Issue 1497 by Redbrick

Redbrick Issue 1497, Vol. 83

Perspectives on safety in Selly Oak

Comment 8-10

Friday 26th October 2018

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Interviewing US Deputy Ambassador Lewis Lukens

Jorja Smith: a hero comes home

Touring Paris on a student budget

Features 12-13

Music 21

Travel 30

Building Teaching & Learning Centre First phase of construction completes on new UoB centre page 6

Redbrick

The Official University of Birmingham Student Newspaper, est. 1936

Birmingham in Crisis Over Commonwealth Funding Questions are being asked about Birmingham City Council's financial ability to host the upcoming 2022 games Rebecca Hall News Writer

Athletes compete at the Aviva 2010 UK Athletics Championships, at Birmingham’s Alexander Stadium photo credit: William Warby

Birmingham City Council has entered crisis talks after it was revealed that they have spent £117m of emergency reserves in just two years. After Durban was stripped of hosting the 2022 Commonwealth Games due to financial issues, Birmingham’s finances are now being put under the microscope. The Council, the largest local authority in Europe, has an annual budget of £3bn and is responsible for providing services - from transport to the city library - for millions of residents. Experts have suggested that in order to balance the books in this ‘very poor’ situation, saving money is the only option. This is highlighted by the fact that at one point in the year the Council had just £72m left - equivalent to just eight and a half days' funding. In a recent debate, councillors criticised the situation, with one calling it ‘a total and absolute disaster.’ The local Conservative leader, Robert Alden, said that the city was facing a ‘last chance saloon’ scenario. Conservative councillor Meirion Jenkins has blamed the situation on a lack of leadership, stating that the Labour council has not ‘grasped the significance’ of the situation. In a report obtained by The Sunday Times, there is a gap of £84m in the budget for the 2022 Commonwealth Games. In order for the games to go ahead, there are several projects that need to reach completion. The Alexander Stadium needs to be upgraded to a 50,000 seat capacity, the swimming pool and athletes’ village still

INSIDE: Redbrick Film Recommend the Best Classic and Modern Horror Movies to Watch This Halloween

needs to be built, with a new metro and bus service also necessary to be put in place. While the national government will pay 75% of the estimated £750m costs, £180m still needs to be raised locally. A report by accountants Grant Thornton states that the council must save £117m by 2022 in order to break even. In order to pay for the Games, residents of the West Midlands will pay up to £180m in taxes, with taxpayers across the UK contributing to a £560m national budget. A key way Birmingham won the bid was by showing that they could raise part of the revenue to pay for the Games by introducing a hotel tax. This would add a small percentage onto each hotel bill, going directly to the local government. As well as this, a consortium of local institutions – including the University of Birmingham – will be involved in funding and supporting the Games. Just this week it was confirmed that hockey matches at the Games will be taking place at the University of Birmingham. The water-based synthetic pitches have undergone a £2m update and, during the games, temporary seating for 5,000 spectators will be installed. UoB’s Edgbaston campus will also be the venue for the squash competition. The University’s recently-built £55m sports centre, however, will not host the Commonwealth Games swimming as, despite the pool being Olympic-length (50m), it is too narrow to allow for the 10 lanes required for official competitions. Instead, a new £60m aquatic centre will be built in Sandwell to cater for the swimming and diving events in 2022, which will become the city’s first Olympic-sized pool. www.redbrick.me

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Friday 26th October 2018

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Letter from the committee... Last week, our Editor-in-Chief Erin Santillo was approached in person by Reece Patrick Roberts, President of the Guild of Students and, while a very nice man, not somebody who you necessarily want to approach you in the corridors of the Guild with a personal complaint as to the difficulty of your brand-new Redbrick Mind&Solve puzzles page. Specifically, Mr Roberts’ grievances pertained to our addition of two sudokus in issue 1496, distinguished as ‘Easy’ and ‘Hard’ respectively. According to the Guild President, he had wasted ‘an entire afternoon’ in a vain attempt to solve the ‘Easy’ sudoku, which Roberts went on to claim had been mislabelled and was thusly an affront to the good puzzle-loving populace of the University. When approached for further comment, Mr Roberts made the following statement: ‘I am not sure what was worse, the post Fab hangover or the “easy” sudoku?’ Roberts was however eager to stress that his previous comments were merely those of ‘a concerned student’ and not an officially-registered Guild of Students complaint. ‘I may not have completed the first [sudoku],’ the President concluded, ‘but I look

forward to finishing the next one!’ Naturally, as Print & Features Editor I have certain responsibilities over the content of this newspaper you, dear reader, hold in your hands. Therefore, in light of my misjudged sudoku-generating and its subsequent wasting of the Guild President’s time (which, as an elected official, is very valuable time indeed), I have decided to use my space in this week’s paper to personally reassure both Mr Roberts and any other readers that this week’s puzzles have been purposefully and rigorously tested by a group of trained Redbrick Puzzle Professionals in order to ensure that they are solveable and easy enough to not take up too much of your time. On a related note, I recently came across a post on the Fab N’ Fresh Facebook group regarding our crossword, with a great deal of mystery surrounding our answer for 13 across (‘Canalling’). Alternative suggestions for this answer included ‘punting’, ‘rowing’ (presumably both from a student labouring under the impression that we attend an Oxbridge university) and the rather inspired ‘Canallong’, from none other than our Sports Editor Jack Simpkin.

Nonetheless, as Print & Features Editor I am immensely happy to see that students are engaging in the puzzles page, and it makes me proud that this year’s Redbrick team could be the ones to bring back what was once a mainstay in the University of Birmingham’s official student newspaper. While teething problems naturally exist in these first couple of issues, with any luck this return of the Redbrick Crossword in its new home will mark a bold new chapter in our paper’s history. Furthermore, I hope that at least for the rest of my tenure, this paper that we here at Redbrick love so dearly will continue to be absorbed and appreciated by the students of UoB. From the dungeons, etc.

Thom Dent Print & Features Editor

Online this week at redbrick.me...

Follow us on Instagram @redbrickpaper Want to be featured? Send us your photos at: deputy@redbrick.me and/or tag us in your photos by using #redbrickinstagram

NEWS

MUSIC

CULTURE

FILM

University Staff and Police Interview: Selly Oak Crime

Single Review: Muse - Pressure

Review: Joanna Lumley 'It's All About Me' at the Symphony Hall

Venom, Shared Universes, and Sony’s Fall From Grace

Redbrick Editorial Team Editor-in-Chief Erin Santillo editor@redbrick.me

Deputy Editors Issy Campbell Kat Smith

News Editors Tom Leaman Megan Stanley Liam Taft Sophie Woodley news@redbrick.me

Film Editors Lucy McCann Todd WaughAmbridge Josh Woods

print@redbrick.me

Digital Editors Jonny Isaacs John Wimperis digital@redbrick.me

Lead Developer Jivan Paul developer@redbrick.me

Marketing Secretary Theodore Wrigley marketing@redbrick.me

Social Secretary Sorcha Hornett social@redbrick.me

Comment Editors Natalia Carter Emily Chapman Alex Cirant-Taljaard Amelia Hiller comment@redbrick.me

Culture Editors Olivia Boyce Natalie Welch culture@redbrick.me

Music Editors Emily Barker Letty Gardner Harry Hetherington Kieran Read music@redbrick.me

travel@redbrick.me

film@redbrick.me

deputy@redbrick.me

Print & Features Editor Thom Dent

Travel Editors Laura Botia Evangeline Hunt

Television Editors Niamh Brennan Morgana Chess Jessica Green tv@redbrick.me

Gaming Editors Christopher Hall James Law Imogen Mellor Sam Nason

Life&Style Editors Yasmine Kennedy Sophie Kesterton Imogen Lancaster Ellie Silcock lifestyle@redbrick.me

Sport Editors Jake Bradshaw Jack Simpkin Harry Wilkinson sport@redbrick.me

gaming@redbrick.me

Food&Drink Editor Emily Calder

Sci&Tech Editors Francesca Benson Katie Jones Will Nunn

food@redbrick.me

tech@redbrick.me

Editorial Assistants Corinne Atkinson Molly Bailey George Davies Thea Grattidge Tiana Kelly Harriet Laban Nicky Maclean Ella Moss Sam Nead Amy Rogers Nach Suphakawanich

Redbrick Guild of Students Edgbaston Park Road Birmingham B15 2TT 0121 251 2462

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The views expressed in Redbrick do not necessarily reflect those of the editors, the Guild or the publishers. If you find an error of fact in our pages, please write to the editor. Our policy is to correct mistakes promptly in print and to apologise where appropriate. We reserve the right to edit any article, letter or email submitted for publication.

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UoB And Hebei University Join Hands To Combat Global Pollution Irram Gheer News Writer

The University of Birmingham has announced that it has signed an agreement with China’s Hebei University to establish a joint research institute. It will work on tackling significant global issues connected to environmental pollution and injustice. The agreement to open the International Centre for Precision Environmental Health and Governance was signed in Birmingham by Hebei University President Dr Le Kang, who led a group of delegates from the Chinese University, and UoB's Provost Professor Tim Jones. The new institute, combining both science and social science research, will focus on investigating solutions to a range of issues, specifically: pollution from multi-

ple sources; public health crises among the poorest populations caused by environmental toxicity; and the failure of regulatory efforts to tackle these issues. Professor Tim Jones said: ‘The University of Birmingham is proud to work with our partners in China to combine scientific, legal and public health expertise to confront the global health and justice problems caused by pollution. ‘We very much believe that a collaboration with Hebei University to establish this international Institute will offer leadership in making the environment safe from chemicals and defending people's rights to a healthful environment.’ A team of scientists, lawyers, engineers and health experts will all work together at the institute in Baoding, near north China’s Hebei Province. Professor Hisham Mehanna, from the University of Birmingham’s Institute for Global

Innovation, says that the research will allow scientists to establish the causal relationship between pollution and damage to public health, which will in turn enable developments in environmental law.

"We will work to inform the public about their health and to safeguard the environment"

offering solutions to better protect people from harm caused by exposure to pollution. We will work to inform the public about their options to defend their health and to safeguard the environment that we all depend on.’ This announcement coincides with a damning report released by the Intergovernmental Panel on Climate Change (IPCC) warning of an impending climate crisis if urgent changes are not enacted in

the next 12 years. Janet Napolitano, former secretary of Homeland Security under the Obama administration, has recently insisted that universities should globally lead efforts to slow climate change. She said ‘If the world is going to prevent a climate catastrophe, colleges and universities must lead. We owe it to our university communities, our states, nation, and world.’ Johann Edwin Heupel

Hebei University President Professor Le Kang said: ‘It is important for Hebei University to partner with the University of Birmingham on jointly establishing this international research centre. The institute will focus our combined academic excellence on

Parents Involved In Universities' Mental Health Schemes Magdalene So News Writer

Thousands of students at Bristol University have recently opted into a suicide-prevention scheme. This gives the university explicit permission to contact their parents if they are struggling to cope mentally or emotionally with life on campus. At the University of Birmingham, students with mental health problems can speak to a member of staff to seek help, but students and staff are not currently required to include their parents in their mental health. Higher Education Minister Sam Gyimah has posed the idea that universities should seek per-

mission from a student’s parent to Colin Riordan, vice-chancellor be contacted if their child is facing of Cardiff University says, ‘it isn’t a mental health crisis. practical to expect universities, This has been implewho might have 40,000 stumented at Bristol dents, to act in loco parenUniversity, where tis.’ 94% of students University heads have opted into a also argue that their system of giving students are adults mental health and should not need of students have alerts to parents, extra parenting as opted into a system after 11 students they have their right have committed to determine their life. of giving mental suicide in the past Dr Gil Myers, conhealth alerts two years. There are sultant child and adolesdiscussions as to cent psychiatrist at whether this process Whittington hospital in North should be followed by other London, says, ‘not everyone comes universities. from a supportive family, and Gyimah says that universities sometimes parents can be a conshould act ‘in loco parentis’ and do tributing factor to a student’s difmore to support students. ficulties.’

94%

Redbrick spoke to students at UoB: Dominic Pangilinan, a second year Biomedical Materials Science student said that, ‘parents have the best familiarity with students, which is an important source of advice communication between the two distinct aspects of home. Student life could give a clearer picture on the student’s overall wellbeing and whether there are any distinctions which could benefit from greater concern.’ Marcus Chow, a first year Medicine student, thinks that there should be conditions to when universities could contact parents. ‘If the student has the capacity to look after themselves, the university shouldn’t inform parents.’ He explained that capacity is, ‘the ability to use information to make

an informed decision.’

"Parents have the best familiarity with students" Second year environmental science student Sarah Sheehan says that it should not be the parents’ ‘sole responsibility’ to takecare of their child’s mental health. ‘The university has a duty of care to look after students.’ She continued to say that, ‘the more people watching out for each other’s mental health, the more likely it is that red flags might be noticed and then the students can obtain the support they may need.’

Sir David Attenborough Congratulates UoB Professor Florence Jones News Writer

A University of Birmingham Professor has received a handwritten letter from Sir David Attenborough to commend his student’s work in Virtual Reality technology. Professor Robert Stone has described the letter as making his ‘31 years in the field worthwhile’ and congratulates his MSc student Elza Matthew. The letter refers to Matthew’s work, as well as palliative care specialist Sheila Propert, who developed the initial ‘script’ for this VR project.

Since joining the BBC in 1952, Sir Attenborough has become a household name and a firm favourite among the British public. In the letter, Attenborough expressed his pleasure at seeing ‘all these extraordinary advances in Virtual Reality’ being ‘developed in such a worthwhile way.’ Professor Stone has dedicated

much of his professional career to the study of VR. He is a member of UoB’s Department of Electronic, Electrical and Systems Engineering and holds a chair in Interactive Multimedia Systems, as well as being the director of the Human Interface Technologies Team. Professor Stone was one of the first Europeans to experience the NASA VIEW Virtual Reality system in 1987 and established the first industrial VR team in the UK’s Advanced Robotics Centre.

In 1992 he brought together an initial 12 companies to fund the world’s first industrial VR team at the UK’s National Advanced Robotics Centre, in order to research the commercial applications of VR. Professor Stone’s research into VR also extends into Russia, where in 1996 he was elected to become an Academician of the Russian International Higher Education Academy of Sciences in Moscow. Following this, in 2000 he was accredited by General Klimuk, Director of Russia’s Gagarin Cosmonaut Training Centre, as responsible for introducing VR

into the cosmonaut space programme. Professor Stone has won a number of national and international awards for his VR and telepresence efforts. This includes three from the Institute of Ergonomics and Human Factors, and a Ministry of Defence Chief Scientific Adviser’s Commendation for his contribution to Defence Science and Technology in 2011. Professor Stone and his team continue their research into the modern applications of VR here at UoB. Sir David Attenborough has a new series coming to BBC One later this Autumn.

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Ex-UoB Researcher Has Prison Sentence Reduced Aimee Cashmore News Writer

Matthew Falder, a dark web paedophile and former University of Birmingham researcher, has had his 32-year prison sentence reduced, according to the BBC. Three judges at London’s Court of Appeal agreed to lower his prison sentence to 25 years. Falder watched the proceedings via video link from prison as his barrister Andrew Smith QC told the court that his previous sentence was ‘manifestly excessive.’ One of the judges stated: ‘He has no previous convictions against him. He grew up in a

clearly loving and caring family who are now bewildered by his offending.’ Named one of Britain’s most prolific paedophiles, Falder was jailed back in February for blackmailing victims into sharing nude images. Falder admitted to 137 offences, which stretched over a 10-year period. The offences included voyeurism, encouraging child rape and sharing images of the abuse of a new-born baby. The 29-year-old Cambridge graduate and former Geophysics lecturer at UoB posed online as a female artist to manipulate his victims into sharing graphic images.

He would then blackmail his victims, threatening to share the images if they did not submit to his demands. Falder distributed the images on ‘hurtcore’ websites on the dark web, which are pages dedicated to showing material depicting sexual and physical abuse. He was caught in June 2017 after a global taskforce spent four years tracking him down. The operation to catch Falder involved security services from Europe, Australia, New Zealand, Israel, and the US. When he was arrested, Falder quipped to officers that the list of then-suspected offences sounded ‘like a rap sheet from hell.’

Following the decision to reduce Falder’s prison sentence, an NSPCC spokesman said: ‘It is vital that his victims are supported as they continue to attempt to come to terms with what hap-

pened to them. ‘Everything possible must be done to minimise the risk that an abuser like Falder poses to children before he is considered for release.’

Redbrick Sophie Woodley

Cambridge Students Condemn Remembrance Sunday Emily Darby News Writer

Cambridge University’s Student Union (CUSU) have rejected a proposal put forward by two members of the University’s Conservative Association, stating that students should be ‘more proactive in promoting the cause of Remembrance.’ In retaliation, last week the CUSU responded by voting in favour of an amendment that aims to prevent the ‘glorification of war.’ This new motion hopes to ‘reshape remembrance away from glorification and valorisation of war’ and also claims to protest the promotion of ‘militarism.’ Two members of the Conservative Association suggested in their proposal that the Students’ Union should improve its efforts to commemorate British veterans by ‘ensuring

Remembrance Day becomes a well-established and well-marked event across the university.' The motion offered the recommendations of promoting a oneminute silence on Remembrance Sunday via email, where students would also be reminded of how to purchase poppies on campus.

"We have an enromous debt to armed forces in this country" In the first meeting of the term, the proposal was met by backlash from members of the CUSU who voted against it and created an opposing ammendment. Student campaigner Stella Swain struck back, arguing that it is ‘vital that we recognise all dif-

ferent backgrounds and don’t just focus on British war veterans.’ Swain further reacted by calling for a more inclusive recognition of ‘all lives lost and affected by war.’ The Mayor of Cambridgeshire and Peterborough, James Palmer, voiced his disapproval of the motion, which he referred to as bringing ‘great shame’ to Cambridge. In an interview with The Daily Telegraph, he commented further that: ‘It is easy to judge from a distance when you have the luxury of a safe and comfortable democracy. We have an enormous debt to armed forces in this country.’ The Conservative Association criticised the CUSU’s decision, which they called ‘shocking’ and accused the students’ union of trying to ‘erase’ the memory of British soldiers. Timur Coksun, chair of the Association, spoke of his disap-

pointment that ‘many students unfortunately do not wear poppies.’ Coksun explained that the association’s intentions were to raise money for the Poppy Appeal and described veterans charities as ‘struggling.’

"Vital that we recognise all different backgrounds" He added further: ‘The amendment, which CUSU Council overwhelmingly voted to accept, had the clear intention of de-emphasising the sacrifices made by our brave armed forces, something which Remembrance Day in particular seeks to promote.’ A spokesperson for the CUSU emphasised the association’s new

amendment was made in hopes of recognition of Cambridge as a ‘global university.’ They reaffirmed that: ‘Discussions were not about erasing the past, but rather broadening the focus of our remembrance to include those who suffered and died wherever they were in the world.’ UoB is hosting an evening of words and music remembering the 'Great War.' In 1914, the University opened its doors as a hospital to treat wounded soldiers. The event will consider the longterm impacts of WW1. One second-year History student said that the University has to acknowledge WWI in some respect, but also said that using the term 'Great War' is 'problematic' and could be said to glorify the horrors of warfare. However, the criticism of this event has been small compared to the backlash at Cambridge.

UoB Hosts First Ever Hate Crime Awareness Week Event Christina Manns News Writer

National Hate Crime Awareness Week took place from October 13th to October 20th. The University of Birmingham organised a series of events, which started on Friday 12th October and ended on 20th October. There were a number of events held across the week, covering topics such as what hate crime is, how to spot it, measures used to prevent it and what services are available at the University.

Hate Crime Awareness week Awareness week and took place takes place between the secon Friday 12th October. ond and third Saturday of The event had October every year and music, an internais aimed to support tional buffet, and people who have appearances by been affected by the Campus hate crime and to Police Officer, empower commuS e c u r i t y nities. Services, and It became an the Equality and established camDiversity Team. paign in 2012 and The theme of the has happened every event was to celeMauricio Garcia year since. brate the ‘diverse The ‘Hate Crime community’ at the Awareness Social’ was the University. first UoB event for Hate Crime Several events were then held

from Monday 15th October to Friday 19th October across campus.

"[it] was to celebrate the 'diverse community' at the University" These varied from a ‘Hate Crime Awareness information sharing event’ at the Bournbrook

Community Hub to a bespoke play performed by the Caravan Theatre in their caravan at the Law Building Arches. Alongside running events, Old Joe was lit up pink for the whole week to recognise National Hate Crime Awareness Week. A group of students stated that the University organising events and Old Joe turning pink for the week ‘really helped raise awareness.’ The cause was a ‘good way to get young people involved and attentive towards social issues.’

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Friday 26th October 2018

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News Analysis: Alcohol Consumption At University

News writer Alice Wibberley compares UoB students' attitudes to alcohol to a recent NUS survey Alice Wibberley News Writer

A recent National Union of Students (NUS) survey has revealed the attitudes to drinking of 2,215 students. Redbrick has also conducted a survey, reaching 150 respondents, to see how the University of Birmingham compares. Students have always been associated with excessive consumption of alcohol, and this has been reflected in both the NUS survey and the survey filled out by students at the University of Birmingham. 79% of those surveyed across Britain by the NUS agreed that drinking is a part of university culture, and 76% said there was an expectation for students to drink and get drunk. At UoB, 91% also agreed that drinking was a part of university culture, with 47% of those ‘strongly agreeing’ that university life and drinking culture are linked. In total, only 8% of UoB students disagreed with this association. In response to the data collected by the survey, NUS Vice President of Welfare Eva Crossan Jory said it is ‘concerning that university life is still strongly associated with excessive alcohol consumption,’ and drinking practices recorded by both surveys illustrate the prominence of alcohol within universities. Redbrick’s survey revealed that the most popular practice amongst students was to drink between once and twice a week, with 56% choosing this option. A further 25% said they drink three to four times every week.

"It is concerning that university life is still strongly associated with excessive alcohol consumption" These figures show higher levels of drinking at UoB compared to 23% of respondents to the NUS survey, who said they drink two to three times a week. Only 2% of NUS respondents said they would drink ‘most days,’ or ‘every day,’ but those who recorded drinking between five to seven days per week at UoB were at 7%. Eva Crossan Jory noted an increase in the amount of students choosing not to drink, with 21% of respondents to the NUS survey saying they did not drink at all (or have stopped drinking). She puts this down to finan-

cial reasons and increased ‘pressure to do well’ – meaning that students have less money and time to spend on drinking and going out. The figure for UoB for nondrinkers was far lower, at 12%. This could be down to the demographic of students reached by the survey – it was posted in the ‘Fab n Fresh’ Facebook page, and so mainly reached students interested in attending the weekly night out at the Guild and other events involving alcohol around Birmingham.

Reece Patrick Roberts

said they often found it difficult not to get too drunk agreeing that alcohol consumption helped them to socialise and relax.

12% of UoB students do not drink at all

Worryingly, a quarter of UoB students said that it can sometimes be difficult not to get too drunk. The survey carried out by the NUS recorded 38% of students feeling the same way, showing a trend. Another worrying pattern shown by the NUS survey was regarding peer pressure from friends, and worries about not fitting in by abstaining from alcohol.

91% of students at UoB believe drinking is a part of University culture would drink and get drunk in order to fit in. At UoB, however, a total of 60% agreed that there was an expectation from friends and peers to drink, 19% of these ‘strongly agreeing.’ Only 20% disagreed to this, far lower than the figure of 41% recorded by the NUS. Furthermore, 34% of students said they would ‘fear not fitting in’ if they changed their drinking habits, but on the whole, the majority (46%) disagreed.

"Peer pressure was an 'issue of perception over reality'"

72% of students agreed that alcohol makes them be more sociable There was some imbalance between figures for drinking and getting drunk. Although 25% of respondents to the UoB drinking survey said they drink three to four times every week, the figure dropped to 13% when asked how many days a week students got drunk. Furthermore, 25% of UoB students said they did not get drunk at all, even though only 12% said they did not drink. The most popular response was that students got drunk once or twice per week, with 61% selecting this response. It is clear from both survey results that the link between alcohol and ease of socialising is a key factor for consumption of alcohol at university. At UoB, 72% of students agreed that alcohol helped them be more sociable, with 27% of these ‘strongly agreeing’ with the link. The nationwide survey carried out by the NUS showed a similar result, with 60% of those who

Eva Crossan Jory noted a trend amongst respondents that peer pressure was ‘an issue of perception over reality, with most thinking it is more of an issue for others rather than themselves.’ 41% of NUS survey respondents feel as if there is no pressure from their own friends to drink, but 70% perceived that students

60% agreed that there is an expectation from friends and peers to drink

In recent years there has been a rise in the number of ‘sober socials’ in all universities, and UoB has its own ‘Sober Socials’ society. Half of respondents to the NUS survey said there were enough events at university that don’t involve drinking, but a quarter believed there should be more.

"2% of UoB students thought there were 'too many' sober social events" At UoB, there was an even split between those who thought there were enough and those who think there should be more. Only 2% of UoB students thought there were ‘too many’ sober social events. The NUS runs its own programme, Alcohol Impact, encouraging healthier and more sustainable attitudes and practices with alcohol, including guidance with financial and academic issues caused by alcohol.

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Digbeth Wins Coolest Place In Britain Emily Darby News Writer

Digbeth has topped a list of the coolest areas in Britain compiled by the Sunday Times. The area in the centre of Birmingham is a popular haunt of students as it boasts trendy independent stores and vintage clothing shops, as well as art galleries and unique dining experiences. The area’s locally-acclaimed Digbeth Dining Club has won awards for its savvy take on street food, bringing together a range of affordable and diverse food from

independent merchants. In their ‘Home’ magazine, the Sunday Times explained that Digbeth came out on top due to its ‘down-to-earth Brummie spirit and welcoming inclusive vibe.’ Digbeth beat two Londonbased areas, Deptford and Clapton, which came in at 9th and 10th, as well as Bristol’s Old Market Quarter, which came second. The list comprised of just 12 areas, selected to represent ‘different stages of evolution,’ that would appeal to ‘different ages from Deptford to Digbeth, Liverpool’s Baltic Triangle to Bristol’s Old Market Quarter.’

Amongst the local companies praised in the report were the newly-opened Baked in Brick restaurant and Digbeth Dining Club. Popular pub, The Old Crown, received a special mention for its ‘crispy chicken wings’ and ‘wraps grilled in the souped-up engine bay of a Mini.’ The Custard Factory was also applauded for showcasing an eclectic mix of shops, cafés, art venues and cinemas (such as The

Mockingbird) and offering unique entertainment activities such as Ghetto Golf, which supplies city-goers ‘more reasons to hang out after hours’ in the urban hot spot. Co-founder of Oval Real Estate, James Craig, commented on the positive recognition in an interview with Birmingham Live, saying: ‘Digbeth is a great place to work and play and it’s a real boost to see the district recognised as

one of the coolest neighbourhoods in Britain as we prepare to launch a series of exciting new event, food and beverage spaces in the future.’ Some of the new venues created this year include Ghetto Golf, The Ruin pub - which has already won over locals since its launch in October of last year - and the reopening of the Rainbow pub as a quirky cocktail bar, Finders Keepers.

Image Credit: Sophie Woodley

Columns Completed For UoB Build Sophie Woodley &Tom Leaman News Editors

Last week, on Tuesday 16th October, the University celebrated the recent developments of the Teaching and Learning Building on campus. The new building is expected to open in January 2020. The columns for the new building have been completed, marking the first phase of construction. A student was invited to use a ceremonial plumb bob to celebrate the the milestone in the building’s construction, alongside Sir David Eastwood and Willmott Dixon’s Operations Director Simon Liversage. The ‘state-of-the-art’ new learning centre, which is situated next to the Library, began construction in May and has been allocated maximum budget of £22 million by the University. The new design is aimed to bring another modern aspect to the University’s campus. Aspects factoring into this involve the building’s ‘formal and rigorous’ external aesthetic, as well as a crystalline lecture theatre block at the ‘heart of the building.’ Adding to the University’s commitment in environmentalfriendly projects, the design has solar panels covering 60% of its

roof. Architect Joan Kerr of BDP was aiming a modern look that is intended to tie in with the facade of the University’s renowned Aston Webb building, as they ‘didn’t want to take away from the beauty and heritage’ of the campus. Willmott Dixon’s Operation Manager for the project, Dean Howard, spoke to Redbrick and described the building as ‘more welcoming’ than the current Teaching and Learning Centre. He also stated that the heavily glass-structured building ‘gives a vision of looking out, much like the Library. It’s more of a pleasant experience.’ The new building will provide one 500 seater and one 250 seater lecture theatre, as well as 10 seminar rooms for 30 students. Extra social study spaces are also built around these rooms, for approximately 500 extra students. Study spaces for 1000 students will also be featured in the new building, and will include spaces for individual study and collaborative group work. Kerr continues, ‘it also gives people the opportunity to choose where they want to study, as some students prefer to study in bustling places, rather than in complete silence like the library.’ Describing it as a ‘flexible study space,’ Kerr is optimistic for the commencement of the

new project. The building will also feature a new café. The University’s ViceChancellor, Professor Sir David Eastwood, stated that the building, ‘is a continuing statement of what the University is committed to providing our students.’ Sir Eastwood also said that the work is a ‘statement that we believe in face-to-face teaching and the relationship between those who learn and those who teach.’ The ViceChancellor also described the project as a ‘building for the present and for the future.’ Sir Eastwood described the Teaching and Learning Building as ‘crucially important to the next generation of students.’ He also said the construction was happening ‘remarkably quickly,’ especially when compared to the library. Accompanying the ViceChancellor to mark the special event were three first-year student representatives. Rumaanah Hoosen, an Aerospace Engineering student, said: ‘It’s impressive to see the investments that the University is making, as we get to visualise exactly where our fees go, which is very unique.’ Rumaanah also commented on the cost of the project. Asked about the investments made by the University into new facilities alongside increasing student concerns for their safety, she said: ‘I

Wilmott Dixon think the funding is being very concentrated on learning and not living, so perhaps the University need to look at the living side more.’ Another first-year student, Daniel Walker, who studies Physics and Astrophysics, said, ‘as an international student from America, we wouldn’t have this opportunity to come up here and see this happening.’ In response to the University’s funding, and recent incidents in Selly Oak, Daniel told Redbrick, ‘The Guild of Students take care of Selly, and the University and the Guild work hand-in-hand. I understand the controversy that the University are spending a lot of money, but this is all for the students in the end.’

