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Month: March 2022

Uggs and Moon Boots: why can’t we let go of the past?

Surprise, surprise – guess what’s back? Another y2k trend has made its way back into our fashion staples this winter, and this time it’s excessively chunky footwear.

I have to admit, I wasn’t too annoyed about the return of Uggs and Moon Boots, having saved both of my pairs from my childhood wardrobe (and successfully managing to squeeze my feet into shoes two sizes too small).

But why does it seem that every new trend we see these days is a reminder of the past for our parents who wore all of these trends 30 years ago?

Perhaps, simply, they did it best, and they did it first. The 90s and 00s shaped today’s fashion landscape more than any other decade. The 90s defined fashion as a global phenomenon rather than just a necessity.

‘Y2k’ fashion has dominated the scene for the past 5 years or so, with Gen-Z repopulating Paris Hilton-esque fashion with juicy couture tracksuits and low waisted jeans.

For many, y2k fashion like Moon Boots and Uggs are a sentimental reminder of simpler times where your favourite tv show characters would roam their fictional school’s hallways wearing Uggs and a mini shoulder bag.

Bringing them back is a familiar comfort – it’s safe and risk-free, which makes sense for a generation that is afraid of controversy and the unknown.

The TikTok generation reinforced repetitive fashion trends, with influencers making y2k fashion even more popular. They share y2k inspired outfits from their own wardrobe along with the appropriate hair and makeup.

Mini Ugg Boots made their way through TikTok a few months ago as influencers styled them in a range of colours.

The irony is that the younger generations on TikTok did not take part of the initial wave of Moon Boots and Uggs, but their exposure to the chic and stylised trends of the 2000s era is enough to make them want to replicate the trends. The fashion industry calls this the 20-year cycle – the concept that after two decades, everything becomes exciting and new again.

Nostalgia is a crucial part of this cycle, which YouTuber Joyce Sseguya-Lwanga comments on: “Considering the world we live in, I believe that people want a form of escapism, and a lot of people taking part in the trend either lived through the early 2000s or wish they did.”

Gen-Z kids want to be like their parents in their photo albums, wearing classic pairs of Moon Boots on snow days.

But it’s not only about nostalgia. We’re in a ‘culture-stuck’, and it’s not just fashion: we also listen to the same music they did in the 70s – the Beatles, ABBA, Michael Jackson…

People are aware of this stagnation, but are indifferent to it, because of a seeming lack of alternative, we are constantly dragged back into the past. There is no easy way out of this stagnation, but what is needed is new thinkers, fresh ideas and creative individuals (independent designers!).

It is effortless to resign to past ideas, because if they were successful once, then they are bound to be successful again. However, newness is exciting and stimulating: it opens up new pathways of possibilities.

Whilst Moon Boots and Uggs are a classic piece of aughts fashion, there are endless possibilities out there for new trendy footwear, they just need to be taken to the drawing board.

Review: Vignettes

Vignettes is a collection of six short plays written by Greater-Manchester-based female playwrights. The result is a stimulating amalgamation of shows that will make you laugh just as much as it will make you think. Ranging in political undertones, there remains an underlying tone of frustration about the place of women, people of colour, and members of the LGBTQ+ community in our society.

Limerence, written by Abena Taylor-Smith and performed by the mesmerising Maz Hedgehog, is a strong opener to the Vignettes. The main character, Keziah, pulls us in as she recalls her infatuating love for Alisha: “I am an empty vessel and she is filling me up”. The relationship quickly goes sour, and the play masterfully showcases the obsession tied to love and the hardship of letting go of toxic relationships. The play is punctuated by powerful blackouts that allow the story to shift and allows the audience to ponder on the importance of perspective.

Perspective by Alex Keelan and starring Emily Heyworth, Joe Osborne and George Miller was also a highlight of Vignettes. The play showcases the difficulty of letting go of deeply rooted toxic masculinity, even as a woman. The main character is a female senior manager who has until now thrived in a male-dominated workplace, notably by belittling other women in order to be part of the ‘boy’s club’. We follow her downfall as she realises that she will never be considered an equal by her male counterparts, no matter how much she abandons her own femininity.

Perhaps the jewel of the night was Tangled, written by Debbie Oates and starring Sally Ann Matthews (Coronation Street). We meet recently divorced Joanne who reflects on her life as she is stuck on a tower after a thoughtless parachute jump. The play is a powerful reflection on the intersection between societal change, politics, love and individual bravery. The scene is funny yet moving and is a hopeful outlook on the future and young people.

Although the pace of Vignettes is quick, and the audience is thrown into a completely different world every 20 minutes or so, the plays are well-written and easy to follow. Whilst we only get to spend a few minutes with each character, the writers and the actors have done a beautiful job at developing complex characters that leave a strong impact on the viewer. Each play was visibly thought through – from the simple yet impactful sets to the funny or strong sound effects – it was clear that details were significant and meaningful.

Whilst each play could hold its own and had a distinctive voice, the resulting show was cohesive thanks to the global themes that were touched upon in each play. Overall it felt like a thoughtful celebration of everything that is feminine: the good and the bad as well as everything in between. Together, the plays highlighted the common struggles women face that ties all of us together.

Turning Red is turning heads

Turning Red recently debuted on Disney+, and everyone seems to have an opinion about it.

As the second Pixar feature film to be directed by a woman, which seems baffling, Domee Shi incorporated her own experiences of living in Toronto as a Chinese-Canadian woman through the character of Mei. This film is particularly special because not only was it directed by a woman, but it was produced by Lindsey Collins, and its screenplay and story are all credited to women. As a story focusing on the experiences of an adolescent teen girl, this is monumental.

Turning Red follows thirteen-year-old Mei whose family curse (or gift) turns Mei into a red panda when she shows any form of extreme emotion. Through the highs and lows of dealing with an overbearing mother and the struggles of middle school, it’s fair to say she has many emotions to contend with. In particular, Mei struggles to handle the expectations raised by her mother whilst balancing her own identity and ambition, balancing being a perfect daughter whilst also staying true to herself. Through the red panda, she grows closer to her friends as she starts disobeying her mother’s commands, whilst also looking inwards when forced to turn into a cuddly animal.

While Pixar’s film Luca (2021) portrayed the friendship between two boys, which may or may not be queer coded, Turning Red focuses on the dynamics of a female friendship group. The film does an excellent job at showing the friendships between the girls, and I can personally relate to the boy-crazy and boyband-obsessed antics of the gang reminding me of my own teen years. Both films did an excellent job at portraying friendships as a younger person, where your initial commonalities seem fairly superficial yet wonderful, and both demonstrate friendships that are wholly believable and relatable.

However, the film hasn’t been without its criticisms. Whether it’s being ridiculed for ‘crudeness’ unusual in Pixar films, or critics are dissatisfied with the art style, there seems to be divisiveness about the seemingly wholesome film. The design style is reminiscent of Sony Animation Studios, eliciting films such as the highly acclaimed The Mitchells vs. The Machines (2021), where they switched between different cartoonish art styles throughout to show the creativity of its protagonist. No one seemed to hate the change of art style in Pixar’s Luca, so it’s hard to understand where the criticism comes from this time. Yes, it is a more extreme departure from Pixar’s norms, but I enjoy that they are breathing new life into a company by making its characters extremely expressive.

Some critics have argued that they found the plot alienating. However, just because the narrative is about teen girls, so a female demographic may relate to Mei more, this doesn’t mean that it’s a “girls” film as such. No one complained when they were asked to relate to having a magical family in Encanto (2021). As the first Pixar film to openly discuss menstruating and sexuality, Turning Red champions de-stigmatisation and is a valuable and necessary film – one that I wish had been made when I was struggling to talk about these things.

There have also been critiques about Turning Red dealing with themes of generational trauma in a similar manner to Pixar’s previous film Encanto. Whilst I do understand this complaint, and partially agree, Encanto used this theme within a Columbian heritage, rather than the Chinese culture that Mei’s family surrounds themselves with. I don’t think because one came before the other it immediately revokes Turning Red’s relationship development.

Truthfully, I really enjoyed Turning Red. Is it the best film Pixar has made, even within this past year? No. Is it a fun watch? Absolutely. I wish it had a cinematic release, but I’m glad that we have it and would happily watch it again. The film was clearly a passion project, and the joy shines through the film. It unashamedly shows and celebrates the cringe and struggles of being a teenager, and I think everyone can relate to that experience in one way or another.

4/5.

2021 in Film: A Year of Women in Horror

If you want to read about the history of misogyny in horror films, you don’t have to go much further than a quick google search to get copious articles on the topic. Unfortunately, whether it’s due to ignorance or simply the continuation of a problematic film culture, positive stories about the rise of women in horror rarely get the same attention outside of listicles or specialist websites (The Final Girls being just one of many great resources). With all that in mind, despite all the real-life horror that 2021 had to offer, let’s take a look back at the year of women in horror films that undoubtedly put them at its centre – both behind and in front of the camera. 

Franchise Filler

Whether it’s sequels, prequels, reboots or even requels (reboot sequels), horror has it all. Think Millicent Simmonds’ turn as young adult hero Reagan in the surprisingly charming A Quiet Place Part II or Vera Farmiga reprising her role in the latest instalment of The Conjuring Universe. Nevertheless, if sequels weren’t enough the modern day horror genre seems equally interested in the revival of dead franchises such as Halloween, The Texas Chainsaw Massacre, Scream or even Ghostbusters.

Whilst this is not a new phenomenon, the force by which it is happening is certainly noteworthy. What stands out amongst these reboots is not only the return of the horrific masked killers but also the come back of the infamous ‘final girl’ character. Whether it’s Jamie Lee Curtis and co. fighting off Michael Myers in Halloween Kills or Olwen Fouéré playing sole survivor Sally Hardesty in the new Texas Chainsaw Massacre, the rules of the franchise revival appear to be 1. Ignore any of the dire sequels to the original 2. Bring back the iconic villain and 3. Have a mix of new cast members alongside the iconic final girl. 

Yet, in and amongst all these films is Nia DaCosta’s Candyman (2021)the only one willing to subvert many of these rules and the only one directed by a woman. 2021’s Candyman deals with the legacy of its original in particularly fascinating and complex ways. Here, the myth of Candyman – the black slasher villain who originates from Chicago’s Cabrini Green housing project and has a hook for a hand – is fading. Instead the tragic plight of the original film’s white protagonist Helen Lyle becomes the focus of folk lore and terror in and around the old estates.

In almost thirty years since the original, the housing project has been gentrified into luxurious flats where our new protagonists reside. The trace of the Candyman and this legacy of racism remains present. However the film flips our conventional relationship with a protagonist by centring on a black artist, Anthony McCoy, whose obsession with the Candyman legend leads to questions about his own artistic ego and moral compass.

Whilst the film may get rather cluttered in its third act, the way it rewrites its own mythology certainly makes it worth a watch. The film making by DaCosta is bold and vibrant, combining interestingly crafted sequences of shadow puppetry with crazed exposition by Colman Domingo alongside a healthy reworking of the ‘villain’ himself, further expanding upon what the original’s commentary on race, art and identity. 

