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ISSUE 29: EVOLVE

EVOLVE def: to develop gradually, or to cause something or someone to develop gradually.

ISSUE 29: EVOLVE1

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ISSUE 29: evolve CREATIVE DIRECTOR'S NOTE: I am sad to say that this is the last RAZZ Magazine that I will be designing. It has been a journey: learning how to use new software, spending hours designing three magazines and even being nominated for Best Magazine Design! This has definitely been an incredible experience and I have loved working with such a creative team of ladies (pictured below so you can see their lovely faces). I send all my best to the new commitee, especially the new Creative Director.

Big Love, Cameron Townsley, Creative Director

From left to right: Jaimie Hampton (Deputy Print Editor), Cameron Townsley (Creative Director) and Charlotte ‘Fozz’ Forrester (Print Editor).

Photo credit: Jacob Evje.

Picture of the whole commitee.

Photo credit: Jacob Evje.

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EDITORS' NOTE: Welcome to the 29th volume of RAZZ Magazine! This is the final one for us as the 2019/20 committee and we’re sad to leave RAZZ behind us. It’s been an incredible tenure for us with our highest readership and membership numbers ever and unprecedented successes. The biggest one for us recently was four nominations (our most ever!) for the national Student Publication Association (SPA) awards! The dot com were nominated for two articles in the Best Lifestyle Piece category by anonymous writers called ‘A Confession: Sex and Catholic Guilt’ and ‘Getting My Buzz Back: Vibrators and Recovery from Sexual Trauma’ that our print team had the honour to help edit. These pieces showcase how brilliantly our online editors have done in creating a safe space in the Sex, Lust & Love section for our members to explore and articulate their experiences.

We are also very proud of our very own Copy Editor Sophie Chapman who was nominated for Best Entertainment Piece for her ‘Girls on Film: Depicting the Cinematic Orgasm’ that appeared in our INDULGENCE issue back in September. All three of these pieces touch on important discussions within sex and relationships and we’re very grateful that SPA has recognised RAZZ as a leading student voice on these issues. RAZZ was also nominated for Best Magazine Design (!) for a second year running and so we must say a huge thank you to our brilliant illustrators and our Creative Director, Cameron Townsley, who has revolutionised the RAZZ aesthetic.

All of this wonderful news and the end of our tenure has therefore led to a lot of self-reflection. This brings us onto the theme of this issue: ‘EVOLVE’. Our contributors delve deep into all types of evolution including another collaboration with Exeter Fashion Society where we look at how clothing evolves with platforms like Depop that encourage slow fashion.

The rest of the issue helps us look at industries, institutions, discourses, and selfhood to look at our history, present, and future. Not every evolution our writers assess is necessarily a positive one, but it did come up time and time again how evolving allows for opportunity to become better. We thought this was a fitting theme when we see how far RAZZ has come and we can’t wait to see how far they go in the future. Speaking of, we also want to take a moment to say good luck to our new Co-Presidents Miriam Higgins and Emma Ingledew, and especially the Print Team including Emma Ingledew (Print Editor), Hannah Judge (Print Deputy Editor), Hollie Piff (Creative Director), Katya Green, and Abi Smuts (Copy Editors) who we are sure will do an amazing job with the magazine!

Now for the final thank yous. To our Co-President and Online Editor, Katrina Bennett, who has revolutionised RAZZ and dedicated so much time and energy into the publication and society. To our brilliant committee for making RAZZ bigger and better. Fozz and Jaimie also want an especially massive thank you to Cameron Townsley, Katie Burdon, and Sophie Chapman who have been a truly amazing print team. Most importantly, thank you to all of our contributors and readers who have made RAZZ so rewarding for us as editors. Good luck to the next committee and that’s us signing off!

Charlotte ‘Fozz’ Forrester Print Editor

Jaimie Hampton Deputy Print Editor 3

MASTHEAD PRINT EDITOR Charlotte ‘Fozz’ Forrester

DEPUTY PRINT EDITOR

CREATIVE DIRECTOR

Jaimie Hampton

Cameron Townsley

ONLINE EDITOR

COPY EDITORS

Katrina Bennett

Katie Burdon Sophie Chapman

CONTRIBUTORS Amy Milner Barnaby Duffy Bridie Adams Caitlin Barr Cameron Townsley Charlotte Fitch Ed Bedford Eleanor Braham Eleanor-Rose Gordon Ellie Foulds Emily Black Emma Ingledew Esther Huntington-Whiteley 4

Eugenie Cockle Freya Insoll Hannah Judge Hollie Piff Imogen Phillips Isabelle Gray Katya Green Libby Trubridge Juliette Simon Megan Shepherd Meredith Sauer Molly Rymer

CONTENTS

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The Things That Define Us

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The History of British Drag Culture

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In Conversation With…

Alfie Ordinary

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Call to Arms I

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Future Fashion Predictions

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Fashion Society Photoshoot

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The History of Girl Groups

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Call to Arms II

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Sustaining Homonormativity: Hollywood’s Prob- We Need to Talk About Cancel Culture lem with Queerness

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The Current State of Indie Cinema

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The Evolution of the Wellness Industry: Extreme Diet Culture to Insta-Famous Influencers

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Call to Arms III

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Amateur at Adulting

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Baby Steps

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How To Be A Better Ally

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What Does Britishness Mean?