The new Learning and Teaching Building is scheduled to open in January 2020, and part of this will involve ‘student participation,’ Sally Xerri-Brooks says, as Communications and Stakeholder Engagement Manager at UoB. Xerri-Brooks emphasised the importance of student involvement as the project, but says ‘got to be real, and has got to be meaningful throughout the whole process.’ Xerri-Brooks is calling for students to come forward who may want to feed their views into the design. If you are interested in participating, you can contact Sally via email S.B.XerriBrooks@bham.ac.uk

Selly Express Bus Up And Running Christina Manns News Writer

A new shuttle bus service was launched on Monday 15th October, following student outcry at the level of crime in Selly Oak. It is hoped that this new service, provided for free by the Guild, will help to allay the fears of students concerned about their safety in the area. After a series of posts on the student Facebook group ‘Fab N Fresh’ detailing a wide array of criminal activity, students at the University of Birmingham have begun to fear for their safety in Selly Oak, especially when walking alone at night. On Sunday 7th October, a 22-year-old man was stabbed in the area. A 15-year-old has been

charged with attempted murder. The University has faced backlash for its response to the incident, particularly regarding one statement posted online which controversially stated that ‘generally Selly Oak is a safe area.’ However, the Guild of Students launched a petition titled ‘Make Selly Oak Safer’ and hosted a student forum on Wednesday 10th October in an effort to listen to student feedback and work on improving safety in Selly Oak. One of these new safety measures is the shuttle bus, named the Selly Express. The Selly Express has run every fourty-five minutes between 20:00 and 01:00 on weekdays since Monday 15th October, leaving from the library and the Guild and arriving in Selly Oak. Due to this being a free serv-

ice, tickets are not required and students only need to bring their student ID. This new bus scheme also fulfils one of Guild President Reece Patrick Roberts’s manifesto promises, and he is encouraging students to use this bus to prove to the university that it is a necessary feature. The bus is only a temporary measure and, therefore, Roberts encouraged students to ‘please use this service’ at the Guild Officer Question Time so that the University considers making the service permanent. Reece Patrick Roberts tweeted on the night, ‘First Selly Express has left! The Guild ensuing you get home safely! #staysafeselly.’ He also tweeted, ‘Just another way the Guild is looking out for students!’

Reece Patrick Roberts

NEWS

Friday 26th October 2018

@redbricknews

Drug Testing Kits Given At SUs Rebecca Hall News Writer

Student Unions across the country are increasingly giving drug-testing kits to students. The aim is for students to assess the toxicity of what they are taking. Evan Crossan Jory, the NUS Vice-President for Welfare, told The Independent: ‘More and more unions are asking about drugtesting kits. So, we are trying to make the kits cheaper and more accessible.’ Manchester, Newcastle, and Sussex Universities have led the trend by providing the kits, but smaller unions are seeking finance in order to do the same. Students attending the University of Manchester can purchase drug testing kits for just £2.50, which is below market

value. Jory added, ‘Student Unions are taking it more seriously. And there are a lot more student unions that are looking at ways they can reduce harm and educate their students within the union.’

"We are trying to make the kits cheaprer and more accessible" The University of Birmingham currently does not provide drugtesting kits. The University’s current policy is that they, ‘recognise that alcohol and drugs will play a part in the lives of some people and will be sympathetic to problems arising from misuse’ but

ultimately, it does not condone such use. The University of Leeds was

56% of students have tried drugs

recently reported to be the most popular institution for drug users. Eight out of ten undergraduates have admitted to trying illicit substances, according to the The

Daily Mail. A NUS survey recently revealed that 56% of students have tried drugs, with 39% saying they currently use drugs.

"A lot more student unions are looking at ways they can reduce harm and educate their students" While this has propelled many students’ unions to look into drug testing kits, Sir Anthony Seldon, Vice-Chancellor of Buckingham University, has taken an extremely different approach by reinforcing an attempt to create a drug-

free campus by asking students to sign a contract pledging to not partake in the use of illegal substances. Redbrick spoke to Amy, a first year student, about the new drugtesting kits, who said, ‘Surely it’s just encouraging us to do drugs?’ Max, a second year student, also said, ‘I think prevention is best, now at least me and my mates are safe on a night out.’ In July, the Home Office said it, ‘wouldn’t stand in the way of drug-testing at clubs and festivals,’ suggesting that despite some initial concerns, the use of drugtesting kits will become more frequent both at universities and in wider society. Do you have any opinions on this article? Contact us - @redbricknews

Cambridge University Offer Free Year Of Education Irram Geer News Writer

Cambridge University have announced their plans for a £500m ‘transition programme’ which will offer disadvantaged students a free one-year foundation course after A-levels. The scheme hopes to widen access to those from traditionally underrepresented backgrounds, who may otherwise be unable to match the high entry requirements. Professor Sir Stephen Toope, the university’s Vice-Chancellor, said: ‘Here’s an opportunity for you to come to Cambridge for a period of time for free - we are not going to ask them to pay, we are working with philanthropists to

fund this programme - so that we have access to people who wouldn’t otherwise be able to come here for that extra year.’ ‘We are aware of the pressure that that would place on them. And we give them the opportunity to really just get a leg up to work with some of our academics to make sure that if they are finally admitted to Cambridge they are really ready for the programme.’ Elite universities have come under fire lately for their stunted progress on improving student diversity. A recent report discovered that a number of Cambridge University Colleges have admitted no black students, or as few as one a year, between 2012-2016. ‘Can we call ourselves a place of excellence if we are not fully inclusive of the most diverse tal-

ent? This is not just a matter of box ticking.’ Professor Toope said. ‘For Cambridge, this is an ethical issue. We can only expect to have full public support for our university if we are prepared to encourage top talent to pour in – regardless of where it flows from.’ He said that while the programme will not be a promise that students will definitely obtain a traditional place at Cambridge afterwards, he added: 'What we will be able to pretty much guarantee is they will be able to go to a top university.’ This initiative follows a similar scheme implemented at Oxford University’s Lady Margaret Hall and Trinity College Dublin. The University of Birmingham

currently offers an A2B programme which provides students from low socio-economic backgrounds with a reduced offer (typically up to two A-level grades, e.g. BBB rather than ABB) and extra support before starting university.

"This is an ethical issue" Sir Michael Barber, chair of the OFS (Office For Students- the independent regulator of higher education) has warned that he is ‘interested in results, not just plans’ and if a university does not ‘keep its promises’ to improve diversity, they will have their tui-

tions fees axed by a third. Lee Elliot Major, Chief Executive of the Sutton Trust, which seeks to diminish educational disadvantage and promote social mobility, has insisted that radical change is needed to counteract how young people from low-income backgrounds are significantly underrepresented at top universities. ‘A new transition programme for low-income students could do much to widen participation and provide additional support for those students who need it most. But it will be important that Cambridge invests in careful and robust evaluation to make sure it is implemented in the most effective way.’

Editor's Pick

News Editor Sophie Woodley looks at the importance of The International Day of the Girl, which took place on October 11th To kick-start ‘Editor’s Pick’, I have chosen a story particularly close to home. As a feminist and an admirer of feminist activists, ‘The International Day of the Girl’ marks an important movement for me. Recently, the world celebrated ‘The International Day of the Girl’ - a day dedicated to promoting girl’s empowerment and struggles they face all over the world. The United Nations launched the programme in 2012. The event looks at a variety of issues that girls face, which involve education, equality, child marriage, gender-based violence and access to services regarding sexual health.

The Day of the Girl summit is held at the UN headquarters every year, on October 11th, where organisations come together to help tackle these problems. Studies show that by the age of 6, 12 million girls under the age of 18, will be married. In developing countries, 21 million girls ages 15 to 19, will become pregnant. West and Central Africa and Eastern and Southern Africa face the biggest problems of adolescent pregnancy. These marginalized communities are more likely to face such issues, as they’re driven by poverty, a lack of education and employment opportunities.

The ‘World Health Organization’ reports that, ‘for many adolescents, pregnancy and childbirth are neither planned nor wanted.’ Girls simply face consequences they did not sign up for. An estimated 5% to 33% of girls ages 15 to 24 dropout of school. In most cases, this is due to early pregnancy or marriage. In larger parts of the world, young women are most likely to be unemployed. In 2017, according to information collected by the World Bank, an estimated 15.2% of girls aged 15-24 were unemployed on a global scale. This compares to 12.6% of males in the same age category. Executive Director of UN

women, Phumzile MlamboNgcuka, states how, ‘This is a critical time for the girls of our world.’ Other renowned feminist

"This is a critical time for the girls of our world" activists took to social media on the day, preaching their views. Emma Watson, a globally celebrated actress and feminist, and one who I especially look up to, took to Instagram on October

11th. Posting a picture of her younger, laughing-self, as she’s starting off in her career, Watson says, ‘Today is International Day of the Girl & I want to celebrate by letting all the girls here know that I am truly and utterly in awe of all the ideas, efforts and talents you’re using to organise together and transform our world! I’m so inspired by you all xo.’ It seems the future is looking up, as a UN Women article states, ‘The 1.1 billion girls of today’s world are challenging the status quo. They’re redefining girlhood, and they’re doing so against the odds.’

COMMENT

Friday 26th October 2018

@redbrickcomment

Spotlight On: Student Safety With crime on the increase in Selly Oak, we asked Comment contributors to discuss the worrying levels of criminal activity in the area Sven Richardson Comment Writer

To a jaded third year, the words ‘dodgy’ and ‘Selly’ are practically synonymous. Whilst I personally have never been witness nor subject to any of the unpleasantness that seems rampant, the experiences of my housemates and the stream of information from Fab‘N’Fresh provide me with more than enough material to keep me on edge whilst walking home.

"The stream of information from Fab'N'Fresh provide me with more than enough material to keep me on edge" In the last couple of weeks, events seemed to have reached fever pitch. Thefts, muggings and a near-fatal stabbing have left students questioning why

they choose to live in such an area. But through the haze of anger, are we able to discern who is responsible for sorting Selly Oak out? Students have looked to the University of Birmingham, asking that they extend their security services out to Selly Oak, drawing inspiration from the Universities of Bristol and Manchester. The Guild has taken this a step further, organising a petition that stands currently just shy of 7000 signatures, calling on the University to take more action, as well as calling upon local government too. Meanwhile, the police state that they are under-resourced and overstretched, and that students should report all incidents to either 101 or 999 if they want the statistics to be representative of their experience. This still leaves the question of whose responsibility the area of Selly Oak is. The root problem here is crime, and one can spend a lifetime studying its causes, effects and ways to combat it, and still come no closer to addressing it. Perhaps then a cause and effect approach should be taken to analysing this subject. The primary cause, I would argue, is austerity, and whilst I could go on about the Conservative Party’s ideological

myopicness, the point here is simple: the police have faced wave after wave of cuts, and the reduction in services and officer numbers has most probably contributed to the rise in crime. However, austerity’s effects on crime stem not only from police cuts, but from cuts to social programs too, specifically the closure of youth centres and rehabilitation schemes for offenders. After all, criminal and social justice are just two sides of the same coin.

"Austerity's effects on crime stem not only from police cuts, but cuts to social programs too" How do we go about combatting this? The Guild of Students has partially answered the question, with their petition calling upon the appropriate actors to do their part. The addition of the Selly Oak Express, whilst most welcome and not to be balked at, aids only a fraction of UoB’s

student population. Whilst the Guild of Students acts as a representative of the voice and opinions of students, direct action should be taken by students individually too, and participating in local democracy will help ensure that their views are addressed. Moreover, if students were to perhaps act as better neighbours they might be viewed more favourably. Selly Oak is not the university’s responsibility, but as an institution our university has a duty of care to its students, and given that the vast majority of us move there means it needs to take a more active role. The ways it can do so are numerous, as the University of Birmingham holds a vast amount of power and should seek to use it’s contacts to better advocate for its students both regionally and nationally. It could also more actively engage with its local community. The considerable achievements of students who help in the local community must not be a substitute for the ways our university could be taking action, perhaps by focusing on ways in which research can be implemented to directly benefit local communities. The ballot box will not provide an immediate solution to students’ woes. It seems to me that the University of Birmingham

values its reputation and income above all else, and continued protesting from unhappy students would hit them where it hurts.

"The Russell Group has rested on its laurels, letting others stride ahead" Some have expressed their discomfort with continued displays of dissatisfaction, arguing that they don’t want to deter potential students from a place that they as current students love. I too love this university, but you cannot live in denial of the fact that there are rampant and glaring inadequacies in how the University of Birmingham provides for its students. For too long the Russell Group has rested on its laurels, letting others stride ahead in student satisfaction rates whilst their own students suffer in silence simply because the source of their degree is arbitrarily more reputable. The power lies in your hands, students. Just make sure to use it responsibly.

Poll of the Week: Do You Feel Safe in Selly Oak? The University of Birmingham and the Guild of Students have begun implementing policies designed to increase student safety, but are these measures enough to help students to truly feel safe? No 8 8.7 %

Ye s

3% 1.

"Students can do more to prevent minor opportunistic crimes"

Do you feel safe in Selly Oak?

"I literally look out of my window to see people trying our door" "I remind myself that feeling anxious about being in Selly Oak won't change the fact I have to live here all year" "Considering the stabbing I am definitely on edge" "It's hard to make somewhere where you're so scared a home" "At the moment it feels that action from police is reactionary rather than preventative"

Take part in our polls:

@RedbrickComment

Redbrick Comment Contributors

Velvet Jones Comment Writer

In a recent poll led by Redbrick Comment on student safety in Selly Oak, 88.7% felt unsafe while 11.3% felt safe out of a total 71 respondents. People are beginning to feel like they’re trapped in their homes, and are scared to leave once darkness hits. Is this really a conducive atmosphere for learning and development? One respondent stated that ‘It feels uncomfortable and stressful to walk through...I feel like I’m constantly looking over my shoulder as I walk.’ However, some felt that the Facebook page Fab ‘n’ Fresh was increasing this sense of fear, one respondent even saying, ‘Word of mouth, especially on social media (e.g. Fab ‘n’ Fresh) makes a few crimes seem a lot worse than they are.’ Is this scaremongering possibly fueling fears more than

an increase in crime? As well as this, the findings show that students feel abandoned by the University of Birmingham, but is this rising student voice due to just a fear of crime, or part of a wider demand for student support from our university? Students certainly feel like the Guild of Students' Selly Oak Express initiative is long overdue, with one respondent arguing that this scheme or something similar was needed a long time ago.

COMMENT

Friday 26th October 2018

@redbrickcomment

Spotlight On: Student Safety Roy Hughes

Holly Pittaway Comment Writer

Following the recent stabbing which took place on Heeley Road in the early hours of the morning on 7th October, there has been an outpour of students calling for authorities to make Selly Oak safer. While some

efforts have since been made, including an increase in police presence on the streets, and the launch of a night-bus that will make journeys from the library to Selly Oak after dark, crimes are still continuing to happen every day. The reality is that the action taken by the university and local police has only scratched the

surface of what is wrong in Selly Oak – the real problem is its community, or rather, lack of. I come from a long line of throughand-through Brummies and according to my grandmother, just a few decades ago Selly Oak was a ‘posh’ area, where many working-class people like herself just couldn’t afford to live; but now it’s a very different story.

Crime Statistics for Selly Oak - Sept. 2017 - Aug. 2018 (Police.UK) Anti-social behaviour - 367 Bicyle theft - 66 Burglary - 379 Criminal damage - 197 Drugs - 24 Other Crime - 13 Other theft - 215 Possesion of weapons - 15 Public order - 93 Robbery - 92 Shoplifting - 253 Theft from the person - 25 Vehicle crime - 294 Violence & Sexual offences - 451

100

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Many will attack me for saying this as the student community within the area is very vibrant, with every road all the way from Selly Park to the outskirts of Bournville being inhabited by 18-24 year olds; but the massive influx of students in recent history has forced much of Selly Oak’s permanent community of families and locals out into surrounding neighbourhoods, while the students who have replaced them only remain in the area for perhaps a maximum of four years before following suit. Where houses used to be owned, they are now rented, meaning that many of the security fixtures that one might find in a family home such as burglar alarms, double-glazed windows and pick-proof locks are just not present. Furthermore, in recent years Selly Oak and other parts of Birmingham have lost their primary community centres. Just taking a walk down the Bristol Road or one of the other Selly streets it is easy to see that most of the commercial spaces are taken up by dodgy fast-food restaurants, takeaways and estate agents – on my travels through Selly never once have I noticed a thriving community centre or Town Hall. The lack of permanence and the loss of community in Selly Oak has thus created a hub for criminal activity. Those looking to make an easy bit of cash, steal a car, or break into a house will flock to Selly Oak because, ultimately, students are easy targets,

and with a wealth of us being from well-to-do middle-class families, it’s obvious that there’s going to be a fair few iPhones, MacBooks, and more up for grabs. To put it bluntly, Selly Oak has lost its heart, and if even its own community don’t care about it anymore, why should the rest of the world? The future for this suburb looks very bleak– the University of Birmingham will no doubt continue to enrol more students every year, forcing more and more of us to expand our property search into the surrounding areas of Stirchley and Bournville, until these communities, become fully ‘studentised’ like Selly Oak is now. With this, the cycle of crime will continue, and will be exacerbated by government budget cuts to the Civil Service and allocation of university funds to meaningless vanity projects (like the Green Heart, or that ridiculous orange ball of carbon that recently graced our campus).

"Selly Oak has lost its heart, and if even its own community don't care about it anymore, why should the rest of the world?" But what can be done, or indeed, can anything be done? That’s up to the students. It’s time to stop pointing fingers at the authorities and start looking around at the mess that we have created in this once affluent suburb of a wonderful city. It’s up to us to inject some community back into Selly Oak, and maybe then we can prevent it from fading completely into extinction.

COMMENT

Friday 26th October 2018

@redbrickcomment

Spotlight On: Student Safety Jennifer McKay Comment Writer

With recent events in Selly Oak, there seems to have been a crescendo in which petitions and bold claims of negligence and anger have rippled through students on campus. One of the continual arguments I’ve heard regarding these events is that the university should not be paying for all the recent new developments and constructions on campus while crime remains this high. However, this strikes me as one of the most stupid arguments regarding the subject. The definition of a university is, according to the Oxford English Dictionary, an institution of higher education, and all the members, colleges, buildings etc., having the power to confer degrees in mainly non-vocational subjects. With this in mind, the ability for the university to effectively educate its students and conduct the research which is expected of it, requires such state-of-theart facilities as the new Collaborative Teaching Labs, the Engineering Building currently in the process of construction, and the new Main Library. I don’t see anywhere within the definition a particular duty to provide private security guards at the expense of teaching and research facilities. This may seem cynical, but

Kat Smith Deputy Editor

‘Always stick to well-lit streets. If possible, let someone know when you are coming home and the route you are taking and always be alert in your surroundings, so don't use earphones or handheld devices.’ This is the advice of DC Laura Avery that became the eye of a social media storm in the wake of a string of sexual assaults in Cricklewood, London. Viral tweets and campaigners branded the statement as victim-blaming, arguing that it put the responsibility on women rather than the perpetrators of sexual violence.

"The sad fact is that if we want to stay safe, sometimes we have to play the game" To me, the backlash is far from warranted. While it’s not the most ground-breaking advice I’ve ever seen, it’s not fair to paint the police with the same brush as misogynists who blame sexual assault victims for being provocative. I genuinely believe that the advice was not intended to say women are responsible for their safety but rather to help us as much as possible in a

to me it just seems logical. If you are particularly worried about your security then it is yourself that should be searching for accommodation with private security services.

"If you are particularly worried about your security then it is yourself that should be searching for accommodation with private security services" Furthermore, it seems that the wrong people are being assigned the blame here. Is it not the police who should be blamed for crime rates? After all, even if private security was hired to patrol Selly Oak, the most they could do would be to call the police in the events of an incident. Therefore, all that would be happening is a third-party added into the mix with no real benefit and yet incurring tremendous costs to the university. I think it is also important to

world where vulnerability is taken advantage of by criminals. It’s safe to say that none of us want to be victims of sexual violence and while I know it would never be my fault if I become one, I would much rather protect myself as much as possible. Of course the ideal situation would be the internalisation of the message that men do not have a sense of entitlement to a woman’s body. But, it’s going to take time. I doubt these predators will stop if we ask them to... it seems almost comical to entertain the idea that they would. Admitting that I would rather take preventative measures is not un-feminist. I am fully aware that my headphones, phone and late-night walks are not sexual predators. But I am also aware that these contribute to my vulnerability and can highlight me as a female who won’t necessarily realise she’s being followed. I would much rather pass on listening to a song that’s been in my head all day or ignore a text for another few minutes than put myself in that position – maybe this makes me lack defiance or a slave to the patriarchy, but I’d much rather not be naïve. I think it’s abhorrent that we women have to take these measures to try and not be targeted, but the sad fact is that if we want to stay safe, sometimes we have to play the game. Offering self-defence classes is not an act of blaming women for being attacked because they can’t defend themselves. The

note that Selly is not isolated in its high crime rates as a student area. Back in my motherland of Sheffield, my Dad used to work closely with police to reduce business crime and so was continuously told about warnings police staff were given when dealing with student areas. Indeed, one officer was told to always wear a stab vest when investigating crime in the student areas. Perhaps then we might consider that this is more of a national epidemic than one unique to Selly Oak, and therefore we cannot blame the University for its lack of action. Simply one quick google of student area crime statistics ranks Birmingham 32nd for crime, according to the Complete University Guide’s list compounded from 2017’s police data. So possibly this should be considered before we start pointing fingers and accusing the university of mis-budgeting. Once again though, the statistics for Selly Oak do not reflect the sense of fear I’ve continually heard about. Hence, it is very difficult for police to accurately know the extent of their presence needed in the area. There are a few different reasons for this; either the scaremongering of the Fab n Fresh Facebook page is greatly exaggerated, or people are not reporting crimes and so they are not joining statistics which inform the police of what is needed to be done. Therefore, can the

police really be blamed if they are not even receiving reports? The £606 million developments have been blamed by many students for a lack of funding to tackle the issue. Though I’ve already dissected the ridiculousness of private security and the need for the new developments, I think it’s important to also look at what students have requested repeatedly for many years and which the university are addressing in recent projects: study spaces.

"The university could hardly forsee the coming troubles...in 2016" The Green Heart has repeatedly been branded as ‘unnecessary,’ but I think this neglects the fact that the Green Heart is merely a by-product of the new library and its (guess what) study spaces! We can hardly expect the university to build the new Library, knock down the old one, and leave it at that. There is an essential element of landscaping, and with the university always seeking to improve their ecological effects it makes sense that they would plant 160 new trees, a range of wild flowers and nesting sites to improve biodiversity. Though this does seem

to be a neglected fact. Not to mention the fact that the recent events in Selly Oak are just that: recent. The university could hardly foresee the coming troubles when beginning the project in 2016 and can’t exactly go all Marty McFly and warn themselves to not start the project and instead spend millions on Selly Oak, an area they don’t even own.

"It is neccessary to look at the issue logically before immediately pointing fingers" Therefore, I think it is necessary to look at the issue logically before immediately pointing fingers at the university. Instead, make sure you report all crimes to 101 (the non-emergency police phone number) and contribute to the crime statistics to help the police see where needs the most funding. And maybe take a moment to consider the funding going to the police when you come to vote in your next election, no matter if it is regional or national, as these are the people deciding on budgets for the police.

Guild is not victim-blaming when they give us personal safety alarms or provide us with a bus that takes us home safely. Our male friends are not walking us home because they think it’d be our fault if we were attacked, but because they care about us. It is an act of self-care to ensure that we make ourselves as safe as possible against arseholes who will try to exploit our vulnerability.

"Offering selfdefence classes is not an act of blaming women for being attacked" The targeting of this advice as an example of ‘victim-blaming’ seems to trivialise cases where rape culture is certainly alive and well. If the police advice was ‘Don’t wear short skirts and don’t drink too much’ I would be behind the backlash, as policing women’s bodies is the last thing I am in favour of. But it wasn’t. The advice was issued to advise us on how to keep ourselves safe. I would much rather keep myself as safe as possible and be able to defend myself if the worst happens, than to take a risk.

Richard Potts

COMMENT

Friday 26th October 2018

@redbrickcomment

Social Stereotyping Must Stop Abby Spreadborough argues that the perpetuation of stereotypes during sport and society socials must stop if we are to prevent social class division in education Abby Spreadborough Comment Writer

Pixabay

‘Chav’ is a commonly used abbreviation meaning ‘Council Housed and Violent’. It forms part of our everyday vocabulary as an insult directed towards those wearing tracksuits and living in deprived areas with apparently limited prospects. This stereotype has become the theme for student socials across the UK. Most recently it was the Hull University riding club which adopted the theme, but in the past Birmingham has also been guilty of the same offence. Whilst on the surface it may appear that such events are merely harmless fun, they are in fact troubling. When comically playing dress up as a ‘chav’ those who attend these socials are actively perpetuating harsh stereotypes. Thousands of people live in social housing in the UK and are able to live varied and fulfilled lives. To assume that these groups are condemned to commit crime is not only unfair but despicable. As in all social groups a small minority

may act disagreeably, but the minority must not come to define the image of the majority. In fact, these groups exhibit great resilience given that they are so frequently demonised and that social welfare continues to be cut back. It would seem that the term ‘chav’ itself should be done away with as it is inaccurate and unrepresentative of living on a council estate. It only serves to deepen the divide within communities at a time when the country is already fractured as a result of political differences. Currently, Birmingham ranks 116th out of 133 universities for social inclusion. If the university hopes to improve their standing on this issue, more needs to be done to encourage low-income students to apply. They may begin by condemning these socials which could deter students from applying. The fact that university is a predominantly middle-class environment can be potentially daunting for these prospective students as they grapple with financial issues, and then to have to overcome unfounded prejudices is yet another stress for these students. The issue of ‘chav’ themed

socials bears many similarities with the issue of cultural appropriation. This is the debate of whether or not it is acceptable for a person to adopt a style from a culture separate from their own. It would appear that an individual’s intention and awareness of a culture lie at the core of this debate. For example, if an item of cultural significance is worn out of appreciation and awareness then it may be regarded as acceptable. Yet if it is worn to mock a culture or with little awareness, it degrades that culture. Similarly, to dress as a ‘chav’ degrades and trivialises the lives and experiences of those living in social housing. By no means does this article promote the policing of what people can and can’t wear, as we should be free to express ourselves through fashion. This article simply promotes having respect for other social groups. It is the responsibility of all students to make university a welcoming environment for all regardless of their background. Through adjusting our perception of social groups on such a local level as student socials, we may be able to create a greater change in attitudes.

A Fab and Fresh Approach to Free Speech Rachael Powell argues that free speech is an essential component in debates surrounding controversial issues Rachael Powell Comment Writer

On 10th October, the Birmingham Socialist Students society held an event about Israel-Palestine and anti-Semitism in the Labour party, of which 40 people attended, therefore having ‘a very fair and serious debate and discussion despite some differing views’ according to the organisation. However, previous to the event taking place, there was a dispute on the ‘Fab n Fresh’ Facebook page as to whether it should occur. It was initially argued that the event had the potential to make Jewish students feel uncomfortable due to the discussion of whether anti-Semitism is legitimately present in the Labour party. Whether the Labour party is experiencing anti-Semitism is a different debate – and the entire purpose of the event in the first place. My interest here is whether it was right for the event to happen. Despite heated discussion, the event did take place. The Birmingham Socialist Students posted a statement on the ‘Fab n Fresh’ post about their event, saying ‘we strongly rebut the accusa-

tions of anti-Semitism and discrimination being thrown at our organisation and the event.’ We are all aware of the potentially detrimental consequences of fake news, or even just bad reporting. For the Labour party, it is important to investigate whether the anti-Semitic accusations are in fact true; as said by the Birmingham Socialist Students in their statement on the post, ‘antiSemitism and any form of racism must be fought against. But at the same time, any cynical attempt to make false accusations of antiSemitism to smear political opponents must be emphatically opposed’.

"Freedom of speech is vitally important in a harmonious society" There is nothing unfavourable about discussing anti-Semitism in the Labour party; that in itself is

not anti-Semitic. The Birmingham Socialist Students’ sister organisation in Israel/Palestine, the Socialist Struggle Movement, supported Birmingham Socialist Students’ event, stating that ‘the discussion over anti-Semitism should be held, rather than silenced.’ But is free speech more important than people being offended or made uncomfortable? My answer is yes. Freedom of speech is vitally important in a harmonious society – particularly on a university campus. Yet, with free speech comes the inevitability for one to be offended or made uncomfortable. However, this is not a crime unless someone used threatening, abusive, or insulting words with the intent to cause violence (as stated by the Public Order Act Section 4, 1986). Someone being offended should by no means take away another’s right to freedom of speech. In the instance of this event, the need for freedom of speech and discussion surrounding anti-Semitism is colossally more important that the possibility of people being offended. Furthermore, Jewish students attended the event themselves, according to Birmingham Socialist

Students. Stopping events that encourage discussion over topic (particularly controversial ones) because of its potential to offend people devalues the opinions of all those involved, and essentially silences those with a different view who were willing to share in a healthy debate.

"Free speech only becomes an issue when it is used to deliberately target, threaten, and abuse other people" As raised by the Birmingham Socialist Students in a letter written to the Guild of Students, the heated comments and accusations about the society itself has proven damaging to the society’s members, as it was claimed that ‘people going to this event should be ashamed’ on the ‘Fab n Fresh’ post. Birmingham Socialist

Students felt as though the heated discussion had ‘unfairly tarnish[ed] the name and members of a legitimate political society at the university,’ and they also feared that the false anti-Semitic allegations towards them would discourage members from engaging in political debate around controversial issues, as it ‘seriously undermines the ability for this right [to open democratic discussion] to be guaranteed to all students wanting to express a legitimate political opinion.’ Conclusively, it was absolutely right of the Birmingham Socialist Students to hold the event, as is it right for any other organisation to hold events that encourage free speech and discussion. Free speech only becomes an issue when it is used to deliberately target, threaten, and abuse other people, which was not by any means the case in this instance. I am hopeful that this whole episode has proved to many people the importance of free speech and encouraging an open and thoughtful debate with each other.

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Redbrick Meets: Lewis Lukens

US Embassy

During his visit to the University, Redbrick's Erin Santillo sat down with the Deputy Chief of Mission for the US Embassy to discuss the US/UK special relationship and recent global events... Erin Santillo Editor-in-Chief

DCM Lewis Lukens is the chief operating officer of the US Mission to the UK. As a career diplomat, Lukens has previously worked as the US Ambassador to Senegal, US Ambassador to Guinea-Bissau and the head of the State Department's Executive Secretariat during Hillary Clinton’s time in office. Since moving to the UK in 2016, Lukens has been Deputy Chief of Mission at the US Embassy, which included performing the role of Acting Ambassador to the UK during the Obama/Trump administration transition. I sat down with the DCM during his recent visit to the University's POLSIS department to explore the US/UK special relationship and his perspective on recent global events.

What brings you to the University of Birmingham? This is my first trip to the Midlands. I came up yesterday and spent the afternoon at the University of Warwick, and I’m doing the same programme today – meeting with students, meeting with some faculty, and then I’m giving a talk in a couple of hours on the importance of the special relationship. For our readers who are not familiar with diplomacy, how would you describe your role at the US Embassy? The Deputy Chief of Mission functions as a chief operating officer of an embassy; responsible for managing all the various components of what, in this case, is a very large embassy to make sure that we’re all aligned and working towards the president’s agenda here in the United Kingdom.

