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Month: February 2021

Do not dismiss The Slumflower and Florence Given

On February 1st 2021, Florence Given ‘returned’ to Instagram. 

A post by @FLOSS (Florence Given) on Instagram

Given paints herself as a survivor, harnessing the language of victimhood. This statement appeared following her disappearance from the platform in December 2020, after Chidera Eggerue (AKA The Slumflower) accused Florence Given of copying her work. Eggerue pointed out significant similarities between Given’s Women Don’t Owe You Pretty and her own book, How to Get Over a Boy. Both books were published in 2020.

Given’s social media silence has brought her sympathy from some. In contrast, Chidera’s apparent transparency, in screenshots, stories and posts has led to her being called aggressive and demanding – labels that have been used to silence Black women for years.

Given has made only one statement of response, which can be found on her Instagram. She writes that the situation required ‘a response and not a reaction’, implying that Eggergue’s response has been reactionary. In doing so Given enforces a narrative of the trope of the angry, emotional Black woman.

The plagiarism which Eggerue accuses Given of is just part of the debate to be had here; these ‘responses’ and ‘reactions’ highlight issues of young Black feminist voices being ignored.

Responses to these accusations of copying have been framed as a ‘battle’ between the two women. The Slumflower has been pitched against Given on social media and in articles that use language of violence and opposition. The Tab ran an article titled ‘Here’s the latest on The Slumflower vs Florence Given drama’. The dismissive and melodramatic language used to describe the issue not only ignores, but perpetuates, the systemic problems that need to be addressed. 

By focusing upon specific aspects of the books, or on the use of Instagram as an ‘arena’, the real trend is intentionally sidetracked. That is, that Black women are systematically silenced and copied by white people, regardless of the legal outcome of this particular case.

‘Do we get recognition? No. Black women continue to pave the way, set the trends, and set the pace. This book is generating wealth. Black women’s ideas generate wealth for white people. But that wealth doesn’t go to our community.’

Chidera Eggerue

Both women are online influencers and feminists, who spread similar messages of body positivity and self love. Eggergue has highlighted similarities between the content of their books, but she also points to similarities in the books’ covers and styles.

Both works have large print, pink and orange colour themes and bold patterns. Eggergue likens the title of Given’s book with a chapter of her own, ‘I do not owe anybody pretty’. 

Given also cites Eggergue in her book: ‘I want to acknowledge that the sections in this book on my understanding of prettiness, desirability, privilege, unconscious bias and systems of oppression didn’t just fall into my head. I had to listen and I had to learn, predominantly from Black women’.

Some have argued that many popular feminist texts just look similar, and are bound to cover a lot of the same ground. An article in The Conversation lists countless examples. In a disparaging tone, the article labels popular feminist texts as ‘starting platforms’ that are unsuccesful in bridging the gap to ‘more challenging, critical texts’.

It is true that there is expected overlap, but to dismiss both books as ‘coffee table books’ is also to dismiss two Sunday Times bestselling authors, with a combined 900k following on Instagram. Neither have claimed to be academics, and the point of both books is their accessibility. The dismissiveness with which the authors have been treated would not have happened if they were not young women.

The conversation has only been covered by online and tabloid papers. One article in gal-dem, when considering ‘Instagram feminism’, claims ‘For Chidera to hit Florence with allegations that she’s copied her schtick to sell watered down feminism to the masses brings to mind the meme of the two Spidermans, pointing accusingly at each other’.

This is mocking and insensitive to both women’s experiences. It also works to discount the hugely influential impact they have both had online and in mainstream media. 

The responses are overwhelmingly belittling, as it is easier to focus attention elsewhere, rather than to address the issue of marginalised Black voices. I am not claiming to have an answer, but opening up conversation without being derisive or patronising seems a good place to start.

‘Black authors are exploited enough in the literary space – an industry whose founding fathers owned slaves.’

Chidera Eggerue

Black stories are continually rewritten, repackaged and gentrified by white, historically often male, writers. It is only with this historical context that Eggerue’s ‘emotional’ response can be understood.

In an article for The Guardian in 2019, Booker Prize winner Bernardine Evaristo wrote about Eggerue’s debut novel, and seemed to predict the future by questioning the longevity of the demand for young Black female authors.

She wrote ‘Some of these writers become shooting stars, and when their moment has passed we wonder what happened to them. History tells us that books can too easily disappear from literary and cultural memory […] Obscurity has been the fate of too many black female writers.’

Eggerue is actively fighting to not have her voice lost amongst a sea of white feminism. On January 5th 2021, she explained her demands for reparations from Given in an Instagram post. This has sparked discussion about individual reparations and their place in collective liberation.

A post by @theslumflower (Chidera Eggerue) on Instagram

Eggerue also argues that bookshops have been promoting Women Don’t Owe You Pretty over How to Get Over a Boy, placing Given at the front of their stores and stocking less of her own work since the latest publication. Google searches also mirror this; Women Don’t Owe You Pretty is among the top search results when Eggerue is googled.

In her statement Florence wrote ‘My publishing team have confirmed with me that we have not promoted the Google results where my book is coming up when people search for Chidera’s name. […] We absolutely should be critiquing systems that prioritise white women’s work, even when you search for a Black author’s name’.

Given also informs her followers that her book went to her publishers in November 2019, whilst Eggerue’s was released in February 2020. However, Eggurue’s first book, What a Time to be Alone was published in 2018 and is cited in the very first page of Women Don’t Owe You Pretty.

To date, neither Eggerue’s or Florence’s publishers have voiced any concern that there is copyright infringement or plagiarism at play. This suggests the two books coincidently are similar rather than purposely.

However, it does not mean that the conversation should be dismissed entirely. It still raises questions regarding the promotion of white voices, the cruel responses that have been produced online and white women’s place in explaining intersectional feminism.

There is no clear-cut answer, but that does not mean the question should be dismissed. Florence Given is complicit in the undermining and silencing of Black voices, but this does not mean she is guilty of definable plagiarism. In analysing our own initial responses, and those of the people around us, we begin to recognise and address the unconscious bias that inevitably informs these conversations. 

Spurs- In Search of Silverware

What a strange season Spurs had last year – they were 3 points away from 5th place when Pochettino was sacked and finished 3 points away from 5th place under Mourinho. In-between was a rollercoaster ride like no other, with enough drama to be worthy of an Amazon Prime documentary.

Ever since Pochettino took over as manager in 2014, he steadily improved the performances of Spurs and led them to become one of the dominant teams in English football, and a part of the famed ‘Top 6’.

In the seasons preceding 2019/20, Tottenham consistently finished in the top 4 with Champions League football, ahead of more traditionally dominant teams like Manchester United, Chelsea and Arsenal.

Only Liverpool and Manchester City, 2 world class teams assembled on a notably high budget, were better than Spurs in defence and attack.

Mauricio Pochettino. Photo: @Soccer.ru

In the 2018/19 season, Pochettino led Spurs to beat Manchester City and Ajax on a dream run to the UEFA Champions League Final, only to end up losing 2-0 to Liverpool. This was an incredible achievement given that Harry Kane, who over the years had become the face of the club, was out injured for large parts of the season. After that final however, things began to fall apart.    

Senior players like Danny Rose and Christian Eriksen made their desire to leave the club public, and Pochettino himself said that “If Spurs had won the Champions League final he’d walk away”, perhaps a sign that after 5 gruelling seasons, he had done all he could.

The squad was bolstered with the signings of central midfielder Tanguy Ndombele, (a highly sought after prospect) young winger Ryan Sessegnon and playmaker Giovani Lo Celso. On paper, Spurs looked a strong side and unless injuries derailed them, looked set to challenge for the Premier League title and go deep in the Champions League.  

And then it all began to unravel. A poor run of form saw them win just 1 out of 6 games and a 7-2 hammering by Bayern meant that something needed to change. On a cold London evening in November, Spurs announced the sacking of Pochettino after just 3 Premier League wins up to that point.

He left in his own style, with a simple written goodbye message on the board in the changing room and no time for a final farewell with the players. This decision evoked mixed reactions from Spurs fans, with some saying that he was hard done by Levy after the success he had achieved in the last 5 seasons.

After all, he managed to keep pace with richer and stronger rivals on a wafer-thin transfer budget while their expensive new stadium was being built. Some Spurs fans, tired of being trolled over their lack of trophies felt that Mourinho was indeed the man for the job and could deliver the much eluded silverware.

The Special One’ started well, winning the first 3 games before an away defeat at Old Trafford. The squad underwent some changes during the winter transfer window with Eriksen being sold to Inter Milan and Danny Rose going out on loan to Newcastle United.

The addition of Gedson Fernandes on loan from S.L. Benfica and the purchase of Steven Bergwijn from PSV added depth and strengthened the squad. After a win against Middlesbrough in the FA Cup replay, Spurs went on a 7 game unbeaten streak. 

Spurs have generally been unlucky with injuries and the 2019/20 season was no different. A spate of injuries to key players Sissoko, Kane and Son took their toll on Spurs’ form and they failed to win a game in the last 6 matches before football was halted due to the pandemic.

This sequence of games saw them eliminated from the Champions League round of 16 by RB Leipzig and from the FA Cup in a penalty shoot-out against underdogs Norwich City.   

When the pandemic halted the season, Spurs were placed 8th in the table and had a disappointing 41 points from 29 matches. They came back with a strong finish to the season, finishing 6th place with 59 points but more importantly, qualifying for the Europa League. 

