Over the past few weeks, the international superstar Anitta has been teasing her fans with historical photographs of Rio de Janeiro, Brazil’s most famous city, and the singer’s birthplace. Aside from Anitta’s continuous journey of political activism – which she mentions extensively in her latest Netflix documentary Anitta: Made inHonório – these photos are also part of her latest musical campaign, promoting the single ‘Girl From Rio.’
The song covers many themes which are unique to Anitta’s story and which her fans would recognise: her honesty about her cosmetic procedures and her desire to show real bodies; her openness and confidence regarding her sexuality; her humble roots in Rio’s favelas; and her family’s importance in her life and career.
Anitta’s music videos are infamous, with over five billion views on her YouTube video for her hit song with Cardi B and Myke Towers, ‘Me Gusta.’ Her captivating visuals, beautiful scenes from Brazil’s diverse landscape, and representative fierceness have become a trademark, and her latest video does not disappoint.
The first thirty seconds might sound familiar to many as it samples the 1964 infamous song ‘Garota do Ipanema’ or ‘The Girl From Ipanema’ – an icon of Brazilian music. This song has been covered hundreds of times, in both Portuguese and English – but Anitta isn’t here to cover, she’s here to innovate and to shine some light on the Rio she is from – one that is very different from the affluent neighborhood of Ipanema.
Ipanema, Brasil
Photo: Gabriele Gabi @ Pixabay
Anitta is very open and proud of her origins in Honório Gurgel, a poorer area of Rio. The song and video take us ‘behind the scenes’ to see the Rio “you meet when you don’t have no Real” (Real is the Brazilian currency). This is what Anitta ultimately wants to represent with ‘A Girl From Rio’, the version of Rio she knows and is happy to share with the world, one where: “we don’t look like models / Tan lines big curves and the energy glows / You’ll be falling in love with the girl from Rio.”
Indeed, this is one of the most exciting and refreshing elements of Anitta’s latest visuals: the body inclusivity, diversity, and representation. Of course, she has not been the first or will she be the last to do this. Brazil is an incredibly diverse country, in terms of ethnicity, culture, and class – there is such a wide variety of people, but this doesn’t always make it to global representations, so that Brazilian people often get shoehorned into stereotypes.
Photo: Agência Brasília @ Wikimedia Commons
Another element the young singer is proud to discuss is the addition of a new family member. Back in 2019, Anitta discovered she had another brother who her father had unknowingly conceived before getting together with Anitta’s mother. The singer has spoken openly about how happy she was to find out she had another sibling, as family means so much to her. In the song she asserts “Just found out I have another brother / Same daddy, but a different mother / This was something that I always wanted.” Later on she also refers to young love in her home region of Honório saying that there are “Babies having babies like it doesn’t matter.” This is a subtle nod to Brazil’s continuous population growth – without being judgmental however, it is simply a reality.
The final element to bring the whole beach daydream together is Anitta’s own love affairs which are constantly being dragged out in Brazilian media. Despite the constant criticism Anitta faces as a young queer woman who is open and confident about her sexuality, Anitta has not shied away from sharing her personal life, as she sings “I just had to leave another lover / Guess he couldn’t handle my persona.” In fact, this honesty is something that her fans seem to adore, and it explains the success of both of her Netflix documentaries which do not hold back, hoping to show as much of the real Anitta as possible.
Photo: Teca Lamboglia @ Wikimedia Commons
Although she has only made it big internationally in the last few years, and especially with her collaboration with Cardi B and Myke Towers, Anitta has been professionally active in Brazil since 2013. Although she admits to being far from perfect, Anitta has achieved a series of accolades, both national and international, and has launched her career in the three languages shes is fluent in: Portuguese, Spanish and English – as well as dabbling in Italian. In addition, she is a businesswoman and an environmental and political activist – it seems like sky is the limit for this girl from Rio.
As a massive film and entertainment fan, I can safely say I am excited for the reopening of cinema screenings. There is something about the cinema that completely draws you in; enclosing you into the world of the movie; something that you miss when streaming the device on television.
Whilst I am excited for its return, I will be reluctant to rush straight into cinemas for a little while due to the continuing situation with COVID-19. However, that’s not to say cinema isn’t something that I have greatly missed, especially for the movies I am most anticipating. I, along with many others, will greatly appreciate the return of cinema culture and nights out with friends, family and popcorn (or chocolate in my preference).
Here are some of the films I am most excited to watch in the cinema!
Between its stunning animation and cute sidekick Tuk Tuk, Raya and the Last Dragon sets itself to be another Disney hit. In a world of conflict, Raya must find the last dragon to unify all. With a star-studded line up including actress Awkwafina as Sisu the dragon, Raya will enviably entertain adults and children alike. This is a movie I am looking forward to and hoping will be a great success alike Coco, Moana and many more Disney classics.
After a long wait, the next instalment of The Conjuring Universe will soon arrive, titled The Conjuring: The Devil Made Me Do It. It continues the story of daemon experts Ed and Lorraine Warren as they follow the murder trial of Arne Johnson, who claimed to have been forced to kill by demons. Like the other Conjuring movies, I predict dark twists, jump scares and horrifying demonic characters to appear across every frame of the movie. Certainly one for the horror fans out there!
Whilst the movie is predicted later than many in the list, ‘Spider-Man’ is undoubtedly one of the movies I am most excited for in 2021. The story has remained steeped in mystery, from some suggesting and denying the appearance of previous cinematic Spider-Men, Tobey Maguire and Andrew Garfield, and the confirmation of Alfred Molina’s return as Doctor Octopus. Unsurprisingly, Marvel have kept the story under wraps, generating many conspiracies amongst die-hard fans. However, after the problems Peter Parker faced in Far From Home one can only assume that dangers will once again impact every aspect of his life. As a superhero film fan, I must also share my enthusiasm for the many other upcoming movies of 2022 of that genre, including Morbius, Doctor Strange 2 and Venom 2.
So, I was going to write about a variety of movies for this article. However, with cinemas being shut down for so long I have become completely disconnected from finding out the release dates for any movies. If it’s not on Netflix it doesn’t feel like it exists. I was going to review Black Widow, Suicide Squad and Mortal Kombat but it seems that Black Widow has been delayed 15 times, Suicide Squad is out there somewhere in the aether, and Mortal Kombat is in a similar place.
The idea of cinemas returning is both terrifying and utterly thrilling, but when cinemas return, I will be very grateful. For the first time in my life I am excited at the prospect of spending £500 on popcorn and drinks at the concession stands.
I am firmly of the opinion that streaming is a much much worse platform for enjoying a movie. In a cinema you are scared to leave your seat for fear that you may miss a vital plot point, but when you are streaming a movie, you get countless unwanted intermissions.
I also long for the stench of a cinema. I’m so deprived of experience that I miss the smell of stale popcorn that lingers in seemingly every theatre. I miss everything about that place – so many memories made and friendships forged. I long for the times that we were able to get lost in the worlds created in the films and leave the cinema confused as to where the sun had gone. The closest I have come to the feeling of the cinema was when I watched the Snyder cut twice back to back, but even so I was painfully aware I was just sat at home, alone.
Streaming services on the whole really annoy me. Take Disney+, for instance – it’s all well and good that they frequently upload content that the normal user can access, like the most recent The Falcon and the Winter Soldier show, or Wandavision. But ‘premiers’ for new movies like Raya and the Last Dragon or even the reboot of Mulan are placed behind a £19.99 pay-wall on top of the £7.99/month subscription fee, until the movie comes out properly.
Because of this, I haven’t bothered watching any of the most recent Disney movies. The idea of paying double the price of a movie ticket for a movie that might not even be good is an insult, when I’ve already committed to paying probably over £100 just for the privilege of the occasional nostalgia trip and watching the Simpsons whenever I want. And I do have to ask – what is Can of Worms doing on there and not the Raimi-directed Spider-Man movies?
So, I long for the days when the cinema can finally come back in all its expensive glory, because it made movies a luxury rather than a right. Movies don’t have the same effect upon me anymore because I dread the idea of scrolling through them all, being torn between three of them, not being able to decide and then realising four hours have gone by and I need to be awake in 2 hours.
I just want to get fully lost in a different world again, and I long for the day I can finally sit in a movie theatre debating with myself as to whether or not my bladder will last another 10 minutes until an action scene subsides.
Ever since pubs and bars opened up on the 12th of April, people have taken advantage of eased restrictions and finally grabbed a much-needed pint or cocktail while they still could.
After the initial mania over actually socialising again wore off, I began to hear people throw around the term ‘hangxiety’, and saw it plastered all over social media.
“Hangxiety”
Hangxiety, simplified, is a mishmash of “hangover” and “anxiety”. It’s basically the unofficial term for the odd, panicky, or agitated feeling you get after a night (or day) of drinking.
The science-y bit:
As alcohol is a depressant, it increases levels of gamma-aminobutyric acid (GABA). Consequently, the effects of neurotransmitters that are responsible for stimulating the brain and body are severely decreased. In addition, alcohol increases the effects of inhibitory neurotransmitters. This is why you feel a bit calmer after having a drink, as alcohol almost acts like a sedative. It’s also why your reaction speed slows significantly – alongside your worsening coordination.
