Month: March 2021

Chelsea: England’s most enigmatic team

Written by Jamie Greer on 20th March 2021. Posted in Sport.

Chelsea have encountered so many problems this season as a result of their confused transfer strategy last summer. The Blues had a good season in 2019-20, considering their transfer ban and Frank Lampard’s inexperience in the top flight: a ticket to the Champions League and a narrow defeat in the FA Cup final to Arsenal.

The football on display last season was certainly entertaining. They scored 69 goals (only Manchester City and Liverpool scored more), but also conceded 54 (the worst in the top half of the table). It seemed obvious that defensive-minded players and a new goalkeeper to replace the struggling Kepa Arrizabalaga would be the priority.

However, this was not the case. Chelsea’s headline additions were three attacking players.

Timo Werner from RB Leipzig and Kai Havertz from Bayer Leverkusen were two of the hottest prospects in the Bundesliga. Werner netted 34 times last season as a striker/left winger, whereas Havertz racked up 18 goals and nine assists from a deeper false nine/no 10 role. Hakim Ziyech, an attacking midfielder from Dutch champions Ajax, was also added.

These were undoubtedly impressive transfers in isolation. But buying three attackers for a combined £150m felt rather unnecessary. First, scoring goals was not an issue for Chelsea last season. Secondly, Chelsea already had a plethora of good forwards as seen below.

Chelsea’s attacking options 2019-20 in all competitions (ranked by no. of appearances)

Name	Position	Age	Appearances	Goals	Assists
Mason Mount	CM/CAM	22	53	8	5
Tammy Abraham	ST	23	47	18	4
Willian	RM/RW	32	47	11	9
Christian Pulisic	LW/RW	22	34	11	7
Callum Hudson-Odoi	RW/LW	20	33	3	6
Olivier Giroud	ST	34	25	8	1

Their splurge could be understood if many of these players were sold to other clubs. But it was only Willian who left, while the rest stayed. Apart from him and Giroud, they are all young too, and with their best years ahead of them.

These transfers meant other areas of the squad were not improved. A defensive midfielder was not pursued, despite vocal fan disapproval over Jorginho and N’Golo Kanté struggling to hit his best form. Signing coveted centre-back Thiago Silva for free from PSG was a coup, but at 36 years of age, he was hardly a long-term remedy for their defensive troubles.

Furthermore, they had to be forced to bring a new goalkeeper (Edouard Mendy) after Kepa’s disastrous start to the season. Ben Chillwell, a talented left back bought from Leicester, was undoubtedly a smart acquisition.

A mixed start

Their start of the season was, quite predictably, somewhat disjointed. Lampard deployed a variety of formations to try to integrate all these attacking talents with mixed results.

The Blues did incredibly well against teams in the bottom half of the table. Such a form saw them go top of the league in early December after a 3-1 win against Leeds.

Against the top half, though, it was a different story. Three defeats, two draws and zero wins against the traditional ‘big six’ by January was disappointing to say the least. This was compounded by losses to Everton and Leicester, two of their rivals for the top four.

Werner and Havertz in particular struggled for form. At time of writing, they have scored just six times between them in the league. It seemed as though wealthy owner Roman Abramovich had signed these players just because he could, with little thought about how they would fit into a well-oiled team.

Lampard deserves criticism for his failure to get the best out of two undoubtedly good players. They were played in numerous positions but to little satisfaction.

However, finding a way to fit all this ability into a starting XI was no easy task. Sometimes having too much choice is more of a headache than a smaller selection where strengths and weaknesses can be identified more easily.

Frank Lampard manages Chelsea against Liverpool in 2019. Photo: Chelsea Debs @Wikimedia Commons.

Kepa’s disastrous start to the season, the rushed transfer of Mendy and awful defensive displays versus West Brom and Southampton created a sense of haphazard dealings off the pitch and great instability on it.

After the 2-0 loss to Leicester on 19th January, where the Blues were completely out fought and out played, Lampard apparently shook every player’s hand in the dressing room.

The writing was on the wall.

Firing of Lampard

On the 25th of January 2021, with Chelsea sitting a disappointing ninth in the table, the Chelsea board came to an abrupt decision and Lampard was unceremoniously removed from the role of manager. He was replaced by highly touted former PSG manager, the German Tomas Tuchel.

As far as the circumstance of Lampard’s removal, it is always an awkward moment when a club fires a fan favourite, especially a former player as loyal as Lampard.

These decisions were surely not taken lightly. However much of the rumblings of discontent surrounding the sacking are down to Lampard himself or the Chelsea board is still up in the air, and with the way internal disputes typically go in football we may not know for a while.

Tuchel’s start

Tuchel’s tenure at Chelsea so far has been based on two principles: an organised defence and heavy rotation.

He has made the Blues into a rock-solid defensive force. Under Lampard, they had leaked 17 in 19 league games.Tuchel’s 3-4-1-2 formation, however, has seen Chelsea concede just two league goals in his first nine games. There have been clean sheets too in the Champions League and the FA Cup.

Most crucially, there have been zero defeats at the time of writing. Furthermore, their best defender in Thiago Silva has been out injured for much of this run.

A midfield of two center midfielders and two wing backs shield the back three, while the defenders themselves – namely César Azpilicueta and Andreas Christensen – have been superb. Collectively, the team deploys a high press which often stop opposition attacks developing. Their expected goals against (xGA) has never been higher than 0.65.

Tuchel has also perfected the art of rotation, which his predecessor struggled with. He has made 54 changes to the starting XI so far, not far off Lampard’s total of 59. But the man management is completely different.

Lampard frequently criticised individual players and was rumoured to not speak to those left out the team for weeks on end. Tuchel, meanwhile, has fostered a collective spirit, refrains from attacking individuals and seems to be much more communicative to his squad. As Azpilicueta noted recently, “It’s a collective mindset…In every training session, even if you don’t play, everybody trains very hard. That is why when the changes come everybody is ready for it.”

Of course, mass rotation is hard to sustain in the long term. Eventually, those who are dropped despite good performances and those who rarely play at all will become equally frustrated. It remains to be seen whether out of favour youngsters such as Abraham and Billy Gilmour could follow in the footsteps of countless players who have left the Bridge to flourish at top clubs – Salah, De Bruyne and Lukaku, just to name a few.

Tuchel’s defensive approach has meant that the attack has looked blunted at times too. Victories so far have been narrow affairs, with several 1-0 wins. Werner and Havertz have still not found much joy in front of goal either. Despite this, the pair’s overall performances in games have improved dramatically.

In the here and now, Chelsea under Tuchel look very impressive. The adage of building from the back has been proven under this set up. The race for the top 4 is highly competitive this season, but Chelsea look well placed at the moment to finish strongly.

Looking to the end of the season

As of March 8th, Chelsea sit 4th in the table. Prospects for Champions League Qualification next season look promising, though the blues still face difficult challenges away at Manchester City and at home against Arsenal before the table is finalised. With this squad, top 4 should be an expectation.

Stamford Bridge Entrance 2016. Photo: Zakarie Faibis @Wikimedia Commons.

Setting sights shorter-term, a surprising victory against continental rivals Atlético Madrid 1-0 in the Champions League Quarter Final for a manager less than two months on the job is surely a sign of good things to come. Any sort of result in the brutal knockout format of the Champion’s league, especially in a season as tumultuous as this, would be outstanding.

Signings

Chelsea’s spending spree last summer presents a difficult conundrum for transfer prospects looking forward to next season. Do they go big and sign more big name players like Werner and Havertz that disappointed many so much this season? Or do they play it safe, prioritising youth prospects similar to the transfer-ban season of 2018-19.

Unfortunately, there is no straightforward answer to this. These issues are compounded by the economic crisis felt both in football, with the lack of match day revenue, and worldwide, with owners surely feeling the pressure to downsize operations.

Chelsea are a top worldwide club, and top clubs demand big signings to keep excitement on the high. They can’t exactly not play the game, but surely looking at the cohesion issues at the start of the season and the midseason appointment of a star manager some sort of rebuild is in order.

It’s easy to point to problem positions and recommend signings, but it’s incredibly difficult to determine underlying factors that may impact the viability or effectiveness of any such move.

Chelsea should instead look to capitalise on cut market COVID signings and try and regain some of the positive and pragmatic transfer policy of Chelsea past with a keen emphasis on youth and potential over pricier players in their prime.

Zzzoom Fatigue: Why is online life so draining?

Written by Emma Hattersley on 20th March 2021. Posted in Science & Tech.

As we approach a year of sudying from home, it can be hard to recall a time before Zoom. The software – mostly unknown prior to lockdown – has now become an integral part of daily life.

Between lectures, society events, family chats and more, we are spending hours daily on video chats. Normally however, we would have still spent that time studying or interacting with others. So why does doing it online feel so much more draining?

In a study published by the journal ‘Technology, Mind and Behaviour’, Stanford researcher Jeremy Bailenson has laid out four possible scientific explanations for this so-called ‘Zoom-fatigue:

1. Eye Contact

When we interact with people in person, we balance two personality traits: eye contact, and person-to-person distance.

Typically, research has shown that standing anywhere closer than about 60cm is reserved for people we know and trust. Where keeping this distance isn’t possible, we tend to avoid eye contact to reduce the level of awkwardness.

Bailenson uses the example of a lift to illustrate his point. I don’t know about you, but if someone forced to stand right next to me in a busy lift constantly looked me in the eye, I would feel more than a little uncomfortable.

In informal measurements, Bailenson calculated that for his own laptop screen, a person’s face was about 13 cm top to bottom. In-person, this corresponds to an estimated distance of about 50 cm-well inside the so-called ‘intimate’ inter-personal zone.

In addition, watching someone stare at their screen on your own screen simulates eye contact, and on average, we stare at our screen for far longer than we would maintain in-person eye contact.

This means that on a video call, we spend hours having what our brain perceives as intimate, intense conversations, sometimes with complete strangers. No wonder we’re tired.

2. Processing overload

Cognitive load describes how our brain absorbs information before it stores it in our long-term memory. If it is ‘overloaded’, it can affect our brain’s ability to function.

This is why it’s harder to study if you’re constantly distracted by your phone – there is too much going on for the brain to process.

In this context, cognitive overload relates to nonverbal communication. To varying degrees in different people, conversing takes up mental energy. Your brain is consciously and unconsciously asking and answering questions: Are they bored? Do I look interested? Am I talking too much?