Mourinho has certainly stabilised Spurs with senior players like Sissoko, Alderweireld and Dier slowly coming back to their best again. Heung-Ming Son once again had a brilliant season and it seemed as if all the chaos going around at the club didn’t affect him at all.

Anyone who follows Mourinho knows that he prefers to play the experienced pro over the emerging youngster. Which is why it was a pleasant surprise to see youngster Japhet Tanganga given regular opportunities, including in crucial games against RB Leipzig, Chelsea and Liverpool.

The football that Spurs will play under Mourinho may not be attractive but it’s a tried and tested method known to produce results and trophies; something that Spurs fans have been pining for. 

At the start of the season, it was clear that Tottenham needed a solid central midfielder and they went for Tanguy Ndombele, paying a club record £55 million for the Frenchman.

Perhaps the weight of expectations proved too much for him to handle. In the limited games he has played, he hasn’t managed to impress so far and injuries derailed his campaign last time.

Although news suggested that Mourinho could move him on and Spurs would have to live with the costly mistake, he looks likely to stay. Ndombele will be keen to prove that he belongs and can perform on the big stage so this will be a vital season for him.    

The signings of goalkeeper Joe Hart, right back Matt Doherty and midfielder Piere-Emile Hojberg bolstered the squad prior to the start of the new season. The signing of left-back Reguilon from Real Madrid also added depth to the squad and will help Spurs compete in multiple competitions. 

Finally, Harry Kane carried the bulk of the scoring load over the past few seasons but has been injury-prone. Spurs needed a new forward and after 7 long years they managed to replace Gareth Bale… with Gareth Bale! 

 

Manchester United v Tottenham Hotspur. Photo: Ardfern @WikimediaCommons

The last season promised a lot but ultimately proved to be disappointing with Spurs just about making it to the Europa League after the final day scramble. If ‘the Special One’ manages to deliver some silverware, his reign will be considered successful, for he will have done what Pochettino never managed to.

He’ll be keenly targeting the Europa League as well as the Carabao Cup. With the dominance of Liverpool and City as well as the outstanding transfer window that their London rivals Chelsea had, it looked unlikely that Spurs would be able to challenge for the Premier League title.  

At the start of the season, Spurs defied expectations and were sitting 1 point shy of the top 4 before a run of inconsistent performances which meant that they now sit 9th. The 6-1 annihilation of Manchester United was a strong statement by Mourinho on his return to Old Trafford, where he was sacked as manager before joining Spurs.

There were also dominating wins over Southampton and Manchester City which signified the form that Spurs were in. Although the 2nd half of the Premier League season can be quite unpredictable, if Spurs play at their best then they will definitely be hard to stop.  

Trophies, or even a trophy; that’s all that Spurs need for a successful season!

  

Soul: Pixar’s most mature film?

On the surface, Soul is mainstay Pixar: The protagonist has a dream of making it big, there is a clownish anthropomorphised sidekick, and it all takes place in a cute re-imagining of the human subconscious. Yet, somehow, it feels like their freshest film in years.

Joe Gardner (voiced by Jamie Foxx) is a professional jazz pianist stuck in a dead-end job. He is failing to inspire a middle-school band class while subsequently not fulfilling his passion of performing live on stage. However, on the same day he is offered the gig of a lifetime, Joe is caught up in something that will change (or possibly end) his life forever.

Our protagonist wakes up in the ‘Great Before’. Here, new-born souls find their passions and personalities before they float down to Earth to begin their lives. After many misunderstandings, Joe becomes responsible for 22 (Tina Fey). She is a rogue soul, determined to never make the trip to Earth, musing: “Why would you want to go down to Earth? That’s where souls go to die”. Through an elaborate ‘mix-up of souls’ á la Freaky Friday, Joe desperately attempts to persuade 22 that, yes, “All this living is worth dying for”.

The director Pete Docter could not be more perfect for this film. The resident Pixar luminary (Monsters, Inc., Up, Inside Out) leaves no stone unturned in capturing the ‘soul’ of the film. Along with his co-director Kemp Powers (One Night in Miami), they reinstate Pixar’s top status of the master animators and storytellers. It seems cliché for Pixar’s most recent film to be an improvement of the last in the technical department. But it is staggering. Director of photography Ian Megibben crafts some of the most naturalistic lighting seen in any animated film before. From streaks of green escaping the dark, dank subway, to the deep oranges falling through the trees at dusk; New York has never looked so much, well… like New York.

However, the minimalist design of the ‘Great Before’ was somewhat underwhelming. While the Picasso-esque models were intricately drawn, the backgrounds and set designs felt a little uninspired. Even the Souls themselves appeared to be nothing more than little marshmallows with limbs. Compared to Docter’s previous designs, such as the Scare Floor in Monsters, Inc. or the Mind Headquarters of Inside Out, their newest feature fractionally misses the mark.

One of the film’s greatest accomplishments is its music. In interviews, Docter claimed the score from Trent Reznor and Atticus Ross (The Social Network, Mank) was like “nothing we’ve heard before”. The blending of authentic jazz with electro-beats and synths enriches the film’s message of meshing the monotonous with the unexpected. Moments when Joe’s soul moves in and out of his body are intensified by string-like staccatos and surround-sound SFX. This is matched by sequences of fast-paced, intoxicating jazz not seen since La La Land. As the awards season begins to pick up speed, it is no surprise to see ample recognition being given to the film’s score.

The steadfast anchor of the film is its message. In a surprisingly mature turn for Pixar, Soul covers a multitude of contemporary themes. From re-evaluating your life’s purpose, to dealing with depression, the film zigzags its way through life’s inevitable turns and jolts. Pixar is no stranger to tackling mortality. Disney (Pixar’s distributor) is perpetually mocked for the number of absent parents they seem to include in their films. Yet Soul seems to introduce greater subtlety to the matter, particularly in its moving conclusion; one of Pixar’s most satiating and satisfying to date.

Contrary to what Joe has believed all his life, your passion, or your ‘spark’, is not your life’s purpose. Through the modern guise of social media, we are constantly reminded of all the successful people in the world. As 22 learns to relish the small things in life, we the audience (most likely stuck at home) appreciate this too. In a time where a lot of life’s wonderful moments are unavailable to us now, Soul drives home its timely message: your purpose in life must be to find the joy in every moment, no matter how small. And what a joy this film is.

4/5.

Soul was released on Disney Plus on the 25th of December.

Horoscopes: Week commencing February 22nd

Whether you like them crunchy, salty or cheesy, we all love crisps. Keep reading to find out which packet goes great with your star sign!

Pisces Feb 20 – Mar 20

Prawn cocktail – whoever would have thought of turning an iconic 80’s meal into a crisps flavour? You would have! You’re adventurous and not afraid of change.

Aries Mar 21 – Apr 20

Beefy – you can be argumentative, to say the least, hence the beefy flavour being the best match for your personality!

Taurus Apr 21 – May 20

Crispy bacon – wake up and smell the bacon! The perfect breakfast to get your sign in gear for another busy day of work.

Gemini May 21 – June 21

Sour cream and chive – this classic flavour combination is the soulmate for your sweet but sharp personality!

Cancer June 22 – July 22

Sea salt and balsamic vinegar – you enjoy the finer things in life, and believe money directly correlates to quality, you won’t ever catch you buying own brand…

Leo July 23 – Aug 22

Cheese and onion – often seen as a strange combination but popular with everyone! You might come off strong but you know how to impress a crowd.

Virgo Aug 23 – Sept 21

Pickled onion – the modest favourite of any crisp connoisseur, sweet and tangy, just like you.

Libra Sept 22 – Oct 22

Tangy cheese –  you know how to work a room and please a crowd, even though your jokes are a bit cheesy sometimes!

Scorpio Oct 23 – Nov 22

Salt and vinegar – you are a combination of salty and sour, but everyone loves that about you, keep being you!

Sagittarius Nov 23 – Dec 21

Nice ‘n’ spicy – you are a classic fire sign and the spice in this flavour is a perfect match for you, now you just need to work on the ‘nice’ part…

Capricorn Dec 22 – Jan 20

Ready salted – while you are hardworking, you don’t have much of an imagination. Just like ready salted, you are always there but a bit basic!

Aquarius Jan 21 – Feb 19

Paprika – you like a bit of spice and love to be different. Paprika is the perfect flavour for you, and you liked it before it was cool…

Shambolics deliver stellar livestream in aid of Kirkaldy Foodbank

Following in the triumphant footsteps of a plethora of Covid-19-inspired artists, Shambolics were the latest band to take to the stage in a virtual capacity. Bringing dreamy rock and roll to a screen near you…

Supported by The View’s Kyle Falconer and James Allen of Glasgvegas, the live-streamed gig in aid of Kirkaldy Foodbank was a spectacular showcase of the best talent music mogul Alan McGee has to offer; providing us with a unique and daring glimpse into what Summer 2021 has in store for us with Creation Day Festival.

In true Christmas fashion, the shams surprised us with the gift of three previously unheard tracks, ‘Council State of Mind, ‘Dreams, Schemes & Young Teams’, and ‘Living In Shadows’.

The set opened with the eerie ringing of guitar feedback, a sound which has become all too familiar with livestreams. Jake then kicked in with the drums, guitar and bass lines ensued, and Lewis jumped in fronting the vocals and giving us a stellar performance of ‘My Time Is Now’. It’s almost too easy to forget that they’re performing to an empty room – but they take all of that in stride.

‘Council State of Mind’ takes the band in a new direction, with punk infused bass lines and a structure almost straight off Favourite Worst Nightmare. Fast paced lyrics, and the sudden introduction of harsh drums paired with rash guitar strums ring reminiscent of styles used by Arctic Monkeys and Pretty Vicious, taking the band down an exciting new path, no doubt also influenced by Alan McGee’s love of punk.