Arthouse Anarchy

It would be remiss to discuss this topic without at least briefly mentioning the many highlights Arthouse offered over the last year. From Prano Bailey-Bond’s blood soaked look at film censorship during the video nasties era of horror in Censor to Ellora Torchia’s fantastic performance as Alma in the beguiling, psychedelic folk horror In The Earth, women were at the forefront of the most exciting independent horror pictures. Nevertheless, the film that stands out amongst the pack is Julia Ducornau’s Titane – a film that truly pushes the boundaries of horror and provides more stomach churning, wide-eyed shock than any film I can recall in recent times. A plot summary cannot do this audio-visual nightmare justice. Just go and see it. 

Streaming Slashers

Perhaps it’s a sign of the times or simply a glimpse into the near future but many of the year’s best horror offerings dropped directly on streaming. In many ways, horror-focused service Shudder was at the forefront of this. In fact, many of Shudder’s originals in the past year not only centre women in their stories but also feature women behind the camera and in the director’s chair. This includes films as varied as Slaxx, The Power, Violation and Lucky.

The latter is a particularly interesting film that playfully takes aim at the self-help book genre while providing an uncompromising look at the way women are constantly being gaslighted not only by their husbands, but by society at large. The plot revolves around a psycho killer who returns every night to kill our protagonist, resulting in a cycle of violence that just keeps on going because neither her husband nor the police will take her or the situation seriously. Brea Grant’s powerhouse central performance brings to mind Elisabeth Moss’ frustrated and vengeful portrayal in the recent reimagining of The Invisible Man.

The two films have further parallels in that they both infuse even the most banal scenes with an unsettlingly eerie atmosphere. Although Lucky does suffer from a lack of budget and some tonal issues in its final act, the fascinating premise from writer and star Brea Grant combined with the stylish execution of director Natasha Kermani make this a worthwhile watch.

Nevertheless it’s not only the more niche streaming services that put women at the centre of its slate. Amazon also gave us El Amarre – the latest from prolific genre filmmaker Tamae Garateguy. And let’s not forget Netflix’s crown jewel achievement that is the Fear Street trilogy of films. Here, Leigh Janiak provide us with not one but three sublime slashers whose ultimate objective is not only to defeat the many killers who all evoke different eras of horror, but also to save and preserve the teen lesbian romance between the films two main characters.

Based on a series of R.L. Stine novels, the series may be corny at times, pandering to its teen audience with some rather on the nose needle drops. Yet, peppered throughout are some wonderfully gory kills and a genuine romance that actually makes you care about these people and their strange conspiracy filled town.

What’s next?

Well, if any of this sounds interesting to you then seek out these films, follow their creators and if you still aren’t satisfied, there are plenty more ways to get involved in the horror community.  From podcasts such as The Evolution of Horror to magazines such as Fangoria to the dreaded ‘FilmTwitter’ discourse, there are always ways to keep your desire for horror itched. 

Moving forward into 2022, let’s try to not only highlight and discuss the best of the best but also the mediocre films and the mixed bags. Every film is worthy of critical appraisal and female-centred horror films shouldn’t only be in the conversation when the next The Babadook or American Psycho comes around. Even more importantly though, if horror isn’t necessarily your thing then that’s fine, seek out the women in your favourite genre and get the conversation going. 

Do ya think I’m a girlboss?

Is Rod Stewart our next feminist icon?


In case you were unaware it is currently Women’s History Month. This is a time to inspire and celebrate the different women in our lives through reflecting on women’s history, and looking towards a female future. In light of this, I would like to celebrate the history of a figure who is sadly majorly unrepresented in our society: the straight white man. But not just any straight white man, Rod Stewart.

So, you may have noticed a little irony there, and you would be correct. However, I truly believe that Rod Stewart has the makings of being the next girl boss icon. After all, it is said in the girl boss bible, (that I’ve just invented) “In the beginning Maya Angelou created the phenomenal woman, and then Rod Stewart taught her she didn’t need permission to fill in her own potholes”.

Which brings me to my first point.  In the news recently you may be aware of shocking infrastructural damage causing life-threatening physical and emotional harm to local victims. The bombs being dropped on Ukraine? No. The devastating state of potholed roads in Essex.

No need to fear though, dear reader, as our maverick leader Rod Stewart took to these very roads. The man took it upon himself to fix the problem. They told him he couldn’t do it. They told him he shouldn’t do it. They told him he could “put people at risk” by doing it. But he did it anyway. After all, how else is he supposed to drive his Ferrari, the top down and music up, and truly live his music video dreams?

So, in aid of Women’s History Month, don’t be afraid to fill in your own potholes, physical or otherwise, because how else are you supposed to smoothly drive your metaphorical Ferrari?

Secondly, in 1978 Rod Stewart released a song called ‘Do Ya Think I’m Sexy?’ Judging by his hot pants in the music video, this was a rhetorical question.

As a woman myself, I often find myself looking in the mirror, standing in front of friends, posting on Instagram, and constantly thinking do I look good in this? But Rod Stewart, he didn’t need an answer. It was not a duet. Rod Stewart sang a whole song asking, ‘Do Ya Think I’m Sexy?’ without evidence of so much as one niggling doubt that he was. So, next time you are doubting whether someone thinks you are sexy, follow Rod Stewart’s lead and put on some hot pants, grab a microphone, and make that question rhetorical.

Finally, Rod Stewart is now the grand old age of 77 and not slowing down for a second. At the recent Cheltenham races, Rod was seen absolutely off his face. His stunning Loose Women presenter wife Penny Lancaster was in tow. Penny herself was seen lifting up the winning jockey and Rod was seen kissing Penny on a not entirely appropriate part of her shirt. I like to see this as the embodiment of the girl boss gospel “you do you boo”.

Rod did not care that the cameras were watching. Or that eyes were judging. In fact, judging by the look of the pictures he didn’t seem to care about what the horses were doing either. The only thing that Rod did seem to care about was having a good time. And that’s girl boss lesson number one. 

To conclude, I believe that Rod Stewart is the next girl boss icon. He doesn’t ask permission to enact change. He just does it. And, a lot of the time,  he does it wearing questionably tight hot pants. So, in aid of Women’s History Month, do not be afraid to be the phenomenal women you are (or if you do not identify as a woman, to embrace your inner feminine strength).

Most importantly, be like Rod Stewart and don’t let any potholes get in the way of your Ferrari.

Mothers of all kinds

Audre Lorde opens her essay (one of many in her incredible book, Sister Outsider) ‘Man Child: A Black Lesbian Feminist’s Response’ with a disclaimer that her article is ‘not a theoretical discussion of Lesbian Mothers and their Sons, nor a how-to article’, a point I would very much like to repeat as a disclaimer for this article.

This is an article that will reflect upon Lorde’s essay, both bringing an incredible writer (I highly recommend the rest of her body of work) to the fore, as well as a personal angle to it. As the son of a Lesbian couple, and someone who was brought up in a household led by two women, Lorde’s essay spotlighted some very interesting, enlightening, and pertinent points, especially with Mother’s Day just around the corner.

Lorde, straight off the bat, touches on something that is not only suitable in this essay but has recently become a growing subject of discussion; the definition of masculinity. She states ‘sons of lesbians have to make their own definitions of self as men. This is both a power and a vulnerability.’ And certainly, whilst we are in a time when it is growing more and more common for masculinity to be far more fluid in its definition, we are by no means out of the ‘don’t cry – work hard – play rough’ area of the woods.

But as Lorde goes on to say, ‘what does ‘acting like a man’ mean?’. One of the phrases that I hate most, and have grown more and more to hate as I grow older, is ‘man up’ or ‘be a man’ because for me, and many others out there in similar situations, it holds no meaning. To use another Lorde phrase, for me, at home, ‘power was clearly female’. To ‘man up’, whatever its colloquial meaning has come to signify, holds no true meaning for me. Whilst I understand what it is meant to mean, it holds no relevance; the leading figures in my life are female and so how should I act when told to ‘man up’? What does that look like?

And whilst I could go on about various similar bits and bobs, turns of language, stereotypes, and so on for several more pages, to round off I want to turn to one of the most impactful passages of literature I have ever read.

In asking her son what he thinks both the strongest positive and negative aspects of having grown up with lesbian parents is, Lorde writes that he replies the strongest positive ‘was that he felt he had gained was that he knew a lot more about people than most other kids his age that he knew, and that he did not have a lot of the hang-ups that some other boys did about men and women. The strongest negative he identifies, she writes, is ‘the ridicule he got from some kids with straight parents’. The following exchange are the two most powerful lines: 

‘“You mean, from your peers?” I said.

“Oh no,” he answered promptly. “My peers know better. I mean other kids.”’

This was not meant to be a piece of incredible social justice, or an article to incite debate on the nature of single-sex families. It is merely a little thought piece – an article to promote an incredible writer. Around Mother’s Day, we should all celebrate the incredible work that our Mothers do for us, who are often under-recognised and under-credited, to think about all the different Mothers out there, all the different families, and how we, as people, treat those with experiences different to ours.

Final 2022 Oscars Predictions

Following another prolonged season, we are inevitably coming to an end of celebrating 2021’s best films (according to the questionable taste of the Academy). The home stretch of the season saw a sudden and shocking rise of a new frontrunner, something I’ve never seen in any year of my following of the awards season.

The Power of the Dog lost its frontrunner status to CODA, a Sundance-winning crowdpleaser that although released back in August, is only now being watched for the first time by many voters. 

Despite the lack of a Best Picture nomination at the BAFTAs, CODA managed to win in two categories over the predicted winner The Power of the Dog – in Adapted Screenplay and Supporting Actor, with CODA’s Troy Kotsur winning over Power’s Kodi Smit-McPhee.

Around the same time, CODA won three major guilds, WGA (Writers’ Guild), SAG (Screen Actors’ Guild) and PGA. PGA, the Producers’ Guild of America, is the only Oscars precursor using the same voting system for Best Picture as the Oscars, hence it is considered the greatest Best Picture predictor. Although it differed a few years in the near past (Oscar winners Parasite, Moonlight and Spotlight lost PGA to 1917, La La Land, and The Big Short, respectively), CODA’s PGA win is a part of an irresistible momentum. 

CODA’s cast is beloved in the US. The audience erupts every time CODA receives an award, reminding me of the love the Academy had for Parasite. In the past days, the film’s actors were even invited to the White House, showing that in certain circles CODA is being treated as if it already won.

The Power of the Dog’s fall resembles the path Roma followed back in 2019, a critical darling and the most acclaimed film of the year that was too difficult for a mainstream voter. “Boring and cold” are the words often used to describe both of these films by people with an aversion to slower and more intellectually challenging films. 

The only chance for The Power of the Dog is the changing nature of the Academy, which has been becoming more international in the past few years. With two recent winners Nomadland and Parasite, both of which are soaring artistic triumphs, the Oscars tend to choose art over crowdpleasers. Green Book’s win over Roma might as well have been the last breath of the old, mainstream Academy.

