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ISSUE 710 9 MAR 2020

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THE UNIVERSITY OF EXETER’S INDEPENDENT STUDENT NEWSPAPER SINCE 1987

Law lecturer targeted by racist vandalism

• The vandalism appeared in the Amory building last December • Anti-racist poster on BAME lecturer’s door was kicked • Police describe the vandalism as criminal damage

Image: Dr Joseph Lee

Aaron Loose & Neha Shaji Editor & Deputy Editor

EXCLUSIVE

R Joseph Lee, a senior lecturer in the Law School, has confirmed that he was the owner of the anti-racist poster that was vandalised in December last year. Dr Lee, who is BAME, identifies as an immigrant Asian academic. He discovered the vandalism upon returning to work on 5 December after the 2019 strike action that unfolded between November and December. The poster appeared as if someone had stamped on it. The shoe imprint was still visible on the door, which was stained with a muddy brown liquid. There was no CCTV outside Dr Lee’s office, and so the perpetrators remain at large. Dr Lee said “My initial thought was – who did it, and what

message did that person try to convey to me?” Dr Lee took a photograph and contacted Professor Wendy Robinson, the Dean of the Law School, as well as Professor Richard Moorhead, the Head of the School. Professor Moorhead offered to relocate Dr Lee’s office to a more central

part of the school where there were more people. Lee did not accept the offer. He explained: “After thinking about it over the weekend and talking to some of my friends who have a bit of knowledge in racist incidents, the best way is not to relocate, as that may show that you are afraid of them.”

COMMENT Election Results: Is it a bright new future?

PAGE 7

Dr Lee later reported the vandalism as a hate crime to the police over the weekend. He said “The police replied and they came onto the premises to speak to me about it. They immediately identified it as criminal damage. “The police suggested that I did not take down the poster completely,

because that shows that you fear them, and that they have succeeded. They suggested that I put up a clean version and see if they do it again. I followed that advice and that was very helpful.” Dr Lee felt that it was important for students to know “these incidents and to know that it is wrong vandalise an anti-

CONTINUED ON PAGE 4

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Editorial

News Editors Print: Henry Jones Online: Emma Hussain & Pete Syme news@exepose.com Comment Editors Print: Kamila Bell & George Clark Online: Olly Haynes & Gaia Newman comment@exepose.com Features Editors Print: Jaysim Hanspal & William Harrop Online: Bryan Knight & Kate Norman Foreign Correspondents Co-ordinator : Maddie Baker features@exepose.com

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@ exepose facebook.com/exepose issuu.com/exepose Advertising Kate Christlow kate.christlow@exeterguild.com (01392) 722607 The opinions expressed in Exeposé are not necessarily those of the Exeposé Editors nor the University of Exeter Students’ Guild. While every care is taken to ensure that the information in this publication is correct and accurate, the Publisher can accept no liability for any consequential loss or damage, however caused, arising as a result of using the information printed. The Publisher cannot accept liability for any loss or damage to artwork or material submitted. The contents of this, unless stated otherwise, are copyright of the Publisher. Reproduction in any form requires the prior consent of the Publisher.

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Worldwide university news

Drivers "continued to accelerate" towards Uni of Sussex protestors

PAGE 3

Image: Pexels

Lifestyle Editors Print: Izzy Cole & Anna Romanovska Online: Amy Butterworth & Emily Pirie lifestyle@exepose.com

Billy Bragg and Ben Bradshaw speak at UCU rally

Image: Pexels

Editors Print: Isabelle Gray & Aaron Loose Online: Harry Caton & Ellie Cook Deputy: Anne Chafer & Neha Shaji editors@exepose.com

are resorting to using foodbanks in huge numbers, according to the UCU. Make no mistake; when the staff strike, it is a last resort necessitated by the vast failures of management. These strikes should not happen. But, by disrupting the usual rhythms of university life, the industrial action has created a space for us to imagine a different system of higher education. Flick to page 4 and read our coverage of the most recent teach-out. Ben Bradshaw, the Labour MP for Exeter, gave a speech. Folk-punk songwriter Billy Bragg was in classic garrulous form, as our interview demonstrates. Lecturers shared testimonies of backbreaking workloads and newfound togetherness on the picket lines. The teach-out is a visionary event. Churches are confluences where the here and the hereafter align, right? Well, the teach-out is the border zone where activism and education become indistinguishable from each other. Lectures are not about reaching performance quotas. By talking and listening to one another, we can see the world differently. Sir Steve Smith, our outgoing Vice-Chancellor, is adamant that the marketisation of higher education is a done deal. But we know differently. Another world is possible. When the people who really make the University- the undergraduates, the postgraduates, the professional service staff, and the academics- gather to think things through. No one at the teach-out was the same. But their differences did not divide them. They still shared solidarity. And that's what will get us through until tomorrow. Until next time, Aaron & Isabelle

NEWS

Image: Wikimedia Commons

HAT is solidarity? Perhaps the fastest route to an answer is to figure out what solidarity is not. Solidarity is not about comparing your unique experiences to the traumatic testimonies of a marginalised person. Solidarity is not about flattening history so all traumas and injustices are made equal. Solidarity is not about making everyone the same. What solidarity is about is difference. Difference is not divisive. Working through difference can reinforce the bonds between separate peoples and identify the wounds that require the most careful treatment. White people will never suffer systemic pain and persecution in the same way that BAME people do. Our experiences are not the same. Allyship, to our mind, starts with the recognition of this essential fact. By refusing sameness as a basis for empathy, people instead build solidarities on simple truths: bigotry is intolerable, people of colour need more protection than white people, and that universities are failing to protect its international communities. We all know the truth now. Our University is rotten. This institution cannot safeguard the interests of its marginalised students. Their strategy is not proactive. When was the last time you saw an anti-racist poster on campus? Instead, the University is reactive, posting empty statements that point fingers at a wider societal intolerance than to a local atmosphere of xenophobia Furthermore, why should we trust the University to look after its students when it cannot care for its staff? The UCU are on strike once again, because the UCEA is certain that they cannot pay a single penny more. Nevermind that staff members

Image: Harry MF Caton

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Devonshire House, Exeter, Devon, EX4 4PZ

TUDENTS at the University of Sussex say that drivers “continued to accelerate” towards them at as they had formed a blockade at car parks on the campus. The protest was organized in solidarity with the ongoing UCU industrial action. One student who was part of a group of 25 explained: “We were blockading the entrance to a car park, looking to put pressure on the university.” They said that “there was contact made between us and the cars” and drivers had said to them “we have a right to do this because you are stopping us from making profits.” A spokesperson for the Sussex Police said they were called at 8.30am and “Officers attended to ensure and facilitate a peaceful protest. No offences were reported.”

One in five lose money through uni

ESEARCH from the Institute of Fiscal Studies has found that one in five students would be better off financially if they didn’t attend university. The analysis found that 20 per cent of graduates earned less during their careers than their peers with similar exam results who chose not to attend university. The research also highlighted a gender disparity in terms of the financial return from university: men gained on average £130,000 throughout their careers, whereas women gained £100,000. The top 10 per cent of men who studied either economics or medicine earned on average £500,000 more than their peers, while women in the same category had average gains of £250,000.

Uni of Hertfordshire cleared over data breach

HE University of Hertfordshire mistakenly shared the details of 2,000 students in an email to promote a lecture has avoided further consequences from the data protection watchdog. The university said: “We immediately reported the breach to the Information Commissioner's Office, who decided that it was not necessary to investigate further as the university had in place appropriate processes for dealing with these circumstances.” They added that they had reviewed their polices and provided new guidance to staff. Earlier this year, the BBC reported that the University of East Anglia had paid students over £140,000 after the personal details were emails to other students. The spreadsheet, which contained health problems, personal concerns, and bereavements, was sent to 298 people. Image: Pexels

California Uni fires 54 staff over strike

HE University of California has fired 54 teaching assistants after the refused to submit the final grades for student assessments in protest over low wages. Lori Kletzer, the University’s Executive Vice-Chancellor, said: “It is extremely disappointing to us that we have to take such a drastic step, but we ultimately cannot retain graduate students as teaching assistants who will not fulfil their responsibilities.” The assistants began their protest in December 2019, and subsequently stopped teaching in February 2020. 28 other assistants were not fired, but were told they would no longer be considered for future teaching positions by the University. Bernie Sanders weighed in and described the move as “disgraceful.” He added: “All workers deserve the right to bargain and strike for better wages and benefits.” Stories by Henry Jones and Pete Syme

9 MAR 2020 | EXEPOSÉ

NEWS

Billy Bragg returns to support UCU at rally Pete Syme & Richard Ainslie

Online News Editor & Music Editor

S part of the ongoing industrial action, UCU members held a rally last Thursday at St. David’s Church following a march through the High Street. Activist and singersongwriter Billy Bragg performed a concert, whilst Exeter MP Ben Bradshaw also made a speech to show his support for the cause. An important revelation came from Nick Varney, UCU Regional Officer for the South West, who explained “I think we’re fairly close to a long-term deal” in regards to the pensions dispute. However, he also noted that there needs to be more negotiations on precarious pay, condemning Vice-Chancellors for being “too focused on their own remuneration” and noting that “this sector is cash rich. They could afford to pay you more.” At Exeter, just 37 per cent of staff are on fixed term contracts, whilst Sir Steve Smith earns £421,000 a year. When he retires at the end of this year, Smith will receive a payout of up to £830,000 the biggest ever in the university sector. One lecturer spoke to us about the

importance for older staff to support their younger colleagues: “A lot of this is about young academics, a lot of them have young families at home - it’s hard for them. I’m not here for myself because I have a good salary and pension, Exeter has treated me well. I’m here for younger people.” In his speech, Bradshaw apologised to the attendees for Labour’s loss in the last general election, and said that whilst he would do what he could, the 80 seat disparity would hamper this. Exeposé spoke to him afterwards where he expressed his hopes for the party’s leadership election to deliver “a strong mandate and a competent and effective opposition which heaven knows this country desperately desperately [sic] needs at the moment, and on a whole range of fronts, not just this particular dispute but the shambles that is Brexit, the coronavirus, and all the other challenges that the country faces which this government is not addressing.” The rally also included a game of UCU Top Trumps which compared universities on gender and BAME pay gaps, percentage of staff on fixed-term contracts, workers’ rights score, and the VC’s annual salary.

Billy Bragg performed such songs as ‘Sexuality’ and ‘There Is Power in a Union,’ with updated lyrics lambasting the likes of Boris Johnson and Morrissey. Exeposé had the opportunity to speak to him afterwards, where he explained his motivations for supporting the UCU: “Do you know who I am, mate? I’m Billy fucking Bragg. That’s why I’m here. Where else would I be?”

“I’m Billy fucking Bragg. That’s why I’m here. Where else would I be?” Billy Bragg, Folk-Punk Singer

“One of the most important things you can have for your mental health is a sense of agency over your life - of feeling that you’re not just tossed around like a cork in a storm, and a union will help that if you can organise in the workplace. “It’s hard, you’ve got to find where you can get involved in the struggle and this is one of those places. It’s happening on lots of different levels, not just trade unions. You’ve got to sharpen your spear and find where you can go and do the best work you can.”

Image: Pete Syme

Uni pledge to cover graduation robes costs

Students admit to not reading strike emails Kamila Bell & Bryony Gooch Comment Editor & Music Editor

XETER students spoke out this week on the events that influenced their stance on the strikes and where they received most of their information. On 14 February, Exeter Guild released the outcome of the student poll stance on the UCU strikes. The results showed that “85 per cent of students support the cause of the industrial action, however this is split in terms of support for the strike action, with only 37 per cent supporting the strike action, compared to 41 per cent in November.” Exeposé took to the Forum to ask individual students if they supported the cause and the action. A second year English student aligned with the Guild’s findings of agreeing with the cause but not the action. An unaffected first year Business Management student suggested the strikes could have been conducted in a different way: “instead of affecting us, it could have targeted the university directly.” A second year Middle Eastern Studies student comparatively supported the cause and the the action, as did a second year History and International Relations student. The second year History and In-

ternational Relations student stated that “the tutor emailed and made their case which made me more sympathetic to them,” in comparison to when the Vice-Chancellor had emailed.

I don’t tend to read the uni emails. Most of what I hear comes from word of mouth on the pickets An Economics and Finance student

picket noted that “all we can do as members who are taking strike action is talk to students when they ask questions, we accept that some students are gonna be upset. Our job is to talk to students when they ask questions.” The fourth year Economics and Finance student appeared to reiterate the importance of strike action as a driver of negotiations between the UCU and the university. “I think given they’ve tried numerous times to strike and the uni won’t budge, all you can do is keep hoping for a resolution. If they then go back to teaching the university definitely aren’t going to do anything.” Strikes are set to continue as planned until 13 March, with negotiations between the UCU and the University & College’s Employers Association (UCEA) ongoing.

Similarly, a fourth year Economics and Finance student, less affected by the strikes, noted that a lot of their information came “either from coming to campus and being handed leaflets or obviously the uni sends out emails which is more of an academic update. I don’t tend to read them as they’re quite long, but most of what I hear is by word of mouth through the picket lines.” A UCU striker in response to these statistics stated that “we are very grateful for all the support, in any way students are able to give us, and if they feel they are able to support the cause but not the strike action well that’s great and we would like those students to come and talk to us so we are able to explain our actions a little bit more.” A striker from the Queen’s Image: University of Exeter

Aaron Loose Editor

HE University has confirmed that students planned to graduate in the summer and winter will not pay for their graduation robes. On 28 February, Olivia Harvey, VP Activities, tweeted that the University had confirmed that final year students affected by the industrial action would not be expected to cover the hiring cost of their graduation robes. A spokesperson for the Students’ Guild said: “We are pleased to see that the University are extending the free graduation robes to the winter ceremonies, in addition to the already confirmed gesture for the summer ceremonies. “This is something we were keen to support after students raised the feedback of including winter graduation to us through our Academic Representatives (AcReps) and other feedback channels.” Graduates pay £39.60 to hire their graduation robes for a single day. A spokesperson for the University said: “We will pay the costs of gradu-

ate robe hire for all students graduating in 2020. This has been discussed for some time and requested by student representatives particularly in light of recent industrial action. We will review the feedback and costs at the end of the year and consider whether this is something we can offer in future years.” Luke Masters, a final year Law undergraduate, had mixed feelings about the University’s decision. He said “I think it’s a very tepid response to student concerns about the strikes, and seems to be more of signalling concern for disruption rather than actually wanting to stop the disruption. “Of the things they could’ve spent money on, I think it’s the most democratic as applies to everyone. Should we have had to pay for them at all? Probably not, but with Exeter hidden costs are abundant.” Izzy Cole, a final year Geography undergraduate, was happy with the changes, but did not believe the offer made up for the disruptions caused by the University and College Union. She said: “I do think the university’s choice in paying for our graduation robes is a good one due to the fact they didn’t have to make that decision, but in reality does getting a free robe mount up to the amount of lectures, seminars and office hours lost? No, no it doesn’t.”

9 MAR 2020 | EXEPOSÉ

NEWS

Guild celebrates LGBTQ+ History Month Anne Chafer Deputy Editor

HE University and the Students' Guild have teamed up with student groups to organise a series of events celebrating LGBTQ+ History Month this February. The aim of LGBTQ+ History Month is multiple. Celebration of LGBTQ+ rights and how far we have come is a big part of it, but events also put emphasis on educating others, raising awareness of the struggles of the community and the need for a more inclusive environment. The events ranged from socialising opportunities to educational talks to safe sex tests, and took place mostly during the first half of the month at the Streatham campus. They kicked off with a tour of the Institute of Sexology on 6 February. This event looked into an institution founded in the 1930s which studied LGBTQ+ lives and experiences, and offered political protection and medical care for transgender people.

The events are about raising awareness of the community's struggles and asking for a safer environment The next event, a brunch on 8 February, was organised by the LGBTQ+ Staff Network and the LGBTQ+ Student Society, and offered a glimpse into the role of these two groups. The same groups then organised a quiz on 10 February. The LGBT History Month Trans and Non-Binary Café was held at the Old Library the following day. This is an event which happens semi-regularly – keep an eye out on the University of Exeter Equality and Diversity Facebook page for more information about future events. A small event was also organised by the LGBTQ+ Staff Network and the LGBTQ+ Student Society at the St Luke’s campus on 13 February. This consisted of an educational stall for students to learn who they are and what they do. Finally, the Eddystone Trust visited the Streatham campus on 14 February to offer free HIV tests and information. They provide support for anyone affected by HIV in the South West. The celebrations will conclude with the LGBTQ+ Ball on 13 March, celebrating the history of ball culture among the LGBTQ+ community.

"We aren't being defeated by racist actions" CONTINUED FROM FRONT racist poster. It’s the wrong thing to do. It is our duty as an institution to communicate that message to the students for educational purposes, in addition to maintaining and protecting students’ wellbeing and safety." One faculty member photocopied the vandalised poster and stuck the copies onto the doors of other law school academics. This, Dr Lee says, was to show “to the perpetrators that we aren’t being defeated by their actions.” He continued: “I was unsure whether I should take down the poster and not to pursue anything, but my colleague said if you’re not pursuing it for yourself as a victim, at least you should think about other colleagues who may be victims.” When asked about the University’s involvement, Dr Lee said he asked the University to liaise with the police and to provide the investigators with information on similar racist incidents. Dr Lee approached Exeposé after he read an interview with Professor Tim Quine, the Deputy Vice-Chancellor for Education, which featured a discussion of the Law School graffiti at Amory.

Image: Google Maps

At the time, Professor Quine did not mention Dr Lee, but clarified the University’s stance against racism on campus.

Dr Lee asked the University to provide the police with information on past racist incidents Professor Quine stated “fundamentally, we are against any expression of any forms of racism. You’ll have seen how we work with the Provost commission." When asked whether the University failed to make enough people aware of the vandalism, Professor Quine responded: “An email had gone out from

the Head of the School to over a thousand or so law students about the incident that had taken place. "It’s not that we were hiding the incident – whether it should have been publicised more is obviously something to look at." Dr Lee is also a member of the Race Equality group and has provided the University with the crime reference number and the phone number of the police. Dr Lee said "I think it is important for students to know these incidents and to know that it is wrong vandalise an anti-racist poster. It’s the wrong thing to do. "It is our duty as an institution to communicate that message to the stu-

dents for educational purposes, in addition to maintaining and protecting students’ wellbeing and safety."

It is important for students to know that these incidents happen

Dr Joseph Lee, Senior Law Lecturer

Although Dr Lee is thankful for the support of his department, the lecturer is still unsure what compelled the vandals to deface his anti-racist poster. “I don’t know what the motive is here, and still don’t know: are they targeting me, as an immigrant Asian lecturer, who is part of the Race Equality Group and was involved with organising events for Black History Month? Or were they targeting my community?”

Student abused after challenging lecturer's alleged transphobic tweets Isabelle Gray Editor

N 28 February, a student spoke out on their Twitter account against Economics lecturer at the University, Eva Poen. The student collated numerous screenshots of Poen’s tweet that contained transphobic content. Poen’s twitter account is now on private. The student also posted a statement intended for the head of the Economics department: "By employing Poen at this university you are making the statement that you accept her right to her platform. (...) By letting Poen abuse this platform you are actively harming transgender people at this University. (...) This twitter account is UNSAFE for the students of this University." The University responded: “We support free speech within the law and expect people to conduct any debate with courtesy and respect for all.” The student received numerous tweets of abuse in backlash for speaking out, in talking to Exeposé they explained: “As for silencing debate, we were both

met with online harassment that led to both of us having to private our accounts. I was called “a silly little girl” a “gynophobe,” a “traitor" and a “selfish bastard using mummy and daddy’s money” just to name a few, and my significant other was misgendered and called a misogynist. I was also assumed to be trans because I had “she/her” in my bio, so they misgendered me and called me a man! These people claimed to be feminists but in the same tweet were dog piling and silencing me, reducing me to stereotypes about women (calling me a silly little girl) or deliberately misgendering me!”

Poen is actively harming transgender people at this University Anonymous Student

“The only reason I got involved is because my significant other is nonbinary and they found the account after a post was made on Exefess. I was so upset that a lecturer was using logic that denied their existence. The tweets are very clearly transphobic because they aim to erase the

existence of trans men and non-binary couraging her followers to report her acpeople and assume that every trans woman count. is trying to “invade” womanhood. (Which Penny Dinh, VP Education, respondis obviously horrible, trans people don’t ed: “The Guild oppose and condemn any exist for their existence to be debated!)” form of hate, harassment, intimidation Her partner, who is nonbinary and and discrimination and will not tolerate it. also a student at the University, also com- If students feel that the University values mented, stating: “Dr Poen’s use of lan- are being broken, we strongly encourage guage is fundamentally anti-intellectual. students to report it via the University’s She engages in the tactic of saying some- Speak Out platform. W e are working with thing short, punchy, but wrong, like ‘sex is the University to make sure that the approimmutable’ or ‘only women menstruate.’ priate action is taken. If you need further These seem like common sense ideas, but support, please contact the University’s when you drill down in to it, the underly- Welfare team or if you would like indeing logic explicitly excludes trans people. pendent Guild support then speak to our Free speech and debate of ideas is one Advice team.” thing, but when you refuse to treat other people with respect (using correct pronouns etc.), it becomes an issue of a lecturer creating a hostile or unwelcoming environment.” Incoming VP Welfare and Diversity Ruby Jones also tweeted out about Poen’s tweet, en- Image: Wikimedia Commons

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9 MAR 2020| EXEPOSÉ

Comment

COMMENT EDITORS: Kamila Bell George Clark

A Guilded future?