You have previously called yourself a ‘product’ of the special relationship between the US and the UK through your grandparents’ marriage. Why is the relationship between the two countries ‘special’?

"I don’t think that the special relationship will be diminished by Brexit. I think that it will possibly be enhanced" There are so many reasons I think why the US/UK relationship is so special. One of them, as you have just noted, is family ties. There are incredibly close family ties across the Atlantic, and in my case my British grand-

father married my grandmother who was an American student on a semester trip to the UK. The trade ties are also incredibly important. We have about a trillion dollars of trade back and forth. There are one million jobs in the United Kingdom that are supported by American businesses and companies and a million jobs in the United States that are supported by British companies and businesses, so the trade is a very important part of our special relationship. And our shared security in working together through intelligence sharing and our military operations on threats that exist around the world. The UK is our closest partner on addressing these. Whether it’s in the Middle East or the Far East, we work very closely on a whole range of issues. At the moment it’s hard to tell the outcome of the negotiations, but what do you think the effects of Brexit will be on the special relationship?

remains aligned with the European Union, but, however Brexit turns out, we in the United States are very keen to see a free trade agreement between our two countries. Also making major headlines this week is the recent climate change report that found that the world is completely off track in terms of limiting global warming to 1.5˚C. After the US pulled out of the Paris Agreement last year, is there a way that the special relationship can help the US come back on track with the UK in terms of climate change policy?

"The work that the team that I manage at the embassy does down in London is committed to the president’s objectives"

At the end of the day, I don’t think that the special relationship will be diminished by Brexit. I think that it will possibly be enhanced. We hope it will be enhanced. Our president has We continue to tackle clibeen very clear that he’s eager to explore very quickly after Brexit mate change in the United States a US/UK free trade agreement, and we have some states that are and we stand ready to do that, really out there doing incredible although we need to see what work. Our emissions have actuBrexit looks like before we real- ally gone down to a greater degree than they have ly get into the details. here in the United But we see Brexit as Kingdom. The an opportunity to president felt that take our relationship to the next the Paris climate level, and I agreement tied think the British our hands and government restricted the estimated number ability of our also sees it that way. businesses to of people who invest and creAnd you ate jobs in the marched against personally see United States. Trump in July that a free trade But pulling out deal is possible? of the climate It’s on the table? agreement did not mean that work on Absolutely – we are comaddressing the problems mitted to making a free trade stopped in the United States. deal work. How easy or difficult And we continue in the United that is will depend a little bit on States – our companies, our what Brexit looks like and how states, our citizens – to aggresclosely the United Kingdom sively look at ways to reduce our carbon footprint.

250k

A placard from the London Trump protests. Credit: MBM

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You have been Deputy Chief of Mission at the US Embassy under both President Obama and President Trump, including performing the role of Acting Ambassador during the transition. Have you felt any change in the nature of the relationship between our two countries in this period?

The new US Embassy in Vauxhall. Credit: David Holt

It’s been an interesting time on both sides of the Atlantic. We had a transition a year and a half ago and now we have a president who is clearly bringing a different model of leadership to the presidency. He brings much more of a businessman’s approach to the job. He communicates differently to how previous presidents have. But he’s very clear on his objectives, and his commitment to the US/UK relationship is as strong as any president I’ve ever seen. On the British government side, Brexit has obviously been something that has consumed a lot of energy and effort over the last two years, and I think we’re on the home stretch now. But it’s been a fascinating time to be involved in diplomacy and politics on both sides of the Atlantic for the past couple of years.

"It's been a fascinating time to be involved in diplomacy and politics on both sides of the Atlantic for the past couple of years" You have previously worked quite closely with Hillary Clinton during her time at the State Department, and now for the man who not only defeated her during the election but also has openly advocated for her imprisonment, Donald Trump. What is your relationship like with the president? I work for the president. I haven’t met the president, but he is the head of the executive branch; he’s ultimately my boss. I’ve worked for five presidents and about ten secretaries of state over the thirty years of my career. These aren’t personal relationships, these are work relationships. US career diplomats are civil servants. Our duty and commitment is to the constitution, the people of the United States. And the work that the team that I manage at the embassy does down in London is committed to the president’s objectives of shared security and shared prosperity, and we get up every day and find ways to enhance both of those. In June 2017, you tweeted support for Sadiq Khan’s ‘strong leadership’ in the aftermath of the London Bridge attack, which the New York Times saw as a ‘quiet revolt’ against the president, who was vocally critical of the London mayor’s handling of the situation. Some saw that as a public challenge, so what was your response to that?

It certainly wasn’t intended as a challenge. I would never challenge the president. I think in my case the tweet was a public statement of support for a friend and ally of the embassies – the mayor of London – with whom we’ve worked very closely, at a very difficult and tragic time in London. And it really was just a public statement of ‘we’re with you’ and ‘we’re with the British people in this difficult time’. So there’s no question of your trust in the president? No.

"We had a transition a year and a half ago and now we have a president who is clearly bringing a different model of leadership to the presidency" Last month, Theresa May stated that – like you – she does trust the president, but she has also spoken publicly against his judgements, such as with the notion of suing the EU. What is the relationship like between them? I saw them together when the president was here in the United

Kingdom in July. I think that respect for the office of the presthey have a very constructive idency and what that represents. and positive relationship, certainly a warm personal relationThe president came in July ship – I saw that in person on a working visit, but is a when they were togethstate visit still in the er. I think they recogpipeline? nise that our countries are better It is still in working together the pipeline. We to address some don’t have a of the critical date set yet, global issues but we certhat we face, tainly anticiestimated cost of and we’re betpate that there the new US ter addressing will be a state them together visit in the next Embassy in than addressing year or two. London them separately. They have an excelSticking with lent working relationthe notion of the US ship, and they talk togethin the UK, what are your er frequently and see each other thoughts on the new US Embassy at international meetings. My in Vauxhall? sense is that it’s a very strong relationship. It’s great. It’s a fantastic building. It has state of the art When the president visited technology and environmental the UK in July, hundreds of features and it’s a just a pleasure Birmingham people took to the to work in that building. It’s streets to protest against him. A open, it’s bright, the workspace similar protest happened in flows well. My sense is that the London but with thousands more people who work in the embassy people, including the controver- – we have about 1,000 employsial Trump balloon. Do you think ees – are happy coming to work that the British people respect every day because the space is the president? so great.

location, we’re in central London. It takes me less time to get to a meeting at the Foreign Office from the new embassy than it used to take me from Grosvenor Square, so I have no sense that we’re isolated or in a bad location.

One of the great things about both of our countries is freedom of expression and the freedom to demonstrate peacefully and to make your political views known. The president is no stranger to protest, it happens in the United States as well as here in the United Kingdom, and I think he respects the right of people to be able to do that. From my interactions with the British people there’s great

It can be a tough world. The politicians who I have seen succeed are the ones who genuinely follow their passions. The voters can spot a fraud easily, so for people interested in going into politics I would say: identify what your passions are, what you care about, how you think you will make a difference in this world, and then follow that in a genuine fashion and you’ll do well.

$1bn

The president has stated that the embassy is in a ‘lousy location’ compared with the previous building in Grosvenor Square and it’s been widely reported that it cost around $1bn – has it been worth the money? No US taxpayer money was spent on the project; the new embassy was completely funded by the proceeds of the sale of the old embassy. And as far as the

"From my interactions with the British people there’s great respect for the office of the presidency and what that represents" Finally, over the years, the University of Birmingham has seen two alumni become Prime Minister of the UK – Neville Chamberlain and Stanley Baldwin. What is your advice for students looking to work in the world of politics?

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FILM

Our Spookiest Flicks for Halloween 2018

Film band together to recommend movies scary, suspenseful and downright silly Here are some classics to hide behind your sofa from this Halloween Thomas Armstrong

Film Writer

Matt Taylor

Film Writer

Samuel Zucca

Film Writer

Todd Waugh Ambridge Film Editor

Ellen Macleod

Film Writer

Psycho

mother!

The Texas Chainsaw Massacre

Twin Peaks: Fire Walk With Me

Corpse Bride

A paranoid woman at the wheel of her car, several stacks of money hidden in her purse. A nervous young man in a room full of birds staring down at you. Shower curtains being ripped open by a shadowy figure. A car being towed out of the sludge. All of these are images that have been burned into my brain ever since watching Alfred Hitchcock’s 1960 film Psycho. The infamous shower scene is one that gains most frequent praise, and for good reason, yet for me every scene is perfect. The black and white B-movie style, the sharp editing, the nervous energy of the performances, and Bernard Hermann’s staccato soundtrack which keeps you in utter suspense. Rated regularly as one of the best movie soundtracks of all time – it was so profound that Hitchcock increased Hermann’s salary, giving him much of the credit for the film’s effect.

It is extremely difficult to find words to describe Darren Aronofsky’s 2017 film mother! On the one hand, it’s a psychological horror starring Jennifer Lawrence and Javier Bardem as a couple who find their house besieged by strangers; on the other, it’s a harrowing, uncompromising, incomparable masterpiece of modern cinema, using Bible stories to explore the destructive nature of mankind. mother! is one of the only films that left me numb when the credits start to roll. It is unbelievably intense for its entire runtime. Aronofsky always leaves us guessing as to what is actually happening on-screen at any given moment. He appears to take influence from the entire Bible (from Cain and Abel, to the crucifixion, to the Resurrection and the Second Coming), but refuses to make anything clear. Our reference point is Jennifer Lawrence, around whom the film is built. She plays Mother, wife to Javier Bardem’s Him. Lawrence is on screen or in shot for around sixty percent of the entire film (whether we are looking at her, or at what she sees from over her shoulder), and she carries the entire thing wonderfully. It is horrific to watch as she finds her home invaded by hostile strangers who appear to have been invited in by her husband, yet are ruining their lives and their home. It has been pointed out that Lawrence’s character is potentially nature personified, a theory that makes perfect sense in this beautifully nonsensical film. Aronofsky’s most ‘out there’ work yet, mother! refuses to bow to our expectations for even a second; it instead offers up an unflinching look at humanity’s capacity for brutality, and terrifies us in the process.

The original Texas Chainsaw Massacre, by director Tobe Hooper, remains essential Halloween viewing because it is truly, unflinchingly horrifying. My fascination with this film is undeniably masochistic as the film is genuinely sickening – but masterfully so. Set in the deep south of the US, Chainsaw doesn’t deal in spirits or haunted houses. Instead, Hooper takes us on an emotionally-taxing journey with his characters as they cross paths with a cannibalistic family in the middle of nowhere.

Twin Peaks: Fire Walk With Me is the scariest film I have ever seen. It features next to no jumpscares, monsters or murderers, but its portrayal of the human psyche – an ecstasy of emotional performances – is utterly haunting. After the 1990 cult series was cancelled, director David Lynch created a prequel film depicting the final days of teenage homecoming queen Laura Palmer (whose murder investigation forms the backdrop of the series). While fans expected something similar to the dark-but-goofy TV show, what they instead got was a two-hour nightmare. The show had always explored the duality of Laura – smiling on the outside but dying inside – but it had distance and colourful characters to take the edge off. Lynch stripped all of this away for Fire Walk With Me, showing the audience with brutality the tumultuous, toxic, distressing life that Laura led in her final days.

In my house there will often be two screenings on Halloween film night, a macabre bloodbath in one room and a Disney favourite in another. Tim Burton’s Corpse Bride is the perfect compromise. It keeps the softies happy with its romance, humour and even musical elements. Yet its gothic aesthetic - and the expert manipulation of plasticine to create an at times gruesome film - satiates those who feel like October must be filled with the screams of terrified audiences. With October getting darker and colder, Halloween films should bring people together and create warmth and that is exactly what this film does. Tim Burton creator, of The Nightmare Before Christmas is adept at creating seasonal films. The Corpse Bride fully engages with the traditional Halloween themes of death, the afterlife and horror. We follow Victor, a shy young man, who is to wed Victoria, but - after running away and inadvertently practising his vows on the grave of a deceased woman - ends up with a corpse bride. Whilst the plot of Corpse Bride is not its strong point (it is fairly predictable), the film’s best feature is its cinematography. Though animated, the strong Burtonesque aesthetic and Gothic influence make for a striking spectacle. The cast features two regulars of Burton’s films: Helena Bonham Carter (the eponymous Corpse Bride) and Johnny Depp (Victor), as well as greats such as Christopher Lee, Joanna Lumley, and Emily Watson. The vocal performances of the cast and appearance of this animation work together seamlessly to provide a classic, albeit heartwarming, Halloween film.

"The infamous shower scene ... gains the most frequent praise" For sure, some of the attention has come from the way it was initially marketed: slogans such as, ‘The picture you MUST see from the very beginning or not at all!’ and the trailer, which carefully avoided showing even a single frame from the film. It can be debated whether Psycho is Hitchcock’s best film or not and even if it is really a horror film - but one thing that is certain is that nearly sixty years after its release, it is truly and utterly terrifying.

Universal Pictures

"My fascination with this film is undeniably masochistic" The film’s low-budget, offscreen violence (most notably a certain scene involving a meat hook), as well as its now aged aesthetic, give it the uncomfortable atmosphere of a snuff film; and indeed, it came close to actually being one, with Hooper placing the cast under extreme conditions in extreme heat. Marilyn Burns’ wide-eyed looks of terror and endless screams are unsettlingly convincing. Alongside the all-too-real performances, Chainsaw is made so affecting by the frenetic, conceptually-focused direction of Hooper: we hear a score composed entirely of sounds an animal would hear in a slaughterhouse – earning the film its endorsement by the vegetarian and vegan community – as the characters are hunted down and thrown into intense sequences, including an excruciatingly long chase scene, and one of the most memorable scares in horror movie history at Leatherface’s introduction. Which brings us to the movie’s main attraction: Leatherface. Like other horror masterpieces such as Silence of the Lambs and Psycho, Chainsaw’s human- fleshwearing killer was based upon real-life murderer Ed Gein. Gunnar Hansen’s performance as Leatherface is still as disturbing as it must have been in 1974; his improvised chainsaw swinging in the film’s final shot is unforgettable and rounds off one of the most immersive horror experiences of all time perfectly. No need to talk about any sequels or remakes – as far as I am concerned, they don’t exist – so don’t bother looking.

"Its portrayal of the human psyche ... is utterly haunting" Lynch is most certainly the marmite of film directors. You either think he’s a pretentious amateur or an avant-garde genius. But while his scenes may drag on for some, feeling utterly disparate and not contributing to a coherent whole, it is undeniable that he is a master of tone. And here he absolutely nails the tone: every time we feel hope for Laura we are reminded she has only one way out. Laura's struggle for what she sees as redemption takes the audience on a path through the dark recesses of the otherwise sleepy town of Twin Peaks and beyond, to supernatural dimensions of twisted evil. The film uses such off-beat measures as an allegory for struggling with domestic abuse; and while this was not appreciated in 1992, the film has seen increased critical acclaim in recent years. Ultimately, it is the idea that such evil could, and does, exist in our world – and not in the supernatural – that makes Fire Walk With Me so terrifying.

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Mind+Solve 7

9 1

3 6

2 9

4 9

1 2

8 3

2 3 4

7 Sudoku (Easy)

Issue 1497 Puzzles compiled byThom Dent, Sorcha Hornett, John Wimperis and Theodore Wrigley

Sudoku (Hard)

2 9

5 2 6

9 4

8 9 3

5 7

The Redbrick Crossword 1

10 11

Down 1. Former West Midlands football club, of London (10) 3. Scares BBC drama (6) 5. Anaemic dead man travels in soil (7) 6. Cage burns easily (6,3) 7. Not Frankenstein (7) 10. Your German housemates are dead noisy (11) 11. Kubrick’s sixth anagram (3,7) 12. Silent type enjoys exotic meats (8) 14. Loud woman, eeject her! (7) 16. Spirit in enough ostriches (5)

First Lines The premise of First Lines is simple: each issue, we supply a selection of opening sentences from various novels, songs,

poems and films. All you have to do is tell us which novels, songs, poems or films the lines come from.

‘Barry Fairbrother did not want to go out for dinner. He had endured a thumping headache for most of the weekend and was struggling to make a deadline for the local newspaper.’

16 17

Across 2. Get out while you still can (6) 4. She’s a witch! (8) 8. Your personal, inescapable darkness... (6) 9. Hunchbacked lab assistant (4) 13. The most unspeakable evil of all (3,3) 15. Scary town crier (5) 17. Spectre heads back to his old hang-out spots (6) 18. She’s a dark horse (9) 19. Dead and closeted (8) 20. Carve our flesh and burn us (8)

‘Come gather ‘round people / Wherever you roam / And admit that the waters / Around you have grown...’ ‘This doesn’t taste like soy milk...’

Get in touch with Redbrick Mind&Solve by sending all answers, applications and queries to print@redbrick.me. LAST ISSUE’S ANSWERS | Crossword: 1. Bristol Pear; 2. Preet Gill; 3. Sabbath; 4. Twelve; 5. Typo; 6. Guild News; 7. Aston Webb; 8. Mermaid; 9. Blues; 10. Ikon; 11. New Street; 12. North / South; 13. Canalling; 14. Cadbury; 15. BurnFM; 16. Year; 17. Blinders; 18. Lake; 19. Cricket; 20. Chamberlain | First Lines: City of Glass (Paul Auster); ‘What Kind Of Man’ (Florence + the Machine); Chinatown (Roman Polanski / Robert Towne) | Anagrams: 1. Wolverhampton; 2. Kings Heath; 3. Harborne; 4. Solihull; 5. Sutton Coldfield; 6. Stourbridge; 7. Edgbaston

Anagrams Can you rearrange the words below to find the names of ten classic Halloween horror films?

1. MICK WANNA LOB 2. RUSSIA PI 3. VITAL ARTY PANORAMIC

4. ABJECT TROPIC WHIRL 5. GLITTER PESO 6. ENNIS THIGH 7. HEROIC TEXTS 8. BECHAMEL LOFTINESS 9. DITHER YEAR 10. EELS HEALTHY HIVES

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The Gender Recognition Act & Why It Must Change Liam Taft, James Law & Finn Humphris discuss the Gender Recognition Act's impact on transgender individuals, and how the mainstream media has let the trans community down Liam Taft News Editor

James Law Gaming Editor

Time is up for UK citizens to respond to the Gender Recognition Act (GRA) – a new consultation by the Government, which aims to simplify the process whereby transgender people can legally self-identify as the gender they choose. Legally changing one’s gender is currently a long, exploitative, and problematic process. Transgender people have to provide ‘proof’ of their identity, in the form of work records and medical reports, alongside extensive questioning. It is, at present, an outdated and exhaustive ordeal. Transgender people can already legally change their gender, but this can sometimes take up to five years. All that these new reforms propose to do is streamline this process. LGBT+ charity Stonewall support this reformation of the 2004 law with regards to streamlining the process of getting your gender recognised and allowing trans people the right

Finn Humphris

Trans Students' Officer

to self-definition – that is, the ability to autonomously define their legal gender identity without the need for medical or bariatric intervention.

"Legally changing one's gender is currently a long, exploitative, and problematic process ... It is, at present, an outdated and exhaustive ordeal" Currently, a formal diagnosis of gender dysphoria is required for legal recognition, which many have criticised as depicting transgender people as mentally ill, rather than simply having an identity that differs from the one society has placed upon

them. At present, the legal process costs a minimum of £140 for a Government body to process the application of a Gender Recognition Certificate (or proof of low-income if this fee is unaffordable, another intrusive requirement for legal recognition). After this, the ‘evidence’ required to be successful is often significantly costly. For example, even those able to access hormone treatment or surgery through the NHS must pay their own travel expenses in most cases, many go private due to increasingly long waiting lists, and even simple matters like changing the name on a passport can cost a processing fee. This is an obstructively expensive process. All of these factors show with the relatively low number of people in the UK who have legally changed their gender. There are an estimated 200,000500,000 trans people in the UK, according to the Government, with the Department of National Statistics looking into how to get a more exact figure. Despite this, fewer than 5000 people in the UK have legally changed their gender since the Gender Recognition Act came into force fourteen years ago. The law is currently designed to

be difficult for trans people to navigate, and ultimately be legally recognised as their true gender. With all that considered, surely simplifying the 2004 Gender Recognition Act is a nobrainer? Making it easier for trans people in the UK to be legally recognised as their identity is something that has long been requested, and would harm absolutely no one.

"Even those able to access hormone treatment or surgery through the NHS must pay their own travel expenses in most cases" The GRA, and its proposed reform, has faced criticism from several women’s groups, such as Standing For Women, which installed a digital billboard displaying anti-trans rhetoric in Digbeth. Some feminists – often

referred to as Trans Exclusionary Radical Feminists (or TERFS) – have critiqued transgender ‘ideology,’ arguing that the Gender Recognition Act poses a threat to woman-only spaces. Their scaremongering, which frequently accuses trans people of being sexual predators, is harmful and rarely backed up with evidence. A similar system has been implemented in countries such as Norway and the Republic of Ireland, with data from Massachusetts also indicating no increase in sexual violence cases. In the year leading up to the consultation, the mainstream media has foregrounded these voices. Some transgender journalists such as Shon Faye, Paris Lees, and Munroe Bergdorf have been given a platform to speak about their experiences and the benefits of the Gender Recognition Act for the trans population. Yet, even now as the window of opportunity to sign the GRA has drawn to a close, the headlines are dominated by women who feel they have been ‘silenced.’ Just last week, nearly 200 academics signed a letter to The Observer accusing trans rights groups of ‘closing down discussions.’ This is ironic, considering that it is these ‘gender criti-

Estimated Number of Transgender Individuals with Legal Recognition Under Gender Recognition Act (2004)

- Legal recognition

- No legal recognition

Source: Government Equalities Office Data based on median number of estimated transgender individuals in UK One figure equals 5,000 transgender individuals

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cal’ feminists who have taken up the most column inches in recent months. In addition to this, the organisation Fair Play For Women spent £40,000 on a fullpage advertisement in the Metro newspaper on the 10th of October, spreading what many are rightfully denouncing as transphobic propaganda. This advertisement also misrepresents the proposed changes to the law, something that is sadly familiar when discussing changes to laws impacting trans people. The proposed amendment to the 2004 Gender Recognition Act would not allow ‘anyone to switch the sex on their birth certificate, on demand,’ as Fair Play For Women suggest.

"Fair Play For Women has a history of transphobic tweets, which they have since deleted and distanced themselves from" Moreover, the GRA does not cover legal rights to single-gender spaces and services. These are covered by the 2010 Equality Act, which (for the most part),

already allows trans people access to gendered services and public amenities that match their identity (e.g. public bathrooms and changing rooms). Fair Play For Women has a history of transphobic tweets, which they have since deleted and distanced themselves from, and claimed that the new management of the organisation are not responsible for. In response to the advert, the Metro told Redbrick: ‘When Fair Play For Women originally approached us about this advertisement, our commercial team did consult with them carefully on its content and language before agreeing to the final creative in Wednesday’s Metro. We believe the purpose of this ad is to raise awareness of the Government consultation, not to be transphobic. We pride ourselves at Metro on taking a balanced political approach, editorially and commercially, serving readers all the information available to us without taking sides.’ Last week, the Metro published another full-page advert, but this time with the support of around 100 organisations, including Amnesty International, Channel 4, and Stonewall, which read: ‘We are proud to come out for trans equality.’ A good step forwards, but the bitter taste left by the original Metro advert has not disappeared. Headlines about anti-trans groups still dominate the media landscape – even from more left-leaning newspapers such as The Guardian – and the stories

of trans people have largely been ignored. The media, it seems, is fixated on a group that is concerned about the hypothetical

"On the whole, the media narrative around the Gender Recognition Act has been centred around critical cisgendered voices. What we are seeing is a decentring of trans people in the media" risk that trans people pose in women’s only spaces, which is corroborated only by an isolated number of incidents. Scaremongering about ‘men invading womens’ spaces’ has been about for years, with concerns of the safety of cisgender women cited as excuses for transphobia. In reality, changes to the laws will not have this impact, simply because trans women are women. It is absurd and disgusting to effectively accuse all trans women of secretly being men

This ad space will be seen by over 1000 students across campus. Make it yours. Discounted advertising for University of Birmingham societies, only in Redbrick. Contact marketing@redbrick.me for details.

trying to prey on women-only spaces, which is the implication the advertisement makes when it asks suggestive questions such as ‘do you think adult males should be able to enter femaleonly sleeping or changing areas, or domestic violence refuges?’ Reports about widespread transgender issues, such as the shocking figure that 46% of trans male youth have attempted suicide, rarely make headline news. Of course, there are several smaller news outlets that amplify these stories. PinkNews and journalists such as Patrick Strudwick from Buzzfeed LGBT+ write regularly about the discrimination that trans people face. But, on the whole, the media narrative around the Gender Recognition Act has been centred around critical cisgendered voices. What we are seeing is a decentring of transgender people in the media. They are being talked about, but are not involved in many of the debates that concern them. In addition, when they are invited on to panel shows and TV debates, they are not asked about the nuances of the Gender Recognition Act, but instead are required time and time again to debate their very right to exist. It feels strange that when discussing life-changing legislation for trans people, their voices are not leading the conversation. Instead, hateful messages that demonise trans people and offer a deeply reductive attitude toward sex and gender are fore-

grounded. It is worth mentioning that this most often manifests in transmisogyny, since the discussions are most often directed towards transgender women, rather than transgender men or non-binary people.

"It feels strange that when discussing lifechanging legislation for trans people, their voices are not the leading conversation" Many centrist and right-wing publications have published thousands of words dedicated to calling out the misogyny of trans activists who want to shut down women’s voices, whilst themselves participating in transphobic language targeted at trans women. The mainstream media has failed the transgender population. For now, the outcome of the Gender Recognition Act consultations is unclear. But the stain that the media has left on this moment in LGBTQ+ history will no doubt remain.

Will Wright & Sophie Rainbird

BurnFM Head of Programming & Deputy Head of Programming @Burn_FM

Burn FM have kicked off the year with an astounding number of applications! We prepared ourselves for a heavy week of promoting for freshers week, and in return we had an overwhelming number of applications. As head and deputy head of programming for Burn FM, we had the difficult job of whittling 118 applications down to just 70 shows. The first step was to decide the shows that stood out to us, had well planned ideas and offered something unique. As you can imagine, reading that volume of applications and then comparing them against each other was a challenge. Perhaps our most popular slot was the ‘Music Genre Show’, which involves an hour of a specialist music area. People had some amazing ideas and sifting then down to just 5 slots to fill the week was a hard task. We had lengthy discussions on which shows would work best and then came up with our final list of shows. Slotting these into a weekly schedule was the final task of a long weekend, but in the end we’ve produced one of the most diverse and fun packed schedules we’ve had! This year Burn FM is bursting with even more variety and talents on the airwaves. The huge number of application has given us an incredibly high quality schedule that will take you from morning all the way through to night with high quality radio all the while.

Our seven breakfast shows contain both tried and tested talent as well as some exciting new shows ready to bring something fresh to the daily breakfast slot This year we’re bringing a fresh new niche of music to you on weekdays on Burn. You can journey from electro bass through afrobeat all the way to the best of modern soul. The only constant is the quality. Our daytime shows are exactly what any work weary student needs to push them through the day, great games, great tunes and even better hosts will expertly ease you into a productive mood. Whatever your interests, we have a specialist show for you! Whatever your interests music, sports, arts, the latest news for Birmingham students, as well as a whole raft of shows representing the true diversity our university has to offer, not to mention Redbrick very own show, ‘Redbrick Radio.’ So remember - Tune in or BURN out! Catch us on air from Monday 15th October on burnfm.com

CULTURE

Friday 26th October 2018

@redbrickculture

Redbrick Meets: David Edgar

Manuel Harlan

Olivia Boyce interviews playwright author David Edgar, discussing Maydays, his professional acting debut and advice for aspiring playwrights. Olivia Boyce Culture Editor

David Edgar is an award-winning British writer and playwright whose works have been staged and published all over the world. His play 'Maydays' is currently in performance at the RSC’s Other Place in Stratford, in a new version marking the 50th anniversary of its setting, and he is also performing 'Trying It On', a new solo show that marks his professional performance debut. He is an honorary Professor in the Department of Drama and Theatre Arts at the University of Birmingham and was instrumental in the founding of their acclaimed MA Studies in Playwriting course. Q: Your play Maydays is currently being performed at the Other Place at the RSC in Stratford. For those readers who may not be aware of Maydays as a play, could you give a quick summary in your own words as to what the play is about and what it aims to do as staged today? A: Maydays was first written in the early 80’s. In the 70’s I wrote a play about the National Front, the 70’s equivalent of the BNP, which was done by the RSC in the mid-70’s and then transferred from Stratford to London. I think that played a part in the campaign against the National Front, which led to their being wiped out, happily wiped out, in the 1979 election. But, the other thing that was clear was that there were other things going on in the right – particularly the rise of Thatcherism and Reaganism as more than just a continuation of the conservative tradition – it was something quite new. One of the striking things was the number of people who were involved, as intellectual gurus of both campaigns, who had been on the far left in their youth, and so I became interested in defectors and people who had shifted from the far left to the conservative right. I started speculating as to what might happen to people from my generation – I was 20 in 1968. By that stage, there hadn’t been a lot of people who had been caught up in the events of 1968 who’d moved to the right, though a lot more have now. It was a kind of thought experiment to work out how that might happen to me, almost to stop it happening to me. The play went on in 1983, and was controversial in a number of ways. The theory of the play is that people who move from left to right tend to do so because they’re appalled by the authoritarianism and the ruthlessness and the cynicism of the left, and then when they get to the other side, the only thing they’ve got left in their suitcase is precisely ruthlessness and cynicism and authoritarianism. The play wasn’t produced again, but, because we were com-

ing up to the 50th anniversary of 1968, I thought it might be a good moment to consider reviving it. I put that to the RSC, and they decided that the best thing to do would be to hold an experimental workshop that would act as a form of development for a revised version of the play, but also a kind of audition for a new version of the play. What we were striving to do were two things – one, to make the play accessible to a contemporary audience, because when it was written there were many things that were just in the ether of the times which by now have become part of history, often obscure history, so we had to find a way of giving enough context to the audience for them to be able to understand what is going on.

"It was a labour of love, reworking a play I was very fond of, and I admire my writing" Secondly, we wanted to draw resonances with today. A lot of things that are now very dominant in politics began then, including the rise of a new right which has anticipations of the populist right at the moment, but also a left that was young and theatrical and certainly non-Stalinist, not committed to the Soviet Union, quite various and fragmented, as well as particular issues which emerged in the late sixties of which feminism and gay rights are the most obvious two, but also anti-racism and the birth of identity politics. Those are relevant now, and in editing the play I wrote a kind of coda where we discover what happens to the characters after the end of the play, which I’ve taken on to 1984, incorporating reference to the 1984/5 miners’ strike, but I haven’t, I hope, drawn false analogies. In editing down and focusing on the political arguments of the play and the 70’s/80’s, I’ve focused on things I think are recognisable today as well as then – the issue of peace and war, and identity politics. We convinced the RSC on the basis of the workshop that it was a good idea to go ahead with a production, we managed to come up with a way of doing it with 10 actors in the Other Place, and so we’d presented the package that was possible. Q: You mention this workshop process – as a playwright, what is it like to return to a piece you wrote decades previously and in a different context? A: It's very difficult actually, it is new wine in old bottles. In fact, I think what's happened is we went further away from the original play and came back to it.