The Power of the Dog, which kept its frontrunner status for months, is still capable of pulling it off. There is hope that in a face-off between the film with artistic merit and a movie that seems to deliberately avoid it, the Academy will choose the former. Yet, the current momentum behind CODA seems hard to deny, giving it the edge in the last days before the ceremony.

Acting categories

This season has seen another crazy race for Best Actress, comparable to last year’s unforgettable four-fold race that ultimately saw Nomadland’s Frances McDormand win the Oscar. With the frontrunner changing numerous times throughout the season, the consensus seems to have settled on Jessica Chastain (The Eyes of Tammy Faye). It is by far the most powerful performance of the bunch, and if the campaigners ensured enough people saw the film, Chastain shouldn’t have a problem winning. 

However, the recently published anonymous Oscar ballots show an overwhelming passion behind Penelope Cruz (Parallel Mothers), whose nomination was a major surprise in the first place. 

The anonymous ballots – interviews with anonymous Oscar voters who share their preferences with the media, don’t show a statistically significant proportion of the Academy voters. Yet, they accurately foresaw some passion wins in the last years, such as Anthony Hopkins’ win over Chadwick Boseman or Parasite’s Best Picture triumph. Chastain and Cruz aren’t the only possibilities, however, and this category is capable of the night’s biggest upset.

The other three acting categories seem locked in. Will Smith (King Richard) and Ariana DeBose (West Side Story) have been frontrunners for the entire season. Kodi Smit-McPhee, the critics’ favourite, fell to Troy Kotsur who won not only the SAG, but also surprised at the BAFTAs. Every speech given by Kotsur has been the highlight of the ceremony, whether at SAG, BAFTAs or the Critics’ Choice, and in this turn of events Kotsur’s win is as certain as those of Smith and DeBose.

Screenplay categories

Original Screenplay is still one of the most interesting categories. Licorice Pizza defeated Belfast on its home territory, but lost the Writers’ Guild Award to Don’t Look Up. Yet, somehow, the pundits’ consensus seems to be Belfast (it did win Globe and Critics Choice, but these groups don’t have a voter overlap with the Oscars – therefore Belfast losing at the BAFTAs is more important than its wins in other places). I’m going with Licorice Pizza that would bring Paul Thomas Anderson his first Oscar after 11 nominations, but Don’t Look Up and Belfast can’t be ignored. 

After CODA’s BAFTA win, Adapted Screenplay feels easy to predict. Even if The Power of the Dog manages to win Best Picture, the fact that the adapted screenplay category consists of three high-brow art-house films (PotD, Drive My Car, and The Lost Daughter), vote splitting between them seems likely, resulting in the sweet crowdpleaser’s win. 

Other categories

As usual, there are a few categories that seem extremely difficult to predict. This year, at least for me, it’s Original Screenplay, Editing and Live Action Short, but I won’t be delving into the details of my reasoning for the remaining categories here. Overall, my predicted winners in all 23 categories at the 2022 Oscars are:

Best Picture: CODA

Director: Jane Campion (The Power of the Dog)

Actor: Will Smith (King Richard)

Actress: Jessica Chastain (The Eyes of Tammy Faye)

Supporting Actor: Troy Kotsur (CODA)

Supporting Actress: Ariana DeBose (West Side Story) 

Original Screenplay: Licorice Pizza

Adapted Screenplay: CODA

Animated Film: Encanto 

International Film: Drive My Car

Documentary Film: Summer of Soul (…Or, When the Revolution Could Not Be Televised)

Cinematography: Dune

Production Design: Dune

Costume Design: Cruella 

Makeup and Hairstyling: The Eyes of Tammy Faye 

Editing: King Richard

Sound: Dune

Visual Effects: Dune

Original Score: Dune

Original Song: Billie Eilish – No Time to Die (No Time to Die)

Animated Short: Robin Robin

Documentary Short: The Queen of Basketball

Live Action Short: The Long Goodbye

In Conversation with Sunflower Bean

Sunflower Bean are back with a vengeance on their forthcoming record ‘Headful of Sugar’. Now in their mid-20s, the trio, which consists of Julia Cumming (lead vocals, bass), Nick Kivlen (backing vocals, guitars), and Olive Faber (drums), are exploring fulfilment, hope, and hedonism this time around.

Starting out in their late teens, Sunflower Bean soon made an impact, garnering support slots with Wolf Alice, the Pixies, and Cage the Elephant. Hailing from New York, the band took inspiration from the city’s rich creative scene, fashioning their own eclectic brand of glam-rock, dream-pop, and psychedelia.  Their debut album Human Ceremony was released in 2016 and was received warmly  by indie lovers. But it was their 2018 sophomore, Twentytwo in Blue, which proved Sunflower Bean are a force to be reckoned with. The record boasts its fair share of big choruses (‘Twentytwo’), bombastic instrumentation (‘Crisis Fest’) and nostalgia (‘I Was a Fool’). Some moments are soft and sugary, others hard and heavier.

In the period between this record and the last, Sunflower Bean have remained busy, putting out an EP ‘King of the Dudes’ (2019) and a shimmering summer single ‘Moment in the Sun’ (2020), before teasing Headful of Sugar with its lead single ‘Baby Don’t Cry’ last year. The group have been able to see the limitations imposed by the pandemic in a positive light, setting up a home studio in Olive’s mother’s basement. “We thought: let’s just keep going. For the last two years we’ve been writing and recording a lot. It’s been a long process but a very good and creatively fulfilling one – we actually had over 80 demos!”

It also meant the band became more self-reliant: “We just thought let’s try to do as much as we can ourselves. We really dug deep into the creative process. The extra time allowed us to let go of things easier, and not hold songs too preciously. We kind of got comfortable with letting songs be what they are going to be. Sometimes it takes 5 or 6 tries at writing a song to get the song you’re actually looking for.”

Art and culture also bear an influence on Sunflower Bean, which may not come as a surprise given the ornate string arrangements and cinematic feel of Twentytwo in Blue and Nick [Kivlen] has mentioned Jim Jarmusch as an inspiration. However, Olive explains “We wanted to keep it as bare boned as possible. Having a few very bombastic big elements to each track and keeping things as simple and organic as possible. Nick uses the word casual a lot – a casual energy. It’s tricky because there’s nothing very casual about making a record in many ways, but I guess it was more so about having that time to experiment. It really allowed us to believe in our musicianship and let that be our voice.”

So where does that ambiguous album title come from? “Headful of Sugar…it’s reflecting on all the fucking empty things that are pumped into our brains each day particularly through social media. It’s all kind of unfulfilling. The album is about realising that unfulfillment and trying to let go of some of those sugary things and find the things that matter, like our relationships with people etc.”

As a band, Sunflower Bean have never shied away from using their fame to throw support behind the causes they care about. The last show they played was part of Bernie Sanders’ presidential campaign in 2020, an experience that Olive will never forget. “There was so much hope and it felt amazing to be part of that moment. Obviously, there was total juxtaposition when a couple of weeks later they shut down Bernie’s campaign and then the pandemic happened. That show felt like the part in a movie where they show the best time at the beginning and then it’s all downhill from there.”

Songs like ‘Crisis Fest’ and ‘Roll the Dice’ touch on socio-political themes, with the former a rebellion of sorts against the Trump administration, whilst the latter expresses the financial frustrations young people face today. Olive tells me making political music is “unavoidable. On this album there really are no political words per se, it’s just a more real way of talking about it sometimes. With ‘Roll the Dice’, it’s sort of about how life is a gamble if you want to find this fulfilment. Everyone’s trying to win in their own ways, everything’s political in an aspect. We want to take larger political ideas and apply them to very monotonous everyday things in life.”

Sunflower Bean are, undeniably, an act best experienced live. Last time the band played Manchester, back in 2018 in support of Twentytwo in Blue, frontwoman Julia Cumming dived into the crowd for several songs, sharing the mic with concertgoers and getting stuck into the mosh pit for tracks like ‘Come For Me.’ They return to Manchester on 1st April, playing the O2 Ritz as part of Strange Waves festival, where they’ll share the stage with Dry Cleaning, The Lounge Society, and W. H. Lung amongst others. Olive says audiences can expect a set of “Psychedelic heavy rock music. We’ll be playing lots of songs off the new album – pretty much the whole thing. We’ve done seven shows in the US so far with this new set. We’re still a three-piece for the time being. Sometimes it’s hard to describe the set, you just have to come and experience it!”

Last year, Julia lent her vocals to Welsh rock icons Manic Street Preachers’ thirteenth album The Ultra Vivid Lament on the track ‘The Secret He Had Missed.’ I ask if the Manics plan on returning the favour and Olive laughs “there’s always time. They’re such lovely people. I engineered the vocals on that track, and it was such a fun experience. I love that song so much – it’s a little earworm that gets stuck in your head. We’re always looking to collaborate with others. We worked with Shamir on one of the songs on our album, and we’re excited for everyone to hear that.”

Olive expands that their role as engineer for this album has helped to “keep the creative process closer to us. In a personal way, it made me a better drummer. I wasn’t focusing on drumming; I was focusing on recording. So, I learned how to play the drums for recordings which is such a different thing compared to playing live. I think we’re going to keep doing it like this. The basement studio is always growing. Its cool to get out into other studios too. The fact we’re able to do so much ourselves first and then bring it to Jacob Portrait who produced a lot of it really reflects on how personal this album came out and how it really is the melding of the four of our minds.”

Asking Olive to summarise Headful of Sugar in three words, she concludes “Psychedelic pop-rock (one word!) masterpiece!”

Sunflower Bean will release their third album Headful of Sugar on 6th May. You can pre-order it here.

Sunflower Bean will embark on their UK tour including a date in Manchester, playing Strange Waves festival at the O2 Ritz on 1st April. Remaining tickets are available here.

Bonjour! Palace Theatre Manchester invites you to be their guest

Tale as old as time, song as old as rhyme…

For the first time in almost two decades, Disney’s Beauty and the Beast is embarking on a tour around the UK. Ahead of a summer residency at the London Palladium in the West End, the musical will play at Manchester’s own Palace Theatre for two whole months.

The musical premiered on Broadway almost two decades ago to mixed reviews from theatre critics, but it was a massive commercial success and well received by audiences. It ran for 5,461 performances for thirteen years (1994-2007), becoming Broadway’s tenth longest-running production in history. Worldwide, it has played in 13 countries, 115 cities, and grossed more than $1.7 billion.

The musical had its West End premiere in 1997 and did not tour the UK until 2001. I was born in 1999, and I’ve been waiting patiently for my chance to finally see it!

The current UK tour is a new, redesigned production – redesigned by members of the original creative team – even more lavish and luxurious than its predecessor.

Whilst the production has been redesigned, it features all of the spellbinding music and lyrics of Alan Menken, Howard Ashman and Tim Rice.