Toxic Masculinity, Body Image, and Sports Culture

The Past, Present, and Future of British Bookshops

Playlist

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THE THINGS THAT DEFINE US RAZZ writers take us through the pop culture pieces that have helped them to define who they are.

LET THEM EAT CHAOS

LET THEM EAT CHAOS, KATE TEMPEST

By Caitlin Barr

I was 16 the first time I heard Kate Tempest’s album Let Them Eat Chaos. I thought I knew everything I needed to know about poetry and politics, after all, I’d spent my summer lounging around in Soho reading Rupi Kaur and taking photos of ‘edgy’ street art. I put Tempest’s BBC performance on for something to do while avoiding my GCSE revision and suddenly, I was catapulted into a sharp, dissident, hip-hop exploration of the UK’s political discourse. I was instantly, entirely submerged. It wasn’t just the words Tempest was saying - covering topics as vast as climate change, war, and hyper-capitalism - it was the way she was saying them. Spitting each vitriolic bar, her whole body seemingly engulfed by her message.

This album changed me: it sparked in me an understanding of the necessity for actual protest, for listening to the experiences of others, for being more critical of our systems and institutions, as well as our deep need for artists to record injustices and speak truth to power. Let Them Eat Chaos showed me my anger, and then told me how to use it – a personal revelation that I’ve held onto since.

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THANK U, NEXT,

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THANK U, NEXT ARIANA GRANDE

By Bridie Adams

With its messages that strength and healing come from within, Ariana Grande’s thank u, next stands out as an album that has defined me. The album is an account of Grande’s personal journey from heartbreak to finding happiness and being content with herself. Rob Sheffield from Rolling Stone commented that the album is “just a woman and a mood, taking that mood out for a drive until she pedal-to-the-metals it right off a cliff”. This mood is one of self-empowerment and self-growth. Grande’s lyrics are motivational, inspiring a positive mindset and attitude towards both past relationships and what the future may hold. thank u, next has greatly contributed towards my development of a more optimistic outlook, and this personal growth has translated into my current relationship, which is much healthier and happier than my previous romances. Most importantly, the album is all about becoming truly, unapologetically happy with life because, as Grande says herself, “Fuck a fake smile”.

BLUE

BLUE, JONI MITCHELL

By Meredith Sauer

When I was 16, I read a brief article expounding on the beauty of Joni Mitchell’s 1971 album Blue, and I decided to make it my project to like Joni Mitchell because I felt I was the kind of person who should.

Lying in bed one night, I listened to the entirety of Blue, transfixed by Joni’s voice and lyrics. What started as an attempt to prove I had a cool, sophisticated music taste ended up becoming an incredible source of comfort throughout my life. These deeply confessional songs taught me that I was allowed to feel what I felt, despite how embarrassingly adolescent those feelings were. I’ve grown up somewhat since I used to sit in biology class listening to ‘Carey’ but as soon as winter creeps in each year, I find myself drifting back to Blue, and that’s when I realize Joni was right: “songs are like tattoos”.

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ROYALS LORDE

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‘ROYALS’, LORDE

By Tilly Attrill

I first heard ‘Royals’ by Lorde when I was 13.

I listened to the rest of Pure Heroine from lyric videos on YouTube when it came out later that year, and I’m not sure what it was about Lorde or the album that clicked with me, but it has remained my favourite ever since. I think the way she captured growing up and how genuinely terrifying it is to get older was scarily impressive for a 16-yearold. When I turned 18, I finally saw her live and I can safely say that dancing to ‘Ribs’ with 4000 other people who are also scared of the future was an EXPERIENCE. Pure Heroine will always hold a special place in my heart, and I can’t wait for Lorde to release a third album to soundtrack the next part of my life.

Illustration by Emily Black.

LORDE

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BUFFY THE VAMPIRE SLAYER

What defines you?