In general, this is mostly effortless for the majority of people. On video calls, however, the pressure is intensified. Alongside the nonverbal cues we’re used to sending, we have new ones to consider: Am I centred in the frame? How is my camera angle? As I’m muted, am I nodding enough to show I agree?

In addition, it’s harder to receive nonverbal cues from other people. In her article in the Psychiatric Times, Jena Lee discusses how losing the hints we’ve relied on since infancy make it incredible difficult to feel connected to the people we’re talking to.

Whilst an intense mimicry of eye contact may be maintained if a speaker looks at the camera, it’s impossible to tell who’s looking at who in a virtual room of three or more people. It’s also difficult for the camera to capture full-body motions or more subtle aspects of a person’s behaviour.

3. A constant mirror

In all of human history, we have probably never spent so long looking at ourselves as we have in this pandemic. For this reason, the long-term impacts of mirror usage have not been studied, but even short-term data is alarming.

Researchers have demonstrated that looking in a mirror increases self-evaluation, which can often be negative.

4. Moving around

During an in-person meeting, people typically move around more than they do online, where you’re restricted by your camera. Face-to-face, you might stretch, walk to the other side of a table to share your work, shift chairs slightly to have small-group conversations.

In addition, research by Timothy Puetz has demonstrated that the risk of fatigue is reduced by 40% in physically active adults. When all our meetings are conducted at the same desk, in the same room, it’s really difficult to exercise enough.

When we are on campus, mobility is built-in naturally. We walk to campus, or to the bus stop. We move between lecture theatres and seminar rooms.

In the current climate, some of us are lucky if we walk downstairs to the kitchen. This massive change is unsurprisingly going to have a severe impact on our physical and mental health.

5. So, what do we do now?

This scientific interpretation may help us understand our brains’ problems, but how do we solve them? Bailenson’s paper suggests software improvements to video services, but in my opinion, the real change needs to start with us.

We need to consider how to be more considerate to the people around us. If we know a friend has spent all day working online, perhaps we don’t invite them to a Zoom call. We could instead pick up the phone, or invite them on a socially-distanced walk.

Maybe we also need to be more considerate to ourselves. The current circumstances mean that we are unlikely to be as productive as before. Removing unrealistic expectations can remove unnecessary pressure, and reduce anxiety.

How can you be kinder to yourself today?

Siren rising: In conversation with Freya Beer

Written by Sarah Taylor on 20th March 2021. Posted in Music.

Hailed as a “raw and thrilling new talent”, Freya Beer mixes poetic lyrics inspired by Allen Ginsberg and Charles Bukowski. With a distinct gothic sound influenced by Nick Cave and the films of David Lynch. With a string of stellar singles under her belt already, music critic John Hobbs predicts a Mercury Prize for Freya. Even during the ongoing pandemic, Freya has been able to build up a unique brand suited to her artistic vision.

Her latest single ‘Siren’ is a magical combination of lyrics rich with imagery, soaring guitars and enchanting vocals. With its catchy hook and mesmerising music video, Beer cements herself as one of the most exciting acts for 2021. Subsequently, her highly anticipated debut album ‘Beast’ will be released later this year. And Freya will embark on a major UK tour in November.

I caught up with Freya Beer to discuss her song-writing and inspirations which range from David Lynch to surrealist art. She also told me about her experience supporting John Cooper Clarke and setting up her own label Sisterhood Records.

On music videos and song-writing

Your latest single ‘Siren’ (released 26^th February) is inspired by a J.W. Waterhouse painting. Tell me a little bit about what inspired the music video.

The video always had some sort of art element because that’s just naturally part of my music. In particular, it was inspired by the surrealism movement of the 1920s. We referenced a lot of Salvador Dali and Man Ray, and 1920s silent films.

Do you think the visual side of music is as important as the music and lyrics itself?

Definitely. I’m really into aesthetics. Most artists I like to listen to have their own aesthetic and create their own world. Even in my online presence, I’m very picky about what I post, with colours and editing. Visuals are definitely a big part of Freya Beer.

A lot of your work is influenced by art and literature. Do you prefer to write personal songs or do you find it easier to write songs from other perspectives?

A bit of both. I started writing songs when I was 10 and had zero life experience. So, I went to books to give me a starting point. This carried on throughout the years because I can find a story and then make it my own. More recently, I like my writing to reflect my life in my 20s. Being inspired by a story is good but I want to make sure its relatable to the listener.

Being inspired by a story is good but I want to make sure its relatable to the listener.

In terms of song writing, do you find that the lyrics or the music come first?

Most of my songs are rooted from a poem. However, since the first lockdown, I’ve been using Logic on my laptop. I’ve found that working to a drumbeat has really helped my song writing and the guitar usually comes last. Every day I write a bit of poetry, or some words. It helps with the natural flow of song writing.

On influences, feminism and film

The lyrics are very poetic and art-inspired, and the instrumentation is very rock-inspired. Have you recently discovered any artists, books or films that have inspired you during lockdown?

Recently, I’ve been watching a lot of feminism documentaries. I found one on Sky Arts called The Glorias about Gloria Steinem. That sort of opened that topic for me, about empowerment. I’m all for females in rock music. Finding a different source of inspiration has been really helpful. Also, I love researching into films. I’ve been reading a lot of books by David Lynch. I’m really intrigued by his creative process, because his films are quite wacky. There are so many elements to them and they really make you think. With my songs, the lyrics aren’t just blunt. There’s a bit of fluidity to them. People might think ‘why is she talking about a rotten fruit?’. I love reading about masters of the arts.

Do you have a favourite work by David Lynch?

The first ever film I watched was Mulholland Drive, and I was really young and confused. That sort of opened the world of David Lynch for me. His visuals and colour palette has really inspired me. Even the soundtracks, particularly for Twin Peaks, with Angelo Badalamenti’s take on that world, has really influenced me lately.

Would you say that film music or scoring is something you would want to do in the future?

Definitely! When I started music I always loved film soundtracks. Like Thomas Newman, again Angelo Badalamenti, and Hans Zimmerman. The world of film music is so intriguing. In the future, I would love to work on a soundtrack. Or just working in film in general. I loved making videos with my flip camera when I was younger. I went through a phase of wanting to be a director. I’ve always had a huge love for film, so I definitely want to make it part of my future.

I’m a bit of a perfectionist. I know what I want.

When making music videos, album artwork, and the overall package of your music, how much input do you have?

A lot. I’m a very picky person and a bit of a perfectionist. I know what I want. I worked with Say Goodnight Films on Dear Sweet Rosie and Siren. They’ve had a huge part in the visual side too. I really loved their concept for Siren! It was really interesting to hear their take on the songs and the ideas they came up with. One of the scenes in the music video is me painting. So for me, it sort of linked back to my self-made video ‘Six Months’. It really feels like a full circle moment.

On recording her album ‘Beast’

You’re releasing your debut album ‘Beast’ later this year. Is there a release date yet?

Probably around Summertime. We’re just finishing everything up now.

Is there a reason you’ve decided to call it ‘Beast’?

‘Beast’ is a track on the album. I also thought it was quite a strong word, because it can be interpreted in many ways. I like the fact that its just one word and straight to point. For me, ‘Beast’ also links to the artwork. Its very simple. I think when people see the album artwork and the title it will get them wondering what ‘Beast’ means. I can’t give away the artwork yet though.

You’ve recorded the album between Manchester and London. Is there a reason for this? Do you think either of these cities have influenced your sound?

The idea came from one of my managers, Phil Jones. He’s from Manchester. I also worked with Dave Fidler on some of the songs there. And Andy Hargreaves from I Am Kloot on drums, which was really great. His influence is definitely reflected in the album. The majority of the songs have been mixed and produced by Pete Hobbs from The Boy Least Likely To. He’s based in London. The inspiration has come more from the people I’m working with, rather than the cities themselves.

You launched your own label Sisterhood Records in 2019. Do you find this gives you more creative control?

Yeah definitely. Who would’ve thought we would be in a pandemic in 2019? It’s sort of been a blessing in disguise to have this record label. I have the freedom to put out whatever I want. I think it also looks more professional to put the music out under a name.

On touring with John Cooper Clarke

You’ve opened for John Cooper Clarke. How did you find this experience? Were there any memorable moments from this?

The whole experience was very surreal. The way I linked to him was through my university dissertation – on how 1970s punk has influenced modern day music. That was my excuse to do an interview with John Cooper Clarke. That’s also how I met my current manager, Phil Jones. I didn’t expect all that to take me to where I am today! Phil asked my sister, who was with me if I had any music online and he really took an interest.

From interviewing John Cooper Clarke to supporting him…I still can’t get my head around it! He was one of the first poets I came across. His poem ‘Psycle Sluts (Part Two)’ influenced one of my early singles ‘Bike Boy’. I keep having these full circle moments in my career which is really exciting. Supporting him alongside other poets like Claire Ferguson and sharing a stage with them has been surreal. A memorable moment would be meeting him backstage after the show. He remembered me and my sister from meeting him before!

How did you find the response from the audience? I imagine he has a very varied audience.

His audience ranges from teenagers to over-60s. It’s really good because it just goes to show how broad his work is. I was unsure at first, because people have come to see poetry. I wasn’t sure how people would take me opening on stage with loud guitars and drums. But a few people came up to me afterwards and said they really enjoyed it!

Once you finish the show you feel like you’ve accomplished something. It’s a really good feeling and you don’t experience it anywhere else except playing live.

On plans for the future

You plan to tour the UK later this year. What are you most excited for about this?

Probably just the part of walking on stage. Having nerves beforehand. Although nerves aren’t really that great, it’s good to remember how you feel going on stage, and the moment after. The adrenaline you have. Once you finish the show, you feel like you’ve accomplished something. It’s a really good feeling, and you don’t experience it anywhere else except playing live. I’m really looking forward to being on stage. I feel like my music and voice have improved during the past year. I’m going to have a larger live band, because on the songs there’s a lot more instrumentation going on. Rather than just the basic drum and guitar. So there’s going to be a lot more freedom on stage.

Finally, if you could describe your sound in 3 words what would they be?

This probably makes no sense, but I will say: gothic, tribal, ritual.

Freya’s single ‘Siren’ is available to stream now on Spotify and her album ‘Beast’ will follow later this year.