Starring Courtney Stapleton (Six) as Belle, 2 x Tony and Olivier nominee Gavin Lee (Mary Poppins, Spongebob Squarepants) as Lumière, Sam Bailey (The X Factor) as Mrs. Potts, and Martin Ball (Top Hat) as Maurice, the musical’s cast is as impressive as its sumptuous stage design. Following the suspension of Emmanuel Kojo, the Beast will be played by Shaq Taylor.

Beauty and the Beast plays at Manchester’s Palace Theatre from 31st March until 4th June, before continuing its UK tour until January 2023.

Niko B live at Manchester’s Club Academy

My invitation to cover Niko B at the Club Academy came unexpectedly – mainly since he was due on stage just hours later. Nursing my double pint from the SU, I arrived at the academy and settled into a nice spot at the back of the room just before the warm-up. My first solo gig – weird. With a thin haze of Geek bar fumes veiling the room and the scent of Dior Sauvage at max-potency, things kicked off.

Onto the stage burst Nega Brandon, a North London artist who worked the room well. His thirty-minute set of melodic UK rap was energetic and well received by the crowd, some of which were either already fans or engaged enough to have caught onto the lyrics there and then and sung along. Whatever the case, he had people jumping. He then gave it a big ‘SIU’, said ‘Happy International Women’s Day’ and off he went. A sound warm-up.

Following a thirty-minute interval in which my airdrop was bombarded by cursed images and people asking for flake, on came Niko B to the sound of Modjo’s ‘Lady hear me tonight’. By this point, I was subsumed by the crowd and found myself being jumped on in its sweaty epicentre. I recall speaking to a fan during the break who’d gone to five-something shows from the tour and he took Niko B’s primary appeal to be in his music’s humour and I’d be inclined to agree; his tunes are cheeky, colloquial and pretty catchy. He raps lightheartedly about getting pinned down by bouncers, stainless-steel chains and circumcision – off-key subjects that place Niko B as a refreshing step aside from the seriousness that rap usually typifies. His most memorable line for me was “I wanna smoke with your dad and put spice in his spliff”.

As his is a fairly limited discography, the hour set was half made up of unreleased tracks and remixes that nonetheless still charmed the audience. His performance was solid; he turned up lively, performed his hits and said how much he loved Manchester, which was all he really needed to do. I think he invited us all to his wedding as well, so. Anyway, at some point amidst all this, Niko brought out native rap talent Nemzzz, whose brief but impactful performance of songs like ‘Elevate’ and ‘2MS’ helped to sustain the show’s tempo. It was Niko B’s staple anthems that received the strongest responses, however, with ‘Mary Berry’ and ‘Who’s That What’s That’ working as the lively finishers for the show. The lights then came on and we were directed to pick up some merch or leave.

I’d hung around for a little bit to see if I could get a brief interview but sadly to no avail. So, half-cut, I hopped on the 42 back to Fallow, made a stir fry and called it a day. All in all, a lively, cheerful Tuesday night. 

Time testing The Bechdel Test

Since film began there have been two indicators of agency on-screen: speaking and looking. Until very recently who gets to speak and look has been disproportionately distributed. For many years, female characters have been the receptors of looking but have been silenced in the script. Alison Bechdel’s 1985 comic strip Dykes to Watch Out For offered a solution to gauging female agency in film. The rules of The Bechdel Test are simple: in order to pass, a film must feature a conversation between two named female characters which does not revolve around men. It’s a deceptively easy-sounding threshold and yet many fall short.

The test was adopted by feminist groups in the late 1980s as a means of inciting Hollywood screenwriters into creating female characters whose lives could be independent of men and romance. It is inarguably a useful tool to gesture towards what audiences require for convincing three-dimensional characters and combats that tired stereotype that women speak more than men. The Bechdel Test is not, however, a guarantor of the quality or authenticity in the depiction of a character, it is simply an interesting tick box for film watchers to contend with. If the test is taken as gospel then Twilight (which passes) deserves a place in pop culture whereas The Godfather (which doesn’t) should be consigned to the annals of history and written off as drivel. The absoluteness of the test is certainly appealing, making it easier for audiences to choose which films they’d like to watch by eliminating the films whose writers have chosen not to make female agency a focal point. The test’s beauty is in its simplicity but this is also the foundation of its problems- its lack of nuance.  Judging media based solely on a singular test will never be entirely satisfying when catering to spectator expectations. Can a film be considered feminist if it does not pass? We’ve selected three case studies to probe the sturdiness of the test in modern film: a rom-com, a western and a superhero film. 

 

Blockbusting Old Stereotypes

 

When Birds of Prey erupted onto our screens in 2020 helmed by a powerhouse of women to rival the fictional Birds of Prey team (director Cathy Yan, writer Christina Hodson and producer/star Margot Robbie), there was much discussion about the difference between how Harley Quinn was portrayed in the original Suicide Squad versus her new solo outing. In Birds of Prey, Quinn’s outfits are still extravagant and glamorous but the gaze of the camera is no longer voyeuristic. For example, Quinn’s iconic booty shorts are shown from a respectful angle and not as an introduction to the character. The distinction between both iterations of the franchise being who the film was made by and the audience that was kept in mind. Diverse creative power behind the scenes makes a noticeable difference to how convincing representations are. 

 

Moreover, it doesn’t shy away from rom-com plot elements as superhero films often do – the inciting incident of the film happens because of Harley’s breakup. Making the joker an absent figure as a prop used for subtext was a wise decision. Instead of the toxic relationship between Quinn and the Joker becoming the focal point, Birds of Prey is concerned with the mission to reclaim a sense of independence after a painful breakup. The scene that earns it its bechdel gold star is a conversation about battle strategy that the team have. Later on they also discuss relationships but as multi-faceted characters whose life and romantic goals are not mutually exclusive. Birds of Prey is an excellent movie with a predominantly female cast and creative team that just happens to pass the Bechdel Test.   

 

Tall Girl: a Pass and a Fail

 

Nevertheless, a film can pass not only the bechdel test but also be directed by a woman and feature many women in key areas of its production and still contain some potentially harmful ideas about women’s role in society. One example of this would be Netflix’s Tall Girl film series, the latest of which (Tall Girl 2) has just recently dropped on the platform. The films follows 6 ft 1 girl Jodi who struggles with her place within an American high school due to her height and problems only get worse when she begins to enter the dating realm. Whilst the idea that being tall is a problem to make a whole film about is entirely silly in its concept, that’s not what we’re here to discuss. However, the melodramatic tone of this dramatic conceit is reflected elsewhere in the film as it appears to somewhat knowingly lean into its rather stereotypical story that really feels like an adapted LifeTime or Movies24 script. This is not bad in and of itself, such films are made because their formula is comforting, their drama may be mechanical but is often successful in its emotional manipulation and their characters may be thinly drawn but their problems never feel too real as to take you out of the simplistic escapism. However, when the aggressively heterosexual and vaguely sexist politics come to the forefront, the illusion can become somewhat damaged. 

 

This is very true of both Tall Girl films, particularly the 2022 sequel. As a teen romance, of course the happy ending of both these films is a coupling between Jodi and her desired partner. This is not necessarily a bad thing but as Jodi essentially goes through each film becoming more and more comfortable within herself and exploring her own talents and fears, the idea that all of this boils down to getting the right man is a little disheartening. The sequel doubles down on this problem by not only repeating the same narrative arc for Jodi but also by providing her previously independent and creative friend Fareeda with a man of her own. Whilst their chemistry is okay and it does give a proper arc for her character that exists outside of Jodi, it does give off the idea that no woman can truly be independent. 

 

However, the films’ most off-putting aspect is its overwhelming emphasis on heterosexual marriage. During the sequel, Jodi performs in a school production of the musical Bye Bye Birdie. One of the few musical numbers that is highlighted includes the chorus: “one boy, that’s the way it should be”. Going on to later say that this should be “forever and ever”. The specific highlighting of this musical number comes off as a strange proclamation that heterosexual unionship is the one true divine goal of life. An idea that is only further emphasised by the aforementioned pairing off of the main characters. This comes in the same film where the idea of someone being queer seems to be a distant one and the main female characters’ passions are singing, modelling and fashion. It all just seems a bit limiting. Even if the film is not necessarily doing anything overtly wrong, by eschewing other perspectives and fitting all too neatly in the roles designated by the patriarchal structure, it comes off as false and weirdly preachy. No matter how easy it may be to watch or as harmless as it feels, it ultimately does little other than reinforce existing structures, even with a narrative that is told by women and about women. 

 

The Power of the Patriarchy

 

Jane Campion’s 2021 film The Power of the Dog is currently receiving much well-earned Oscar buzz. This western is also an illuminating example of where the Bechdel test falls short in assigning criteria for feminist film. Kirsten Dunst’s character, Rose, marries ranch owner George Burbank, Jesse Plemons. According to the time period, this marriage removes her from her occupation to live on George’s ranch, which is a distinctly masculine environment. She endures psychological bullying and manipulation from George’s enigmatic brother, Phil, who contends with repressive forces in the rejection and concealment of his own sexuality. In The Power of the Dog gender is a weapon and femininity is a threat. Each character that exhibits typically feminine characteristics is punished and belittled by Phil, particularly Rose’s son, Peter. Therefore, it is the desire to erase femininity from the hyper-masculine setting of the ranch that is a stronger commentary on gender imbalance than any overt conversation between women may have been. 

 

In one scene, Rose enters the space where the cook and maid are discussing, telling them not to stop on her account. In this instance, the lack of dialogue between women indicates the divisions of the domestic space. Rose’s inclusion in the conversation would have been anachronistic; she is separated from them due to her class and connection to the ranch owner both independent of her control. As director and screenwriter, Jane Campion uses this omission to confront female isolation in a specific era. Although it doesn’t pass The Bechdel Test, the Power of the Dog should be considered a feminist film as it explores the restrictions of gender in those huge isolated spaces where politics is not immediately apparent. Campion’s film confirms Allison Bechdel’s statement that ‘you can certainly have a feminist movie where there’s only one woman – or no women.’  

 

Cherrypicking: The Bechdel Test Updated

 

Despite its rather binary rules, the Bechdel Test has not stayed stagnant within popular culture. In fact, it has inspired many other similar tests such as those that consider BAME representation and the Vito Russo Test, which attempts to track LGBTQ+ representation in the cinema. Nevertheless, these other tests reject such simple criteria and begin asking more complex questions surrounding narrative function and character’s identities. Whilst it is certainly a positive idea to interrogate the representation and how it functions rather than simply stopping at the first step, such tests lack the simplicity and therefore the raw data that is so key to the Bechdel Test. One alternative that has been proposed is the wonderfully named Sexy Lamp Test, which asks the very simple yet infinitely complex question: could you replace your female character with a sexy lamp and would the plot still work? 