I distinguished between two things. One is that I’ve written and clarified in order for the play to speak to today, and then I hope that I’ve just made the play better, with changes I would have made even if we’d have been back then. I’ve enjoyed it - there are a lot of long speeches, some of which remain, a sort of rhetorical overdrive which I think is less fashionable now. I think I made it a bit more human. Oddly enough, in a way, I’ve made it a bit more conservative as a play, in that I’ve made the character arcs a bit stronger and characters that had disappeared that I’ve brought back. It is actually a more old-fashioned sort of playwriting. I think it is successful, so that's been enjoyable. There are some lines and some speeches which are new, and which I’m really proud of,

but it was a labour of love, reworking a play I was very fond of, and I admire my writing. In that sense, it was nice to revisit it and I didn’t want to muck it up. Q: You mentioned the play having its genesis in a time when you as a young person were amongst a generation trying to find their feet politically and socially, in a very tumultuous time. Do you think there is something in that which chimes particularly with young audiences today, similarly to perhaps then? A: That’s what we think. If you look at the rise of the movements that have occurred over the last 10 years, from Occupy to the Arab Spring, you find quite a lot that addresses an interest in identity that comes out of the 60’s and 70’s. Also, stylistically, the theat-

ricality of it, in the idea of occupying space is really important especially student occupations and the later factory occupations in the early 70’s, that’s something that wasn't part of the political menu really in the 50’s or 60’s. Yes, I do think the play probably has more meaning now. Lots of people who are now teachers in universities, who spent years berating student apathy, are noting a political enthusiasm and commitment which really hasn't been seen since the 70’s. Above is a selection from a longer interview, in which David Edgar also discusses his solo show ‘Trying It On’, his adaptation of ‘A Christmas Carol’ and advice for aspiring playwrights. To read the full interview, head to www.redbrick.me/culture

Are Ticket Ballots the Way Forward? Phoebe HughesBroughton Culture Writer

Typically, buying theatre tickets can be fairly easy: you choose what you want to see, the date and time you want to see it, and you try to pick a seat that hits that Goldilocks point between not being too far from the stage but also not being outside of your budget. Recently, however, some theatres have adopted a newer method of ticketing: ballots. Usually this will just be for a selected number of tickets – for instance, some theatres will sell most seats by the usual method but then hold a ballot for the front row or other seats, often through apps such as TodayTix. These seats are often cheaper than their usual price, but you’re not guaranteed to get one, with ballots often being very popular. Some people would prefer to pay more to know that they’ve got their seats sorted without having to worry, while others would like to take the risk for the possibility of a bargain. For certain shows, like the current West End run of Heathers, you can apply for free tickets through this ballot - though the likelihood of winning a ticket might be slim, winners get to see the show absolutely free of charge! However, the National Theatre have taken this ballot idea one step further; for their new show, When We Have Sufficiently Tortured Each Other, tickets will only be available through a ballot system. On the day of each performance there will be a few tickets available at the box office, but this runs as high a risk as a typical ballot since there will inevitably be people queuing there from the crack of dawn; so however you want to get your hands on tickets, it’s a somewhat risky game.

Why are they doing this? Well, Cate Blanchett is starring in the production, marking her first full-length theatre run in London in almost two decades, and her National Theatre debut. In addition, Stephen Dillane is returning to the National Theatre for the first time since 2002, and the show itself promises to be an exciting one, described as ‘a provocation [...] a dangerous game of sexual domination and resistance.’ It seems logical, then, that with more than three months to go before the show starts, the National Theatre has already ‘anticipated high demand,’ only increased by the ‘limited ticket numbers’ available in the Dorfman Theatre where the show will run for two months.

"Part of the National Theatre's goal is to make theatre accessible to all audiences..." Many theatre companies, when working with such a highprofile actor, might relish the idea of their tickets being sold

National Theatre Press

out in a matter of minutes, and easily raking in hundreds of pounds for each front-row seat. This may be one factor that contributes to the casting of celebrities in roles you may not traditionally expect them to take, such as the casting of ex-cricketer Freddie Flintoff last year in Kay Mellor’s musical Fat Friends, or even Miranda Hart as Miss Hannigan in Annie; it wasn’t a role most people would have expected from the typically bubbly comedian, but her well-reviewed run definitely helped to sell tickets. With the National Theatre being a non-profit organisation, this balloting system makes perfect sense for them - this creates a level playing field for all audience members. Part of the National Theatre’s goal is to make theatre accessible to all audiences and, though only a small percentage of people who enter the ballot will be successful, taking finances out of the equation is definitely a great step forward in achieving that goal. So if you’d like to try and get your hands on tickets for When We Have Sufficiently Tortured Each Other, you’d better enter yourself for the ballot which opens at 12 noon on Thursday 22nd November.

CULTURE

Friday 26th October 2018

@redbrickculture

Review: War Horse Natalie Welch Culture Editor @natwelxh

War Horse has been galloping onto stages since it first premiered in 2007 at the National Theatre in London. This Autumn, War Horse returns to Birmingham Hippodrome for a limited time, finishing its run there on the 3rd of November. The play is based upon a novel by Michael Morpurgo, and quite notably known for a film adaption by renowned director, Steven Spielberg. This was my first time seeing the play, so it had quite a legacy to live up to. War Horse begins in the Devonshire countryside in 1911. We see the development of a relationship between man (Albert) and horse (Joey). All is turned upside down when war breaks out in 1914, with Joey sold to the army and subsequently sent to France. Not long after, Albert lies about his age to join the army and find his beloved horse. The rest of the play takes place on the battlefields of France. The play is very inventive with its narrative devices. Firstly, there is Bob Fox, a folk singer who ventures on stage throughout the play to sing a song that narrates the experience from Joey’s perspective. It breaks up the action, but also ensures that the audience are always properly immersed in the moving narrative. Also striking is the back drop of the stage, taking the

form of a massive torn shred of paper. With a projector, this background creatively sets the scene, and helps the audience follow and feel what is happening in the play. One of the many poignant uses of this backdrop is when Albert’s best friend, David Taylor, is shot down, and the tear of paper fills with red, like flowing blood. Then the blood turns to poppies. We are reminded of what people gave their lives for. Needless to say, this was one of many tear jerking moments.

"The dynamic thinking that goes into every aspect of this production will truly leave you awe-struck"

like those we interact with every day that were sent and gave their lives. On a similar note, the play does a good job of unifying the opposing soldiers. When it comes to remembrance of the wars, I think that many can be very quick to only think of our own fallen – and not that there were countless soldiers from other countries, just as innocent as our own, that fell too. There is a particular point in the play, where Joey the horse is caught in barbed wire in the No Man’s Land. A Geordie soldier and a German soldier, both stricken by the inhumanity of leaving the horse to die, rise from their trenches to go help to free him. After working together, they quickly and fairly decide (by a

game of heads and tails) who keeps Joey. In that moment, apart from accents, you can barely tell the difference between the English soldier and the German soldier. In this moment, it is not about England versus Germany, or right versus wrong; this is two men, both stuck in an incredibly tragic situation. They are unified by their horrific experiences. The use of mechanical puppets is astounding. Each horse is made up of three men; a head, a heart and a hind. These three puppeteers manage to move so fluidly you forget that you’re watching a puppet, and not an actual horse. Something that adds to this illusion is how the actors mimic the sounds of horses. A horses’ lungs are three

One of my favourite aspects of the play was the character of David Taylor being a strident and proud Brummie. As well as giving a connection to the city that it was performing in, the use of this strong accent was impactful. The First World War was a time so very different to ours that it can sometimes be hard to properly understand and empathise with just how difficult it must have been to wave goodbye to so many people that you had grown up with. Giving the character that accent gave him some relatability to the Birmingham audience; it reminds us that it was people

times the size of human lungs, and so to enable the puppet horses to have the depth and longevity of an actual horse noise, the three puppeteers would either neigh in synchronisation – so one would start, then the other, then the other – or they would all neigh at once for a deeper, louder neigh. The dynamic thinking that goes into every aspect of this production will truly leave you awestruck. War Horse undoubtedly fulfilled every expectation that I had for it. It was heart-wrenching and brilliantly directed. With the centenary of the Armistice approaching, I would strongly urge anyone and everyone to go see War Horse before it leaves Birmingham.

Brinkhoff/Mögenburg

Review: Breaking the Code, Crescent Theatre Georgia Henderson Culture Writer

As Dilwyn Knox reflects upon in the second act, whereas there is a solution to most mathematical problems, the problem of life remains unsolved. It is this very issue that Alan Turing struggles with in Breaking the Code, Hugh Whitemore’s play which follows the life of the great mathematician (and its abrupt end). Alan Turing is famous for his extensive work during World War II cracking the intricate German code, Enigma, which enabled allied forces to anticipate German manoeuvres and essentially win the war. This work was however top secret and Turing, unable to tell his own mother why he received an OBE, was never given full credit by society for his pivotal work. However, the title of the play takes on dual meaning as Turing not only broke the enigma code, but he broke the law (code) in 1952 upon the admission that he was homosexual, leading to a prosecution that contributed to his suicide two years later. Thought to be a largely truthful presentation of the father of modern computing, the production at the Crescent Theatre is both a highly insightful and touching portrayal of Turing’s life. The apparently disjointed collection of scenes in this play can

be reasoned as an attempt by the playwright to make sense of the problematic life of the academic. Shifting back and forth in time, the plot explores the relationship between the mathematical work and personal morals of Alan Turing. Director Liz Plumpton recognises the difficult structure of this play, however it is only at the play’s conclusion do you recognise the efforts made to smoothly transition between past and present.

"...a highly insightful and touching portrayal of Turing's life" As the timeline jumps around Turing remains the same, unchanging in age and appearance, unlike the cast around him. Although this is initially disconcerting in the first flashback scene to Turing’s childhood, you soon appreciate that this presentation highlights Turing’s struggles to integrate with society. This awkward man, stuttering, firm in his own beliefs, is unable to effectively communicate with those around him. Jack Hobbis’ debut performance at the Crescent in the lead role is remarkable. He commands the whole play, totally inhabiting

the complex character of Turing (and his difficult stutter). With little time off stage, this is a demanding role which Hobbis takes on gallantly. Although surrounded by a wonderful cast, Jack Hobbis stood head and shoulders above the rest. Though, it should be noted that Brendan Stanley, as detective Mick Ross, made a masterful job of bringing the stark reality of the Turing’s legal tangle to the piece. What struck me watching Hobbis’ characterisation of Alan Turing were the similarities this brilliant academic had with the dramatic characterisation of the great detective Sherlock Holmes. ‘Numbers are [his] best friends,’ he plays the violin for his lover Ron, he struggles to make a human connection: this similarity of portrayal perhaps echoes the casting of Benedict Cumberbatch in the film adaption of Turing’s life, The Imitation Game. Much of this characterisation seems typical of the most intelligent characters in literature and this casts Turing as of the greats alongside Holmes. However, his is a story that is far from fiction. Turing’s genius and mathematical obsession are detailed throughout the play as we follow his childhood fascination with numbers, to his work at Bletchley, to his computing work at Manchester University. The exploration of these multifaceted mathematical problems drives

Turing, and thus the play. However, the audience is not lost in the complexity of the calculations. As Turing explains his theorems to Dilwyn and to a[n] (imagined) school audience within the context of the play, the audience is thus taken through the marvellous workings of the mathematician’s brain and the effect his work has had on not only breaking the Enigma code but forming the work for computer science. This has particular significance to the modern audience member in the age of smartphones, MacBooks and Alexas (only a dream to Turing 50 years ago). Whitmore’s writing allows the

"This production helps both educate and move its audience" audience to sympathise with Turing’s obsession and you start to see the beauty in the mathematics he is so passionate about. The notion of how a pinecone’s growth works with the Fibonacci sequence is a poignant moment. The pivotal role of mathematics in his life is even echoed in the scenery, with the floor of the stage itself a sketch of the Fibonacci spiral.

Plumpton’s use of staging not only facilitates the muddled timeline and multiple locations of the plot but represents the key aspects of Turing’s life. This symbolism in scenery is also seen with the use of the poster for the 1937 Snow White film, which Turing goes to see on the way to his interview at Bletchley, but takes on a sinister significance when he takes his own life at the end of the play with a poisoned apple (laced with cyanide). Whether this play upholds itself as a story of Turing’s sexuality or genius, I think it is the confluence and conflict of the two that has such an effect. The prosecution of Turing for his sexuality has defined his legacy for over 60 years, and it was only in 2013 that he was officially pardoned and his achievements given their due credit. What remains remarkable to me about the narrative told in Breaking the Code is that Turing’s story is still unknown by many. The friend who accompanied me to the production had never heard of this wartime hero and father of modern computer science. However, this production helps both educate and move its audience. I would highly recommend this performance, and if you do not have a chance to see it then I hope this review gives you an insight into the life of a remarkable man.

MUSIC

Friday 26th October 2018

@redbrickmusic

Spotlight On: Kojey Radical Kieren Williams

light of the Grenfell fire and the darkness of the government’s lack of action. On newly-released single ‘Water’ he sings about the world he grew up in, one forgotten about by the political elites and the privileged, where politicians thrive on the fake news economy in ivory towers, with their golden blinders obscuring them to the struggles of others. Kojey Radical is growing in

Music Critic

Kwadwo Adu Genfi Amponsah, known by most as Kojey Radical, is an oh-so-brilliant mixture of spoken word artist, rapper, singer and mixed-media creative. His hard-hitting lyricisms shy away from nothing. Across three bodies of music and a dozen or so singles he has touched upon racism, masculinity, politics, religion, fatherson relationships and so much more: enunciating each, dissecting it intricately and putting them back together with a new and fantastic perspective. On ‘Garden Party’ (from debut EP Dear Daisy: Opium), he grapples with love, comparing it to Marx’s theory of religion as the opiate of the people. He suggests that, in today’s day and age, with capitalist industries spewing out the manufactured idea of love they profit from, it is indeed love that is the opiate. He goes from love and per-

"Kojey Radical's hard-hitting lyricisms shy away from nothing" sonal relationships on this tape to dealing with religion on ‘Preacher Preacher’, where he reminisces about his own experiences with

"Radical blurs lines between hiphop, grime, alternative rap and spoken word"

Kojey Radical

church. With the corruption that never sat well with him as kid, with the black churches and the white ones, and finding himself at neither and at both. His music is often dipped in afro-centric themes - ‘Kwame Nkrumah,’ off his second tape 23Winters, is a hard-hitting song about revolution named after the

first leader of an independent Ghana, who helped fight against the British. This song hits hard as he embraces his race and heritage, and begs for revolution with its aggressive raps and burningly truthful lyrics over low-fi, Afrotinted production. On other songs he confronts politics head on, grappling with the state in the

acclaim: 1Xtra are playing his songs, and his fourth album is on the way sometime in 2019. We have had a steady stream of singles this year from ‘Water’ to the swagger-filled ‘97’ and the raw ‘Pure’, and he has broken his first million streams on Spotify. On top of this, he has the ‘Can I Speak?’ tour lined up for this autumn and winter, spanning across the UK and Europe. He has amassed an impressive line of collaborators, from his recent hit with Ghetts, ‘Black Rose’, to Jay Prince and Ray Blk. Radical blurs lines between hip-hop, grime, alternative rap

and spoken word. He is a true creative and his videos play more like short films - because that’s what they are. They perfectly visualise and encapsulate the themes he raps and sings about. His latest video, ‘Water (If Only They Knew)’, deals with themes of inequality, both socially and politically, and religion. In the opening spoken word monologue, panning over black faces and a bloodyknuckled pastor, he speaks on race and exoticism in the western world, the existence of people of colour as the other, and the frailty of our leaders. He deals with identity: the loss and discovery of it, its theft, and the finding of it for him as a black man in Britain. The video opens with a verse from ‘If Only’, a defiant challenge to his rivals. Each video is a deeply layered and shot piece of art, each song sings to a million issues and a million more. Kojey Radical deals with broad themes that affect everyone in all walks of life, taking the specificity of his own experiences to pick them apart and hold them up to the light, to examine them for all their ills and good, for everything they are. Love, religion, masculinity, race, life, death, politics, sex: nothing is too large or small to escape this ‘peasant with a pen.’ Kojey Radical plays Birmingham's O2 Academy on the 15th November.

Redbrick Meets: Black Honey

Laura Mosley talks to Brighton indie-rockers Black Honey off the back of their debut album Laura Mosley Music Critic

What makes it feel like now is the right time to release your debut album? Well, it was never like, we’re definitely not going to make an album, and it was never like, oh, we should make one right now. We kind of started touring and things started happening really quickly. We went from no one caring about us, to touring a lot and suddenly we were like, if we put an album out now it’d be stupid because we’re seeing the whole world through fresh eyes. I just spent time absorbing all that. We could have released three albums with the amount of material we actually have. But after the Royal Blood tour, it felt right, something just clicked and we were like cool, let’s make the album now! What would you say your main influences were for the album? I love that you see the differences in the songs, because for me, I think the album is quite up-anddown. I definitely didn’t want to make a record where every song sounded like the same. When I listen to an artist I want to explore all sides of their personality. Blondie is definitely up there. ‘I Only Hurt the Ones I Love’ was quite a Tarantino concept. We were

just thinking about the Pulp Fiction soundtrack and the tones that he used when we wrote that. We love all kinds of retro psych stuff. Black Honey is essentially just a psychrock band that has an open journal ethos lyrically, that then tried to make a pop record and I think that that’s where the weird hybrids come in, which is what I find really interesting about what we made. How important do you find your music videos in telling a story? I think music videos are a really good way of showing someone what’s inside your head. The biggest misconception people have about music videos is that you need loads of money to make a good one, when actually people can spend loads of money on a music video and it’ll be awful. You need a clear idea of what you’re going to make and, for me, I’m a very visual person so when I write the song I see the video in my head. When we wrote ‘Midnight’, I literally sent the director an audio clip of the demo playing along to John Travolta doing Saturday Night Fever dance and I was like, this is the song I just wrote bro, let’s make this video and he was like ‘cool, done!’ What’s one of the most interesting things you’ve learnt so far, and what would you say to a

band who were just starting out? I think for a very young artist starting out, put the hours into the right things. Don’t just write three songs and think that that’s good enough. Write three songs and then write another three songs, and then maybe write another three and ask your mates which ones they like the best, and make those your main three. If you’re creative, work with someone who is really great at the other things you’re not good at so you can learn from each other. Find a mentor – I wish I’d had that. The closest thing I’ve probably had to a mentor is Mike from Royal Blood. I’ll ask him what he thinks of a chorus, but he can also teach me so much in subtle ways, and I think that if I’d just had someone mentoring me a bit more from a younger age, I think I would have found my feet a bit more. There’s no rule book – you have to make it up as you go along. Even I can miss opportunities right in front of my face, but I can be an opportunist and I have someone like Mike who can help teach me and that’s a window of opportunity I can’t even put a limit on. Where do you feel like Black Honey is going to evolve from here? We want to carry on working really hard and build a deeper narrative. We’re going to grow the

merch, grow the shows, grow everything. After that, I’m looking into a kind of James Bond idea for album two. I have this idea of a woman in my head with this action power. This female Bond soundtrack with strings, pop bangers, and really cool melodies; more orchestral arrangements. I think that’s what’s really exciting me at the moment. That and some Motown as well. You were mentioning a female Bond, is being a female frontwoman quite important to you? When I was younger, I thought I’d invented being a female frontwoman, and then someone showed me Blondie and Patti Smith and freaked out like wow, women in rock exist, I didn’t invent it! It’s cool, we have a really gender neutral team and I think everyone is really respectful of gender in our community. The support bands we have on tour – Russo and PINS – they have loads of girls in. I think the tech world is harder; our lighting designer has just come off a tour where there was a thirty-oneperson crew and she was the only girl. Our tour manager gets treated like a groupie when she drives the van. On stage you can be your own boss; I can get away with doing my own thing and I have a great time. Nothing in our world reflects the severity of it in a mass cultural way, nothing in our world can

really compare or reflect the fact little girls can’t get into school in some places in the world. That’s the stuff that really bothers me. For us, it’s almost shocking that it’s supposed to be groundbreaking that there’s a woman in a band, when there’s plenty, although probably not enough, and the more girls that get on festival bills, the better. I wonder how many little girls in our crowd go and make a band after seeing our shows. When you write songs, you don’t necessarily think about inspiring guitarists. You want to inspire people to follow their heart and live their best lives and let them escape from reality for a bit. For someone who was being introduced to Black Honey, where would you recommend that they start? Probably ‘Hello Today’ with the video because I think that’s the gateway drug between where we come from and what we are about. It’s very indie, but it’s also got all of the Pulp Fiction feels. It’s an important song because, for me, it was the first song where I took ownership of my emotions. Shit went down – this sucks, but hello today, I’m looking forward and looking to the future. I can’t be taken down, I’ve got heaven in my veins, I’m happy. That’s a powerful feeling – to be moving forward.

MUSIC

Friday 26th October 2018

@redbrickmusic

Live Review: Jorja Smith Emily BahariModaresi Music Critic

Home-grown artist Jorja Smith graced the stage at the O2 Academy Birmingham last weekend for her seventh show of her sold out UK tour, bringing the West Midlands a well-needed taste of wholesome soul, jazz and classic British R&B. Smith took centre stage and played a generous set of just under two hours, opening to a roaring crowd with ‘Lost and Found’, the title track from of her debut album released earlier this year. Smith showed little need for exaggerated vocal tricks, for the strength of her voice alone was enough to fill the venue. The set, like Jorja’s performance, was understated but effective, while the chemistry with her talented four-piece band was tangible. The young artist treated us to a sizeable number of tracks from Lost and Found. With a sultry delivery of ‘Goodbyes’ and ‘Where Did I Go?’, her voice evoked the likes of Lauryn Hill and Amy Winehouse, yet her delicate tone is enough to set her apart from many in the music industry. As early as the second song, Jorja radiantly beamed to the crowd how delighted she was to return home to the Midlands, declaring the Birmingham show to be one of her favourites of her UK tour so far. The crowd was

composed of mostly teenage girls, who sung charismatically wordfor-word on almost all of Jorja’s tracks, aptly those such as ‘Teenage Fantasy’. A heart wrenching performance of ‘Don’t Watch Me Cry’ saw Jorja step back from the microphone visibly touched, letting the crowd finish the song on her behalf. Smith’s genuine delight and gratification was palpable and infectious, diffusing throughout the crowd. As young as 21, Smith effortlessly controlled the crowd, reading the pulse of the venue well. During her delivery of ‘February 3rd’, noticing a young girl at the front of the crowd struggling, Jorja stopped the song to make sure she was seen to before restarting the number. Smith’s girl-nextdoor nature made the crowd feel like she was simultaneously both their idol and best friend, bestowing the gig with a rare and precious intimacy. After mixing up her set with a mash-up of Rihanna’s ‘Man Down’ and Cardi B’s ‘Be Careful’, the highlight for many was Smith’s performance of arguably her most popular track, ‘Blue Lights’. The crowd was bathed in an immersive blue hue and surprised by the warmly welcomed Birmingham grime artist Jaykae, who has worked with the likes of Skepta and Stormzy, adding his own verse to the popular song. At the end of the gig, Jorja made a departure from her more soulful trajec-

Upcoming Events Halloween picks: The Come Up Show/ Wikimedia Commons

Insecure Men, Mama Roux's, 31st October

tory and played her garage-dance track ‘On My Mind’, capturing the atmosphere on her departure just right, and leaving the crowd riding a high even after the songstress had left the stage. It was extremely hard to grasp that the singer-songwriter is around the same age as the majority of her fan-base; Jorja worked the stage with such ease and professionalism that anyone would be convinced she had been gigging for years. Perhaps the inclusion of some of Smith’s older

Ollie Davis Music Critic karl.simpson/ Flickr

naming the iconic genre. The set that followed was mostly crowd pleasers, songs from their greatest hits. On ‘Time Tough’ and ‘Funky Kingston’, they sped up the tempo to a crescendo, seemingly a tribute to their beginnings as a ska band. Of course their cover of John Denver’s ‘Country Roads’ was part of the set which, to be expected, provoked a massive sing-along. In keeping with the ‘fifty years’ theme they played

Innovation x DnB Collective, Amusement 13, 26th October Look no further than this starstudded event at Amusement 13 to quench your DnB thirst for the foreeable future, featuring, among others, Youngman and DJ Guv, as well as legendary Welsh MC Mr Traumatik, known in the 0121 area for his frequent collaborations with grime MC Devilman.

works, such as her 2016 EP Project 11 would have been the cherry on top of this wonderful evening. Nonetheless, the Black Country-born artist played an impressive and effortlessly cool gig. I would advise anyone to catch the young star live, who will be sure to deliver an electric and hypnotizing performance.

their new single ‘A Song Call Marley’, which was written in celebration of the genre’s birthday. While the song was new to many reggae fans, the punchline ‘Marley!’ was easy enough to get behind. Both offered a respite from some of the high-tempo ska numbers and showed off the band’s wide range within a genre they know so well. They ended the gig with a characteristically electric rendi-

Insecure Men - Childhood’s Ben Romans-Hopcraft and The Fat White Family’s Saul Adamczewski - have charmed listeners with sad, surreal pop throughout their short history, and earned acclaim with their self-titled debut LP, released in February. The small and weirdly ornamental setting of Mama Roux’s will no doubt add to an all-round enjoyable Halloween.

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Live Review: Toots and The Maytals Fifty years of reggae and still electric, diverse, and funky. While their tour came to the O2 Institute running on the theme of fifty years of the reggae genre, The Maytals have been performing with their frontman Toots Hibbert for even longer. While many of their contemporaries in the music industry may have begun to slow down, they brought their rough, punchy beats and Toots’ soulful vocals to Birmingham with a youthful energy which demonstrated why they have been at the forefront of reggae since the early 1960s. The reception from the audience was just as enthusiastic given the importance of Reggae to Birmingham’s history and identity, especially the influence songs like ‘Pressure Drop’ had on the skinhead scene in the UK. The diversity of the audience gives credit to this history and the cult status Toots and the Maytals enjoy, as old Rastas and Skinheads danced shoulder to shoulder with young fans more than half their age. After being introduced as the band that coined the term reggae, it was only fitting they opened with their song ‘Do the Reggey’, which has been attributed with

tion of ‘54-46 Was My Number’ which adopted the same changes in tempo as other songs combined with ‘Give it to me one time / HUH!’ call and response, which made it all the way to ‘Give it to me ten times.’ According to Toots this was a record, although you had a feeling he had said this to other crowds before. However, the song which received the biggest reaction from the crowd had to be ‘Pressure Drop’. A favourite for many, which crossed cultural barriers between black and white communities in the UK when it was released in the 1960s. Before the song, Toots explained that he was meant to have finished the set ‘twenty minutes ago’ and if the manager wanted them to leave then ‘pressure gonna drop on him.’ This comment was followed by excited cheers as the first notes of iconic bassline began to play. Toots and The Maytals’ performance was not just a journey through the history of reggae, their songs touching on ska and rocksteady as well. It was also executed with a youthful energy that gives credit to a band that has been performing for over hald a century, and still manage to provide a funky experience.

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Best of the rest: IDLES, O2 Institute, 26th October Bugzy Malone, O2 Academy, 26th October Sons of Kemet, Hare & Hounds, 26th October Hot Since 82, Black Box / Finders Keepers, 27th October Black Eyed Peas, O2 Academy, 29th October Elder Island, Hare & Hounds, 1st November Fat Freddy's Drop, O2 Institute, 2nd November Tekno Disco & Friends, Hare & Hounds, 3rd November First Aid Kit, O2 Academy, 7th November Kamaal Williams, The Crossing, 8th November Kurt Vile & The Violators, The Crossing, 9th November The Killing Joke, O2 Institute, 9th November Mungo's Hi Fi, Hare & Hounds, 9th November Hookworms, Blanck Mass and more, The Crossing, 10th November Parquet Courts, The Crossing, 11th November

FILM

Friday 26th October 2018

@redbrickfilm

Redbrick Rewind: Halloween (1978) Film Critic Sam Denyer looks back forty years to John Carpenter's classic... Sam Denyer Film Critic

John Carpenter's Halloween begins with an anxiety-inducing set piece that sets the tone for the rest of his story. A unique firstperson perspective is employed to show us the murder of Judith Myers, sister of series-spanning antagonist Michael Myers. Years after killing his sister, he escapes from the psychiatric institution where he has been held ever since. From here, he returns to his long-abandoned family home – on Halloween night, of course. But the sleepy town has moved on. Laurie Strode (the brilliant Jamie Lee Curtis) runs into a boy she babysits by the old Myers house. ‘It is just an empty house,’ she insists. But what happened there decades ago has already become such a part of history that her estate agent father is selling it. She drops a key at the door on the way to school. Unbeknownst to her, Myers' return has made this much more than an empty house. He skulks behind the door as she leaves, noticeable only for his heavy breathing, smartly weaved into the sound mix. This one banal act triggers a day which is anything but for Laurie and her friends. While Halloween (2018) may rejuvenate the oversaturated, tired franchise, the original 1978 film is back in cinemas for its fortieth anniversary – and it is still a perverse treat to watch Myers stalk Laurie Strode. Carpenter spends most of the film piling on the tension until its climax provides complete catharsis. He is willing to make the audience wait for the really big

moments, and his self-composed music (one of the great horror scores) keeps us constantly on our toes. Equally essential is his use of the widescreen camera, which gives his frames so much space that you are never sure where Myers will appear from. Every dark corner, door left ajar and opened window are suspicious, forcing you to question where he is – and even when you know, you don't know how long he will linger and leer before he acts.

"Carpenter spends most of the film piling on the tension until its climax provides complete catharsis" Carpenter and co-writer Debra Hill's characters are deliberately designed in ways that have since defined the genre. One of them is promiscuous, another likes to gossip on the phone. Modern audiences know not to grow too attached to characters like these, but it is because of Halloween that these conventions exist at all. Even more significant is Jamie Lee Curtis's role as the typical 'final girl', whose climactic showdown with the antagonist is critical in offering a satisfying ending to audiences after such extended tension. She is introverted and astute compared to her more outgoing counterparts. This works to her advantage; her growing scep-

ticism of Myers's presence is met with scoffs from her friends, but this disregard hardly seems to do them any good by act three. Carpenter has repeatedly stressed that he was just trying to make a horror film, but one can certainly read a lot into the divergent fates of these characters. You do not need to reach far to read this as a critique of the moral deterioration of the American youth. That Laurie's fight for survival is so much more of a sticking point for the film than her more promiscuous friends' only aids this interpretation. Additionally, our participation in Myers' stalking through voyeuristic perspective shots only heightens the eventual impact of Laurie's quasi-victory. She is a heroine in a genre which before 1978 did little to make women anything but victims. She is the progenitor of the role which has been used in more prominently feminist angles by the likes of A Nightmare on Elm Street and Scream and continues to grow today. Curtis’ promotion of this year's Halloween sequel suggests that the series will explore longterm trauma, an innovation which might bolster her standing in the genre even more.