Tweet us @RazzMag

By Eleanor-Rose Gordon While fighting vampires and saving the world wasn’t a direct parallel of my adolescence, the cult TV series Buffy resonated with me in how to face the unexpected and often terrifying aspects of growing up. In its literalisation of our metaphorical demons, the show embodies teenage life as a constant apocalypse, while its lovable characters and playful humour prove you can face even the darkest of times with optimism and perseverance. It hit home in both broad and oddly specific ways. Like Buffy, I gained a non-biological sister (almost out of nowhere) who I learnt to love like family; like Willow, I learnt to embrace my lesbian identity and its potential for meaningful, loving relationships; like Anya, I learnt that distinctly human qualities - like loving or grieving - are the hardest to understand.

Buffy and her ‘Scooby gang’ taught me that while fighting your demons can be painful, you will come out stronger on the other side. No matter the depths of Hell you’re in, there is always hope.

BUFFY THE VAMPIRE SLAYER

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THE

HISTORY

OF

BRITISH DRAG

CULTURE

MUSIC HALLS AND EARLY DRAG KINGS RAZZ Copy Editor, Sophie Chapman, looks at key moments in British drag history.

Whilst the BBC has been serving recently with the first season of RuPaul’s Drag Race UK and season two of POSE, it’s important to remember that UK drag isn’t just a US import. A lot of what we know about modern drag in the West comes from the 1970s/80s New York ball culture, but the UK itself has a long history of kings and queens in their own right. Many even argue that the word ‘drag’ can be traced back to Shakespeare and refers to the way men’s dresses dragged across the stage floor when they played female roles. However, the first recorded use of the word to describe men dressed as women was in 1870, and its folk etymology is that it’s an acronym for “dressed resembling a girl”. Men have dressed as women, and women as men, for all of time, and it’s important to note that a history of drag or cross-dressing is inextricable from trans history. Gender non-conformance of all kinds has always existed, even when there wasn’t the same vocabulary as there is today. Here are a few examples: 10

During the 1850s, Victorian music halls really took off as a form of popular entertainment for the working classes and male impersonators were central to their line-ups.

Many female performers made their names imitating men from all walks of life, but particularly the middle and upper classes.

Among the best-known stars were Annie Hindle, Ella Wesner and, much later, Vesta Tilley, who was the highest paid female entertainer at the turn of the twentieth century. It was common for these women to make their name in the British music halls and move to America and establish themselves in Vaudeville.

Both Hindle and Wesner had relationships with women but queer sexuality was not inherently tied to male impersonation.

Tilley, for example, was married to a man and careful to distinguish between her on-stage and off-stage identities, publicly condemning gender non-conformance and homosexuality. If you want a highly fictionalised but fabulous account of these music hall kings, read Sarah Waters’ Tipping the Velvet!

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FANNY PARK & STELLA CLINTON Fanny and Stella (otherwise known as Frederick William Park and Thomas Ernest Boulton) were renowned Victorian cross-dressers. After becoming friends, they formed a theatrical double and toured their act around London. They would often dress up as women to attend theatres and social events, but in the 1870s they were arrested on suspicion of sodomy and put to trial in a particularly public case. The two were not allowed to change back into men’s clothing before their appearance in court and they were front page regulars, referred to by newspapers as the “He-She Ladies”. Their trial was vicious but the charges were ultimately dropped as the prosecution failed to prove that any homosexual offence was committed or that men wearing women’s clothing was an offence under English Law.

MOLLY HOUSES These were basically the eighteenth century’s answer to today’s gay bar. Molly houses were spaces for homosexual men to meet and find sexual partners at a time when homosexual acts were illegal in the UK. Here, men would engage in all sorts of activities including cross-dressing and drag performances, though there were also marriage ceremonies and “mock-birth” rituals (which saw men dressed in night gowns pretend to be a woman giving birth, whilst other ‘Mollies’ acted as midwives).

Rictor Norton’s study shows that there were investigations into about 30 molly houses during the century; “considering that the population of London was only about 600,000 in the 1720s, having even just a dozen molly houses at that time is a bit like having 200 gay clubs in the 1970s”. Clearly molly subculture was just as extensive as any modern gay subculture.

BALLS London’s ball culture may not have been anything like that of New York’s but, in the 1960s and ‘70s, Mr Jean Fredericks and Ron Storme organised hugely popular drag balls at London sites such as Porchester Hall and Grosvenor Hotel. They held five or more a year and Dennis Gilding, who took over from them in the ‘80s, told Gay Times that “everyone wanted to go to the drag balls. They were sewing for months beforehand. Jean really was a pioneer in those days”.

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THE BLACK CAP Also known as the home of London drag since the ‘60s, this Camden pub was renowned for its drag and cabaret shows.

More recently, it was home to a night of queer cabaret called ‘The Meth Lab’, featuring stars like Bianca Del Rio, Adore Delano, and Trixie Mattel. Sadly, it closed in 2015 in keeping with the gradual loss of queer venues all over the country, but rumour has it that it’s set to re-open!