The morning after, your brain attempts to correct this imbalance. In order to do so, it overcompensates for last night’s actions. In essence, the neurotransmitters that excite and stimulate your brain are overactive while the neurotransmitters that help you chill out and relax are under-active. Combine that with intense dehydration, shameful drunk food choices and a lack of memory of the potentially embarrassing things you said – and there you have it. The causes of hangxiety!
Photo: Lidya Nada @ Unsplash
Everyone experiences hangovers differently. Additionally, everyone swears by their own specific cure. Whether that’s a greasy full English at Wetherspoon’s, or an entire carton of orange juice.
Healthline offers some ideas for coping with a hangover:
Rehydrate
Eat a light meal of mild foods (best hangover foods list here)
Take a shower
Try to get some sleep
Try over-the-counter pain relief
It also offers some tips for preventing hangxiety:
Avoid drinking on an empty stomach
Match alcohol with water
Don’t drink too quickly
Set a drinking limit
While it is tempting to go crazy after over a year of lockdown and become overwhelmed by the all-new freedom we’ve been granted – it is important to be aware of hangxiety.
Whether you’ve been downing countless tinnies in the park, or stopped drinking as soon as the pubs shut, hangxiety can affect anyone. From my eavesdropping on the bus and scrolls through Instagram, many people are starting to feel its effect.
With May 17th and the new stage in the COVID Road map just a few days away, it’s important to drink responsibly while you’re getting a bev in.
Welcome to this new series, where I take you along with me to have an exclusive peek into the underground, niche, and secret things going on in the vivid city of Manchester. I invite you to come along on this journey in the hopes that maybe you will discover a new passion, check out a new area, or find a new pocket of yourself that was perhaps previously unknown to you. Whatever it is, I hope you’re able to take away something positive from these virtual tours of the weird and wonderful in Manchester.
A few Fridays ago, as a complete newbie to the world of roller-skating, I bravely attended a roller-skating event. After buying a second-hand pair of Skechers skates from eBay and packing my bag of essentials for the day; plasters, antiseptic gel, and a hefty bottle of water – I was ready.
Photo: Rhiannon Ingle @ The Mancunion
Tucked away underneath the Mancunian way flyover, about a ten-minute walk from Manchester Picadilly Station, lies Projeckts MCR.
After swapping out my Nikes for my skates and fumbling around with helmets and knee-pads, I was dressed for battle. I awkwardly glided out onto the terrain where I was met with instant warmth and camaraderie from everyone else in the skatepark.
Unlike the other times where I’ve found myself at skateparks where the vibe seems to be exclusive, gatekeep-y, or intimidating – all the roller-skaters around me made me feel like I was home. From compliments on my trousers to useful tips to help me improve – the community welcomed me with open arms.
Photo: Rhiannon Ingle @ The Mancunion
One aspect of this which really stood out for me was the diversity of the crowd. There were groups of mates and solo skaters, men and women, old and young, pros and beginners – and they were all happily coexisting and sharing the same space together.
It was nice to see this kind of effortless unity, especially on the back of just coming out of a lockdown where we have all lacked true social interaction. Not only did I enjoy the novelty of trying out something new for the first time, but I really felt a sort of freedom on the skates.
It was a freedom to look a bit silly, to fall over and not care, to learn a whole new skill, to meet a whole new group of people, to float around rather than plod along, and to do something a little bit different.
Photo: Rhiannon Ingle @ The Mancunion
I met an incredible skater and generally lovely human being, Kalléo, a Mancunion-based roller-skater who wowed me with his skills at Projekts. Kalléo is an example of the kind of person who you wouldn’t typically meet if you were only mixing in limited, student, Fallowfield-based circles. Talking to him about his past, philosophy of life and future ambitions was such a refreshing break from the monotonous Zoom meetings, dissertation anxiety, and pub small-talk.
After the event had ended, a few tumbles later, I went out to the Northern Quarter for a drink with a bunch of people who were strangers to me just a few hours earlier. I felt a kind of pride walking around town with my skates hanging out my bag – as if I had just been accepted into some kind of great tradition.
Feeling buzzed and, conveniently, having the weekend off work, I decided to go down to the skatepark in Platt Field’s the next day. I went completely alone with an understanding that other skaters would be there and that it would be cool to hang out with them for the day.
Photo: Rhiannon Ingle @ The Mancunion
And, just as I’d expected, a group of lovely people were congregating in the corner of the skatepark, beckoning me over. We spent hours falling, laughing, teaching, and learning from each other. When the sun went down and my legs got tired and I was just about to head out, I overheard a conversation that made me smile quietly to myself.
‘I always get so much face ache when I leave the skatepark.’
‘How come?’
‘From all the smiling!’
Now, I’m not saying that roller-skating is for everyone, but it certainly acts as a microcosm for community and a wholesome alternative to the typical, homogenous student culture we can all get sucked in to. It’s a strange period we are all living in right now. It seems to be the “age of adaptation”, as we are constantly adjusting to new stop-start ways of living.
As someone in their early-20s, it can be strange to do something new for the first time. It’s as if we already think we know, and are bound to, our passions, hobbies, and identities. But why stay tethered to something plainly out of habit? Why not broaden your horizons, throw yourself in the deep end, and just go out and grab life while you can?
For nine months now, the University of Manchester has been a hotbed of unrest and scandals. On Monday May 10, students held another protest with the intent of expressing their anger at the university they perceive to have failed them.
The protest began outside the then-Occupied Samuel Alexander building. The building had been occupied for over 2 weeks, making it Manchester’s longest occupation since the 1970s. Students from the protest groups Nancy Out, UoM Rent Strike, and Cops off Campus amongst others had staged the occupation in response to the University’s mishandling of their pandemic response and the treatment of students this academic year. The group’s demands included a 30% rent rebate for semester two, the democratisation of Manchester’s senior leadership and an end to the police patrols around Fallowfield campus.
During the protest, the occupiers left the building after being threatened with legal action by the university, despite not having achieved any of their goals. This didn’t seem to faze them, however, because the group leapt into action by leading the crowds gathered outside the Sam Alex in a series of chants and speeches all connected by one underlying theme: Fuck UoM.
Returning for it’s ninth year and as relevant as ever, SICK! Festival is an international arts programme that aims to get people talking frankly about their health. To this end, the organisers commission artists from across Manchester and beyond to examine how the interactions between individuals and communities affects our physical and mental health.
This year, the festival’s events – workshops, debates and artist interviews – have gone online, while five ‘MINDSCAPES’ artworks are on display both virtually and around Manchester. These include: illustrated maps exploring neighbourhoods from local people’s perspective; an interactive online game simulating the Kafkaesque bureaucracy of Universal Credit; and street poetry displays.
“I come from a lonely place”
Manchester Mood Drawings are a series of posters displayed at Metrolink stops across Manchester showing intricate maps of communities, combining text with hand-drawn illustrations of local landmarks. They were produced by the Dutch artist Jan Rothuizen, based on ‘virtual tours’ he took via WhatsApp with individual local residents. In a recorded interview for the festival website, he describes them as “reportage drawings” or “soft atlases”, which map the subjective, emotional experience of belonging to a place.
Photo: Mark McNulty
Not all of the drawings are strictly cartographic, however: Wythenshawe’s shows the living room of a resident ‘John’, who is providing domestic care to his wife after she had an accident. These smaller-scale ‘maps’ serve as an important reminder of those confined to home, or even who suffer from claustrophobia in public places: as we’ve learned in the past year, our sense of scale can be quick to adapt.
While the drawings themselves are absorbing to look at, I couldn’t help feeling that they could be better promoted on the festival site. You can watch all of them in TED-style animated videos, but often the camera zips across the canvas too fast for you to take in the detail and read the text. Moreover, the main page for the drawings only features a map of those located at stops in the city centre, without making it clear that the drawings at all of these locations are the same (the other drawings on display at unspecified locations outside the centre).
I drive a taxi – what am I?
‘While Waiting, Wait Here’ is an online game simulating the experience of Universal Credit from a claimant’s viewpoint, which manages to be equal parts funny and depressing.
Creator Merel Smitt uses her art to make interventions in the public sphere. She claims the game is based on extensive research and deliberately intertwines fictional elements with testimony from users and experts, in order to make us question how far the benefits system would go to sanction and discipline claimants.
Image c/o Merel Smitt and Maaike Canne @SICK! Festival Facebook
It consists of the animated waiting room of a Jobcentre, with a series of clickable icons that allow you to pass the time with activities such as calling a helpline (leading to a series of oblique options, giving you the farcical freedom to “choose how you wait”) or completing a patronising riddle wordsearch (‘I drive a taxi; what am I?’). It pokes fun at the absurdity of a system that can often seem inhumane and condescending, without losing sight of the fact that this absurdity has a very real human cost. A rolling news-style ticker at the top of the screen details cases of suicides linked to the stress of capability-for-work assessments.