 

Although this particular test may sound ridiculous, the problem of representation is still very much a real one. The conversation must keep evolving and not stop with the Bechdel Test. However, this also does not mean to have to abandon it altogether. Review aggregator website Cherry Picks is a shining example of this. Built as a sort of competitor to Rotten Tomatoes, it only considers reviews from female-identifying and non-binary critics. Moreover, for each film reviewed (which includes the majority of new releases), there is another metric known as the Cherry Tick. This tracks if a film: a) Passes The Bechdel Test, b) has women in key areas of production, and c) is written and/or directed by a woman. A film gets the tick if it passes any one of these three criteria. Although it inherits many failure’s of the Bechdel Test in the sense that not every representation is necessarily good, it does address the very real gender disparity that occurs behind the scenes in production.

 

Where are we now?

 

As the investigation furthers, the burning question seems to be: can there ever really be a good test for media representation that captures nuanced depictions? Additionally, will a film ever be able to tackle every issue plaguing society in a satisfyingly in-depth way? The answer in both cases seems to be no; there is no prescriptive checklist as to what will make a film entertaining and its depictions arrestingly unproblematic. It’s very much a matter of personal taste. Each case study examined here is not an isolated one but rather emblematic of certain trends where the industry has had success or falls short.

 

So, instead of being a blanket measure for whether a film/tv show is worth your time, the Bechdel Test is best used as a tool to test whether the film will speak to a larger human experience. It was only ever intended as a conversation-starter rather than the end point to all discussions. It is no longer enough to placate the public with mere representation. As we look ahead to what’s next, maybe let’s look beyond the test and embrace and interrogate the ambiguities that make film so worthwhile.

History of film: The first female filmmakers and their feminist message

As part of the our Reclaim The Night issue, we at the film section wanted to foreground the wealth of feminist figures, films and messages that have been integral to the cinema we now know and love. Where better than to start with the very first female filmmakers: Alice Guy-Blache and Lois Weber. Finding themselves in the midst of the industry, right at the start of when films were just beginning to be made, their contributions cannot be underestimated, laying the foundations for future female directors.

Alice Guy-Blache worked for Gaumont Film Company, which was founded in 1895 by Leon Gaumont, and is named as the oldest film company in the world. Guy-Blache worked for Gaumont as a secretary, but soon began asking him if she could try out filmmaking. This ended in the one minute long film , La Fee aux Choux, translated as The Cabbage-Patch Fairy, made in 1896. The film shows a woman, with wreaths of flowers on her dress, in a cabbage patch where babies are being born. She dances around the cabbages, picking up the naked babies. Although this seems a bit of a strange one, these weird and wonderful images were very present in Guy-Blache’s cinema. The themes of motherhood were very clearly present from her first film, and this continued with feminist themes and commentaries on the patriarchal society.

 She created 1000 films in total, unfortunately only 150 survived. Many are seen as infamous short films of the time.  She interweaved underlying feminist messages into each film. Although these often seemed obvious to the women around her, many of her contemporaries, mostly men, mistook and labelled these commentaries as innocent and naive. However, when you look back at the films there is an effervescent quality, illustrating the genius of an outspoken woman.

She used unusual techniques for the time such as gender role reversal. She dressed men as women and women as men, in order to highlight the issues of patriarchy, by quite literally placing a man in a woman’s shoes. This use of role reversal was prevalent in her masterpiece, The Consequences of Feminism, in which a woman comes into a hat shop where the men are working. She begins to harass the men, and when she leaves, their discomfort is clear. One of the men leaves and is soon harassed once again, until another woman comes and saves him. Although this kindness is received with gratitude, the kindness transforms into a new form of harassment as the woman wills the man to kiss her. This was an artistic shout for equality.

She was also an avid user of irony and sarcasm, often painting women as the object in order to prove a point. This was prevalent in her film Une Femme Collante, or A Sticky Woman, in which a woman has the job of stamp licker. The role demands that she always has her tongue out. This ends in the man kissing the woman, and then, as if to teach him a lesson, becoming stuck to the woman’s lips.

 

After working for Gaumont for many years, including a period in America, Guy-Blache started her own production company Solax in 1910. Extreme success and popularity meant she went on to direct a series of feature length films like The Shadows of Moulin Rouge (1913), The Tigress (1914) and many more.

Alice Guy-Blache met Lois Weber when working for Gaumont in America.

 

Lois Weber started off as a concert pianist and opera singer. She started out as an actor before meeting her husband. She soon began writing and directing scenes in New Jersey, under the illustrious film maker Alice Guy-Blache.

She was encouraged by Guy-Blache to write and direct films which she subsequently partnered on with her husband Smalley. They began directing just for Gaumont, but their talents were quickly identified and began directing for other production companies. She was soon recognised as the one who called the shots when working with her husband, and in 1917 she set up her own production company, Lois Weber Productions. She was considered just as talented as her male counterparts, like Charlie Chaplin, Giovanni Pastrone and D.W.Griffith, but never gathered the same amount of fame. Her films were very inaccessible for many years, and have only recently been restored and re-released.

She was extremely busy during this time, making  148 films. These included Suspense (1913), a short horror film, in which a mother has her house broken into. Although the plot was hardly original, she used many new and exciting film techniques to bring it to life. She also presents the woman in the film, played by Weber herself, as hugely empathetic, a far more realistic representation of the terror one would feel than any other depiction of women at the time. This has been attributed to the large number of men in the industry who dominated narratives at the time. A woman depicting a woman’s experience was an unusual and distinctly radical thing.

Her other films included feature lengths like Hypocrites (1915), Where Are My Children (1916), The Dumb Girl of Portici (1916) and Shoes (1916). She was intent on creating films with social commentaries, controversial plots and shocking images.

For example, Shoes centres around a girl having to provide for her family, prioritising her family’s wellbeing over her own to the point where she has to walk around with tattered shoes on her feet. She decides to sleep with a singer in exchange for money, and the next day buys a new pair of shoes before learning her father has just secured a new job. Weber gives voice to a woman without shaming her for her choices. She instead passes judgement on the structural problems of society that forced women to take these routes in order to survive, rather than the choices that had to be made by the women within said society.

Weber also generated great controversy and criticism from the censorship boards in her film Hypocrites. A statue comes to life and turns into a naked woman, in order to portray the “naked truth” of the society around her. The statue sheds light on the false sanctimony of the congregation, holding up a mirror to reveal their unwavering desire for money and power.

Both of these women were revolutionary thinkers of the time and were part of a radical progression in cinema. Using unheard-of techniques and directly confronting the gender politics of the day, it is important that they are spoken of with the same weight as their male counterparts, and celebrated for their poignant feminist messages and social commentaries.

What happened at Reclaim the Night 2022?

On March 22 2022, Reclaim the Night came back after a 2 year hiatus, with protesters marching from Owens Park in the Fallowfield Campus to the SU building. Here’s a recap of what exactly happened during the protest.

Reclaim the Night is an annual event (apart from the years it didn’t take place due to Covid-19) where students march to protest against the sexual harassment that women face whilst out at night.

This year, there were 3 different topics that students of the University of Manchester were fighting for: legitimising and destigmatizing sex work; awareness and action against sexual assault; and including transgender and non-binary people in conversations about sexual assault.

This year’s Reclaim the Night was in support of two charities, Support for Student Sex Workers and National Ugly Mugs. Support for Student Sex Workers is run by Jess Hyer, who is working to ensure that universities support student sex workers and provide those students with work experience. National Ugly Mugs is a nation-wide organisation that aims to ensure that sex-workers have access to wellbeing resources.

Student gathering at the Fallowfield Campus

Students began gathering at the Fallowfield Campus from 6:00pm. It was at this point that we spoke with Jas Taylor, the SU’s Women’s Officer, who coordinated this year’s Reclaim the Night. To them, this being the 45th anniversary of Reclaim “really represents how far we have come and how far we have yet to go”.

When asked about the importance of the protest they stated: “This year’s event is basically working on campaigns to end violence towards sex workers, ensuring that they have safety in their workplaces. And in general, Reclaim is also a fantastic opportunity for people to unite, feel empowered and protest gender based violence, which continues to threaten aspects of our lives”.

We also asked Jas what could be done by students. They told us that they want students to sign an open letter to Andy Burnham to support sex workers and end gender based violence in Manchester. They also ask students to get involved in organisations like Student Angels and Support for Student Sex Workers.

Students Waiting in Blocs to start marching

As we were interviewing Jas, the crowd behind began forming in 3 blocs. The first bloc to begin marching was the Women+ BlocA student here stated, “We are here tonight to stand up for the people. For us to be able to feel safe on the street, and end gender based violence. Join us and stand up for what is right”.

Behind them was the Liberation Blocwho were specifically encouraging support for sex workers. One of the students stated that they were in this bloc because they wanted the work of sex workers to be accepted “as legitimate work”. They added, “I am here with the Feminist Collective, and we take a firm pro-sex-work stance. We are here to support sex workers”.

Finally, there was the Mixed Bloc, consisting of a mix of people and genders. Two students here said, “We are here to reclaim the night. We want to feel safer when we go out with friends and not have to worry about harassment”.

The blocs started marching on Wilmslow Road from around 6:45pm. They were led by Jas Taylor and Syd King, the PTO for disabled students. Their chants included, “Who’s streets? Our streets!” and “Tell me what a feminist looks like? This is what a feminist looks like!”.

As the protest went further into the city, marching up the Curry Mile, it began gaining support from people on the street. There were cars honking in support and people who recorded and supported the protestors as they marched.

Student with megaphone shouting out the chants during the march

The march continued, chanting more slogans like “2-4-6-8, stop the violence, stop the hate” as it crossed the Curry Mile and went to march down Oxford Road.

However, while the support for the march was huge from even by-standers, there were still hecklers along the way, with one heckler saying, “Calm down ladies”. We asked one of the student marchers what they thought of such heckling, they said “it just shows how far we have yet to go in gender equality and liberation”.

Students marching down Oxford Road towards the University

The march still continued strong and entered university campus, stopping next to the steps by 532, where four speakers gave speeches.

The first of the four was Jas Taylor, who stated: “We have marched here tonight to protest the fear we face when leaving our homes at night. To fight the culture of male violence which results in the deaths of hundreds of women every year. The domestic abuse that a million UK women will suffer in 2022. The thousands of trans women who will be subject to violence. The deaths of sex workers every year. The 62% of students suffering from sexual violence. When all of these figures should never have been past zero”.

They established the 3 factors that the protest was on once again. They established the reasons why a student might turn to sex work, how stigmatising it creates more problems, and for asking for better safety for student sex workers. They also pointed out casual misogyny staying how “respectability politics and pick me behaviours are deadly”.

Student holding sign during march

Jas also wanted Andy Burnham to denounce the Nordic Model that organisation White Ribbon works on. White Ribbon has been working with Manchester City Council since 2018 to bring an end to gender based violence, but their endorsement of the Nordic Model means they view sex work as a violation of human rights.

They state that sex industry promotes “dehumanising, objectifying, and sexist practices and behaviour”, so the Reclaim the Night campaign wanted to fight against these ideologies and ensure that sex workers are given more support.