THE SECOND WORLD WAR AND ALL-MALE DRAG REVUES The wartime government was careful to ban the images depicting soldiers manning guns in full panto-drag, but British soldiers and prisoners of war were said to have put on pantomime-type productions to keep up morale throughout the Second World War. It’s unclear whether the tone of these productions was mocking or not, considering the times, but queer men played a central role in these productions. For example, Dennis Prattley was a naval rating who spent most of his time during the war in drag, entertaining his fellow matelots on-stage and, off-stage, having sex with many of them because he was said to remind them of their “girls back home”.

Illustrations by Sophie Chapman

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KNOW YOUR LGBTQ+ HISTORY. HONOUR THE TRANS POC WHO STARTED THE MOVEMENT. LEARN ABOUT THE DRAG QUEENS THAT COMBINED POLITICS WITH ENTERTAINMENT. RESPECT ALL THOSE WHO CAME BEFORE AND FIGHT FOR A MORE INCLUSIVE COMMUNITY NOW Words by Charlotte Forrester

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IN

CONVERSATION

WITH…

ALFIE ORDINARY RAZZ writer, Katya Green, speaks to drag prince Alfie Ordinary about their experience of the British drag scene and the representation of alternative drag culture.

Drag prince Alfie Ordinary - the son of a drag queen - is a performer and theatre maker from Brighton. Identifying as happy, camp and fabulous, Alfie Ordinary’s act is a fun, coming-of-age queer story that has travelled all over the world. Drag culture is a uniting force for many LGBTQ+ people and Alfie Ordinary’s act does just that. Alfie’s performance is all about being proud of who you are through representing those unaffected by heteronormativity, loudly embracing a world where there is no prejudice and anyone can be themselves.

How would you describe your drag in three words?

Camp, fun, and fabulous!

How did you get into the drag scene?

I actually started out as a singer-songwriter as well as studying art and theatre at university.

Then I discovered cabaret, and everything I loved doing, like singing, dancing, making costumes, makeup, music, was all part of this incredible world that was right there all along. I started experimenting with drag in my performances, and also started reading up on queer theatre and seeing artists like Dickie Beau, David Hoyle, and Scottee telling their queer narratives in their performance.

Then it was just a case of getting out there, seeing as much drag as possible, and working on my act.

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Who inspires your drag? Are there any other drag princes that you look up to/ take inspiration from?

Every queer person that I meet inspires my drag. Alfie is a representation of a person unaffected by heteronormativity. He lives in a world where there is no prejudice, and so every queer person who is living their best life, loudly and proudly, inspires me to take some of that energy and put it into my drag.

How have you found the response to your drag?

It was a struggle at first, mainly because I couldn’t find costumes or wigs that worked for how I wanted a Drag Prince to look, but I met a wonderful costume designer and hair maker that helped me fulfil the bowl cut sequin clown boy that you see today. I still have people not understanding that I’m not trying to look like a woman, or some that think I’m just a boy wearing lashes, but I don’t get mad about that.

There are so many different types of drag that you can’t expect everyone to understand your drag from first glance. I start every one of my shows by introducing myself, and explaining that I am the sonof-a-drag queen and you see audiences relax and go “ok” and are ready to start the show. That’s what it’s about, being confident in your drag and ready to talk about it with people, especially if what you are doing is alternative to what a mainstream conception of what drag is. Of course, I get the odd person that will say that what I’m doing “isn’t really drag” but that’s no skin off my nose. I’m happy with what I do, it’s my full-time job and I wouldn’t change it for the world. If someone doesn’t like my drag, they don’t have to come to my show.

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How do you think Drag Prince culture differs from Drag Queen culture?

I’m not sure to be honest. I’ve performed with drag queens, kings, club kids, burlesque artists, clowns, circus performers, singers, magicians and we all just have a job to do and get on and do it. I love being at a drag show though, everyone doing their makeup together and having a catch up, comparing favourite songs and swapping drag secrets. It really does feel like a family sometimes, which is lovely. Some queer people don’t have a family, but drag brings people together.

Do you find that Drag Prince culture is under-represented? Do you think this will change in the near future?

I don’t really know of any other drag princes, but alternative drag will continue to be strong and drive creativity. It’s a part of our culture to see underground art be appropriated into the mainstream. Look at how Britney Spears used dubstep in 2012, for example. Drag Race can’t put anything too alternative onto the television at the moment, because they are trying to bridge the gap between underground and mainstream. But that doesn’t say that in the future they won’t put drag kings, genderfuck, and other alternative types of drag into the competition.

“It really does feel like a family sometimes, which is lovely. Some queer people don’t have a family, but drag brings people together.”