SICK! Festival is a timely intervention and an encouraging example of art being harnessed for a social purpose. These and other artworks – including a ‘Sound Paths’ app giving you an audio-guided tour of Moston and Harpurhey, and a ‘living zine’ of young people’s confinement to their bedrooms during lockdown – are worthy of your time and attention as we prepare to venture outside again.
MINDSCAPES will be available to the public until 16th May 2021.
Forbes magazine dubbed the iconic 90s claw clip THE hair accessory of 2021, so it’s about time we explored the resurgence of this new trend.
Is it, like the rise of athleisure and the comeback of crocs, a trend born out of our post-lockdown lives? With the world becoming more casual in its dress sense, attending uni meetings in pyjamas, or, if you’re a bit more professional, in trackies, it makes sense that ‘the hair accessory of 2021‘ is grounded in comfort rather than formality.
Thinking about it, the claw clip pretty much ticks every box.
Firstly, it indirectly jumps on the wave of sustainability
There’s nothing worse than buying a 100-pack of hairbands only to be magically left with two a few weeks later. Instead, by wearing a claw clip you’re essentially buying a reusable hair band – one which is less likely to go walkabout at concerts, girls’ toilets at nightclubs, and wherever else those things wind up.
Secondly, the clip is better for your barnet
A tight elastic band can cause damage and break your hair. Or, they inevitably get so tangled that you either rip it out (along with a clump of hair) or Edward-Scissorhands yourself free. We’ve all been there.
Claw clips are a gentle alternative to the infamous Tumblr-worthy messy bun. I guess we’ve all grown up and moved on from American Apparel’s velvet scrunchies now.
Thirdly, it’s a bit more sophisticated
Unlike the more childish accessories and styles that have previously popped up following our new obsession with fashion nostalgia, such as space buns and butterfly clips, the claw clip breathes an air of maturity. Something about it looks put together without trying too hard. Hair in your face? Claw clip! Greasy hair? Claw clip! Can’t be arsed? Claw clip!
Photo: Ina Hall @Pixabay
I previously associated the accessory with mums or protagonists from awkward mid-2000’s rom-coms. The clips were purely functional when I was a kid. I remember seeing my mum throw up her locks in one speedy action as she was balancing a phone on her shoulder and shopping bags in her hand. But now, figureheads of this revived trend include the likes of Bella Hadid, Kendall Jenner, and Devon Lee Carlson. It’s no longer purely utilitarian. There is something so effortless about this style, and I guess that’s where its popularity lies – in its versatility.
I remember when you could get a pack of six for a quid in any pharmacy, Boots, or Superdrug. They were right next to the cough sweets and blister plasters as if they were just as functional. But now, a singular claw clip can go for anything from a tenner to over £50!
The latest claw clips have completely revamped the plain black style I used to associate with my mum in the 90’s. From a messy Bridgette Bardot-style updo, to a sleek and spiky bun similar to Bella Hadid’s, there are many ways to adapt this piece to whichever aesthetic you’re into.
From tortoise-shell to tacky rhinestones, muted block colours to bright patterns, the claw clip has fast become a go-to in a lot of people’s tote bags and accessory stashes.
If you’re yet to buy this clip, or you simply want to keep adding to your collection, opt for smaller businesses, independent boutiques, or secondhand outlets instead of big chains. Think Etsy, charity shops, and (of course) your mum’s dressing table.
I am not one to enjoy violence, on or off the screen, so I surprised myself when, after having watched the first episode of Snabba Cash – dutifully filled with gory gunshots and the promise of something eerie to come – I got hooked. Just as young Tim (Ali Alarik), or ‘The Swede’, gets roped into a world of gang violence and narcotics, so does the viewer of this latest hit Netflix show.
I was not familiar with the Snabba Cash franchisewhen it was first recommended to me. The show is based on a trilogy of books by Swedish author Jens Lapidus, in which an affluent Swedish man begins drug dealing to sustain his expensive lifestyle.
In the original story, and in the film adaptations (despite a few changes), the gang gets involved with the Yugoslavian mafia. The show’s writers, however, altered the story to create a gang war amongst two rival drug dealers who get their produce from the same supplier.
In Netflix’s adaptation, Leya (Evin Ahmad), a single mother, balances her life between trying to get her start-up financed and dealing with her deceased partner’s brother – who just so happens to be Ravy (Dada Fungula Bozela), a drug dealer. As the plot thickens, Leya’s lavish corporate life dwindles and she gets more and more involved with the underground drug-dealings of Stockholm. I won’t tell you that the plot isn’t mostly predictable, or that they follow through on all the promising aspects the first episode suggests.
The thing that really won me over were the visuals. Snabba Cash’s Stockholm isn’t the clean-cut, minimalist Scandinavian dream, but a real world with dirty alleyways, overcrowded buildings and local businesses. While this isn’t the most desirable world, it is definitely one that draws you in – especially if you live under the illusion that Scandinavia is always proper, peaceful, and hyggeligt (to steal a Danish term).
‘Snabba cash’ translates to ‘fast/easy money’. While this may be true to the show, it is needless to say that the situations Ravy’s drug gang gets into are anything but easy. Although the supplier, and ultimate operations boss, is a white Swedish man whose maniacal yell makes him the obvious villain, most of the gang is portrayed by actors of colour. In a show that seems to be demonstrating that Sweden has a darker criminal side, it seems a poor choice to choose mainly actors of immigrant descent.
While the show has been applauded for its diverse cast, the casting seems to suggest that the drug and crime problems are caused by immigrants or descendants of immigrants, rather than the average white Swedish person. Even though kids like Tim get involved, he is ultimately seen as ‘the good boy’ who got roped into a mess he doesn’t belong in.
In an interview with The New York Times, Oskar Soderlund, the show’s creator, said that the show represents a problem of class and not ethnicity, and this might well be true. Perhaps we are so wrongly accustomed to seeing actors get typecast based on ethnicity that when shows like Snabba Cash come along we mistake their intentions.
This is not to say that directors Jesper Ganslandt and Måns Månsson were trying to depict a world of ‘good and bad’. On the contrary, there are many key scenes that pull at your heartstrings and make you feel for violent and merciless characters. One of the protagonists, Salim (Alexander Abdallah), a singer by day and a drug dealer by night, plays a pivotal role in transgressing the line between good and bad, making wrong decision after wrong decision, in an incredibly frustrating manner for the viewer.
If you’re looking for a thrilling, heart-pumping show in melodic Swedish that both romanticises and demystifies the world of fast cash and ephemeral happiness, Snabba Cash is the one for you.
4/5.
Snabba Cash was released on Netflix on the 7th of April.
The hugely ambitious and experimental Brighton-based 5-piece Squid formed in 2016. Their unique and multi-faceted soundscapes which defy the genre mark them as one of Britain’s most exciting new bands. After a string of singles over the past few years, Squid have released their debut album ‘Bright Green Field’ and it does not disappoint.
In its 11 eclectic tracks, ‘Bright Green Field’ brings together every bright idea the group ever had and executes it with precision. Grinding guitars and drums are contrasted with striking string and horn ensembles and interwoven with ambient synths. Lyrics cover everything from the mundanity of everyday life to the prevalent socio-political issues of today. But it is by no means a bleak affair, and instead tackles these topics with humour and sarcasm.
Track-by-Track
The album opens with the jarring 40-second intro ‘Resolution Square’. Sounding like it came straight out of a Sci-Fi film, it works as an appropriate tone setter for the rest of the record.
Image: Squid ‘Bright Green Field’ Official Album Art
The record immediately jolts into its first full track ‘G.S.K.’, which stands for the pharmaceutical company GlaxoSmithKline. Its clattering percussion and brass section suggest that it was made to be played loud. Lead singer Oliver Judge’s fierce vocal delivery and tongue-in-cheek lyricism (‘I hope my dinner is warm’) prevail. It is also one of the shorter, and perhaps more radio-friendly tunes. Yet, it still showcases the experimentation Squid have become synonymous with.
Lead single ‘Narrator’ follows, in all its 8 minutes 29 seconds of meandering glory. ‘I am my own narrator’ declares Judge, whose harsh vocals are complimented by the softer whispers of guest singer Martha Skye Murphy. Inspired by the 2018 film ‘A Long Day’s Journey Into Night’, the lyrics deal with control and agency. This track begins more punk-oriented, with Clash-esque guitars. But it slowly spirals into industrial instrumentals and a screaming section courtesy of Murphy towards the end.
From post-punk and shiny pop…
By contrast, ‘Boy Racers’ is a shiny, pop-inspired tune driven by Judge’s expressive and often sarcastic-sounding voice. At its midway point, ‘Boy Racers’ mutates into an eerie space-tinged synth section reminiscent of Kraftwerk.
Image: Squid by Holly Whitaker
‘Paddling’ begins with the twang of a guitar, plucked from a Western film before quietly building into a sonic soundscape. As the pace picks up, chants of ‘patient, in control […] just do what you’re told’ kick in, with Judge echoing them. This track masters the speed-up-slow-down technique often found in music of epic proportions.