Neha Shaji Deputy Editor

HE Full Time Officers for the Students’ Guild were elected on 21 February, and whilst 19.5 per cent of the student body voted in the election, this piece hopes to bring the election and campaigns week right to (perhaps not all) the rest of you. We’ve spoken to the candidates running, and we’ll look at their biggest promises and pledges, as well as what they have to say about the week itself, their wins, and any issues faced during the process.

One of Dinh’s prior wins was changing the language in Tier 4 attendance warnings Sunday Blake, this year’s VP Postgraduate, was elected at Stage 4 of the voting process, winning each stage of the vote. Her manifesto prizes democracy and transparency, promising to commit to running NUS Referendums every three years, as well as changing the inaccessible culture of senior management. Her outlook is also open and diverse; Blake wishes to continue working with groups such as the BAME Network and implement VisaSponsor Only Career Fairs so BAME and international students achieve a high quality of student experience. Blake and her diverse campaign team were often seen around the Forum in bright yellow sashes, with her digital campaigning proving a unique method: releasing a video on her manifesto promises and issues she pledges to tackle on every day of the week. Ruby Jones was Image: Students’ Guild

elected VP Welfare and Diversity, focusing on accessibility and the decolonisation of wellbeing and classroom experiences. Jones’ brightly clad campaign team included an acapella group, who staged a performance on Forum hill. She had a rather iconic election speech, proclaiming delightedly: “I’m just so excited!” She emphasised to us the comparative inacessibility of Campaigns Week, stating it was “a shock to my system. Being on campus everyday speaking to people and flyering was so exhausting for me, and I ended up pretty much bed bound for the entire week afterwards. I feel like there should be more emphasis placed on the importance of digital campaigning, as well as specific days that candidates are allowed to go out and campaign. Not everyone can walk up and down the hill all day.” Blake, however was the recipient of targeted criticism online, which can be followed in a thread on the VP Education’s Twitter account. Both Jones and Blake addressed this harassment as well, with Jones remarking how “seeing my fellow candidates get constantly abused

anonymously online simply because they are from a marginalised group is just unacceptable. Perhaps each candidate should be scheduled an appointment with a welfare officer before or during election week.” Blake, who was the only woman running for the Guild President role, remarked on the misogynist nature of her being referred to as “aggressive” by interviewers when “I spoke the same as the rest of them, yet I backed my claims with statistics as well.”

........Who wouldn’t relish the prospect of another year in Exeter? On Results Night, she also told Exeposé “we as a campus need to be nicer to those who put themselves forward and try and do good stuff. The amount of people who dropped out of this election shows how horrendous this is and I hope that next year I can influence the elections to be nicer.” Another re-runner was Penny Dinh, who ran to continue her role as VP Education. Dinh prioritizes decolonisation and diversity, with

a promise to make the University pledge to significantly tackle the BAME attainment gap in both the long and short term. Dinh has had considerable wins this year as well; successfully managing to lobby the University to change the tone of voice they utilised to send Tier 4 Attendance Reminders. She stated that it was “quite fun to engage with students. Even though I’ve done it before, it still surprises me and warms my heart that students are willing to engage.” Indeed, Penny and her campaign team were spotted around several of the Colleges, speaking to students on Forum Hill about educational issues they were currently facing. Also re-running for the same role was Liv Harvey, who ran unopposed this year. Harvey’s debate was, frankly, a delight to watch: it was more of an informal chat with the Xpression FM host, who teased out some of her manifesto points that she wishes to continue on. Harvey’s manifesto was primarily campaigns based, with several initiatives around Refreshers and society training she wished to implement. Harvey remarked positively on the shortening of the voting period,

stating that it was beneficial to candidates’ mental health, as well as stating how excited she was to hit the ground running with her new manifesto over the next academic year. Josip Martincic, who ran for VP Postgraduate, had a primarily digital campaign, and had an extremely expansive manifesto covering all the different aspects of the expansive role. He was “delighted at the amount of support provided by the Guild for this election. There was a sense of compassion and understanding with my fellow candidates and the moderator of our debate really made me feel so comfortable. I enjoyed the 3 day voting timeline and, though it was the longest day of my life, that Friday as results night ran well.”

.........Not everyone can walk up and down the hill all day long Ben Hart was elected President of the Athletic Union. Hart, who is a member of EUAFC, had emphasised accessibility, inclusivity, and wellbeing in his manifesto. He held his own in the debates, with interesting answers regarding practical methods to improve the culture of university sports whilst not downplaying their importance. Hart told Exeposé that he was “just buzzing to get going with the role now. I really believe I can be the most outgoing approachable and conscientious representative of student sport and am committed to helping every individual and every club succeed in sport. Who wouldn’t relish the prospect of another year in Exeter?” Like the candidates, we at Exeposé are also excited to see how the elects fare across the course of the next academic year. But we’ll think about that when they take over their new (or old!) roles in July!

9 MAR 2020| EXEPOSÉ

COMMENT

A summer well spent Elinor Jones Science Editor

VER since I can remember I have had a summer job of some sort, whether it was helping out my parents at events or in the office, retail jobs or work experience. Being a naturally restless person, enjoying and usually thriving on being busy, three months of summer holiday whilst at university is enough time to do a whole host of amazing things. From practically earning money to pay for your living costs, to relaxing and unwinding after stressful summer exams. The best place to start with summer is at the end. When term time comes around and you start back at lectures in September, what will you have wanted from your summer? For me, after breaking up from exams in late May, I know I will need rest, something intellectually stimulating and something to look forward to, all underpinned by the foundation of a regular summer job. Summer work is easier to get in some places than others; I live in an area frequented by tourists during the summer

months, meaning there is a mass hiring of hundreds of young people to cope with the demand placed on its eateries, pubs and shops. For me, as I find university draining and disruptive to my sleep cycle, working fairly sociable hours at a clothes shop for the last couple of summers has given me a chance to earn money whilst being able to meet some great, fun people with infamous staff gatherings. If you spend summer in a non-touristy area, working for places like supermarkets, whilst demanding, can also provide well-paid, regular shifts. Get applying to places over the spring holidays, as many vacancies will be high in demand as the summer months roll in. For both summers of my undergraduate degree I have undertaken internships, although I was lucky, and

both required little in the means of an application. Whilst it helps that I am staying in the academic field, I wanted to ensure this was the right path for me, internships gave me the opportunity to make contacts

and gain knowledge and skills that have helped throughout my degree. Internships are a surefire way of working out if you are interested in a particular field or career path, if you can’t complete

at least four weeks of employment in that field, it probably isn’t quite right for you. I came away with publication in a high impact journal in my second year and worked with professors who are internationally renowned in their work, something that has given me confidence and a great talking point at interviews, alongside my applications. Speculatively applying for internships has been the means by which I’ve gained all my work experience, including one internship funded by the University of Exeter. Some big companies offer highly competitive internship schemes that are great if you are wanting to work for such companies once you graduate. Bear in mind where your internship is; cost of accommodation can be a key factor in keenness to apply for often unpaid work experience. If this is a concern, try applying to places in Exeter for the period after exams whilst you are still paying for your

accommodation or similarly near home if necessary. Now is the key time for applications, brushing up up the CV and thinking about what really excites you, as you need motivation to work hard whilst other people may be posting pictures on Instagram of themselves in Bali. Finally, ensure you let yourself rest.

...Internships are a surefire way of working out if you are interested in a particular field There is no point gaining work experience if you are going to be exhausted in September and underperform on your degree programme. Whether you have the time and funds to travel or you spend your holidays in your garden or maybe curled up in bed reading, do the things you don’t give yourself time to do whilst at uni. Catch up with friends and family if you have the chance, get outside and be active if possible and most importantly have fun. Images (clockwise): pixabay; andres chaparro, Pexels; skyseeker, flickr

Sustainable Life Corner Vegan Diet Alice Tait Contributor

ROM the 10 to 14 February, the University celebrated and advocated being environmentally conscious during the Go Green Week. However, becoming ‘greener’ should not be a week-long concern. Instead we should all collectively become inspired to make lifestyle changes to significantly reduce our environmental impact. One fantastic way to diminish your carbon footprint is through adopting a vegan diet. In fact, the United Nations have indicated that a global shift toward a vegan diet is one of the steps required to combat the worst effects of climate change. However, such a lifestyle change can seem extremely daunting and potentially unviable. So, why not take it one step at a time? Attempt meat-free and dairy-free days. This may start off as being once a week, or just one meal, but over time you could push yourself to five days a week. Get inspiration for recipes! There are so many fantastic vegan recipe books out there to make you feel motivated and excited to cook some delicious, hearty meals. A particular favourite of mine is 200 Vegan Recipes by Emma Frost and Nichola Palmer. Furthermore, there seems to be a countless number of websites and blog posts available online with recipes for tasty vegan meals and treats. Instagram is also a great medium for fellow vegans to share their own meals which tend to be quick and affordable. It is also crucial to find substitutes for your favourite nonvegan products. Experiment in finding vegan substitutes that work for you and fulfil your dairy or meat craving.

Reusable coffee cups

shared cooking

Anne Chafer Deputy Editor

Kamila Bell Comment Editor

HE is small but mighty, my friends. Reusable coffee cups are trendy now, and I am not going to complain about it. Did you know that a small percentage of the material used to make single-use coffee cups is plastic? That’s why they are so difficult to recycle. Some companies have started initiatives to make it easier for consumers to recycle their single-use cups (like Pret – they will accept any cups, not just theirs), but of course, ideally, we wouldn’t need to even use them. Enter the reusable coffee cup! I couldn’t have said the same thing years ago, but the fact is that nowadays there is a huge variety of designs and sizes to choose from. And with more companies introducing a little discount if you get your hot drink in your own cup, it’s becoming more accessible, ultimately helping you save money in the long run. Single-use plastic is an issue that would require way more space than I have here to tackle and debate, I acknowledge this. However, this is an easy change to make which will, in the long run, create a big impact. “If two million people chose to reuse their cup just once a week it would save 104 million cups a year from landfill,” says David McLagan, one of the founders of Ecoffee Cup – the brand that makes those ubiquitous cups lining the walls of Boston Tea Party (who also introduced a successful reusable coffee cup scheme just last year). Yes, let’s not stop fighting politicians to introduce green policies, but why not do it with a reusable cup in hand?

T this point in your time at university, you have probably realised that cooking for one is lonely, uninspiring and can result in a lot of waste. That is why I am proposing to you the joy that is shared cooking. In the first instance, you might disagree with your housemates’ cooking method, but it means that you do not have to be inventive for what you’re having for dinner. Allowing a housemate to maybe take the lead on what you’re both going to be eating for dinner that night, means that the only thing you need to worry about is doing your part to help, the washing up. Getting the right proportions to create a meal for one is often unachievable; supermarkets are not set up for solo cooking with the majority of things coming in multi-packs, or even if a meal is targeted for solo-dining it usually finds itself in the form of a square, overpriced microwave ready-meal. Granted you could cook for two and save what you do not eat for your lunch the next day, but if you’re like me and get bored eating the same thing all the time, you might just let those leftovers go to waste and feel guilty for doing so. Fear not, in comes my idea again for cooking with a chosen housemate. Cooking in larger groups ultimately means that you are able to split the cost of ingredients and more accurately cook the portion sizes you need ensuring that waste is minimal. Images (top to bottom): freeSVG, pixabay

EXEPOSÉ | 9 MAR 2020

COMMENT

Uni, extreme anxiety and me George Clark Comment Editor

NXIETY, for a term that gets thrown around a lot, is an incredibly complex problem which tends to vary significantly from person to person, though everyone is bound to experience it. For me, the first year of uni was an act of vehement denial, denial that the amount I was trying to socialise, though it might not have seemed like a lot to others, was actually having a serious impact on my mental and physical health. For those who don’t suffer from extreme anxiety, let me give you a little rundown on how conversations often work from my perspective. You say something; you could’ve just told me that you’ve won the lottery or your dog died but my response can only be a weak imitation of surprise or sympathy, because my head is racing trying to think of the right thing to say, how to phrase it, what tone and speed of voice it needs to be conveyed at,

whether I’m thinking too hard about the response, whether that response might sound too casual or unnatural. And round and round it goes. The true horror of suffering from this is that people tend to think, through no real fault of their own, that you’re just a bit “quirky,” when in fact, that label is the furthest thing from empowering: it is a reminder that anxiety is puppeteering your every social encounter.

Anxiety puppeteers your every social encounter There is no better breeding ground for extreme expressions of anxiety than uni. First year is the worst, because there is a pervading expectation and desire to re-invent yourself, to make a big impression, to be sociable, not to come across as too boring or reserved in case people stop wanting to hang out with you. It can be an incredibly lonely year, even for those of us who don’t suffer from extreme anxiety. But unfortunately,

these problems don’t stop after your first bout of summer exams. With the stepping up of your workload in second year, striking any kind of work-life balance becomes a harder task. And that phrase, “worklife balance,” offers a useful window into how differently anxiety sufferers process day-to-day life. For me, and I’m sure for many others in similar mental spaces, hanging out with friends often actually constitutes more work. And that’s a hard thing to admit to yourself but is, unfortunately, an uncomfortable truth I have to face most days. No one wants to feel like a burden to others, especially to those you care most about, which is why I can often actually feel more anxious about interacting with my friends than with strangers.

No one wants to feel like a burden to others As a result of the increasing workload and natural compulsion to

socialise then, arrives the constant exhaustion. It really feels a lot of the time that you don’t have any room to breathe. Either you’re stressing over an essay or worrying about whether you’re too tired to appear coherent when you go drinking with friends later that night. Anxiety is a constant process of over and undercompensation, both in social scenarios and in the ways in which you try to organise your life. Nothing feels natural, nothing flows; every second poses a new challenge you’re worried you don’t have the energy to overcome. If any of this sounds familiar to you, and you thought it was totally normal, because it’s something that you go through every day, don’t suffer in silence.

Acknowledging that levels of anxiety you experience, whether social or academic, are detrimental to your life is the first (and scariest) stage of trying to work through it. There is no shame in suffering.

Images (Top-Bottom): mohamed_hassan, Pixabay; Mandy Fontana, PIxabay

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Mitigating circumstances

Anna Romanovska Lifestyle Editor

HE mitigation system has helped me throughout my time at university. Due to the nature of my mental illnesses, I get incredibly bad brain fog and my energy levels are incredibly limited. This makes continuous focus on any mind-strenuous activity difficult. I can’t hold my focus and can’t think clearly. Considering my degree is in philosophy, where clear thinking is a core part of my assignments, this is a major problem. Mitigation, whether this was the

extension or deferral of essays, gave and continues to give me, the time I needed to complete my work. However, this was not always the case. The mitigation process struggles to account for people with disabilities who come from various cultures. Before I came to the UK, I knew that my mental illnesses heavily impeded on my day-today function, however, I did not consider them a disability. This is a massive problem. You usually don’t get any information on the mitigation process unless you declare a disability during registration at the beginning of the university year. Or, if

you’re not lucky enough to have attentive tutors and lecturers, you won’t be referred to any support system such as the Health and Wellbeing Support for Study (HWSS) or general mitigation processes.

There are cultural barriers to mental health discourse This issue is extensive within the international student community. Due to cultural barriers on mental health discourse, many do not accept that they struggle due to the stigmas surrounding mental health in some cultures. Moreover, the categorisation of mental illness as a disability is mostly prominent within the Western psychological and medical spheres. Most people who struggle with mental illness in non-Western countries are expected to bottle it up and get on with it. This recognition is often present within higher education and is not really acknowledged in Western psychological therapies. Therefore, a lot of students are left behind without the support they need, often making them gain worse grades than their home student counterparts. I didn’t receive any support in my first year. This led me to completely miss out on an opportunity to study or even work abroad in my third year of university. I missed two deadlines because my depression was so bad that I

couldn’t even try to commit myself to my university work. This was understandable, as I had a delayed process of dealing with an abusive relationship. I left it in the middle of my first term but did not realise the extent of the emotional abuse I had directed towards me for almost two years. As these things do, it all caught up with me during my second term of first year. So, I ostracised myself from many of my university friends, opting for those who could enable me to drink my low mood away at regular pub outings. I convinced myself that I was fine. I was not. My attendance was abominable. Only one of my seminar leaders reached out to check in on me to make sure I was okay. But I didn’t reply, because I was ashamed. I received no check-ins thereafter. I knew that the mitigation system existed by my second term. And I tried to access it. But because I didn’t declare my disability or know how to access support, I did not receive the extensions I needed to even get a 2:2. I applied for a three week extension for one of my essays, but because the request was submitted just before the April break, I couldn’t get a student health centre appointment due to it being oversubscribed and could not access the Wellbeing services support without this. After explaining my situation, I was told I could have a chat with a wellbeing practitioner over the phone. The problem with this? I was already

at home at this point, abroad. I had no way of topping up my credit on my UK number. Essentially, I was unreachable. Why? The Wellbeing services only accept UK numbers for calls, essentially cutting off most international students who, for various reasons, cannot open a UK bank account and thus cannot acquire a UK phone contract or top up their credit from abroad.

The Wellbeing services only accept UK numbers for calls I’m lucky now, I finally declared my disability at the beginning of my second year and have since had an ILP (Individual Learning Plan) and HWSS when I needed it. However, there are still students at this university that cannot be reached for cultural, personal or familial reasons and even because of internalised shame of struggling with mental illness.

É If these issues on this page affect you, you can get in touch with: Wellbeing Services: exeter.ac.uk/wellbeing Exeter Nightline: 01392724000 Student Health Centre: 01392 676606

EXEPOSÉ | 9 MAR 2020

Beyond Exeter The myth of the cultural melting pot

Sana Quadri Contributor

HAVE visited the United Kingdom several times in the past. However, though I have been to most major cities around the North and South, I’ve never had the chance to see the South West. And it so happened that when the opportunity to live as a full-time resident in the UK arrived last September, I ended up here, to pursue my Masters in Middle Eastern Studies. I was ecstatic to be heading to Exeter and looked forward to the experience of living in a historic city. But boy, nothing prepared me for the quaintness that was on offer in Exeter. The first month wasn’t easy. Putting up with an overwhelming majority of people that look and speak the same was not too hard. It was rather having to adjust to the worst dining scene in the whole of Western Europe that was a struggle.

The Dubai corporate world is the only place cultures intermingle Being born and raised in Dubai, a city home to 200 nationalities, was both the cause of my excitement for moving to a city like Exeter and why it was very difficult at first to digest the full-on authentic country life. Along with a dull dining scene, the fact that cafes close at seven was doubly punishing. I have now long

Image: Arkin54, Pixabay

started to enjoy the pace of life in Exeter and after four months here, I don’t think I can put up with the chaos of big cities. A recent report in Exeposé talked about how the University of Exeter ranks the fourth least inclusive university in the UK. However, my time at the University is proving to be a great journey of cultural exchange that I could have never had in Dubai. Unfortunately, in most of the countries along the Persian Gulf Coast (GCC) the natives are far outnumbered by foreign nationals who don’t have, nor will ever have permanent roots in their country of residence. Knowing that sooner or later they will pack up and leave, parents prefer sending their kids to schools with curriculums belonging to their respective country of origin. This is so that the children can re-adjust easily when they have to return. Therefore, the many ‘international’ private schools that operate in such a setup in effect cater to specific nationalities. I spent 14 years of my school life at an Indian school managed by an Indian trust, and therefore as a rule was not even open to students of other nationalities. Interacting with the already minuscule population of natives becomes next to impossible as most go to state run schools or to specific British or American curriculum schools, not affordable to most. Hence the corporate world is perhaps the only place one can expect a real intermingling of cultures in a cosmopolitan city like

Dubai. But it’s also where one sees the worst forms of segregation. A westerner is likely to earn at least ten per cent more than their Asian counterpart for the same job in the United Arab Emirates. The neigbourhood they will live in is likely to be the Hampstead Heaths of Dubai, off limits to the majority of the city’s denizens.

If a city is riven with inequality, words like “diversity” mean nothing The multinational company I worked at for close to a decade had a majority of British expats in managerial positions. Therefore, they would not really join you for lunch in the first place. Most would heat their food up and go back to their offices to eat. Maybe, I guess, because they wanted to afford us the privacy to be able to gossip behind their backs. To now be breaking bread with them in Exeter, sharing all sorts of things, from worries to intimate Christmas dinners (an experience that no year-end office party ever afforded me) has been truly heartwarming. Studying at the lovely Institute of Arab and Islamic Studies has also meant I have had fond interactions with many continental Europeans and people from Middle Eastern countries - to an extent that I in my position back “home” could have never dreamt of. As mentioned earlier, the natives of the GCC countries are severely outnumbered

BEYOND EXETER 10

EDITOR

Anne Chafer

Welcome! This section aims to broaden the scope of our content and provide a space for international students to voice their opinions on topics that matter to them. We are looking for students from other countries, living and/or studying here for the duration of their degree to write about issues that affect them. If you want to contribute, please get in touch by emailing editors@exepose.com or messaging our Facebook page.