The boys went on to deliver a celestial rendition of The Velvet Underground’s ‘Pale Blue Eyes’ with vocals contributed by James Allan, bringing a collaborative twist to the classic love song. It’s more than a feat to cover a track featuring Lou Reed’s challenging vocal range with any sort of musical mastery, but Shams and Allan’s harmonies produce a sonically pleasing facsimile of the 60’s classic. The Scottish vocals lent to this song, it would not be far amiss placed on the soundtrack of Trainspotting. (Setlist 2021 please?!) 

‘Living in Shadows’ takes a melodic guitar opening paired with melancholy lyrics, plucked straight out of Noel Gallagher’s playbook, to produce an entirely new sound that was yet to be explored by the band – the world of acoustic love ballads. The unique shared duties of front man between Lewis and Darren shine brightly through this track with sweet harmonic vocal performances – hopefully this is not a one off, and we will have more slow songs from Shambolics in the future.

After their lockdown cover of ‘Everywhere’ by Fleetwood Mac, they took the performance to the stage with Kyle Falconer in tow to surprise us yet again with their flawless ability to make other’s songs entirely their own.

The band closed in true Shambolics style, with what can only be described as a belter. Their latest release ‘Love Collides’ features roaring drums, intoxicating bass notes, ethereal backing vocals, and the two front men giving it their all to the catchy and rock infused lyrics. All complete with an indie rock rendition of Morrisey’s line “there is a light that never goes out” to round off the night.

Shambolics have entirely come into their own over the course of 2020 – I’m excited to see what 2021 brings.

Do we see a live album in their future?

Setlist:
  1. My Time Is Now
  2. Council State Of Mind
  3. Sandra Speed
  4. Pale Blue Eyes (with James Allan)
  5. Living In Shadows
  6. Dreams, Schemes & Young Teams
  7. Everywhere (with Kyle Falconer)
  8. Chasing a Disaster
  9. Love Collides

Catch the boys on tour in 2021.

Tour Dates:

Edinburgh, The Caves – 22/04/2021

Aberdeen, Café Drummond – 23/04/2021

Dundee, Church – 24/04/2021

 

To support Kirkaldy Foodbank get involved or donate!

Top of the table clash leaves champions gasping for air

Ultimately, everything that went wrong for Liverpool on Sunday was a culmination of long standing problems for Jurgen Klopp’s team. Most of the current malaise undoubtedly comes from the injury crisis. This isn’t an excuse, it’s a fact. Since November Liverpool have been without their two world class centre backs; their third choice is injury prone and is now out for the season too.

Recently their two best midfielders, who specialise in shutting down opposition attacks, boundless energy and covering for the marauding full backs, have had to step into the centre of the defence to fix the issue. Until recently, the only alternatives to Jordan Henderson and Fabinho were two youngsters who before the start of this season had not played a single premier league game between them. 16 different centre back pairings have been tried this season. 

A general air of bad luck with injuries plagues Liverpool, with long spells on the side-lines for Diogo Jota (who had scored 9 goals in 17 appearances), Thiago (a Champions League winning midfielder) and Alisson missing several games. It doesn’t take a rocket scientist to work out that this was going to be severely detrimental to the team’s overall performance. 

The Game

Manchester City away at Liverpool was a game with two top class teams in very different forms. After losing two home games on the trot, Liverpool had hoped to regain their home supremacy, so important in previous title challenges. City on the other hand were aiming to blitz one of their strongest rivals to defend their spot at the top of the table.

The danger of playing without a recognised centre back was evident with Fabinho’s clumsy challenge on Raheem Sterling which led to the penalty.

37th minute: An uncontentious foul in the box followed by an uninspired penalty miss by City’s in-form midfielder İlkay Gündoğan made for a boring first half.

However, by the beginning of the second half, momentum was firmly in City’s favour, and their exploitation of this weakened and unfocused Liverpool side was swift and brutal.

49th minute: Gündoğan redeemed himself after a missed penalty in the first half, opening the second half scoring with a tidy finish after a stunning Alisson save off of a Foden shot. 

Over the course of this season, players who have been in poor form and in need of a rest – Alexander-Arnold, Robertson, Wijnaldum and Firmino to name a few – have been run into the ground. Understandably, Klopp has been unwilling to add further disruption to a team with a makeshift centre back pairing. Liverpool’s attacking play was so off pace they needed a soft penalty to remain competitive in the game.

63rd minute: Mo Salah converted the second penalty of the game for the home side after a soft foul by City’s stalwart defender Rúben Dias .

Klopp must take a share of the blame, given his bizarre use of substitutions in recent weeks (Curtis Jones, who looked like Liverpool’s most creative player on Sunday, was the first to be taken off). He has become too cautious, putting all his trust into certain players rather than utilising the entire squad.

This caution has translated to the players available. This team won the Champions League and Premier League based on intense, brave football along with supreme confidence. It’s no coincidence that this team has become known for late winners and overturning seemingly insurmountable deficits. 

73rd minute: Foden and Gündoğan link up again for the second goal off of an Alisson mistake.

On Sunday, there was no sign of this confidence or intensity. Players dawdled on the ball, choosing the safe option over taking a Man City player on. Off the ball, too few were making runs beyond to receive it. Liverpool’s superb record against Guardiola’s side has been based on fast transitions from defence to attack; on Sunday, counter attacks were non-existent.

With the exception of Jones and Firmino in spells, no Liverpool player showed any of the self-assurance that have made them one of the greats. Numerous mistakes by the typically top quality Alisson are symptomatic of the team as a whole not functioning properly.

76th minute: A second missed pass allows City to score their third moments later, making this a day to forget for the two time FIFA World XI goalkeeper.

Liverpool looked exhausted and constantly fearful of what might happen at the back. To beat City, you have to play bravely and trust each other. The reds possessed none of that last Sunday, and were duly punished for it.

83rd minute: Foden added a fourth from a tight angle in the 82nd minute, well and truly putting the game out of reach for the Champions.

So what’s next? 

Looking to the summer, it is clear that this squad needs an overhaul. Great teams have a very short cycle before things go stale. Klopp must replicate the likes of Alex Ferguson and Bill Shankly in building a second great team. Some must be moved on due to age; others because they are simply not good enough.

In the short term, if they haven’t realised already, Liverpool must drop any lasting ambitions of defending their title. Their focus should be on securing a place in the top 4 and going far in the Champions League. The two new centre backs – Ben Davies and Ozan Kabak – must be integrated quickly to restore solidity to the midfield. 

But it’s not all doom and gloom. This is not the first team to fail to defend their title. Man City last year are one just example. This is still a very good team with one of the world’s best managers. This season has shown more than any other how quickly fortunes in football can change. In mid-December, Liverpool had a comfortable lead at the top of the table; they now sit 10 points behind in 4th.

It’s not inconceivable that a collection of great players and a great man motivator could salvage something from what threatens to be a barren season. If Liverpool can regain a fraction of their self-belief, they could well come back from this stronger. 

The message that Klopp should give to his squad is simple: they are down but not out.

A discussion on sustainable fashion: How can we be more sustainable?

Why are sustainable fashion brands so expensive? Is the thrift industry size-ist? Could 3D body scanning be the answer to the hundreds of tonnes of textiles that are returned and thrown in landfills because they don’t fit?

Societies Editor, Sharon Lei recently attended a Zoom panel event hosted by Want Not Waste and The Closet on sustainable fashion, to find out the answers to all your sustainable fashion questions.

Want Not Waste is a student-run zero waste shop. The Closet is a student-led thrift shop, with all proceeds going to mental health charity Mind. Both shops are part of the Student’s Union at The University of Manchester. They provide a great way to raise environmental consciousness in the student community.

The event took place in the style of a panel. The speakers included an independent Depop seller, a fashion technology student with expertise in sustainable fashion design, and a sustainable lifestyle blogger. The event surrounded a central discussion on ethical consumerism, aiming to raise awareness of the problematic labour and practice seen in the fast fashion industry.

The growth of sustainable fashion has increased massively in recent years.  Platforms like Depop, Vinted, Etsy, and Ebay allow people access to second hand, thrifted clothes more easily. However, the increase in popularity surrounding sustainable fashion has also lead to problems such as ‘greenwashing’. Cheap, mass-produced clothing is marketed as sustainable and conscious, misleading consumers with a lack of transparency and facts.

Problems with shopping second hand or thrifting

Thrifting and second-hand shopping is not a solution to solving the obsession with fast fashion. As one of the panellists pointed out, thrifting and second-hand shopping is often limited in size. This makes it completely unavailable for the plus-size community.

New fashion technology also helps to reduce fashion waste. The panel mentioned the 3D body scanning technology adopted by high street retailers such as M&S. They aim to improve the fit and sizing of their clothing in order to increase customer satisfaction and reduce return. Using data accumulation, companies are able to make garments that fit customers well, and are therefore less likely to be disposed of as quickly. The use of full garment fitting technology is also another way to reduce waste in fashion production; aiming to produce a full garment in one step, rather than going through the process of cutting fabrics and assembling the pieces together.

The impact of fast fashion on our planet

I was surprised and shocked by the amount of waste the fast fashion industry produces. The panel pointed out that there was a lot of unsold stock due to the coronavirus pandemic. The lockdown resulted in newly produced clothes disposed of in the landfill and companies refusing to pay workers. – creating harmful impacts on the environment.