It helps that she faces off against such an intimidating figure in Myers. He wears a murdered mechanic's overalls and a Halloween mask which robs him of any humanity. He carries out these awful acts with a banality that mirrors Laurie's life at the film's beginning. After one of the first deaths in the third act, he simply walks across the road with the body in his arms. It is bizarre to see such horror unfolding so openly in suburbia. Laurie is also backed by Donald Pleasance's Dr Loomis, whose B-plot exhibits the film's wry sense of humour

"[Laurie Strode] is a heroine in a genre which before 1978 did little to make women anything but victims"

without undercutting its tension. The story may be simple, but Carpenter deftly juggles these multiple complications which could have easily offset the tension he so painstakingly builds. That it still scares today is a testament to his success in doing so. VERDICT: John Carpenter and Jamie Lee Curtis are the MVPs of a horror classic that still scares today.

Falcon International Productions

Review: Goosebumps 2: Haunted Halloween Film Critic Rory Applin reviews another 2018 sequel with 'Halloween' in the title Rory Applin Film Critic

Goosebumps 2: Haunted Halloween has been in many senses a difficult film to review due to the fact that, at the risk of sounding overly critical, it is completely inconsequential. The content of the film itself seemed to escape my mind as soon as I finished watching it. This is not to say the film is awful in any sense - it is just repressively average and immemorable. The film follows the story of Sarah (Madison Iseman), a high school senior struggling to write her university application letter; her brother Sonny (Jeremy Ray Taylor), a science nerd struggling to finish his school project; and his best friend Sam (Caleel Harris) a would-be entrepreneur struggling to get his ‘lucrative’ rubbish removal business off the ground. After the two boys clean out an old, abandoned mansion that falls entirely into the realm of classic (if not slightly cliché) horror movie tropes, they find a manuscript for an unreleased

Goosebumps novel. As those who have seen the first film will know, the series is set in a reality where the Goosebumps novels and their author R.L. Stine (Jack Black) really exist, and the monsters of the books can escape their respective manuscripts and terrorise people. This is a fairly fun and inventive spin on the source material – and of course this is exactly what occurs when the evil puppet Slappy (voiced by Mick Wingert, replacing Black) reappears. Slappy intends to 'bring Halloween to life' by turning costumes into real life monsters which run around destroying the town, forcing the three kids set out on an adventure to stop him. Not exactly a Christopher Nolan narrative, but what did you expect?

"The film [...] never really creates a significantly eerie experience for the audience"

The performances of the film’s three young leads are excellent and definitely a highlight of the film. All three deliver their witty dialogue well, another enjoyable aspect of the film, and the chemistry between them feels genuine. However, while Taylor and Harris both recently starred in genuinely terrifying Stephen King adaptations - IT (2017) and this year’s Hulu original series Castle Rock, respectively - don’t expect Goosebumps 2 to be anywhere near as horrifying. This film ultimately remains a kid-friendly family adventure movie, with the focus being almost entirely on the comedic and not the scary. Although the film does use some horror movie techniques – such as jump scares and a chilling score – it never really creates a significantly eerie experience for the audience. This is to be somewhat expected (as this is obviously a family film), though is still disappointing. However, this may be slightly too judgmental since university students are perhaps not the primary target audience of this film! Only once during the film is there any real shock factor, this

being when the mother of Sonny and Sarah is briefly turned into a ventriloquist dummy, with the CGI facial animations applied to actor Wendi McLendon-Covey’s face being genuinely disturbing. Whether this is the desired effect of the CGI or whether it is accidently lurking in the ‘uncanny valley’ is unbeknown to me.

"[Jack Black] only makes a small cameo" Jack Black’s presence in the film is sorely missed, as he does not have nearly as dominant a role as he did in the previous Goosebumps instalment. This is due to a conflicting schedule as Black was filming the strangelysimilar The House with a Clock in Its Walls at the same time. He only makes a small cameo towards the end of this movie, meaning that his skills as an excellent comedic performer are mostly absent in this film. Black’s busy schedule also meant that he did

not have enough time to reprise his role as the voice of Slappy and as such is replaced by Wingert, which has an undeniably odd effect on the movie. Wingert’s voicing of Slappy is largely impressionistic of Black’s comedic style, prioritising this over capturing the terror of Slappy’s villainy. This choice represents the underlying disappointment of Goosebumps 2 – that it chooses to forgo its potential to be frightening as well as simply entertaining. VERDICT: Goosebumps 2: Haunted Halloween is by no means going to be regarded as a classic Halloween film, and if you are looking for a frightening Halloween experience, this is not the film to see. Although, to be perfectly honest, I am sure no one expected that from Goosebumps. It does manage to be a fun, family comedy that is actually quite humorous – although not enough to truly escape its flaws and overall mediocrity.

FILM

Friday 26th October 2018

@redbrickfilm

Review: Halloween (2018)

...while Film Critic Alisha Shah explores whether its sequel lives up to the legacy Alisha Shah Film Critic

Halloween is a rebooted sequel to the original classic 1978 version. This movie, the eleventh instalment, occurs nine years after the last movie in this socalled franchise. Crucially, this one retcons all nine previous sequels, ignoring advances in the plot and instead following on directly from the events of the original. So the good news is that this Halloween is fairly accessible to the general moviegoer without an encyclopedic knowledge of the series. Michael Myers as an antagonist, along-

and even her granddaughter Allyson (Andi Matichak), who wants a genuine connection with her still-traumatised grandmother. Myers dramatically breaks free to wreak havoc once more on a fateful Halloween night, and Laurie is now given the opportunity she desires.

"Laurie is undeniably the most compelling aspect of this movie"

David Gordon Green is successful to a large extent in presenting the silent monster. Myers tends to pause and contemplate his warped logic in moments before he goes in for the kill, ultimately enhancing his status as a captivating horror villain. There is an artful choreography to Myers' unstoppable murderous spree – a definite standout of the movie. There is also the matter of his insane superstrength, but perhaps I can accept that Smith’s Grove Sanitarium has a great fitness programme. So why is it that Halloween ultimately disappoints in the area it should excel at most? Simply put, the movie is not scary. Of course, scariness is dependent on many things, fear tolerance being the main factor. Halloween is admirable in a sense that it doesn’t fall into the cheap horror territory of too many needless jumpscares, so the fault is not there. As a warning, this movie also incorporates elements of body-horror that extend beyond simply dead bodies. Though occasionally the gore appears fake and ineffective, it is still not the main issue.

"The atmosphere refuses to build the tension"

Ryan Green, Universal Pictures

side John Carpenter’s original iconic theme (the original director returns to provide an updated soundtrack in this movie), still stand up as icons of horror and wider pop-culture.

"There are numerous references to the original" For the fans, there are numerous references to the original. For instance, the jack-olantern during the opening credits is a direct call-back, and there are many, many more – focus on them too long and it can be distracting! It is clear that this movie was made with love and genuine appreciation for the original. So the question then is: how indeed does this latest reboot hold up in the modern context of horror and cinema, for new audiences and fans alike? This Halloween is both set and released forty years after the first movie. Jamie Lee Curtis reprises her role as Laurie Strode, who has spent that time obsessively preparing for her final fight and confrontation with the since incarcerated Myers. We see the effect of this obsession and paranoia on her daughter Karen (Judy Greer)

Laurie is undeniably the most compelling aspect of this movie. She essentially encapsulates how to write a true badass with baggage. Whilst she is strong, dedicated, and her vigilance is ultimately vindicated, the movie doesn’t shy away from addressing the true consequences of her obsessive behaviour. Her relationship with her daughter, of whom she once lost custody, is heartbreaking. So, Laurie makes for a great protagonist, as she is a thoroughly flawed and broken individual. Her triumphant arc marks an interesting shift from the usual 'final girl' trope in horror – and Laurie herself decides to not be a victim. Halloween (2018) will always be memorable to me for this portrayal of a strong woman, truly encapsulating a change in how the horror genre portrays its female characters.

"There is an artful choreography to Myers' unstoppable murderous spree" Reprising his role as Myers, Nick Castle is also commanding and engaging on-screen. The physicality of Myers has always fascinated me, and director

The problem is that the movie is not successful in injecting a genuine sense of tension and atmosphere when it most needs it. Even the most frivolous of horror concepts can be centred on real emotions by gripping the audience and having them hanging on the edge of their seat. In the moment Myers becomes free, the dynamic of the movie is not sufficiently altered. The audience is not clinging to the edge of their seat. The issue is not with the unaware small-townsfolk – but rather that the atmosphere refuses to build the tension, to ask the question, 'when is he going to strike next?' There are possible hints of these moments, but their inefficacy undermines the shock and horror that are so vital to this movie. On the topic of characters, despite Laurie being the crown jewel of the movie – certain other characters are a letdown. Regarding the teenagers, the movie gestures towards trying to make them interesting and somewhat distinguishable. But they ultimately mean nothing and are just there to be killed. However, other characters are stupid for the sake of the plot and it is infuriatingly distracting. Yes, they are flesh-bags primed to be murder victims, but these are inevitable and even necessary in a horror. There are, though, letdown characters that do indeed play critical roles in the story. Their actions are warped to be borderline insane to force certain plot elements to progress. Unfortunately, such potential story threads end up falling flat. These moments of idiocy force

the story to contort dramatically, and much like the comedy – stick out as being distracting. The story at multiple instances breaks out in sprints to move along, with the ultimate goal of the final confrontation between Laurie and Myers.

"The slasher-film aspects feel underwhelming" Overall, this Halloween is a movie that I should like unapologetically, but there are issues present. It is successful in relaunching the franchise, simplifying the nature (or lack thereof) of Myers and making him once more a credible horror monster. This reboot is made with love for the original, but the slasherfilm aspects feel underwhelming simply because of the tonal and atmospheric inconsistencies. Laurie is a grounded and formidable character, though the overall conflict that builds between her and Myers comes across more like a thriller. The best moments are when these thriller aspects combine with strong horror. The directing on Myers' killing spree, the tension between him and Laurie – and of course the final fight. As a genuine lover of these

moments, I wish more of the movie was like this because Halloween is on the cusp of something truly amazing. There is definitely scope for future movies in this vein – this is a Halloween movie after all. I would be open and glad to see them. Whilst lessons can be learnt, Halloween makes for a great movie-going experience on the whole, but is unfortunately far from perfect. VERDICT: When taken as an out-and-out slasher film, Halloween (2018) falls slightly short. It is, however, a strong entry overall with great elements of horror and thriller. The characterisation and depiction of Laurie and her family relationships is strong and truly unexpected in its execution. The direction of Michael Myers and his overall character depiction stay true to the spirit of the original, echoing the view that he is a monster with the mask of a man. So despite structural problems and certain questionable decisions, I cannot deny that Halloween (2018) makes for an enjoyable outing. I would, therefore, recommend it on the whole for fans of the series and the greater audience alike.

Falcon International Productions

Ryan Green, Universal Pictures

TELEVISION

Friday 26th October 2018

@redbricktv

Spooktacular Series

Trick or treat yo'self to our top TV picks this Halloween If you are stuck looking for a satisfyingly creepy TV box-set to watch this October, look no further. TV Editors and Critics have gathered together their favourite Halloween shows, from new Netflix hits to old classics, to make the process easier for you.

last few seasons, there is no doubting that the ample amount of blood, gore and zombies remains fantastically terrifying.

Aimee Britton Television Critic

Derren Brown: Trick or Treat

AMC

Hannah Ray Television Critic

The Walking Dead Zombies are a staple Halloween fix, and no show has done it more successfully than The Walking Dead. We follow Rick Grimes and his ragtag team of post-apocalypse survivors, as they navigate a world filled with not just the threat of zombies but also other humans. With individuals you will quickly grow to love or hate, each zombie encounter will fill you with dread or anticipation as you wait for the next grisly death. Whilst the storyline may have waned over the

Mentalist and Illusionist Derren Brown explored the psychological potentials for the classic Halloween catchphrase in his 2007-8 special series. Participants blindly chose a ‘trick’ or ‘treat’ card and were dealt a corresponding experience. Treats showcased Brown’s prowess using psychological experience to boost participants’ skills or self-confidence, whilst dastardly tricks had participants convinced they were ventriloquist dummies, insane, or even experiencing their own death. Brown pushed the line between inspirational and cruel, with an elegance rarely so well achieved. The result is an unsettling masterpiece that makes for compelling viewing for those that don’t like an outright scare.

ished watching. Whether you worry about the future of Artificial Intelligence, or the increasing ways you can be monitored by society, Black Mirror presents to its audience a not-so-distant future where your worst fears have become reality. If that doesn’t scare you, the twisted depiction of human nature transformed in light of technological advances will. The presentation of capital punishment in ‘White Bear’ and ‘White Christmas’ leave you feeling sympathy for a murderer due to the torture they have to suffer. Once you have binge watched the entirety of Black Mirror you won’t be scared of the supernatural any longer, you will be fearing for your own future instead.

Netflix

Amrita Mande Television Critic

Black Mirror Charlie Brooker’s Black Mirror will terrify you in ways that will resonate long after you have fin-

Jessica Green Television Editor

The Vampire Diaries

Niamh Brennan Television Editor

Freddie Highmore star in the Bates Motel as Norma and Norman Bates in this imagined Psycho prequel. The show follows the mother and son duo as they try to build a new life for themselves, but are weighed down by old secrets from their past. The series brilliantly explores the layers of the mother-son relationship as the audience is invited to explore the psyche of the characters and delve into this twisted world. This psychological thriller will lead you down a dark rabbit hole that will constantly have you holding your breath in suspense.

Bates Motel The talented Vera Farmiga and

Forget October 31st... Mystic Falls, the fictional town that The Vampire Diaries is set in, is plagued by an onslaught of witches, werewolves, doppelgängers, and vampires (obviously) all year round. Far from living the simple small-town life, Elena Gilbert spends most of her time grieving for the loved ones she has lost at the hands of these supernatural beings. Though The Vampire Diaries remains a teen drama at heart (its main focus lying in which of the dashing Salvatore brothers Elena will choose as her vampire boyfriend), an element of horror still suspends itself across the eight seasons as you begin to wonder if any of your beloved characters will still be standing.

Natalia Carter Comment

Charmed Charmed is a classic witchy series starring Holly Marie Combs, Alyssa Milano and Rose McGowan as the Halliwell sisters. Although recently remade I can't recommend anything other than the original. Charmed was my go-to series when I was younger and it’s still one of the best series I have ever watched. It mixes the domestic family drama with the excitement of demons, magic and warlocks. Each episode offers a development in their fight to maintain the good of the world. It’s a great watch for a relaxed Halloween night in. So if you don’t enjoy jumpy horror films, but do enjoy binging a series filled with twists and turns – then buckle up for eight seasons of supernatural delight.

Paramount

Review: The Haunting of Hill House

Elinor Griffiths takes a look at Netflix's latest supernatural release that is simultaneously thrilling and traumatising horror fans across the globe Elinor Griffiths Television Critic

The new Netflix series, The Haunting of Hill House, is a perfectly articulated and well-crafted rendition of Shirley Jackson’s gothic 1959 horror novel that entrances the audience from the very beginning. Its carefully sculptured and comprehensive storytelling, along with its emotional depth and profundity, gives the audience an insight into the

lives of the Crain family, and shows the development of characters and experiences whilst living at Hill House. It further illustrates each family member by showing their intimate and personal adjustments to adulthood since Hill House, and we slowly learn what happened on that momentous night through a series of flashbacks. As you begin to dive deep into the mystery of the house, the story focuses its attention on the emotional trauma that the family

Netflix

endured when growing up at Hill House mansion. Steven, the oldest son, becomes an author, exploiting his and his family’s suffering even though he denies any supernatural or abnormal events. Shirley runs a funeral home with her husband, whilst Theodora lives in their guest house, specialising as a child’s psychologist.

we get no insight into the life of their father and how he coped after that hellish night. It is simply left to people’s imagination.

"Mike Flanagan understands what a modern audience "We slowly learn wants to see from a horror" what happened on that momentous What’s most interesting about seeing the children all grown up night" is how they have built their life

The most dramatic and heartwrenching of them all is the lasting effects the house has on twins; Nelly and Luke. Nelly is mentally traumatised and suffers with sleep paralysis, where she continues to be haunted by a ghost she calls the “bent-neck lady” and Luke is a drug addict, who spends most of his time in and out of rehab centres or stealing money from his siblings to buy more drugs. Although we get a detailed and distinct image of the children after their chilling experience,

around their childhood at Hill House, with their jobs centred around their belief or perhaps ignorance to what went on. Steven, who is arguably the most broken character, refuses to accept that the house was haunted and believes that his family is 'mental'. Shirley appears to be living in denial and can’t comprehend that her life isn’t perfect. Theodora centers her life on evaluating children’s emotional state and disorder, when her own behaviour is the most unstable. A performance most astounding is that of Carla Gugino, por-

traying Olivia, the mother within the family unit, who truly appreciates life and keeps her family humble and well grounded. As we see her mental state slowly decline, we also begin to see the closeness of the family begin to unravel, as well as the true horrors of the Hill House. Mike Flanagan’s adaptation of Shirley Jackson’s novel encapsulates his understanding of what a modern audience wants to see from a horror and how they want to be frightened. You begin to realise that this classic and timeless horror series transfixes our attention by displaying dark, unfathomable imagery that allows us to feel a sense of enjoyment from also feeling terrified and perplexed. Flanagan grabs our attention through his innovative and fanatastial narrative by advancing the story into an indepth, emotional portrayal rather than producing a stereotypical gory horror that would leave the audience feeling detached. It is a true emotional drama that provokes tear-jerking emotions - a beautiful and stimulating journey that will most definitely leave you wanting more.

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TELEVISION

Friday 26th October 2018

@redbricktv

Review: Doctor Who TV Critic Phoebe Hughes-Broughton takes us through series 11's premiere episode and considers how Jodie Wittaker fares in the role of the Doctor Phoebe HughesBroughton Television Critic

When the BBC decided to resurrect Doctor Who for a new run in 2005, there was trepidation. When Peter Capaldi was announced as the 12th Doctor, the oldest actor of the reboot, there was controversy. But the backlash against the casting of Jodie Whittaker as the 13th Doctor was by far the most ferocious the BBC has faced yet, before her first episode had even aired. Now that it has, hopefully the voices of angry men on Twitter will calm down a bit, since Jodie has undoubtedly proved herself capable of carrying the mantel of the Doctor just as well as the many men before her. Without a doubt, Jodie Whittaker herself was the best part of this episode. From her witty delivery, to her hilarious facial expressions, she’s already revived the comedy that many people loved from the early series, while keeping the heart that’s key to the character of the Doctor. Alongside her, the new ‘TARDIS Team’ also proved themselves in this episode. Many people seemed sceptical of having so many companions in a single series, but this episode

gave everyone enough screen time and plenty to do, without overwhelming us with backstory. In particular, Mandip Gill and Tosin Cole excelled in their roles as Yasmin and Ryan respectively, the new younger companions who don’t seem afraid to get stuck in with the Doctor, while Bradley Walsh’s complete disbelief in the existence of aliens as Graham already has the makings of a great dynamic with Jodie’s Doctor. Crucially, all of these characters felt like real people – even the Doctor herself felt more realistic than previous incarnations, with a brutal honesty about how painful regeneration is and what it feels like to not be able to remember who you are that we haven’t seen in previous first episodes. My biggest personal criticism of this episode was simply that it didn’t feel much like an episode of Doctor Who – something that a lot of people were worried about with the change of showrunner and a female Doctor at the helm. For the most part though, this was just due to the lack of TARDIS and opening credits – both things that will almost definitely change by the next episode, so I doubt this will be a problem for the rest of the series. In fact, for many new viewers this is probably one of the best things about the episode: with the pull of Jodie Whittaker and the rest of the diverse cast, many peo-

Top TV Picks for October/ November

BBC ple who gave up watching Doctor Who back in the David Tennant era have been drawn back in by this new series. The lack of emphasis this episode places on knowing the mythos of the Doctor or any of the aliens from prior episodes is definitely a good way to hook a new audience. In addition to this, the episode felt overall more grounded than recent series. There was relatively little CGI, it was filmed almost entirely on-location in Sheffield, and the stakes were far lower than the potential destruction of the universe that we’ve seen all too often. As well as being grounded, this new episode was far darker than most regeneration episodes have been; both visually, and the-

matically. For what is ostensibly a children’s show, there was a surprising amount of death, both onscreen and alluded to off-screen, and one of the scariest-looking villains I’ve seen on Doctor Who for a long time. Perhaps this isn’t one for young kids, but again it’s a great example of the show trying to bring back the audience who stopped watching in the late 2000s. All in all, this was a strong opener to what promises to be a great season of Doctor Who, with enough changes to draw in a new audience whilst keeping to the heart of this well-loved show.

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Top Five TV Heroines

The Sinner Netflix 9th November

Sabrina Netflix 26th October

Emily Calder identifies the female characters on our screens that make her feel independent and empowered Emily Calder Food&Drink Editor

As we recently celebrated the International Day of the Girl, it seems fitting to look at how women are represented on television. I believe that girls should be celebrated every day, and should be represented in the media as the bad-ass, incredible gender that we are. Therefore, in celebration of women everywhere, here are my Top Five TV Heroines.

Lisa Simpson, Simpsons

The

‘Why is it when a woman is confident and powerful, they call her a witch?’ I know she’s an NBC eight-year-old cartoon character, but Lisa smashes the patriarchy over and over. She creates her own feminist doll to fight against sexist products, and inspired hundreds of girls in the 90s to pick up musical instruments. She has the desire and capacity to do

whatever she wants, but her moments of relatability and insecurity mean we identify her as a real girl fighting real issues. The Simpsons even predicted that she will succeed Trump as President, and I hope they’re right about this one too.

Leslie Knope, Parks and Recreation ‘If you wanna bake a pie, that’s great. If you wanna have a career, that’s great too.’ Leslie earns her place in my Top 5 as a self-proclaimed feminist who gets stuff done – she stands up against sexist beauty pageants, becomes the first Councilwoman of her city, creates her own Girl Scout Group and rocks a pantsuit. With her genius invention of ‘Galentines Day’ to celebrate and support the women in her life, and a wall of inspirational women that includes photos of herself, Leslie’s positive spirit, confidence, and love for waffles makes her an absolute heroine

in my eyes.

Lorelai G i l m o re , Gilmore Girls

her dreams. She is hilarious and feminine, unapologetically black – as explored in the show’s anti-racism episode - and dances, sings and does whatever the hell she wants. When photoshopped modelling her designs for a magazine, she walks the runway in Warner Bros her own clothes and kicks beauty stereotypes to the curb. Her attitude and energy should definitely be celebrated.

‘Babe, guys are always going to be there, okay? This school isn’t. It’s more important.’ Independent and empowering, Lorelai is someone every girl needs in their lives. She flourishes as a single mother after a teenage pregnancy, opens her own business, and even names her daughter after herself because men do it all the time, so why can’t women? Aside from all her successes and iconic one-liners, she also gets her heart broken, cries, and eats pizza in bed. Lorelai is human, but she’s a bad-ass icon too.

Raven Baxter, That's So Raven ‘People come in all shapes and sizes and they’re all beautiful.’ A psychic diva with a passion for fashion, Raven exudes joy and boldness and isn’t afraid to chase

House of Cards Netflix 2nd November

Karen Brockman, Outnumbered ‘You shouldn’t be prejudiced against fat people, thin people, men who’ve turned into women, women who’ve turned into men, gay people, ginger people...’ A British TV icon: Karen is incredibly curious about the world, wishes to post her unwanted broccoli to African children, aspires to be both a vet and an astronaut, and batters her Dad with fruit when he dares to suggest that girls can’t throw. She is full of sass and spirit, and is so unapologetically herself throughout the series that we all need to be more like her.

Westside Netflix 9th November

GAMING

Friday 26th October 2018

@redbrickgaming

Guitar Hero Live: The Good, the Bad and the Ugly

Redbrick's Top 5 Spooky Scary

Skeletons

Gaming editor Christopher Hall looks back at Guitar Hero Live as GHTV prepares to shuts down.

Konami

Skull Face

LucasArts

The final thing that made Guitar Hero Live stand out was its change in style. From the cartoonish style to a more realistic (if slightly cheesy) look, it made the game feel fresh. You'd think these three improvements would make the game worthwhile, even if you’re jaded with the series but, like I said, it failed and unfortunately that is for very good reasons. So let’s start with the less egregious reasons. Potentially, the change in style might stop people from buying it, but I honestly think that sticking to formula would make it more likely to fail due to the output before this. Speaking of which, before Guitar Hero Live there were a lot of Guitar Hero games to the point of excess and absurdity. This might have fatigued people so much that Guitar Hero Live was always going to fail even if those past games were a success. Another potential reason is that you have to buy a new gaming

4 Manny Calavera

Game Freak

"It failed, and unfortunately that is for very good reasons"

higher scores) so you have to essentially decide whether you wanted to play songs of your choice or get higher scores with upgrading. This system attempted to destroy all the hard work FreeStyle Games has done truly taking people for a ride. It’s greedy, predatory and downright scummy. Guitar Hero Live, I thought in the past, was the one game that was good enough to be forgiven for the awful microtransactions but today I’m conflicted. I can’t deny the hours and hours of fun I had playing so saying that I hate it would be dishonest. However, I can also never deny that the microtransactions are truly awful and as a result I can’t ever feel good saying that I loved the game, even if that’s the truth. With everything considered, I don’t think any one of these factors alone destroyed Guitar Hero Live’s sales, especially with people not being as aware of dangers of microtransactions (including myself) back in 2015, but with all of them combined, failure was going to be likely and probably destined. Perhaps it’s a lesson about consumer patience. Even if the end product is great, it won’t matter if you take people too much for a ride, and when I say ride I mean more than just the microtransactions. Most of that great work that FreeStyle Games did won't exist at the end of 2018, leaving us with a far, far lesser game which is really really sad. The game, despite Activision’s best efforts to ruin it, was really great and it won’t matter past 2018 for the most part. As far as its reputation goes, it will - if not already - be completely forgotten.

3 Cubone

Nintendo

Back in 2015, I absolutely adored Guitar Hero Live. It was a game I had tons of fun with playing songs in the campaign and, with the online-based Guitar Hero TV's (GHTV) 24/7 radio stations or through selecting my own songs, it was one of those games where I really did start out being truly abysmal at it but played so much to become really, really good. It was easily one of my favourite games of 2015. I thought at the time that it was the breath of fresh air that would revive the franchise from the dead. Now in 2018 after hearing that Guitar Hero Live “failed to meet expectations” and is being shoved into the bargain bin, one final nail gets put in the coffin with Activision announcing shutting down of GHTV (bringing the song total from almost 500 to 42) at the end of the year. I think that it’s time to see what Guitar Hero Live did right, where it went wrong, and why it was considered such a commercial failure. The first big thing that was drastically improved from the previous games is the guitar itself. With its new style and button placement (so the harder modes no longer require big hands as much as they used to), the game managed to keep its difficulty while making the guitar feel more comfortable, with only extended periods of time making the hands hurt a bit. The second improvement was GHTV and how it was designed (for the most part - I will address the issues later). GHTV used radio stations and at different times it

guitar for this game and, while I praised the guitar earlier, that new price tag is demanding. Still, none of those reasons are why people were angry and wanted a refund on the day of release and many were happy to see this game flop. No - there’s something far, far less forgiving that ultimately meant Guitar Hero Live, as well as being a failure, was hated by a significant number of long-time fans. They put microtransactions in and implemented them in such a disgusting way. A system that was by no means defensible, even by people who love the game (like me). A system that was so horrid and quite possibly the worst model ever used by Activision even today (which is saying a hell of a lot considering what they’ve been doing with Call of Duty and Destiny). It wasn’t enough that they were asking for money for another Guitar Hero game after their output and asking people to buy the new guitar. So, how does said system work? Well, you have a finite number of plays when it comes to choosing to play songs of your choice, so that means when you run out of plays you no longer control what songs you can play. How do you get more plays? Either grind on the radio stations for a decent amount of time or give Activision more money on top of what you’ve already paid. When it comes to the radio stations, for each song you do get some of the fake currency (and XP for levels) and this currency can be used to purchase your plays so you can play your favourite songs. However (and this is where this system goes to new level of awful), that currency is also used to upgrade your guitar in the game (which is needed for

2 Dry Bones

Toby Fox

Gaming Editor @ChrisJonathanH1

played different types of music. There was a timetable of what stations were on and you could join at any time, competing with people of similar skills. As a result, you felt compelled to play on these stations and compete with others at the same time. The large library of songs meant there was always something for everybody.