Freya Beer Lives Dates 2021

Wednesday 10th November – The Lanes, Bristol

Friday 12th November – The Sunflower Lounge, Birmingham

Saturday 13th November – Jimmy’s, Liverpool

Tuesday 16th November – Paper Dress Vintage, London

Saturday 20th November – Headrow House, Leeds

Sunday 21st November – Night & Day Cafe, Manchester

Tuesday 23rd November – Bobiks, Newcastle

Wednesday 24th November – Hug & Pint, Glasgow

Thursday 25th November – Sneaky Pete’s, Edinburgh

Thursday 2nd December – Music Hall, Ramsgate

Friday 3rd December – Hope & Ruin, Brighton

Sunday 5th December – The 1865, Southampton

Photo: Jordan Hemingway @ Wolf Alice Press

The Last Man On Earth – An eerily beautiful offering from Wolf Alice

Written by Alannah Williams on 19th March 2021. Posted in Music.

After a four-year long hiatus and a multitude of tantalising teasers dotted around social media, Wolf Alice are finally making their highly anticipated return to the world of indie music with their latest offering ‘The Last Man On Earth’. Following on from their previous album, ‘Visions Of A Life’, will be no easy feat; but if anyone can do it, I would place my life in the hands of the dazzling Ellie Rowsell. Emailing their fans, the band offered up a quick peak into what the last almost-half-a-decade has entailed:

“It’s been a while, 4 years in fact. We quite literally could’ve had 4 babies each in that time but instead we’ve grown out two mullets, gathered a few wrinkles, downloaded TikTok, deleted it and then downloaded it again and now finally we’ve made you some new music. We think it’s our best stuff yet.”

Our new single The Last Man On Earth is out on 24th February.

Follow us on Apple here – https://t.co/6oXdZnpHqZ pic.twitter.com/gRqbUI3P9Y
— Wolf Alice (@wolfalicemusic) February 21, 2021

The eerie monochrome visuals, directed by Jordan Hemingway, are the perfect accompaniment. Ellie’s striking, angelic vocals cut through the smoke screen of mystery to introduce a new era of Wolf Alice.

Nothing short of straight out of a indie-teen movie, the flickering screens, kaleidoscopic imagery, and fire-torn backdrop almost signal the end of Wolf Alice as we know them – in fact, we’re worlds away. This new venture is as much a short cinematic feat, as it is a powerful ballad.

Inspired by Kurt Vonnegut’s novel ‘Cat’s cradle’, Ellie carefully plucked the lyrics from a fictitious tale, and added deeper meaning to the words “Peculiar travel suggestions are dancing lessons from God”.

Emotive lyrics and soaring vocals build up to make an escapist’s dream. The delicately layered piano and strings bring a heavenly, divine feel to the track; the orchestral bliss is emphasised by the lyrics “light shining down”.

Pegged by Ellie as the “Musical form of her own existential crisis,” and serving as a majestic dive into the mind of the powerful front woman, the glistening self-confession proves her prowess and demonstrates her evolution as a delightful songwriter.

Talking on the new album with Annie Mac on BBC Radio One: after a post-tour burnout, the band spent a few months apart and re-kindled their love for music in an Air BnB in Somerset, where they began writing their new tracks. Ellie explained that the album title was inspired by a taxi ride of perfectly blue skies. This new, grander, grandeur version of Wolf Alice are the most sonically mature the band has ever been, and I can’t wait for more newness.

It was well worth the wait.

The third Wolf Alice album ‘Blue Weekend’ will be released on June 11^th.

Preorder:

Wolf Alice – Blue Weekend – LP – Rough Trade

Wolf Alice – New album, Blue Weekend – out 11th June – Official website

(and if you can’t decide which colour vinyl to get, do what I did – get them all.)

Tracklist:

1. ‘The Beach’
2. ‘Delicious Things’
3. ‘Lipstick On The Glass’
4. ‘Smile’
5. ‘Safe From Heartbreak (if you never fall in love)’
6. ‘How Can I Make It OK?’
7. ‘Play The Greatest Hits’
8. ‘Feeling Myself’
9. ‘The Last Man On Earth’
10. ‘No Hard Feelings’
11. ‘The Beach II’

Origins of y2k fashion: the whitewashing of the early 2000s

Written by Patrice Fisher Akins on 19th March 2021. Posted in Fashion & Beauty.

There’s no denying that y2k has risen to popularity in recent years, coming to define a new generation of fashion with its low rise jeans and statement tees that we used to ridicule. But what are the roots of this genre? And why do we seem to ignore these origins, particularly when they concern black hip-hop artists of the 90s-00s?

Recently, many online vendors, influencers and just general admirers have been citing their style inspiration as early noughties celebrities such as Paris Hilton, the Olsen twins and our favourite Mean Girls characters. However, these tight, bright crop tees and bejewelled jeans are not accurate representations of the y2k era which we have gained a sudden nostalgia for.

It’s no secret that in all realms of fashion, from catwalks to catching sales on the highstreets, our perception of current trends are highly whitewashed. Unfortunately, we have fallen into that same trap with the y2k aesthetic, which is now defined by rhinestones, flares and miniskirts.

In reality, the fashion of the 90s played a key role in forming the early noughties y2k aesthetic, and no I don’t mean those plaid skirt and denim-crazy mood boards based on Rachel from Friends. When referencing 90s style, there is an apparent lack of acknowledgement towards black cultures in shaping the style of this decade. Without black culture, many of the trends we have today would be non-existent!

Respect your elders…

Are you one of the Fallowfield residents who pride themselves on their Nike Air Force 1s? Well, you should give thanks to artists like Nelly and Salt-n-Pepa for popularising that sneaker. If you deck yourself out in tracksuits, bucket hats or bandanas, you may unknowingly be paying homage to 90s icons such as Missy Elliot, Notorious B.I.G. and even Destiny’s Child.

These are just a handful of black celebrities we have to thank for creating these trends that are still popular decades later. Ironically, many popular items today were once associated with the ‘ghetto’, A.K.A impoverished areas of the USA that were mainly inhabited by a majority black populace.

Although we have taken strides towards diversifying fashion in the modern age and moving away from associating big hoops, long nails and braids with a lower-class aesthetic due to their origins in black culture, the sudden aestheticization of ‘the hood’ has only further pushed people of colour out of their own culture.

Black people dominated pop culture back in the early 2000s yet the y2k aesthetic is extremely whitewashed. So here’s what actual y2k aesthetic looks like 💕 pic.twitter.com/om4RuMivW9
— ✨Mel✨ (@grungeugly) September 7, 2020

Colonising the culture

Without an appreciation for the source material, white influencers have been praised for copying these styles. One instance is Kim Kardashian’s infamous box braids, which were admired online despite black people still being highly criticised for wearing such styles.

As for the current OTT aesthetic of glitzy accessories, bejewelled clothing and huge fur coats, we can only look to the pioneer herself, Lil Kim. She never failed to draw attention with her bright hair, skin-baring sparkly outfits and decorated acrylic nails, yet she often goes unmentioned as influencers parade these same styles.

Of course, we should all be able to express ourselves freely through our fashion choices and adopt the y2k aesthetic if we desire, but in doing so we must address the racism that is intertwined with the fashion.

To this day, black women are labelled as ‘ghetto and trashy’ for partaking in trends they created, whilst their non-black counterparts are praised for being a ‘y2k idol’. There is clearly a severe need to re-evaluate the biases present in an industry that oppresses the communities and trailblazers who we have to thank for many trends throughout history.

To conclude, as we all get excited for a return to the era of Juicy Couture, Baby Phat and all its pastel, rhinestone-covered glory, remember to broaden your inspirations from the mainstream white celebrity ‘fashionistas’ and take your influence from its true source. I’m sure we’d all rather be Beyoncé anyway.

Not So Sci-Fi: Warp Speed Ahead?

Written by Blake Crompton on 19th March 2021. Posted in Science & Tech.

Space has always captured the public’s imagination. Science wise, it has very much been in the news recently, with ‘Space X’ blowing up on impact, new rovers on Mars and the discovery of water on the red planet.

Alongside stellar-based science however, we also have E.T., Star Wars, Marvin the Martian, Battlestar Galactica, and much more. Science fiction often has just as much, if not more, appeal than factual science.

In this series, we will explore the science behind science fiction, starting with the concept of ‘warp speed’. Well known to any Star Trek fans, a vehicle equipped with a ‘warp drive’ may travel much faster than the speed of light, or at ‘warp speed’.

‘Punch it Chewie’

The first problem is fairly obvious. According to what is arguably the most important rule of physics, nothing can move faster than the speed of light.

Even whilst travelling according to this rule, the laws of Special Relativity state that space and time are relative. This means that a moving object experiences time at a slower rate than a stationary object.

By that logic, we would feel time passing at a much slower rate when using a ‘warp drive’. This would make it difficult to maintain constant communication with those not travelling with us.

Relatively difficult…

There is also a further approach to the ‘Warp Problem’, using the General Theory of Relativity. At its most basic level, the theory states that the larger an object, the more it can affect, or ‘warp’ space and time around it. This is where the ‘warp’, in warp speed gets its name from.

In 1994, Miguel Alcubierre released a paper which attempted to use the physics of General Relativity to create a spacecraft that could travel faster than the speed of light. Although highly speculative and theoretical, he suggested that if an object could shift space around itself, it could travel faster than the speed of light without breaking any laws of physics.

Despite being interesting, Alcubierre’s work is very controversial due to the unproven physics underpinning it and the extreme mechanical difficulties of building such a device.

Warp speed ahead?

The second major problem when discussing ‘warp drives’ is how we would even begin to build them. The primary issue is energy.

It is highly unlikely at this point in time that we could ever produce the amount of energy required to create a field strong enough to warp time and space.

In fiction, a lot of ‘warp drives’ are powered by reacting matter with antimatter. This would cause an annihilation, and release energy that with further scientific development we could possibly capture.

We can currently generate antimatter. However, it can only be produced in such small quantities – about a billionth of a gram – that it would not generate any meaningful amount of energy. That being said, with the advances in technology and breakthroughs in heavy element fusion, it’s possible that it isn’t an entirely lost cause.

Thanks, fiction

So, it seems like we may not be travelling at ‘warp speed’ any time soon. However, there is still a lot about the universe that we don’t know.

The fact that the possibility has been already been researched, imagined and tested shows the inspiration, passion and imagination that science fiction can provide.

Is there an area of science fiction you’ve always wanted to experience? Let us know on social media, and we’ll investigate the possibility for you.

Five drinks to celebrate a lockdown St Patricks Day

Written by Sorcha Cullen on 19th March 2021. Posted in Food & Drink.