The use of cotton in garment production also means a large amount of water is used to produce a small amount of material. 10,000 litres of water is require to produce 1kg of cotton requires 10,000 litres, creating waste at an unimaginable level.

The issue of microplastics in clothes were also raised. The use of polyester has a huge environmental impact, as microplastics are released into the ocean every time we do our laundry.

The Manchester Thrifting Society also pointed out that £140 million worth of clothing goes to the landfill every year in the UK alone, as well as £5 billion worth of returned clothes. Recent events, such as the PrettyLittleThing sale, where clothes were sold for as little as 5p, highlights the problematic nature of the fast fashion industry, and how items are not made to last; just to simply satisfy the season’s trend.

Why are sustainable brands/clothing so expensive?

This was an interesting topic raised in the discussion. Sustainable clothes are more expensive to produce due to their methods. But, it is also expensive in our eyes as we are used to buying cheap clothing; clothing that is unethical in its treatment of textile workers, and the conditions they work in. We are able to enjoy cheap clothing at the expense of textile workers. Sustainable clothing brands tend to pay their workers more, and are treated fairly, thus bringing the cost of production up. Many sustainable companies tend to be produced in smaller numbers, made to order or made to measure, making it more expensive to buy. Most are unable to be price competitive with mass-produced fast fashion.

How to be more conscious of your fashion consumption?

The online magazine Ethical Consumer is a great way for many to be further educated on the topic of sustainability and environmental consciousness. It gives information about each retailer’s transparency and sustainability to help consumers make more informed choices.

One of the event’s panellists, sustainable blogger Jenny, also has a blog focused on sustainability and conscious consumption.

The Manchester Thrift Society is also another great way to stay informed and get involved in the discussion. It is run by a group of passionate eco-friendly students. They have a Facebook group allowing you to swap clothes, shoes and accessories or buy for an affordable price. The society also runs upcycling Zoom workshops and events for its members. There is a £5 yearly membership fee upon joining, allowing their members to gain access to their events and discussions.

Check out the Manchester Thrifting Society through their SU Membership page, or on Instagram.

Best of James Bond

Ahead of the new James Bond movie, No Time to Die, I thought it would be interesting to look at the defining characters of this long-lasting, action-packed franchise. Who were the best villains? Which female characters most challenged Bond’s arguably misogynistic world view? Which has been the best Bond film so far (after all, there are 24 to choose from)? And finally, the debate that’s been going on since the franchise’s conception: Which actor did the best job of portraying the charismatic yet deeply, deeply flawed OO7?

Best Female Sidekick

James Bond has had the pleasure of having many extremely capable female sidekicks who have got him out of trouble, broken down his fairly large ego, and helped him save the world from imminent destruction. We have iconic characters like Pussy Galore and her impressive way of using martial arts skills. And who can forget Honey Ryder in Dr. No, whose emergence from the ocean while singing a song about mangos seduced fans internationally. However, my top three bond female sidekicks are as follows:

3. Tracy Draco played by Diane Rigg in On Her Majesties Secret Service. The only women ever to marry the romantically untouchable James Bond. She is extremely capable in a combative and intuitive sense and gets OO7 out of danger many times. Her death at the end of the film is arguably the saddest moment of the whole franchise and its the first time viewers are able to see Bond as a vulnerable human being.

2. Wai Lin played by Michelle Yeoh in Tomorrow Never Dies. Her martial skills are unrivalled and her abilities render Bond almost useless in this movie. She challenges Bond and what he stands for, simultaneously rejecting his frequent advances towards her.

1. Vesper Lynd played by Eva Green in Casino Royale. In my opinion, Vesper Lynd is the most interesting Bond girl of the whole franchise as she forms a complex and meaningful relationship with Daniel Craig’s OO7. The audience can never quite figure her out, which makes her unpredictable and ultimately makes her character the foundational mystery of the film.

Best Villain

In a James Bond film, the villain is arguably the most important component that determines the success of the overall movie. Featured villains have ranged from wildly eccentric to quiet, cool, and calculating masterminds that almost, but not quite, outdo our hero. Names that immediately come to mind are: the ruthless Goldfinger and the constantly conniving Ernst Stavro Blofeld, however my three favourite villains have to be:

3. Raoul Silver played by Javier Bardem in Skyfall. This chilling, psychotic mastermind creates an extremely interesting mirror to James Bond. One of the few villains who stays many steps ahead of Bond throughout the whole movie, which makes him, at least for me, one of the most effective and charismatic villains the franchise has ever produced.

2. Eliot Carver played by Jonathan Pryce in Tomorrow Never Dies. A very fascinating take on the modern media mogul! Pryce expertly plays an intensely evil and conflicted character, who seems to possess qualities of immense power and vulnerability both at the same time, which offers a more unconventional take on the classic Bond villain.

1. Francisco Scaramanga played by Cristopher Lee in The Man with the Golden Gun. Another interesting mirror of James Bond. Scaramanga wields one of the most famous props of the whole franchise in the Golden Gun. Immensely stylish and always composed, Francisco Scaramanga has to be one of the most charismatic and enjoyable villains of the whole franchise.

Best Bond Film

There are currently 24 Bond films excluding the yet to be released No Time to Die. Admittedly, not all of them are good movies, in fact there are some truly awful ones like Die Another Day or Moonraker. Nevertheless, this franchise has produced moments that have put audiences on the edge of their seats with some extremely unpredictable twists and turns. There have been some amazing stunts, gadgets, and fight scenes that have been influential in shaping what an action movie looks like today.

3. Tomorrow Never Dies. Often overlooked by fans and critics alike, this film includes a great villain, a great Bond girl, and nail-biting action. Unlike many other Bond movies, this has a very modern feel due to its fresh and interesting take on the power of the media. In addition to this, it includes one of the best motor bike chase scenes!

2. The Man with the Golden Gun. A clever and inventive film that uses the villain Francisco Scaramanga to offer a fascinating character analysis of Bond himself. It includes a classic dinner table scene where the famous words “You enjoy killing just as much as I do” are uttered by our charismatic villain, perhaps asking the audience to further question Bond’s overall motivations. The grand final showdown is perhaps one of my favourite where two natural born killers go head to head, leading to an engrossing and tense watch.

1. Casino Royale. My favourite film in the whole series due to its innovative and unconventional structure. Daniel Craig’s first outing as Bond is beyond impressive due to his aggressive and physical approach to the role. It also provides an extremely satisfying look into Bond’s past and how he became the ruthless OO7 that he is.

Best OO7

And finally… the best three James Bonds are:

3. Roger Moore. He featured in 7 Bond movies which is the highest number for an actor (if you exclude non-eon films). Not every Roger Moore Bond movie was of the highest quality, however the audience are guaranteed a fun watch every time he is on screen.

2. Sean Connery. Extremely charismatic and always capable under pressure. Without Sean Connery there would be no James Bond, as it was him to kick start the franchise providing viewers with a charming, original, and at times ruthless portrait of OO7.

1. Daniel Craig. He is definitely my favourite Bond as he effortlessly combines grit, playfulness, and charm into the role. Moreover, he added a new dimension to the character by giving OO7 a convincing emotional backbone which ultimately reinvented and perhaps revived the James Bond franchise.

How to put your favourite websites into dark mode

To excel as a computer science student you need coffee, energy drinks, and dark mode for everything. Coding in dark mode is more effective and you can show off your OLED screen with its true dark colours.

Here I show you some simple ways to make any website into dark mode using everyone’s favourite learning platform, Blackboard, as an example. Give your eyes a break and feel accomplished by trying out some easy programming:

Method 1: Basic:

  1. Go to chrome://flags
  2. Search for Dark Mode
  3. Click Enable

The easiest way and probably the smartest way to do it.

One problem is that this feature is still experimental and not very intuitive. To toggle it on and off you have to reload Chrome every time you toggle dark/light mode and it does it for every website. Easy programming but inefficient.

Method 2: Manually using Chrome plugins:

You can do this on any text editor, such as Notepad, and then insert it into a Chrome plugin. First, create a folder to put everything in and keep organised. Then make a file called “manifest.jsonand”, into which you paste the following code:

Replace URL (in the last line) with your chosen website but don’t delete the star at the end, for example, to work on blackboard you need to use “https://online.manchester.ac.uk/*”

Next, create the CSS file with the  name styles.css. This set involves a little bit of creativity and some knowledge about CSS, nothing fancy, but here is a small example I wrote for blackboard. This helpful CSS guide can help you out.

CSS Code

Your files should look something like this:

  • Folder (Extension name) (whatever you want)
    • manifest.json (the file in step 2)
    • styles.css (the file that contains the styling actually turning the website dark)

Finally, upload your extension to Chrome, using the link: chrome://extensions/

upload extensions

Choose load unpacked and select the file that contains your extension and you are done!

Here’s a preview of my results:

bbb

Why aren’t we talking about the Indian farmers’ protests?

With a single tweet last week, Rihanna drew global attention to what has become known as the “farmers’ protest” taking place in India. Labelled as “the largest protest in human history”, some sources have stated that more than 250 million Indians from all over the country, as well as their global allies, have taken to the streets in protest of agricultural reform by the government.

But why have these farmers and their allies taken to the streets?

Agriculture is the largest source of livelihoods in India. Rough estimates suggest that there are approximately 150 million farmers in India (accounting for just over 11% of the population) and on a wider scale, between 60-70% of Indians depend on the agricultural sector for their income.

Despite this, farmers account for one of the poorest groups in Indian society overall, and suicide is widespread. Although statistics vary, it is estimated that approximately 35% of farmers’ suicides are due to debt, with one agency recording 226 293 suicides between 2000 and 2013.