Activision

Christopher Hall

1 Papyrus

GAMING

Friday 26th October 2018

@redbrickgaming

Gaming at a Glance

Review: Monster Prom

Imogen Claire is looking for a spooky prom date - how does Monster Prom stack up this Halloween? Imogen Claire Gaming Critic @_donlothario

Life’s hard. It’s really difficult. No matter the milestones – school, moving out, learning to drive, graduation, a nine-to-five – that we collect like semi-precious jewels to decorate paper crowns, is it possible to be our very best self? Feeling adrift, are we fulfilling an anachronistic tablet of stone for adulthood upon which we cement identity and success on how fast we progress through its tasks, comparing our pace with the continual torrent of posts and tweets and photos and statuses and stories? Will we wake up one day more tired than we’ve ever been before, byproducts of an economic climate that demands enthusiasm and exuberance from its worker bees yet barely offers a crumb of stability in return? Monster Prom, set in the supernatural Spooky High School, understands this, and provides you the opportunity to indulge the most questionable of moral quandaries, disobey several interdimensional laws and become public enemy número uno, all in pursuit of maybe holding hands with your crush. Because, you know, we’re all just figuring out this weirdo life together! There’s three weeks until Prom (or one week, if you choose a short over a full playthrough). As one of four possible students of Spooky High, now is the time to set your sights on a date and

attempt to charm your way to their heart - or perhaps lack of one. We don't discriminate here. But this is no ordinary school and no ordinary courtship. There will be no trying-very-hard-to-becasually leaning against lockers, nor practicing writing their surname along with yours in the back page of your notes. Monster Prom knows flirtation is a game, and one you will sink to the most depraved depths to catch a glance in your direction. The player begins with a pop quiz of absurd questions with equally absurd answers that turn into stats - Smarts, Boldness, Creativity, Charm, Fun, and Money. Each round comprises a full school day. In morning and evening, you spend your time at any one of the places available like the Auditorium, the Library, the Outdoors to boost certain stats. Who you choose to sit with at lunch carries significant gravitas, just like in real life, and offers more opportunities to add stats to your ‘bank.’ Is it reductive to turn a character's multidimensional personality into these one word aspects? Absolutely! These values, however, determine how successful your flirtations are with the object of your affections. For example, I chose Damien for my first playthrough because duh, look at him (pictured above). The classmates will often start contests or breed antagonism between themselves, and luckily you happen to be there in the Bathrooms or the Auditorium or wherever to (de)escalate it. It's also a perfect opportunity to (un)

impress. You’ll have to take a side in the conflict but your solution might not stick its landing if the corresponding stat isn’t high enough. It’s a gamble because the solutions aren’t identified - you’ll need to guess which is which. If you choose a Fun solution and it works, you’ll be rewarded a pop of hearts for the love interest with added Fun and another aspect’s points. If it doesn’t, you lose Fun and another aspect’s points, as well as any standing you had in your classmates’ eyes. It’s a mechanic that really leans into the absurdity of calculating a romance in games, and also into the grim, awful, seemingly-unending moment you wish you'd never opened your mouth or lived in the first place. Evidently, the odds must ever be in your favour and how you choose to spend each round must be a cold-blooded tactical decision if you wanna cozy up to Cthulhu. For some players, this may sound all too familiar, but hang in there. The utter irreverence and unpredictability of the writing sparked by the magnetic characters ensure you’re in for one Hell of a ride, so don't keep your arms and legs inside and touch anything that glows or drips odd liquid. What’s the worst that could happen? Three weeks pass, and the shadow of Monster Prom loomed. I invite Damien to come to prom with me... and he tells me to get real, loser. Spurned and unprepared for that kind of truth, I immediately begin another playthrough. Screw you, Damien! No one needs your stupid ‘Prince of Hell’ baggage! This time I refuse to make the same mistakes and purposefully don’t pursue anyone. Turns out Polly likes that ‘devil may care but I hope he realises what he’s given up’ swagger I've acquired,

and we spend an awesome prom night together on her secret ending. Oh yeah, there are tonnes of endings and scenarios for the game. It’s in the four-figure range. Because of the sheer volume of scenes and dialogue in the game, combined with the stats system, a playthrough will always have something new to offer and especially so if you play the multiplayer. A shop pops up with expectedly zany stock that changes as you play, convincing the player that anything is possible at Spooky High – for better or worse. All this being said, a repeat scenario mutes slightly the spontaneous, ridiculous setting the game has created, but I don’t imagine it would bother the great majority of players. It’s like what they say at the end of those cheesy American movies about life and stuff. High school really is what you make of it.

"A playthrough will always have something new to offer" Bunk off classes. Become the high school dodgeball champion. Advocate peace. Stick it to the man (and women and children of planet Earth by releasing an Eldritch abomination into our plane of existence). See the sunrise at the fairground. Scam unsuspecting targets of credit card fraud. Life moves pretty fast. If you don’t look around once in a while, you might miss it. But you could always start another round of Monster Prom. Image Glitch

Credit:

Beautiful

Pokémon: Let’s Go! to be Compatible with 2019 Title Sam Nason Gaming Editor @samjnason

Scheduled for release on November 16th, Pokémon: Let’s Go! Pikachu and Eevee editions have already been labelled the black sheep of the franchise. With its streamlined gameplay and deviation from Pokémon’s more complex mechanics, debate has been had as to the game's compatability with future titles. 2019 will see the release of a core, more conventional Pokémon RPG - but will Let’s Go! be compatible? In an interview with Gamespot, Pokémon director Junichi Masuda emphasised the importance of this connectivity: ‘We’re definitely always thinking of that kind of forward-

moving functionality, especially since we’ve introduced the Pokémon Bank. Now, up to Ultra Sun and Ultra Moon, you’re able to store your Pokémon. We know they’re very important to everyone. I mean, obviously, people would be very sad if they couldn’t use their Pokémon in a future game. So, it does get complicated when you talk about the details and we’re still figuring it out, but we do have plans to find ways to let players use their Pokémon in the next game.’ Such difficulties are to be expected; after all, the series is in the process of jumping from the 3DS to the Nintendo Switch. In the same interview, Masuda also explicitly confirmed the removal of abilities and held items, two core elements of the franchise and necessities for any kind of transfer process.

A similar issue occured with the rerelease of the original Pokémon games on the 3DS Virtual Console. Given their archaic nature, certain mechanics (for example abilities or special stats) were inconsistent or absent entirely compared to the newer titles on the 3DS. Once Red, Blue and Yellow were avaliable on the system, Pokémon from these could be transferred to the newer games only and had their characteristics changed depending on a multitude of different numerical values. Complicated stuff, but essentially they were made perfectly feasible in the newer games. Time will tell whether transferring from Let’s Go is a similar affair. While little is known about 2019’s Pokémon title, it is known they’ll be more like Ultra Sun and Moon on the 3DS than

the Let’s Go series, with more complex and traditional mechanics. Yet the inability to transfer Pokémon would see an uproar not unlike that of 2003's Pokémon Ruby and Sapphire, whereby they were incompatible with the previous six games. This reassurance from Game Freak has been met positively, with many fans hoping their Pokémon can join them for their jump to the Switch.

Game Freak

Red Dead Redemption 2 working conditions met with speculation In an online piece published by Vulture, Rockstar co-founder Dan Houser said ‘We were working 100-hour weeks.’ Since, however, Houser has clarified to The Verge that the comment was specifically about constructing the game's narrative and voice work over a three-week period. Rockstar has allowed its employees to speak out on this controversey, and some have claimed that working conditions are not as bad as reported. Still, this is only a small sample size. This is a complex issue spanning a large amount of the industry and has at least sparked a conversation about the healthiness of ‘crunch’ culture in gaming companies. Obsidian ‘doubtful’ they will work on another Fallout game When asked on Twitter about the possibility of the company working on another Fallout title, they replied with a magic 8-ball’s ‘very doubtful.’ Obsidian have previously been praised by fans as delivering one of the best Fallout experiences to players, therefore many were disappointed with such a definitive answer. Bethesda have previously gone on record saying their growth over recent years means they wouldn’t have to outsource any of their IPs to other studios, meaning a return to the New Vegas developer definitively looks off the table. Black Ops 4 becomes Activision’s biggest day one digital release Released on October 12th, Black Ops 4 quickly became Activision’s best-selling title on both the PlayStation Store and the Xbox One Marketplace. This record was previously held by Call of Duty: WWII, the franchise’s offering last year. Black Ops 4 looks to deliver a more fast-paced and streamlined Call of Duty experience compared to its predecessor, a slower game that some would argue was bogged down by microtransactions. TotalBiscuit to be inducted into Esports Hall of Fame While never a player himself, John ‘TotalBiscuit’ Bain's contributions to the scene have been impressive - managing, commentating on and sponsoring a huge variety of events. TotalBiscuit drove many people towards a multitude of esports titles, including Starcraft 2, Dota 2 and World of Warcraft. His induction will mark the first time a non-player has been inducted into the Hall of Fame. MediEvil Remastered news within ‘the next week or two’ PlayStation social media director Sid Shuman said an update on the remastered title is coming within the next fortnight. The remaster of the PS1 classic, originally released in 1998, was announced at PlayStation Experience in 2017.

FOOD&DRINK

Friday 26th October 2018

@redbrickfood

Review: Gaijin Sushi Asha Jani

Food&Drink Writer

This unassuming spot on the edge of Birmingham’s City Centre is the answer to all your sushi questions. Former sushi passion chef Michal Kubiak creates Japanese delights right in front of your eyes, as you sit on high chairs around a bar which overlooks the action. The décor is minimalist in all its glory, and the focus is entirely on the food. The menu is big without being overwhelming, with specials available dependent on stock. Great sushi isn’t easy to come by in Birmingham, and that makes Gaijin Sushi a standout choice for a celebration meal, for example a graduation or a big birthday. The restaurant has a tiny capacity which means that you can make the most of Kubiak’s expertise, as he is full of tips and advice. An obvious passion for Japanese cuisine ensures that you will be eating sushi made with the freshest ingredients. The drinks menu is small, but Japanese beers and gins are on offer at a reasonable price. I went for a cranberry and chilli gin and tonic, which was spicy in a deliciously fragrant manner which complimented the sushi wonderfully. At Gaijin, there is help on hand to talk you through the menu, which is invaluable when dealing with multiple types of sushi. You can order as you go along, or in one go, and then Kubiak will decide the order that your sushi arrives. He decides based on the sushi’s strength to palate, preparing the mildest sushi first and tak-

Food&Drink Writer Asha Jani talks Japanese Food in Birmingham

ing you on a journey which could end with sea urchin if you’re lucky (and adventurous). Alongside the sushi, we ordered some edamame beans which was a great way to measure the quality of the restaurant’s food and cooking – beautifully soft and seasoned. We started with yellowtail nigiri, which had been flown in from Japan just days before. It was my first time trying this, and its subtle but fresh taste and lightness of texture persuaded us to order it in sashimi form.

"The restaurant has a tiny capacity which means that you can make the most of Kubiak’s expertise" Michal reminded us to cleanse our palates with the wisps of ginger provided, and sweet prawn nigiri followed promptly. Again, its freshness was immediate, and we nodded approvingly as we enjoyed. Next, we had two sets of gunkan, a riceless type of sushi. The fish is solely wrapped in seaweed making this a light interval in the meal. We ordered spicy salmon gunkan and scallop gunkan, which Michal instructed us to eat quickly to experience the seaweed at its best. It had a delightful sticky quality that I have never noticed before with sushi. What came next was the high-

A Look At Bake Off's Vegan Week Kat Smith

ingredients seemed to be a persisting theme in GBBO. Now, in 2018, with the rise of Bake-Off is frequently dubbed the vegan lifestyle and refraining the definition of wholesome, with from meat consumption being it bursting at the seams with somewhat fashionable now, we heart-warming quotes, happy finally have a vegan week. At first tears and quite simply, the intrin- sight, it seemed like a momentous sically lovely act of baking. leap in the right direction. Now, it In some ways, the introduc- feels like a mere minor step tion of a vegan week for this towards appeasement. While it is series of GBBO is another reason good that we have a vegan week, why the nation’s favourite baking perhaps Bake-Off needs to show is just that. Being an on/off embrace the many different ways vegan and a full-time vegof baking and reflect the gie aware of the horrors audience it is created behind the bakers’ for. More vegan bakeggs and butter, I ers, more vegetarisometimes find it "With the rise of the an bakers, more frustrating to gluten free bakvegan life style and watch. It can ers: the show is feel like a dismeant to inspire refraining from play of ignous and if it can meat consumption rance. The become more being somewhat worst was the inclusive weekVictorian week in and weekfashionable, we with game pies, out, this will be finally have a vegan making the far better than Bake-Off tent feel concentrating this week" unwelcome for into one week. vegetarians, let alone There are approxivegans. mately 3.5 million vegans In 2016, we got a glimpse in the UK, which is not exactly of hope when previously plant- the majority but is still a signifibased baker Rav got selected for cant number. A bit more awarethe show, but it was disappoint- ness of this would go a long way. ing when his predominantly There’s also the matter of exevegan diet failed to translate to cution; how will veganism be the screen. It’s not clear whether presented in the challenges? Will this was his choice or whether it be this inaccessible diet where animal products are a compulsory restriction reigns, or will it be part of the TV show. Either way, shown to be an exciting and new traditional baking with traditional way to bake? Time will soon tell. Deputy Editor

Gaijin Sushi

light of the meal – eel nigiri drizzled with sticky soy. It was silky, soft and melted in the mouth, leading to a wordless reaction, as only approving mumbles truly did this justice. Some futomaki followed, crispy prawn and soft shell crab. It was now that we decided that we wanted more yellowtail, and so the sashimi arrived - with some surprisingly delicious edible leafage with a citrusy taste. This refreshed us just in time for the grand finale: a handroll of sea urchin. Michal did his best to warn us that this was effectively the marmite of the seafood world, and I will not describe its taste in an effort to persuade you to try for yourself. This is by no means a regular student spot, but it is something that you should try to experience during your time in Birmingham: an intimate meal where the quality of the ingredients is championed, and the quality of chef is undeniable.

Making Plant-Based Easy: Two Student-Friendly Recipes Jamie Cheung Food&Drink Writer

Being vegan doesn't have to be boring, expensive or time consuming. Here are two of my favourite recipes that will keep your meals exciting and healthy without hurting your bank balance (or any animals). Red Lentil Stew (Serves 2-3) This dish is really easy to make and a store cupboard classic. Red lentils are really cheap and great for bulking out dishes as well as being high in plant-based protein. Ingredients: 1 large carrot or 2 smaller ones 1 pepper (any colour will do) A handful of green beans/mangetout (or any green vegetable) A handful of mushrooms 1 onion (red or white) 3 cloves of garlic 1tsp ground cumin ½ ts chilli powder

2 tbsp tomato puree Salt Sugar 1 stock cube Red lentils Method: 1) Dice the onion and fry in a large pot on a medium to high heat for five minutes or until it has softened and starts to caramelise, then finely chop the garlic and add this too. Once your garlic starts to gain some colour, turn down the heat. 2) Slice the mushrooms and chop the carrots into circles of roughly the same thickness. Dice the pepper and cut your green vegetables into bite size pieces. Add mushrooms to the pan until they begin to soften and release their moisture and then throw in the rest of the vegetables, stir through and cover. 3) Stir the vegetables regularly until softening and then add the cumin, chilli powder, apinch of salt and a pinch of sugar. Boil the

kettle and dissolve the stock cube in about a litre of boiling water. 4) Your stock needs to be about double the amount of vegetables you have, so pour stock into the pan until the vegetables are just covered and then the same amount again. Add tomato puree and add two or three generous handfuls of lentils depending on how thick you want your stew to be. 5) Stir everything together and cover, lower the heat to a minimum and let it simmer until the lentils are soft and have absorbed the stock. At this point you can add fresh coriander or grind some black pepper over the top (optional) and you have a lovely vegan stew! Fried Rice This is a Chinese staple and a great way of using up leftover rice. It uses very cheap ingredients and whatever vegetables are in your fridge. Aldi sell sachets of precooked rice and grains which you

can substitute if you don’t have any leftover rice, and these work just as well. Ingredients: Cooked rice (amount depends on desired portion size) Spring onions Any quick cooking vegetables left in your fridge Soy sauce Sesame oil Vegetable oil White pepper (optional) Method: 1) Dice your vegetables of choice into small cubes. It's important they are fairly small (less than a centimetre cubed) because you want them to cook quickly and not require knife and fork action. 2) Fry all the vegetables together in a little vegetable oil until tender and then remove them and place in a bowl. 3) Once the pan is hot, add a little vegetable oil and then rice. If you are using leftover rice it is

important you get it really hot because it can be dangerous if it not heated through properly. The easiest way to know if it is hot enough is to spread the rice thinly across the pan and look for individual grains hopping around. They will pop up and down a little bit. Also, if the rice is too hot for your fingers to touch then you know it is okay. Alternatively, use the precooked sachet rice mentioned earlier. 4) Once your rice is ready, add spring onions and put all your cooked vegetables back in the pan and mix through the rice. 5) Season with sesame oil, soy sauce and white pepper if you have it. All of this is to your own taste so I deliberately haven’t included measurements. It is a good way to start tasting your food as you cook, and the joy of this method is it turns out exactly how you like it to taste every single time. Serve once heated through.

FOOD&DRINK

Friday 26th October 2018

@redbrickfood

A Vegan Fresher's Guide to Birmingham Food&Drink Writer Beth Sadler shares her best vegan finds for newcomers Beth Sadler

Food&Drink Writer

Coming to the second largest populated city in the country can be an extremely nervewracking experience – especially if you are a plant-based foodie like myself. Since my journey as a fresher and a vegan both began in Birmingham, I understand the fret of how to find your way around a city that offers such an extensive selection of food. However, with a year’s worth of hummus, falafel, and all things soya behind me, I have developed a list of the best places to head to if you are looking to fill a vegan tum. 1. Three Three’s Top of the list and my all-time favourite place in the Midlands, Three Three’s appeals to vegans and non-vegans alike. With a warm and cosy interior, the aesthetics create the perfect surroundings to curl up and tuck into the

Three Three's

best vegan brownie of your life. Whilst the savoury options are a delight of their own, this is the destination for a sweet tooth like me who is looking for a vegan cake that isn’t made with ‘all natural ingredients.’ The Brownie Cupcake is a chocolate based cake filled with gooey warm sauce and topped with chocolate buttercream and chunky pieces of brownie. After sampling this with non-vegan friends, they were shocked at how it could be egg and dairy free and still taste so good. With cakes, ice-cream, milkshakes, and a luxuriously rich vegan hot chocolate, Three Three’s is equipped to satisfy your sickly sweet needs. If all this is not enough, they also host yoga mornings and open mic sessions!

"The aesthetics create the perfect surroundings to url up and tuck into the best vegan brownie of your life" 2. Café Soya Venture a little further out and you will hit Chinatown – a prime location for tasty tofu goodness. Just by the name you can tell that Café Soya is aimed at vegans like me with an agenda for Asian cuisine. Be prepared for mock-meat paradise, as this cafe has a replacement

Falafel Munch

known to you ‘vegan fresh,’ Falafel Munch takes that all familiar combination of chickpea to another level. Bagging a wrap and a freshly pressed juice for only a fiver, this little takeaway is perfect for the student crowd. With each order made fresh to taste, the only flaw can be that Selly Oak is a little far from The Vale. But, trust me, this little eatery is worth the walk. If you start with these places, you can be sure of two things: a lot of over eating and perhaps a slightly smaller bank balance. But never will your fellow freshers say again – ‘vegans just eat greens.’

for every traditional Asian dish ies, there is definitely someyou can imagine. Chicken thing for every kind of substitutes are a familvegan. Even the iar face to all health fanatic vegans, but the veggies are in option to try seventh heav"Be prepared for vegan fish and en with a mock-meat even vegan ‘chickpea prawn toast tuna’ salad paradise, as this makes Café that leaves cafe has a Soya unique. you praisAlthough the ing the replacement for hoisin ‘duck’ plant based pancakes are gods for every tradional my particular chickpeas Asian dish you can favourite, I can once more. assure you that If, like me, imagine" if all you miss one thing you from those pre-vecan never get gan days is a Chicken right is vegan Chow Mein, this restaucheese, order their rant is the answer. vegan mac and prepare to be impressed. Just five mins away 3. Fressh Food from the centre off City Arcade, If you fancy a shopping trip into Fressh is a must. The Bullring, Fressh is the place to cure those midday hunger pains. 4. Falafel Munch With a menu varying from break- Extremely popular among the fast burritos, to burgers and brown- older veggie students but unbe-

Fressh

A Taste of Autumn: Cottage Pie

Food&Drink Writer Toby Fenton keeps things cozy with a comforting recipe Toby Fenton Food&Drink Writer

Cottage Pie (Serves 4-6) This simple, autumnal meal really hits the spot in the cold, dark evenings at this time of year! The addition of wholegrain mustard to the mash gives the dish a nice kick. Ingredients: For the cottage pie filling: 1 tbsp vegetable oil Small knob of butter 2 small onions, diced 3 large carrots, diced 3 cloves of garlic, finely chopped 500g beef mince 2 tbsp tomato puree 650ml beef stock (you could replace 150ml of the stock with red wine) A dash of Worcestershire sauce Salt & pepper For the mash: 4 large potatoes

50g butter Splash of milk 1 tbsp wholegrain mustard (optional) Salt & pepper Alternative version: Use sweet potato instead of potato. This is a more interesting twist on the traditional cottage pie! Method: 1) Preheat the oven to 200°C. 2) Heat a large pan/casserole dish over a medium heat and add the oil and knob of butter. Then when up to temperature, add the diced onion and carrot and fry until softened (this should take 5-7 minutes). 3) When the onions and carrots are softened, add the chopped garlic, and fry the garlic for a few minutes. 4) Then turn the heat up to medium-high, and add the beef mince, frying for a few more minutes until the meat is browned. 5) Meanwhile, peel and dice the

potatoes and add to a pan filled with boiling salted water over a high heat, until cooked (should take 8-10 minutes, depending on how big you’ve chopped the potatoes). 6) When the meat has browned, add the tomato puree and cook for 5 minutes to cook it out (note: tomato puree needs to be cooked

out properly, otherwise it leaves an unpleasant flavour to the dish). 7) When the tomato puree has been cooked out, raise the heat to high, add the beef stock (and the red wine if using), and bring to the boil, then leave on high heat for 5-8 minutes to reduce the liquid/cook out the wine.

8) When the liquid has reduced, the mixture shouldn’t be too wet. 9) Add the Worcestershire sauce and season with salt and pepper, and pour into a deep, ceramic baking dish, and allow to cool a little. 10) By now, your potatoes should be cooked. Mash the potatoes with the butter, and when mashed, add a splash of milk, the wholegrain mustard (if using) and season with salt and pepper. Stir to combine. 11) Add the mash on top of the filling and carefully spread the mash over the filling until flat and the meat is completely covered. Then using the back of a fork, create lines across the surface of the mash (see photo). 12) Then put the cottage pie in the oven, and cook for 30 minutes, or until the surface of the mash is browned. Then remove from the oven and allow to cool for 5 minutes before serving. Serve with seasonal vegetables.

TRAVEL

Friday 26th October 2018

@redbricktravel

A Student's Guide To: Paris Maddie Bourne Travel Writer

The city of love is not exactly equatable to a couple of beverages in the Bristol Pear, followed by a cheap night in Circo, before stumbling back down Dawlish in the early hours of the morning. But that does not mean students have to miss out on the magic of Paris: it just might mean you will come back from the French capital forever wishing you lived at the Eiffel Tower with a lifetime supply of fresh baguettes. And that is why Paris is so special. The city grips you, invites you in to experience a laidback life of meandering cobbled streets and staring for hours at unfathomably beautiful architecture. The romance of the city lingers long after you have left. And so does the hole in your bank account, some might say. But do not let the fear of food and accommodation prices in a capital city stop you from experiencing all that Paris has to offer. You can experience Paris, Bristol Pear-esque, bev in hand, at a totally student-friendly budget. Getting there on the cheap There is a website called Skyscanner, which should be the online version of your best friend. Skyscanner calculates the cheapest flights out of hundreds of flight providers, and makes sure you get some bang for your buck on your holiday. If you are lucky enough to be a little flexible with your dates then there is a handy little option on Skyscanner that shows flights to Paris across the whole month, meaning you can plan your holiday dates around the cheapest

days to fly. Get there on the cheap, and you’ll have more money to spend whilst hitting up the city. When you arrive in Paris, the best way to get around is via the metro. Trying to understand the assortment of different ticketing options to get around the city is comparable to trying to fathom just how you are going to write that dissertation - aka, not all that easy. However, there are two tickets that are worth taking note of. The ‘Paris Visite’ travel pass allows you to use all of the public transport networks in the city: the metro, tramway, bus, and the incredibly strange train services that are the RER and SNCF Transilien networks. You can buy a pass for anywhere between 1-5 consecutive days, and you are allowed unlimited travel per day in zones 1 to 3 (which is what you need if you’re just travelling in the city) or zones 1 to 5 (which is slightly more pricey but includes Disneyland). On average, two days in the capital with this pass will cost just under 20 euros. And the best part about this is that you are given a handy city and metro map – a lifesaver for first-timers to Paris – which includes wonderful discounts to many Parisian attractions. However, it is good to be able to know how to play the metro system in Paris. There is another ticket, the Navigo Découverte, which is a smart card. This is a week pass - and before you skip over this paragraph because you’re not in Paris for a week, think again. It might just work out cheaper for you to buy a week pass, even if you are only around for a few days. Every Friday, the passes for the following week are announced, and you might find the Navigo pass is actually cheap-

er than buying the 4-day ‘Paris Visite’ pass. The ‘Paris Visite’ pass would put you 38 euros out of pocket, whereas the Navigo week pass costs just 22 euros for all five zones. Money-saving tip right there! Where to stay on the cheap When booking a holiday, it is tempting to try and find the perfect hotel on one website and immediately book right away. Found a cracking deal on Booking. com for a city view double room at, ridiculously, a Parisian Hilton? We’ve all been there. However, it is always worth remembering that if you shop around on a few sites first, you might just find yourself with an even better deal. It pays to take time. Good websites include: Booking.com; Expedia; Agoda. If you just don’t know where to begin, think about the area you would want to stay in. Paris is confusingly split up into many a thing called arrondissements, which is basically a fancy French word for districts. If you take a second to look at a Paris map, it will become very obvious where the main attractions are, and therefore where are the most expensive places to stay. Avoid the 7th and 1st arrondissements like the plague: that is where the Eiffel Tower and Louvre reside. You do not want to be residing there. Instead, look towards arrondissements slightly further out, such as the 10th or 12th - don’t be fooled that they are ordered distancewise by number - the 10th arrondissement is actually a mere half hour walk from the Eiffel Tower. As for what kind of hotel to stay in, if you are ever in doubt, look up Ibis. The well-known chain has hotels all over the UK and further afield, and they offer the standard Ibis, Ibis Styles and even Ibis Budget hotels- all of which are incredibly cheap. They are found all over the place in Paris; when I visited the capital in September, our transfer service actually dropped us at the wrong hotel because there were that many Ibis’ across two streets. The best part about these hotels is that often you will often find an Ibis conveniently located right next to the main train stations in Paris, meaning you can roll out of bed and pop on the metro in under ten minutes.

What to do on the cheap Don’t shy away from the major attractions in fear that they are not able to cater for the cashstrapped student, because you will find that there are ways to make your time in Paris completely affordable. For example, the Eiffel Tower has a cheaper ticketing option of a walking ticket (you can tackle the 1,700 steps instead of the lift for a fraction of the price) and youth tickets include up to 24-year-olds. And now we revisit the good old ‘Paris Visite’ pass, because there are many discount to be found in the leaflet you are given when you purchase a ticket. You can find yourself on a sunset cruise, sailing along the River Seine, feeling the romance of the city light up as the sky turns dark. You will pass all the major sights, such as the Louvre, Musée d'Orsay and the Notre Dame, and end back at the Eiffel Tower whilst it’s sparkling. Ten euros well spent. Where to eat on the cheap Reckon you’d be able to eat with a view of the Eiffel Tower for 15 euros? I didn’t think so either, until I stumbled across the gem that is Café le Dome in the 7th arrondissement. Take a walk away from the Eiffel Tower, through the Champ de Mars park, turn left and you will find this

quintessentially Parisian restaurant awaiting your reservation. With burgers, steaks, pasta and more, you can munch away with a view of Paris’ biggest attraction sparkling. If you want to eat cheap as chips, the Parisian McDonald’s can be found in every major arrondissement (there is even one on the Champs-Élysées) and you can find yourself a culinary home from home with an added twist, as Paris likes to have wedges on the menu - and they are good. If you’re missing Selly? Safety first for this tip, so keep your wits about you when doing this one. If you are looking for a cheap bottle of wine to rival Aldi’s finest, sit yourself down at the foot of the Eiffel Tower in the evening and you will find a glass or two of red to liven things up. This is because there are street sellers at the base of the Eiffel Tower, carrying buckets of ice filled with wine and champagne, ready to haggle for a good bargain. Make sure you check the wine is definitely legitimate and sealed before you buy- and join in the fun with the hundreds of people that are enjoying a tipple as the tower sparkles. That is a view no Selly pub could beat.

Top Tips: Tipping Culture Jacky Sy Travel Writer

As an educated customer, most people believe it is polite to tip on top of satisfied service. However, tipping culture varies between regions. Generous customers therefore should not miss out on the following advice. Tips are not mandatory but expected among several countries. The most well-known is probably the US. Tipping culture was nurtured explicitly after the Great Depression. Earning low

income, labourers, especially in the service industry, expected 15-20% tips on top of the service charge. This tradition is still deeprooted in the US. For a group of customers, usually 10 or above, an 18% tip is fixed in several restaurants. In some Latin American countries, namely Mexico and Columbia, 10-15% of tips are widely expected. Interestingly, in Columbia you would be asked politely whether you are indeed leaving a tip. If you are unsatisfied by the service, simply leave 5% or even no tips as an indication of your dissatisfaction with

the service. However, bear in mind that although in some restaurants a 10% tip is mandatory, it is illegal to force somebody to tip under the Mexican law.

"Tips can be offensive or even illegal in some countries" Tipping culture is less intense in most Asian, African, and European countries, namely

China, Tunisia, Spain, Romania and Russia. Here, you can appreciate the service simply by leaving a small amount or asking the waiter/waitress to keep the change. In these countries tipping can be based on the rating of the restaurants. However, tips can be offensive, or even illegal in some countries. Japan insists good service is obligatory therefore they find it insulting to receive tips from customers. If you want to show your gratitude, a special envelope is needed as packaging. On the other hand, if you receive a tip in Mauritius, not only you and your

family would be humiliated, but there is also the possibility of going to jail and being pulicly shamed by the media. Tipping culture is different all around the world. Here in the UK, some citizens uphold the belief that it is satisfied under the national minimum wage, thus tips are optional. But for others, the phrase 'and one for yourself' is used comonly, so the bartender can either pour themselves a drink, or except the cost of a drink as a tip. Tipping culture, after all, is built upon mutual respect, appreciation and gratitude.

TRAVEL

Friday 26th October 2018

@redbricktravel

Best of Britain: Newcastle Marianne Holt Travel Writer

We need to talk about Newcastle - the city that has everything a student could possibly want without breaking the bank. It has so much more to offer than just Ant ‘n’ Dec and Newcastle Brown Ale. As your resident Angel of the North, let me tell you why you should say whey aye to Newcastle. Go see live music The Sage in Newcastle is my favourite venue in the world. As well as being the showpiece of the cityscape, it is also the heart of Geordie culture. World class

artists have graced this stage. This venue caters for fans of every genre of music, reflected in their listings that span from classical to techno. Newcastle is a city that especially shines at Christmasand the Sage are running a Classical Christmas series. Christmas movies such as Home Alone are being shown on the big screen with the score performed live by Royal Northern Sinfonia. My pick for this series is The Snowman, which is shown annually. The live rendition made me cry from start to finish. Christmas in Newcastle is defined by Fenwick’s Christmas display, it is one of the largest Christmas showcases in Europe, this alone is

worth a pilgrimage to the North. Art Although us northerners are famed for our wild nights out, and maybe even a potential lack of culture thanks to Geordie Shore, Newcastle is actually a cultural dark horse. The Baltic is a central space for contemporary art hosting a variety of up and coming and well established creatives. The exhibitions on display are always as captivatingly

weird as they are profound and intellectually engaging. Alongside the cities permanent galleries, it also hosts a plethora of cultural festivals. Newcastle is an ever-changing and expanding hub for cultural diversity. Last summer the city celebrated 'the pioneering spirit of the North East' with the Great Exhibition of The North - a programme that spanned 80 days. Millions enjoyed exhibits, live performances and innovative new artworks.

Hit the toon Newcastle is famous for its nightlife for a very good reason. In Bijoux, one of the city’s infamous treble bars, you can get 3 treble spirit and mixers for £5.50. The most prestigious club in Newcastle is Digital - it has been coined ‘The Fabric of The North’. Digital has won the award for the UK best club Sound System and ranked 11th Best Club in The World by DJ Mag's poll of 1000 of the world’s best DJ's. Digital hosts the most esteemed names in dance, and is also home to Newcastle’s most popular student night ‘Digital Mondays’. Who can resist when entry is only 80p and the drinks are only £1?