Culture in translatioN: jan patocka Anna Romanovska Lifestyle Editor

ATOCKA is one of the most prominent philosophers in the Czech Republic. He helped start Charter 77, a movement protesting against the totalitarian nature of the Communist regime in Czechoslovakia. Why is this guy relevant? He’s one of the most prominent phenomenologists, who study the structures of lived experience. He studied with Husserl and Heidegger, yet he is never mentioned in Western texts because, well, he isn’t Western but from a neighbouring country instead. However, there is a rise in interest in translating his works. 40 years after his death, he might become wellknown beyond the rare mention by a philosopher trying to appear

by expats. Most interactions will probably take place at a government office or over immigration counters. However, I have befriended someone from Saudi Arabia and he is my goto person for recommendations on shopping and eating around Exeter. Back in Dubai, that’s the last thing I would do, as most places would be out of my league in terms of affordability. Another case is Lebanon, a country 12 times smaller than the state of New York, home to 18 religious sects. Their 15 year ethnocivil war, which ended in 1990, still informs much of its current politics and societal norms. One would think matters to be different in the country’s vibrant capital Beirut, but the city has demarcated suburbs for different religious groupings. A friend and fellow Masters student, born and raised in a Christian neighbourhood of Beirut, revealed how it was not until he was 15, while learning German at an institute,

more cultured than their peers. It’s a minor, though significant, step in the de-westernisation of continental philosophy. I appreciate the works of Husserl, Merleau-Ponty... but I am aware that the main reason they’re so well-known is because of their Western status. Luckily for me and other non-Western aspiring academics, being Western is slowly becoming less important to write about philosophy. However, prominent BAME, disabled, LGBTQIA+ and working-class philosophers and philosophies are a rarity in the field, so it is essential that this de-westernisation is held up both in terms of geographical location and societal location. If you are interested in Patocka, check out Body, Community, Language and World: Heretical Essays in the Philosophy of History, or An Introduction to Husserl’s Phenomenology.

that he met his first Muslim... in a predominantly Muslim country! I don’t want to feed into arguments about multiculturalism having failed us. But terms like “cultural mosaic” and the idea of people from different cultural backgrounds and religions “peacefully coexisting” hide more than reveal the actual lived experience in these societies. Living in big cities can be similar to living in a bubble. Irrespective of how cosmopolitan a city is, if it’s riven with stark inequalities, segregation and a permanent transience that impede meaningful and deep connection between its inhabitants, then words like “diversity” or “cultural melting pot” mean nothing. At the same time, the talk around integration shouldn’t be centered on culture alone, but the nature of shared experiences people from different walks of life get to have. That has been the hallmark of my time in Exeter so far, and as a mature student I am grateful for it.

ON CAMPUS

FESTIVAL OF DIVERSITY AND ENVIRONMENTAL JUSTICE .30AM TUESDAY 17 MARCH 11

TO 8PM

LEMON GROVE/CORNWALL HOUSE

exeterguild.org/respect

Features

9 MAR 2020| EXEPOSÉ

FEATURES EDITORS:

Climate Watch: Oil slick

Jaysim Hanspal William Harrop

Esme Bateson comments on the PR campaigns of the world’s leading oil companies

IL companies are becoming increasingly interested in climate change and environmental issues, or so it seems. Shell, BP and Exxon, three of the world’s leading oil producers, have all backed a scheme which aims to tax carbon dioxide emissions, while BP aims to have zero carbon emissions by 2050 and Shell has claimed that in the United Kingdom, they have reached 100 per cent renewable energy. However, accusations that these corporations are simply greenwashing to protect themselves from taking responsibility for years of climate degradation and environmental racism are rife. Naomi Ages, a senior climate campaigner at Greenpeace argued that such “public relations exercise[s] is no cure for decades of deception.” Who bears responsibility for holding the oil industry accountable, and can we ever really know what they are up to? A highly lucrative business, the oil industry was estimated to be worth around 3.8 per cent of the world’s GDP (Gross Domestic Product), which demonstrates

the economic agency oil corporations have. Controversy consistently follows them, from human rights offences to secretive drilling in the Arctic. Following a major spill in the Gulf of Mexico, BP was investigated by the USA justice department, paying the largest criminal resolution fee in US history in 2012.

Oil companies are getting increasingly interested in climate change However, similar catastrophes have had dissimilar responses, with debates as to who is responsible for countries such as Nigeria, where resulting implications include infant deaths and habitat destruction, and is even referred to as “environmental genocide” by Dr John Sentamu. Shell has stated that while its oil facilities in Nigeria were suitable when built, they would not build them in the same way now. Having been sued twice in five years, Shell pushed for trials to occur in Nigeria rather than London,

where job creation can be used to influence decisions in their favour. Oil corporations are multinational and therefore it has always been difficult for them to be prosecuted by state authorities. Environmental NGOs (Non-Governmental Organisation) such as Greenpeace call for the United Nations to become more involved and argue for the creation of a separate council to hold companies accountable for their actions. Furthermore, the release of documents in 1991 showed that Shell has had an idea of climate change since as early as 1986 and has done nothing to change their practices until recently. As customers begin to prioritise environmental concerns, oil companies aim to follow suit, to not lose custom, rather than because of remorse for past actions. The power of the consumer is overwhelmingly seen as having the agency to prevent climate change when in reality, companies will always act according to global cultural values to turn the greatest profit. Corruption and environmental crimes are constantly being uncovered,

but oil corporations have never felt their impacts due to a lack of persecution. Hiding behind a blanket of environmental concern is a favourite policy for al-

most every business right now, but what is hidden under the blanket can only be uncovered when there is no clear economic benefit to keeping it hidden.

Image: Mark Morgan

Clinging to coal

William Harrop, Features Editor, examines Japan’s decision to build more coal-fired power plants

ARLIER this year, it was announced that Japan, the thirdlargest economy in the world, would be building 22 coal-fired power stations. Not only does this make Japan the only G-7 country to still be constructing new coal power stations, but it is also estimated that these plants will emit as much carbon dioxide as all

Image: Pxhere

of Norway or Sweden annually. This raises several questions. Firstly, why is Japan still investing in power sources that climate scientists would rather see consigned to the past, and secondly, how can industrialised countries juggle their responsibilities to reduce emissions, with their tangible needs for fuel sources?

The first question is an easy one to address: Japan has always had an energy problem. Following the oil shocks of the 1970s, which highlighted the danger of Japan relying on foreign oil imports for its economy, an ever-greater reliance was placed on coal. While nuclear power constituted another important source of energy for Japan, the Fukushima disaster in 2011 resulted in nuclear power declining in importance, with The New York Times stating that it went from generating a third of its energy to just three per cent by 2017. Consequently, fossil fuels like coal dominate Japan’s energy production, accounting for four fifths of its power needs.

Since Fukushima Japan’s nuclear power has declined in significance This stands in contrast to the fact that Japan is also at the mercy of climate change. In 2018, over 1,000 peo-

ple were killed due to a searing heatwave that struck the country, which scientists claim could not have happened without climate change. The 2020 Tokyo Olympic marathon events have also had to have been moved to a cooler city 700 miles north of Tokyo by the International Olympic Committee, due to pollution creating potentially dangerous conditions for athletes. Making the switch to more renewable sources of energy is certainly in Japan’s interest. It is important, to steer clear of a shallow discussion of moral high grounds. Japan is in a far more difficult position than other industrialised countries like Britain which, according to the Financial Times, has missed many of its 2020 environmental goals, including those relating to reducing air and water pollution. Although industrialised countries have a responsibility, given their greater ability to reduce their emissions than developing countries, it is true that certain wealthy countries are freer to enact change than others. Brit-

ain, for example, is on course to phase out coal completely by 2025. Japan, on the other hand, was only able to reduce the number of coal-fired power stations from the 36 it announced it would build in 2018, to the 22 currently underway. For Japan, weaning themselves off of coal is not feasible at the moment, nor will it be for quite some time.

For Japan, weaning themselves off coal is not currently feasible With these new power stations, Japan is on track to fall short of its 2030 targets set at the 2016 Paris Agreement. However, what the case of Japan shows is that, frustratingly, the needs of countries continue to come first. With the United Nations climate summit COP26 being scheduled to be held in Glasgow in November of this year, one can only hope that effective compromises between needs and responsibilities are made.

EXEPOSÉ | 9 MAR 2020

FEATURES

A culture of bullying

Ben Bampton, Online Sport Editor, explores our celebrity-obsessed society and its implications

T says a great deal about our celebrity-obsessed culture that, ten days after Caroline Flack’s tragic death, we are still talking. In some part, this is good: sensitive articles, tributes and discussions promise to increase our awareness of mental health and the fishing net of intense public scrutiny. But unfortunately, that same fishing net of sensationalism, gossip and speculation – even after her passing – is rearing its ugly head again. Her cause of death has been publicised; her private conversations and posts aired; the search for someone to blame – whether the Crown Prosecution Service, a famous friend or the media itself – has intensified. Respect her family’s wishes for privacy? No chance.

Flack’s life was open content for criticism and condemnation This article is not here to add fuel to what has become, despite the good intentions of some, yet another media furore. It is not here to speculate over the circumstances in which Caroline Flack took her own life, nor to psychoanalyse the personal and public issues which caused it. Instead, this article looks at our culture of celebrity, together with a media and entertainment industry which feeds off it, taking Flack’s last, unpublished Instagram post as telling of their influence on her life in the public eye: “I’ve accepted shame and toxic opinions on my life for over ten years and yet told myself it’s all part of my job. No complaining. “The problem with brushing things under the carpet is they are still there and one day someone is going to lift that carpet up and all you are going to feel is shame and embarrassment… The truth has been taken out of my hands and used as entertainment.”

The truth has been taken out of my hands and used as entertainment

Caroline Flack

Like many in the entertainment industry, Flack knew – acutely – the dangers of living under public scrutiny. Presenting hugely popular shows like Love Island and X-Factor, Flack lived at the heart of many a media frenzy, witnessing both the ‘successes’ and the devastating distortions of reality TV. Her own career, as the face of such popular but also heav-

ily criticised programs, made her prone to scrutiny. Last October, the announcement of Flack’s latest show The Surjury – a heavily criticised and later withdrawn series, premised on contestants competing for free plastic surgery – saw much of that criticism levelled at Flack herself. As a Guardian analysis found, nearly 40 per cent of articles about Flack that month were captioned negatively (as opposed to 13 per cent positively).

This article is not here to add fuel to what has become another media furore But most recently, Flack’s scrutiny intensified when she was prosecuted for alleged assault on an ex-boyfriend, with various tabloid media and online users directing a backlash of hostility toward the presenter. Whether professional or private, Flack’s life was open content for criticism and condemnation. Her acceptance of this in her last post – her acknowledgement of toxicity as ‘part of her job’ – is an unfortunate realism, revealing the pitfalls of an industry which fails to look after its own. The entertainment ‘beast,’ it seems, is one that its producers are not only unwilling to stop, but to make up for. The scrutiny of public figures by the media, while nothing new, has certainly intensified in recent years. With media shifting towards an online model, where revenues are driven by click-ads and article traction is paramount, it’s no wonder news outlets pander to what’s ‘on-trend.’ This new media model goes hand-inhand with an entertainment industry that thrives off gossip, controversy and character construction. If humans, as Harari suggests in Sapiens, are intrinsically keen to gossip, then the entertainment industry offers the perfect source of ‘clickworthy’ articles. Presenting ‘real-world’ people who, with the help of Instagram and reality TV, become familiar to us in the public eye, media outlets can cash in by telling stories of their fallout, drama, love, sex, style, and whatever else. Anyone even remotely familiar with gossip magazines, trending hashtags or – at the less glamorous end – Piers Morgan will recognise how stories about celebrity generate traction that rivals Australian bushfires and Coronavirus. In the name of ‘human interest,’ our media outlets engage with celebrity culture in this way because – in an online consumer economy where subscription sucks – human interest sells ad-space. By engaging with celebrity culture, our

mainstream media — in turn — helps frame how public figures like Flack are constructed and understood. And in a celebrity obsessed social media world, the consequences of this are intense. News of Caroline Flack’s alleged domestic abuse, when it emerged, made her into a character quite unlike the bubbly presenter we’d once assumed she was: a character who had deceived the public eye. Suddenly, she was on trial everywhere – not only in court but anywhere with an internet connection. It’s not surprising that Flack was advised to stay away from social media: even now, comments on the most sensitive news articles about her passing are vindictive and dispassionate.

Our cultural idea of fame is so skewed towards idolising the famous Ironically, our cultural idea of fame is so skewed towards idolising and aspiring after those who are famous, we forget the experience of living in the public eye can be anything but good. Ignoring the pitfalls of fame, our culture ignores the vulnerability – the humanity – of the famous. While the media reaction to Flack’s death has rightfully sought to remind us of this, the debate around it continues to be a cause for concern. Only last week, Piers Morgan criticised Jameela Jamil for challenging Flack about The Surjury in October, sharing private

messages from their mutual friend. Whatever his motivations, Morgan’s comments seem dangerously close to constructing a new blameworthy character – Jamil – and show just how quickly the mainstream media slips back into old habits. So what next, for a celebrity culture which mourns and gossips at the same time? Banning Love Island may temporarily solve the problem, but will it really stop other shows from taking its place? Every solution so far seems to have a flip side. The call to “be kind” will help, but it won’t drown out the victimising voices. Ethical reporting will raise awareness of serious related issues, but it won’t paper over every narrative conImages top to bottom: struction. Better support Flickr Sean Reynolds and networks from media out- Dennis Sylvester Hurd lets (such as ITV for Flack and Love Island) are crucial, but they won’t stop our culture idolising life in the public eye. While there are many good anIf these issues affect you, you can get in touch with: swers, none of these alone is enough. As Flack’s death reminds us – once again – National Cyberbullying Helpline: 0845 22 55 787 of the need for care and the vulnerability Papyrus: 0800 068 41 41 of those under public scrutiny, the gosStudent Minds support group: exeter@studentminds.org.uk sip surrounding it suggests we are still far Wellbeing Services: exeter.ac.uk/wellbeing from a solution, and we should #bekind.

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9 MAR 2020 | EXEPOSÉ

Diplomats adrift?

Will Sowter sheds light on the Foreign and Commonwealth Office's role in a "Global Britain"

N 31 January 2020, British influence in the European Union changed overnight. Formally leaving the European Union means that Britain no longer has Members of the European Parliament, nor representatives on the Council of the EU through which member governments co-ordinate. Simultaneously, the informal channels of British influence have contracted. UK diplomats will no longer be privy to the moments between formal meetings of the EU27 where the real decisions are often made. Now, outside of the EU, Britain has the chance to reset its foreign policy. From this point on, the UK shall look beyond Europe, turning to the world as an open and internationally engaged nation. A "Global Britain" will be free to make up its own mind, crafting an independent and distinctive world role. That, at least, is how the Johnson government sees it. And, in some senses, there may be ways to realise this vision. The UK’s position on the United Nations Security Council, combined with its substantial cultural influence overseas, are a few of its unique advantages. Yet questions remain about the "Global Britain" agenda. Beneath the slogan, what does "Global Britain" actually mean? What is the specific role the UK will play internationally? What are the resources by which the country will do so?

Beneath the slogan, what will 'Global Britain' mean in practice? At the heart of these questions sits the Foreign and Commonwealth

Image: Foreign and Commonwealth Office, Flickr

Office. Working behind the walls of its grand Italianate building at the heart of Whitehall, the officials of the Foreign Office were traditionally regarded as the masterminds of British foreign policymaking. In recent years, however, their centrality has become increasingly tenuous. In 2016 then-Prime Minister Theresa May’s creation of the Department for Exiting the European Union and Department of International Trade pushed the Foreign Office further down the departmental hierarchy.

Paradoxically, 'Global Britain' must start where the UK left off Nevertheless, Britain’s departure from the EU means that the Foreign Office now has a critical role to play in influencing the organisation. Aside from the ongoing negotiations between the UK and the EU during the Brexit transition period, the UK’s influence depends on lobbying EU member countries and institutions. As such, diplomats in British embassies across Europe now have a new level of responsibility for reporting on and seeking to shape the activities of EU member states. This is particularly the case for the UK’s relationship with France and Germany, two central countries in the EU structure. In the machinery of the EU itself, this will mean building stronger relationships with the European Parliament and European Commission. As a key player on the world stage, the EU will continue to have primary importance in British foreign policy regardless of how the formal negotiations play out this year.

Paradoxically, "Global Britain" must therefore start where the UK left off. Cultivating an effective relationship with the EU will require the Foreign Office to reinforce its diplomatic muscle across Europe. A recent Institute for Government report, ‘Influencing the EU after Brexit’, outlines what will be needed to do so. Firstly, a stronger skillset must be brought into British postings in Brussels at the centre of the EU and in European countries. Alongside the soft skills of regular diplomats, technical expertise is needed for the UK to have a credible voice in complex issues of EU policy-making. Utilising both traditional diplomatic skills along with a technical grasp of EU procedure and policies could put the UK at an advantage compared to other non-member states.

Diplomatic skill and knowledge of the EU could put the UK at an advantage Secondly, the salaries of diplomats and length of posting to the EU needs to increase. The Foreign Office is one of the worst departments for pay in the government, with the Foreign Affairs Select Committee having recently observed that similarly qualified staff enjoy far greater earnings in other departments. Better pay will allow the Foreign Office to maintain expertise in its EU missions, making these postings more competitive so as to attract exceptional staff. This links to the second point, that the length of postings should increase. Spending more time in their EU posting than the conventional four-year limit used by the Foreign Office will allow these

diplomats to better develop their expertise. Finally, the Foreign Office will need to fit into a broader picture of EU expertise across Whitehall. The Institute for Government recommends that the UK will need to draw on expertise from both across and outside of Whitehall, channeling these resources together for an effective understanding of the EU as it develops in future years.

Britain has 231 diplomats working in Africa, dwarfed by France's 1,373 What form will "Global Britain" take outside of Europe? The case of Africa is instructive. Over the past few decades, the number of British diplomats on the continent has plummeted. The British Foreign Policy Group’s 2019 report, ‘The Decline of the Foreign Office and the Case for Sustained Funding’, detailed that Britain only has 231 diplomats positioned in 31 of the 48 countries in sub-Saharan Africa. For comparison, French diplomats numbered 1,373 in 2018 in 42 embassies across the same region. This stark picture is indicative of the sustained reduction in Foreign Office funding, with its core budget now a relatively insubstantial £1.1 billion annually. In contrast, the Department for International Development (DFID) largely controls the 0.7 per cent of GDP spent by the UK on international aid, distributing most of the £14.6 billion of this spent in 2018. Since DFID was created in 1997 under the Blair government, its power has thus grown whilst Foreign Office influence has been on the ebb. This takes us back to the example of Africa. In a recent Economist

article, a British diplomat described the "DFID-isation of foreign policy" on the continent which has now become a "development issue." The Johnson government is seeking to harness this trend to Britain’s economic advantage, illustrating that a central pillar of "Global Britain" will be the interlinking of developmental and diplomatic concerns. Whilst a full merger between the Foreign Office and DFID has not yet taken place, the Prime Minister has commented in the past in the Financial Times that the "full and massive potential" of "Global Britain" depended on combining the departments. The shock resignation of Sajid Javid as Chancellor of the Exchequer during the Cabinet reshuffle on 13 February masked this move being set in train. As separate entities (for now), DFID and the Foreign Office continue to have a Secretary of State apiece. Yet the junior ministers - those MPs appointed to work on more specific aspects of government policy - are now all shared between the departments. Moreover, the January UK-Africa Investment Summit hosted by the UK government and attended by African heads of state captures the importance of economic relationships in the "Global Britain" strategy. For now, two conclusions can be drawn about "Global Britain" and the place of the Foreign Office within it. Firstly, the UK-EU relationship will be key and presents a significant diplomatic challenge for officials to surmount over the coming years. Secondly, the Johnson government wants economic, political and developmental interests to work closely in unison in British foreign policy. Whether this ambition will make for effective diplomacy remains to be seen.

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BEING IN THE PUBLIC EYE

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films i frankly do not give a damn for

From classical books to lyrical hooks

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LIFESTYLE EDITORS Izzy Cole Anna Romanovska

ARTS + LIT EDITORS Cherry-Anastasia Boroceanu Zach Mayford

MUSIC EDITORS Richard Ainslie Bryony Gooch

SCREEN EDITORS Jonathan Chern Samuel Thomson

STUDY BREAK Puzzles by Matthew & Neha 9 MAR 2020 | EXEPOSÉ

lifestyle

Tipping the scales...

Kamila Bell, Comment Editor, sheds light on how she balances her job, uni work and social life

ALWAYS try to seek a healthy balance between work, uni and societies but there comes a point where you feel like you’re spreading yourself too thin. It is in these moments that I usually take a second to reassess if I am utilising my time effectively. When I let myself get busy, which usually arises after taking an extra shift at work in order to earn some more money, I can fall into letting other areas of my life fall behind. It is at these times that I have learnt to take a step back and reassess my priorities, in order to healthily move forward. The main thing I have learnt is to not take on too many hours. Granted, I can say this from a place of privilege for not always needing to work 16-20 hours a week, but generally the added stress and pressure taking on an extra shift can bring with it is not worth the sacrifice I have to make in other areas of my life. Part-time work at university, in my opinion, is only beneficial if it has the bonus of flexible hours, with a staff discount on food and drink when you’re not working. At the end of the day, I am a student working to earn money, so saving where I can is a real

essential. Financially, working part-time has allowed me to live more comfortably whilst at university, whether this comes in the form of an extra drink when socialising or an added treat to my weekly food shop. Knowing I have a consistent flow of money coming into my account each week has somewhat alleviated the financial strain that being a student can bring with it. As someone who seeks change, and utilises it in order to stay motivated, I enjoy dividing my time up between university assignments, society deadlines and paid work. Each one allows me to take a break from the other. My part-time job at ‘Spoons provides an opportunity to completely disconnect for a few hours from university and

society life; meeting people and making friends I probably wouldn’t have if I exclusively invested my time into university.