Pre-existing laws in India attempted to combat this issue through safeguards protecting farmers from corporate exploitation.

Included among these safeguards were crop sale regulation, subsidies, the MSP (Minimum Support Price) – a specific amount set by the government for its purchase of “essential” agricultural products that ensured fair compensation to farmers for their produce – and the Mandi, the marketplace in which farmers could sell their produce directly to the government at the MSP.

In September 2020, the Indian Government passed reforms known as The Farm Bills, in which three agriculture laws were amended or introduced to the farming sector. 

These bills:

  • Open the market for sale of produce and accommodates farmers’ entry into direct contracts with buyers
  • Prohibit taxes being levied on trading outside of the Mandi
  • Change the classifications surrounding “essential commodities”
  • Allow for stockpiling of produce by both buyers and sellers
  • Introduce a “dispute resolution mechanism” that would deal with conflicts arising between farmers and buyers

These reforms triggered widespread protests across the country. According to the protestors, the laws were passed without consulting farmers or their representatives.

In addition, protesters fear that these reforms benefit only one party: by removing the government as the initial buyer in the Mandi and introducing contract farming directly with the corporate and private sector, the balance of power would significantly shift in favour of corporations

As well as this, farmers believe that by abolishing the need for the Mandi, they will gradually die out, and with it the MSP will also die out too.

Farmers fear that big corporations that have the resources to stockpile and preserve produce will be able to create artificial demand for produce and, in combination with a set upon price per contract and a lack of regulation, this will eventually result in extreme exploitation of farmers. 

Wholesale crop prices will likely be negotiated downwards and undervalued, leading to lower incomes and higher debt rates, until farmers will ultimately be forced to sell their lands to their debtors.

It is this potential corporate manipulation of the agricultural market that protestors are most concerned about. Farmers’ confidence in the Indian government is already low due to previous experience: in 1988 deregulation of India’s cotton farming allowed a corporation to create a seed monopoly, as a result of which seed prices increased from 7 rupees to 17000 rupees per kilo

Protestors also disagree with the removal of court adjudication should a dispute arise, as they fear the injustices that may arise due to the corruption of local government and how this may influence any arbitration processes.

Protests originally began in individual Indian states in August 2020, but intensified in September 2020, when farmers from all over India began to march towards India’s capital, New Delhi. 

On reaching New Delhi, they were met with water cannons and teargas from the police, but continued to block roads and major highways in and out of the capital, demanding that these three bills be repealed before talks with the government would even be considered

Due to the government’s use of force to counter these demonstrations, the protest has gained the attention of Indian diaspora communities across the world. Since then, clashes have broken out between some protestors and police, leading to violence and warrants for the arrests of some protest leaders being issued.

Over 159 farmers and their allies have died or been killed in the protests as a result of clashes with government forces, and over 100 people have been reported missing.

It remains unclear just how many people have been injured from either side. An Indian government official told the Guardian that the Ministry of Home Affairs demanded the suspension of almost 250 Twitter accounts that used the hashtag #modiplanningfarmersgenocide due to “posting content seeking to foment violence”. 

The Manchester Sikh Society, representing students at the University of Manchester, MMU and University of Salford, has been raising awareness around the protests.

The society told The Mancunion: “Hundreds of videos have circulated social media showing examples of this violence (much of which is towards elderly protestors) which has been distressing for many students to see, but state-owned media and news outlets have circulated false propaganda in an attempt to incite hatred towards the protestors.”

They also emphasised that the situation “concerns not just the Farmer’s bills but fundamental human rights”.

The Manchester Malayalee Society added: “A significant number of Malayalee students in the UK have families who were and are farmers.

“It is our responsibility to show solidarity towards these farmers and their families. We stand with the Farmers of India.”

Amnesty International has called for the Indian government to “immediately stop its escalating crackdown on protesters, farming leaders and journalists”.

As well as Rihanna, other international celebrities and activists, amongst them Meena Harris and Greta Thunberg) have also shown support for the protests.

And diaspora activists have highlighted that it is this that makes the Farmers’ Protests not simply a local issue, but a global one.

The Indian Society of Manchester did not respond to a request for comment.

India record superb win over Australia and what this means for world cricket

Australia’s chances of reaching the inaugural World Test Championship final were severely damaged, after suffering a brutal 3-1 loss at the hands of an in-form India side.

The series began with Australia displaying their dominance in Adelaide. The brilliance of Pat Cummins and Josh Hazlewood led to India being bowled out for a pawltry 36. This left the Australians needing only 93 to chase in order to win the game, which they did with ease.

With Captain Kohli having to return home for the birth of his child, India were led by Ajinkya Rahane.  Rahane immediately led from the front hitting a brilliant 112 in the Second Test in Melbourne, to win the match by 8 wickets and to tie the series 1-1.

If the first two matches didn’t engage huge interest, the last two tests served as fantastic advertisements for Test Match cricket.

As the series moved into Sydney, the brilliance of Steve Smith’s 131 and 81 caused India huge hardship, and meant they had to bat out the final day with only 8 wickets in hand. The heroics of Rishabh Pant (97) and Cheteshwar Pujara (77) frustrated Australia, and led the Men In Blue to record a memorable draw.

It was all to play for in Brisbane, with both teams needing a victory to win the series. Put into bat first, Marnus Labaschagne recorded an important century in the 1st innings. However, it was Pant again who stole the headlines. The wicketkeeper played with ferocious tenacity and style, charging both pace and spin. Despite falling inches short of his century, his heroism meant that India were able to bring back the Border-Gavaskar Trophy to the subcontinent.

Not only was this a hugely entertaining series, but its impact on world cricket was seismic.

‘One Man Team’ no more

A common criticism lodged at the Indian team is their reliance on the brilliance of Virat Kohli. With Kohli absent, India had to nurture other talent. Rahane and Pujara, the stalwarts of the team, both had a pretty mediocre series. Aside from his century in the second test, Rahane did very little, and Pujara’s scoring was very inconsistent.

It was the young talent of Shubman Gill and Rishabh Pant who caused the Aussies the most damage. Pant, with his trademark aggressive style, was just what was needed to put an experienced Australian bowling attack consistently on the back foot.

With Kohli ageing, this series has shown that India’s coaches need not worry about the next generation of Indian batting.

Smith’s Apprentice

Steve Smith continued to prove himself as the best batsman in the world. In a series where Australian batting was undone by the Indian bowling attack, Smith resolutely led from the front. Despite this, it was his ‘apprentice’, Marnus Labuschagne, who was the real star of the series.

It is surprising that it was only 2 years ago that the name ‘Marnus Labuschagne’ was unheard. His technique and mentality is something that few players in their 20s possess. Labuschagne hit 461 runs in the series, averaging just over 50. Smith and Labuschagne are quickly becoming the dominant batting duo of world cricket, and it will be interesting to see how that partnership continues.

India’s Fast Bowling

History has shown that spin bowlers are the main prong of attack for any Indian side. However, this series has demonstrated the wide amount of pace options they have on offer. Naturally, Jasprit Bumrah is still the strongest component of this growing pace attack. However, the emergence of Mohammed Siraj, Navdeep Saini and Shardul Thakar emphasise the changing reliance of Indian pace bowling.

If this strength grows, India could see themselves as a dominant force, not just at home but on all continents.

Wanderer in the skyline: A city view caught in the reflection?

Taking shots has changed since 2020 – in more ways than one.

As much of the country lives in a limbo between lockdowns and tier restrictions, the streets of our city centres are mostly ghost towns. Market Street is sparse, Oxford Road is bereft of its busy bus route, and bustling squares are laid bare, without the bars that gave them personality and purpose.

And yet, the limitation can mean stimulation, bringing the world around us into vivid, vibrant, and sharp focus without the distractions of the usual hustle and bustle.

Manchester is no stranger to this concept – artwork commissions and murals are regular features across the city centre location and beyond. However, capturing the style and atmosphere of a city is something altogether quite different.

From IRL to Instagram

Keen to understand what makes these areas so photogenic, I enlisted the help of a canny photographer who knew the area, and who had a good sense for the streets where lens and location meet. Nathan Whittaker, known by his Instagram handle and moniker as Manc Wanderer, brings an engaged, focused eye to the task.

His page boasts a 21.3k strong following on Instagram, with a striking patchwork of ever-unfolding images across Manchester’s city centre and surrounding areas. You may have noticed his shots before, which have graced the Instagram pages of many a blog and online publication. The photos often illustrate street scenes with a low-angled array of landscape and portrait shots. They follow Whittaker’s exceptional eye for detail and direction of gaze, from murky cityscapes to sun-dappled rainy days amongst the red brick buildings of Ancoats.

Whittaker noted his love for travelling to shoot locations; he developed a skill for noticing and capturing shots from a young age. Despite his keen eye and impressive abilities, he admits that, “It was over three years ago I started taking it more seriously and bought my first “decent” camera.” Taking steadily to photography, it seemed that in no time at all, the city’s quirky corners and defining features encouraged and spurred on his creative flair.

He told me his interests were first piqued by a since-removed sculpture of a Jazz-inspired Big Horn, outside Manchester independent retailers, Afflecks. An interest in preserving and exploring the city from that moment appears instinctive and central to the images he has gone on to create.

Pitching the perfect shot

Asked how he decides and defines a quality photo, he explained that, “Manchester’s not that big a city, so it’s inevitable I end up getting photos of the same buildings/scenes regularly.” However, he felt that factors, such as “the angle, lighting and time of day”, were crucial to his experiments and building an extensive, varied style.