Year Abroad: Hamburg Rosie Crabbe Travel Writer

Ever since I applied to study English and German at university, I had known that a year abroad was on the horizon. However, the fact that I would be leaving the UK did not really sink in until I had my British Council placement confirmed last summer. I opted to teach English as a foreign language rather than study as I felt I needed a break from academia, and it was a great opportunity to gain work experience. As an added bonus, language assistants in Germany are only required to

work 12 hours per week, meaning plenty of time to explore the country’s culture whilst earning a reasonable wage. I was really excited to be placed in Hamburg, as despite loving Berlin, I have visited the capital several times and so wanted somewhere new. Hamburg is also Germany’s second-largest city and, after two years of calling Birmingham home, I knew I wanted to be somewhere with a buzz. My mentor teacher at the school got in contact and I found out that it was on the outskirts of the city. I was told that the ‘Wohnungssuche’ (search for accommodation) in Hamburg can be tricky but I was not prepared for just how challenging it would turn out to be. Preparing and arriving Over summer I contacted

several people about shared flats through the German equivalent of Spare Room, Wg-Gesucht, but with either no reply or a message to say that the room had already been filled. As the date of my flight approached, I became increasingly anxious that I would never find anywhere to stay. On 11th September 2017, at the crack of dawn I arrived at Stansted Airport, and some hours later, flew to Cologne for my induction course. After my induction course, where I met some lovely fellow assistants who were also working in Hamburg (special mention to Anna, Aoibh and Lauren!), I

thankfully managed to secure some temporary accommodation and was eager to explore my new home. As my working hours were not too demanding, I had plenty of free time to pursue my interests, some of which had fallen by the wayside with the demands of second-year assignments, socialising and society commitments. Working as a language assistant Being a language assistant in a secondary school was very different to anything I have done before, but it was a really positive experience. German schools start at 8am, so the early mornings took some getting used to. When I first arrived, the pupils were very interested in me, and asked lots of questions. I was impressed at the English ability of the children I was working with – one year 7 girl

put up her hand to say 'This isn’t a question, but you are cute', which was a great self-esteem boost. After having some time to settle in, I began to prepare lessons on a variety of topics, the first being my beloved Birmingham. I also set up an after-school English club, so that the children could learn through playing games, listening to music and trying British food (Marmite did not go down well!) The club was definitely one of the high points of my time at the school, because I had more creative freedom than in lessons, where set topics and grammar points were often needed for tests. Overall, I enjoyed teaching, but I am unlikely to pursue it as a career. Culture One of my favourite things about Hamburg was the range of art galleries. I particularly loved the Museum für Kunst und Gewerbe (Museum of Art and Design), which is similar to London’s V&A Museum but on a slightly smaller scale. For just €12, students can get a pass which allows you unlimited visits for a year, and I definitely made the most of it. Miniatur Wunderland in the Speicherstadt is also well worth a visit – it is the world’s largest model railway, and is really impressive. Planten un Blomen is a beautiful park in the heart of the city which hosts stunning concerts using fountains and coloured light in the summer months. Music The thriving music scene is also a big selling point for Hamburg – shortly after arriving in September I went to the Reeperbahn Festival, which takes place in the eponymous Red Light District of the city. The Reeperbahn has a seedy reputation, but the clubs and venues in the area are among the best I visited in Hamburg. Grosse Freiheit 36 is a club where The Beatles played some early gigs, and Molotow is an intimate indie venue, which also hosts brilliant flea markets. Food Feldstern is a very cosy and extremely reasonably priced restaurant located in the edgy

Karolinienviertel, which serves excellent veggie and vegan options. If you are looking for a hangover cure after a heavy night on the Reeperbahn, Pizza Bande sells handmade pizzas for €6. I would also recommend Vietnamese restaurant Quan Do, where you can go for delicious noodles and fresh juices. Contrary to stereotypes, Germany caters very well for meat-free diets, especially in cities, so I was more than able to maintain being Pescatarian whilst abroad. Now that I am back in Birmingham, I miss the variety of meat substitutes available in German supermarkets, particularly fake meatballs and tofu pieces from Lidl. I also miss having fresh Brötchen (bread rolls) every day, especially with Pflaumenmus, a smooth plum jam which is impossible to find in England. Overall experience On the whole I ended up living in four different flats in Hamburg – two of them for around two weeks, and two for about four months each – which was stressful to say the least. If I were to give advice to other budding language assistants, I would say that if you are able to, it is definitely worth travelling out to the country before your placement starts, as sorting accommodation is easier when you can visit places in person.

Although moving around and searching for flats was draining whilst I was doing it, I can look back on the year with a sense of achievement knowing that I dealt with a difficult situation independently, and in a foreign language. I was also hugely grateful to have a network of really supportive friends in Hamburg. The nature of my job meant that meeting Germans of my own age was not always easy – differing from studying abroad where you are guaranteed to meet fellow students – but I did manage to catch up with my German friend Michelle several times, whom I met in my second year at Birmingham and lives on the outskirts of Hamburg. I also went to visit her at university in Bayreuth, in the south of Germany, which was one of the highlights of my year. Whilst in Hamburg I travelled to Bremen, Berlin, Lübeck, Schwerin, Lüneburg and Dresden over the course of the year, as well as visiting a friend in Italy! If you have the opportunity to study or work in the EU, I would thoroughly recommend doing so whilst UK students are still eligible for Erasmus grants! I have definitely grown as a person as a result of my experiences, and have many fantastic memories to look back on. A year abroad is full highs and lows, but then so is any year of your life.

LIFE&STYLE

Friday 26th October 2018

@redbricklife

Cute Costume or Cultural Appropriation? Isobel Doyle questions whether the outrage sparked by particular Halloween costumes is justified or simply an exaggeration Isobel Doyle Life&Style Writer

Following the recent controversy of Fashion Nova releasing a Geisha costume this year, the issue of cultural appropriation has never been more prudent. The ever-growing anxiety of unconsciously insulting another culture can only be inflamed on a holiday rooted in dress-up and fantasy, and in a society which is becoming ever more aware of diversity and cultural norms. Consequently, some organisations have dedicated themselves to educating individuals on how to avoid offence at Halloween. This is certainly true for the Carolina Indian Circle, an organisation which prides

itself on ensuring proper education of Native American cultural heritage at the University of North Carolina. On various social media platforms, including Twitter, a promotional poster titled ‘My culture is not a costume’ was posted, detailing a discussion on cultural appropriation - which was held on 23rd October this year. The kickback from institutions such as these can only be expected given the extensive evidence of cultures, specifically Native American Indian, being stereotyped and hyperbolised. Similarly to Fashion Nova, the clothes company Yandy came under heavy fire in late September after creating an entire category of Fashion Nova

‘sexy Indian costumes’, only a week after being forced to remove an equally sexualised ‘Handmaid’s Tale’ costume. Evidently, the fashion industry’s consistent failure to promote the dignity of minority cultures is a direct result of the caricaturing that is, inaccurately, believed to be required in order to fit in with the melodramatic premise of Halloween. It seems impossible not to point out here that the major issue of these fashion controversies were their sexualisation by the manufacturer, which subsequently insulted the cultures they were stylising. Would it not be fair to say, therefore, that Halloween propels aspects of society that attack equality and diversity? The Independent certainly seems to think so. Their report ‘How not to dress like an offensive idiot on Halloween’ effectively summarises the pressure placed on, primarily white, young females to dress in a way that is offensive to both the cultures they are impersonating, and to themselves: 'I’m a white lady but the only thing I can think of to dress as is a sexy Native American.' Some may argue that, in reality, accusations of cultural prejudice that are closely intertwined with this holiday create unnecessary fear surrounding what should be a celebration. One Twitter user went so far as to say 'some costumes might be in poor taste, but there is no such thing as cultural appropriation”.

"Would it not be fair to say, therefore, that Halloween propels aspects of society that attack equality and diversity?" Indeed, the definition of cultural appropriation seems to be vague at best. The Cambridge English Dictionary defines it as: 'the act of taking or using things from a culture that is not your own, without showing that you understand or respect this culture.' The lack of clarity with regards to what qualifies as demonstrating proper ‘understanding’ and ‘respect’ has led many on social media platforms to question what is actually acceptable on Halloween. For instance, a Twitter user created a Yes/No online poll earlier this month, seeking to gain a consensus on the acceptability of three different outfits. The results were as follows: Fortune Teller: 62% Yes 38% No Greek Goddess: 85% Yes 15% No Belly Dancer: 69% Yes 31% No It would be easy to conclude

that, from this, the majority of people believe the issue of cultural appropriation to be overexaggerated, or even non-existent. In fairness, the concept of costume choice carrying the weight of these wider social issues does, ostensibly, seem a far stretch. However, an age demographic conducted by the National Confectioners Association in regard to dress-up at Halloween, found that half of millennials, in comparison to just 13% of the rest of the population, planned to wear a costume in 2014. Clearly, the target audience for costume wearing has evolved from an originally much younger base to focus on teenagers – specifically females, as shown in the sexualisation of a large percentage of Halloween based clothing. The seemingly arbitrary association of cultural appropriation – which is predominantly displayed through sexist methods with the October holiday, is undoubtedly an issue that has more complex social origins and implications. But, in isolation, is Halloween really such a danger? Are we looking to find some sort of conspiracy in order to fit with the unmistakably turbulent times of cultural and sexual identity? Should we just, according to an anonymous Twitter user, 'be whatever we want to be, it's f***ing Halloween!'

Top Five Ways to Live More Sustainably

Life&Style Writer Elizabeth Winter shares some everyday tips to help the environment Elizabeth Winter Life&Style Writer

A recent report from the Intergovernmental Panel on Climate Change expressed that the earth is on course to be 1.5C above pre-industrial temperatures by 2030. This increase will generate a severe risk for millions of people, animals and habitats across the world, proving it is the duty of political leaders to promote change. However, equally as important as the politics surrounding climate change are the lifestyle choices made by each individual that, collectively, have the greatest impact on this planet. To demonstrate how simple it is to implement some small gestures into your routine that will have a positive impact on the ecosystem, here are five ways to live more sustainably.

Animal Agriculture is now labelled the second biggest contributor to CO2 emissions, responsible for more than all of transport combined. Not everyone has to go vegan, rather, trying some new plant-based recipes is a great way to invoke some positive change whilst enjoying some new food.

2016, over one million tonnes of new clothing was purchased in the UK – an increase of 20% since 2012. The fashion industry’s contribution to landfill is ever-growing and, therefore, it is important to recognize that recycling or donating old clothes is also key in creating a more sustainable wardrobe.

2. Invest in a reusable water bottle

"The greatest thing and individual can do for the planet is to stop thinking like an individual"

It seems that the glamourous Instagram posts of people drinking Fiji water has influenced many people to opt for bottled over tap water simply because it ‘tastes nicer.' This has generated an unsustainable demand for plastic bottles, many of which will end up in landfills or the ocean. If the taste of tap water is a problem, try a filter jug to put in the fridge, or a water bottle with a filtration system already inside.

thing that’s only used for a few minutes, the years of damage generated seem easily avoidable. When at a restaurant or club, ask for your drink without a straw, alternatively reusable metal straws can be purchased online, making drinking through a straw guilt-free.

5. Continue to educate yourself

Although dismissing the issue of global warming might seem

like the easier, stress free option, the greatest thing an individual can do for the planet is to stop thinking like an individual. The Earth is home to billions of people, the majority of whom will suffer from the effects of climate change far more than those reading this article will. Sourcing and utilising the knowledge about climate change and what can be done to help is perhaps the most vital component to living a sustainable lifestyle.

Alexas_Fotos

4. Ditch the straws

If the heart-breaking pictures

1. Start eating more plant- 3. Resist the fast-fashion of turtles suffering from plastic based foods trends embedded into various orifices It has been said a thousand times how damaging the meat and dairy industries are, but it is partly because changing a small part of the average diet, even if it is for one meal each day, will have a substantial impact on an individual’s carbon footprint.

With the fashion industry creating a rise for waste in clothing, it is important to remember that buying excessive amounts of clothing that are likely to only be worn once or twice is just as damaging as any other exploitation of the planet’s resources. In

was not enough to off-put the use of straws, the fact that they are in the top ten most found items in beach clean-ups should. Billions of plastic straws are used each year, the majority of which cannot be recycled due to the various materials inside them. For some-

Vogue

LIFE&STYLE

Friday 26th October 2018

@redbricklife

ASOS Release Unisex Line ‘Collusion’

India Alldred explores ASOS' progressive new clothing range set to challenge gender boundaries India Alldred Life&Style Writer

Popular clothing brand ASOS have recently launched 'Collusion', their new line aimed at Gen Z. The new line is aimed specifically at 16-20 year olds, and is deemed 'built for a new generation united in their pursuit for inclusivity and representation'. And pursue inclusivity they do, with the images for each item featuring a male and female model. The six founding members are all examples of the exact demographic they are aiming the range at, a group of innovative, fashion forward individuals. The group of collaborators consists of students, stylists, YouTubers, authors and activists. Each creator contributes a different element, voice and audience and the diversity within the group is reflected in the brand. Knowing the line is created by young people is comforting, and there is a sense of security in knowing that the brand you’re wearing was created by people who truly care about the message they're sending out. Paired with the clothing line is a short YouTube campaign, depicting 100 people who turned 18 this year. The six minute film, directed by

Dan Emmerson through production company Somesuch, captures the teens in their hometowns of London, Glasgow, Birmingham and Brighton. It focuses on a select few’s stories, posing the question 'What do you wish for in the year you come of age?' Their answers touched upon the trials and tribulations of growing up in this generation and why that is both easier and harder than growing up, say 50 years ago.

“Each creator contributes a different element, voice and audience and the diversity within the group is reflected in the brand”

who will wear it. This is reflected not only in the fashion-forward, straight off the runway style, but also in price. T-shirts start at £5, and patterned smock dresses are priced around £20, making this a good quality, bargain range. The social implications of this new line are huge. Young people having a key role in creating and marketing a collection for a brand as established as ASOS is a huge step forward in the older generations taking young people more seriously in terms of

entrepreneurs and abolishing the idea of millennials and Gen Z being lazy. Not only this, but it shines light on a diverse range of people, allowing for a normalisation of people of different social, ethnic and sexual identities to the majority. The collaborators are able to self-represent in a way they want, instead of having an identity given to them by others.

ASOS

Life&Style's Alice Gawthrop discusses how Veet is the latest culprit to contribute to the 'pink tax' phenomenon Life&Style Writer

The hair removal industry has always been subject to some debate, whether that be over the use of adverts that feature women demonstrating razors on legs that are already smooth and hairless, or over the whole concept of hair removal in the first place. Now, with the introduction of Veet Men, a new question is raised: why on earth is there a separation of hair removal products for men and women? The Veet Men collection is currently limited to only a few products, but why does it need any at all? If the only difference between Veet Men and Veet is that the colour scheme for Veet Men is black and orange as opposed to Veet’s traditional pink colour scheme,

then surely there is no need for these separate categories. The idea that hair removal needs to be made more ‘manly’ by changing up the colours is surely laughable. Arguably, men’s body hair is typically thicker and coarser than women’s, which is a possible reason for the separation. However, Veet Men In-Shower Hair Removal Cream has almost the exact same ingredients as Veet’s In-Shower Hair Removal Cream for women. There only seems to be two clear differences between the products. The first is that it seems only the women’s product is scented, because apparently only women like to smell nice? And the second is that if you’re buying these products at Boots, you can expect to pay £6.99 for Veet Men (150ml) as opposed to £7.49 for the same amount of the women’s prod-

Millie Gibbins Life&Style Writer

1. MindFi This stress-reducing app prioritises good mental health. Regular mindfulness improves focus, helps you sleep and decreases anxiety and stress which means you can be more organised in your own mind and carry this on through to your studies. MindFi is great for beginners, is completely free and doesn’t encourage a subscription service - perfect for a student budget. It encourages you to practice mindfulness for short periods five times a day and fits naturally into your daily routine as it encourages you to practice with your eyes open. Furthermore, it gives you a ‘deep work’ mode including sound effects that improve your focus, and calls you out for getting side-tracked if you exit. It is a great app for staying relaxed and maintaining a good meditation routine.

2. My Study Life A good calendar app helps you stay on top of your lectures, appointments with tutors, society events and every other activity in your life. My Study Life is built with students in mind and is completely free. It helps you keep on track of your busy schedule and lets you put in exam dates and assignment deadlines. It tells you how many things you have to do tomorrow and what tasks to complete before then, keeping you on track and ahead of the game

3. OnTrees

As for the clothing line itself, it features a wide range of on trend works and statement pieces like unisex t-shirts and accessories. It cannot be stressed enough how well these creators know their audience, and it shows that the range is designed by those

Does the World Really Need ‘Veet for Men’? Alice Gawthrop

Apps to Keep You Organised

uct. This is a phenomenon ed to be hairy in order to be known as the ‘pink tax’, in ‘manly’ if they’d rather not which women’s versions of the be. same product as men (in which There is a lot of hair-relatthe only notable difference is ed stigma in this world, wheththat the women’s verer it is disgust aimed at sion is pink) costs women for having more for no apparhair at all, or the ent reason. shaming of men Another for engaging in Veet Women: explanation for what is typically the separation seen as the fem£7.49 is that most inine activity of hair removal body hair Veet Men: creams have removal. Maybe been traditionif all hair remov£6.99 ally marketed al products were towards women, unisex, we could and a step towards remove this stigma unisex products may by normalising those be to first normalise the idea men who feel more comfortathat some men prefer to be ble with smooth skin and taksmooth and hairless. If women ing some of the pressure off shouldn’t be expected to be women who feel they have to inherently hairless if they don’t subscribe to society’s expectawant to be, then by that same tion that women have no hair token men shouldn’t be expect- except on their heads.

If you are bad at budgeting and handling your money this one is for you. We all know the pain of the student loan dropping and checking back a week later only to have spent half of it on library café coffees and a few too many 'treat yo’self' moments. OnTrees is the perfect app for monitoring your money and reigning in your spending habits. OnTrees links to your bank account and shows you all your expenses and income in one place. You set your budget and then OnTrees sees how you are sticking to it and tells you where you’re overspending. Your bank account will love you for downloading it!

4. Forest At £1.99, this app keeps you productive and on-track by stopping you looking at your phone. The concept is simple, you set how long you want to concentrate for and press the plant button. Then you ignore your phone while your seed grows in your virtual forest. However, if you click off the app during this time the tree dies. It lets you link apps you may need that do not count as distractions and create short breaks in your allotted time. The best part is the app works with the charity Trees for the Future that plants real trees. You earn coins when you plant trees which you can then spend to plant a real tree through the app. It is such a rewarding app and keeps me focused when I am doing work or in lectures by stopping me doing endless scrolls through social media.

See online for full version Vodafone

SCI&TECH

Friday 26th October 2018

@redbricktech

images-free.net

Twelve Years

Charlotte Begley Sci&Tech Writer

Wikimedia Commons

Following the IPCC's recent report, Sci&Tech Editor Will Nunn explores the reality of climate change and what the future has in store... Will Nunn Sci&Tech Editor

We have 12 years left. This is the claim of the UN’s Intergovernmental Panel on Climate Change (IPCC), which released a report earlier this month stating that humanity must significantly reduce its impact on the planet within that timeframe to minimise the dangerous effects of global warming. ‘Minimise’ is the key word here. There is not a great deal of good news regarding climate change and this report puts things in clear perspective. According to NASA the Earth’s current global temperature stands at around 0.9°C, following a decade of the highest temperatures since records began in the 1800s. This puts the world at almost a full degree warmer than pre-industrial levels, while heating up at a rate which has not been seen for a millennia. It is common knowledge by this point that humans are the root of the problem. We emit thousands of tonnes of carbon dioxide into the atmosphere annually so levels are constantly growing. As levels of this gas increases, the ‘greenhouse effect,’ by which solar radiation is trapped within the atmosphere, grows ever more severe. Though some figures from recent years depict a slow in the growth of emissions, the nominal quantities of emissions are still very high. Humans still burn huge amounts of fossil fuels, continue to destroy habitats like the Amazon rainforest which are crucial for removing carbon dioxide from the atmosphere and operate deeply inefficient industries such as meat farming. In their report, the IPCC pushes for unprecedented expense and effort to limit further warming to a 1.5°C limit. Their suggestion is not a preventative measure: this is damage control. The past year alone has given us a flavour of what’s to come. One only has to point to Hurricane Florence in the USA, forest fires across North America, flooding in Asia and droughts across the world to gain an understanding of where the situation is headed. As warming continues, these types of disasters will only intensify; the storms will be stronger and the droughts more severe. With around 40% of the world’s population living within 100km of the coast, the threat of sea level rise due to polar ice melting is colossal. Long term, we are

already guaranteed at least a metre of sea level rise (best case scenario), which could be still catastrophic for countries like Bangladesh where vast quantities of farmland could be flooded. Climate refugees are going to become a reality one day. The Paris Agreement, signed by 195 UN member states, set out global aims to maintain the average global temperature to between 1.5 and 2°C. In urging a reduction in warming to a 1.5°C limit, the IPCC is hoping for a best case scenario from the agreement’s already ambitious target range. To achieve this goal the nations of the world need to cut their emissions down by 40-70% by 2050, and then drop to near zero by the end of the century. Achieving this aim requires a huge shift in global infrastructure, away from dependence on fossil fuels and towards renewable sources with lower emissions, and this comes with a huge price tag. The world does not have the infrastructure in place to meet its energy needs in this way, so these resources would need to be built. A separate IPCC report from 2014 estimated that it would require $13 trillion in investment through 2030 in order to stabilise greenhouse emissions, but the longer we hesitate before taking serious action the higher this figure rises. Matters are complicated by predictions that reducing dependence on fossil fuels will reduce the rate of economic growth, through rising energy prices among other factors. Long term, however, the benefits of taking action now are immense, dramatically reducing the extent of a host of problems stretching out into the future

"The nations of the world need to cut their emissions down by 40-70% by 2050" A spanner was thrown into the works of the Paris Agreement in 2017 when President Donald Trump announced he would be pulling the USA out of the accords. As a significant contributor to the world’s emissions, and therefore bearing a sizeable chunk of the burden of reduction set out in the agreements, losing America was considerable blow. The USA is set

to officially leave the agreement in November 2020. President Trump has a history of climate change denial, and his administration’s approach to key issues like sustainability and fossil fuels comes at a deeply unfortunate and sensitive point in history. His administration displays textbook traits of climate denial and scepticism, typically based on rocky scientific grounds. In his 2012 book The Hockey Stick and the Climate Wars, climatologist and geophysicist Michael E. Mann details his ‘six stages of denial.’ Beginning at denial of any carbon dioxide increase and moving through phases of denying man’s impact, to denying the scale of the threat, to justifying the consequences as beneficial, to admitting it’s too late, Mann’s stages have been on display in full force over recent years. Many notable examples can be seen within the Republican Party over the weeks since the IPCC report. In 2012 Trump tweeted ‘The concept of global warming was created by and for the Chinese in order to make U.S manufacturing non-competitive,’ this is classic stage one denial: claiming carbon dioxide is not actually increasing. On the 15th of October, Trump gave an interview with 60 Minutes in which he was pressed on his views on climate change in the wake of the series of large scale storms and hurricanes America has been hit by this year. ‘I don’t think it’s a hoax,’ he explained, ‘but I don’t know that it’s manmade.’ This is another stage: accepting there is warming but disputing a human cause. Trump went on to claim that climate scientists have a ‘very big political agenda,’ arguing that there are other scientists who would side with him. A typical study places the number of scientists who believe in man-made climate change at around 97%, so siding with the 3% is not an equivalent position. Attempting to undermine consensus and objective evidence in this way requires its own deeply blinding political motivation. Trump’s insistence that we cannot be sure of the real cause of climate change, as well as a consistent implication that things may change back on themselves, becomes more deeply concerning when you consider his environmental policy. There have so far been two administrators of the Environmental Protection Agency (EPA) under his presidency, both with strong links the fossil fuel

Creature Feature: Pigeons with a Twist: The Kererū

industry. He has been fixated on rolling back Obama-era environmental regulations, opening up increased consumption of fossil fuels and reducing protection from pollution and exploitation.

"Most governments are simply not pushing hard enough" Action to make the necessary change to our world is only feasible if backed by motivated political action. Trump’s administration, though more destructive in its efforts, is not unique in its lax approach to solving this problem. Most governments are simply not pushing hard enough. This issue exists on a timescale far outside of the typical four or five year term of most political parties, which makes it a tough issue for them to approach effectively. Sinking funds into the projects required will likely not yield significant positive results until long after the next election, so parties shy away from making the necessary sacrifices in favour of more immediate vote winning policies. Developing nations provide another hurdle, since it is ethically difficult for Europe or America to turn to emerging powers like China and India and demand they avoid using the very same resources to achieve their own economic maturity. If we fail to limit warming to 2°C, the long term consequences are deeply troubling. Each rise of a fraction of a degree contributions to an increased committed sea level rise; putting the homes of millions and large amounts of vital farmland at risk. Supplies of clean drinking water could one day be under threat, and crop yields to feed a growing global population will fall. The world needs serious action right now. The IPCC’s 12-year deadline has caused a more significant media stir than similar reports and warnings in the past, so with some luck the push we need might come soon. Human beings excel at innovation and overcoming unlikely odds, so I take some comfort that we simply cannot know what bright ideas or fixes lie around the corner. As it stands we have made some good steps, but significant leaps are still needed to achieve the change we need.

Recently voted New Zealand’s bird of the year by wildlife conservation group Forest and Bird, kereru (Hemiphaga novaeseelandiae) are the resident pigeons of the country. Their size and shape are similar to that of an English wood pigeon. However, their colouring is somewhat more striking. As opposed to the typical grey of the pigeons regularly seen in England, the kereru are iridescent green, bronze, and purple colours, with what the New Zealand Department of Conservation describes as a white chest that has the appearance of a ‘smart vest’. Their penchant for fermented fruit gives them some interesting quirks; known to fall out of trees after becoming intoxicated from the alcohol such a diet contains, they have quickly gained a reputation as ‘clumsy, drunk, gluttonous and glamorous’ according to Forest and Bird. In some cases, wildlife centres take in particularly inebriated birds as a precaution due to their vulnerability to predators when under the influence. Kereru, whilst an entertaining bird for the residents of New Zealand, are vital to the country’s ecosystem. They are the only endemic bird with the ability to eat the fruit of native karaka, miro, tawa and taraire plants whole. This allows for the dispersal of seeds across the country, maintaining a variety of plant species and forest environments. Therefore, the loss of these birds would have massive implications regarding the landscape of New Zealand. Though not currently an endangered species, kereru populations are known to be struggling in regions with poor predator control. This has led to concerns regarding local extinction, and as a result conservation efforts are being made to help maintain the stable populations seen at this point in time. It is the hope of many that these birds will remain present in the colourful and valuable selection of wildlife of New Zealand, continuing with their antics and brightening the lives of local residents

SCI&TECH

Friday 26th October 2018

@redbricktech

Stone Man Disease: Modern Medusa An overview of a genetic disorder with petrifying effects Francesca Benson Sci&Tech Editor

In Ancient Greek mythology, those who looked upon the face of Medusa were turned to stone. One may think that a fate like this would be confined to legend. Unfortunately, Fibrodysplasia ossificans progressiva (FOP), also known as 'stone man disease,' makes it all too real for those affected. Bones are formed by a process called ossification where cells known as osteoblasts lay down bone material, often using cartilage as a scaffold. Usually, in humans bone growth begins in the fetal stage and ceases by the age of 25. However, in those suffering from FOP this process never ceases, turning connective tissues such as muscles and tendons into bone. This causes many problems, making it difficult to move, eat, or breathe. Progression of the dis-

ease may even cause limbs to become frozen in place, meaning people with FOP often use wheelchairs by around age 20. Efforts to remove the extra bone growth surgically are futile, as tissue trauma only serves to stimulate the formation of more bone in the area damaged. The average life expectancy for those with FOP is 40 years old, with deaths most commonly due to difficulty breathing.

"The disease has no cure at this point in time" The cause of FOP is a genetic mutation, which was discovered in 2006. The ACVR1 gene is key in skeletal development and repair, coding for a bone morphogenic protein (BMP) receptor. This gene is usually deactivated after the fetal stage of develop-

ment. In those with FOP it continues working throughout their lives, sending a signal for bones to grow during cell death. Children with the disease appear to have malformed big toes, and FOP usually begins flaring up before the age of 10. The disease has no cure at this point in time, although there are treatment methods to ease the suffering of those with FOP such as the use of corticosteroids and efforts to prevent injury. If you are worried that you may have FOP, the chances that you do are incredibly slim. According to current estimates there are only 0.5 cases per million people, making FOP one of the rarest diseases known. The low number of people confirmed to have FOP make clinical studies to find a cure difficult to organise and carry out. Charities such as FOP Friends continue to help fund efforts to understand and fight this debilitating disease.

Wikimedia Commons

Imogen Claire discusses a new tool for visualising hate on Twitter Sci&Tech Writer

The Exploring Online Hate dashboard is a latest charge against the continuous onslaught of spiteful and negative behaviours perpetuated by Twitter users, which transforms their activity into data patterns in real time. It is a collaboration between the New America Foundation and the Anti Defamation League. The tool initially identified 40 'seed' accounts that were independently selected by a board of experts. These 'seed' accounts are those that frequently post and proliferate hateful content towards marginalised demographics, and from these the researchers used Twitter APIs to collect the followers of each account altogether. These follower accounts were grouped and ranked by the number of 'seed' accounts they follow, totalling approximately 1,000 accounts monitored by the dashboard. Interestingly, in order for this project to work effectively, the list of these accounts will

never be made public in case the accounts change their behaviour making them harder to track or deleting and re-opening an account to remove themselves from the grouping. If you visit the Exploring Online Hate site, you can visualise what these people are tweeting about and sharing to wider audiences, which in the deluge of content of our own private social media traps would be near impossible to do otherwise. At the time of writing (09:54 on the 17th of October, to be precise), the accounts are sharing President Trump's tweets about Stormy Daniels, engaging with Republican candidates' accounts and talking about articles published by Breitbart, National Review, The New York Times and American Greatness. The top hashtags are #texasdebate, #azsen, #txsen and #voteredtosaveamerica. Evidently, the groups spreading hateful content is highly politically charged. The new dashboard dovetails with Facebook's announcement that it will update its criteria for false information to

be far more rigorous than during the 2016 elections. In contrast, these tools will be made publicly available so that Facebook users can help stem the tide prior to the US midterms next month. Regarding this arena of fair speech and false information, collaboration between human and automated filters is very important, as delineated by a new study by Pew Research Centre. Their conclusions found that 47% of Americans surveyed could identify a social media bot from a legitimate account. This is a significant decrease from their study in December 2016, in which 84% of Americans said they would know the difference between real and fake news. 34% of respondents had never heard of bots, and there is a considerable divergence when it comes to age - 77% of 18-49 year olds were confident they could tell a bot from a person, compared to 58% of those aged 50-65 years old. The participants generally deemed that bots were malicious irrespective of ideology, however. Just recently, Twitter has published over 10 mil-

This Week in Sci&Tech... A piranha-like fossil has been unearthed in Germany that is thought to be the earliest known specimen of a flesh-eating fish. It is around 150 mill i o n years old, dating back to the Jurassic e r a . Other fish fossils in the area had chunks missing from their fins.