Twister with my house mates. Ultimately, allowing myself to be selfish is good for my wellbeing and it ensures I don’t feel rundown when I inevitably do have to work that Saturday night close at the Impy to earn some cash for my food shop the next week.

NOT DOING ANYTHING CAN BE PRODUCTIVE FOR YOUR WELLBEING Whilst I have advocated for staying productive and using my time wisely each day, there are also times when I feel not doing anything is productive for your own wellbeing. Having an afternoon of just watching movies in bed, having a morning of catching up with family or an evening of

Although, even as I write this, I find myself pushed to the deadline having not effectively managed my spare time around my shifts this weekend. I guess I need to take a leaf out of my own book and reassess how I am going to productively use my time this week to ensure that I do not allow my job to lead to me being unproductive next weekend. Having a part-time job alongside university can be a struggle at times, but for me it is a necessity to work and fortunately I am earning money in a job I quite enjoy, with the added bonus of a sizeable discount.

Why 'mental health' still promotes stigma Lianna Tosetti raises awareness of differential treatments of certain mental disorders W

Images (L to R): Arnie Johnson, Josh Appel, Christin Hume (all from unsplash)

HAT are your first thoughts when someone mentions mental health? Does it make you cringe with discomfort? Or is it something you can relate to and openly talk about? Either way, awareness of mental health has been on the rise in modern society, with charities like Mind and Samaritans, advocating for people to speak out about their mental health and start discussion. Depression affects at least one in ten people at some point in their life and these figures are only increasing. But why does there still seem to be a continuing stigma surrounding mental health? It’s true that people are beginning to be more open and accepting of conditions such as depression and anxiety. However, there is still an eerie silence on topics of more serious illnesses such as schizophrenia and Borderline Personality Disorder (BPD). As a society, we need to pay more attention to these psychotic illnesses and break the negative stereotype and stigmas that cling to them. There are various reasons why people seem to steer clear of discussing serious mental illnesses. Depression and anxiety are deemed "safer" subjects, perhaps due to the fact that they are far more common.

Many of us have suffered with depression mystery, become subjects of discriminaourselves or know someone who has. Anxition and myths. The true cause of schizoety is a feeling all of us have experienced phrenia is still debated, despite the fact at some point in our lives, from job interthat 26 million people worldwide live with views, exams or first dates. it. Some researchers have Therefore, we can relate to suggested it is a biologipeople with these issues cal condition. This has led and have some element of to assumptions that the understanding. What we individual is incurably know can’t hurt us. Once “broken.” However other deemed a weakness and researchers have revealed an inability, depression that various environmenand anxiety have become tal exposures can trigacceptable parts of society ger symptoms. Through and something not to be education, we can help ashamed of. Various celebpeople to become aware rities have led the way in of the causes, symptoms this such as Adele, Dwayne and treatments of these Johnson and Stormzy. serious disorders and When our idols speak out promote an awareness Image: Callie Gibson (unsplash) about their problems, this that this is not a dehunormalises the conditions as it shows that manised schizophrenic, but a person liveven the most talented and perceivably ing with schizophrenia. Campaigns such untouchable people can be vulnerable. as ‘Time to Change’ have been influential However, our perception of disorders within this. like schizophrenia are completely differMoreover, the media has been a major ent, partially due to the fact they are far culprit in cultivating a negative stereoless common. Therefore, we have less type surrounding BPD and schizophrenia. experience and understanding of these They have been distorted and sensationalconditions, thus these issues, shrouded in ised, making us think of someone who is

violent, unpredictable, manipulative and evil. Films have often portrayed the villain as someone unstable, for instance in Split, James McAvoy plays a crazed, psychopathic killer who has BPD. These depictions have contributed to the fear society has towards these individuals, contrasting with the sympathy we have towards those with depression. These stereotypes have promoted a discrimination that has been massively damaging and even affect recovery and therapy. 50 per cent of persons with schizophrenia have reported discrimination in their personal and working relationships across 27 countries. Society needs to start abandoning these negative clichés and instead adopt more sophisticated media representations of people with mental illness. By talking, understanding and being kinder about serious mental health conditions, we can help those these disorders to feel more accepted in society.

If these issues affect you, you can get in touch with: Samaritans: 116 123 jo@samaritans.org Nightline: 01392 724000 Wellbeing Services: exeter.ac.uk/wellbeing

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EDITORS: Izzy Cole and Anna Romanovska

9 MAR 2020 |

Natalie Portman's embroidered cape

Ben Faulkner discusses the controversy surrounding Natalie Portman's embroidered cape at the Oscars

S with any Oscar’s ceremony, the red carpet had people talking. Olivia Coleman was blonde; Timothée Chalamet was in some sort of tracksuit. But beyond the trivial fashion faff was Natalie Portman, who had arrived with an unmistakable statement stitched into her dress. Embroidered into the lapel of her black cape were the names of eight female directors the Academy snubbed. Among those named were Lulu Wang, Céline Sciamma, Marielle Heller, Mati Diop. Alma Har’el and Greta Gerwig’s names took me back to their respective powerhouses; their direction brought characters to life. Their shutout was infuriating. An importantly specific point was made: you can’t argue that there aren’t enough women in film. People don’t hire female directors, and they’re still making as many good films as men.

NATALIE WANTED TO TALK ABOUT THE ACADEMY'S CEASELESS SEXISM However, to activist and filmmaker Rose McGowan, Natalie’s cape was “deeply offensive to those of us who actually do the

work.” No anger was spared: “I am writing as some have seemed to imply, she is a selfout of disgust,” she made sure to clarify. Naserving faux-feminist who’s barely lifted a talie was apparently the ‘problem’ for finger to actually work with women. performing faux-wokeness and Of course she can do betnot working with enough ter. We all can. Nothing is female directors, or hirmore effective than ing enough at her real, tangible acown production tion. But, as Nacompany. It’s a talie said herself fair point: it’s in response to reasonable to Rose, she nevquestion if she er meant to can do more. claim she was We should being ‘brave.' always en‘Performcourage activative wokeism, especially ness’ is certainfrom those who ly something to have the platform call-out, but we to make it count. have to concede But ultimately, this that we all, to some exisn’t about Natalie, and I tent, perform wokeness. know she’d agree. But Twitter And that performance is seemed to share Rose’s sentiments Image: Gage Skidmore still agency. Ryan Seacrest wanted which is frankly cynical. Could it be suggestto talk about fashion, Natalie wanted to ed that Natalie went to all this length just to talk about the Academy’s ceaseless sexmake sure she was the standout figure on ism. It’s important to bring these scandals the carpet? And that she doesn’t actually to the most performative parts of these care about the marginalisation of female award shows – a reminder, while they’re directors? Hey, maybe that is true. Maybe, happening, that they’re illegitimate.

Natalie finds herself in somewhat of a privileged position, and there’s an encyclopaedia of women that she should try to work with. But when Rose McGowan accuses her of “acting the part of someone who cares," I think the point is lost. There are many acts of activism I would applaud far louder than this cape, but it was trying to make noise about the right thing. Berating Natalie creates an unnecessary distraction. There obviously aren’t any easy answers – and no white boy studying History is going to make them any easier. But I believe Natalie when she says she’s “tried, and I will keep trying” to get female directors hired. Previously, she lamented, those women she’d managed to help had been “forced out because of the conditions they faced at work." A very believable tale in the land of Hollywood. I don’t think anyone’s claiming she’s perfect; I just also don’t think she’s feigning anything. I think she just genuinely cares. In a moment of clarity, Rose McGowan apologised: “All voices, however spoken, are valid." “It’s time to get loud," she declared – and it was nice to see. The cape worked, not only was it stylish, but it made enough of the right noise to remind her critics why it was worth embroidering.

Oh, so who are you wearing?

Chloe Pumares gives us an insight into the politics behind the labels of Oscar dresses

T is late Winter, which is synonymous with awards season, and with awards season comes lists of the best and worst dressed hot from the red carpet. Not is the Oscars an event to acknowledge the talent of countless actors and directors, but it also acts as a fashion catwalk enabling stars to flaunt around in garments made by the most prestigious designers. Yet, how do these actresses decide on what dress will help them steal the spotlight? For celebrities who have a close relationship with a fashion house such as Jennifer Laurence and Dior, or Salma Hayek and Gucci, it is expected that they wear dresses made by those designers therefore making their decision a lot easier. Yet, they are still being paid, either because they are a spokesperson for that brand, or because they continue to wear that same designer every time. Award shows have turned actresses into highly paid models, as walking the carpet showcases brands designs to the world, either keeping established brands relevant or catapulting a new designer to red carpet fame. Being paid to wear a dress on the red carpet is considered the norm, so, it’s hardly surprising to learn that some celebrities refuse to wear a dress if a designer refuses to pay them. This happened in

2017 when Meryl Streep declined a custom dress or not, this can depend on whether Chanel dress, instead opting for a designer a deal was struck during negotiations, as who had offered to getting to keep to pay. However, the dress instead of should celebrireceiving payment. ties really be paid Although, often if just for parading an actress wins an up and down award the designer the carpet showwill allow them to casing a dress? keep the dress for Designers sentimental reasons. are as much to But should actors blame for the and actresses who politics of award already get paid big dresses, many bucks be paid to wear wait until prea certain designer? senters and nomPaying a celebrity inees have been just to wear a certain announced, as brand seems unnecthey want their essary and may endresses to be courage fast fashion seen on screen in the film industry, as often as posas celebrities tend to sible, encouragwear the dress once ing viewers to and move onto the buy their clothes, next. What's more, Image: Alan Light as well as sparking the individualisacopycat designs amongst cheaper brands. tion of dresses means they cannot be used Then, there is also the problem of in future fashion shoots or shows which whether the actress gets to keep their therefore reflects the lack of sustainability

within the industry. Though whilst the fashion industry claims to be working towards a more sustainable future, sustainability, being paid to wear a new, potentially custom, dress every red carpet seems to undermine, if not wholly contradict this sentiment.

PAYING A CELEBRITY TO WEAR A CERTAIN BRAND JUST SEEMS UNNECESSARY Plus, should we not be encouraging actresses to wear smaller or non-label dresses? Fans look up to celebrities and if they were to wear clothes from smaller brands, it may be easier for their followers to be able to feel connected to their favourite stars. They could also be more conscious of the clothes-making process and make more environmentally friendly choices to encourage their fans to be more conscious in their fast fashion choices. For celebrities their every move is watched and every choice is judged, but with this in mind they should begin to think less about the price tag of their dress and more about the impact and meaning they could have.

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EDITORS: Izzy Cole and Anna Romanovska

No paps please!

9 MAR 2020 |

Danielle Darrah highlights the harsh realities celebrities experience being in the public eye

FTER the devastating news of national treasure, Caroline Flack, committing suicide a few months after the infamous scandal of her assault on Lewis Burton, I question how it reached this breaking point - a point at which she felt no other way out than to take her own life. Leading up to this, she had faced an insanely intense amount of scrutiny with stories headlining puns such as “Caroline Whack” and being told to step down from the job that most people knew her best for, presenting Love Island. Just days after her death, Flack’s family released the statement that she had wanted to share with the public, but had been advised against writing: “I’ve accepted shame and toxic opinions on my life for over ten years and yet told myself it’s all part of my job. No complaining.” This poses the question, is the media too harsh on celebrities, pushing them to the point of no return? Should celebrities feel as though it’s part of their job descriptions to endure the toxic scrutiny that comes from the public shaming their lives? In 2019 alone, there were countless celebrity scandals that made the front pages of the media, ready for the public to probe and form opinions on. An example of this was Prince

Harry and Meghan Markle making the executive decision to step down from their positions in the Royal Family causing much controversy, with the media scrutinising their every move. Stories like these are analysed by all platforms to the extent that it becomes unimaginably suffocating.

PEOPLE TREAT CELEBRITIES AS PASTIMES TO JUDGE AND GOSSIP ABOUT Much like Caroline Flack, Meghan Markle commented on the detrimental impact that this constant surveillance has on her, saying, “it’s a very real thing to be going through behind the scenes," which undoubtedly highlights the ways that the media and public treat celebrities as invincible. Celebrity fame has been seen to act as a shield not only to protect them, but also to glorify them, meaning that many people treat celebrities as objective pastimes to judge and gossip about, almost forgetting that they are real individuals. A study done by the PEW Research centre showed that 87 per cent of the public said there is too

much media coverage on celebrity scandals, however, the content produced by the media is always derived by what the public read. In today’s society, where there is an increasingly high demand for meme culture and celebrity parodies that mostly end up going viral, it is becoming a norm for the public to consume celebrity gossip, as it enables the shaming culture that has become so popular. From the "poot lovato" Demi Lovato meme, to a shouting Meryl Streep, the media and public actively seek new material every day that mocks and in many cases, shames celebrities. It is for this exact reason that I find it difficult to say that it is the media being too harsh on celebrities but rather, the media producing exactly what will be consumed by the public. By entering an era in which we are obsessed with comparisons and cultural capital, we utilise the shaming of celebrity gossip to ultimately feel better about ourselves - something

that is a toxic trait of today’s online world. However, it goes without saying that the media plays an enormous role in producing content that facilitates this behaviour. Therefore, the only way we will change the production of this kind of material is for the public to sincerely stand against it, reflecting upon the damage it does to many lives, a movement I feel will hopefully come soon.

Skintone, tanning and racial fishing

CONTENT WARNING: bullying and racism

N my home country, and many other Asian countries, tanning is not a thing – only in recent years, some subculture groups started doing this with the influence of globalisation. And no, this is not because of colonialism; this started thousands of years ago, as only those who were rich and didn’t need to participate in agricultural production would have p a l e

Yudy Wu exposes the racism behind excessive fake tan

skin. This is still a thing today, while you see tanning salons, bronzer adverts and people with orange skin on the street in Western countries, in many Asian countries, you see whitening skincare, whitening surgery adverts and people with a floured face on the street. And my skin tone happened to be relatively pale. Growing up, the first thing people would compliment me is how my skin "looks like snow". While I felt lucky about this, I started to notice that there was a kid in my class being bullied because they had a dark skin tone, they called him ‘Black Egg’ and would say that his skin "looks like

coal." I was angry about this, and still am today – I simply couldn’t understand why that kid would be bullied for such a ridiculous reason. After I came here, things took a massive turn. I was aware of how Western countries loved tan skin before I arrived, thanks to the YouTube beauty gurus. But I didn’t think that I was going to see over the top tan, pale skin kids being bullied at school and people who were so obsessed with tanning that they pretended to be people of colour. It shatters the ideal ‘West’ that has been in my head for a really long time, as I thought when people said that they ‘love tan,’ it meant that people could choose to look pale or look tanned and that kid in my class wouldn’t be bullied if it was in the West – but it was not the case at all.

IT SHOULD NEVER GET TO A POINT WHERE YOU DON'T RECOGNISE YOURSELF

Image: Samuel McGarrigle (unsplash)

Image: Shutterbug (Pixabay)

You see, when those Chinese kids bullied that dark skin kid, it was nothing but pure ignorance. But in the case of the West, this is different – it surely started because only those who are rich could afford a vacation on the beach and get tanned, and because of the ideals of a healthy lifestyle. In recent years, it has lead to white people

trying to look like people of colour. Looking through Instagram, the amount of models there who are trying to look black will surprise you – and it’s not just Instagram models.

FAKE TAN CAN COVER YOUR RACE, BUT IT DOES NOT COVER RACISM There’s nothing wrong with using fake tan – but it should never get to a point where you don’t even recognise yourself. No one knows when did this trend of racial-fishing start – but it’s really not the problem of an individual; instead, it’s a systematic one. Tanning used to be, a lifestyle choice only related to class; but after Caucasians have seen people of colour, it has become the mindset of tanning equals ‘exotic,’ tanning equals to ‘good,’ therefore ‘exotic’ is equal to ‘good’. How many times, if you are a person of colour, have you received the compliment of looking exotic? But bear in mind, despite how good ‘exotic’ is, it’s still exotic, and the only good thing about it is how it looks. Such a mindset is not just ignorance, it’s the failure in accepting others, while refusing to admit their failure in accepting others. You can use tan to cover your race, but it doesn’t cover racism – and it’s that worst kind where they shout "I’m not racist, but…"

arts + lit

The overgrown Amazon Will Evans tackles the moral morass of modern book-buying

ESS than 30 years ago, an online bookstore named Amazon was founded in Seattle, Washington. Nowadays, Jeff Bezos, Amazon’s founder, has an estimated net worth of $130 billion and his company is, among other things, the world’s largest bookseller. Danny Caine, owner of the independent Raven Book Store in Lawrence, Kansas and author of the zine How to Resist Amazon and Why has been public with his anti-Amazon sentiments. When mega-corporations like Amazon seem to make life increasingly easier – who can say no to Prime next day delivery after all – resistance might seem unnecessary or even futile.

AMAZON SEEMS TO MAKE LIFE SO MUCH EASIERWHO CAN SAY NO? However, the sobering blurb of How to Resist Amazon and Why on Microcosm Publishing opens with: “When a company’s workers are literally dying on the job, when their business model relies on preying on local businesses and even their own

companies, […] wouldn’t you want to resist?” Caine’s zine, published in November 2019, contains an open letter written to Bezos, and offers instances of successful antiAmazon activism along with ways to support local booksellers over the megacorporation. Caine was even interviewed for The New York Times about his zine and antiAmazon politics. Earlier this month, Caine wrote an article for LitHub titled Did Amazon Throttle My Sales After I Criticized Them in The New York Times? The writer details how he feels Amazon has treated his zine differently following its exposure in The New York Times. Amazon can sell books in two ways: directly or through a third party. Following The New York Times interview the option to buy directly on the zine’s page was nowhere to be seen, effectively “throttling” the sales of How to Resist Amazon and Why via the e-retailer.

Amazon gets to keep driving the prices of books down and continues to make money while publishers and authors make no sales on their own books. It is rare enough for an author to make a living wage from selling their books in the first place – when was the last time that you read an author’s bio at the back of a book and didn’t find out that they are also a publisher or journalist? Amazon’s bookselling policies are pushing down authors incomes even more, separating authors from their books as far as possible while continuing to make profit for the already huge corporation. C a i n e’s anti-Amazon manifesto being sold by Amazon is a work of irony in itself. The worldwide e-retailer’s lists of book rankings and bestsellers are undoubtedly crucial in controlling which books are seen and bought and which books aren’t. A bookseller’s choice display

isn’t entirely dissimilar, despite the fact the display is surrounded by shelves holding every other book on offer.

AMAZON’S PRACTICES HAVE IMPLICATIONS ON FREE SPEECH Amazon, on the other hand, can hide its stock behind categories, sub-categories, pages and links to the extent that it controls exactly what its customer sees. As seen in Caine’s case, Amazon can begin to push a book down into the recesses of the unknown as easily as it can list it in the first place. Even if Caine’s zine has been graced again with the “Ships from and sold by Amazon.com” tag in the wake of the controversy, Amazon’s practices continue to have implications for free speech that are difficult to curb unless we begin to avoid Amazon entirely. Boycotting Amazon might take a small sacrifice of ease and convenience, but the trade-off can hardly be argued with. By supporting independent booksellers, you can be sure that book sales go straight to publishers and writers and take part in resisting Amazon’s growing worldwide monopoly. Images (L-R): Microcosm, PngGuru

Celebrating arts festivals As Poltimore looms, Agnes Chapman Wills charts the arts-fest scene from city to field

ESTIVALS are an incredible platform for creatives. They give people an excuse to get outside and experience music, art and comedy that they may never have seen or heard of before, but they also give people pride in the place they live. In light of Exeter’s upcoming Poltimore Festival, it is important to note how vital music and arts festivals can be in bringing communities together, no matter where in the world they take place. I have experienced first hand how powerful a festival platform can be, both in an urban and a rural setting. Local festivals unite people through a common purpose and, ultimately, are a lot of fun. Growing up in the capital city, it is fair to say that Londoners often feel distanced from their local communities as there are just so many people, no one says hello and you usually don’t know

your neighbours. I lived near Wireless Festival and they made, and still do, a real effort to involve the local community. People who live on the doorstep are given free tickets to the festival and local bands and choirs from the borough are invited to perform on the Wireless stage at the festival itself. An experience like that is unforgettable and could even be life-changing. Bringing young people out of their shells and letting them share a stage with big artists is inspiring. Whether small, or larger scale, we must use festivals as a platform for community engagement. On a more rural note, every year people flock to Falmouth, Cornwall for the International Sea Shanty Festival. It is a huge weekend in June where the whole town becomes full of pirates, rum and of course, shanties. Over 65 groups from

across the UK and beyond come together and the performances are incredibly varied. Some shanty groups charge for tickets and produce finely polished and professional performances, whilst others shout their songs from street corners.