Manchester is a city with deep historical connections to Ireland. In pre-COVID times, this connection and the culture of Ireland would be celebrated with a parade and other festivities at the Manchester Irish Festival. We’re already looking forward to this returning in 2022!

It’s a shame we can’t head out to some of Manchester’s finest Irish pubs and have a drink to toast St Patrick this year. However, that doesn’t mean you shouldn’t celebrate!

Here’s a few of our favourite Irish tipples for you to enjoy with your social bubble on March 17th. Why not also make a night of it and make an Irish feast to compliment your drinks? If you need some inspiration, check out BBC Good Food’s Irish recipes here.

1. Guinness

Arguably the most iconic of all the Irish beverages. Guinness is a dark stout which was first brewed in 1759 in Dublin.

The flavour is rich and malty, with a slightly sweet flavour that is sometimes likened to coffee. Guinness is quite the acquired taste, but it’s unique flavour means its definitely worth trying even if you’re not a huge fan of beer.

Getting the perfect pour when it comes to Guinness is of the utmost importance, so if you’re in doubt, check out Sh*t London Guiness’s tutorial on Twitter. Or if you’re a Guiness connoisseur and up for a laugh, I’d definitely recommend checking out their Twitter account regardless, for some great examples of terrible pours by unskilled limeys.

posting my can pour tutorial again in our time of need

some tips:
– pull the can up just above the liquid as you pour, don’t just pour it all from the top
– use a tulip glass
– give it 4/5 seconds after opening before you start pouring

be strong out there pic.twitter.com/U3ZKDJWGzj
— shitlondonguinness (@shitlondonguinn) January 5, 2021

If you’re hesitant to try it, you could always go for a ‘Guinness and Black’ which is the stout mixed with a shot of blackcurrant squash (for example Ribena).

If you’re hungry, Guinness pairs well with classic Irish meals such as Beef Stew or Shepard’s Pie.

A pint of Guinness. Photo: Wikimedia Commons

2. Whiskey

As Hozier sings in a dreamy acapella performance which has been doing the rounds on TikTok:

‘Come guess me this riddle, what beats pipes and fiddle
What’s hotter than mustard and milder than cream
What best wets your whistle, what’s clearer than crystal
What’s sweeter than honey and stronger than steam?’
The Humours of Whiskey

Irish whiskey is world renowned, and for good reason! Iconic Irish brands include: Bushmills, Jameson’s and Blue Spot. If you can handle it, you should be drinking your whiskey straight over ice.

But if you fancy something a bit more palpable. Try an Irish coffee. This creamy drink is traditionally served after dinner and consists of whiskey, sugar, coffee and heavy cream. It’s the perfect drink to warm you from the inside out on a cold rainy night!

Jameson Irish Whiskey: Photo @ Wikimedia Commons

3. Baileys

Bailey’s isn’t just for Christmas! Although Bailey’s was actually invented in London, it was created by the Dublin based company International Distillers and Vinters.

The original indulgent Irish cream (which combines Irish whiskey with heavy cream) was invented in by 1973 and since them has become a household name across Ireland and the U.K.

Nowadays, you can buy Baileys in a range of flavours from Mint Chocolate to Pumpkin Spice, and a vegan version using almond milk has even been developed.

Baileys cocktails. Photo: Wikimedia Commons

4. Cider

Ireland is also famous for its cider, which has been made on the island for thousands of years. One of the most famous brands is Magners, which hails from County Tipperary in the Republic of Ireland.

Interestingly, the brand is sold as Magners in Northern Ireland and Bulmers in the Republic of Ireland. The products have identical labels and bottles but just different names!

This cider is best served in a cold glass with plenty of ice.

5. Celtic Honey

Celtic Honey is a whiskey based spirt which is infused with spices, aromatics and honey. Ingredients often include Irish wildflowers such as clovers and hawthorns.

The liquor can be used in a variety of cocktails (such as a whiskey sour). It is sometimes served alongside ice tea for the perfect sweet, refreshing drink.

Celtic Honey. Photo: Castle Brands Inc @ Wikimedia Commons

Demystifying men’s skincare

Written by Alexandra Bikard on 19th March 2021. Posted in Fashion & Beauty.

Men’s skincare has, until recently, been pretty much ignored by the beauty industry. Those interested have had to figure things out through products that were designed for women; therefore, male-specific concerns such as facial razor bumps were not addressed by any products.

Perhaps the pandemic did achieve one positive thing for the beauty industry: the world of skincare blossomed during the year of endless quarantines, and men finally seem to be part of the narrative. An increasing number of social media pages exclusively tackled skincare, with even a rise of dermatologists using various platforms such as Instagram and TikTok to advocate for healthy skincare.

It seems that 2020 was the catalyst for men’s skincare, as many have realised that there are better options to the ‘all-in-one’ product.

As the skin is an organ, most people would want to ensure that it is taken care of – as one would perhaps take care of a kidney by drinking less alcohol and more water. However, skincare has historically been marketed as feminine and through sexist metonymy; as a vain and superficial activity, dismissed as something that only women (and possibly gay men) could enjoy, and something inherently un-masculine.

If skincare still seems like a foggy concept, but you wish to hop on the wagon, here are some recommendations from our team and some fellow men on how to be kind to your skin:

Face Wash

Demystifying men's skincare — Photo: Alexandra Bikard @ The Mancunion

At the very top of this list is face wash, and for a very good reason. This is arguably the most important step of your routine, and one of the three things you should not be skipping along with moisturiser and sunscreen (according to dermatologists).

Just because you may not wear makeup doesn’t mean your face doesn’t need washing. Over the course of the day you accumulate different kinds of gunk, from pollutants to sweat residues, that you really want to wash away.

Mael recommends the La Roche Posay Effaclar Purifying Cleansing Gel, but CeraVe Hydrating Cleanser is also quite popular.

Moisturiser

No matter whether your skin is dry, oily or mixed, you should moisturize your skin every day. This will ensure that you are properly hydrated and healthy – but you will also see a major difference in the way it looks.

Our very own Theater Editor Jay Darcy now uses the ExCetra cream, which he finds to be soothing but not greasy. He would also recommend products from Child’s Farm, which are for children, but happen to be wonderful. Mael uses the Avène Cleanance Expert Moisturiser.

Sunscreen

Next up we have sunscreen. While it may seem like an unnecessary addition to your morning routine or a waste of money, you should wear sunscreen every day, all year, even in Manchester when it rains. UV rays don’t suddenly disappear during the colder months, and while you may not burn, it does not mean your skin is protected from harmful exposure. It may seem futile now, but you will thank your younger self in a couple of years when you age slower than those who foolishly ran after a tan.

We recommend Supergoop’s Unseen Sunscreen SPF 40, as it was designed to be worn all year round and will not leave you with ashy skin.

Lipbalm

This is not in itself revolutionary – you have probably used lip balm before – but investing in a good one will change your life; or, at least, make your lips softer and smoother.

We recommend the Nuxe Lip Balm Rêve de Miel to apply before bed or Burt’s Bees Beeswax Lip Balm for daytime hydration.

Acne Treatment

If you struggle with acne, there are plenty of products on the market to help you clear your skin – but we recommend going to a Dermatologist, since they are professionals, and will give you the best products for your specific skin type.

Mael uses the Epiduo Face Cleaner, which is a doctor-prescribed product and is quite harsh but very effective. If you want to try an over-the-counter product in the meantime, try the Roche-Posay Effaclar Duo+ Blemish treatment.

Razor

David would recommend switching from single-use razors to a metal razor with individual replaceable blades such as these. While it may be a bit of an investment up-front, you will not regret it, especially if you have sensitive skin. Plus, it’s a lot better for the environment. He uses the Taylor of Old Bond Street shaving cream in complement.

In conclusion

All in all, those that have tried the little things that work, never go back.

In David’s words: “There are some basic things everyone should do, like wash your face and moisturise it. You should research what you use because everyone has different skin and some products might be too harsh for some or not effective on others. I don’t use much. Just the essentials.”

And while you may start skincare out of necessity, it might evolve into a form of self-care, like it did for Maël: “I got into [skincare] because my acne physically hurt in high school. It’s slowly transformed into a form of self-care and a way to take care of myself. I mostly do it to relax now.”

We hope some of these suggestions help perfect your skincare routine!

The PPE gap: another risk for women in healthcare

Written by The Mancunion on 19th March 2021. Posted in Science & Tech.

If you’ve been physically present on Earth for the past year, you’re probably aware of the coronavirus pandemic. The news has been completely saturated with stories about the NHS, its staff, and the struggles they have gone through as they attempt to keep pace with the spread of COVID-19 throughout the UK.

At this point, images like the one below will be unsurprising to many. These striking photos have been posted by NHS staff like Natalie. They all experience first-hand the strain that wearing high intensity personal protective equipment (PPE) for long, busy shifts can have on the body.

Photo shows the marks left after using PPE. — *Photo: Natalie Silvey @ Twitter*

But in addition to the expected challenges of working during a crisis such as this, women also face an additional struggle. Ill-fitting PPE.

The issues of PPE

For every face mask, plastic gown, and glove used in a healthcare scenario, there is a copious design process. The problem is, when adopting a ‘one-size-fits-all’ mindset around your product, there is an inevitable inequity in how well it will perform across the board. Particularly when the standard size is based off of male proportions.

Dr Helen Fidler writes in RNCI that filtering facepiece (FFP) masks are an area of particular concern during the COVID pandemic. They provide the baseline of protection to avoid contracting the disease through particles in the air. The fit test is a safety protocol for making sure the mask fits and functions correctly. The test is often failed by female colleagues who then have no choice but to continue working with dysfunctional PPE. These masks are designed to be unisex. However, because they are modelled to fit an ‘average’ male face, they become frequently unsuitable for women.

“PPE is designed for a 6 foot 3 inch bloke built like a rugby player” – Frontline NHS worker via The Guardian

According to the BMJ, other issues with PPE include goggles slipping down the face, gowns that are too long, face shields that push against the breasts, and ill-fitting respirators. There is clear anecdotal evidence that supports the assertion that a more tailored approach to fitting is needed. This is to ensure the safety of and best working conditions for staff.

The Guardian reported in 2020 that a critical care nurse has to be moved to another unit because “her head was too small for the mask to create the right seal around her mouth”. Others are using micropore tape in a DIY attempt to plug the gaps around their ill-fitting masks. This issue is forcing female healthcare workers to choose between adequate protection for themselves and caring for their patients. This exacerbated already-present issues surrounding the lack of PPE in general at the beginning of the crisis.