Jas asked all those present at the protest to sign the open letter to Andy Burnham as well as send the following tweet together:

After Jas Taylor, Jess Hyer came up to speak, advocating for increased support for the sex working community. Jess drew upon their own experience and how during their formative years at university such a support system was not available.

But they looked at the situation at the University optimistically, stating that, “the positions that were once held by people who let me down, are excited by our work and our passion… Sadly in terms of wider society there is a long long way to go. Studies show that student sex workers see secrecy as the number one negative aspect of being employed in the sex work industry”.

They also asked for a minute of silence towards the end of their speech to remember the “people who have lost their lives at the hands of men”.

Then came Syd King, who started by stating how many people wouldn’t want them to give this speech as they are not a woman. But they wish to talk about how many transgender and gender non-binary people are not free from facing “gender based violence”.

They stated names of a few people who have been subjected to gender based violence while not being a woman. They added: “Murders of trans people go up year-by-year. Over 350 trans people were killed in 2020 and 2021 is even worse… An estimated 53% trans people, 61% of disabled trans people and 72% of trans sex workers in the US alone experience sexual assault every year. But we hardly every talk about intersectionality”.

Student in Bloc holding up signs

They added how this is an “epidemic of violence”, further questioning how barring transwomen from ‘women-only spaces’ helps in furthering this agenda better. They want all communities who are subjected to gender based violence to support each other and not deny each other the chance of standing up and speaking out.

Last to speak was Serena Jemmett, who founded Resist Rape Culture, a campaign for tackling rape and sexual violence while also increasing support systems for victims and survivors.

Serena looked at the questions that every woman is faced with when talking about sexual violence and the questions brought upon them for this. She spoke about wanting to improve the advice and response team for sexual assaults at the University of Manchester, and to make changes to Manchester at large, such as making the GMP more victim focused.

She said she wanted this protest to not be the be-all and end-all of everyone’s work towards equality for this year, saying that we need to teach “Men and women that their behaviour is not okay… teach consent in primary school… and hold perpetrators to account with zero tolerance. And I mean zero”.

Photo: Shikhar Talwar @ Mancunion

After the speeches, students gathered at a market that was set up in the SU. The market had independent sellers and Reclaim the Night merchandise. The night then ended with an after party, called Reclaim the Nightlife, held at YES.

 

If you have been affected by any of the issues discussed in this article or during the march, you can find all the helplines and support links here.

You can also donate to National Ugly Mugs and Support for Student Sex Workers.

“A nightmare and total faff”: The inconsistencies in our local contraception services

Each contraception method is demanding in its own right. Often by the time university rolls around many of us have an established method – be it taking the pill every day or having an IUD inserted. Added onto the stress of moving to university, is the admin that comes with registering with a GP here. This means that students have to often request a familiar contraceptive method from a new GP and be faced with new rounds of tests and appointments. Arguably, a change we were all aware was coming.

 

But upon investigation, it seems the women registered with various local Fallowfield GPs are particularly unimpressed at the inconsistent and unhelpful service they’ve often encountered. It seems getting your hands on the pill, the morning after pill and an STD kit is a lot more difficult for students than anticipated. The general reaction whenever I asked women if they’d be willing to talk about their contraception experience at university was a roll of the eyes, with a few shocked, “it’s awful, is it awful for other women too?”.

“it’s awful, is it awful for other women too?”.

It is important to acknowledge that not everybody who gets their period identifies as a woman. People who identify as trans, non-binary and genderfluid may also menstruate. The students interviewed for this article were all cis women, so the term ‘women’ will mostly be used, for ease, when detailing their testimonies.

 

Contraception is perhaps as personal as medicine gets, so much so that it’s arguably a rite of passage for many women. It really is all about preference and involves what can be years of trial and error. Lifestyle changes, pre-existing mental health conditions, other medication you might be on, and changes in your sex life are all things you and your GP have to consider.

 

When you first start the contraceptive pill your blood pressure has to be taken before you start and then taken again a few weeks in. This is to avoid the common, easily prevented and risky side-effects of your blood pressure going up or blood clots forming. Usually, your GP will also run a few questions about your sex life by you. Or it is sometimes just one big chat about your period symptoms, as a lot of women are on the pill to regulate their cycle or cope with chronic period pains. Following that, you’d expect a chat anywhere between one to three months in with the same GP, to check your side effects from the pill aren’t too dreadful. These can include weight gain, spotting between the pill, breast pain and sometimes severe depression.

 

For many of the women interviewed, renewing their pill prescription with their new Manchester based GP was far more difficult than expected. One anonymous woman was told by Bodey Medical Centre that she would have to have her blood pressure taken for her prescription to be renewed, despite being on the same pill for a number of years. They informed her there were no upcoming appointments in the foreseeable future and even suggested it would be easier for her to take her blood pressure herself. She described the task she was left with as “practically not possible for [her] at all”.

 

Upon investigation, routine checks of blood pressure are vital when attempting to obtain a repeat prescription of the mini pill (or progesterone-only pill). Devon Sexual Health explain on their site that official policy involves a blood pressure check before starting, before receiving the first lot of repeat pills, and then yearly. The site states that, ‘during the pandemic, [they] have not been able to offer [their] usual service of seeing everyone face to face’ so patients may need to provide an up to date reading themselves, which may involve purchasing one’s own home blood pressure machine. These retail from around £25-£80+ on Amazon. A considerably expensive purchase to have to make as a woman at this late stage in the pandemic.

 

Another woman interviewed described having to wait three weeks to get an appointment with Bodey Medical Centre to have her blood pressure taken. She told me, “The wait for me was fine I suppose but is inadequate for those who really need to start the pill.” She failed to understand, in particular, “why such a big GP, that facilitates nearly all the students in Fallowfield, doesn’t have a pharmacy or clinic as an extension to handle the common appointments needed for simple contraception access.”

 

Going off your pill unplanned can be an ordeal both hormonally and symptomatically. Immediately, a break in your pill will usually land you with your period within a few days due to oestrogen withdrawal. An unmedicated period for many women, especially having been on the pill for extended periods of time, can be excruciatingly heavy and painful. Not to mention, its effectiveness as a contraceptive is practically void if not taken for more than two or three days. Essentially, a limbo phase of not having your pill can be a physical and strategic upheaval.

 

A third women described her experience with Bodey Medical Centre as a “continuous struggle”, especially during times of heightened COVID restrictions. Bodey demanded that she have to keep coming in to get her blood pressure checked every time she ran out of a packet of contraceptive pills. These packets were only covering her for up to 3 months at a time. The interviewee was adamant that this isn’t the usual protocol, unless you happen to be at higher risk of clots which she is not.

 

Although the NHS do disclose on their site that ‘it can take longer to get contraception at the moment’, the official recommendation states that anybody who has had their blood pressure and weight checked in the last 12 months should be able to receive a prescription of the combined pill. If this repeat prescription is not possible, due to COVID delays, it is recommended by the NHS that the patient then tries the progesterone-only pill instead. A seemingly easier alternative that was not offered to the patient in question.

 

She moved on to describe running out of the pill back at home during the holidays once, calling it “a nightmare to coordinate”. Bodey directed her to pharmacies in her hometown who didn’t offer a blood pressure taking service, meaning she often went without the pill for a few weeks at a time when away from university.

 

However, some women have had positive experiences with Bodey Medical Centre. One individual told me she booked an appointment on the phone, had her blood pressure checked the very next day and then was prescribed twelve months-worth of the pill she had been on at her previous GP. Evidently, it’s not all bad, sometimes student’s transition from a home GP to a university one can be smooth. It is highly likely that our nearby GP services are just overstretched or understaffed. But there is a running theme of inconsistency in the testimonies of those interviewed. And when access to contraception is inconsistent beyond your power, the upheaval that can ensue in your own body and with your sexual partner is stressful, painful and can make women feel as though their health is not being taken seriously.

 

Hence the frustration continues. The women interviewed also had a similar experience with the emergency contraceptive pill. Commonly known as ‘the morning after pill’, this needs to be taken anywhere between 1 to 72 hours after unprotected sex. It’s anywhere from £15 to £25 at a pharmacy and can be given to you free from your GP. If you throw up after taking it you do have to take it again later that day for it to be effective as a contraceptive. So, many women opt to get the morning after pill free of charge from their GP to avoid having to pay twice.

one staff member at the Lloyds Pharmacy in Sainsbury’s Fallowfield [told] her she should “be smarter” in future.

One woman found that the Robert Derbyshire practice has repeatedly been booked up with appointments to the point where they could not offer her the morning after pill until two days later. Whilst the morning after pill can be taken up to three days after sex, its effectiveness decreases as time goes on. The ‘Levonorgestrel’ pill specifically is 98% effective up to 12 hours, yet only 58% effective if left to 48-72 hours after sex.

 

Similarly, another woman described trying to get the pill at various pharmacies around Fallowfield as a “nightmare”. With one particular staff member at the Lloyds Pharmacy in Sainsbury’s Fallowfield telling her she should “be smarter” in future.

 

Students seem to be having an equally as confusing and unpredictable experience with IUD services. An IUD, or ‘coil’, involves a sometimes painful insertion process where a small plastic or copper device is inserted into your uterus. It covers you for up to 5 to 10 years. The mixed reports of the insertion process, ranging from mild discomfort to excruciating pain, often mean women are apprehensive when pursuing this method. This and its almost decade -long commitment demand a more in-depth conversation with your GP about whether this is the right method for you. Not to mention, you have to get it taken back out.

 

One woman interviewed described having such an awful experience on the pill, which her GP at Bodey Medical Centre was aware of yet was on a 2-month waitlist for an IUD appointment. Another student found Mauldeth Medical Centre even more unhelpful. She told me she struggled to make an appointment and was made to feel like she couldn’t discuss her contraception options.

 

She phoned to book for IUD insertion and asked if she might have a chance to discuss other methods with a doctor. The response was blunt, she told me, “it went something along the lines of ‘so do you want the IUD or not?’”. After explaining that she wanted to discuss her options before setting an IUD appointment in stone, she was told to do her own research and only call back for insertion. With this confusion now attached to the already stressful decision-making progress, this particular interviewee decided to pursue the IUD no further.

 

Lloyds Pharmacy state on their site that contraception services may not return back to their way of working before the pandemic, even with the easing of restrictions. They recommend that if you are running out of your contraception, in need of a repeat injection or an implant or IUD replacement, that you call ahead to make sure the service is still running as you would have expected it to before COVID. However, they disclose that a repeat prescription of the pill should be running routinely as normal.

 

Again, it’s not all doom and gloom. One student had the implant inserted into her arm at Hathersage Centre a month after requesting it. She told me she found the wait understandable due to COVID, as this was in December 2020. She spoke extremely highly of the Urban Medical Village, where she had the implant removed quickly. The staff were reportedly “nice and helpful”. She told me their services are much more useful and efficient than the regular GPs in Manchester, and it’s a shame not a great deal many students know about them.

“I did in fact have gonorrhoea when they declined to test me. After it came back positive from the Clinic, only then did they test me.”