DIFFERENT GROUPS OF PEOPLE COME TOGETHER TO CELEBRATE THE ART THEY KEEP ALIVE These different groups of people come together and celebrate because they all appreciate and respect the art they are keeping alive. Children grow up hearing these songs every year and remember them in their adulthood, tourists flock to Falmouth to hear the commotion and thus bring money into

the town, and locals get to celebrate the place they call home and its inspiring musical tradition (whilst performing and drinking rum). The weekend is a fun-filled, eccentric and thespian occurrence, yet it is also historically poignant as it dedicates time and energy to the recognition of an otherwise dying tradition. The Falmouth International Sea Shanty Festival is a highlight of the year and all who are part of it are proud to be so. As a phenomenon, arts festivals will never die, as their presence within communities is undeniably powerful. They bring people together in aid of a particular passion or cause and they can put places on the map, bettering local communities in the long run. If you find yourself stuck for something to do this summer, look up some local festivals and get involved and have fun.

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arts + lit

EDITORS: Cherry-Anastasia Boroceanu and Zach Mayford

9 MAR 2020 |

D&D indeed

Amy Butterworth, Online Lifestyle Editor, guides into the world of Dungeons & Dragons

IDEO games are an art form – their propensity for storytelling, imagination, emotional intensity and artistic style knows no bounds. However, they had a predecessor: Dungeons & Dragons. Its origins date back to 1974, but its lasting cultural legacy, and its survival (and thriving) amidst the over-saturated market of the gaming industry, demonstrates that we, as artloving-humans, value imagination above all. Role playing games are quite literally, what you make of them. The story germinates from the imagination of its participants; the game will only be as fun as the limitations of your creativity. My DM (Dungeon Master), agrees: “D&D is a place of pure creative freedom where the only limitation is one’s imagination,” says Kelsey Gill, third year Drama student. Image: Moroboshi

UNLIKE OTHER CREATIVE MEDIA, D&D IS ACTIVE AND INTERACTIVE Like a painting, D&D offers a unique aesthetic experience as you play the game. But unlike a painting, the experience is active. It’s like viewing a painting of a river that flows except

that environment could very quickly change at the will of any one person.” This dynamic action forms D&D’s most addictive quality – in no other game are you required to concurrently be game-developer, director, screenwriter, actor, and perhaps even costume designer (depending on how much you want to harness your role). As the arbiter of your own story, D&D allows you to delve into the depths of your

psyche when forging your characterisation; no longer are you bound to the constraints of a character-select screen. While you can follow the entry-level character-building rubric (I somehow always end up as a pacifist, sexually liberated Bard), there is nothing stopping you from being the gained-sentience, chaotic-neutral robot you always dreamed of (yes, I have seen someone playing this role).

Forni-fiction

I am apprehensive to outline the typical D&D storyline, because the conventional, Tolkienian narrative can so easily be injected with ingenuity in any way you see fit. You can breathe new life into the monsters: there’s always the opportunity to make political allegories of the story, and quests can deviate to your heart’s content. If you are the type of person to lose yourself in a game’s side-quest, and care about the fate of characters who are supposedly “outside” the central plot, D&D is your chance to embrace the unexplored. Society is facing a creative rut, a universal writer’s block. Disney release remake after remake, the creative world is churning out the same formulaic, hegemony-fulfilling narratives, and the “never-been-done-before” drive of the modernist or postmodernist eras seem to be drawing their last breaths. The arts are dying in our education system, artists everywhere including children’s author Michael Rosen condemn the lasting effects of the depreciated arts following a Michael Gove run education system. But D&D, as a slightly niche, slightly obscure, certainly misunderstood art-form, is a testament to the fact that, however much the arts may be stifled, imagination prevails.

Can books depict sex, and if so, at what cost? Exeposé Arts + Lit Writers discuss

HE complex range of emotions, opinions and experiences surrounding sex make it one of the most challenging topics for a writer to depict. It is multitudinous, and hence inevitable that so many have failed to avoid the misogynistic and downright cringeworthy. Sex is not always as erotic as porn and rom-coms would have us believe, and some of the best literary portrayals acknowledge this. Bret Easton Ellis’ debut novel Less Than Zero is a pertinent example, as it follows a student returning home for winter who becomes disillusioned from the debauchery that surrounds him. The author encapsulates the apathetic and dispassionate nature of a one-night stand with long, winding sentences bereft of adjectives that read more like a tedious report of events than anything titillating.

THE AUTHOR CAPTURES APATHY AND DISPASSION AS WELL AS LUST In a similar vein, John Green’s Looking for Alaska contains a comically awkward encounter as the protagonist and his girlfriend struggle to understand oral sex. It is amusing, but it serves a further purpose in conjunction with the following scene where he kisses the girl he’s actually in love with.

Green himself explains it most succinctly: “the argument here is that physical intimacy can never stand in for emotional closeness.” However, it’s not just portrayals of stark realism that succeed in illustrating the complicated humanity of sex. The notorious peach scene in André Aciman’s Call Me by Your Name is far more complex in the book, as it facilitates Elio’s struggle to understand his bisexuality. All the while copulating with a fruit, the narrator notes how “its reddened core reminded not just of an anus but of a vagina.” It’s certainly idiosyncratic, but by acknowledging the absurdity of the act, Aciman invites the reader to feel uncomfortable. By also detailing the ambiguity of his sexuality, both ideas come to represent the intricate and tentative nature of libido. Elio wrestles with his feelings for Oliver in the ensuing paragraphs, falling into a malaise, and this inclusion of the common post-coital tristesse undermines the idea of sex as a sort of apotheosis. In all, fiction is more than capable of writing sex well, but it is imperative to understand its convolution and sophistication. Pete Syme, Online News Editor

IKE many who go to TP Wednesday, we have become far too accepting of bad sex in literature. A few years ago, EL James spawned a sexual revolution of accepting the most popular of kinks, BDSM. There were parodies such as Fifty Shades of Grey, there was Sylvia Day, and there were – ahem – party games sold in Waterstones that your parents probably bought in hopes it would spice up their relationship. Fifty Shades of Grey was insatiably popular, selling over 125 million copies worldwide in four years. I could only call the pump-pumpsquirt of literature: heteronormative, boring, and with little concern for the woman. Without quoting its more graphic moments, when Anastasia Steele first sees Christian Grey’s penis, she exclaims “holy cow!” And like that, I was reminded of every single Kenneth Williams character in the Carry On series. To its balance, Fifty Shades is not the only culprit of bad sex; there are yearly Bad Sex in Fiction Awards to condemn writers for all the creepy and cringe-worthy sex catastrophes. In 2013 Jonathan Grimwood claimed the crown for his food crit-

ic’s review of a woman. “At the front, she tasted salt as anchovy and as delicious. At the rear, bitter like chocolate” – suddenly, I lost my appetite.

FIFTY SHADES IS NOT THE ONLY CULPRIT OF BAD SEX IN FICTION Woody Guthrie was somehow a runner-up as he described “inside the door of her womb she felt her inner organs and tissues, all her muscles and glands, felt them roll, squeeze, squeeze, and roll, and felt that every inch of her whole being stretched, reached, felt out, felt in, felt all around the shape of his penis.” And I wondered how this same man could have written The Dust-Bowl Ballads. Grimwood and Guthrie write sex with a strangely voracious male gaze, describing the female body as doing, quite frankly, weird and impossible things. And most importantly, none of these descriptions are sexy! From these three examples, the landscape of literary lust is not only disturbing, but it is inherently boring. Heteronormativity and the male gaze have dominated sex for too long both in society and literature. Once again, much like a night at TP Wednesday. Bryony Gooch, Music Editor Image: Harry Caton

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arts + lit

EDITORS: Cherry-Anastasia Boroceanu and Zach Mayford

9 MAR 2020 |

In conversation: Richard DeDomenici

Jaysim Hanspal, Features Editor, speaks to the founder of the Redux project

Y first encounter with Richard was through “Enrichment,” a project at my school every Friday afternoon where students would choose an alternative project or skill to hone. We worked with Richard and the Chelsea Theatre to produce a piece of performance art based on the area’s history with the punk movement, Vivienne Westwood’s store was just down the road, after all. He introduced me to the power of performance art, and the exhilarating feeling of working with an active audience.

to possibility.” This yes-man mentality has lead to many a funny anecdote and opportunity for expression, most recently he recounts painting a portrait of the first Muslim Lord Mayor of Sheffield, a man withthe most

work and years later sent it to the Lord Mayor, who apparently received it well. Richard’s most famous work, the Redux project, which recreates scenes f r o m known a n d un-

I TRY AND CREATE THE WORK THAT CAUSES THE UNCERTAINTY THAT LEADS TO POSSIBILITY We got down to business with a classic question of mine: what shape are you? In classic fashion, Richard’s response is anything but boring. He explains that the GIF he sent me earlier is a hypercube, as it “exists in multiple dimensions at the same time, and that’s something that I also strive for as an artist.” He also offered a rhombus as “it doesn’t fit easily into any holes.” DeDomenici’s work is exactly that, spanning mediums through live art performances, his famous Redux project, and most recently, a trip to the famous Philipino fast-food chain, Jollibee. He describes the confusion at his work portfolio, with most people asking, “landscape or portrait?” In a profound way, he says that “I try and create the work that causes the uncertainty that leads

conspicuo u s known name of films, has Magid Magid. garnered a During a tour of his substantial online office, Richard asked if following, which he atImage: Jaysim Hanspal Magid had ever had his portrait tributes to peoples desire to taken. Painting novice DeDomenici got to “dismantle the power structures and be

A romantic art-away

Lucy Aylmer explores the birth place of Lyrical Ballads

LFOXDEN House was the birthplace of Lyrical Ballads, a series of romantic style poems written in joint collaboration by Wordsworth and Coleridge in 1798. The house holds significant cultural value due to the notion and importance of place in constructing one’s viewpoints and facilitating creativity; after all, as the saying goes, “home is where the heart is.” For those who have them, homes have continually been a place of personal belonging where one can freely express their true, uninterrupted and unfiltered emotions. As such, it seems inevitable that the world-renowned Lyrical Ballads was written in the perfectly proportioned, Grade II listed building amongst the luxuriant rolling hills of Somerset. The construction of this collection of poems was hugely significant and was widely cited as establishing the pinnacle moment in romantic literature. Romanticism greatly influenced and changed the course of English literature and poetry to something more conducive of emotion, liberty and imagination; a far cry from the neoclassical predeces-

sor to romantic poetry that was largely characterised by intellect, reason and logic.

Lyrical Ballads and its subsequent 23 poems were a hugely ambitious project in promoting poetry to the poor through using vernacular language and placing simple, uneducated people within the context of nature at the heart of their poetry content. Subsequently, this made poetry accessible to the average person due to it being relatable and personal through capturing their imaginations and encapsulating their inner emotions of which they were unable to articulate. The naturalistic prose continually deployed throughout the poem is a that everyone can identify with, no matter your creed, colour or religion. This allowed Lyrical Ballads

to appeal to the masses through widespread poetry for all. The radical accomplishments the romantics made in perception of the English, justify the critics views that Alfoxden, the birth place of Lyrical Ballads is “as important as Shakespeare’s birthplace in Stratford-upon-Avon.” The ambitious projects of inclusivity and education of the poor, were ultimately founded where Alfoxden resides. As mentioned earlier, a home can offer a distinctive glimpse into an individual’s life from the furniture they surround themselves with to the landscape they observe. Unlike reading a history book on the Romantics, or indeed reading Lyrical Ballads, the home offers a much more personal analysis into someone’s life through the mutual affinity and understanding of occupying the same space. Buildings like this are important for modern culture to reinstate the virtues of hard work and the importance of working for a moral cause. Image: Old Book Illustrations

active producers rather than consumers.” His first Redux, based on a piece of Thai cinema, was just a request for a site-specific piece of cinema in Bangkok. This sparked the project when “a reviewer from the local paper said that he preferred my version to the original which was a shock to me.” This happened again with his redux of Cloud Atlas, which was given one star more than the original by The Scotsman.

HIS WORK IS PERVASIVE IN THE IRONIC YET PERTINENT MESSAGE TO THE AUDIENCE He mentions his parody of The Matrix, one of his most popular videos where “there’s a moment where we freeze time and everyone stops and it kind of works but then there’s a moment where a pedestrian walks past.” I admit that this is a reason I like to watch them myself because, in reality, we enjoy watching things not really work out, as is the joy of live theatre. Richard agrees: “Even though I strive for perfection with my limited means, people like it best when it all falls down. It reveals the artificialness of the cinema. “ Finally, I ask for some much-needed career advice. What should a lowly Humanities student do to find a job in the Arts? “I just apply for stuff, even though I get these knockbacks sometimes’’

WRITER’S CORNER Shots by Katie Dunbar Sweet, sticky, clear; slithering, the burning spreads, sinking deeper. Your throat constricts attempting to evacuate the heavy liquid Thoughts loosen deep in your mind, crawl to the front, and dribble out your smudged lips. Limbs liquidise... clarity dissolves. Warm, its clammy hands cover your glassy eyes. Enough. Blurry, itchy, decorated with interwoven red lines, Puffy, swollen, shivering under sheets, You hover over me. We didn’t feel it last night. Clawing up, panic rises from your gut, caught in your narrow throat it swells, blocking the path of air Adrenaline weaves through the network of bruised veins. This is us. This is normal. This is being young. Take the shot.

MOZZARELLA STICKS - £1.50 PIZZA SLICES - £1.95 HOT PIADINAS - £3.75 12 INCH PIZZAS - £5.75 great for s haring! D ON HOT FOO SUITO T O G -THE KETS ALL POC

*AND ALL OTHER ITALIAN FOOD

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LEI LA

ECENTLY, I spoke with Leila, one of Sister Sounds’ resident DJ’s, who’s been with the group since its beginning last October. She explained that what started out as just a brand is now becoming a collective, to express themselves through their music, but more broadly through their collective platform. The lack of representation for women in the Exeter DJ scene drove them to begin the group, and remains their main purpose. It is etched into every aspect of the group from the advertising to, visual design, music production, to their events. Leila, one of the group's founding members, spoke about her love for mixing and how the group has only enhanced that passion, and given it a focus like no other. By allowing creatives, DJs specifically, to gather under one collective, Sister Sounds is a space created by women, for women, within Exeter. In her experience, many people have approached her from different professions; photographers, videographers, filmmakers, visual artists reach out because of the platform Sister Sounds creates. Simply having a starting point is an important step in including those underrepresented. The entirely student driven group provides a space for many different types of electronic music; drum and base, house, techno, breakbeat, electro are all played by at least one member of the group, Leila herself specialises in techno and a bit of house. Leila is trying to take her music a step further and introduces her nation- Sister ality into her music. She weaves in lots of Arabic influence into her music as she is part Arab originally, and what better way to introduce a unique sound to Exeter’s music scene than through Sister Sounds. We spoke about how World music and Afrobeat is gaining popularity in major labels in the Western music sphere, and Leila tries to support that by promoting an international sound here in Exeter.

HAVING A STARTING POINT IS IMPORTANT FOR THOSE UNDERREPRESENTED Continually, as the group was born out of the necessity for representation, they have a host of struggles to confront. First and foremost, one major difficulty the group faces is that, being a completely student run group, many of the members will be leaving or moving away from Exeter. And although the group has been growing since its creation, keeping the same vision and drive will be difficult for

a group without consistent membership over the years. Although Leila is sure that the solid platform they create will curate a passionate group of people to carry the flame. Besides that logistical issue, the main focus the group tackles is the problem of representation and inclusivity surrounding women. They hold workshops to promote the teaching of mixing to women, trans people, non-binary people, etc. All in an effort to bring more women into a spotlight which has been held back from them. This shows through the charities that they support and raise money and awareness for. For example, one such Phoenix event was aimed at raising money for the CoppaFeel breast cancer charity, and their most recent even focused on raising awareness for Recognise RED, Exeter University's

ANA SANZ

LIVIA Gomez: Firstly, tell me a little bit about yourself. What do you study? Where are you from? Ana Sanz: I study Liberal Arts, majoring in IR. I’m currently a 4th year. I came back from France in September after a year of working there. OG: How did you start DJing? AS: When I was a 1st year, a friend of mine took me to a sort of workshop hosted by the Beats and Bass society where you could learn how to mix and produce tracks. I didn’t even think I was going to like it but I did, so I applied to be part of committee on my second year. I became the social sec of the society and began playing more and more. Then, when I left to France on my placement, I shared a mixing table with the girl I lived with and we used to

Sounds DJs tell Exeposé Music Writers what the Exeter DJ scene looks student led anti-harassment campaign. Coupled with visual design to support them, the group performs in an environment which perpetuates their message. It is especially important that the group promotes these messages in the clubs within Exeter, as much of the harassment, and other issues that women face, occur on nights out. We ended our discussion on how there is an increasing wave of smaller scale music nights coupled with promotional campaigns about targeted issues. We have seen evenings like Beats2beat plastic waste at Cavern, or Extinction Rebellion's 'Party Like There's No Tomorrow'. It’s groups like Sister Sounds which help push for progressive efforts within music scenes, and their influence shows. While they specifically focus on women, nonbinary and trans, there is a growing number of groups pushing similar priorities. Being a student led, all women group, they can focus on the issues which immediately impact them, and in turn immediately be impacted by them.

have funk nights every month. When I came back to Exeter, I ran for Vice President of the Beats and Bass Society and got even more involved with DJing. Eventually, me and the other girls created Sister Sounds with the purpose of empowering women and giving them more of a platform to put themselves out there as DJs. OG: How did you get involved in Sister Sounds? AS: The idea kind of came from all of us. We created a Facebook group chat with several girls that knew how to mix tracks and with a promoter that helps us a lot with Exeter night-outs and such. I suggested the name and everyone seemed to like it and, so, we got working on our first event. It was in October and we had really good attendance numbers. We saw that people had a really good time and really enjoyed the concept. Of course, all the girls have very different styles, so there’s a lot of variety throughout the night. After the success of the first night, we got working on our second event in Phoenix. From there we’ve booked our first headliners

and continued to play at Phoenix. OG: How did you feel about the opportunity of DJing at Phoenix after years of attending the club yourself? AS: It feels pretty incredible. I remember being in first year and seeing a girl mixing tracks in the main room and I thought that was really cool. I don’t know, just imagining what that would be like was pretty crazy. Still, I didn’t think ‘I want to be that person’ but I knew it was something incredible. Playing there now is pretty nerve-wracking and I get a lot of stage fright but, when you get lost in your songs, you can manage that a lot better. OG: How has it been collaborating with the other girls? AS: I’ve had a great time collaborating with the other DJs. We have really different musical tastes which, I think, helps cater to different audiences. I think we have a good dynamic going. We’re not super close friends, we simply have this in common and that’s good. We have a common purpose with Sister Sounds. We want it to stay an art collective rather than a simple entertainment act. OG: What do you think about being a woman in this industry? AS: We try to teach and be as accessible as possible to girls that want to join and learn about this precisely because it is not easy to gain access to something like DJing. The equipment can be very expensive and, on top of that, it’s always boys playing. So, it is difficult to infiltrate the industry and learn when you’re not sure of yourself, like when you don’t feel confident. Sister Sounds has a very welcoming atmosphere. We even try to get female visual artists involved. There’s a girl that did our logo and another one which created animations for us to display on a projector during our gigs, for example. OG: Lastly, what are your ambitions for the future? AS: That’s a bit difficult since I’m graduating. I’d like Sister Sounds to remain an art collective. It’s not a brand like salsa timepiece or Room 303. The problem with making it a brand is that then the girls stay stuck in Phoenix and the idea is that they can move around and really create a presence as a DJ. We’ve been very lucky to have interviews with very big radio shows like 1020, nudes and BBC Devon. We’ve also had the chance to collaborate with Sister Works in Bristol which was great. I think people really like the concept and now that there’s more second year girls entering the scene, Sister Sounds can keep happening. For me, personally, DJing is a hobby that I really enjoy and will probably keep in my life but I can’t say I know what’s next.