Who is PPE designed for?

This problem is not constrained just to the healthcare sector. The inability of companies to include models other than the ‘average’ man when testing their products has come under increasing scrutiny in recent years. This man is usually 25-30 years old, 70kg, 170cm tall and has Caucasian features. Obviously, this is not the ‘average’ build or frame for the majority of the population. Thus, it results in large safety and efficacy gaps of common products.

As well as women, this is also a huge problem for some men (especially those with small faces or facial hair) and BAME individuals. ‘Average’ Caucasian facial features are what the equipment design is based on. Again, this disparity just adds to already-present issues and inequalities in the industry. Namely, BAME staff being more likely to experiences shortage of PPE in the first place.

A widespread issue

Despite being thrust into the spotlight by the pandemic, this is not a new issue by any means. A widely cited 2017 report by the Trades Union Congress (TUC) found that 57% of the women surveyed by the organisation said that their PPE sometimes hampered or significantly hampered their work. This was particularly striking in the emergency services sector. Only 5% of women said their PPE never interfered with their ability to do their job.

Despite these stories, we live in a world where the needs of many are sacrificed for corporate and industrial complacency and profit. As the general secretary of the TUC, Frances O’Grady, said to The Guardian “With women making up nearly eight in 10 of the NHS workforce, it’s a disgrace that we don’t have protective uniforms in women’s sizes. Our workers deserve better”.

MANIFF 2021: Trouble Will Find Us

Written by Florrie Evans on 19th March 2021. Posted in Film.

The winner of ‘Best British Film’, Trouble Will Find Us, follows a changing relationship. Over a span of two years, we see differing moments from a couple’s first flirtations to the toxicity that remains.

Director and writer Alexander Milo Bischof offers an array of well thought-out frames and moments as the pair struggle through the mundanity of life, finding it hard to understand each other’s perspective.

The writing is honest and takes on a raw, naturalistic quality. In the beginning, I felt the awkwardness was uncalled for. However, as the film started to unfold, so did causes of laughter, which came with a great sigh of relief.

The film is beautifully curated. Through the use of static shots Bischof creates a cinematic dream, utilising balanced colour palettes and unique angles. Each shot is a moment of stillness in time, the happiest moment of the couple’s first kiss, or a strained car journey of winding country roads and heavy exasperated sighs.

Both Ruth Kearney, playing Tess, and Dylan Edwards, playing Henry, give unaffected and true-to-life performances. I do think that there was a greater development of Henry’s character – this might be a sympathy for the life of the artist from Bischof. However, the brutal demise of their relationship was shown beautifully through weighted silences and spiteful glares. The score seemed to aid the journey through the tumult of the couple’s relationship.

By using uplifting indie tracks, small worlds are created, in which the characters are inclined to dance. The heart-wrenching rendition of ‘Loser’ by The Travelling Band perfectly reflected Henry’s emotion, his inadequacy, and insecurity, and offered a melancholic and withering representation of the couple’s relationship.

Overall, Trouble Will Find Us is a tragic tale of miscommunication and misunderstanding, posed in an abstract and artistic formation of moments through time.

4/5.

Trouble Will Find Us premiered at Manchester International Film Festival on the 13th of March and went on to win ‘Best British Film’ in the ManIFF awards.

MANIFF 2021: The Battle of Shangri-la

Written by jamesmccafferty on 19th March 2021. Posted in Film.

Among the international premieres at the 2021 Manchester International Film Festival is the Brazilian film The Battle of Shangri-la. Co-directed by Severino Neto and Rafael de Carvalho, the film centres on the character of João. After the death of his adoptive father, he decides to seek out his birth parents and discovers a difficult personal history.

The film takes its time revealing the full story behind João’s past and spends much of the runtime developing a sense of character and setting. By the time it reaches the climax, we have come to know him in a direct manner that intensifies the dramatic tension.

At times it does feel as though the narrative is struggling to make proper progress and there are story points that feel undeveloped at certain points in the film. Weaknesses in the script are largely overcome by the quality of the filmmaking though, which keeps even slow sequences from feeling too bland.

Fortunately for a film so reliant on its central character, Gustavo Machado gives a strong performance as João. From the big moments down to the smaller mannerisms, he does a fantastic job developing a fully realised character that the viewer can feel intimately familiar with.

In addition to all of this, the film engages with significant themes of wrongdoing, forgiveness and religion in a satisfying manner without trivialising them. The Battle of Shangri-la is an effective and emotive drama and definitely does justice to its sensitive subject matter.

3.5/5.

The Battle of Shangri-la premiered at Manchester International Film Festival on the 13th of March.

MANIFF 2021: iGilbert

Written by patrickjonesobrien on 19th March 2021. Posted in Film.

In his directorial debut iGilbert, actor Adrian Martinez plays Gilbert Gonzalez – a diabetic, joker-ified, thirtysomething virgin who is pornographically obsessed with photographing women without their knowledge. His social seclusion has lead him to retreat into a fantasy world built around memories of his abusive father and a sexualised fascination with the tenant in the apartment below the one he shares with his mother.

Gilbert lives a fairly sad life cooped up with his indulgent mother Carmen (Socorro Santiago), the owner of the building. Her pathological doting on and overfeeding of Gilbert, as well as the abuse they suffered at the hands of his Charlie Chaplin-superfan father Rodolfo (Emilio Delgado) are the main factors contributing the social and physical pathologies that reinforce Gilbert’s social isolation.

Gilbert spends his time making repairs in the building and indulging his predilection for scrutinising and cataloguing creepshots taken in his building and on commuter rail trains. Or as Gilbert puts it, “I watch porn and I fix things.” Inexplicably, his sad life takes a turn for the better when an awkward conversation with the downstairs tenant Jana (Dascha Polanko) precipitates a warm connection, which may have had something to do with the violent ex-boyfriend Tony (Raul Castillo) she’s trying to get rid of. This is coupled with an unexpected silver lining to his dark habit, when his secret filming of a woman on a train incidentally captures a rapist loudly proclaiming the exact details of a recent attack.

What follows is a bizarre, oddly-paced story of the title character’s love and fame mediated totally by screens and cameras – watching and being watched. The only perspectives we definitely get are those of the ill and evil men (Gilbert and Tony) whose attentions are laser-focused on Jana, an aspiring dancer. Although she seems to achieve independence from them by the end, it is never fully clear how much of the plot and dialogue are real or filtered through the debauched mind of the title character.

At its best, iGilbert is an engrossing exploration of social isolation and intergenerational trauma, through issues of perception and subjectivity which mobile phones and the digital age aggravate. However, it suffers from jarring and confusing pacing, and its character’s occasionally mystifying motivations running up against your suspended disbelief.

3/5.

iGilbert premiered at Manchester International Film Festival on the 14th of March.

The Future is Female: Female artists to get to know this year

Written by Alannah Williams on 19th March 2021. Posted in Music.

It is no secret that there is a wanton lack of equality in the music industry, and one that is still unfortunately just as prevalent in today’s scene. Though there have been small steps towards a more egalitarian industry, there are still some obvious, vital leaps and bounds to be made.

In 2020, there was huge uproar surrounding the misrepresentation of the female talent out there on the Reading and Leeds bill, which featured an overwhelmingly male line-up.

Feeling so disheartened about this Reading and Leeds line up. At the blatant lack of want to represent women. For all the 16 year old girls going to their first festival at Reading and Leeds 2020. Just know that you DO belong on those stages.
— Annie Mac (@anniemacmanus) February 11, 2020

Annie Mac’s thoughts on the Gender Imbalance on the Reading and Leeds announcement

If you’re female you’re less likely to be high up on (if you’re lucky enough to be included) the line-up for a music festival. According to Forbes, you’re more likely to experience a significant pay gap compared to your male peers and are less likely to receive awards nominations.

In a man’s world, it is easy for exceptionally talented women to slip through the cracks or fall from the teetering edge of the precipice of stardom. While you may already be a fan of the likes of Taylor Swift, Lorde, Charlie XCX, Billie Eilish, Clairo, and Girl in Red, here is a hand-picked list of some lesser-known, female, or female-fronted acts you should make it your mission to get to know this year…

Alexandra Savior

Must Listen to: ‘Girlie’

The dreamy alt-pop Alexandra Savior lends soft vocals to heartbreaking lyrics that are an easy comparison to that of Lana Del Rey. Jazzy undertones entwined with vintage visions allow for a unique combination that has become the staple of Savior’s music.

Collaborating with Alex Turner in the production of her critically acclaimed album Belladonna of Sadness, Savior’s creations are as much a cinematic feat as they are musical.

Lowertown

Must Listen to: ‘Caroline’

Atlanta teen newcomers Lowertown perfectly blend electronic, lo-fi indie and country sounds with narrative-led lyrics to create a warm and fuzzy melancholic atmosphere of lost love and teenage dreams.

Taking inspiration from Radiohead’s use of electronic sampling to create acoustic sounds, the duo take pride in their production of lush pop tunes that awe and inspire.

Claire Rosinkranz

Must Listen to: ‘Backyard Boy’

Bedroom pop daydream Rosinkranz is living every teen girls’ fantasy as a social media sensation at just 17, having gone TikTok viral with her track ‘Backyard Boy’. Her lo-fi tracks feature heartfelt lyrics which bring that boppy summer feeling, whatever the time of year.

If you want to be transported back to your loved-up teenage years, look no further than Claire Rosinkranz.

Pom Poko

Must Listen to: ‘Leg Day’

Pom Poko are ‘pure Norweigan Punk sweetness‘ that deliver explosive tracks with layered sounds. Taking lessons from the RIOT GRRRL punk-rock movement and obvious influences such as Le Tigre and Bikini Kill, the band bring 90’s sounds into the modern world.

The avant-garde, female-led quartet bring buckets of energy and frequently switch from cacophonous noise to a more stripped back sound, which is evident in their live performances.

Snail Mail

Must Listen to: ‘Pristine’

The glittering solo project of Lindsey Jordan is undeniably lush and without a fault. Electricity sparks and runs throughout her musical adventures, with powerful vocals and soft-burning guitar hooks, allowing for the excellent delivery of transcendent tunes.

Snail Mail is – undoubtedly – the future of indie rock.

