credit (from top): Anna Kuptsova, Victoria Cheng

travel@palatinate.org.uk

A love letter to Durham

Pearl Cheng explores Durham’s enduring appeal as a travel destination

Ivividly recall my first impressions of Durham. Driving down to the city from Newcastle Airport one and a half years ago, I remember eagerly looking out of the window, desperate to catch a glimpse of the place I would be calling home for some time. As the car veered o the highway, I saw it. Durham Cathedral, rising pristinely above a canopy of green trees and boldly printed against the azure sky, its facade catching the sparkling light of the afternoon sun. Much like what Sir Walter Scott must have felt when he penned these words in 1827 as a dinner guest to the Bishop of Durham, I too gazed in quiet awe and reverence.

What is it about this quaint city that never ceases to allure the fleeting traveller or long-term inhabitant? According to legend, Durham was founded by a group of monks from Lindisfarne. Carrying the body of Saint Cuthbert, they were led to the “wooded hillisland formed by a tight gorge-like meander of the River Wear” by a milkmaid looking for her lost Dun Cow. The Cathedral that grew up in the years that followed became revered as the last resting places of Saint Cuthbert and the Venerable Saint Bede, and became the subject of many pilgrimages during mediaeval times. The shrine of Saint Cuthbert, in particular, was considered to be the most religious site in England before the martyrdom of Saint Thomas Becket, with many stories of people being cured of various maladies after a visit.

What is it about this quaint city that never ceases to allure the fleating traveller?

Perhaps it is this deep-rooted and religious past that lends the city its air of majesty and history today. But Durham possesses other charms, as writers like Sir Walter Scott can attest. None capture it so well as Joseph Mallord William Turner in his various paintings of the city. Durham Cathedral depicts Framwellgate Bridge, the Cathedral and a thick cluster of houses on the riverside, capturing a shot of a burgeoning Durham in 1798. In Durham Cathedral: The Interior, Looking East along the South Aisle, shafts of golden light gently filter in through the glass windows, illuminating the aisles and arches with a warm buttery glow. Durham is not just majestic and historical, but also bustling, lively, and mesmerising.

It has been many months since I first caught a glimpse of the Cathedral from the car, and yet my first impression lives on. Prebends Bridge, Palace Green Library and Durham Castle feel like places drawn out of an eighteenth century novel, delicately frozen in time. Walking along the Bailey’s winding cobblestone streets and past the old buildings lining Saddler Street, I still sometimes imagine how people from a century ago may have strolled down the very same lanes, or even frequented the very same places. Wandering out of the city and towards the Old Durham Gardens, a view of wind turbines in the far distance comes into sight, as well as a rolling, rich countryside spreading as far as the eye can see. With the sky reflected in the glassy blue waters of the River Wear, one almost feels more tranquil and calm.

This, then, is the place that Bill Bryson lavishes praise on in his book Notes From a Small Island A city that is gloriously majestic and profusely historical, yet peacefully quiet and romantically beautiful – a “perfect little city.”

“Grey towers of Durham

Yet well I love thy mixed and massive piles

Half church of God, half castle ‘gainst the Scot And long to roam these venerable aisles

With records stored of deeds long since forgot”

- Sir Walter Scott

Image credit (from top): Anna Kuptsova, Lily Lake

The victory suit of modern day

Dherran Titherington-Bragg explores how 1940s style influenced the fashion of today

With World War II ultimately characterising much of the 1940s, at least from 1939 to 1945, Britain sought to fit around the needs of wartime, and thus the various rationing of food and materials.1940s fashion was characterised by scarcity, practicality and ingenuity. Unadorned styles, formed from rationed fabrics, and often older pieces from one’s wardrobe, created elegant and clean outfits that still inspire today’s fashion.

You might think that, considering its nonessential status, fashion took the biggest hit but rather the opposite happened.

The CC41 scheme was introduced in late-1941 by the Board of Trade, in a bid to improve the quality and a ordability of war-time clothing. Clothing was now to be produced according to guidelines, which respected the frugality of the times, and the collective responsibility of all the nation for the war e ort. Whilst the scheme

they needed clothes that would enable their performance. The styles were structured and simple, with strong military influences. Think strong shoulders, and clean silhouettes. Skirts were shortened from the preceding ankle length versions, and shorter sleeves were introduced.

1940s fashion was characterised by scarcity, practicality and ingenuity

Many styles from this wartime period are still employed in fashion today. Think Hollywood starlet, and fashion rebel, Katharine Hepburn, and her iconic insistence on wearing slacks and suit trousers. This style became part of many women’s work uniforms, slowly creeping into their leisuretime fashion. There are many Instagram influencers today who nonchalantly style them without a second thought. Hepburn’s insistence on wearing clothing in which she felt most comfortable, paved the way for a generation of women also able to express their style through androgynous clothing.