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music

EDITORS: Richard Ainslie and Bryony Gooch

LEXIA MAJORA

Image: Ashley Reynolds

RYONY Gooch: Tell me about Sister Sounds Lexia Majora: Sister Sounds is great in itself as a platform for talented women, I’m so happy it exists and I’m part of it. I’ve also met so many cool DJs and artists though being part of this – Hold it Down and Beats and Bass DJs who are so lovely and supportive – and artists outside Exeter, so it’s really helped me integrate in the DJ community locally and beyond. BG: How did you find out about it? LM: Literally on Facebook. I wanted to DJ, I did a course in Bristol, like a mixing course for women. I was like “how do I get into the scene here?” and it literally popped up on Facebook. I spoke to Emma who helps manage Sister Sounds and was like “hey, can I send a mix?” and she was like “yeah sure” and I ended up doing it. It’s really great because I feel like it’s a really supportive collective. I feel like we’re really close among the DJs and there’s a really nice encouraging atmosphere, and lots of genres. BG: So how did you get into music? LM: I went to music school when I was little. When I was seven I started playing violin and singing. So I’ve got classical training in music from a long time ago. I did some folk music, I was playing violin, singing, playing guitar. I was in a band for ages with this. Then I was like “well DJing sounds really interesting.” I was a bit scared of the technical part. BG: You seemed to come from a really classical background. What got you into dance music? LM: I do a Masters 1+3 programme with an integrated PhD. I was really tired after my Masters, and before I started my PhD I took a break of like five months. I went back to Romania to Bucharest and did some work for an NGO. I had a lot of free time, so I went out clubbing with my friend. And Jesus Christ I actually love dance music so much! I thought “maybe I can change my PhD topic as well!” And now I am doing my PhD topic on Minimal Techno in Romania. BG: Why is being a part of Sister Sounds so important? LM: As a woman, in order to be recognised

as a DJ you have to work under the label of “female DJ.” I think it’s a good platform to get visibility. We did some events with Room 303 that were mixed gender too. It’s important because we encourage each other and support each other and that is nice to have. I don’t know how the other groups do things. I don’t know their support network, but for us it works really well. BG: Would you say that women have a different experience to men in the DJ scene? LM: I was talking to a friend and it’s like when a woman DJ plays it’s like “this festival is so cool because it has a 50/50 ratio” so it’s like I have to be a woman DJ so I can be a DJ. BG: Considering Primavera, what do you think about the fact that women have had to work harder in order to make the lineups? LM: It’s shit but… I don’t like that we have to do more work. But it’s like in music and in art more generally, because a lot of artists have been men throughout history, we have been socialised to appreciate art that is more male in its perspective and style. Even for women, to listen to a female DJ is a big deal. BG: What do you think of Exeter’s Techno scene? LM: I think the one I’m active in is mostly students. That’s quite nice because we have to learn from each other. There’s a lot of big impressive bookings and the atmosphere is always great. I got to play Room 303 as well which was amazing! BG: What do you think of the night scene? LM: I come from a much smaller place than Exeter so for me this is quite good. On occasion you get the odd really good night. Recently it’s been quite good because of the Hold It Down nights. I mean obviously I would like more of it. It’s so tricky with Exeter – it’s not just the music, it’s everything – there is something missing. I think there’s not much going on here but when there is good stuff it is good. BG: The techno and electronic scene have roots in the Black and LGBTQ+ scenes obviously. But a lot of the main figureheads are white and male, what do you think of that? LM: I’m actually looking at this in my PhD. For example, the Minimal Techno scene in Romania is a boys’ club. It’s really good and I don’t know if they do it consciously, but it’s maybe one or two women who play Minimal in Romania who are appreciated for it. Even then people focus on their looks. It’s a constant danger. When we achieve something like more women or more queer people out there playing stuff, we should never take that as a given. The desire to make things better for all people involved should never stop. We should constantly be aware and make people aware of this inequality or power dynamics, because they change all the time. It’s not like

9 MAR 2020

SOPHIA WALLGREN

ICHARD Ainslie: How did you get into DJing? Sophia Wallgren: I started repping for Hijacked and Hold It Down at the start of second year. I thought it would be so cool to DJ myself, but I didn’t think it was something I could do, so I put it on the back burner. It never came to anything until Sister Sounds. I knew the girl running it and thought if they can do it why not me? So I signed up to do it with no experience and made it my goal to learn how to properly play. RA: So Sister Sounds was instrumental in getting you to take it seriously? SW: One hundred per cent. I wanted to play before I graduated but I don’t have any decks which makes practice hard. There are other startup costs like getting a USB and buying lots of music and going to a friend’s house who has decks. If I had known about Beats & Bass I would have had more chance to practice, and I know they have sessions specifically for women. But Sister Sounds was the catalyst to start. RA: Do you think the other nights around Exeter are inclusive? SW: I don’t think that women are excluded in any way, but maybe women aren’t as confident in putting themselves forward. I have seen some women acts, not students though, come down, like when High came to Move and I thought she was excellent. I think now that I’m noticing it, I see a lot more women active down here. There’s Saorsie, Nite Fleit, three acts coming tomorrow for Sister Sounds which I don’t think I’ve ever seen before; three headliners in one night in Exeter. RA: At an international level most DJs tend to be men. Do you think this is the time women might break out? SW: I think so, but I think women have always been playing, it’s now a matter of recognition. It’s hard to say who is the most skilled or who deserves recognition, but I feel people are paying homage more to the contributions of women DJs. In terms of the people I know, it’s ‘this girl is sick’ or ‘this guy is great’ and the skill matters most. RA: So you think that Exeter is welcoming to whoever wants to do it? SW: When the Sister Sounds night came out, one friend did say to me ‘do they really need a night for just women?’ and I agree that it shouldn’t be seen as the only time women play. On the other hand, a lot of DJing is about confidence and putting yourself forward, and often guys will be more comfortable saying they are ready whereas girls are less assured. Having

Sister Sounds, where I could put myself forward even though I didn’t feel totally ready, helped me a lot. RA: The music that comes with DJing such as Techno/DnB can be quite niche, why did you gravitate to these kinds of music? SW: That kind of underground scene is very UK specific. I first came into contact with it at Hijacked in first year, so I gradually became more interested in DJs instead of just going to a club. It’s readily available in Exeter: the nightlife is great here. Hand in hand with the nights comes appreciation for the music and wanting to find your own music to play for other people. I’d say it’s not for everyone, but at Sister Sounds we play a good range. At the first event I played I put on remixes of Nelly Furtado songs and a bit more mainstream stuff. Then I branched to house and ended in techno, so I think there’s something for everyone. RA: Do you think there is a different type of community around this kind of music? SW: I think people who come to the more underground events can still enjoy a night at TP, say. I’ve met so many interesting people repping for these events, and DJing too. You can DJ with new people, and music always brings people together. The most amazing thing for me was meeting other women DJs, I didn’t know any of them before. They’re such a supportive group. RA: Have you talked and collaborated on your music with them? SW: We had some mixing sessions in the beginning together, and there was helpful tips and lots of encouragement. We all have different niches in terms of our music, so we can all play our own thing. Since it’s not so much a for profit thing (lots of our events are for charity) it feels like it’s all in the spirit of empowering women and getting more women on the scene.

Image: Sophia Wallgren

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EDITORS: Richard Ainslie and Bryony Gooch

9 MAR 2020

Panic! at the gig Exeposé Music Writers discuss the struggles that have prevented them from enjoying the wonders of live music CONTENT WARNING:

Anxiety, sexual harassment, alcohol and ableism

IVE music as a non-drinker is… an experience. Two years ago I used to go to rock and metal concerts every once in a while (I’m wearing a Rock and Metal Society hoodie as we speak – shout-out to them). It was, for the most part, wonderful. I still remember Opeth, November 2017: the soaring guitar solos, the juxtaposition of guttural vocals with clear ones ringing above us. Not drinking at concerts helps me appreciate them more – I feel everything in a very intense, hyper aware way. This does not apply only to metal, but I cried at the Opeth concert, too. What can I say? However, I have never experienced a concert while tipsy, so maybe it is even better. I probably will never know, because I cannot be bothered to drink. But the fact is, although bigger concerts are perfectly fine without a beer in hand, the same thing does not apply to smaller, more local gigs. The point being, there’s a lot more drinking. Exeter Cavern, Bristol Fleece, you name the venue: the alcohol at the bar is plentiful and enough. I’m someone small, so I have been pushed around, peer-pressured into drinking, had drinks spilt on me, and it takes away from the experience. Metal is particularly stressful for me: if I want to see anything, I have to get closer to the stage, where there is usually a terrifying

moshpit. This is not a gendered issue – it is an inebriated one. It does not feel safe to be surrounded by drunk people whose main objective is to push everyone else as hard as they can. Alcohol and live rock music have become synonymous, and it puts off many of us. It asks non-drinkers to be resilient, at the expense of their enjoyment of the music. Being pushed around for the length of a concert makes me want my money back, and while drinking culture, in general, should be re-evaluated, its connection with live music is one that needs to disappear soon. Sure, have your beer – but don’t use it as an excuse to justify your lack of respect for other concert-goers, who might choose to experience the music in a different way. Anne Chafer, Deputy Editor

OR me, one of the best feelings, one of the purest moments of joy in my life, is finding out that an artist I like is playing nearby. Whether it is a rare Florence & the Machine gig in the South West, or visiting independent venues supporting smaller, up-and-coming artists. However, I have not always found it easy booking tickets and planning for gigs, with accessibility issues restricting my chances to attend performances, particularly in smaller venues that are not purpose-built with concert venues in mind. Having been confined to a wheelchair or crutches for a couple of my teenage years, (although this is nothing in comparison to people who spend a lifetime with mobility restrictions), it gave me a glimpse into the

Elinor Jones, Science Editor

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HEN I was 16-years-old, I used to go to one to three gigs a week. It was the beauty of living close to the capital. I got to re-live my emo teenage years at a Papa Roach concert and got in touch with my basic self while seeing Kensington live. What’s more, every year on New Year’s Eve I got to see the highlights of Prague’s local punk scene. Being a student in Prague is fantastic, bands such as I Love You Honey Bunny dominate the local club scene often for free or a small fee. However, this was all taken away from me when, at the age of seventeen, my anxiety and what I now understand to have been PTSD, robbed me of the euphoria I often felt at gigs. My tipping point was when I went to see a Coldplay concert, courtesy of my dad trying and failing to understand my music taste. I went alone, a feat I was used to undertaking back at home. I found losing myself to the music alone, without the external influence of another, comforting. This comfort was taken from me at this concert, where I experienced a panic attack so debilitating, it put me off concerts for a full year. I was in the standing area, packed in like a sardine with lots of sweaty fans. For a while, I hoped that it was a one-off thing, but every time I went to buy a ticket, I got

difficulties of accessing live music, particularly in smaller venues. Firstly, access to venues itself is often difficult, with nowhere to park or drop people off. Disabled access to venues, music or otherwise, is seemingly forgotten in venue design plans, often run-down or less grand than the main entrance, which may seem fickle, but attending live music should be an enjoyable experience from start to finish. Secondly, whilst many venues, including Exeter Phoenix, have special viewing platforms or areas for wheelchairs, it reinforces societal practices of segregating ‘able-bodied’ and ‘disabled’ people. If you are one of a group, perhaps family or friends, you miss out on spending time with them as they might be moshing at the front and you are separated from them. This is why I did not go to any performances during my wheelchair-bound days, despite having tickets to see my favourite band perform their latest album. Event organisers should be mindful of all abilities and conditions, including those that are fluctuating or invisible. Not everyone "looks" disabled or has a label to define their access needs. We need to improve the conversation to ask not just what the problem is, but how we can help everyone enjoy live music.

hit with a question. “What if what happened at Coldplay will happen again?” and I would cancel the purchase. It’s almost impossible to go to a small-scale, or at least affordable, concert without the sardine-pack, booming bass and excessive heat. I didn’t know why I found these things so triggering. That’s the nature of most panic or stress disorders, you don’t need to know why you’re reacting the way you are. I just wish that there was a greater understanding of the inaccessibility of concerts to people with severe mental illnesses. Venues and bands need to do better; they’re losing out on a big chunk of their fanbase. Anna Romanovska, Lifestyle Editor

Image: Anne Chafer

OING to gigs is one of my favourite things to do. There’s nothing quite like hearing your most loved music being played live, and yet I can’t help but feel anxious when I go to a gig. It’s not the prospect of being in a large crowd that scares me, nor is it finding the venue. After a recent concert at the O2, I realised what causes me to get so nervous. I think it stems from being a woman in those types of spaces. Besides the much longer queues for the loo, and the fact my smaller stature means I get pushed around a lot more (at my last gig I got both kicked in the crotch and elbowed in the head), there are much more serious concerns

for me, as a woman, attending gigs. I love being in the standing area and being surrounded by people who love the music as much as I do, but this comes at a risk. The issue is as a woman in a cramped space you’re vulnerable to being groped, and it can sometimes be difficult to discern whether you’re being touched inappropriately intentionally or whether it’s accidental. On top of this, in a setting where people are often intoxicated, you might be too. Those around you can be more aggressive, you could be less able to defend yourself, or both. This is something I find myself being hyperaware of in a gig setting. Often, I find solace in the support I have been offered in the past by other girls at gigs and festivals. I have had complete strangers help me out when I’ve been put in difficult positions numerous times before, and I’ve done the same in return. I also frequently go to gigs with male friends, who have been understanding and protective when I’ve needed them to be. It's disappointing that I should have to rely on others for help in a setting that’s meant to be about fun and enjoying music. I should feel comfortable going to these kinds of events alone, without the need for a chaperone. Issy Murray

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9 MAR 2020

Literary listens

Anne Chafer, Deputy Editor, discusses classic books that influenced classic tunes

ALYPSO, Tom Sawyer, Ophelia… what do these characters have in common? Of course, they belong to stories. But they are also the subjects of their own songs. I’m not talking about Calypso’s appearance in the Odyssey, allegedly a performed poem, but about songs from our own century. For lack of an actual music player on this analogue page, here is a brief introduction, absolutely influenced by my tastes and not at all comprehensive, to the vast world of literary music in the English language.

MANY BANDS HAVE WRITTEN COUNTLESS REFERENCES TO TOLKIEN'S IMAGINARIUM Of course, the easiest place to start would be J.R.R. Tolkien’s The Lord of the Rings and the whole of Middle Earth. The Beatles did write many songs inspired by books, but I would argue that it was not until bands like Led Zeppelin start introducing fantasy elements to their songs (cue the flute part from ‘Stairway to Heaven’). Fantasy books seem to inspire songwriters in a different way. And for a good while, it was the way of the white man writing progressive rock or metal in the period from the late seventies to the nineties. Rush, T. Rex, Led Zeppelin or Blind Guardian are some of the

T was the end of September, my seminar reading was unread. But the ticket was a present – and, after all, it was Bill Ryder-Jones. So, Red Stripe in hand, I decidedly made my way to Phoenix. I immediately see Bill at the bar. Horrendous. I do the reasonable thing and get the fuck out. I hide watching the support for an hour, then go to the smoking area. To my absolute horror, so does Bill. Strangely, though, it was a moment of clarity – I was being ridiculous, it’s just another human being. So, I spoke. And after a sincere 15-minute chat about football, Reading (“Shit hole,” Bill recalls), Brexit and Thatcher, I felt that moment of clarity confirmed. Beyond anything else, he actually seemed to care. The gig felt like an extension of that conversation. Half piano solos, half heartfelt engagement with the crowd. To be honest, it made me feel safe. They say don’t meet your heroes; I say do. Ben Faulkner

bands that have written countless songs with references to Tolkien’s Imaginarium, and if you like rock and complex yet still accessible drum solos, this is a good place to dive in. The ubiquitous dad-rock band U2 also tried their hand at literary reimaginings. I found ‘Shadows and Tall Trees’ after finishing William Golding’s Lord of the Flies, and was surprised by its unorthodox sound, different their usual style. Some other common themes of inspiration for male bands include Homeric tales (‘Home at Last’ by Steely Dan, ‘Tales of Brave Ulysses’ by Cream) and other classic literature. Mastodon’s concept album Leviathan is based on Moby Dick, while Brandon Flowers’ music video for ‘Can’t Deny My Love’ essentially adapts Nathaniel Hawthorne’s short story Young Goodman Brown into an entrancing short film starring Evan Rachel-Wood. Orwell’s dystopias also deserve a

mention: David Bowie’s attempt to turn 1984 into a musical, Pink Floyd’s Animals, Muse’s The Resistance… his bleak vision of the future inspired many Where are the women, though? It’s easy to assume that women have focused mostly on adapting female narratives. While that applies to many, it is not necessarily accurate: PJ Harvey is a J.D. Salinger adept (‘A Perfect Day Elise’ and ‘Angelene’ are both inspired by Salinger short stories) and an incredible rock musician since we’re at it. Joni Mitchell, adapted Tennessee Williams’ play The Night of the Iguana into a song of the same name. Regina Spektor prefers mythical figures: ‘Oedipus’ and ‘Samson’ are some of her best tracks, the latter putting a most wonderful twist to the biblical character. Emmy the Great’s third album Virtue includes two gems named ‘Cassandra’ and ‘Exit Night / Juliet’s Theme’, both whimsical and lovely. For a more intense take, you can turn to Kate Bush and her ‘Wuthering Heights’, or to the one

Meet your darlings

Exeposé Music Writers recall their brief encounters with the stars

HERE are some moments in life you will never forget. For some that is their first kiss, their wedding day or the birth of their child. Meeting Emily Barker, BAFTA award-winning singer-songwriter, for my fifteenth birthday was one of them. Being invited "backstage" at Bristol Folk House, allowed in for soundcheck, a tour of the tour bus, and a song dedication at the show, amongst an evening of chatting with her and her band, was one of those evenings I will never forget. Not only was it one of the first gigs I’d felt well enough to go to for years, but also she was so lovely, inspiring and welcoming that I didn’t feel taken pity on, and I was fully involved with their evening. Two years later I was welcoming her to play a house gig at my home and I have since had her artwork tattooed. If that’s not love, I don’t know what is.

Elinor Jones, Science Editor

MET the one and only Courtney Love at her solo show in Shepherd’s Bush. Well, I say meet, but it was more of a moment cute than a meet-cute. As she belted out with her trademark guttural snarl “be a model or just look like one,” she bent down to the front row, where I stood, and handed me a red rose. Reader, in that moment, my life was complete. The queen of grunge herself had singled me out as having 'Celebrity Skin' status. Not only that but at the end of her set, which she closed with my favourite song of all time ('Doll Parts'), she bestowed upon me the set list. It truly felt like I had met royalty. I still have the rose pressed, and the set list sits pride of place on my wall. No one does rock n roll like Ms. Courtney Love. Issy Marcantonio

and only Stevie Nicks, whose version of Poe’s Annabel Lee is mystifying at the very least. And speaking of all things magical and mystical, three names that had to be included are those of Suzanne Vega, Loreena McKennitt and Lana Del Rey. They take tales and, just like the three Fates of ancient myth, spin them in a different way. Vega has written about all sorts of literary figures, McKennitt prefers the old and the medieval, and Del Rey focuses on her carefully constructed, self-aware idealisation of figures from more contemporary classics such as Lolita (‘Off to the Races’) or Walt Whitman’s poem 'I Sing the Body Electric' (‘Body Electric’). But the most unexpected fact? Katy Perry’s ‘Firework’ reworks a passage from Jack Kerouac’s On the Road. My respect for women in music never stops growing, I swear.

KATY PERRY'S 'FIREWORK' REWORKS A PASSAGE OF ON THE ROAD Finally, there are the meta-literary songs: songs about writing books. Going back to the Beatles, their ‘Paperback Writer’ exemplifies this, but Belle & Sebastian’s back catalogue also has plenty to explore. However, I imagine you must already have enough to make your own literary playlist. Happy reading! Images (top to bottom): Ralph Arveson; Engin Akyurt

HE most long-standing ‘favourite band’ for me has been British Australian surfer dudes Sunset Sons. I’ve seen them seven times now; three headline gigs, one support slot and three festival appearances. I’ve done an "e-mailer" interview with them to promote their recently release sophomore album Blood Rush Déjà Vu. But on their recent tour, before playing a sold-out show at Thekla in Bristol, they invited me to their soundcheck and a meet and greet happening after. Although Rory’s formerly long hair had been decimated to make room for a smarter, more clean-shaven look, and although the original four-piece had become a trio, it was still the same band. After playing the beautiful 'Superman' for us, they spent the next forty minutes or so talking to us. They were as lovely as I could have hoped! I pestered them for photos and autographs, of course, but they were happy to oblige. James O'Sullivan

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You may like it, I don’t C

Exeposé Screen Writers tear down some cinematic masterpieces

INEPHILES love The Shining. Horror fans love The Shining. Your mum probably loves The Shining. Everyone loves The Shining. Apart from me. I have watched it countless times; I have spent many nights drunkenly discussing it with friends. I even read the book. But no matter how many times I’ve engaged with The Shining, it doesn’t make it any less boring. To me, The Shining is like the avant-garde horror-film equivalent of Love Island: tacky, shallow, filled with pretty things to gawk at, with acting more wooden and over-the-top than last year’s Christmas tree, and a script that seems to be have been written entirely in crayon. On paper this movie seems like a perfect match. Stanley Kubrick’s filmography is filled with psychologically complex, beautiful adaptations. The Shining is Steven King’s masterpiece; a brutal story about a father and son navigating alcoholism and abuse. Yet the film fails on almost every count. Jack Nicholson’s portrayal as Danny’s father feels more like a test-screening for his role as Joker than a man losing his mind; Wendy is just a living scream dispenser; the Overlook Hotel is merely set-dressing for lacklustre moments of tame, by-the-numbers horror; and the less we talk about Danny the better. Kubrick’s symbolism is vague and aimless, so it’s up to the audience to project their own meanings; a lazy move for one of cinema’s greatest auteurs. The cinematography is superb, but it’s shot in a way that isn’t thrilling or unnerving. The lingering dread conjured by the soundtrack evaporates once the Scooby-Dooesque shenanigans begin. Stripped of the bizarre performances and with a sober, haunting atmosphere, this could be the classic everyone thinks it is. But for the time being, I’m sticking with Love Island. Ollie Leader de Saxe

OR a filmmaker as prestigious as Martin Scorsese, making a film that I would consider to be genuinely bad seems like a challenge. But with the director’s 2006 film The Departed, it seems like Scorsese somehow managed to make a film that goes off the rails and is a complete contrast to the subtle and nuanced films of the director’s past. The Departed is a sloppy film: the writing is ridiculously over-the-top and filled with unnecessary expletives, the acting is cheesy and unbelievable, and above all the editing is jarring and straight-up awful. It’s been a long time since I’ve watched a film in which the editing severely detracts from the film at hand, (especially one from a director who has such a sophisticated editing style in his filmography) but somehow The Departed manages it, and the fast-paced and erratic use of quick cuts, whip-pans, and a hoard of other excessive editing techniques completely ruin this film for me. That’s without mentioning the stupid ending that totally ruins any sort of message of critique the film offers. I still haven’t forgiven Scorsese for the CGI rat at the end of the film. From the director of Raging Bull, Taxi Driver, and Goodfellas (three of the best films ever made, in my opinion), The Departed is nothing more than a big let-down, and proof of a once great director showing cracks in this era of modern filmmaking. Will Thornton

T ten-years-old, I found my Dad’s Kill Bill box set. I saw a woman in trousers, bright colours, a katana. I looked at my own battered tomboy knees; The Bride’s hair as long and yellow as mine. It was decided. I had to watch these films. My parents were smart enough not to let me, a self-confessed sensitive kid, watch Kill Bill until I was 18. My dad sat me down, pressed play, and hoped he would score points with his argumentative feminist daughter. Instead I, like most female film students, made a mortal enemy of Quentin Tarantino. Women are attacked, belittled and bruised. When the first film was released it was lauded for the Bride’s driven and complex characterisation and capacity for real rage, yet it stinks of classic faux feminism. Men are the motivation behind nearly everything The Bride does: male violence, male orders, male permission. Her real name is censored. She is identified only in relation to men for most of it. There is no room for female solidarity. What’s more, Kill Bill’s appropriation of Japanese culture feels like a sticky scroll through the Reddit anime backlogs. Tarantino’s vision of Japan is a stereotypical dichotomy of sexual perversion and ancient wisdom. To me, the worst thing about Kill Bill is not the infamous flaunting of Tarantino’s fetishes, although I weep for the lost innocence of Uma Thurman’s big toe. It’s the co-opting of female liberation. The exploitation of our rage for straight men’s enjoyment. Tarantino has called these films feminist. Genuine feminist films don’t make their female star perform unsafe stunts. They don’t fetishise teenage girls, rely on racist stereotypes, or pit women against each other. Real feminist films can do better. Women should not settle. Erica Barnes

Czech these out

Images: FILMGRAB

Anna Romanovska, Lifestyle Editor, has the scoop on some of the Czech Republic’s greatest films

RAGUE is a beautiful city. Subsequently, hundreds of mainstream films are deciding to film in the Czech capital, such as Spider-Man: Homecoming. However, the inclusion of the location within the film industry does not constitute praise for the quality of film and television this country produces. Moreover, most of the time the locations aren’t portrayed accurately, a depiction I firmly believe you can only gain from Czech film. Pelisky (Cosy Dens) is a cult classic and has, for some odd reason no one seems to remember, become a staple Christmas Eve movie streamed by the national Czech television channel every year. It follows the fates of two families just before the soviet occupation of 1968, aiming to highlight the difference between proCommunist and anti-Communist ideologies. I know it sounds boring, but the contrast is pulled off with a comedic genius that can only really be found in Czech media. Another cult classic is Kurvahosigutentag (a rough translation is “Whoreladsgutentag”),

regarded by my dad as the most accurate representation of the nineties in post-velvet Czechoslovakia and later the Czech Republic. Initially, it was slated by reviewers, but is now considered a comedic masterpiece.