The jazzy ‘Documentary Filmmaker’ is next, with instrumentals that would not be out of place in an elevator. Judge confronts the commercialisation of public holidays, noting ‘the eggs, they’re always cheaper, the day after Easter’. It’s the sort of observational humour you might expect from the poetry of Philip Larkin or Blur’s string of mid-90s albums. The twinkly chimes of a piano act as the outro for this track, demonstrating Squid’s versatility.
…to Psychedelia and Krautrock
‘2010’ is a psychedelic affair, with its whirring and winding instrumental, and repetitive lyrics. Out of nowhere it breaks down into pure post-punk guitars before returning to its slower psych-rock sound. ‘I’m upside down’ Judge repeats, suggesting a sense of disillusionment with everyday life.
Image: Squid by Holly Whitaker
‘The Flyover’ serves as an interlude, combining synths and a brass section, layered with indistinguishable utterances. This transitions beautifully into the futuristic ‘Peel St.’ which feels like it was manufactured in some sort of spacelab.
Lyrically, it alludes to the post-apocalyptic novel ‘Ice’ by Anna Kavan, as Judge asks ‘where were you when the ice came to town?’. Although it could easily be interpreted as a track tackling climate change. Drums are the driving force here, along with a pulsating bassline which suddenly mutates into a sonic dance-beat.
Yet again, Squid fuse genres as they return to crashing drums and guitar rock. Like ‘Narrator’, ‘Peel St.’ is perturbed by questions of autonomy, with closing lyrics ‘now I’m free, there’s no warden following me’.
Much of the record has a decidedly krautrock sound, so it is no surprise that Squid cite the sprawling songs of NEU! as an influence. The cultish ‘Global Groove’ with its pounding drumbeat and drone is inspired by a retrospective exhibition of Nam June Paik’s work which Judge saw at the Tate. Judge sings ‘Watch your favourite war on TV, just before you go to sleep /And then your favourite sitcom, watch the tears roll down your cheek’ to the mechanical crank of the instrumental. He told Apple Music it is a statement about how 24-hour news can ‘desensitize you to large-scale wars and death’. In its final third, ‘Global Groove’ winds down with a fuzzy walkie-talkie style spoken outro.
Image: Squid ‘Bright Green Field’ Green Vinyl LP
A sonic journey
The album closer ‘Pamphlets’ is an upbeat post-punk ode. Guitarist and vocalist Louis Borlase describes it as ‘an important part of our set, particularly finishing a set, because it’s quite a long blow-out ending’. The vocal delivery grows more fiery, more furious as the song progresses, with Judge yelling ‘That’s why I don’t go outside’.
‘Bright Green Field’ is an immersive record, which takes the listener on a sonic journey of musical styles. It will be interesting to see where Squid head in the future, and if they plan to expand on any one of these specific styles. At 54 minutes in length, the album equally satisfies avid listeners whilst anticipating much excitement for the next Squid project.
‘Bright Green Field’ by Squid is available to buy in its physical format or to stream from 7th May.
8/10
Squid will perform on Later With Jools Holland on Friday 21st May at 10pm on BBC2. They will embark on a socially distanced tour in May and June, before their rescheduled 2020 tour in July. This will be followed by the ‘Bright Green Field’ album tour in September and October 2021. Tour dates are listed below, and include several Manchester dates.
Vast predators with reptilian skin and sharp teeth have been portrayed across pop culture for decades. But how much of what we think we know is true? How do we actually know what these long-extinct beasts looked like? Are the popular views true to (prehistoric) life?
Fossils
The most obvious evidence for dinosaurs’ appearances is fossils. These are any evidence of prehistoric organisms. This could be in the form of fossilised remains (bones, teeth, and shells) known as body fossils, trace fossils, including footprints, coprolites (fossilised dino poo), and imprints of skin and feathers.
Body fossils give direct evidence about how a dinosaur looked. However, almost no fossils currently discovered are fully complete. Often, bones of the same species are found in many different locations. They are used to piece together an idea of how the whole organism looked, like a jigsaw puzzle.
Trace fossils tend to give more information about behaviour in combination with body fossils found. For example, biochemical analysis of coprolites and observation of teeth and jaw structure can reveal an organism’s diet. Bone anatomy and footprints can be used to estimate how a dinosaur may have moved and how fast it could run. Thus, giving an insight into its behaviour and lifestyle.
Fossils can teach us about a dinosaur’s inner workings, but how do we know what dinosaurs looked like externally?
Skin, colours and feathers
Some fossils have preserved a dinosaur’s exterior, like skin and armour plates. The condition of this beautiful nodosaur fossil, found accidentally by miners in Canada, makes it hard to believe it’s not a model! Conditions have to be perfect in order for remains to be fossilised, let alone in this much detail. It is estimated that less than 0.1% of all animals to have ever lived actually become fossils. Furthermore, we have to find the fossils, many of which are buried underground.
Nodosaur at the Houston Museum of Natural Science at Sugar Land, Fort Bend Co., Texas [fossilmike @ flickr]
Melanosomes (organelles that make melanin, a tissue pigment in animals) have been detected in some fossils. This reveals that they would have been a reddish-brown colour, rather than the green or grey we tend to think of. The distribution of melanosomes can also reveal striped patterning and countershading (light on top and pale on the stomach) in certain species.
We may imagine all dinosaurs as possessing snake-like scales, but this would be incorrect; many dinosaurs had feathers. This includes the Tyrannosaurus (although not T. Rex) and Velociraptor taxa, which belonged to the largest predatory dinosaur clade called therapod dinosaurs.
Fossilised dinosaur bones have been found with knobs for anchoring feathers incredibly similarly to birds like the turkey vulture. Preserved feathers have been found in 99 million-year-old amber, which can only have been from dinosaurs.
In fact, feathered dinosaurs still roam the Earth in the form of birds. In maps depicting how all of life is genetically related (phylogenetic trees), all birds can be seen to share a common ancestor with therapod dinosaurs, meaning that they too are dinosaurs! It is then not so surprising that their prehistoric ancestors shared their feathered features too.
When dinosaurs existed on Earth they inhabited a wide range of ecological niches, with varying diets, behaviours, and bodies which reflect this. However, there were no aquatic dinosaurs (only marine reptiles) and they could not fly (except the birds). Not all dinosaurs were huge, in fact, the smallest dinosaur discovered was only around 2g, the same size as the bee hummingbird, the tiniest bird alive.
Stephen Spielberg, director of Jurassic Park is quoted as saying that “technicolour, feathered dinosaurs just aren’t scary” which may be right, but is not true to what scientific evidence tells us. The creative license used in this cinematic classic may be to blame for many of the wrong ideas we have about what dinosaurs look like.
The pandemic has stopped many, including me, from visiting the Manchester Museum, but when it opens up again I’ll be making sure to look out for all the dinosaurs (including the birds!) with a new appreciation for what they actually looked like.
Memorialising individuals after their death is a complex issue, both with public figures and personal relations. It can be tempting, natural even, to glorify an individual after death until they take on an almost godly status. In mourning, we tend to remove an individuals’ faults and emphasise their merits to lament what has been lost. Judging someone’s character after death is impossible – because a person is no longer alive, their actions are not subject to criticism or debate.
Following the death of Prince Phillip, the media has shown us just this. In an attempt to consecrate him, publications such as The Telegraph dismissed the Duke’s racist comments. Problematic remarks, such as Phillip’s warning to British students in China to beware of “turning all slitty-eyed”, have been diminished to “gaffes”. The media depicts Phillip’s speech, which consistently implies white superiority, as a harmless expression of his old-school personality. The Telegraph normalizes racist ignorance by suggesting that Phillip’s 2009 remark to Atu Patel, that “there’s a lot of your family in tonight”, after reading his name badge at a Palace reception for British Indians is a “funny moment”.
Such articles emphasise Prince Phillip’s intention as ultimately benevolent. Although the Duke’s blunt speech could be considered problematic, this is negated by his “good nature”. This view suggests that Phillip’s good intentions mean his harmful speech is rendered impotent. This is interesting given Phillip’s position within an institution that encourages reserved speech to present a show of impartiality. Whilst the Duke’s views can be regarded as insignificant for not resulting in direct action, this is reflective of his relation to the crown, which only elevates the importance of these comments given the Palace’s general restrain upon expressing an opinion. The focus of many obituaries of Phillip’s humour and “forthright” character, such as the BBC’s account, seeks to stress inoffensive motivations. This makes it impossible to criticize the Duke’s comments and actions without denouncing and disrespecting his personality.
This feels paradoxical to the contemporary moment, as the death of George Floyd on the 25th May 2020 by white police officer Derek Chauvin stimulated global Black Lives Matter protests which encouraged white unlearning. Whilst books such as Robin DiAngelo’s ‘White Fragility’ and Reni Eddo-Lodge’s ‘Why I No Longer Talk To White People About Race’ were 2020 bestsellers, both of which teach unconscious bias and the need to distinguish accusations of racism from attacks upon personality, it seems strange that we cannot reckon with Phillip’s racism without excoriating his entire character.