Yet, the inconsistencies continue into STD testing. Amongst the women I interviewed, there was a resounding praise for the Northern Sexual Health Clinic. Four women assured me that they received their results back in a matter of days. Other women recommended Brook sexual health services particularly highly for home chlamydia and gonorrhoea testing kits.

 

But the general consensus amongst those interviewed was that these services had to be sought out after unhelpful and ineffective experiences with their GPs. One individual even stating that she’s never bothered trying with her own GP, Bodey Medical Centre, because she knows it would take too long.

 

Another student told me about trying to get tested with Bodey Medical Centre for precautionary reasons. She rang, asked for a test yet her lack of obvious symptoms meant that they refused to test her. She was directed to the Northern Sexual Health clinic, who processed her test within four days. She was highly unimpressed with her GP, informing me, “I did in fact have gonorrhoea when they declined to test me. After it came back positive from the Clinic, only then did they test me.”

 

Similarly, another student described having to wake up at 8am to collect a test from Fallowfield Medical Centre before they ran out. We both shared a laugh over the idea that students are expected to wake up promptly – perhaps even in somebody else’s bed – after heavy night of drinking at 8am, fresh-faced to receive your test kit. Although she assured me she has managed to get her hands on a few before. Unfortunately, a test taken in October 2021 never came back to her, despite receiving a confirmation email. She only received the results upon emailing to request them in January 2022.

 

There’s no denying there are a great deal of options available for anybody who needs contraception in Manchester. Certain services, like the Northern Sexual Health clinic, consistently reassure women who need their services. But as far as GPs go, the system seems to be unreliable at best. Inconsistencies in accessibility to contraception aren’t unheard of, we all know that GPs can often be heavily booked up with appointments. Yet when this affects your menstrual cycle, sexual health and ability to function, it can be exhausting.

 

Although COVID delays are quite clearly causing these hindrances for those of us who need our repeat prescriptions, the notion that these services may never return to normal – even after the pandemic – is scary to say the least. As testified, a negative experience can really affect your course of action, and ultimately put you off pursuing what could be just right for you. The opinion amongst the women I interviewed seems to be one of deep discontent, and almost a fed-up acceptance at the fact that their contraception services are slow, ineffective and may stay that way for years to come.

When contacted for comment, a Robert Darbishire spokesperson said this:

We are very sorry to hear about the difficult experience of the person who struggled to get emergency contraception. The experience described would not be our usual response. It’s difficult to comment without the full details and we would appreciate it if the person could contact us directly via our website. Although emergency contraception is best taken within 12 hours it is also effective up to 72 hours. It can be obtained free of charge from GUM or family planning clinics, most walk-in centres, and some pharmacies. There is a list of these pharmacies  on our website, which is the most recent information we have. Emergency contraception is also available to buy over the counter at most pharmacies. Our staff should have known to signpost patients to the various options. Unfortunately, along with many other providers nationally, staff recruitment has been difficult during the pandemic period and we have had more temporary and new staff than usual. We will ensure our staff are made aware of these options so they can signpost patients promptly in future. We are grateful that you have brought this to our attention. I hope this information is helpful to your readers.

All other organisations and surgeries named in this article are yet to respond to our contact for comment.

The issue of women’s pay in sport: The fight for fairness in a male dominated field

Serena Williams, Simone Biles, Megan Rapinoe and Alex Morgan. Some of the top athletes today. The women who are paving the way for young girls in sport. The growth of women’s sport in the last few years can not go unnoticed. A study by the BBC found women’s sport could generate more than £1 billion per year by 2030. From Fallon Sherrocks historic victory in the PDC world darts championship to the Lionesses recording the highest attendance for a home game at Wembley – against Germany where 77,768 watched on in 2019. Women are continuing to demand respect within sport through their undeniable talents. These are signs that women’s sport is going in the right direction, but do not be fooled. There is still plenty of work to do. 

The common argument for women to achieve the goal of fairer pay is that they must attract more fans to matches, more media coverage and TV endorsements. But we have to question why it doesn’t already. Centuries of sexist attitudes towards women’s sport limits improvements. Young girls have been made to feel that a football pitch is no place for them. A basketball court should be left alone. A golf course is out of the question. 65% of sportswomen have suffered sexism in their sport. From the fans to the board of sporting associations, the issue of not taking women’s sport seriously has been extremely damaging. Women are left having to work twice as hard just to prove themselves as athletes who deserve to be paid for their dedication to sport. 

In the Forbes 2021 list of the top 10 highest paid athletes, there is not a single woman. The issue of women’s pay in sport continues to rage on. Male athletes in basketball, golf, football, baseball and tennis make anywhere from 15% to 100% more than female athletes. A male team at the cricket world cup can make seven times more than the women’s side. The issue of pay in women’s sport reflects the wider gender inequality that we continue to see in our society. Attitudes are finally shifting but only after decades of underfunding and little media coverage around women athletes. 

Women’s football has often been at the forefront of this debate. A few weeks ago, the news broke that the US women’s national team had won a $24 million payout and a pledge from US soccer to equalise pay for the men’s and women’s national team in all national competitions. This was a landmark settlement of an ongoing battle for equal pay lasting six years. A decision which will hopefully set a precedent for other sporting associations. 

It is no secret that women footballers are paid less. A 2017 report found that 88% of players in the Women’s Super League in England earn less than £18,000 a year. Again there has been improvements compared to 10 years ago, where there were no professional women’s teams in England and the recognition for female players was non-existent. The Women’s Super League, set up in 2018, means players are now paid to play full time. There have also been improvements at grassroots level, a key part of improving pay in women’s sport. The FA in England took over the running of the game in 1993 and with over 2.5 million registered players, football is now the top participation sport for women and girls in England. A push towards a society where “running like a girl” is no longer an insult.

More women need to be sitting on the board of clubs, involved in making decisions which can further the interest of women’s football. Women in higher positions within the sport is crucial. From Alex Scott in punditry on BBC one to Emma Hayes leading Chelsea F.C Women to unprecedented success in her role as manager, they have become role models who have inspired the next generation of young women. Improvements both on and off the pitch is what will continue to push this sport. 

Tennis has been making major strides also. Since 2017, the female winners of the Australian Open, Wimbledon, French Open and the US Open, have received the same prize money as the men. Women tennis players are met with worldwide admiration and high attendance at tennis matches. Emma Radacanu’s final at the US Open last year scored an average of 7.4 million viewers on Channel 4. It then comes as no surprise that tennis is the sport with the smallest gender pay gap. This is a far cry from attitudes once seen towards female tennis players. In 1973, there was an infamous one-off tennis match featuring Bobby Riggs and Billie Jean King. Before the match, Riggs argued King “doesn’t stand a chance against me” and that “women’s tennis is so far beneath men’s tennis”. Riggs lost the match. A landmark win for women’s tennis in the face of fierce sexist opposition. Fast forward to today, ESPN reveals the women’s 2021 championship saw 17 percent more viewers on average than the men’s match. 

In the fight for equality in women’s sport, we cannot just sit around complaining. We must change our attitudes. We must be practical. Go to a women’s rugby tournament or watch the women’s tennis US Open. I can only urge you not to be dismissive when someone suggests watching women’s cricket or asks to attend a women’s football game. If you do this, you are part of the problem.

Thoughts from the saddle: Lessons from a (cyclist) virgin

At 24, for the first time in my adult life, I have my own pair of wheels (without stabilisers). As soon as I arrived in Manchester I initially intended to get a bike. The city’s flat terrain and middling size make it a biking utopia. However, as Manchester descended sharply into a cold, wet winter, I quickly bought a bus pass. Frustrated by too many evenings spent in snail-paced processions down the Curry Mile, my ambition was renewed for the second semester, and I found myself a bicycle. 

As the days get warmer and longer, spring is the perfect time to get back on the bike. But for my fellow Manchester cycling newbies, I must impart the following lessons:

Lesson one: Oxford Road is a Minefield

However confident you may feel flying down to uni at breakneck speed, the Curry Mile and Oxford Road are not the place to get your Chris-Hoy-on. The bike lane shares space with the pavement at times and daydreaming pedestrians with an unconscious death wish will step into your path without looking. Keep your wits about you and exercise patience – smugly sounding your bell to clear the way.

Lesson two: You will get wet

The weather in Manchester is as fickle as it is awful. You will head out to town on a rare sunny morning, and by lunchtime be trapped by a torrential downpour. Everyone knows this, but it is especially important to consider when heading out on a bike when the bus back is not an option. Never head out without a raincoat – whatever the forecasts say. I’ve gone so far as to acquire some pack-away waterproof trousers, which look a bit Bear Grylls, but are a necessary last resort if the skies turn apocalyptic.

Lesson three: Know where you’re at

For the cartographically inclined, Transport for Manchester have a map of all the cycling routes in this city. Standouts include the transpennine trail, which stretches across the North of England, or the Fallowfield Loop which will take you from Fallow to Chorlton. Others may prefer to follow their intuition. I found out that my own inner compass was a little faulty when I attempted to cycle to the Halfords in Stockport to acquire some safety gear. I got lost in the leafy labyrinthine suburbs of South Manchester, and what Google Maps said would take 20 minutes, took over an hour.

Lesson four: Choose your ride wisely

Though the idea of being able to go cross country will appeal to a niche crowd, a heavy mountain bike will slow you down. Road bikes are far quicker but the drop handles can take some getting used to. Goldilocks would go for a hybrid or commuter bike, which combines a light frame with flat handlebars – a balance of comfort and speed. Even though Manchester is flat, I still wouldn’t recommend a fixie or single speed bike – gears come in handy when encountering one of the city’s modest slopes. 

Lesson five: Stayin’ alive

Understand that you share the road with the greatest killing machine on earth, the car. Road rage is rife in Manchester, and through no fault of your own, you can get knocked down. In fact, it happened to my housemate just the other week at a junction in Withington. Thankfully, after flying over the handlebars, he came away with not much more than a bad graze on his leg, though the bike was mangled beyond repair. So, to be blunt, wear a helmet. When riding in the evening, lights and high-vis are also wise – if you struggle with this on fashion grounds, consider it a throwback to 90’s rave culture. Get a sturdy D-lock and park in public spaces where whipping an angle grinder out from your back pocket would look most suspect.

Let none of this dispirit you however, for we all know that cyclists hold moral authority over plodding pedestrians, lazy bus riders, and planet-killing motorists. And like me, you can use your newfound mode of transport as a replacement for your lack of any real personality.

A student’s guide to networking

This may come as a shock to you, dear reader, but one day you will graduate. However distant that may seem now, it is useful to take an active interest in your future career whilst time is on your side. Networking is all about getting to know people in fields that you are interested in. It’s not about what you know, but who you know, as the conventional wisdom goes. This isn’t quite true – you can’t become a brain surgeon by befriending medics down the pub. Nevertheless, building rapport with people who can point you in the right direction, put in a good word, or even one day offer you a job, can only be a good thing. Here are some pointers on how to get connected.   