CZECH HISTORY IS A FANTASTIC SOURCE OF THEMES AND GENRES Then there was the Oscar and Golden Globe winning Kolya, directed by Jan Sverak with his dad Zdenek Sverak in the leading role. It depicts the state of Czechoslovakia towards the end of the totalitarian regime. Yes, I know what you’re thinking: why are so many Czech films based on its history? Our

history is a fantastic source of themes and genres: from absurdism to power relations, it allows most filmmakers to construct a sociological or political critique of a certain time. More importantly, it makes sure future generations do not forget our history. But, if you really (still) want to delve into the classics of Czech film, I would highly recommend starting with Otakar Vavra. Although he is known for adapting to the political climates of the 40s, 50s and later that of 1968 to 1989, his best work comes from the most liberal decade of Czechoslovakia’s history of oppression. The 1960s gave rise to staples such as the Kladivo na carodejnice (Witchhammer), a film about the witchhunting trials of the 1670s in Northern Moravia. Romance pro kridlovku (Romance for bugle) is a 1966 film based on Frantisek Hrubin’s Image: Miramax eponymous poem.

It’s a one of a kind masterpiece, where a poem was the primary source of adaptation for the screenplay. Vavra is undoubtedly one of the fathers, if not the father, of Czech film, as he had helped to establish the world-famous Czech Academy for Film in Prague (FAMU). One of his students was none other than Milos Forman, also known as one of the only Czech directors with a Best Picture Oscar. And Vavra’s legacy does go deeper! HBO released a fantastic three-episode series a couple of years ago about the consequences of the burning of Jan Palach. The acting and the cinematography are spectacular. It was directed by Agnieszka Holland. Though she isn’t herself Czech, she did study under Vavra. This is unsurprising, considering her talents and her attention to detail. So, if you do, for some reason, want to delve into the world of Czech film, start with Vavra or one of our many 20th century historical satires.

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EDITORS: Jonathan Chern and Samuel Thomson

A game with a girl?!

Sally Denning tracks the journey of female characters in the gaming industry

EMALE characters in video games have come a long way since the Tomb Raider era. When people think of women in video games, the first character is usually Lara Croft. The Tomb Raider series has spanned many games and films since its first release in 1996, and while the games were lackluster in regards to controls and camera angles, one thing stood out, and that was Lara Croft. Croft was a breath of fresh air to the gaming industry. She was not the damsel in distress princess that we saw in the Mario games; she was a kick-ass hero that knew how to handle herself in times of peril. But Croft was intelligent (as an archaeologist, most of the Tomb Raider games consist of Croft

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having to retrieve artifacts), and sexy (which was one of the main reasons for her fame) too. Croft in her earlier games wears short shorts and a tank top with clearly no sports bra underneath. The creators of Tomb Raider have been criticised for using Croft’s body as a way to sell games rather than her intelligence or other attributes.

CROFT OPENED THE GATES FOR FEMALE CHARACTERS Even though Tomb Raider was criticised for over-sexualising Lara Croft, it opened the gates for female characters. The same year that Tomb Raider game was released, Resident Evil came out, and it had two female characters, Rebecca Chambers and Jill Valentine. Valentine, like Croft, knew how to handle herself in a mansion full of zombies, zombie dogs, Tyrant, and nearly got made into a Jill sandwich. Like Croft, Valentine was smart and powerful that did not need a man to save her, but they are both different in another way. Valentine is not overly sexualised in Resident Evil, she wears a uniform and is considered a valued member of the S.T.A.R.S. Team by her comrades, she is not treated like she is a weak

woman that can not handle herself. However, if we skip forward to Resident Evil 3, Valentine has had a makeover. Instead of her S.T.A.R.S. uniform, she is wearing a blue tube top and a short skirt, and she seems to rely heavily on Carlos to save her from Nemesis. But as times have changed and women in gaming have become more heroic and less sexualised such as Ellie in The Last of Us, who has gained praise from video game critics for being a modern and realistic teenage girl. We see Ellie suffer from survival guilt after Joel decided to save her rather than find a cure for the Cordyceps fungus and questioning of her sexuality, which was seen as pioneering in the gaming industry.

THE FUTURE OF WOMEN IN VIDEO GAMES LOOKS PROMISING But the women in games are changing, RPG games such as Mass Effect and Dragon Age, where gamers can choose their genders and make their characters how the players want their character to look, their personality by their choices in the game, and even their sexuality.

Reel Women

The future of women in video games looks promising as Resident Evil 3 is being remastered with Valentine having a revamp from the PS1 version. The blue tube top is gone, and the skirt has been replaced with trousers. Another Last of Us is due to be released in May, with Ellie becoming more of a central figure, and in September the RPG Cyberpunk 2077 will be released, which does not let you pick any gender. All these changes, along with a rise in the number of female gamers, female characters in gaming are heading in the right direction. Images: Eidos

Catherine Lloyd, Copy Editor, remembers early cinema’s female pioneers

EMALE trailblazers of early film have fallen into cinematic obscurity, erased from the annals of film history and written out by a narrative that places men as the founders of the art form. In a case of ‘historical amnesia’, their origins in the making of the film industry have long been lost. Upon recent rediscovery, a cinema centred on white male successes is being readdressed. Cinema was wrongly characterised as inhospitable for women when in actuality women creatively thrived, crafting independent full-bodied female characters and narratives in the fledgling industry. Film’s beginnings show greater parity than a post #MeToo society.

CINEMA HAS BEEN WRONGLY CHARACTERISED AS INHOSPITABLE Early cinema pioneers saw an industry not chained to a gender-dictated division of labour but free of constraints. This was a time where you could ascend the ladder with ease, a woman could rise from the lowly ranks of studio typist to the prestigious title of director. Your role was based on your acumen, and not decided by your gender. This was characteristically only true of early film as roles merged into one another - an aftereffect of early film’s small production crews. A director may find herself being a scriptwriter and editor. Once film became lucrative, a

hierarchy was made overtly known and a director’s prestige was felt studio-wide. There were more women working in Hollywood in the first two decades of film than there have ever been. The “New Woman” had graced the filmic stage and strode into the twentieth century, that new woman looked like Alice Guy-Blaché or Lois Weber, precluding anyone other than a white middle-class woman. Gender was not an impediment, if anything gender made solid a female necessity in film. Marion Fairfax’s 1925 essay does well in arguing that since women predominated movie audiences, female screenwriters held an specific advantage over their male colleagues; women were practically more well-versed in writing the stories a female audience demanded. Be it Frederica Sagor’s romantic comedies or Sidney Drew’s domestic melodramas, gendered expectations were taken to task. Screenwriting swiftly emerged as a female art form, penned by women for women. While grappling with low salaries, crediting problems, script interference and a demand for stock characters afflicted women’s work. Frances Marion saw that the only way to maintain control over a script was to be both writer and director, making way for dualprofession women. The advent of sound in 1927 brought about a burgeoning studio system and that very system was the undoing of the female screenwriter. The collaborative and creative culture women had forged was ousted for a business-like model.

Creative autonomy was now a thing of the past. In the wake of industry change, female authorship was victim to constant threat and sabotage. Female writers who once took pride in refusing to “write to gender” were blacklisted as resistance to the Hollywood formula.

SCREENWRITING SWIFTLY EMERGED AS A FEMALE ART FORM The heralded careers awaiting them were no longer safe once studio heads pushed women from seats of power. The ‘gendered’ studio was at large. Professions became “sex-typed”. Directing, producing and editing were recast into a solely

Florence Lawrence

masculine vocation while screenwriting became the only remaining acceptable avenue for women. The producer dominated during this time, with the director only a subsidiary. But women were revoked of even that ambition. The director Cecil B. DeMille’s words ring loud at this time, words that delegitimised the ability of a woman, a woman that would “crumple from the strain.” Female pioneers are now rendered obsolete in film history. Weber and Guy-Blaché have slipped into the abyss as film histories were written by the very men that wrote them out of the conversation. Universal, who hired so many women in the early decades of film, having not credited a single female director until 1982 is evidence enough. Images: Denso

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N the early days of film, names didn’t bring audiences to the box office. That was, until, Florence Lawrence. Known for appearing in films from Biograph Studios, Lawrence became the first Hollywood movie star to be named publicly in order to dispel a rumour that ‘the Biograph girl’ had died in a car accident. Lawrence went on to star in over 300 films, with directors breaking contracts to have the opportunity to work with her. When filming 1915’s Pawns of Destiny, the set caught fire. Lawrence’s hair was singed and she fractured her spine escaping. After months of recovery, she completed the picture. But the onus for actors to perform their own stunts alienated her from the industry. Lawrence lost the money she had made in the Great Depression, and she began to receive only uncredited parts. In 1938, Florence Lawrence took her own life. For 53 years her grave was unmarked. To this day, her gravestone still displays the wrong date of birth. Jonathan Chern, Screen Editor

exhibit

screen

EDITORS: Jonathan Chern and Samuel Thomson

9 MAR 2020

Going Solo

Sophie Stoakes enjoys some alone time at the cinema

OING to the cinema is fundamentally a personal experience. After you’ve agreed on a film, bought your tickets and the ads have finished, to some extent, you can tune out everything else. Focusing on whatever is being played out on the screen, with no general conversation to distract or influence, you are left to enjoy or dislike the film in your own subjective way, whoever might be surrounding you. You pick up on certain details and miss others, come to your own predictions and conclusions, engaging in private with whatever it is you’ve chosen to see. Until the lights come up revealing all the spilt popcorn and your friends shake their heads or nod in appreciation, going to see a film feels independent.

CINEMA GOING HAS ALWAYS BEEN SEEN AS A COLLABORATIVE ACT Despite this, the physical act of going to the cinema has always been seen as a collaborative one, and to head there by yourself feels alien to many. Until recently I never considered going to the cinema solo to see something, partly because I enjoy the joint experience so much. I went to Little Women in

December, and the reason I loved it so much (besides Greta Gerwig’s genius) came from the comfort of being there with the women I know the best. Three generations, sharing in the movie together, all crying and laughing at the same moments, but only realising it on the drive home. No one can deny that this aspect of cinema is a special one, but something many are now learning and acting upon, is that cinema can be appreciated just as wholeheartedly alone.

CINEMA REACHES PLACES IN PEOPLE THAT ARE DEEPLY INDIVIDUAL

There is a false concept that a cinema trip alone will trigger confused glares from crowds of people, who will stare at your singleness and wonder what it is you’re doing. The reality is that no one bats an eyelid. Everyone has come for the same reason, people chat and then it subdues, and you are left to watch the film in the exact same fashion that would have occurred had you been surrounded by a crowd. Exercise, visiting an exhibition, travelling, all experiences that can become even more meaningful when done solo, why not add

cinema to that list? Whilst the joys of film often lay in shared engagement and discussion, don’t deny yourself opportunities not only to see great movies, but also to destress and spend alone time in a place away from campus, home and work. Cinema has always reached places in people that are deeply individual and what strikes you about a film will strike the next person completely differently. Because of this, enjoying cinema alone does not devalue the experience, but only leaves you with a greater cinematic agency, and I would encourage you to start trying it.

I chose to go and see Taika Waititi’s Jojo Rabbit by myself. I loved the film and the way it explored the idiocies of nationalistic rhetoric through the lens of dark humour. It is a powerful film that I would have missed out on had I succumbed to the notion that heading to the cinema is solely a group activity. The trip in no way felt bizarre. Sorting out my seat, putting on my glasses and making my way through my bag of popcorn felt pretty similar to every other experience I’ve had recently, the only difference being it was quicker to leave when the credits rolled, without any of the faffing around that comes with five people collecting their things.

Image: FILMGRAB

Editors’ picks: Popular films we can’t stand Abi Taphouse, Online Screen Editor

Love Actually

Gravity

Jacob Heayes, Online Screen Editor

Whiplash

Jojo Rabbit

Image: Universal Pictures

Image: Warner Bros

Jonathan Chern, Screen Editor

Image: Sony Pictures

Image: Fox Searchlights

Samuel Thomson, Screen Editor

Images (L to R): Universal Pictures, Sony Pictures, CJ Entertainment, Warner Bros

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3. HOW MANY EYES DOES A BEE HAVE? 4. Which film recently won the oscar for best editing?

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5. HOW MANY DIFFERENT FLAVOURS OF JELLY BEANS EXIST?

flavours Answers: 1. 10,000 2. Post Malone 3. Five 4. Ford v Ferrari 5. Fifty 11 Closeness, 14 Breaker, 15 Corner, 17 Brace, 18 Knock, 21 Sin. Down: 1 Tie, 2 Lease, 4 Bench, 5 Aileron, 6 Disengage, 7 Miscue, Alehouse, 22 Street, 23 Akin. 13 Double, 15 Canvas, 16 Remember, 18 Keep, 19 Desk, 20 Across: 1 Talk, 3 Aboard, 8 Relation, 9 Lash, 10 Ache, 12 Coherent,

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Science

9 MAR 2020 | EXEPOSÉ

SCIENCE EDITORS: Scarlett Parr-Reid Elinor Jones

Why AI might help those with depression

Martin Brett reveals how AI can show a person’s susceptibility to antidepressants

LTHOUGH antidepressants are widely prescribed, their effectiveness relative to a placebo is statistically negligible. The reasons for reduced efficacy of antidepressants for certain patient is largely unknown, with some responding well to certain drugs and others

Image: Needpix

seeing no changes. “We need to end the guessing game and find objective measures for prescribing interventions that will work,” said Dr. Madhukar Trivedi, the founding Director of UT Southwestern’s Center for Depression Research and Clinical Care. Fortunately, a large national trial

(EMBARC) created to establish an objective remedy for mood disorders is helping minimise the error of prescribing antidepressants. The studies, including more than 300 participants, showed a correlation between the wiring of an individual’s brain and their responsiveness to certain antidepressants. Thus, suggesting that the effectiveness of a prescription drug can be predicted by the neurological composition of the patient. This is where artificial intelligence comes into the equation. Amit Etkin at Stanford University, California, states that “Essentially, the medications are chosen by trial and error” and wishes

to use a machine-learning algorithm to quickly and accurately predict how a patient will respond to different antidepressants: personalizing an individual’s treatment for depression.

The effectiveness of antidepressants relative to a placebo is somewhat negligible Etkin and his team at Alto Neuroscience started by gathering 228 electroencephalogram (EEG) recordings of clinically depressed patients between 18 and 65. Half the participants were given Sertraline; the remainder received a placebo. The participant’s mood was monitored for eight weeks using a depression scale.

AI may be able to predict the effectiveness of antidepressants The latent-space machine-learning algorithm was then trained using this data to discern patterns between

Demystifiying Psychosis

the brainwaves of an individual and their likelihood of responding well to Sertraline. The effectiveness of the algorithm was tested on a new data set of 279 patients. Of the 41 per cent that responded well to Sertraline, the algorithm was able to predict 76 per cent of them. This may indicate that AI and EEG scans can be used to predict the effectiveness of antidepressants. However, Christian Gluud at the Copenhagen Trial Unit in Denmark states that the results need to be replicated by other researchers “before any transfer to clinical practice can be considered.”

Depression is unique to the individual Although depression is considered a single disease, it is widely recognized that depression is unique to an individual. In the future, AI could be used to better tailor treatment to a patient and improve the chances of successful therapy.

Pete Syme, Online News Editor, explains psychosis and its misrepresentations

SYCHOSIS is perhaps one of the most ostracising conditions, with symptoms including psychiatric delusions and hallucinations it is often associated with mental illnesses such as schizophrenia and bipolar disorder. This concept and term are usually used to refer to an experience and are symptoms of mental health problems, as opposed to a diagnosis, first coined in 1845 and since then there has been much debate about the terminology, as suggested by Beer (1996). Treatment typically includes antipsychotic medication, counselling and social support, but the chance of success often depends on the underlying cause. Approximately 65 per cent of those suffering from psychosis have experienced childhood trauma, although there can is a range of causes, according to Read et al (2006). The condition can arise from common occurrences like sleep deprivation, drugs like cannabis, psychedelics and

ketamine, and childbirth in the case of postpartum psychosis. The Independent reported last year on a study that found super-strength cannabis with THC levels above ten per cent had driven psychosis rates in London to the highest level in major European cities. Researchers also found that a daily habit of smoking marijuana tripled the likelihood of developing psychosis. However, in its most severe form the condition is caused by mental illnesses like schizophrenia, bipolar disorder, and PTSD among others. Hallucinations are defined by the NHS as “where someone sees, hears, smells, tastes or feels things that don’t exist outside their mind.” In schizophrenia, they are most commonly auditory although it is important to note that they are not always negative as it is often portrayed. In fact, the NHS also note that some people who hear voices are able to live with them. People can also experience hallucinations when high on drugs like LSD

or ecstasy, or as a withdrawal sympsis and the associated mental illnesses tom, and these typically alter visual have improved since the days of the perceptions. The other primary sign insane asylum, they are often still misof a psychotic episode is experiencunderstood and misrepresented. ing delusions, defined as “an unshakeable belief in something untrue.” These can come in one of two types: persecutory and grandiose. The former is a belief that somebody may be making plans to hurt them, whereas the other is a belief of holding vast power or authority. However, unlike people with antisocial personality disorders such as psychopathy, most people with psychosis are more likely to harm themselves than others. If treated, someone with psychosis can often make a full recovery. Anti-psychotic medication is offered to most people as a way of managing symptoms, whilst Image: Needpix cognitive behavioural therapy allows people to understand what they Attitudes towards psychosis and are experiencing and develop coping associated conditions are exacerbated strategies. by depictions in films like M. Night Whilst attitudes towards psychoShyamalan’s Split (2016), where the

main character has a severe and exaggerated form of dissociative identity disorder which leads to him kidnapping and imprisoning three girls. The mental health charity Mind also makes a particular note on conflating the word “psychotic” with “dangerous” but explains that media wrongly portrays people behaving like this “even though very few people who experience psychosis ever hurt anyone else.” This raises the significant point of the language we use every day – more of us may understand the gravity of mental illness, aided by charity campaigns that did not exist for previous generations, but misusing medical terms in this way can spread disinformation about them. In all, it is important to remember that while psychosis can be particularly frightening for those suffering, and there is still a large stigma around it, it can be treated, and many people will go on to lead normal lives.

EXEPOSÉ | 9 MAR 2020

The science of compassion O

SCIENCE

Vincent Plant explores what it is to be compassionate and how it can benefit our mental health UR access to information can be both a blessing and a curse. It allows us to gain more collective knowledge and wisdom than ever before, but we are also individually exposed to global suffering in a way that our ancestors were not. Wikipedia lists 44 armed conflicts going on in the world – all of which can be delivered straight to you in graphic detail. What we need to give ourselves is a bit of compassion. Compassion is defined as a desire to reduce the suffering that we observe. It might well be wired into us evolutionarily – after all, we are a social species, and our desire to cooperate, support each other, work as a group and reduce suffering may have helped our species to survive in the long run. Compassion can be hard to cultivate. In the USA, a sur-

Image: UnSplash Image: Pexels

vey by McPherson et al in 2006 found that one in every four people has nobody to whom they would feel close enough to share their problems with. Compassion is, it seems, discernibly absent from parts of the modern world.