Moreover, reporters and influencers who have attempted to recognise the Duke’s prejudice, as well as his virtues, have been reprehended as belonging to “the warped cult of woke” in The Telegraph. Even in articles that seek to discuss the issue, headlines such as “Was Prince Phillip a racist?” posted on the online publication StyleCaster reduce racism to a binary construct that defines character, rather than a widespread issue present throughout society.
This lack of nuance extends to the other side of the political spectrum. Less than an hour following the announcement of Prince Phillip’s death, a large Whatsapp group chat for a University group I am in flashed with celebratory messages. Because of Phillip’s racism and his monarchical position, his death was being revered as symbolic of a loss of power for both sovereignty and racist ideology. Once again, post-death Phillip could no longer be regarded as an individual but as emblematic of world order.
Anecdotally, this hard-line approach towards Phillip has seemed to have only increased as a reactionary response to the media’s veneration of Phillip. Whilst such an approach may present as a satisfying and radical attempt to counteract the widespread dismissal of the Duke’s racism, it unproductively further diminishes Phillip to a two-dimensional character, whom we can only perceive via two oppositional prisms. He is either monstrous or god-like, there is no in-between.
This acceleration towards binary positions is symptomatic of wider so-called ‘cancel culture’ which wishes to delineate individuals into confined boxes; people can either be ‘good’ or ‘bad’, ‘moral’ or ‘amoral’, and this view of them impacts how their actions will be societally perceived.
Though attempting to obscure and erase the perhaps more unpleasant elements of Prince Phillip, the media supplies the public with an inaccurate presentation of the Duke which constricts the mourning process. To grieve, it is essential to contend and reckon with an individual – faults and all.
Fundamentally, the Duke was both a passionate wildlife campaigner and also a founding member of the infamous ‘Thursday Club’, known for facilitating raucous affairs and patriarchal treatment of women. He both encouraged the modernization of the monarchy in encouraging the broadcast of his wedding in 1947 and suggested to a student in 1998 that residents of Papua New Guinea were cannibals. He was both an active father and dismissive of a 13-year-old’s aim to be an astronaut due to being “too fat”.
Applying this nuance towards Prince Phillip can be radical. In recognising him both as the man who “was the glue” in keeping the royal family together, as the Duke’s great-niece attests, and the man who’s comments emphasize white English superiority, it is possible to recognize racism as systemic and widespread. In the British media’s failure to meaningfully acknowledge Prince Phillip’s racism and xenophobia, the country is once again stilted from clearly and productively grappling with prejudice.
I have always thought I was the kind of person that was interested in all kinds of music. Having been a die-hard boy band (1D, let’s be honest now) fan back in my tweens, and being all -round appreciative of popular music, I couldn’t quite place why I wasn’t, in the slightest, interested in Korean pop music.
One afternoon, a tired student trolled through Netflix in desperation and landed on one of its shiny latest documentaries: ‘Blackpink: Light Up the Sky’ (premiered 14th October 2020).
Photo: RAS99 @ Wikimedia Commons
Who are BLACKPINK?
The band ‘debuted’ back in 2016, signed under the major South Korean media group YG Entertainment. The members include South Korean Jisoo, South Korean raised in New Zealand Jennie, South Korean raised in Australia Rosé and finally Thai Lisa. The fact that the members come from very different backgrounds is one of the possible reasons behind the band’s world-renowned fame. The K-pop fans we interviewed had differing views of the band and the documentary, with one saying:
“It’s been amazing to see an all-female group dominate the charts and inspire a lot of new fashion trends and dance challenges. They’re bad-ass and I think they inspire a lot of confidence in women.”
There is no doubt that this girl group has achieved a series of accolades, among them, People’s Choice Awards and five Guinness world records with their music video ‘How you like that’, reaching an astonishing 86.3 million views in 24 hours.
What might be wrong with K-pop?
Light Up the Sky highlighted some of the key issues with K-pop. For starters, the BLACKPINK artists spoke in-depth about their years as ‘trainees’. They explained how they dropped out of school from ages ten to sixteen in order to permanently move to South Korea, where they lived and trained with their fellow trainees every day.
The artists follow extreme training schedules, training for thirteen days in succession and resting for one day before repeating the whole process. One Fan, Finch, shared some views, expressing dislike for:
“The dehumanisation of group members. I think this is getting better though when I look at present groups like YOURS who release videos of their education about things like depression and cultural appropriation.’
Another fan raised concerns about the visual importance of K-pop:
“I dislike the beauty standards and toxicity around appearances. There’s a very strict cookie-cutter image that most idols have to fit into, and there are quite drastic dieting measures taken by companies so that idols perfectly represent this image.”
Whilst this is concerning, we should not mistake this to be a West vs. East phenomenon. Bands such as One Direction had fairly similar backgrounds, with band members starting out as young as sixteen and working for five years without significant breaks. Recent allegations against Simon Cowell and his production and management companies have brought more awareness to this issue, which is after all, global.
Racism & Cultural appropriation
A fan shared their difficult experience with enjoying K-pop:
‘This [constant use of cultural appropriation and at times blatant racism] is something which is slowly being corrected and improved upon. When they [instances of racism] occur, they really discourage me from being a K-pop fan. As someone of African descent, I find myself questioning why I continue to support and love an industry that makes the same offensive mistakes over and over again, without seeming to learn from them.”
While this does not represent all K-pop groups, this is a systemic issue within the industry that needs to be addressed by entertainment companies and the artists themselves.
Stan Culture
Some fans seem to be extremely unforgiving on social media, and there have been reports of entire arenas performing a ‘black ocean‘ (a phenomenon in which the fans turn of all their lights and stop singing and dancing to ‘punish’ idols for behaviour they dislike).
Over-sexualisation
Photo: F28STAR @ Wikimedia Commons
I was curious to find out how fans felt about the portrayal of idols in the media and on stage, especially when it comes to an entirely female band that seems to be managed mainly by men.
“I think overall it does seem to lean that way [over-sexualisation]. Although, some concepts are just straight-up cute. I also think the perceived reaction from fans also weighs into this.”
It is true that, like many other artists that have recently been slut-shamed in the media, such as Miley Cyrus, an artists’ outfits and indeed, sexual expression should not grant others permission to sexualise or take advantage of them.
Ironically, it is well known that BLACKPINK does not have much creative license over their music or lyrics. Their producer TEDDY openly asserts that he has ‘written and produced’ every song the band has released. Most songs seem to be about relationships and love. However, YG is famous for not permitting the band to date. In an interview, band members tell the presenter that the band is not allowed to date, drink, smoke, club, drive, get tattoos or plastic surgery.
This raises moral questions about BLACKPINK’s music and image – why are they promoting stories about relationships through their music while maintaining an image of chastity for the media? It is definitely preoccupying as it seems that adult women above legal age are prohibited to make certain choices.
So…why do people love K-pop so much?
“I love the entire culture. I’ve met some really good friends through our love of the same group. Everyday when I wake up there are updates from the group. Their content range is so wide, it is impossible to get bored.'” shares Chu.
“K-pop takes music more seriously than the West. They do everything times ten.” – Finch
“The performativity and thought that goes into it – the effort that goes into dance performances and concepts is insane, and some groups have their own universes where they create story lines for the members that go along with the music videos.”
The most striking thing for me was without a doubt the work ethic and creativity that goes into the music and performances. While I will say that I find the grooming and controlling methods extremely concerning, the product is definitely appealing – and the music is a bop.
Final year Accounting and Finance student Josh Hay has started a new packed lunch business called ‘Pops Sarnies’. Students can pick up a homemade sandwich from campus for just £2 with all profits going to Manchester Central Foodbank.
Josh realised that many students studying in the library and on campus were spending up to £7 on meal deals from supermarkets and cafes. He decided that he could make something much cheaper for students whilst also giving back to help those in need.
Photo: @pops.sarnies
Wondering what flavour sandwiches are on offer?
Pops Sarnies are branching out with lots of new sandwich combos from your classic ham, cheese, tomato and lettuce to some new flavours including fresh avocado, bacon and a homemade honey and mustard dressing! And let me tell you…they are delicious!
Photo: Jess Walmsley
During the pandemic there has been an increase in those relying on food banks due to job losses and economic declines. So, by buying just one sandwich from Pops Sarnies, you can help someone else make their lunch.
“It’s a win win situation, students can save some money and buy a cheaper lunch, and the money is donated to an amazing cause”
Josh Hay, founder of Pops Sarnies
Pops Sarnies will be running for another five weeks until the end of exams, and here’s how you can order one:
Fill out the google form with the list of potential sandwich flavours before 7pm for next day sandwich pick up
Transfer £2 through PayPal
Meet Josh on campus to pick up your lunch
So far, Josh has sold approximately 70 sandwiches a week and hopes that by the end of the next five weeks he will be able to donate up to £600 to Manchester Central Foodbank.
Promising Young Woman, the directorial debut for writer-director Emerald Fennell, follows a young woman called Cassie, played by a superb Carey Mulligan and aptly named after the Trojan Priestess Cassandra, as she seeks justice for her best friend who was a victim of rape.