Midi skirts have made a resurgence as of late. They are reminiscent of a period where skirts were being shortened to kneelength in a bid to use less fabric in dress designs. During the War, skirts often sinched at the waist to create an hourglass silhouette, whilst today they can often sit lower on the waist for more of a 90s look.

Focusing on a few simple pieces and styling them e ectively

Still, the slightly modest length by our standards, was entirely new (and initially daring!) for the women adjusting to rationed clothing. The 1940s shirtwaist dress, or the tea dress, is another style that is yet to go out of fashion today. The dress buttoned up at the top, went in at the waist, and featured a knee length skirt. Simplistic, feminine and incredibly complimentary on all body types, it is not a surprise that women still pull them out in summertime today. Another modern similarity to 1940s fashions is the simplicity and minimalistic look of today’s designs. Examples like the ‘clean-girl’ aesthetic, and timeless capsule wardrobes donned by influencers such as Matilda Djerf exemplify this. Whilst the minimal designs of the 1940s were created out of a need for frugality, there is much to be said in favour of focusing on a few simple pieces and styling them e ectively.

Amidst a period of deep struggle and loss, British women’s fashion did not su er. It is a testament to the ingenuity of the women of the time. Not only did they maintain the war e ort back home, but they did so with pride in their appearance. So much so, that we still sport some of their looks today. Can we please bring back the victory suit?

Image credit (from left): Victoria Cheng; Time Inc., Charles Cort via Wikimedia Commons

food@palatinate.org.uk

Review: late-night takeaways

Gabi Gordon and Ellie Boyden discuss

If there is one area that students are resident experts in, it is thwarting regular eating habits. Late night snacks and midafternoon breakfastst are characteristic of this lifestyle, which parents may brand as unhealthy, but we prefer to think of as spontaneous, free from societal norms. But, arguably, the key feature of student food life is the takeaway.

The key feature of student food life is the takeaway

With nights out being a regular, even sometimes daily, occurrence for many students, it is not surprising that late-night takeaways attract flocks of hungry clubgoers in the early hours of the morning. It is a strange phenomenon that the money that students strive to save during the day is suddenly of no concern when standing before Paddy’s pizza menu, ready to seamlessly flush away substantial chunks of their loans.

When it hits club closing time at 2am, many people’s primary concern swiftly becomes scran. The subsequent swarm of students towards their chosen takeaways often results in queues and waiting times consistently passing the twenty-minute mark.

Why is it that club goers are so desperate for food after a night out? Scientists have partially explained the association between consuming alcohol and hunger, with ethanol directly a ecting the area of the brain, the hypothalamus, responsible for eating and desire. Thus, a long wait in a sweaty chippy may not be enough to deter drunken students, wishing the night to last that little bit longer.

We have observed that students often choose their takeaway location based upon fierce

Durham’s post-club food scene

think it well within our proficiency to impart our acquired knowledge; which Durham take-aways are worth the hype, wait-time, and price, and which should be avoided.

Why is it that club goers are so desperate for food after a night out?

loyalty, rather than logic. We have even seen this within our personal experience; one of us became genuinely angry (a rare occurrence we might add) when the other dared to suggest that Urban Oven’s cheesy chips rivalled those of Stanton’s, demonstrating how controversial the topic of takeaway food can be. So, what causes this intense patriotism?

Flush away substantial chunks of their loans

Preference of course also depends on your usual choice of food. Pizza fans may gravitate towards Paddy’s, cheesy chip lovers to Stantons, and chicken fanatics to Big Bird. However, we have tried to make some distinctions between these establishments based on various additional factors. As habitual post-clubbing takeaway fiends ourselves, we

As far as avoiding wait times and queuing, we find Claypath to be an e cient destination, as the queue is divided between the neighbouring takeaways, and you can assess which one has the shortest wait. Big Bird also has relatively speedy service, whereas the length of time in Paddy’s can sometimes feel like you’re sitting in some form of purgatory, not helped how steamy it is (and not in a good way).

The Stantons queue is also a place of utter anarchy; do not enter if you are not prepared to fight, with your elbows out, for your space – the lack of queue etiquette that some people display is simply shocking.

Price is also an important consideration, considering students’ income to debt ratio.

But finally, arguably the biggest factor in choosing your go-to takeaway is what scran they have to o er. Paddy’s objectively makes the best curly fries in Durham and is unbeatable in this respect. Both Stantons and Urban Oven make delicious chips and gravy, a combination that we wholeheartedly love and respect. Generally, the Claypath takeaways seem to o er greater variety on their menus, from staples such as pizzas and burgers to more niche options of jacket potatoes, so is maybe the place to go if you’re unsure of what you want and seek an impulse choice.