We are exposed to global suffering in a way that our ancestors were not It is important to reverse this, as evidence suggests that self-compassion can play a big role in our mental health. A 2015 study published in Nurses Education Today exploring self-compassion, selfjudgment, self-kindness, compassion and quality of life and wellbeing, found that nurses who said they had higher levels of self-compassion reported less burnout in their work, as well as greater compassion

satisfaction being positively correlated with compassion for others and wellbeing. If compassion meditation is done regularly, people showed less neuroendocrine, inflammatory or behavioural responses to stress. Self-compassion can reduce our anxiety as well as having positive effects on factors such as wisdom, extrovert nature and optimism. Fortunately, the reversal might be surprisingly easy. The University of Harvard has four very simple tricks to promote self-compassion. First of all, give yourself some encouragement. If you wouldn’t say it to a friend who had made the same mistake, cut yourself some slack; we are harder on ourselves, after all, than other people. They also suggest writing a letter to yourself which describes the situation without assigning blame to anyone- a list that also includes yourself. Third, mindfulness is said to help. Lastly, Harvard Health recommends doing any-

A shout out to science

Scarlett Parr-Reid, Science Editor, delves into the depths of the YouTube science world

reports of the number of cases. Doctor. Mike later refers to these suggestions as “wild unsubstantiated conspiracy theories”, which are likely to create confusion and be weaponised by trolls on social media. He has since created a hashtag ‘#alertnotanxious’ which emphasises the importance of not catastrophising about the virus. This is not sensationalism. It’s caution – an attitude of openness but not fear. He then goes on to use the official term coined by the World Health Organisation - COVID19 – as the virus began in December 2019. He points out the absence of place in this name, as stigma can be attached to the words ‘Wuhan’ or ‘China’, as we have seen in

rampant racist remarks towards Chinese individuals in the UK. This is clearly a lesson we have yet to learn. But Dr. Mike does not shy away from the fact that words have consequences and we should use them carefully.

His nuanced approach to medical issues makes his channel stand out Dr. Mike reminds viewers that this video – published on 18 February – is only relevant up until that specific date, since events can change dramatically over a short time period and healthcare professionals must act on the

most current information that they have. Indeed, time takes precedence in this video, as Mike suggests that reading websites that post numbers hour by hour only evokes panic and confusion and that it is better to look at a weekly overview announced by the World Health Organisation. Taking a critical approach to the sources from which we consume information is vital, not just as university students, but as members of the public, as this ensures that we are acting on accurate information. What stands out about Dr. Mike’s

videos, with this one being a great example, is his nuanced approach to medical issues. Dr. Mike has an appreciation for the fact that situations are not fixed, and he has a responsibility to inform not sensationalise, both as a doctor and as a YouTube creator. Image: Mohamd Mahmou Hassan

AM constantly surprised by the wealth of interesting documentaries and videos on YouTube that teach you something new or inspire you in some way. Being a medical student, I’m glad to have stumbled upon Doctor Mike’s channel (yes – he is a real doctor). He publishes an array of content from reactions to medical memes to videos on specific medical conditions. One of his latest videos provides an update of the novel Coronavirus. Doctor. Mike is quick to cut through fearmongering; the video begins with the topic of misinformation. The public have been bombarded with conspiracy theories from the prospect of bioterrorism to inflated or inaccurate

thing that makes you feel physically better, such as going for a walk or having a snack. These simple activities can help to build up a sense of self-compassion. Alternatively, Psychology Today recommends writing down the critical thoughts holding you back in the second person and the positive responses in the first, helping to separate the two voices. This helps to reinforce that,you are not your mistakes. It’s time to give yourself some down-time. The University of Exeter's Wellbeing services have recently launched a six week Compassion-Focused therapy course, started by Psychologist Professor Paul Gilbert, which aims to help build selfcompassion among students. After learning about the science behind this therapy, if you think you would benefit from compassion training, speak to Wellbeing or your GP to find out more.

Troubled waters

Ludovico Vermier discusses the importance of water and why we must look after our beaches

ROM the dawn of our existence humans have roamed the earth, not one without water. Our reliance upon this transparent substance is so substantial that more than half our body composition is made of it. This finite substance is recycled through the water cycle, meaning that the water you drink today could have passed through a dinosaur’s body millions of years ago. The very meteorite that caused the extinction of these dinosaurs would have seen a planet distinguished by water. Over time we have seen a planet etched by the existence of human life. It was just last century that the world’s

population almost quadrupled, from 1.6 billion in 1900 to 6 billion in 2000. Overpopulation and the impacts of a Image: Ludovico Vermier

changing climate slowly began to affect water. The UN has predicted that half the world’s population will live in water

scarcity by 2030. But for a planet distinguished by its abundance of water and with 70 per cent of its surface area covered by it, one could argue we are terribly apprehensive. However, due to our inability to biologically separate salt from water, we cannot drink any water from the oceans. Instead we have a meagre 2.5 per cent of all water at our disposition in the form of freshwater, often locked up in ice caps or underground. On average we use 150 litres of water per day. Visually that’s two bathtubs of water. However, this is just water used for drinking and sanitation. Everything else, from the food we eat to the clothes we wear, requires water

be produced. This embodied water is harder to estimate. However, to give you an idea one single hamburger has 2400 litres. This number, which equates to a two-week human supply, is due to the cow’s water consumption, the water needed to grow the grass and grain that it eats and also the water required to transport and process the meat. To reduce water consumption is to reduce emissions too. Less energy is required to pump, transport and treat water. Water, the vital fluid connecting us and the earth, is a reminder of how reliant we are on our planet. One thing is for sure, we’ll never know the worth of water until the well runs dry.

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SPORT

EURFC 24 -

The SoCIAL Side Winston Murin Contributor

Nick Powell & Ben Bampton

Sport Editor & Online Sport Editors

HAVE been told that Rugby Varsity is about so much more than what happens on the pitch and making my debut as a fresher who had yet to have the joy of going to Varsity, I found that this year was no different. Despite reports in the week that this year's varsity was going to fall short of the ticket sales that many of its predecessors achieved, it ultimately proved to be another packed house at Sandy Park which made for a wonderful atmosphere.

XETER closed in on a home quarter-final ahead of the BUCS Super Rugby play-offs with a battling varsity win against a resilient Loughborough side at Sandy Park, Loughborough took an early lead as Andrew Nathan Boye drove over from close range, but Exeter had been dominant and headed into half time with the lead as Harry Bazalgette slotted three penalties in the final ten minutes of the first half to put his side into a deserved half time lead. That lead proved vital for a second half which saw Exeter drive aggressively over the gain line, a fortuitous Will Yarnell intercepted try and another penalty from Bazalgette giving them a ten-point margin going into the final 15. Loughborough sparked a late resistance – with a try from Matt Wilkinson - before a sensational finish from left-wing Luke Mehson put the game beyond doubt. As ever, the EURFC supporters club began their chanting over an hour before kick off as anticipation built for the first ever Varsity against Loughborough. And that prompted boos as the opposition emerged. It was the first time in recent varsity history such animosity has been given to an opposition, with a bitter rivalry between the two sides having developed over the years. Loughborough would need to win and hope one of the three sides narrowly separated from second to fourth lost again if they were to have any chance of nicking a home quarter final, meanwhile Exeter were gunning for a home semi-final sitting in second place,

Throughout the game, any positive moment for the home side was roared on Not being on official duty with Exeposé I was able to experience the delights of what the social aspect of the home of the Exeter Chiefs had to offer. Enormous queues for any refreshment (alcoholic or not) made life somewhat tricky, but I was pleased to see the Chiefs' commitment to the environment with semi-reusable plastic cups which I have kept in my room and now use for pre-drinks. Finally, I managed to make my way to my seat, along with my friends, similarly persuaded into buying tickets by enthusiastic rugby-playing freshers, who had been dotted around the forum over the previous several weeks. The noise that came from the crowd was different to any rugby game I’d been to before. Whereas a generic Premiership Rugby ground tends to have a gentle hum of anticipation, this had roars, screams, and relentless chanting from the EURFC “Supporters Club.” Throughout the game, any positive moment the home side managed was roared on. Big hits, good kicks and opposition errors were passionately celebrated in equal measure. What perhaps made this such a unique experience in terms of rugby events was the abuse (or good-natured banter) Loughborough had to endure from a fired-up crowd. As the game headed towards its conclusion I was surprised to see many of the large crowd head for the exits. I found the decision to be quite a bizarre one, even more so when Loughborough cut the gap to three points with the game heading into the final five minutes. It was only when I arrived at Timepiece roughly an hour later that I realised why. A queue stretching twice as far as I had ever seen it greeted me. I was diverted by the bouncers to "Hole in The Wall", where I didn't last long. But for all the queuing and chaos, my first Varsity experience was one which I will remember for the rest of my time here.

and even had an outside chance of retaining the League title they have won for the last two seasons were Durham to slip up in their own run in. The opening minutes proved typically tense for a varsity, as both sides attempted to get settled in the game. Other than a sensational miss pass from Loughborough fly-half Owen Waters briefly set his side free, it was a tight, tense affair. Exeter looked the better of the two sides but it was proving to be a strong defensive performance from the purple wall of the Loughborough defence The first quality chance of the game came as Loughborough dealt poorly with a well place Bazalgette kick, and Luke Mehson came away with it from the ruck.

Against the run of play, Loughborough gained the breakthrough As Exeter worked their way up to the line, they did what comes naturally to them in the red zone, grinding close with forwards carrying and driving around the ruck. Loughborough’s valiant defence held firm however, and winger Will Brown was close to intercepting before knocking on. Exeter had a scrum and though they had dominated this area up to now, they had yet to get their reward with Loughborough clinging on to avoid punishment in this area. Again their scrum held firm and though their botched clearance kept the pressure on, it had been a great result as the drizzle began to come down. Loughborough’s defence was superb, not allowing any Exeter players to

EURFC 15. Charlie Davies 14. Arthur Relton 13. Harry Tarling 12. Joe Elderkin 11. Luke Mehson 10 Harry Bazalgette 9. Will Yarnell 1. George Strainge 2. Luke Bury 3. Matthew Johnson 4. Jamie Yates 5. Alex Roper 6. Albert Slade 7. Charlie Wright 8. Paul Schroeter (C) Images: Rory Selvey Logos: Giler Media, Wikimedia Commons

Replacements: 16. Chris Moore (for Bury 51') 17. Jacob Morris (for Strainge 72') 18. Fin Richardson (for Johnson 60') 19. Frazier Kiff (for Roper 53') 20. Cameron Bullard (for Slade 47') 21. Pietro Di-Chio (for Yarnell 60') 22. Francesco Scardamaglia (for Tarling 79') 23. Matt Blee (for Mehson 78')

gain yards nor allowing their attacking structures to get going. Loughborough had done little in attack up to now, but directed by Waters’ sensational kicking, they were beginning to pin Exeter back. And after having absorbed a huge amount of pressure in the first quarter, against the run of play, Loughborough gained the breakthrough, David Aniebonam stealing the ball from the back of the lineout before Loughborough drove over after sustained pressure, as Exeter had failed to do to lead 7-0. Playing into the wind, this had been a superb start for Loughborough, and after Charlie Davies fumbled for Exeter, Loughborough kicked through to force Bazalgette to kick into touch, and Loughborough has the lineout 5 metres out. They fumbled to hand Exeter possession from which they cleared, but although the Supporters Club remained in fine voice, clearly things weren’t going to plan. At last, Exeter had their chance, as Exeter cleared, Loughborough threw a forward pass trying to work their way up the field and the hosts finally got their first scrum penalty. They reverted to carrying tight in Loughborough territory, but the extraordinary Loughborough defensive performance continued as Exeter were penalised for holding on. Loughborough fly half Waters made his first mistake of the night as he failed to find touch from the clearance into the wind, and Exeter earned a kickable penalty on the 10 metre line as they came roaring back. Bazalgette, as he so often does, successfully slotted

BUCS SUPER Durham Exeter Cardiff Met Leeds Beckett Hartpury Loughborough Swansea Bath Cardiff Northumbria

EXEPOSÉ | 9 MAR 2020

SPORT

17 LOUGHBOROUGH the 3 points in what were difficult conditions, and Exeter were on the board at last. They soon had another penalty as they began to go up the gears. In almost identical distance from the posts but on the opposite side, Bazalgette brought his side back to within a point with another fine strike. Exeter’s tails were up, and now Loughborough knew they would do well to go in at half time with any kind of lead. Following another silly penalty, Exeter were given possession on the edge of the 22 and conceded another kickable penalty on the edge of the 22, now to take the lead. Bazalgette took full advantage to cap a remarkable turnaround in the last 10 minutes of the first half and give Exeter an all-important half-time lead at 9-7.

Then came a strike of luck, a stray pass intercepted by Exeter's Will Yarnell Going into the break ahead looked to have worked wonders for Exeter, with strong runs from Mehson and Yarnell seeing them reverse Loughborough’s kick-off advantage. Such momentum was short-lived, however, as Loughborough quickly regained possession through two handling errors from the home-side. Looking up for the fight, Loughborough’s Waters broke through in the opening exchanges – chasing his own box kick following a scrum, before an excellent covering tackle by Relton. Exeter’s defence,

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stronger than when tested in the first half, forced Loughborough up to halfway. Then came a strike of luck, a stray Loughborough pass intercepted by Exeter scrum-half Will Yarnell on halfway. His pace just evaded the chasing Loughborough pack, seeing him go over on 46 minutes for Exeter’s first try of the night. His grounding made an awkward kick for Bazalgette, whose conversion missed. A complete scoreboard turnaround had knocked the wind out of Loughborough’s sails and, even at 14-7, their chances of coming back into the game started to look slim. Exeter, however, lacked the handling to press effectively on this occasion and, for a good twenty minutes, the game lulled. Tiredness was certainly creeping in, with Loughborough making four changes and the referee calling time-off for cramp in the 58th.

The home side were suddenly in for a nervy finish with three points in it Even Exeter’s most promising spells in this period – helped by an effort to drive more aggressively over the gain line – were only half chances. A move through the hands on the Loughborough ‘22’ looked to have lined-up Mehson for run at his opposite number, only for Bazalgette’s pass to float over his head and into touch. A kick and chase, taken well by Mehson and offloaded to Chopper, looked to have Relton on for a finish on the opposite flank, only for Owen Waters – Loughborough’s impressive number 10 – to wrap him and prevent the pass. A

Pts

POST-MATCH INTERVIEW

Varsity win maybe, but no fireworks. But with ten-minutes to go, another Bazalgette penalty putting the game to bed, and the Varsity crowd starting its inevitable pilgrimage from Sandy Park to Timepiece, the game exploded back into life. Loughborough’s Alex Glashan made the first move in the 73rd, chasing his own drilled kick down the lefthand side to gather and make for the Exeter line, before an excellent recovering tackle from Joe Elderkin (Exe 12) denied him. A re-energised Loughborough forward pack finished the job with Wilkinson grounding a minute later and, following a conversion by Waters, the home side were suddenly in store for a nervy finish with three points in it,

Mehson added a touch of gloss to Exeter's display with three minutes to go However, just minutes later, Exeter responded emphatically. Bazalgette’s long pass out wide found left-wing Mehson who – just inside the 10-metre line – took his chance sensationally. Charging into the Loughborough ‘22’, riding one challenge and side-stepping another to finish under the posts, Mehson added a touch of gloss to Exeter’s Varsity display with just three minutes to go. Converted by Bazalgette – who saw yellow for a late high-challenge which gifted Loughborough a penalty and bonus point with the clock gone red – Mehson’s try showed the stamina and style which, though lacking at times in this game, marks Exeter above even their closest Varsity rivals.

Josh Brown Sport Editor

PEAKING to captain Paul Schroeter after the game, the overriding emotion that seemed to come from the interview was one of relief. For a team that were, according to the skipper "a bit afraid to lose the game", in the first half, Exeter had far from disgraced themselves, but Schroeter was quick to give praise to fly-half and goalkicker Harry Bazalgette for helping them into a crucial 9-7 lead at the break. "He's a weapon for us, his kicking off the tee has been fantastic all year, his percentages are very high and personally it's very nice to know when we get a penalty he can pretty much slot it from anywhere."

We came out all guns blazing...we needed to carry harder From their nervous first half, Schroeter credits Director of Rugby Keith Fleming's the half time team talk for getting his side back on track. "We came out all guns blazing...knowing [we needed to] carry harder. We felt that as forwards we weren't getting over the gainline in our carries and we did that in the second half. Playing with pace onto the ball, that's what it's about." The victory ensured that Exeter finish with a 100% record at home, a feat no other team has achieved in the League this season. Whilst Durham's victories against Northumbria and Leeds Beckett ended Exeter's hopes of retaining the League title itself, they have every right to have plenty of confidence heading into the play-offs.

LOUGHBOROUGH 15. Will Kaye 14. Will Sanders 13. Nathan Pope 12. Josh Lewis 11. Will Brown 10. Owen Waters 9. Alex Glashan (C) 1.Nick Rigby 2. David Aniebonam 3. Andrew Nathan Boye 4. Cameron Boon 5. Tom Manz 6. Matt Wilkinson 7. Austin Wallis 8. Suvwe Obano

Replacements: 16. Bryn Davies (for Aniebonam 47') 17. James Gallagher (for Rigby 61') 18. Dan Ali (for Nathan-Boye 40') 19. Owen Lloyd (for Boon 56') 20. Toby Adlington (for Wallis 61') 21. Will Lane (Not used) 22. Tom Ffitch (Not used) 23. Tom Stapley (Not used)

Following their win over Swansea a week later, Exeter secured a home quarter final, and if they progress from there, they will have a home semi-final, given that their form at home has been so good, Schroeter expresses how that has been the team's focus and something that they "really wanted". He finished with a tribute to the support his team received. "The supporters club and everyone else who came, thank you for your support. It's unreal and it's always a highlight for us knowing the support we'll get. Running out the tunnel gave me goosebumps." He will be delighted with his side's performance as we enter the business end of another highly successful season for Exeter.

Sport

9 MAR 2020 | EXEPOSÉ

SPORT EDITORS:

Reid-efining success

Josh Brown Nick Powell

The EUMCC become national indoor champions

Image: Ben Twine

Indoor cricket Exeter 1s.....................................91 Kent 1s........................................44 Josh Brown Sport Editor

XETER University Men’s Cricket Club (EUMCC) won their fourth indoor title in the last 17 years, and their first since 2014, as George Reid led his side to victory at the Premiership finals stage played in Cardiff ’s Sophia Gardens. Batting first in all their games, the EUMCC edged a nail-biter of an opener with a four-run victory over a Cardiff Met side who had brought in their MCCU (Marylebone Cricket Club Universities - cricket academies that receive funding from the MCC, cricket’s former

governing body). Contributions with the bat came from Ben Twine, with a stellar 31*, and George Barlow to take Exeter to a competitive total of 100-4. Cardiff Met were then all out for 96 in a victory that proved the catalyst for further excellent performances. Finn O’Brien smashed his way to an unbeaten 43 as the men in green hit 125-5 against Birmingham, ably assisted by Dominic Morgan and wicketkeeper Harry Fisher who both hit valuable runs, before the bowlers took centre stage once more and bowled Birmingham out for 101. Twine and Barlow took two wickets each. O’Brien matched his contribution in the final group game against Keele, with another 43*, joined also by captain George Reid who hit 38 not out as Exeter

posted a score of 106-3, before dismantling Keele for a paltry 31 to cement their place in the semi-final, where they would face a Sheffield side that represented their first northern opponents.

We took early wickets and that was the difference GEORGE REID, INDOOR CAPTAIN

Finn O’Brien made another valuable contribution with the bat as Exeter were all out for 87, O’Brien top-scoring with 23. Reid credits Sheffield for “bringing down 30-40 fans...you get a lot in your ear and it made an atmosphere”. He goes on to say that his side’s response was “probably the most intense we’ve been as a group all winter”, as the

Sheffield batting lineup was decimated and fell to a total of 36 all out. Twine picked up miraculous figures of 2-1 as Exeter won by 51 runs. Into the final, and Exeter were met by a side that had beaten them earlier in the regional rounds of the competition in Kent University.

Exeter were able to successfully defend a score of 91 to beat Kent in the final The men in green got off to a good start, with captain Reid and Fisher retiring on 27 and 25 respectively, though Reid admits that the opponents “bowled quite well to drag it back; we slowed down in the middle overs” Early wickets for the

bowlers in the reply proved decisive in Reid’s opinion as two batsmen fell in the first three overs. Dominic Morgan produced his best performance with the ball, finishing with figures of 2-9, while George Barlow again took two wickets as Kent were bowled out for 47, giving Exeter a win by a margin of 44 runs. Reid credits head coach Ruan Louw with suggesting “tactical adjustments throughout and breaking down the processes - it helped us approach the finals day with an intensity that had been lacking beforehand.” It certainly paid off. EUMCC: George Reid (C), Ben Twine, Harry Fisher †, Finn O’Brien, George Barlow, Dominic Morgan, Matt Doran. Head coach: Ruan Louw. Scorer: Bruce Coleman..

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