Cassie begins the film as a young woman clearly in pain but also a woman on a mission. From the offset, she is presented as a force to be reckoned with. Unwavering in her firm commitment to her own form of justice, she feigns being drunk to lure men, often supposed “nice-guys”, into taking her home and attempting to initiate non-consensual sex – or in other words, exposes them for what they truly are – predatory, attempted rapists.
The film takes its time to fully reveal the larger story at play. The first act mainly focuses on Cassie’s interactions with these men, showing in a darkly comic fashion the extent of rape culture and how people react to being called out. This part of the film allows Fennell to establish her characters and allows her to show off her flair as a director with the camera brimming with deeply ironic shots of men meant to evoke glitzy music videos alongside a colour palette brimming with hot pinks and bright colours despite the film’s darkening tone.
The film then begins to answer some of our questions surrounding Cassie’s mission and why she does what she does. Whilst it takes its time to reveal its full hand, the use of well-known and widely liked actors in “bit-parts” is one of the film’s strengths. Actors like Alison Brie, Alfred Molina and Connie Britton are cast as deeply unlikeable characters that could unfortunately be very real people – all of whom promote the notion that because both parties were drunk then it’s “her fault”. In other words, victim blaming.
Despite its nihilism and hyper-focus on vengeance, the film leans into the romantic genre a lot. For all the talk of a genre-blending phenomena, Promising Young Woman does lean too heavily into the romance plot line. At times the film’s tone can feel inconsistent, and for all its darkness and nihilism the film’s use of irony sometimes feels a little heavy-handed. The editing and screenplay can leave something to be desired. It’s difficult to get into the details without spoilers, but for all the great and shocking moments throughout, the film feels too neat and idealised despite its inherent darkness.
This could be a result of its refusal to answer the question as to why these issues of misogyny and victim blaming are the case. Not every film has to be a Ken Loach-style examination of everything wrong with society but for a film made in the 21st century it seems to (perhaps purposefully) gloss over a lot of the issues surrounding attitudes towards women, minorities and the role of the police. It hints at some of these but never fully delves into them, which for me undermines Fennell’s skilful direction, Mulligan’s Oscar-worthy performance and the brilliant design elements of the film.
We are never actually given much of a character in Cassie. Her motivations are clear but again they are never fully explored, and she is never fully developed as a character. A story like this could possibly be told better on TV, where the writers are able to craft a narrative around a central character and explore multiple facets like psychology, identity and politics all whilst maintaining a strong ensemble. #MeToo films are still an emerging sub-genre of sorts so perhaps we’ll start getting deeper films within the next few years but Promising Young Woman does lead the charge with its timely message that feels like its increasingly important.
Despite these issues, Promising Young Woman is still one of the best films of the year. Some final elements to praise are the films overall design and aesthetic. The costumes help develop Cassie’s character and show how she’s playing multiple roles in order to achieve justice and carry out her mission whilst the eclectic soundtrack helps to bring out the film’s dark humour and underlying irony.
However, one issue I have with these stylistic elements is one scene set in a pharmacy. Cassie and her love interest Ryan (played by a wonderful Bo Burnham) dance to Paris Hilton’s song Stars Are Blind. Now, this is perfectly acceptable but was too much for me. Perhaps I’m just dead inside but this irritated me more than I thought “aww, how cute”. Mainly because if you shifted the location across the Atlantic to a Boots in grey Manchester you’d most likely be called a wanker and kicked out the store. And for a good reason. Although I’d hope us Brits would have more sense than to dance to mid-noughties pop music in the middle of a shop.
Clearly, Promising Young Woman is a promising debut feature from Emerald Fennell and another outstanding performance from Carey Mulligan. As much as I loved Frances McDormand in Nomadland, I really think Mulligan should win the Oscar. It’s a long-time coming and her performance was layered, dynamic and showcased the type of versatility and range a Best Actress Oscar warrants. Whilst Fennell’s screenplay left more to be desired, her direction and command of the camera makes me excited to see her next project, whatever that may be.
Ultimately, Promising Young Woman is a very good movie that borders on greatness. Despite my issues with the extent of its social commentary, it is undeniable that this is the most important film of the past year. It is the epitome of #EducateYourSon and should be screened for all 16-25 year olds as part of sex and consent education.
Amidst all its style and institutionalism, the underlying message of Promising Young Woman is that sexual assault is inexcusable and needs to be perceived as wrong if we are ever to rectify the issues this film exposes.
4.5/5.
Promising Young Woman was released on Sky Cinema and Now TV on the 16th of April.
Motherwell was published posthumously in 2020 by Deborah Orr’s estate. Orr lost her battle with breast cancer in 2019 and her memoir was published in the wake of her death.
Deborah Orr spent her life working as a journalist and columnist. Previously Orr worked as an editor on the Guardian Weekend magazine. In the memoir Orr comments on the academic elitism within the media industry in the UK. In particular, Orr remarks that ‘I’m probably still the one Weekend editor whose dad earned his living on a factory floor’.
Motherwell is a memoir of a girlhood. However, it is also a testament to a life which was tragically cut short due to Orr’s recent struggle with cancer. The book’s title and content is firmly rooted in Motherwell, the Scottish town where Orr spent her childhood.
‘Motherwell lost its identity in the industrial restructuring of the 1980s’
The memoir contains a vivid sense of place. Orr charts the political policies that changed the shape of Motherwell at the end of the twentieth-century. In particular, Orr notes how the ex-mining town was devastated by the forced closure of the industry by Thatcher’s hostile government. Orr observes that ‘Motherwell lost its identity in the industrial restructuring of the 1980s’.
Conservative cuts and policies radically changed the character of Motherwell. The political changes impacted the community, the family and the landscape. Orr remembers Thatcher’s ‘rent to buy’ scheme and the impact it had on her working-class parents who finally had the opportunity to buy their council house.
Throughout the memoir Orr reflects on her Scottish hometown alongside her family life and strained relationship with her mother. I was struck with the depth of Orr’s memory. The journalist is able to recall childhood memories with vivid detail which is a talent in itself.
Orr’s antagonistic relationship with her mother dominates the memoir. In particular, Orr feels like she married to appease her mother who hated her ‘career girl’ lifestyle.
‘My mother’s whole existence, all seventy-six years of it, was ordered by the choices of men’
Win, Orr’s mother, spent her life looking after her husband and raising a family. Orr sharply observes that ‘My mother’s whole existence, all seventy-six years of it, was ordered by the choices of men’. Win’s life was shaped by the decisions of men. In particular, her husband and the doctor who induced the birth of Deborah and her brother.
The tensions between Win and Deborah intensify over the course of the memoir. Motherwell documents the generational conflicts which played out between a daughter and her mother over two overlapping lifetimes.
Orr is influenced by second-wave feminism and critical of her mother for allowing patriarchal figures to make decisions on her behalf. However, Win’s choices are a product of her upbringing alongside her conditioning within patriarchal society. The memoir critiques Win’s choices but refrains from delving into her past which, for me, is an oversight.
‘We were both in bad moods when we parted, and I never saw my mother again’
Orr reflected on the last time she saw her mother in a Guardian article. She shared that ‘We were both in bad moods when we parted, and I never saw my mother again’. Win’s death created space for Orr to reflect on her relationship with her mother and publish it in her memoir.
Motherwell works through strained family bonds, the pressure of parental expectations, and the importance of following your own path. The memoir is a recollection of a girlhood as well as a sociological study of Motherwell and the political turbulence it has experienced.
I was unaware of Orr’s recent passing before I read Motherwell. I think the posthumous publication adds another dimension of sadness to the memoir and the relationships it vividly depicts. However, Motherwell stands as a testament to Orr and the legacy of her journalism.
Whereabouts by Jhumpa Lahiri follows an unnamed woman as she moves through an unspecified Italian City alone. It was first published in Italy in 2018 as Dove mi trovo (‘Where I find myself’ or ‘Where I am’). Now, Lahiri has translated her own work into English. The novel was released on the 4th of May 2021 under the title Whereabouts.
It is only a slim volume, but it is broken into 46 short chapters, or moments. Each is set in a different place. Many of the chapters are only a couple of pages long, and in many, if not most, not very much happens. Yet it is captivating, and I found myself unable to put it down. Instead I allowed myself to be transported into Whereabouts in one unbroken sitting.
‘Solitude demands a precise assessment of time, I’ve always understood this’
The development of Lahiri’s writing to this point appears traceable: she started out writing short stories, and her first collection of short stories, Interpreter of Maladies, won the Pulitzer Prize in 2000. Whereabouts is her third novel, but each vignette is almost a story in itself, and the unity of the short story form shines through. Her second novel,The Lowland, was shortlisted for the Booker Prize in 2013.
However, this is her first novel written in Italian. Lahiri taught herself the language in her 40s after moving with her entire family to Rome from the US in 2011. She was born in London, the daughter of Indian immigrants, and the family moved to the US when she was two. Lahiri wrote about the experience of moving to Italy in her 2016 memoir, In Other Words, written in Italian and rendered in parallel-text English by translator Ann Goldstein.
Lahiri has translated Whereabouts herself. One cannot help but wonder whether the neat perfection of each sentence comes from the way it has been considered first in one language, and then in another. It is sparse, pared back, but yet so rich and mesmerising.