Exploring The Data of Online Hate Imogen Claire

lion tweets sourced from election interference campaigns run by 4,611 accounts, with the majority of the work authored by the Russian Internet Research Agency. 2 million GIFs, video and Periscope livestreams are also counted among the offending content from 2016 onwards, released purposefully to encourage ‘open research and investigation’ by a diverse range and scale of external analyses heading into the future rather than the immediacy of the November midterms. Head of Site Integrity Yoel Roth explained, ‘We strongly believe that this level of transparency can enhance the health of the public conversation on the internet.’ Conclusively, these tools to root their content out amongst the masses will only become increasingly critical in digital politics.

European and Japanese space agencies have joined forces to launch a mission to Mercury. The BepiColumbo spacecraft will take seven years to reach the planet and carries two satellites to study the planet and its magnetic field. Former leader of the Liberal Democrats and Deputy Prime Minister Nick Clegg is now the vice-president of global affairs and communications at Facebook. Chief Operating Officer of the company, Sheryl Sandberg, has said that the company needs 'new perspectives to help us though this time of change.' Drought and heat waves caused by global warming and climate change are predicted to cause a shortage of barley crops, an essential ingredient in beer. Consumption around the world is forecast to drop by 16%, and prices could double in some regions. Research funded by the Bill and Melinda Gates Foundation has developed a condom that self-lubricates when it encount e r s moisture. T h e slipp e r y effect is caused b y hydrophilic polymers bound to the latex and it is hoped that this will reduce breakage and encourage wider usage of condoms.

Images: Silk666/Wikimedia; Wikimedia Commons; Pexels

SPORT

Friday 26th October 2018

@redbricksport

Health&Fitness: Is the Fitness Industry Becoming Too Aesthetically-Driven? Alex Kirkup-Lee discusses the influence of the fitness industry on a potentailly unhealthy body-image ideal, and how aesthetics may be prioritised Alex Kirkup-Lee Sport Writer

The desire to train for aesthetic purposes is not new. Since the first diet program, Weight Watchers, opened in 1963, emphasis has been put on appearance rather than actual physical and mental health. Weight loss has long been deemed as the ultimate mark of success, especially for women. Clients are weighed weekly to see if they have lost enough weight, and before an after pictures reinforce weightloss, rather than athletic ability, as the ultimate goal. We are constantly reminded by society that women are supposed to be thin and men are supposed to have muscle. Female programs and nutrition are orientated around weight loss and calorie counting, whereas men’s nutrition is based on building muscle. This creates a society where we are striving to achieve an image that is impossible for many to achieve. This can have profound effects not only on physical health but mental health too, as people feel disheartened that often however hard they try their body image is not ‘perfect.'

"Fitness no longer seems to be measured by how far you can run, or how much weight you can lift, but by how many likes you can get on a half-naked picture"

Social media has a huge impact on the fitness industry. In a way, the rise of Insta-fitness personalities is positive because it makes fitness accessible for all, and influences others to be active. However, in many cases Instagram stars do not have any qualifications but rather good genetics and good looks, which enables them to have a strong following and therefore a large influence. It has become completely normal to scroll through your feed and see pictures of half-naked people, showing off their abs or their bum, creating a completely false sense of what being fit and healthy looks like. Fitness no longer seems to be measured by how far you can run, or how much weight you can lift, but rather how many likes you can get on a half naked picture. This hugely idealised image of attractiveness is unachievable for most and can result in increased negativity, depression and anxiety. Bodybuilding competitions encourage training for appearance rather than strength or endurance. Although competitors are ‘toned’ and have a six-pack, this isn’t necessarily healthy. Having a social life is virtually impossible, as competitors have to stick to a strict diet and training regime. This creates an unhealthy relationship with food as competitors will often starve themselves and dehydrate their bodies before the competition, and then binge eat after. Yo-yo dieting can have a negative effect on your athletic performance, making you look good in the short term, but losing strength and skills you’ve gained in the long term. It has also become almost essential for women to have breast implants if they want to succeed in the bikini fitness category. Why should we

Alexandr Podgorchuk/ Klops.ru

allow others to rank and put a number on how ‘good’ they think you look?

"Although [bodybuilding] competitors are 'toned' and have sixpacks, this is not necessarily healthy" Emphasis is also placed on speed: with people’s lives getting busier and busier and individuals often now having multiple jobs or side hustles, people do not want to be spending hours in the gym all year round. They want results fast, and we are offered programs that allow us to achieve a ‘summer body in 4 weeks’. People will often just train to in order to look good for a short period of time on holiday, not bothering to make fitness a lifestyle but rather a temporary activity for a short-term goal. We are surround by diets and detoxes and supplements that we cannot even pronounce, promising to give us the body we desire in an inconceivably short space of time. Unfortunately, many fitness companies are just trying to take your money by making you believe a supplement will help you ultimately achieve your goals, when in reality this is probably only the case if combined with the right training program and the right diet. However, training for aesthetics is not all bad, and if the thought of looking good naked is encouraging people to go to the gym rather than sit at home or go out drinking then maybe it is not having a completely negative impact on society. Instagram models can be helpful, inspiring people to workout and enabling anyone to have access to training ideas, as long as they realise that these workouts are generic, and alone will probably not allow you to achieve the ‘perfect’ body which you may believe they themselves have. Aesthetics and health do not always have to be separate entities because you can train for your health and enjoyment at the same time as striving to look good. But ultimately, appearance should not be the be all and end all of fitness, and simply training, enjoying what you are doing and feeling good about yourself should be the main priority.

Lorna Jane

"The current media ideal for women is achievable by less than 5% of the female population – and that's just in terms of weight and size. If you want the ideal shape, face etc., it's probably more like 1%" (Fox,1997: Social Institute Research Centre)

Interested in writing for us? email us at sport@redbrick.me

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SPORT

Friday 26th October 2018

@redbricksport

Man United Weigh In as Women's Where's La Liga Football Grows Jacob Davies looks at the introduction of Manchester United's brand new team to the women's game this season Jacob Davies Sport Writer

Twitter / @ManUtdWomen Five games into their debut season in the Women’s Championship, Manchester United Women sit second in the table having adapted rapidly to life in England’s second tier. Following an impressive 12-0 demolishing of Aston Villa in the opening game of the season, Casey Stoney’s side went on to record 5-0 and two 3-0 victories against London Bees, Sheffield

United and Charlton Athletic respectively along with a goalless draw with Durham to maintain an unbeaten start to the 2018/19 season. This blistering start to the campaign justified the necessity for a brand as large as Manchester United, to re-establish their women’s team following its controversial disbanding back in 2005, as the women’s game as a whole continues to grow in popularity and importance year on year. The Women's Super League (WSL) has been constantly evolving since its inception back in 2010, with this year being no exception. The top tier has expanded to include 11 sides who are now full-time, professional and required to meet strict FA licensing criteria. This criterion ensures that these clubs also provide an academy in order to encourage the expansion of the women’s game. Similarly, the second tier has been rebranded from what was previously known as the WSL 2 to the new Women’s Championship. This tier includes 11 part-time teams, including Manchester United Women. Changes such as these close the gap between the men and wom-

en‘s side of the game, as the WSL is beginning to mirror the Premier League in name and format more and more. Further evidence of this can be seen in the rebranding of the women’s third tier which has become the National League, just as the semi-professional fifth tier is known in the men’s game.

"The WSL is beginning to mirror the Premier League more and more" Such comparisons suggest that, with continued effort from the FA and its many branches, women’s football can earn rightful equality alongside men’s football. Abroad, the New Zealand and Norwegian football associations have been progressive in their actions to equalise pay between both the men and women’s national teams. Some examples of this equality can already be seen in English football too, as East Sussex side Lewes FC

brought in equal playing budgets for both its male and female teams in July. The change has seen success come to both squads, as the men earned promotion to the Isthmian League Premier Division (seventh tier), whilst the women achieved a place in the Women’s Championship, where they will face Manchester United Women later this season. Lewes allow both teams to share the same pitch as well, thus equality is encouraged in all aspects of the club. Lewes FC are proof that the British population are becoming more interested in women’s football amd as demand is rising for improvements in the women’s game, clubs such as Manchester United are responding to this influx in popularity by establishing their own female teams. This reflects a global study which recently found that 84% of general sports fans are interested in women’s sport, according to the BBC. Over half of those asked were male, showing that this new exciting segment of the beautiful game is capturing minds of all genders and is destined to continue to expand as complete equality in football grows ever nearer.

Sports Club of the Fortnight: Gymnastics Jake Bradshaw Sport Editor

This week we sat down with Gynmastics Club Captain, John Cotterill, to discuss the benefits of joining gymnastics and the competitions they take part in "One of the best things about gymnastics is that it really helps to improve strength and flexibility, you can even learn somersaults", John tells us, keen to stress the element of fun with the sport. The club is split into two sections, one for beginners and the other for those with experience.

"It really helps to improve your strength and flexibility, you can even learn somersaults" During the novice sessions, the contingent is split into groups which rotate around multiple dif-

ferent areas of gymnastics, from vault to parallel bars. The more experienced members join the Advanced/Intermediate group, with different training times. This group also rotates around the different fields, allowing members with all levels of experience to try out and enjoy all different types of gymnastics. On top of their regular training sessions, conditioning sessions are run to improve the fitness of members. These take place from 7:30 to 8:00 on Friday mornings, so are ideal for those looking to wake up nice and early and start the day productively. There are also plenty of oppportunities for all to get involved in competitions. One is hosted by the club in Birmingham which is attended by other University gymastics teams, while their biggest event a BUCS competition,

A note from the Sports Officer: Simon Price Sports Officer

Gymastics' social media presence has been exceptional. By showcasing training through their Instagram with daily video stories and through their successful taster sessions, they set a brilliant example. takes place in the Spring term each year. These competitions may sound daunting for those without much experience, but they are open to all, with separate groups for novice, advanced, and intermediate class gymnasts.

Training Times: Wednesday: 15:00-16:30 Novice. Wednesday: 16:30-18:00 Advanced/Intermediate. Friday: 7:30-8:00 Conditioning. Sunday: 15:00-17:00 Novice. Sunday: 17:00-19:00 Advanced/Intermediate. If you would like to find out more, or get involved with Gymnastics, find them @gymnasticsuob on Twitter and Instagram, or e-mail the club at: uob.gymnastics@gmail.com

This week I have continued to work on a new club tier system where clubs, by the end of the year, will be accredited as a bronze, silver or gold level club based on how active the club is in terms of participation, performance and additional engagement. This should hopefully be rolled out next year as the planning is essential to ensure all clubs can meet the criteria and to make sure it is challenging enough to prevent all clubs instantly reaching the gold level. By reaching these levels, we are hoping to reward clubs with better recognition through social media and the sports fair, as well as including monetary and social benefits, involving both the sports ball and sports night.

Gone?

A word from the Sports Editor Jack Simpkin Sport Editor @jacksimpkin9

Once upon a time, not that long ago, football on UK televisions was nicely settled into a routine any football fan would have been familiar with: one leg of the Champions League tie on Sky, the other on ITV, the early Premier League kick-off on a Saturday on Sky and the evening game on BT Sport. However, in an era of seemingly ever-moving football TV rights, gone are the days of such wonderful consistency. The situation we found ourselves in at the start of this season was not only confusingly unprecedented, but seemed to hint heavily to the future of football coverage on these shores. Noticeably, the fact that no money in the world could buy you La Liga or Serie A on your television anymore was a difficult and infuriating pill to swallow for a lot of British football fans, as Eleven Sports swooped in to outbid Sky and BT to take those continental titans to their online-only channel. In recent times we have seen the rise of BT Sport bully their way to claiming a lot of the coverage we were so used to seeing on Sky; the top Premier League matches, the Champions League, the Ashes, to name but three. But now, only five years after Jake Humphrey so charismatically launched the channel, they are already having to compromise on their wider coverage to ensure Premier League football stays on their airwaves. NBA basketball and UFC have both been dropped to aid the cause. Despite their best efforts, as well as those of Sky, the Premier League and the world of football shall continue to hop around our television channels and online platforms as new companies, many never formally associated with football, are buying into the multi-million-pound market. Online shopping giants Amazon have announced they have secured rights to 20 Premier League matches for December of next season, complete with a promise that will they ‘televise’ all 10 Boxing Day fixtures at the same time. `They are also set to rival eBay, as well as Eleven Sports, for the new rights for Scottish football when their current deal expires in 2020. You would be forgiven for failing to keep up with all the developments in this ever-growing market, but even the most unobservant of football fans will struggle not to notice how less and less foreign football is making our TV listings nowadays, as our once former giants of the industry are now left slogging it out with other multi-media heavyweights for the rights to bring the world’s favourite game to our nation.

SPORT

Friday 26th October 2018

@redbricksport

Twenty20 Cricket & The Hundred: If It's Not Broken, Why Fix It? Sport Writer George Garrett offers his view on the latest debate in cricket George Garrett Sport Writer

The English Cricket Board’s decision to apply a new 100 ball format to their new city-based franchise cricket tournament, titled ‘The Hundred’, is a questionable one. No longer will cricket’s shortest format be played over 20 overs, rather now over a hundred balls, with trials involving ten 10-ball overs. The change has been proposed as a ploy to make cricket easier to understand, which will supposedly ‘appeal to a wider audience’. This is a stab in the dark by the ECB, altering a format that doesn’t need changing. Twenty20 cricket has been a brilliant success since its introduction in 2003, revolutionising the game, making it quicker, more colorful and more exciting. Attracting sell out crowds up and down the country as well as worldwide; it would seem the cricketing audience is large enough as it is. Even so, Tom Harrison, the ECB Chief Executive, believes the new format can attract more children and families to cricketing arenas, simplifying the game,

making it easier to follow. Likewise, those in high places seek to shorten the game, with matches being played over two and a half hours, rather than three. This is despite the fact the current English T20 format has the shortest average time taken to bowl an innings (see table) when compared to other T20 leagues around the world. The time frame in which Twenty20 cricket is played in this country is not a problem and therefore doesn’t need amending. Similarly, the ECB have jumped to conclusions when assuming that changing the format will attract a ‘new audience’. For one, the crowds seen in

"This is a stab in the dark by the ECB, altering a format that doesn’t need changing" England are on the rise. In 2017, the Blast attendances were up by 883,000. Even so, Andrew Strauss

wants ‘to make the game as simple as possible’ for the audience to understand. Will making the game shorter by 45 minutes and reducing the number of balls make it ‘easier to understand’? No Cricket’s intricate and particular Average time taken to bowl a T20 innings in 2017 and 2018: IPL - 106 mins CPL - 105 mins T20 Ints - 98 mins PSL - 97 mins NZ - 93 mins BBL - 90 mins RSA - 88 mins Ireland - 87 mins NatWest Blast - 85 mins laws will still be there for the new audience to learn. Simply altering the format will not attract a new audience. Putting the ‘Hundred’ concept aside, there are positive steps being taken. Ten out of the thirty-six games of the new competition will be shown on terrestrial television, offering those without Sky Sports a taste of the action. This is a move that will no doubt boost cricket’s television audience. At the same time, reduc-

ing the 18 counties to eight citybased franchises, to be played at stadiums with capacities over 15,000 people, with potentially the Olympic Stadium being used, are all concepts that add to what the NatWest T20 blast has to offer. Surrey CCC

"The ECB are tampering with the one format that provides everything already" However, these positive steps can be put in place with T20 as the selling point. Just look at the success of the Indian Premier League or The Big Bash in Australia; both competitions thrive using Twenty20. If they can create a franchised based tournament using T20 cricket, then so can the ECB. By welcoming ‘The Hundred’ format, the ECB are tampering with the one format that provides everything already. ECB Chief Executive Tom Harrison believes

it’s a ‘fresh and exciting idea’, despite Twenty20 already ticking those boxes. Other issues within English cricket are far more pressing such as the ‘dying’ four-day format which is in desperate need of a reshuffle. Unsurprisingly, 'The Hundred’ has its doubters, and a lot of them. Perhaps the ECB and their allies will prove us wrong however, I very much doubt it. It would appear Mr. Harrison needs reminding of the old saying ‘if it’s not broken, why fix it?’

Cricket fan? Listen to The Corridor of Uncertainty on Burn FM with George Garrett and Alec Fleming, every week on Mondays at 8PM.

Autumn Internationals Preview: The Start Of The End For Eddie Jones? Brimingham Mail

Alec Fleming looks ahead to England's four Autumn Internationals next month Alec Fleming Sport Writer

able take this opportunity in defiance of their injury crisis? Will they deal with the omission of Cipriani? We are about to find out.

South Africa The Guardian As in any World Cup year, the Autumn Internationals conjure up an added bit of mystery and demand more attention. Head Coaches have long offered up the clichéd statement, “these games don’t matter, it’s the World Cup”, Eddie Jones being the most regular offender. Perhaps this is true, the ultimate thrill is of course World Cup glory. Nonetheless, English performance has, over the past two years, engaged in a momentuous downward-spiral, culminating in the fifth place finish in the Six Nations last year. These games however offer an opportunity for rejuvenation in terms not only of form but of confidence as well. Will England be

South Africa are a curious case in world rugby; when they are hot they are electric, power rugby at its finest as shown through their recent victory of New Zealand,. Yet when they are not, they lack leadership and seem error strewn. This will be a huge challenge and one that will tell us whether or not England can sustain pressure from those bigger than themselves. Will we see the heart? Prediction - England by 2 Key player - Faf de Klerk

New Zealand New Zealand are by far and away the best team in world rugby. This is quite simply a matter of how much England lose by. England are not the Lions. This

New Zealand team only lacks a goal kicker but that doesn’t matter

"This is quite simply a matter of how much England lose by" when they score five tries. Prediction - New Zealand within two tries Key Player - Beauden Barrett

Japan This is a game England need to get a result in. There can be no ifs or buts, this is a necessity. With the likes of Ireland most would recommend blooding the second choice squad players, giving them match experience, with England this cannot be done. England need to make a statement. Japan are not an easy side but neither should they represent a gigantic challenge. Put simply, a weak result here can only mean bad news for Eddie Jones. Prediction - England by 20 Key Player - Michael Leitch

Australia This is the game that fills me with excitement and dread in equal measure. Australia have so many elements to their game that England lack and vice versa. They provide the most similar challenge to what England will face when they come up against Argentina in the group stages in Japan.

"This is the battle of Yin and Yang, brute force versus beauty" Australia have a back row in David Pocock and Michael Hooper that can create turnovers at will and a back line which can cut holes in any defence, marshalled by the mesmeric Bernard Foley. This is the battle of Yin and Yang, brute force versus beauty. Prediction- England by 10 Key Player- Bernard Foley

Overall an optimist would look at these games as an opportunity to build depth and prepare against southern hemisphere opposition for the World Cup. A pessimist will see this as yet another step by this England rugby side into the abyss of abject failure at a third consecutive World Cup. Which is it to be? England Sqaud: Brown, Daly, May, Solomona, Watson, Care, Farrell, Ford, Francis, Joseph, Lozowski, Slade, Smith, Youngs, Curry, Ewels, Hughes, Isiekwe, Itoje, Kruis, Launchbury, Lawes, Mercer, Robshaw, Simmonds, Underhill, Cole, Dunn, Genge, George, Hartley, Mullan, M Vunipola, Williams. England’s Autumn Fixtures: (All at Twickenham, all start 3PM) South Africa – 3rd November New Zealand – 10th November Japan – 17th November Australia – 24th November

SPORT

Friday 26th October 2018

@redbricksport

NBA Preview: Who, If Anyone, Can Stop The Warriors This Year? Sport Writers Luke Bosher & Kit Shepard offer their top picks for the new season Luke Bosher Sport Writer

Eastern Conference Boston Celtics There are a lot of pundits suggesting that the Celtics are the second best team in the league and the only thing standing in the way of the Warriors and another Championship. True or not, there is no denying the Celtics are the most stacked team in the East. The experience of Al Horford, who remains consistently underrated, and Kyrie Irving will help steady the youthful exuberance of

two of the league’s most exciting talents; Jaylen Brown and Jayson Tatum. Both have All-Star potential, and under the stewardship of Brad Stevens the Celtics, will surely be the team to beat in the East. Philadelphia 76ers The no.2 pick in the East is essentially between the Raptors and the 76ers. The 76ers edge it because of Joel Embiid. If ‘The Process’ can stay fit and play more than the 63 games than he did last year, the 76rs could push 55 wins and take second spot in the conference. Ben Simmons will only improve on his Rookie of the Year season and Markelle Fultz will be eager to showcase his

potential. Zhaire Smith will be missed until December, and Robert Covington needs to be a more consistent three-point shooter, but this Philly team is one that will definitely excite this season.

Kit Shepard Sport Writer

Western Conference Golden State Warriors Golden State have won the previous two NBA titles, and improved their roster significantly

this offseason. All-star DeMarcus Cousins joined the Warriors in the summer’s free agency, adding to an already loaded squad, which includes two of the game’s deadliest shooters (Stephen Curry and Klay Thompson), the best scorer of this era (Kevin Durant) and perhaps the league’s most versatile defender (Draymond Green). Although Cousins’ on-going rehab from an ACL injury sustained in January means we are unlikely to see the centre on the court before the new year, Golden State are the team to beat. Los Angeles Lakers LA are far from the safest bet to challenge the Warriors juggernaut, but any NBA preview can-

not ignore the Lakers. To say they had a busy offseason would be the understatement of the century, as the league’s most storied franchise signed LeBron James, who is widely regarded as one of the greatest players of all time (if not the greatest). After half a decade of languishing near the bottom of the standings, the Lakers have made an emphatic return to relevancy. Moreover, the blend of exuberant youth and volatile veterans around James on the Laker roster adds an interesting wrinkle. There will not be a dull moment in LA this season (case and point: last Saturday’s brawl with conference rival the Houston Rockets) and with LeBron in town, it is impossible to write them off.

Villa v Swansea: Abraham's Strike Sinks Swans Tom Leaman reports from Villa Park as Dean Smith gets off to winning start Tom Leaman News Editor

Aston Villa recorded just their fourth win of the season on Saturday at home to Swansea City, as Tammy Abraham’s 8thminute header was enough to secure a 1-0 victory against his former club. The match also marked the first game in charge for Dean Smith, who was appointed Villa’s new manager during the recent international break. James Chester returned from suspension to captain the first team of Smith’s tenure, while Jack Grealish started behind Abraham. Former Everton winger Yannick Bolasie dropped to the bench, with Ahmed El Mohamady and Albert Adomah providing support on the wings. At left-back, Neil

Taylor was another ex-Swan looking to make an impression. Swansea elected to start Leroy Fer and Jay Fulton in midfield, with Matt Grimes making way. In goal, Kristoffer Nordfeldt started in place of Erwin Mulder. Before kick-off, both sets of players and supporters observed a minute’s applause for former Villa owner Sir Doug Ellis, who passed away last week at the age of 94. Villa got off to a suitably quick start given the occasion, as Chelsea loanee Abraham rose highest to meet El Mohamady’s cross, and his header nestled into the bottom corner of Kristoffer Nordfeldt’s goal. Abraham joined an ever-growing list of former Swansea players to score against them this season, with Pablo Hernández, Joe Allen and Gwion Edwards all also scoring against the Welsh club.

Villa looked the stronger side throughout the first half, with a young Swansea team looking nervous at times. Nordfeldt’s distribution was a particular weakness of the away side.

"Jack Grealish and John McGinn controlled the midfield" Albert Adomah looked a constant threat, while Jack Grealish and John McGinn controlled the midfield. Nordfeldt made a good save from a deflected Adomah strike in front of the Holte End, though neither side looked destined to find the net for the rest of the half. Abraham’s impact dwin-

dled after his goal, while Swansea’s Scotland international forward Oli McBurnie lacked support from attacking midfielders, Barry McKay and Bersant Celina. All told, when half-time arrived, the Villans were good value for their 1-0 lead. In the second half, the away side began to grow into the game. Celina just missed the far post from the edge of the area, and then Jay Fulton’s header forced a great save from Ørjan Nyland in the Villa goal to keep it 1-0. The introduction of Daniel James added pace to the Swansea attack, and for much of the second half, the Swans looked more threatening. At the other end, Abraham missed a few chances to add to his tally of four goals for the season and Grealish blazed a decent chance into the stands, though

Twitter / @AVFCOfficial

Villa weren’t made to rue their missed chances. In front of 41,336 spectators, Villa held on to go 13th in the table, just three points off the Play-Off positions. Meanwhile, Swansea dropped to 15th.

London Calling: Does NFL Have A Future In the UK? Sport Writer Ben Thomas discusses the growth of the NFL in the UK Ben Thomas Sport Writer

Last week, the dominant Seattle Seahawks defeated the floundering Oakland Raiders 27-3 in front of an NFL International Series record crowd (84,922) at Wembley, once more exemplifying the yearning desire for many to see the unashamedly American sport find a home on British shores. The superstar-driven league, drenched in American hyperbole, while at first might put some hardened sporting traditionalists off, has a showmanship that has ultimately drawn a far wider and diverse demographic through the turnstiles, or onto their sofas, than has previously been seen in this

country. A ticket to an International Series game is now hotter than that of a Taylor Swift concert, with games selling out weeks, even months in advance. The International Series has grown into the sporting answer to Glastonbury. Perhaps even a Mecca for British and European sports fans in search of something more than a cold rainy night and a soggy Pukka Pie. It is with the initiation of this year’s games that the NFL finally appears primed to take their brand globally as plans for a Londonbased franchise look increasingly likely by 2022. Both Wembley and Tottenham Hotspur's Stadium provide seemingly viable options for a more permanent solution to

the ‘American question’ – though Jaguars owner Shahid Khan has recently withdrawn his offer for the former.

"The NFL International Series has grown into the sporting answer to Glastonbury" Yet crucially, the vision must be for more than an inauthentic ‘London America’ franchise. Rather than simply grafting an American sports team onto a European backdrop, NFL execu-

tives, such as British-born Mark Waller, must continue to knit the game into the very identity of cosmopolitan London. They must understand that for the game to truly take root in this country it must be cultivated at all levels or face it struggling to move beyond an exotic American novelty. Players such as the Carolina Panthers’ Efe Obada, formerly of the London Warriors, have successfully sought to put a British stamp on ‘America’s game’, and while we would be wise to question some of the American endorsements of the past couple of years, it is clear that the NFL has already demonstrated its undeniable ability to blow wide open sporting opportunities for British-born athletes chasing the

Wikimedia Commons ‘American dream’. Ultimately, the juxtaposition of the finesse of a one-handed catch with the physicality of a bone-snapping tackle, has established the NFL as a unique and potentially revolutionary addition to our British sporting psyches – and with last Sunday in mind: if America was calling, London emphatically answered.

SPORT

Twitter / @England

26.10.2018

League A Group 4

The Future Of Football Or Elaborate Friendlies? The UEFA Nations League Debate Sport Writers Isabel Baldwin and Isobel Doyle look back on the recent International break and debate whether the UEFA Nations League is worth it Isabel Baldwin & Isobel Doyle Sport Writers

Upon its introduction to the international football scene, UEFA’s brand-new Nations League was greeted with a mixed reaction from Europe’s footballing faithful. Many questioned its purpose, whilst others welcomed the new, if not complicated, format. Two of our writers have weighed in with their opinions on the new tournament as the group stages head to their final matchdays. Firstly, and most importantly, the equality that has been produced is unprecedented to football outside of major tournaments. The organisation of the Nations League based on teams’ abilities has eradicated the frankly tedious tradition of watching dominant teams wipe the floor of those that are playing at a far less advanced level. Immediately, we have moved away from walk-over games, such as Belgium’s 9-0 win against Gibraltar in the August last year, to more tightly contested, exciting ties, such as England’s 3-2 thrilling win in Spain on Monday (pictured above).

"Excitement lacking from friendlies has been thrust back into the game" Excitement that was previously lacking from friendlies has been thrust back into the game with incentives such as automatic entry to the UEFA Euro 2020 for each group winner, not to mention the simple pride of beating teams of similar quality. The increased media coverage of

these games is symbolic of the mounting sense of meaning of this competition and can only contribute to the incentives that are being provided for both the players, and the managers, to put their best foot forward. With managers told they have to play their strongest teams, and the fact that teams are guaranteed to be playing nations of similar ilk, we can look forward to more of the scenes of pride and jubilation that we saw on Monday night in Seville. Gone are the days we can blame failure at major tournaments on the fact that the squad hasn’t been seriously tested since the last one. This tournament is here to help change that. Evidently, the acknowledgement of the versatility that is, unsurprisingly, tied to international sport, has allowed the competition to become fairer, while simultaneously advancing the excitement of spectatorship. It would, therefore, be naïve to conclude that the UEFA Nations League is solely a hindrance to the expanding football scene. Having said that, there are plenty who remain to be convinced by the tournament. One year on from UEFA’s announcement of its existence, and the tournament still appears just as nonsensical as it did back then. No one can deny international football needs a little bit of life squeezed into it, however, the Nations League is not sporting genius but rather convoluted absurdness. In the past, international fixtures have been drab, with a lack of competitive incentive for the players. The idea that the Nations League now provides technically challenging matches is going to magically transform the tournament into a showstopper like the World Cup, is ridiculously farfetched. Can you imagine Raheem Sterling sacrificing leading Manchester City to a second consecutive Premier league title for England? Or Virgil Van Dijk putting international duty ahead of

Champions League revenge for Liverpool? Of course not. Already, Premier League players have suffered at the hands of international duty, putting both league and international managers in difficult situations. The Nations League blatantly does not aid international managers. The pressure UEFA’s new invention adds to fixtures means managers are expected to play the star players to deliver. During the competitive season, is this a wise decision when there’s unimpressed club managers waiting at home?

"It's not sporting genius but rather convoluted absurdness" Jordan Pickford, Jesse Lingard, and Joe Gomez all made their Three Lions debuts in international friendlies, but with higher stakes in the Nations League, Gareth Southgate’s youth development is likely to come to a staggering halt. Managers are less likely to give young blood an opportunity if games suddenly start to carry importance. Just as it is damaging the football of now, the Nations League could be the death of its future. Liverpool boss, Jürgen Klopp, has already seen the light, branding the Nations League ‘the most senseless competition in the world of football’ and surely it will not be long until the rest of the world agrees. A-4

PTS

SPA

ENG

CRO

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INSIDE SPORT THIS WEEK:

Villa Beat Swansea

Autumn Preview

Women's Football