Whittaker learnt this through gig photography: “From a technical point of view, a venue’s lighting is always a huge consideration – it can be either a blessing or a curse.” He spoke fondly of capturing “the emotion of the artist and crowd as honestly as possible.” A feature of Whittaker’s photography that continues to shine in his other, more Covid-friendly pursuits!

Manchester in a myriad of reflections

As Manc Wanderer and the collection began to take shape, it became clear that a new space was needed to display his work. “I wanted to share a lot of Manchester photos after a failed project I’d spent a lot of time on before it; I was trying to create a local’s city guide to show off a lot of what Manchester has to offer.” His effort and commitment to revealing the unique beauty of what often is already in plain sight are clear: “There can be a street I pass daily and think nothing of, but then if the sunlight catches it at the right angle, I’ll instantly want to get a photograph.”

From my own observations of Manchester, I know how often the rain and architecture can create a rather darkened mood and pallid views, seemingly dominated by reflections in rainwater and puddles. The greying cityscape often refracts pale and silver-tone light off the many glass shimmered surfaces. Although Whittaker has often taken photos that focus on reflections, he had a few different thoughts on the tones and textures of the city. He felt, of course, you could note a moody tone and an “industrial” brick patterns of red tumbled amongst grey that have long held the city heritage in historic buildings. However, as with the changing of light, he noted, “It’s the whole concept that the puddle is there and only that size at that particular moment. [The photo depicts] the experience of that image at certain times of the day and shows a building is literally a totally different light.”  

The Wanderer’s ambition is to give the online world a slice of the interest and intrigue that resides in the city even in the midst of lockdown. He felt that, “If even just one person saw a photo of Manchester that made them want to visit, then I’m over the moon!”

Slowthai: Personal but Patchy – TYRON Album Review

Slowthai’s Mercury Prize nominated debut LP Nothing Great About Britain hit listeners back in 2019 with a series of politically charged tunes delivered in his unique Northampton drawl.

Since the release of this album, he has quickly gained a strong cult following, as well as a host of musical admirers both in the UK and overseas. He featured on songs with Gorrilaz, Aminé, and Tyler the Creator, just to name a few.

The release of his latest effort TYRON sees Slowthai in a very different space, both musically and personally, compared to his raw introduction two years back. Self-titling the LP (Tyron being Slowthai’s birth name) also suggests a more personal and assertive intention behind the record.

The album is divided into two distinct parts, the first offering more direct and hard-hitting tracks, while the second is more introspective and restrained. These two moods will by no means be alien to fans, but the presentation of them in this album format is certainly something new for Slowthai.

Side A:

The first disc showcases Slowthai’s unruly side. ‘45 SMOKE’ kicks off TYRON with a nondescript banger, as Slowthai does his best Playboi Carti impression towards the end of the track. ‘MAZZA’ with A$AP Rocky has an even more blatant Carti influence. Its ad-libs and the 8-bit-sounding instrumental certainly show this. But it is lacking any of the same conviction or flair; it just ends up sounding obnoxious. Songs like ‘PLAY WITH FIRE’ and ‘DEAD’ prove more successful. For the most part, the production and the way Slowthai flows both lack the colour or originality of his previous songs in this vein.

Side B:

It is in the second half of the album where listeners get an insight into Slowthai’s mindset, acting as a nice contrast to the rest of the tunes here. ‘i tried’ opens this set of tracks with soulful keys and a lively guitar line, as he raps about the things in life that have got him “in a headlock”. Perhaps the most intimate song of the album, ‘adhd’ details Slowthai’s navigation of his internal struggles amongst this newfound public attention. That is not to say that this second disc is downtrodden. Vibrant instrumentals still give head-bopping groove to tracks like ‘focus’, with production from Kenny Beats; ‘terms’, featuring Dominic Fike and Denzel Curry; and even ‘nhs’.

Using the duality between the two discs of this album to mirror the different sides of Slowthai’s personality certainly is an interesting concept. Yet, a lacklustre first half and some forgettable moments throughout hold TYRON back from being an entirely compelling second album. The record does show growth from an artist still with a lot of potential, but it lacks the quality or consistency to make it a fully enjoyable listen.

6/10

“Post-punk is dying” – Chatting with The Howlers

“We don’t want to be like everybody else”

From the word go Adam, The Howler’s lead guitarist and frontman, made it clear in our interview that they wanted to rebel against conformity. Often chalked in with the genre of Post-punk, the London based desert rockers have pushed back against the scene, describing themselves as “not just Doc Martins and hating the Tory’s”. The Howlers look to keep themselves out of politics and do their own thing.

Headlining ‘Yes’ on March 18th, the band feel they have good reason to style themselves differently. Adam states the band were “more garage than anything else”. He also pulled no punches when he told me that “Post-punk’s dying out because you can only be angry for so long”.

I’m told The Howlers wanted to be different so that they could write a love songs (or whatever else they wanted) and not alienate their fans. Naming bands like Cabbage, as suffering from this fate, I could see his point and I am all for it. I would be delighted if Cabbage wrote a love song but I can’t be certain many of their other fans would be.

A huge part of the The Howler’s notoriety has spread almost entirely by word of mouth. Based on their stellar live performances and their amazing team; whom Adam was quick to praise. He described the band as “second to none” live, which he admitted might appear arrogant but seemed to me a genuine claim of someone that believes in his band and their sound. I look forward to seeing if his promises hold up soon.

The band are desperately hoping that their tour can go ahead this year and can play in Manchester. Whether or not we can see them live soon, the Howlers are clearly prepared for the future. This is amplified with releases planned and organised for the entirety of this year and next including releases featuring several new singles and at least one record.

Recording amidst protests:

Working over Lockdown one in a factory, Adam tells me almost all of their new material was recorded in the midst of the Black Lives Matter protests. The band experienced the chanting of the protests daily as they walking through the marches to get to the studio/factory. This conjures powerful imagery that appears to have provided the perfect inspiration, driving them to continue working hard on writing and polishing their sound.

Counting 60’s and 70’s bands and soundtracks as being much of what Adam was listening to during this period, even bridging the gap to west coast sounds. The band certainly have a backdrop of excellent stimulus to draw from. Now they hope to build on the success of singles like ‘Matador’ and ‘Badlands’.

Forever feeling lucky for having “the best job in the world”, they thrive whenever someone takes a punt on them. The Howlers have also always preferred to work with smaller promotors and record their tracks live to feel authentic. Whilst not a revolutionary idea this method of recording certainly should play to the bands advantage if they are as tight a collective live as they are on ‘La Dolce Vita’.

The future for The Howlers:

Hoping to be recognised for all their hard work the band are even featuring in a series of mini-documentaries. These are made up of over 45 hours of unseen studio footage, all about them and their recording process. Centred on the band self-isolating together and recording the next three singles planned to be released. These films were created in order to support the band’s wider team. With a band so focused on using music as a method of escapism, seeing how they work during this time period should be fascinating for new and old fans alike.

Finishing our interview with a summary of what the band hope to do next – they described the future as, “A departure from who we were, but also not”. With a plethora of acoustic tracks recorded and live sessions prepared, the band are already focused on their next single.

Adam tells me “I don’t love you all the time”, due to be released March 5th, is not a love song. This single and its concept “only makes sense when you hear it”. This isn’t something you see a lot of bands admit, rather choosing to fabricate false intricacies or themes, yet Adam’s frankness was refreshing.

It appears to me that The Howlers have a lot of faith in themselves – prepared to do everything their own way even at the risk of appearing arrogant. They might be the kind of live band the world needs to see post-COVID-19. If the band lives up to the level of live performance they promise, and I hope they do, they will certainly be ones to watch for the future.

Standing in the Way of Control: An art rock awakening with Annabel Allum

Loaded with witty lyricism, snarling hooks, and staunch basslines, Surrey-based singer-songwriter Annabel Allum has graced streaming platforms with new recordings from her Lockdown Sessions. Her release includes the enigmatic track ‘Standing in the Way of Control’, which poignantly encapsulates the ever-conflicting experiences of these disquieting times and also declares an intimate, personal reflection on the artist’s self-acceptance. 

Opening with ominous bass plucks and fuzzy electric strums, ‘Standing in the Way of Control’ offers a Western-esque soundtrack to Allum’s mourning vocals as she declares, “you’re forgetting who you are, and you can’t stop crying.” It’s a track that, at the same time, conveys powerlessness and a relentless defiance of the circumstances. Allum’s sound defies the genre boundaries of male-dominated blues and classic rock, fusing these harder-edged elements with the raw sentimentality of folk-storytelling. 

“What a song! And little did I know back then that it could mean more to me now,” Allum says of the track. She describes it as “an anthem that would diffuse the steam from my furious ‘why do I have to be queer’ teenage years and a synergious moment when Beth Ditto asked me onto her EU/UK tour in 2017.” Such furious self-denial is apparent in the track’s chorus:

“Standing in the way of control, you live your life. Survive the only way that you know, you live your life… it’s easier to lose… it’s hard to face the truth… when you think you’re dying. It’s part not giving in, and part trusting your friends… you’d do it all again, and you don’t stop trying.”

The metaphor of resistance is clear; Allum voices the feeling of having to bend to the circumstances against one’s own will, atop droning chord progressions that portray a sense of trudging and exhaustion. 

There’s a touch of Angel Olsen in Allum’s, at times haunting and weary-sounding, vocals, as well as in the avant-garde stylisation of her rock sound, that is particularly prominent in tracks like ‘sofa song’ and ‘Rich Backgrounds’. But both the brutally honest lyrical reflections and feverish guitar riffs of Allum’s tracks force listeners to confront the existential musings in them, beyond her catchy hooks.