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Do you think that drag culture is being appropriated by people outside of the LGBTQ+ community?

It looks like it, but then it is important to know where a lot of drag culture came from. The ballroom scene in New York is where RuPaul gets some of his most popular catchphrases. “Tens Tens Tens across the board!” If you’ve watched POSE or Paris is Burning you will see an interesting crossover. I saw an interesting article once about straight women doing drag, and and how it was appropriation, but could drag be seen as appropriating women?

There’s so much to unpack. As long as drag queens are using their platforms to make a positive change, I don’t see a reason why straight people can’t enjoy drag. The message is to love yourself and be proud of yourself, and that applies to everyone.

With the launch of RuPaul’s Drag Race UK, do you think we’ll see a growth in UK drag culture?

Drag culture in the UK is already huge, and it’s been growing rapidly way before Drag Race UK happened. But here we are now, with ten or so drag queens going on national television once a year, so let’s see how this turns out.

How do you see the drag scene changing in the future?

The wonderful thing about drag is that it’s unpredictable. Look at breakout artists like Juno Birch and Hungry. Who would have thought that a purple skinned alien would be in Vogue shopping in a supermarket?

Queer people have an inherent uniqueness about them, and when that uniqueness is harnessed into an art form by talented people, incredible things happen.

Here’s to many more years of gorgeous, unique and fabulous drag!

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Queer people have an inherent uniqueness about them, and when that uniqueness is harnessed into an art form by talented people, incredible things happen. Here’s to many more years of gorgeous, unique and fabulous drag!

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FIRST YOU MUST ASK YOURSELF WHEN WAS THE LAST TIME YOU PUT PEN TO PAPER. YOU MUST WRITE SOMETHING. THEN HIDE THE BOOK AWAY. GO OUTSIDE AND TOUCH THE SNOW WITH YOUR BARE HANDS. REMEMBER THAT WHAT YOU ARE DOING WILL NOT BE IMMORTALIZED. PICK A FLOWER AND LET IT WILT IN A DRAWER. YOU WILL LEARN THAT YOU ARE LIVING JUST TO WRITE IT DOWN LATER. GROW UP. DO NOT EVER PHOTOGRAPH THE SUNSET AGAIN. LAST YOU MUST ASK YOURSELF WHEN WAS THE FIRST TIME YOU FELT YOURSELF CHANGE. DIG UP THAT OLD BOOK. READ WHAT YOU WROTE. Words by Meredith Sauer

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READ WHAT YOU WROTE.

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SUSTAINING HOMONORMATIVITY: HOLLYWOOD’S PROBLEM WITH QUEERNESS RAZZ writer, Molly Rymer, discusses how representations of LGBTQ+ people are fraught with homonormativity and are ignorant of queer sexual desire.

Art always reflects society, including mainstream cinema. Hollywood moguls often attempt to create worlds and experiences in which their audience can feel represented. However, for the LGBTQ+ community, this has involved a transition away from queerness as a comedic trope, to becoming the focus of mainstream coming-of-age films. Hollywood has moved away from depicting gay men as effeminate, comedic sidekicks, to exploring homosexuality via profound Hollywood dramas.

It is important to consider genre when reflecting on this new era of LGBTQ+ representation. It would be wrong to assume that such films represent the ‘true essence’ of the LGBTQ+ community. However, what cinema does often do is present a world in harmony with our desires. This is where homonormativity becomes an issue.

Homonormativity is where heternormative ideals and constructs are projected onto LGBTQ+ identities. This orientates around the assumption that the LGBTQ+ community should align with their values 24

and cisgenderism. This often manifests in Hollywood’s representations of queer sex.

The representation of queer sex in film is presented in a way that is similar to the experience of heterosexual couples. Sexual acts that are considered as taboo, such as non-normative sex, are frequently experienced off-screen. In films such as Moonlight and Call Me By Your Name, abstract images are focused on in favour of a climactic, physical sex scene.

Film critic, Austin Collins, comments on these portrayals of sex in an article for Vanity Fair, stating that “for every Call Me By Your Name […] there should be a movie with [unremarkable] sex scenes” such as those shown in The Miseducation of Cameron Post.

The film follows sixteen-year-old

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Cameron as she is sent to God’s Promise boarding school, a Christian conversion camp. The Miseducation of Cameron Post attempts to present teenage sexual experience realistically, in all its awkward and explorative nature. The film draws away from the idea that Cameron’s rebellious nature is due to her sexuality, instead using the setting of the Christian school to detail the beginnings of teenage queer sexual experience. The film does not present LGBTQ+ sex scenes through a homonormative lens.

Furthermore, despite the film being set in the early 1990s, Cameron accepts her lesbian identity and does not fall into the trope of desiring to overcome it. The camp’s bid to make Cameron feel hatred towards her queerness ultimately fails. The Miseducation of Cameron Post provides a fresh outlook on the way LGBTQ+ people regard themselves.