The woman in the novel exists in a sort of sociable solitude. She has many friends and sees them regularly, but also spends a lot of time ruminating alone. Her clearest relationship is with the city itself, and she appears at home in this ‘urban cocoon’.
‘What’s about to happen in these people’s lives?’
The woman’s powers of observation are striking. She is often seen people watching, and comments on these snapshots of other’s lives. Always asking ‘What’s about to happen in these people’s lives?’. Through these glimpses we slowly learn more about the woman herself, but never very much – just enough to tease us into looking for more clues.
Her observations of place are also breathtaking – one of those wonderful but rare cases when it feels like a piece of writing captures something you’ve often thought but have never been able to say. And Lahiri words it far better than I could manage anyway. Such as her desire at the window of a stationary shop, as though it’s a sweet shop, or her strange satisfaction as she cleans her apartment thoroughly for the first ever time.
I feel genuinely sad I have finished reading Whereabouts, as I can never again enjoy it for the first time, but I already know it is a novel I will return to.
Until about 3 years ago, I used to wash my face with a bar of soap and moisturise my face with the Hollywood Beauty Cocoa Butter, which I also used on my body.
I actually started paying attention to my skin once I started wearing makeup. Foundation is my favourite part of a makeup routine and I love getting that ‘skin but better’ look with a perfect match.
Although I’ve never really suffered from breakouts, after layers of powders, colour correctors, and foundations, I started to see texture on my skin. I developed a skincare routine to try and tackle it.
My skincare routine does change every couple of months (or when I get bored), and my skin changes a lot depending on the weather, hormones, and my diet, which has been all over the place for the past year. I’ve finally jumped onto the acid craze after months of a very simple routine and I’m enjoying the results.
I’m a victim of a shiny (see your reflection kind of shiny) nose, and in the past, I’ve always gone for oil busting, exfoliating cleansers like the St Ives ones (terrible, I know) because I like that scrubbed clean feeling. Cerave’s hydrating cleanser leaves you feeling clean but not stripped, and it’s also fragrance-free which is great.
Photo: Grace Samuel @ The Mancunion
After cleansing, I love using this rosewater from Asda – it smells and feels great and is less than £1, so an absolute steal. Sometimes I pour this into a spray bottle and apply it throughout the day for a little refreshing boost.
What are your favourite makeup products?
NYX butter glosses are some of my most coveted items. The shades Praline and Ginger Snap are the perfect nude lip glosses that are black-girl friendly.
PHOTO: GRACE SAMUEL @THE MANCUNION
The NYX soft matte lip creams are also great – they stay soft and velvety without drying you out and hardly transfer, so they last all day with minimal touch-ups. I love the shades Copenhagen and Madrid for a matte deep red lip colour.
Anything you’re guilty of doing (or not doing)?
I absolutely hate cleaning my makeup brushes. I find the task quite tedious, and I never seem to get them clean enough, even after multiple cleans. I’ve tried battery-powered brush cleaners in the past before which are supposed to make the job easier but haven’t really had much luck, so I tend to avoid it altogether. Very gross, I know.
Are there any skin issues you struggle with?
I had eczema as a child, grew out of it eventually, but still struggle with fairly dry and textured skin. I started using a Vitamin C serum with my sunscreen and this amazing retinol and rosehip oil serum at night-time, which has helped loads.
Photo: Grace Samuel @ The Mancunion
How did you learn to do makeup?
I’m definitely a product of my generation so I learned most of what I know about makeup from YouTube tutorials. There weren’t that many dark-skinned YouTubers to watch at that time (it’s much better now!) – so I mostly watched Patricia Bright, Jackie Aina, and this video by Nikki Thot about a thousand times.
What/who inspires you makeup-wise?
I honestly love makeup that focuses on the skin. I love people like Mali Magic and Nina Park who specialise in that kind of airbrushed but still dewy look.
I also really love Celine Bernaerts and Pradaolic who have a really fun and experimental take on their makeup looks but keep it simple enough for lazy makeup lovers like me to follow.
What are your favourite hair products?
Very controversial but I love Cantu products. I swear by their entire ‘Natural Hair’ line and even got my boyfriend onto the shampoo and conditioner – which are my favourites. If you have fairly dry and curly hair, it works wonders.
Any beauty secrets?
Use your setting/finishing spray to dampen your brushes or sponges instead of water. It means the spray product is applied in a much more targeted way and does a better job at setting the makeup to your skin.
Also, to avoid a shiny nose, powder it with a product that matches your skin/foundation and avoid liquid foundation on that area.
Is there a specific product that you are endlessly looking for and still haven’t found the perfect one?
After years of trying the ‘affordable dupes’ for translucent powders (Ben Nye, Black Opal, RCMA Powder, Revolution, and more) that never seemed to match my skin or forgoing them altogether, I’m finally looking into investing in some good ones.
Makeup products that keep your makeup from moving are essential right now, especially as we enter what is bound to be a busy and sweaty summer – with masks included!
Take a look at the last ‘In the Beauty Bag‘ episode with Fashion Editor Daisy Bradbury.
A few days ago, I had the pleasure of interviewing Alfie Templeman, a singer-songwriter, multi-instrumentalist, and producer from Bedford, UK. At only 18, his sound is highly established, and his lyrics display emotional maturity well beyond his years. From 70’s pop to psychedelic inspired music, he has a vast range of influences.
Alfie is a bright spark. He has large, inquisitive eyes and was extremely engaged during our conversation. I was immediately struck by his humbleness and positive outlook on the world. He took an interest in my own work within music, and genuinely appreciated my comments about his songs. When I remarked on this, he exclaimed, “What’s there to hide man? This is me!” whilst expressively gesticulating. I was also impressed by his drive. As he says, “It’s just been me teaching myself, I haven’t really had anyone to show me what to do”. I love the matter-of-fact way with which he discussed his success.
Living on the outskirts of Bedford, he remarks that it was largely boredom that drove him to make music. We really got on, and have agreed to go for a pint when he comes to London.
Make sure to keep an eye out for his mini album, Forever isn’t long enough, which drops on the 7th May.
What do you think it was that made you start making music?
I guess for me it was my love of music ever since I was a really young kid. I really enjoyed listening to music and the way it was put together, and I always thought to myself, “How do bands and artists make these songs, how do you put it all together, how do you piece it?” I dug deeper and deeper and found out it was all through production and that’s how it came together. I went away and taught myself as a kid how to do it, got some cheap software and started working on songs. It’s just been me teaching myself, I haven’t really had anyone to show me what to do. Eventually, each time I made a song, it sounded more like a professional kind of song. That’s when I was like “oh okay, that’s how it’s done. I get it now”.
The fact that you didn’t have anyone to show you how to do it is really testament to your impressiveness as an artist. Was there a point for you when you realised that this wasn’t just going to be a hobby?
I guess it was when I got signed. I was like “okay, someone really enjoys what I’m doing and it’s enough for someone to want to sign me”. That’s when I was like, “okay, this isn’t just a hobby, this is a career now.”
I just had enough to save up and buy a microphone with some birthday money.
I really respect how organic your growth has been as an artist. How would you say that your sound has developed over time?
Definitely more polished in a way. I got better at cleaning up my tracks. It’s always been quite indie but over time I was able to afford better equipment basically. Before, I was recording on a really cheap microphone because I come from a working class background, you know. We’re not rich or anything. I just had enough to save up and buy a microphone with some birthday money. Throughout the past couple years, I’ve had a few cheques to get me more software and better microphones, so the quality of the music definitely has upgraded, and I’ve had more time on my hands because it’s my profession now, it’s what I do for a living.
Following on from that, whereabouts are you from?
I’m from Bedford, [he laughs] which isn’t necessarily the best place in the world.
There wasn’t much to do around here so I just decided, “Right, I’m gonna make songs.”
What do you mean by that?
Well…uhm, you know, it’s in the middle of nowhere, and there’s not too many resources and stuff. There’s one really great venue called Bedford Esquires, but that’s about it really. It’s not the best place for musicians, because first of all it doesn’t necessarily look too pretty and there’s not many things you can draw inspiration from, but at the same time that’s what made me want to make music because there wasn’t much to do around here so I just decided, “right. I’m gonna make songs”.
Do you think that being from a smaller place increased your hunger for music in a way?
Yeah, I guess it made me try harder. I wanted to really dig my teeth into it. There was nothing else that I was really interested in around here, because there was a lack of inspiration growing up, so it made me want to draw inspiration from pretty much anything, and as a result of that it made me try harder, it made me want to go for it a bit more.
Could you expand on what it was like to grow up for you there?
I mean I live kind of on the border of Bedfordshire, but actual Bedford Bedford is quite rough sometimes. Where I live is pretty nice, countryside-y, so it’s always been pretty chill for me.
Okay. So, were you always drawn to that indie sound?
Yeah. I think the first time that I really got drawn to it was listening to Mac Demarco when I must have been about thirteen. That’s what made me want to start making indie music. People like Todd Rundgren and Tame Impala, they were so good at doing it by themselves. That was something that I definitely wanted to try and do as well.