The artist’s remarkable ability to merge these ruthless discharges of wrath with more vulnerable, intimate glimpses into the root of her rage certainly sets her apart as a stellar figure in the rising arena of angry-girl alt-rock. 

The other track of her Lockdown Sessions, ‘Boys Do Cry’ marries her grungy style with indie-rock resonances: “So I try to laugh about it, cover it up with all my lies. I try to laugh about it, hiding the tears in my eyes.” The gender inversion of this track also points to her remarkable ability to reconcile the personal with the universal – a synergy of contradictions that defines much of her musicality and lyricism. She sings of holding back her tears before resolving that, “boys do cry”, and then affirms this reminder in a wailing repetition which suggests a final surrender to the act. 

Although previously a relentless live player, Annabel Allum has succeeded in rising to the DIY, bedroom aesthetic, which these times have necessitated. Fusing her mystifying, penetrating vocals with the muffled reverberations of grunge and indie-rock and enigmatic lyrical contemplations, Allum’s genre-bending and incredibly poetic inclinations only heighten her credibility in the ever-changing face of female art-rock.

SOPHIE – The striking sounds of a pioneer producer

Culture Editor, Georgina Davidson, discusses the genius of SOPHIE, following her tragic and sudden passing.

There are a multitude of ways we experience the world. Sometimes we see, often we hear, and almost always we feel. But to have a distinct realisation about any and all of these senses, and to artistically convey your experiences in a way that deeply impacts others, is a special and rare thing.

In some people, this realisation might grow much deeper and evolve throughout life. Worldly understanding sharpens perception and invokes reflection on how we react to- and interact with the world around us. When such creativity is found and then quite suddenly lost – such as the with the death of the creative force that was SOPHIE – for many people, the impact of this creativity comes most distinctly to life.

To be able to notice and communicate intricate sound is a gift which many saw in the late producer Sophie Xeon. Known artistically as SOPHIE, the Glasgow born pop artist’s work had expanded into a strongly felt presence in underground and experimental pop. Despite her name being unfamiliar in the wider public sphere, her talent and musical ability is surely felt throughout the scene.

Working with the likes of A. G. Cook (of PC Music), Madonna, and many more, Sophie asserted her sound and style by developing a unique electronic genre, which enriches and infiltrates the latest modern pop music sound of this decade.

In the build up to the release of 2018’s Oil of Every Pearl’s Un-Insides, it was tangible and beautiful to see her identity shine. Never shying from her productive presence, she seemed to have a duty to perform and a mission to bring to light. Among her work she showed the world its brutal injustices, its beauty, and a fresh perspective. Her regard, or rather disregard, for gender is playful and powerful in her musings on transness:

“It means you’re not a mother or a father – you’re an individual who’s looking at the world and feeling the world.” PAPER Magazine, 2018 

Oil of Every Pearl’s Un-Insides formed the point of seismic shift for her own sound. Commentators seemed in awe of the “disorienting, latex-pop feel of her fascinating production technique.” The album grows with a soft whirr and rise among a backdrop of stylised synths in opening track ‘It’s Okay To Cry’.

This moment is only an early snapshot of what has been built within new pop. From such gentle, heartfelt sounds to an emboldened character, found in her distinctive personality and acutely energetic noise, her music not only rang out, but also helped piece together some of the most unique progressions of the modern pop era. SOPHIE defined what was once considered disposable into a well established and esteemed art form.

The creative processes of her nearest peers and artistic collaborators suddenly seem obvious, and to anyone who had seen her perform live, it feels magical that such innovation came together for one individual in this way. Through her performances, she certainly had the presence to captivate the senses in unusual collective experiences. She was graced with a strange and certain style that oozed a knowing, but not obnoxious, confidence.

Her recent passing shocked the world and wider artistic community, with many well known figures taking to social media to express their grief, to guild her with gratitude, and talk of their experiences with her. To name just one such immediate response, Christine and the Queens lauded her as a rebel to “narrow, normative society”, who triumphed and surpassed expectation in her “visionary” responses, through music, and in her exploration of identity as a woman.

To others, and among many music writers, she was quite emotively regarded: “She knew something the rest of us didn’t… a musical and queer legacy far greater than her peers”, critic Douglas Greenwood wrote, adding that she had “the audacity of an artist who intelligently bent the boundaries of pop and electronic music.”

To hear of her passing at the pinnacle of her pioneering career is truly a shock – one that will be felt and remembered, due to her tangible, electrostatic presence. To her fans and friends she will be remembered for her iconic character; but as a creative, she has shown just how influential and unfiltered one person’s power as a performer can be on the music scene.

In her musical attempts to feel everything, SOPHIE has provided a legacy which values artistic integrity, both inside and out; a legacy that looks towards altruistic understandings of gender, fashion, new music and most vividly, unabashed fun.

To find out more about SOPHIE and her label peers, view the Transgressive Records website here.

Long read: Meth in 21st Century America

At the Mancunion, we like to shine a light on interesting stories that students might be interested in, this week, Jake Egelnick looks at how one US state has been devastated by drugs and what happens next. 

Meth has grown up with you. Twenty years of hard work and countless hours spent inside makeshift labs has placed methamphetamines at the forefront of the war on drugs.

It’s surpassed its 20th-century counterparts, like crack cocaine and heroin, in terms of global police seizures. This is due to the ease of its manufacturing which keeps it cheaper, purer and more desirable for both dealers and users. When it only takes five minutes on Reddit to find a meticulously detailed recipe, it is clear to see how this drug has worked its way into some of the world’s most deprived communities and filled the gaps created by the economic turmoil of the 21st century.

In the South Western corner of the State of South Dakota, lies the Pine Ridge reservation, home to the Oglala tribe of the Lakota people who have occupied the regions surrounding the state for thousands of years. It is 2 million acres in size, just 3% of the land which was promised in a multitude of 19th-century treaties and is just one example of the countless injustices which the Native American tribes have experienced at the hands of the federal government.

It is the loss of land and its resources which has contributed to 80% of the Pine Ridge reservation being without full-time employment and with no compensation for this legislation abuse, the community has been left forgotten by the nation which ruined it.

Due to the conditions on the reservations, like Pine Ridge, rates of meth abuse have risen disproportionately among Native Americans where cases of Meth abuse are twice as high in comparison to other ethnicities. These are, however, only statistics and as a student living in the U.K who may have never even been to America, it might be hard to imagine how they affect the people represented by them.

Speaking to Julie Richards, known as Mama Julz, who founded the charity ‘Mothers Against Meth Alliance,’ she gives a vivid account of what these statistics mean: “Babies have been murdered because of parents being high on meth,” she tells me, “we have people missing because of meth and there is sex trafficking going on because of it.”

She says she first started to notice meth being a problem in the community 6 years ago when her eldest daughter became addicted to it, which partly inspired her to set up her charity.

Some of the work which her organisation does involves opening up her house as a rehabilitation centre for known addicts, where she says, “I listen to the youth tell their stories and listen without judgement.”

She adds that “the children suffer the most,” from the crisis, with there being people as young as 13 being known addicts.  Her treatment centre home provides those in the grips of meth abuse with a life-saving service that is hard to come by in the reservation, where what little funds it receives from federal initiatives must be spent on the physical rehabilitation of addicts and has contributed to a sharp rise in teen suicides on the reservation.

As well as helping the addicts “heal from the traumas they’ve been through,” Julz and her charity are required to confront the producers and dealers, who are able to escape any repercussions on the reservation.

Since the 1990s, Mexican drug cartels have been exploiting a legislative loophole in U.S law which means that non-Native citizens can’t be tried for a crime committed on the reservations.  “We have a lot of open spaces, so it is easy for the dealers to set up on the reservations,” says Julz about the large-scale industrial meth labs which are nearly impossible for the Oglala to remove from their land.

As well is this de facto immunity, there are only 54 active tribal policemen who patrol the reservation, that’s roughly the size of Yorkshire, and therefore are unable to deal with the organised threat of the cartels. The Lakota believe they are all related under part of their beliefs called ‘tiospaye,’ which makes it difficult for the few police officers to make arrests on people who are considered brothers and sisters and who have turned to dealing in order to make a living.

There is a disillusioned feeling towards the success of policing with Julz believing “that it is up to us a community to keep it safe. That’s the reason why I do my own nightly patrols.” These confrontations with drug dealers have led to guns being pointed at her and the windows of her car being smashed in.

The state of South Dakota has so far ignored this plight and last October the Trump-supporting governor Kirsti Noem spent half a million dollars on a farcical ad campaign, where South Dakotan’s were filmed saying “I’m on Meth.” It was part of what she described as an attempt to raise awareness of the state-wide meth pandemic, something she described as “everyone in South Dakota’s problem.”

Noem’s ‘everyone’ clearly ignores the 75,000 Native Americans who live in the state. Julz described the campaign as “a slap to the face for paying thousands on the campaign when they could have used the funds to build a youth treatment centre.”

However, the well-being of the Native American community within the state has never been a priority of its government which has been made painstakingly clear during the Covid-19 pandemic.  “It feels like I’m fighting both the Covid and the meth epidemic,” says Julz, though she is grateful for the reservations decision to close their borders. This decision led to the lockdown doubting governor Noem threatening legal action unless the reservation was reopened.

For the Oglala, ignored by the authorities, stripped of land and funding, it could be seen as a hopeless situation, however Julz, as an inspiration to her community and those across the world battling drug addiction, believes that if the Oglala “come together as one we can run the dealers out our land.”