However, what Collins notably points out is that this film is trying so hard not to make the danger to LGBTQ+ people “a matter of cartoonish, outright violence” that it goes too far in the other direction. The same can be said for Elio’s relationship with Oliver in Call Me By Your Name, which, although acknowledged by his parents, remains unspoken around his peers. Whilst this ignorance could perhaps be read as refreshing,

it isolates Elio and Oliver’s relationship in a pastoral utopia, where the level of societal acceptance they encounter appears somewhat unrealistic.

Whilst such films don't unproblematically explore LGBTQ+ sex and society's perception of it, other coming-of-age films are entirely absent of any representation of queer sex. In Love, Simon and Alex Strangelove, the audience are encouraged to sympathise with the protagonists because they are presented as “normal”, squeaky-clean, high-functioning citizens. Although the protagonists engage in LGBTQ+ relationships, their innocence is preserved through chastity. This allows Hollywood to write the ideals of heteronormativity onto the LGBTQ+ coming-of-age genre, whilst failing to acknowledge the scale of difference between the obstacles that each protagonist may face.

As well as presenting homosexual experiences in isolated environments, the homonormativity presented by Hollywood generally concerns white men. This not only excludes people of colour, but the majority of the LGBTQ+ community. Where, for example, are the transgender protagonists?

If such figures are able to be granted attention and depth in TV shows, then why is Hollywood having such a hard time catching up?

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Illustration by Libby Trubridge, and 26 edited by Cameron Townsley

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THE CURRENT STATE OF INDIE CINEMA

RAZZ writer, Caitlin Barr, questions if the commercialisation of an indie film aesthetic has impacted the independent film industry.

Independent cinema has a rich history, from roots in California in the early 1900s, to the arthouse movement across Europe, to Timothée Chalamet’s notorious peach scene in Call Me By Your Name. Audiences have flocked to and rejected indie filmmaking throughout the years, but how is it faring in the age of Netflix? How independent are ‘independent’ films in an age when the aesthetic seems more attractive than the process?

There was a time when the boundaries between the independent market and the commercial market were stricter.

Independent film festivals were a huge 28

factor in this, seeking to promote the talent of filmmakers who didn’t rely on major studio funding. Filmmakers who had struggled to get a look in could showcase their work at festivals like Sundance, and hope to get it distributed. Auteurs like Jim Jarmusch, Quentin Tarantino, and Robert Rodriguez all essentially launched their careers at Sundance in the 1990s and during this period the industry boomed. However, times have changed since and it is becoming increasingly harder to define the meaning of ‘indie’ in regards to filmmaking.

The concept of ‘Indiewood’ has blurred the definition of independent filmmaking. ‘Indiewood’ originated around the mid-90s, with Tarantino’s Pulp Fiction as an arguable catalyst. Despite being made and produced without studio input (‘independently’), it was fully financed by Miramax (a leading independent film distributor and production company before losing its independent status when Disney bought it in 1993).

After a release in 1100 cinemas straight away (not typical for an indie flick),

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it went on to gross over $100 million.

American cultural critic Peter Biskind writes “Pulp [Fiction] became the Star Wars of independents, exploding expectations for what an indie film could do at the box office.'' Suddenly, every studio had to have an indie arm. Hollywood’s acquisition of smaller studios threatened the freedom of the independent film industry, making it almost impossible for filmmakers to work without any major studio input.

So, what exactly is indie film now? Genres associated with indie in the past, like horror and black comedy, are now commonly produced by major studios. It is getting harder to differentiate between the indie 'aesthetic' and actual independent filmmaking, in which the major studios play no role in production or funding. For instance, films like Joker were produced by Warner Bros. and DC but premiered at the Venice Film Festival as if it was an independent venture.

“Hollywood’s acquisition of smaller studios threatened the freedom of the independent film industry, making it almost impossible for filmmakers to work without any major studio input.”

Illustrations by Barnaby Duffy and Meghan Shepherd 29

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If we're to take 'indie' in its strict definition to mean no involvement by the Big Six (20th Century Fox, Warner Bros., Paramount Pictures, Columbia Pictures, Universal Pictures, and Walt Disney Pictures) in production, 566 out of 724 films released in 2017 were indies. This sounds promising for the industry, but in fact, these films only received 5% of the US market share that year - about $500

“The real question is, “Will the audience even know my film is there, given all the movies being released, all the episodic TV shows, and all the other content being offered…?”

million, down 15% from 2005's share. Only eight Sundance 2018 films had a wide release (more than 600 screens) and a mere 33 broke the $1 million mark in gross returns. However, more and more independent films have been at the forefront of awards ceremonies. The Best Picture Oscar wins for Spotlight in 2016 and Moonlight in 2017 rocked the boat, and independent films such as Midsommar, Lady Bird and Hereditary, were highly popular at the box office (and all produced by indie production/distribution newcomer A24). These films have disrupted the Hollywood order.