Go to careers events

Make the most of the University of Manchester Careers Service. Through the CareerConnect portal on the University website, you can book places on upcoming careers events both in-person and online. From career fairs to specific job taster days, there are great options however sure or unsure you are about what you want to do after uni.  You can sign up to their weekly newsletter to get the latest opportunities.

Introduce yourself to people

Turning up and listening to talks is great, but you also need to get out there and introduce yourself. As mortifying as it can be, people will appreciate you for showing interest. Remember, the gawky elbow bump is out, the handshake is back in. I’ve always found clasping the sweaty palm of a stranger a little gross, but sometimes you have to own it and deploy that firm right wrist with confidence. You can practice this at parties but maybe ditch the handshake there.

If you need go to questions try asking their name, job, what degree they did and how to get into the field.

Ask lots of questions

When people come to an event to represent a profession, company, or organisation, they come with plenty to say. You might want to rush in and tell them about your own interests, but you need to listen first. People like talking about themselves, and it’s a good way to find out what it’s really like working somewhere – including any downsides they might only open up about if you ask.

Show your enthusiasm

If like me, you suffer from imposter syndrome, you may find yourself feeling quickly out of your depth when it comes to careers. You tell yourself that you don’t have the experience of your peers. But as a student, employers know that you’re likely coming to all this for the first time. It’s important therefore to show enthusiasm and curiosity above all else. 

Join a society

The best way to hone the former three skills is by joining a society or social group. You can find these on UoM’s Student Union website, fresher’s fairs or through friends. If you’re out of uni, Facebook groups are a great way to meet new people, like Manchester Girl who hold weekly social events.  Not only is it easier to talk to strangers over time, but you can also gain new skills or interests and add that to your CV!

Befriend your friends’ parents

Networking advice doesn’t just apply to careers fairs. Sometimes, a more candid way to get advice is from your friend’s parents. And if you share an interest, you can charm your way under their wing. There’s nothing that parents like more than to unload their worldly wisdom unto you. 

Use the Internet to your advantage

Make a LinkedIn profile and follow companies and people who interest you. The best time to add someone on LinkedIn is soon after you first meet them, whilst you’re fresh in their mind. Also, remember that most companies and organisations have an ‘about us’ page on their website, with an email address you can use to contact them and ask questions. Smaller companies and organisations are especially appreciative towards anyone showing genuine interest.

 

So, get out there and start making connections. But remember, networking isn’t the be-all and end-all. Don’t live your life as one endless hustle. Most of the interesting conversations you have aren’t going to lead to a job offer. But the process of engaging with others and learning from their experience will give you greater confidence to find your own path.

How does smoking effect your pregnancy?

If you google the term “smoking”, the first result is an NHS page describing the health risks associated with smoking. This lifestyle choice is renowned for being detrimental to our health, yet 6.9 million adults smoke cigarettes in the UK.

In the 1930s and 40s, tobacco companies used doctors in their adverts to promote their cigarettes as the brand to cause the least throat irritation. Despite the advertising being slightly oxymoronic, it worked until mid 1950s when links between smoking and lung cancer started emerging. Only in 1964 did doctors claim smoking caused lung cancer. It took another 43 years for smoking to be banned from public spaces in the UK (July 2007). Even today, it’s a “landmark law” in the UK that the Welsh Government are banning smoking on hospital and school grounds.

Whether you are a smoker or not, you cannot deny the risks smoking imposes on our health and even our unborn children. When a pregnant woman smokes a cigarette, toxins including carbon monoxide, enter her lungs and travel through her bloodstream to her placenta. The toxins cross the placenta and enter the baby’s circulation. Carbon monoxide is a poisonous gas. It combines with blood cells preventing full oxygen saturation of the blood. The reduced oxygen levels in the baby’s blood affects its development. Maternal smoking increases the risk of miscarriage, preterm birth and reduces the baby’s growth.

Research has been published implicating smoking 14 weeks before and 10 weeks after conception has adverse effects on pregnancy. Smoking 10 or more cigarettes a day during this critical period has resulted in delayed development of the baby at 20-week ultrasound scan and low birth weights. The more cigarettes the mother smokes, the greater the delay to her baby’s development.

Babies born with a low birth weight are at more risk of complications. For example, the baby may struggle more to fight infections. Low birth weight is also associated with an increased chance of poorer adult health.

The NHS offers a smoke-free helpline (03001231044) and Stop Smoking Service’s which provide support from trained ‘stop smoking advisers’. Currently, there are no specific services for pregnant smokers.

This research has highlighted the importance of developing public health interventions to help couples to stop smoking before conception. Educating people to understand the impact smoking has on themselves, those around them and their future child is vital to achieving this.

A Parent’s Guide to Manchester

So you’ve got the parents up and are looking to impress. You’re no longer a dependent kid who has to call Mum to pick you up if something goes wrong. Now you’re standing on your own two feet, and eager to prove you’re the kind of cool, put-together student who totally has a meal plan, and definitely hasn’t lost their student card twice already this term. Maybe your parents are close enough to drive here & back in a day, but if you’re like me (read: Southern), then you’re looking at a weekend trip. To really treat your parents and show our city’s best side, here’s our Parent’s Guide to Manchester:

 

Where to stay:

Your house/flat

This is a definite no. The reasons barely need to be listed, but whilst the floor of your halls might work for a friend, a parent is a no-go for your peace of mind as well as theirs. Whilst a 2nd or 3rd year house might seem more suitable, it’s still going to be a downer when you have to tell your housemates to really keep it down at 11pm.

Moxy Manchester is my recommendation for the perfect, parent-friendly stay. The new Spinningfields ‘hangout’ is hip, with just enough of the ordinary to keep everyone happy, and most importantly: free drinks on arrival. Nearby to popular hotspots Blues Kitchen and Rudy’s pizza, the hotel is ideally situated for a city break, but pocketed away from the hustle and bustle of Piccadilly Gardens area. Our tip is to splash out for a late checkout, to really enjoy the lavish breakfast spread Moxy provides. I had the pleasure of visiting Moxy recently and found its young-professional/low-key party vibe a change from the usual bread-and-butter hotels you can find if you’re unfamiliar with the city.

Sashas Hotel is also a viable option. Described by our Music editor as a “true northern experience,” it’s a much cheaper option. Located on the way to Afflecks, Sashas may remind you of AHS’s Hotel Cortez or LA’s Cecil Hotel … take that as you will. All your basic needs will be met with their mid-2oth century decor. Grandma would love it.

Where to go:

Manchester Art Gallery is always a great day out, with a wide range of artwork including a quintessentially Manc Lowry display. The current Derek Jarman exhibition is a beautiful, heart wrenching, furiously political tribute to Jarman’s work. His collection of music videos for the likes of The Smiths, Orange Juice and Pet Shop Boys is sure to absorb you as much as your parents. Make sure to catch it before the 10th of April!

Curry Mile can sometimes be neglected when visiting Manchester, particularly coming from a part of England without a wide range of Indian food. It’s not just the route into Uni though: Curry Mile boasts dozens of quality restaurants, my current favourite being Chit and Chaat which is close to Platt Fields too.

Didsbury is only a bus journey away and can offer a welcome break from the business of Oxford Road. It has a wide range of charity shops (we recently found an enormous human-sized bear for sale for under £5 – safe to say, he’s now taking up space on our sofa). There is also a strip of pubs and restaurants, including the Didsbury Pub currently has pub lunch offers on, with starters & puddings as low as £3.

Need some more inspo? Read our cheeky bus route guide.

What to eat & drink:

£££ 

Six by Nico offers 6 plate menus, with regularly changing themes. Last week, I experienced the Fairytale themed menu which was a sensory delight, and ended with a delicate dessert in the shape of Belle’s red rose.

The Wharf is one of Manchester’s finest Old English pubs, a cosy but slightly pricey place to drink.

The Old Wellington is a city centre must-try and a historical artefact, having been moved literally brick by brick after the Arndale Centre bombing. 

Photo: Dudesleeper @ Wikimedia Commons – The Old Wellington Inn

££

Hatch has something for everyone! Parmogeddon is one of my favourites, serving up delicious (and with vegetarian options!) parmos- cheesy, creamy and pure stodgy delight.

Hosted at the Deaf Institute, This Charming Naan is relatively cheap and what could be better than Smiths-pun curries?

Cask is a great mid-range option for drinks, but is still characterful and lively. The Northern Quarter has mass appeal, and there are many pubs that do food as well: Quarterhouse is a particular favourite of mine, especially in Summer. 

£

The food market stalls around Piccadilly Gardens are excellent and usually fairly cheap. Other cheapish haunts include Wolf at the Door (£1 tacos & bao buns!) and Golden Lake Chinese is the cheapest we’ve found- with generous and delicious portions. 

Photo @ Wikimedia Commons
Curry Mile, Photo: @Wikimedia Commons

Friendship and The Orion both serve up cheap as chips pints, and great atmospheres to really show your family the height of Fallowfield/Withington living. If they live down South, they’ll probably be amazed at the pints costing less than half of those in and around London. 

  

 

Menstruation is cool, period.

Most people who have periods will agree that they’re a huge pain and inconvenience. The cramps, the blood on underwear, the mood swings and the cost of products are all huge things that make our lives just that little bit more difficult once a month. In fact, people find periods so annoying that there has recently been a huge drop in the sales of sanitary products. This is thought to be due to the increase in contraceptives which will stop or delay your period.

Whilst this is all very well, we all know that periods are hugely important, and we are very much not the only animals that menstruate. Dogs, apes, old-world monkeys, elephant shrews and even bats have periods. Great apes such as orangutans and gorillas have menstrual cycles very similar to humans ranging from 29-35 days long. However, the occurrence of an ape menstruating (which is day 1 of the cycle) is very rare as females spend most of their fertile lives either pregnant or breastfeeding (although I wouldn’t recommend this method to stop your periods).

I’m sure you’ve heard of a dog ‘coming into heat’ which basically means that the female is in oestrous, and her ovaries have released eggs. This will last for about 3 weeks during which time a small amount of blood is discharged. Whilst bleeding on and off for 3 weeks sounds totally horrendous, luckily for dogs this happens about twice a year.

In bats, the menstrual cycle lasts for 33 days, similar to humans. However, not much is known about this, and it is thought that this only occurs after mating which occurs from August to October. This process has been thought to allow female bats to have another chance at mating during the same season if the first did not result in a pregnancy (a bit weird I know …). Most of the studies out there about bat periods (yes, people actually spend their lives studying this), only really have seen menstruation in captive bats as it is so difficult to see this in the wild. Therefore, most of the data available may not be accurate.

Whilst menstruation might seem like quite a wasteful and energy-consuming process it has evolved many times meaning there must be an advantage to it. The continuous and increased number of periods that humans are subjected to might feel like a cruel joke from mother nature but in fact it is our ancestor’s libido and need to procreate that is to blame (I mean … take a look at the apes!). This is yet another example of how we are unique in nature.