Indie’s such a big word nowadays. It applies to so many different things, and that’s what I love about it. It’s pure freedom, basically.
And what do you think it was about indie – sounding music in particular that drew you to it?
I like the way it’s so free-flowing, it’s so alternative, it’s so open to anything basically. The ball’s in your court, you make the decisions. The chord changes are really lovely and jazzy. There’s so many options, really, it’s limitless. Indie’s such a big word nowadays. It applies to so many different things, and that’s what I love about it. It’s pure freedom, basically.
You’ve touched a lot of musical genres within the term “indie”. You cover a range of styles, from psychedelic sounding music to more of an 80s style sound. What’s the importance of having that versatility to you?
The earlier you can get that in there, the earlier that you have that versatility and the more options it gives you in the future really. I’ve always liked messing around with different genres, like rock, psychedelic, pop bits as well. It opens up as a producer so many different options for other people to come up to me and say, “could you make me a song?” That’s something that I’ve always wanted to do, to be a producer for other people. I also enjoy it, I don’t want to stick to one genre, so I’m quite lucky to be able to adapt to anything.
Alfie Templeman – Forever Isn’t Long Enough cover art (Provided by press team)
So, what’s coming next for you?
Well, a very pop-y release in a couple of weeks. I’ve got a commercial- sounding record that I’m really happy with. And then after that, quite a seventies pop sounding album hopefully, quite psychedelic. Just constantly changing it up, you know. I’ve embedded that versatility now into my music and the fans enjoy that. So we’ll see what happens, and there’s many things that’ll pop up in the next couple years.
Is there something in particular that you find that you get inspired by?
There’s nothing that really gets me up off my feet and towards the piano…apart from weed. (Laughing)
So do you think smoking does give you inspiration?
It definitely has in the past, for sure. It makes ideas flow a lot more. I don’t really do it anymore, but it definitely makes your ideas come a lot easier, and a lot of stuff that I’d normally dismiss.
What made you stop?
Well, my lung condition. Well, I do it now and then…edibles, I guess, but yeah, it works!
Do you find that the creative process is coming slower now that you’ve stopped?
Yeah, but in a good way, because it helps me work on each idea a lot more, and as a result, the songs feel fuller, they feel bigger, they feel better. As a result of that, I’m a happy bunny and I’m sure the fans enjoy the music more. Hopefully, we’ll see in the next few years.
It’s definitely a positive thing that you don’t rely on it. What are your favourite moments from your music career so far?
Going on tour with my mates, you know, that’s great fun. Just making music in general is my favourite thing in the world. I haven’t done that much because of lockdown. That’s all I can really say because I’m so new to it.
And how are you coping with it all?
It’s a bit weird, innit, ‘cos I’m stuck in a room. I was just kinda getting used to it before lockdown hit, and obviously I can tend to overthink things a little bit when I’m just by myself like most people will. You can’t really avoid your own thoughts. Sometimes, it’s like, I’m so young and I’m putting myself out there, it’s a bit scary. But then other days, it’s like yeah, just get yourself out there, it’s good for you, it’s helping you, it’s keeping me active, and it’s the only thing I can really do whenever I want to at home.
There’s probably going to be people on social media that don’t like what you do and talk about you in a negative way, but that’s bound to happen and you have to accept that.
What do you find scary about that? I find that interesting because I’ve made some very personal songs about myself in the past that I’ve deleted and then put back up. Sometimes it’s a state of mind of ‘Who cares’? And then other times I feel like I’ve revealed the deepest and darkest parts of myself.
That’s it! Yeah that’s the thing. Sometimes, it’s almost like waking up after a night out and being really drunk and being like “What have I done?” But with me, I can’t really take stuff down because it’s proper with a label and stuff, but I’m happy with all the songs, and obviously I get reassured about my fears that my songs being too cheesy or too personal, they go away as soon as enough people enjoy them. As an artist, you can’t avoid the fact that there’s probably going to be people on social media that don’t like what you do and talk about you in a negative way, but that’s bound to happen and you have to accept that. I’m still accepting it, I’m still getting used to it, but at the same time it inspires me to prove them wrong, and go the extra step, so I don’t really mind it.
This May, we are under the influence of Freya Dudding – a content creator from Manchester/Yorkshire who shares fashion inspiration and supports body positivity and self love on Instagram and TikTok.
Photo: Freya Dudding
Q: “How did you become a creator?”
A: “I’m actually a full-time Data Analyst at the moment and I studied Maths at university! I have always had a creative side though, I loved doing Arts at A-level but just didn’t want to pursue that as a full-time job. I loved photography and then I started thinking I could be in the photos myself.
“When I went to Walt Disney World in Florida some time ago, all the cute pictures of people at Disney inspired me to get back into it. Then once lockdown hit, I had some more time do some research into hashtags, and to build connections with other creators.”
Q: “What does an average day look like for you?”
A: “Ooh, my days are pretty mixed. I have a 9 to 5 job, but in the summer when its lighter in the mornings I try to get out and take pictures. When I used to live in the centre of Manchester it was lovely because I could walk anywhere in the morning to get my photos done. Now it’s a little more complicated. Sometimes I’ll go in the evenings after work, but usually I create most of my content at the weekend, I don’t do it everyday. I post stories throughout the day, but I usually only start interacting with other accounts and posting my own content around 6pm.”
A: “Instagram mostly. I use Pinterest but I don’t use it for my own content. Apparently, it’s a great way to get Instagram booming but I have no idea how it works haha! TikTok is probably my second biggest platform. Instagram’s Reels work hand in hand with TikToks so I can post the same content on both platforms.”
Photo: Freya Dudding
Q: “Do you believe that influencers have a moral duty to represent values they stand for?”
A: “This depends on the person. If you’re the kind of person that, within a group of friends, sits back and stays quiet, then social media is the same – it’s just like having a bigger friendship group, so if you’re not comfortable doing it with your own friends, then it’s fair enough to sit back.
“UK politics can get quite heated so I think it’s okay to step back from that! But when it comes to human rights issues people should take a stand – that shouldn’t even be a political thing really.
“I’m quite comfortable with saying what I think. People will always make their own decisions, but if I can spread awareness about something I believe is true, then I would love to share that.”
Q: “What has it been like to see the world of Body Positivity boom on social media? Has traditional marketing done enough to represent real bodies or is there still some way to go?”
A: “Since I have started TikTok I get lots of heartfelt messages thanking me for showcasing my size and showing that you can still look and feel good in what you’re wearing no matter what size you are – it’s really nice!
“I do feel like Body Positiviy as a whole wasn’t really a ‘thing’ when I was growing up. I look at younger generations now and they watch shows like Keeping up with the Kardashians when they’re twelve and I worry they’re all going to grow up thinking they should look just like them.
“I love that Body Positivity has formed this community. Actually, one brand that has stood out to me is Hollister. When I was growing up it was the ‘in’ brand and they only used to have small, medium, large, and if you didn’t fit in the large that was it! Now, they have many more size options, so they are listening to what people are saying, and they’ve started working with a bigger variety of influencers.
“There is a way to come, but magazines and social media seem to target everyone now.”
One tricky issue in the world of fashion influencers is fast fashion’s impact on climate change. Q: “What are your thoughts on sustainability and the work you do?”
A: “My family feels quite strongly about sustainability, so they discourage me from buying anything from places like Amazon. I did grow up thinking that it is important to consume consciously, but yeah, I do love clothes so it’s hard!
“Where I can, I buy from independent shops, especially jewellery! It’s easier with accessories to find affordable alternatives to fast-fashion. With clothes it gets more complicated because sustainable clothing tends to be a lot more expensive. I do get people asking me for more sustainable brands so I try my best to promote some.”
Q: “Do you feel pressure from followers to produce a certain kind of content?”
A: “At the minute, I’m at a confusing point because I think I need a smaller niche. I have so many different interests, and while my followers seem to prefer my fashion content, that’s not always the one that does best so it’s quite contradicting.”
Photo: Freya Dudding
“Sometimes I do need to think of what will do well online and not just what I want to make. I prefer to post less content that is really good quality than weaker content more often.”
Q: “What is it like being a content creator in Manchester as opposed to London?”
A: “I think sometimes I do wish I was down in London, just because there are a lot more opportunities. I love living in a place with nice surroundings and a place where I feel comfortable going out and taking photos. But I have a good group of influencer friends in the Manchester area!”
Q: “What is your favourite thing about being a creator?”
A: “Probably the fun and creative part of going out and shooting content, editing it, and working with brands which I would purchase from anyway!”
Q: “What’s your least favourite thing about being a creator?”
A: “It’s probably the stress of feeling that I have to post at certain times and over-analysing what I post. It might get worse when things open up again as we’ll all be going out and I’ll have to remember to post at the right times.”
A: “Use hashtags! Think about what you love most about your content, it will help you find a niche – maybe its fun editing, or body positivity. It’s important to interact with other people too, to build relationships with other creators and your followers.
“Sometimes I get messages and people start off by saying ‘I know you’re probably not going to read this…’ which I think is odd because I always read everything, I want to know what everyone thinks!”