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However, there has been a significant shift in our consumption of film which is largely attributable to streaming services like Netflix. Even though companies like Netflix often allow indie filmmakers to have their work distributed by a large, international audience, the oversaturation of work being either streamed or commissioned by such sites inherently overcrowds the market and causes some films to fall off the radar. The Sundance 2017 report by Entertainment Media Partners and Cultural Weekly stated that “The real question for indies, is not “Will the audience be able to see my movie?” because they will, somewhere. The real question is, “Will the audience even know my film is there, given all the movies being released, all the episodic TV shows, and all the other content being offered…?”

Netflix announced in June 2019 that it was setting up a permanent production base at Shepperton Studios, spending more of its $17 billion annual production budget in the UK. While this represents a boost for the UK’s status as a centre for film and TV production, the impact it’ll have on British indies is potentially negative - producer Andy Paterson theorizes that in “three or four years’ time there will just be a few American-dominated platforms that control all creative content”. Can films bankrolled by Netflix, such as Scorsese’s The Irishman, released almost entirely on the site rather than in cinemas, even claim independent status? Is it time that Netflix was added to the Big Six?

“Furthermore, is ‘indie’ a meaningful word anymore, or is it just shorthand for edgy and pretentious?”

All in all, the indie film industry faces significant threats to its existence and financial potential. Furthermore, is ‘indie’ a meaningful word anymore, or is it just shorthand for edgy and pretentious? Francis Ford Coppola said in 2007 that "cinema is escaping being controlled by the financier… You don't have to go hat-in-hand to some film distributor and say, 'Please will you let me make a movie?’". But can we honestly say that this bears any truth now, with companies like Netflix financing work and the Big Six trying to replicate the success of indie talent? Perhaps it's time to take stock of what we mean by 'independent' and start laying the groundwork to protect the industry so many of us idolise and celebrate.

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FUTURE FASHION PREDICTIONS DIGITAL FASHION

BY FREYA INSOLL

As the evolution of fashion and technology accelerates, the paths on which they develop appear increasingly entwined.

‘Digital fashion’ is an emerging trend where consumers are able to purchase and try on virtual outfits from the comfort of their own home. Norwegian brand Carlings successfully launched the first virtual clothing collection in 2019, with the release being a sell-out that was praised for its futuristic and accessible capabilities. Digital fashion has been hailed as a welcome development for the body positivity movement: due to the versatility of digitally tailored clothing, items can be adapted for any shape, size, or disability. It’s also been suggested that virtual clothes may be the answer for those wishing to experiment with their style without breaking the bank or engaging in the cycle of fast fashion. Clothes can be purchased at lower cost, ‘worn’ once, and discarded into the internet ether - though whether digital fashion will have any real lasting impact in terms of eco fashion is yet to be seen. Potential drawbacks such as digital plagiarism and brands’ willingness to design online also need to be noted but, for now, digital fashion appears to be the virtual fix for the growing generation of online fashion enthusiasts.

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What will be deemed stylish over the next decade? RAZZ writers predict the future of fashion.

REVIVING THE ‘70S/‘80S

BY ED BEDFORD

For the past few years, fashion trends from the ‘70s and ‘80s have been very much in style. Chunky jewellery, flared jeans, and denim jackets, these trends have entered circulation on numerous occasions. However, most of this has been focused on day-to-day, casual fashion. I predict people will take fashion influences from the ‘70s and ‘80s and adopt them in flamboyant, extravagant outfits – drawing especially from the New Romantics. Think sprezzatura, luminescent make-up, bouffant hair.

I think parts of formal wear will become casual fashion trends, such as 19th century military dress coats or 1920s party clothes.

I also think we’ll see more monochrome bases with splashes of bold colour. Future fashion will involve irreverent play with the conservative ideas of the past, aiming for individuality amongst widespread dissatisfaction with the commercialisation of mass-produced clothes.

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ANDROGYNOUS AND GENDER-BENDING

BY AMY MILNER

When runway trends make their way onto the red carpet, some eventually seep into mainstream fast fashion sites and streetwear. By looking at these trends, we can somewhat predict the overarching trends of the coming future. Firstly, traditional men’s workwear has made a comeback as womenswear. For example, boiler suits and utility belts emerged as a new trend last year. The iconic ‘80s power suit, as well as more masculine cuts of coats, have also made a comeback. On the other hand, make-up, jewellery, accessories, and even heels have become more socially acceptable for men to wear. It seems like we can finally stop using the term “man-purse”!