Beabadoobee

Must Listen to: ‘If You Want To’

Another example of a teen triumph, Beabadoobee brings 90’s nostalgia encapsulated in vulnerable indie-rock bops – bedroom pop is seemingly worming its way into our everyday life.

Bea draws on 80’s to 00’s influences to create glittery earworms featuring pristine vocals and ruthlessly honest lyrics.

Beabadoobee performing at Manchester's Gorilla — Juanan Garcia @ J.Garcia Photography

Sir Chloe

Must Listen to: ‘Walk You Home’

Melancholic vocals dominate Sir Chloe’s sound, backed by soft basslines which give an intimate feel to the soft punk tracks. The four piece, fronted by Dana Foote, have an ability to tell a story through their words.

Their use of introspection and intimacy shows influences from the likes of Bikini Kill to Cage the Elephant.

Big Thief

Must Listen to: ‘Velvet Ring’

The subtle indie rockers have a plethora of adoring fans, and rightly so. They have a specific brilliance for delivering raw and heartfelt music whilst retaining an aura of mystery.

The spectacle four-piece are American but have more than firmly stamped their sound on UK audiences. Their sparkly and startling sound leaves you yearning for more.

Abbie Ozard

Must Listen to: ‘Crocodile Tears’

I first discovered Ozard after witnessing her stellar performance as a preamble to Whenyoung taking the stage at Gorilla in Manchester. It’s hard not to be completely entranced by her soft, velvety vocals that add depth and glamour to emotionally fuelled lyrics.

With a twinkly and sweet aesthetic, Ozard is a true testament to Manchester’s music scene.

Courtney Barnett

Must Listen to: ‘Pedestrian At Best’

Australian singer-songwriter and powerhouse Barnett is a master of humour and blunt honesty, providing dissections of everyday-life through witty lyrics and punchy vocals.

Barnett seemingly sings about nothing and yet everything, all at the same time, with a rocky sound reminiscent of Blur.

Approaching topics from highways littered with roadkill, to supermarket shopping and fresh veg – Barnett attacks the mundanity of humanity in the goofiest and most delightfully fantastic way.

Goat Girl

Must Listen to: ‘Cracker Drool’

All-female outfit Goat Girl have been hailed as the casual saviours of underground indie by I-D, and it’s a title that isn’t far amiss. The urban ladies from Peckham make political lyrics their goal and use satirical social commentary to cement themselves as punk rockers.

Their hypnotic sound, sweet and unassuming, contrasts to dark and unnerving lyrics that lend to an ominous undertone – a style perfected by the young quartet.

Their latest release On All Fours demonstrates their ease of blending satirical humour and playfulness with dark and exuberant undertones.

Chloe Moriondo

Must Listen to: ‘GIRL ON TV’

Moriondo’s musical evolution has been intriguing to watch. Starting on Youtube as an acoustic artist, Moriondo has gone from collaborating with Cavetown, to independently releasing an album and stepping into the realms of bedroom pop.

Her meditative and soothing sounds, intertwined with the ASMR of trickling water and nature soundscapes, are just a few examples of her creative prowess.

Dream Wife

Must Listen to: ‘Hey Heartbreaker’

The all-female punk rock band have a unique and unwavering penchant for powerful vocals, and they provide an ingenious blend of blunt and profane lyrics atop catchy guitar riffs that more than secure them as one of the best all-female bands to come out of the last decade.

Singing about misogyny and miscarriages with zeal and zest, they take taboo subjects and deliver powerful messages within post-punk atmospheres.

Dream Wife - Photo: The Mancunion — Photo: Dream Wife by Lois Chandler @ Mancunion

One for Nostalgia: Sibylle Baier

Must Listen to: ‘Forget About’

Active throughout the 70’s, Baier is a connoisseur of delivering enigmatic vocals and entrancing songs that all but wholly absorb and encapsulate the listener.

Honourable Mentions:

Spotify Playlist: ‘Female Fronted’

Artists: Phoebe Bridgers, FKA Twigs, Nasty Cherry, Yeule, Kailee Morgue, Aerial East, Sad Alex, Lennon Stella, Natalie 2V, Molly Burch, Julia Jacklin, Paris Paloma, Adrianne Lenker, Amyl and the Sniffers, Fiona Apple, Cat Power, Men I Trust, Alice Phoebe Lou, Black Honey, Cherry Glazerr.

If you’re interested in reading more into the underrepresentation of women in the music industry, here are some articles to delve into:

Homemade nail art: Trendy designs you can recreate yourself

Written by Alexandra Bikard on 19th March 2021. Posted in Fashion & Beauty.

Even though trips to the nail salon are currently on halt, nail inspiration has been flooding our feeds. Perhaps with quarantine, people have had an increasing thirst for extravagance and what else says “extra” than fabulously intricate art at the tip of your fingers. In 2021, nail art is definitely a must, every Instagram model and blogger is rocking look after look and you can hop on the trend too. While we patiently wait for salons to re-open on the 12th of April, here are some trendy nail art looks that you can re-create at home with some basic tools and a bit of determination.

Cow print

Animal prints, in general, are trending across the fashion and beauty world, and cow print rules king among them which is perfect since it might just be the easiest to re-create at home in the form of nail art. To create the look, apply a black or white base and create some imperfect specs in the opposing colour, and voila!

Hearts

While Valentine’s day might be long gone, heart nail art isn’t going anywhere, and conveniently, it is quite easy to pull off. After having applied a base layer, use a Q-tip to create two dots next to each other, and then connect them at the bottom to achieve this adorable look.

Flowers

Big flower prints are going to be huge in the upcoming season and you can hop on the trend by creating flowers on your nails with the help of a bobby pin. Use soft pinks, yellows, and whites for a cottage-core look or bright popping colours for a cheerful seventies throwback look.

Palette of pinks

Many of us have too many nail polishes to count and here is an idea to utilise your collection: paint each of your nails a different shade (or mix a base shade with increasing amounts of white to achieve an ombre effect) the more the merrier and the brighter the better. You can recycle the idea for other colours: browns are also quite trendy this season.

Ying Yang

Ying Yang is both visually powerful and surprisingly easy to re-create at home since it doesn’t have to be perfect to look good. Just use a Q-tip to help you create the design. It will, of course, look great in black and white, but to be truly on-trend, opt for a colourful palette.

Half-half

Half-half, specifically in the brightest colours imaginable, is incredibly easy to achieve and will look amazing no matter the colour combo you choose. To achieve the look, just use some basic tape to help you create a clean line, it doesn’t get simpler!

COVID-19, community, and café culture

Written by Rhiannon Ingle on 19th March 2021. Posted in Lifestyle.

Before lockdown hit last March, cafés were an eccentric hub of creativity, productivity, and community. Whether they provided an early commuter’s caffeine fix on the way to the station, or acted as a cool place to nurse a single latte all afternoon while you work on an essay – cafés were a key part of all of our lives.

Within the urban landscape of Manchester, cafés like Fuel and Art of Tea offered some respite from the hectic life outside, acting as key community spaces in an otherwise disconnected world. Students, commuters, and creatives could all happily occupy one single binding space over a shared love of café culture.

Coffee has weirdly been a defining aspect of lockdown, with last summer’s whipped “Dalgona Coffee” going viral on TikTok and Instagram – along with baking banana bread and learning how to crochet.

While what we know in the UK as “café culture” is significantly different from a sunny, paved terrace in France or Italy (where they probably don’t even serve oat milk alternatives), Brits have curated their own little culture.

Cafés operate as a kind of “third space” between the spheres of home and work, where coffee-drinkers can express their sense of individuality in an otherwise homogenized environment of the high-street. Whether your coffee is small or large, dairy or milk alternative, with syrup or sugar, hot or iced – there is a choice for everyone to mix and match these options as a means of expressing their personality.

Lockdown restrictions and the closure of cafés, have forced us to significantly update our home-grown café culture. Some cafés, which didn’t decide to furlough their staff, are still up and running: with takeaways instead of staying-in.

It makes me wonder whether people, and students particularly, are still willing to spend that £2-something on a flat white if it’s divorced from the dim-lit room, the wooden tables, and the indie playlist which once surrounded them?

The in-and-out service, lack of conversation, and paper cups seem so far removed from the patio-seating, funky mugs, and social cigarette breaks which were previously tied to cafés.

A sit-down with a mate, as you recline back on upcycled armchairs, while discussing your summer festival plans, has now evolved to a walk in the park, chatting about the government and your lower back pain from endless Zoom calls, as you burn your hands on an un-sleeved cup.

Will what we once knew as café culture return once restrictions finally get lifted? Or, will we simply forget about this slow and simple pastime and replace it with ‘lads holidays’ and raves as a means of compensating for the lack of social life we have all endured this past year?

Who knows. But if you do enjoy café culture, or what it once was, try to support your local and independent coffee houses, because they may not be around for you when the world opens back up again.

UK Government add pulled for sexist imagery.

Annie Dabb: Double or Nothing

Written by Annie Dabb on 19th March 2021. Posted in Opinion.

A New York Times article published laughable figures recently, which show that ‘nearly half of men say they do most of the home schooling’ while only ‘3 percent of women agree’. These results supposedly worsened during the Covid pandemic, in which the UK government made the decision to authorise the closure of schools and workplaces – once Bojo actually got his act together, that is.

Working from home could potentially have felt like a holiday from the incessant regime of commuting to a 9 to 5 office job. However, the extra responsibility that parents have had to take on, in order to educate their children from the dining room table, has meant that, for many couples, the pandemic is far from the ‘retreat’ the University of Manchester suggested it is in a recent, misjudged Instagram post. As a result – and unsurprisingly if you’ve been paying attention to the status of women in relation to men since basically the beginning of civilization – this extra responsibility has fallen overwhelmingly onto the shoulders of mothers.

The statistics generated by Morning Consult’s survey for the New York Times are depressing, but unsurprising. The survey indicates that 45% of men claim they do more of the home-schooling than their spouse, whereas 80% of women claim the opposite. It seems that disparity is not just a recent phenomenon as the article goes on to explain that past research consistently shows that in heterosexual relationships, men often overestimate the amount of unpaid labour they do at home, while women are often in fact the ones doing more work.

I’m (thankfully) not a mother and of course I can’t speak from experience, but personally, if I’d been carrying round a brat – sorry, I mean bundle of joy – for the last 9 months, once it was out of me I reckon I’d probably appreciate a little more help from the person who helped put it there in the first place.