Charities like Julz’s receive no government funding so if you feel you’d like to make a contribution to help aid the people of pine ridge a donation can be made at https://www.mothersagainstmeth.org/

Image credit supplied

The demise of cinema and the rise of online streaming

While we may miss the romanticised ritual of dressing up to go to the cinema, booking seats, buying over-priced popcorn, and taking home a ticket stub to mark the occasion – life in lockdown has temporarily put this tradition on hold.

Instead, plush cinema seats are swapped out for sofas, cup holders become bedside tables, and colossal theatres are now 13-inch laptop screens.

Everyone probably has a Netflix, Amazon Prime, or Disney+ account by now, or mooches off a mate’s.  These streaming platforms hold all the films and series everyone’s talking about at the moment; and with the lack of actual life outside, why wouldn’t everyone resort to their sofas and screens as a means of staying social and interconnected? 

We may even find ourselves binging shows from years ago. Watching an entire series in an evening, mouthing word-for-word all the one-liners and knowing exactly when the sitcom’s audience chimes into a chorus of laughter is now normal. But should this way of consuming media and culture be normal?

Here’s a small list of student and budget-friendly independent streaming services which offer a different kind of entertainment for you to consume:

MUBI 

MUBI offers a wide variation of films, promoting that their platform ranges “from cult classics to modern masterpieces. From the greatest ever directors to the greatest new directors. Films from everywhere on earth!” The service is one of the most curated platforms I’ve personally come across. It emphasises a film community amongst the watchers with a brilliant Notebook feature which holds the latest news, interviews, reception, and criticism of the films. Furthering this cinema community is MUBI’s selections including “The MUBI Top 1000” or “The Best Films of Every Year.” In the words of Christopher Hooton, writer for the Independent, “‘MUBI [is] Netflix for people who want to stop just watching trash all the time.”

Effectively, MUBI is more than just an online-streaming service with a singular endeavour to make a profit. Instead, it vouches for the inclusivity of cinema-lovers all over the world and an online community that offers a social, intellectual, and active engagement to the tradition of film-watching. MUBI believes “it is not just about discovering wonderful new cinema or classic masterpieces. It’s also about discussing and sharing these discoveries, which makes us like a small coffee shop.” So why not join this small coffee shop, surprise yourself with a Spanish film from the 1970s, and find a new way of being both social while stimulating your mind at the same time?

Check out MUBI’s website and use a bit of that student loan towards a £5.99 a month student membership! 

BFI Player

BFI Player is similar to MUBI in that it also shows the more artistic and academic sides of viewing entertainment. The platform celebrates mostly British and European work, with a key emphasis to “create a flourishing film environment in which innovation, opportunity and creativity can thrive.” It serves to preserve the tradition of film while also working to promote, invest, and introduce the work of emerging filmmakers to a worldwide audience. 

Whether you land on a classic French drama like La Haine (1995) or check out a niche, new documentary on London’s finest drag performers – you’ll know that your money is going towards an institution that values creativity, individuality, and innovation more than anything else! As a young consumer, why not break the cycle of passive consumption – both culturally and financially – and actively make a difference from the comfort of your sofa? 

You can rent one film at a time starting from £2.50, subscribe monthly for  £4.99, or choose from an archive of free films – you’ll definitely find something for you! 

Box of Broadcasts

As a literature student who has taken her fair share of film modules, I’m embarrassed to say I had only come across Box of Broadcasts (BoB) in my third year at university! BoB is a huge on-demand archive of over 2 million films, TV, and radio broadcasts. Its ethos is to “create a modern and engaging learning experience that meets the expectations of students, with a reliable and academically focused archive of programmes.”

Although the platform is definitely geared towards academia, that’s not to say that this is its sole purpose! I’ve found tons of amazing programmes and films which can both help me academically, acting as an extension of a lecture or course material, as well as being yet another entertainment outlet.

And the best part? It’s completely free for students! Simply enter your university, sign in through your portal, and there you are. The website is categorized into channels, dates, playlists you’ve created, clips you’ve saved, and there is even an option to request desired material which the site doesn’t currently hold.

Photo © philld (cc-by-sa/2.0)

Now, I’m not going to tell you to ditch the screens once and for all and start doing 5k runs instead, but why not switch up the media you’re consuming as well as the platforms you’re financially supporting – at least until HOME cinema, and the world, opens up again?

Annie Dabb: Even Oprah wouldn’t use Ocado

Something has come to my attention recently which I’m sure for many will seem an obvious development, given the global crisis taking place over the last year. There has been a huge increase in online shopping, particularly through the use of online supermarket delivery service Ocado. I won’t insult anyone by spelling out how that could possibly have happened. 

An article by the BBC suggests that “the global pandemic forced many people to buy online for the first time”. The operative word here being ‘forced’, rather than a gentler ‘prompted’, as, for many, there was no other alternative. Physical supermarkets practically serve as a breeding ground for the virus, contributing to 11.2% of coronavirus cases – more than schools and gyms put together.

The global pandemic has also “forced” people to spend more money on electricity in their homes, because they didn’t want to sit in the dark all day, or to spend literally hours in front of their screens on Zoom call after Zoom call, as a tragically poor replacement for in-person teaching.

I don’t want to spend £9,250 a year on an education that is worth roughly about £80 (the price of a year-long Netflix subscription), no more than I want to sit scrolling through the ‘free from’ section; but if I want the fancy piece of paper that says I have a degree, in the words of Mindy McCready: “A girl’s gotta do (what a girl’s gotta do)”.

Does Ocado’s success as a company diminish, then, if we regard it as an invention of necessity, rather than a genuine preference?

In a way, it’s sort of a shame that Ocado can almost directly accredit its increased clientele to a wide-spread disease which has people fearful of leaving their own homes, rather than the actual business model of the company. Never has a company CEO like Ocado’s Jez Frampton unexpectedly related more to a member of the arts and culture industry; bonded through a shared dilemma of second-guessing whether what they’re producing is actually entertaining (or I guess essential in the case of Ocado), or whether its popularity can be put down to no more than a blatant lack of choice.

Certainly, it is an upsetting substitute for the real experience of leisurely browsing the aisles of a supermarket, just as the often seemingly nonsensical alternatives a customer may find in their shopping are also upsetting substitutes. This phenomenon has been picked up on and memed by mums on the internet who claim to have “ordered toothpaste, got Harissa paste” and even someone whose wet wipes were replaced with whiskey. Oh the joys of parenthood, right Karen? 

Furthermore, it’s impossible not to recognise that being able to spend a little bit more on online shopping from more high-end supermarkets is a luxury of sorts. Enjoyed by people who are financially stable enough to be able to spend their money, rather than their time, to avoid waiting in a line snaking round a busy car park, or physically reorganising a whole shelf in order to reach that only slightly dented tin of baked beans you’re 90% sure you can see left at the back.

Ironically, with so many people being furloughed, and thus living on 80% of their normal wage, surely now is a time when budget supermarkets ought to be flourishing more than ever – if only it wasn’t considered dangerous to brush shoulders in the bread aisle, or to cough near the condiments. 

Ross Hindle, from research firm Third Bridge, is quoted in the same BBC article saying: “These are not just results, these are remarkable results. Ocado couldn’t have asked for better trading conditions”.

Surely this exposes to even the most in-denial conservatives among us, just how damaging capitalism can be as an economical system; allowing people to benefit from it only at the catastrophic cost of thousands upon thousands of lives, by way of Coronavirus casualties.

It saddens me with my inherent socialist ideologies to admit that perhaps Mark Fisher was right when he said: “It’s easier to imagine the end of the world than the end of capitalism”.

Or as one commenter on the BBC’s article so eloquently put it: “What a soulless, depressing vision of the future. People choosing food from a computer screen.” The replying comment to which was “People already choose ‘the live of their life’ [By which I assume they meant ‘love’, although the typo is oddly appropriate for the current circumstances] from a screen. Why not a few cans and some carrots? You’re in the way of progress, step aside.” But progress for who, exactly? 

The plot thickens (or the avocado orchard, if you will) as Ocado delivers for the notoriously working-class friendly supermarkets Waitrose and Marks & Spencer. Even the company’s name, ‘Ocado’, suggests its intended demographic, claimed by the company’s CEO Jez Frampton to be a variant on the avocado fruit.

Nothing screams middle-class household like smashed avocado on toast, or homemade guacamole. And I was wondering why I’d not seen any Ocado vans parked up at my student accommodation, dropping off groceries to the likes of students, who consider a bottle of wine above £6 to be a splurge.

Surely any company named after the fruit which Oprah grows in her own orchard, because even she claims avocados in supermarkets are too expensive, was not started with the intention of nourishing the labouring classes first and foremost.

That being said, I’m sure the intention behind Ocado’s existence as a company is for the most part good and moral, but would it have been as popular if budget supermarkets like Aldi and Lidl didn’t have lines 20+ people long just so people could feed their families? I don’t think so. At least during the very first lockdown (if you can possibly cast your mind back that far), the one weekly trip to the supermarket became something of a novelty – albeit a risky one. When you’ve been locked in your house for several months, nothing incites excitement quite like going against government advice to snap up Aldi’s ‘super six’ deals on veg, or, dare I say it, a red sticker offering 30% off already budget groceries. I live an enthralling life, I know. 

At this rate, when we are finally allowed outside with people not from our loving, but quite frankly suffocating, homesteads, I wouldn’t be surprised if Siri has more luck rekindling her social life than ‘Generation Z’ does.

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