I’ve been living in a male dominated flat now for the past 6 months and if the state of our kitchen is anything to go by, I would strongly attest to the accuracy of these reports of unequal division of unpaid labour. The worst part is, as I’m sure many women will agree, crumbs on the counter are the least of my worries – with men’s tendency to overestimate prowess extending from the kitchen to the bedroom.

Even in same sex couples, research suggests that one parent often priorities their career whilst the other prioritises the family. Leading to the classic but toxic question of ‘who wears the trousers?’ in the relationship. Thus, in compliance with Risman’s suggestion that “being forced to be at home is amplifying the differences we already know exist”, we are faced with the hetero-normative but nevertheless feminist issue of the ‘double-burden’.

Women are now not only supposed to birth future patriarchs (boys) or agents of the patriarchy as a result of entrenched misogynist ideologies (girls), but also to educate them, feed them and maintain a tidy home, whilst keeping up with the job they actually get paid to do. Understandably, this has led to almost 900,000 women dropping out of the labour force in the US, compared to 200,000 men in September of last year. Quite rightly, the UN Women’s Deputy Executive, Anita Bhatia, suggested that this poses a “real risk of reverting to 1950s gender stereotypes.” New global data from UN Women has raised genuine concerns that the global pandemic could erase at least 25 years of increasing gender equality. Far from smashing the glass ceiling, it feels like the panes have been replaced with bullet proof perspex.

I live in fear of turning my television on to see a 1950s-type advert of a mother being advised by a male doctor or psychologist on the right way to raise their children and the right products to give them, her knowledge confined to consumption within the domestic sphere. That’s not even mentioning the fact that far too commonly in modern adverts women are still placed in a kitchen setting. Just this January the UK government were forced to pull a ‘Stay home. Save lives.’ advert, which depicted women doing all of the household chores. This stereotype, subconscious or not, is especially obvious around Christmas time, when it’s apparently acceptable that a woman has single-handedly created an entire Christmas dinner for her extended family all by herself. I made beans on toast today and even that felt like an effort.

I’ll use the example of Shondaland’s ‘Bridgerton’, which I love for its lavish ball gowns, witty scene prolepsis, and enthralling encounters between characters who are remarkably pleasing to the eye, rather than its portrayal of the position of 18th century women. Anthony, as the archetypal ‘man of the house’, is shown (badly) running the household of his widowed mother and making a mess of his sister’s ‘coming out’ season, while Lady Bridgerton works quietly and skillfully behind the scenes to advise her daughters as they enter society. Despite the regency era setting, this depiction is far from alien to a modern viewer. As much as we all love the eldest Bridgerton brother, he is a fitting, if slightly exaggerated, example of a man with an entirely inaccurate perception of how much they’re actually doing to contribute to their family.

As is obvious from women’s participation in the labour force since the early 20th century, this isn’t just an issue of gender equality, but also one that can be viewed through a socio-economic lens. The impact on women’s participation in the workforce during the pandemic will have massive implications for the US market economy. Given the depressing ubiquity of capitalism, surely anyone can see that removing half of the population from the public sphere is a massive regression for humanity and society as a whole.

Contrary to popular belief (where by ‘popular’ I mean within the people who’ve seen me go on a drunken tirade of why I think men are trash), I actually don’t believe that the male population’s misconception of the sharing of domestic chores is entirely their own fault. That is to say ‘not all men’. Certainly a large portion of blame lies on those in power who help to purport both capitalism and gender inequality, by upholding laws and constructing a system which allows women 50 more weeks off work in their careers than men to care for their child. This has lead to a work culture in which men feel unable to take paternity leave for fear of ridicule or negative consequences at work. Although you would expect nothing less from a country led by the descendants of aristocracy, who sit smugly behind the door of 10 Downing Street, and send their children to private schools rather than struggling through their maths homework with them, and who have certainly never had to choose between their career and being a ‘good parent’.

While we continue to exist in a society in which men’s employers penalise them far more heavily than their female counterparts for taking time off work for childcare, and in which women are raised to worry that they will be seen as a bad mother if they don’t provide the primary care for their child, we will continue to see an imbalance in parental responsibility. This will inevitably have a negative domino effect on this godforsaken economy.

Thus, the glass ceiling morphs into a glass box, and, like always, it is the rest of the victims of capitalism who join the women already trapped inside. However, important to remember for this rather oppressive analogy, is that glass can (and will) shatter with resistance. I wonder what a parental revolution would look like, and who would carry the domestic burden then?

Are NFTs the next big thing for the virtual economy?

Written by ayushramani on 19th March 2021. Posted in Opinion.

While cryptocurrencies are hitting new highs every day, NFTs are slowly hitting the mainstream. Non-fungible tokens (NFTs), called crypto-collectibles, or ‘nifty’, are digital assets managed by blockchain technology. Each NFT contains identifying information which makes each NFT different.

Unlike regular cryptocurrencies, NFTs cannot be directly exchanged with one another. This is because no two NFTs are identical. Not even those that exist on the same platform, game or in the same collection. This makes the creation and circulation of counterfeit collectibles pointless. Each item can be traced back to the original owner. This is valuable, because it means online assets can be verified as rare. The rarer something is, the more valuable it likely is.

The NFT sector is set to become a leading type of asset, and a major driver of the virtual economy. The potential of NFTs to prove digital ownership of both real and digital assets (like collectible sports cards, virtual real-estate and even digital sneakers) is an important progression for an increasingly digital world.

The NFT market saw astonishing growth in 2020. Transactions tripled – reaching more than $250 million in total, and plenty of traders made six-digit profits. Traditional brands like Nike, Louis Vuitton and Formula 1 are leading the first generation of commercial uses of NFTs. This is because they open opportunities for a new type of consumer interaction. It encourages more mainstream attention, allowing companies to engage virtually and profitably with their customers.

Cryptokitties and Crptopunks pioneered the NFT collectibles back in 2017. They introduced projects that used creative expressions and technology to test out possibilities of rare art in the digital world. These companies continue to lead the space today. One NFT on their website sells for an average of $34,000 and some going upwards of $1,00,000.

The NFT market boom led to the emergence of many new NFT projects and platforms. I t is reported that virtual art and sports collectibles are the strongest performing assets and show the most potential in this space. This is in line with the latest trend and industry surge. Collecting and flipping physical trading cards, due to a large part of people staying home and finding new ways to spend their time. Recently, collectors and influencers have been splashing seven figures and breaking all-time records for rare trading cards. A Pokémon first edition booster box which originally sold for $80 dollars in 1999 recently sold at auction for more than $1 million dollars. And, a 1952 Mickey Mantle baseball card went for a world record price of $5.2 million.

NFTs are primed for explosive growth in 2021. If companies, which produce more mainstream traditional collectibles (like Pokemon, the NFL and the NBA), branch out to NFT collectibles. Trading card enthusiasts’ shift to NFTs could be a gateway to bring millions of new users to the world of crypto and blockchain technology. Imagine an official reboot of the Pokemon Trading card game. In this instance, though, prices have skyrocketed in the past year by nearly 500%, but as NFTs on the ethereum blockchain! It is a billion-dollar opportunity brewing with zero marginal cost.

With galleries and exhibitions shut down, crypto communities have rallied around NFTs and digital art in an unprecedented way. Artists are empowered to sell digital artworks as unique objects. NFTs provide a platform for artists to sell their art to those that collect their work, while still remaining accessible to everyone else on the internet. This has provided new revenue streams and career opportunities for less established artists in the art market.

The NFT industry may be young. But, for some, it is full of potential and opportunities. Its application is not limited to artwork and collectibles, but much broader in the fast-growing virtual economy. The internet is dynamic, and NFTs are too – therefore, there is really no limit to what can be done.

It’s an exciting time to push the envelope and invent new possibilities. Especially with the increasing relevance and credibility of blockchain technology. Blockchain’s promise of trustless security can be applied to the ownership or exchange of almost any asset. This includes copyright and intellectual property rights. Blockchain technology offers opportunities for protection, registration, and as evidence that can be easily traceable. One day, our digital wallets could contain a proof of every certificate, license, and asset we own using NFTs.

People are seizing the opportunity to capitalize on a broader shift to virtual finance. This is already evident in the rise of cryptocurrencies and decentralized finance. Notable investors like Mark Cuban and Chamath Palihapitiya are optimistic about their growth.

The NFT market is growing at a tremendous rate, but it is still immature. We need a market where NFTs are traded on different platforms easily, rather than being bought and held on to. NFTs must undergo multiple volatile moments and improvements in infrastructure and user interface in order to better penetrate mainstream markets. I believe that the digital art collectibles market will soon be oversaturated, and leaders will be dominating it.

The excitement over NFTs is currently concentrated in niche markets. But, with growing education on blockchain and cryptocurrencies, new projects are continuously emerging. Slowly but surely, they are expanding NFTs to other aspects of our physical lives. Most indicators point towards an industry that will thrive in the future. I truly believe we are just getting started.

The photo shows The Smiths 'That Joke Isn't Funny Anymore' single cover, but 'The Smiths' is crossed out to read 'The British Public'. A picture of Boris Johnson in a cycle helmet is repeated in the background. Collage: Clementine Lawrence

Britain’s love of political satire has birthed the likes of Boris

Written by Clementine Lawrence on 19th March 2021. Posted in Opinion.

“Would you like a cup of tea?”

This was now prime minister Boris Johnson’s reaction to journalists outside his home in 2018, after his now notorious comments that described Muslim women in burkas as “letter boxes”. I’m sure some of these journalists went in all guns blazing, determined to get some kind of answer as to why Johnson thought this was acceptable – but this fire was soon extinguished, and the tea taken with thanks.

From another politician, this response would be unexpected; but from Johnson, this doesn’t seem quite so out of character. Paired with his ruffled hair and chaotic outfit choice, he continues to play the part he’s been perfecting since he came to national fame on Have I Got News for You in 1998.

The actions that would have destroyed the careers of other public figures have only seemed to propel Johnson further up the political ladder. From knocking over a child in a game of street rugby, through his long record of offensive and controversial comments, to his disastrous endeavours as foreign secretary, Johnson has still managed to secure the most powerful position in politics. In contrast, Ed Miliband’s bid to become Prime Minister was completely derailed by a single sandwich.

John Oliver dissected Johnson’s “bumbling persona” in a segment of Last Week Tonight, pointing out the possibility that his chaotic eccentricities are actually “carefully calibrated”. He had realised the potential playing up to political satire can permit someone in his privileged position.

Humour is no longer standing on the periphery of politics, looking in and laughing. Humour is politics. It has become a powerful tool used by both self-satirising politicians and ordinary people. But the consequences of Britain’s love of political satire is a double-edged sword.

Our love of political cartoons in newspapers grew into a love of topical satirical panel shows, such as Mock the Week and Have I Got News for You. This has now extended to our love of Twitter accounts, Instagram pages, and Facebook groups dedicated to poking fun at politics twenty-four hours a day, seven days a week. Through these different mediums, the general public have been able to generate a sense of togetherness through their mutual exasperation with politicians.

We’ve watched Boris Johnson stumble his way through the ranks, from disgraced columnist to British prime minister; we’ve witnessed an approach to Brexit that has been reminiscent of a bull in a china shop; and we’ve experienced the haphazard handling of a pandemic which has bought the world to its knees.

When we are rendered powerless against the decisions being made for us, comedy supplies a relief. It allows us to repurpose the feelings of suspicion and cynicism that shroud the political sphere into a more positive form of resistance. We come together as a powerful collective where we laugh at the politicians who don’t seem to live in the real world.

And it is no longer just for cartoonists, journalists, or comedians. Social media has provided us with the ability to exercise our agency by enabling ordinary people to engage with and create their own political commentary. The memes, tweets, posts, and stories that relay our frustrations back to us through political satire let us all in on the joke. But it is this same comedic gold that has provided a springboard for power hungry politicians.

The journalist Emily Nussbaum warned how the increasingly powerful potential of jokes had already spun out of control when Trump was elected in 2016, arguing that “we memed a President into existence”. We could argue the same thing of Boris Johnson. We laughed at ‘Boris’, at his hair, his voice, his unusual mannerisms. People took to his appearance of being more down-to-earth than his seemingly uptight, self-interested political counterparts – except he wasn’t really.

Johnson used comedy to his advantage, constructing an image of being ‘just like us’ by utilising his regular gaffes and flaws to appear authentic. But the sincerity of his bigotry and lies goes way beyond relatability, especially those that are explicitly racist, sexist, and Islamophobic in their nature.

Yet, many of Johnson’s falsehoods have managed to go unchallenged, and even when he’s come under fire, he still somehow slips away from any kind of consequence. Maybe because it’s just ‘Boris’.

It is important for us to laugh and find comedic value in situations that may otherwise feel a bit too depressing, especially in the current climate. But Britain’s love of political satire has played right into the hands of politicians who may not have amounted to very much without it. I think they’ve had the last laugh.

Photo: Adam Schultz / Biden for President @ Flickr

Politically Right? Humanely Wrong. Biden is just another President

Written by archiewgautier on 19th March 2021. Posted in Opinion.

Criticism of Trump’s heavy-handed immigration policy was a central tenet of Joe Biden’s presidential campaign trail. In doing so, he tried to place himself in a position of moral superiority with the presumed intention of carrying that into his time in the Oval Office.

At first glance, Biden seems to have kept his position on the moral high ground.

The US recently took the decision to sanction Russian officials, including the head of the Federal Security Service, in response to the poisoning of the leader of the opposition, Alexei Navalny in August 2020.

The condemnation of the Kremlin’s involvement is particularly significant due to Navalny’s contentious reputation as a fierce critic of the dictatorial machinations of Putin. The Russian regime’s repression of Navalny’s freedom of speech and freedom of political expression provided an apt opportunity for Biden to champion liberal democracy.

As the first sanctions of his administration, it sends the message that anti-democratic actions such as these will not be countenanced by the great democratic powers and became an implicit affirmation of his belief in a global notion of fundamental human rights.

However, Biden is inconsistent with his views. His feeble response to China’s despicable actions against their Uighur population undermines his championing of human rights in the Navalny’s case.

Initial reports of the Uighur genocide in China arose earlier this year to the horror of the rest of the world. These were re-affirmed in a BBC article by James Lansdale, who made it clear that there was evidence of policy with the intent of the exterminating the Uighur minority in China.

With the echoes of the Holocaust still ringing in the ears of the learned, the stage was set for the leader of the free-world, the country nominally, and historically, as the bastion of liberty, to denounce the actions of Xi Jinping.

However, Biden has failed in this task. At a presidential town hall meeting on February 16th, he dismissed reports of China’s action as that which Westerners could not comprehend, and therefore comment on, due to the existence of different “cultural norms”.

Biden, in this defence of mass murder and sterilisation, has now decided that his belief that all people have human rights, is selective, depending on the political points he can score.

Indeed, the logic of Biden’s defence of China seems to trip over itself. In the meeting he sought to justify the erection of concentration camps as rooted in China’s different history. However, a brief look at Russia’s history can plausibly produce a similar justification of their actions against Alexei Nalvany. The actions which led to the US sanctions.

Astolphe de Custine wrote of Russia, during his travels there in 1839, that as a state and people, it was to be forever plagued by despotism. Based on the actions of the state and the reaction of their people, he concluded that Russia was ‘intoxicated’ with slavery. Maybe he had a point, even after pivotal regime changes, both throwing off the shackles a despotic regime, in 1917 and the 1990s, Russia has still ended up with a despot like Putin.

Applying this, why then did Biden not simply regard the actions against Nalvany as those of a state exercising their different cultural norms? In my opinion, this was down to the legacy of Trump.

During Trump’s tenure as President, the cozy relationship between him and Putin undeniably brought the executive into disrepute. Whilst no concrete evidence of collusion emerged, the shadow of suspicion stretched over Trump’s presidency, and its impact was still felt in the last election. A stain on a presidential legacy which all incumbents would wish to avoid.

In consideration of this, it seems to me that Biden does not truly care about protecting human rights, or even basing foreign policy on historical differences between states. This flip-flopping between idealism and historical relativism suggests that disassociating himself from Trump is his priority.

In a different sense, it does not matter what actions a state takes, provided it serves, or simply does not hinder, the actions of the US.

Personally I don’t believe that Biden has such motivations of foreign policy, or by a belief in human rights, or any such deep-rooted conviction. Rather, it suggests that the President that is simply another politician that bends to what he thinks will be most favourable to his poll ratings.

This is a frightening prospect with presupposes a dark time for the global human rights endeavour, and more importantly, the lives of the afflicted Uighur Minority.

US sanctions on Russia mark the return of the US as global guardian

Written by celiahounsell on 19th March 2021. Posted in Opinion.

In early March, the US took the decision to impose sanctions on Russia after it emerged that the Kremlin were responsible for poisoning the opposition leader, Alexei Navalny.

Discovery of the Russian’s culpability for the nerve agent attack on Navalny, who’s always been a prominent anti-corruption campaigner and vocal critic of Vladimir Putin, has led to the decision to freeze the assets of seven senior Russian officials.

After years of Trump overlooking this human rights violation, what does Biden’s response tell us about what we can expect from US foreign policy and international relations under the incumbent President?

This diplomatic move by the Biden administration to catch up with sanctions placed on Russia by the EU in October, to which President turned a blind eye, is significant. It is a gesture of willingness to reconstruct the US relationship with intergovernmental institutions and to cooperate in multilateral action.

Biden’s renewed committment to the international community doesn’t end in the sanctioning of Russian officials. As well as committing to re-enter multilateral nuclear talks with Iran, Biden guarranteed US dedication to the transatlantic security alliance NATO in a speech at the 2021 Munich Security Conference.

These actions starkly contrast the Trump era, which was defined by a policy of unilateralism and a dismissal of the concerns of fellow democracies. While President, Trump dismissed NATO as an organisation which benefitted its European members disproportionately since the US contributed most to its maintenance.

In a bid to restore faith in the US, Biden has committed to Article 5, NATO’s principle of collective defence, guaranteeing “an attack on one is an attack on all”.

In recent years, Russia’s persistent disregard for international convention has elevated the importance of NATO as an organisation formed to counter the threat of the Soviet Union. This has been seen through the annexation of Crimea in 2014 and the nerve agent attack in Salisbury in 2018.

Biden’s promise of collaboration in protecting its member states from security threats acts as a commitment to a harsher diplomatic response to Moscow. As the largest financial contributor to NATO, a dedication to the allegiance indicates Biden’s willingness to return the US to the role of global policeman. This is due to it accounting for nearly 70% of NATO’s total defence spending, and being a leading member in its previous military interventions.

The role of global policeman was taken on by the US in the post-war period. The financial support provided by the US to war-torn Europe after 1945, through the establishment of the Bretton-Woods institutions, also included the entrenchment of liberal democracy. Thanks to its economic superiority, the US was able to construct on the world its own image and in that sense, fullfil it’s ‘manifest destiny’.

As the biggest single contributor to the UN budget, until now, it’s future involvement has been uncertain. The country provides 22% of its total and commands the internal democratic framework of institutions including the World Bank.

President Trump’s administration was inherently suspicious of liberal internationalism and retreated from engagement in forms of global governance in favour of unilateralism. This can be evidenced in the formal return of the US as a signatory to the Paris Climate Agreement and reengagement with the United Nations Human Rights Council. Therefore demonstrating Biden is returning the US to the tables of global governance which it will inevitably dominate.

President Trump’s decidedly nationalist agenda of protective tariffs and brutal immigration controls intended to exclusively prioritise US interests. President Biden, however, is presenting a liberal narrative that pledges to consider the nation’s moral obligations to the international community, alongside the interests of the nation state. His administration has announced a commitment to accept 125,000 refugees a year, a substantial increase from President Trump’s meagre commitment to accept 15,000.

Biden is returning to a vision of the US as an immigrant nation founded upon opportunities, freedoms and the availability of the ‘American Dream’ to all who seeks its citizenship. This pledge contributes to Biden’s reconstruction of the nation’s image as a ‘City on a Hill’. By reasserting US commitment to liberal internationalism to the global audience, Biden is returning to the European colonist’s conception of the nation’s potential as a morally exemplary state.

Evident in his approach to the pandemic, Biden is beginning his term with a deliberate portrayal of the commitment of his administration to global interests and the conclusion of the ‘America First’ era.

His administration has returned the US to the World Health Organization,. After withdrawal under President Trump, Biden has made an enthusiastic commitment to supporting the global vaccine effort, pledging $2 billion immediately and a further $2 billion of the next 2 years.

After the nation’s retreat into isolationism and guarding its own interests, Biden is making tentative steps to return the US to its role as ‘Global Guardian’.

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