There seems to be an overall increased popularity in menswear, thanks to platforms like Depop and Hypebeast. However, oversized clothing has also become mainstream outside of alternative style niches.

This might predict increased popularity in unisex clothing in the future. Fashion has the power to be both a form of harmful sexualisation, and a tool to express sexuality. With recent talks about gender roles and LGBTQ+ issues, we can predict that these will only be further debated. This will also impact how fashion evolves in the near future.

CROCS

BY ELLIE FOULDS We all remember when Crocs were first in fashion. It was over a decade ago, and everyone was going wild for the practical, plastic shoes. The personalisable aspect as well made them more appealing, with the decorative clips allowing you to really express yourself through your footwear.

Recently, Crocs have started to make a bit of a resurgence, after spending several years being mocked as the ugliest footwear one could choose. A couple of years ago, Balenciaga made headlines after putting Crocs on the runway. More recently, Ariana Grande has been spotted wearing them. My own housemate requested a pair of bright yellow Crocs for her 21st birthday (we indulged her). If these recent events are anything to go by, Crocs are on their way back in. We’re currently still seeing the tail end of the sliders phase, but soon a different practical shoe will rise. Everyone needs a pair of shoes to take the bin out in, or clean the car in, and Crocs are the answer to all your problems.

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OUT WITH THE NEW, IN WITH THE OLD. Keeping with the RAZZ ethos of prioritising sustainability, we asked Exeter Fashion Society to help us look at the evolution of fashion and see how platforms like Depop can bring new life to old clothes. This shoot features pieces from @larri_d on Depop.

Location - Sacred Grounds Models - Eloise Speechly, Larissa Dunn, Rupali Naik Earrings - Lowenna Merritt Photographer - Charlotte Green Shoot Assistant - Sacha Bushby

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THE

HISTORY OF

GIRL GROUPS From The Supremes to Nasty Cherry, RAZZ writer, Charlotte Fitch, looks back on the history of girl groups.

In answer to The Shirelles’ question “will you still love me tomorrow?”, the answer is a resounding yes: the girl group remains a popular music industry format. But since The Shirelles and the first ever girl group Billboard No.1, where is the ‘group’ now? From the doo-wop singers of the ‘50s, to the Motown groups of the ‘60s and the disco bands of the late ‘70s and ‘80s, the girl group has consistently found success as a trend-observing and trend-setting industry format.

However, it was only in the wake of the Spice Girls era that the girl group came to dominate the RnB and pop sphere. In the ‘90s/2000s, Destiny’s Child, Sugababes, and Girls Aloud found comfortable positions in the Top 40 and young girls’ hearts, establishing a residential spot in the industry for the girl group.

Whilst much of what these girl groups sang about seemed empowering, their success were tainted with a darker side. In many of these cases, their fame was in part due to the engineering or exacerbating of pre-existing inter-group rivalry, conflict, and competition. Gossip magazines thrived on stories of fallouts and catfights.

Whether it was Beyoncé and Kelly, Cheryl and Sarah, or Nicole and the Dolls, it was commonplace to see members pitted against each other, or their talents compared. Inevitably, as many of these groups split up, rumours of discord and animosity persisted as part of their legacy.

What was behind this unfortunate trajectory of

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bullying and breakups? The girl group proved a successful formula that garnered sales. The way they were created, marketed, and managed may answer for this vicious underbelly. The groups were commonly created in contrived circumstances, formed during talent competitions or put together by male music moguls. Rather than approaching record labels themselves, they were created by third parties. For the girls selected, they weren’t just competing against other bands but against each other, in a system where they were granted little artistic control over their music or marketing.

This system of management, like many other cultural norms of the 2000s, would struggle to maintain itself. The concept of the engineered girl group continued with Little Mix and Fifth Harmony, both finding fame on talent competitions at the beginning of the ‘10s. Despite both forming under near-identical circumstances, Fifth Harmony and Little Mix’s paths diverged immensely. Fifth Harmony fell victim to all the toxic traits of the previous decade’s girl groups, suffering from rumours of intergroup rivalry and hostility. The group suffered genuine and fan-fuelled hostility, and announced an indefinite hiatus in early 2019. Fifth Harmony ended up in disharmony, destroyed by the cultural expectations of the girl group. Little Mix were vulnerable to suffering a similar downfall, but have persisted and thrived. Their messages of sisterhood in ‘Salute’ and ‘Woman Like Me’ are not just for the stage, but inform their personal relationships. They refuse to answer maliciously intended questions about other members, and have constantly resisted the media narrative that they must suffer from rivalry and conflict. In fact, their branding champions empowerment, self-

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“The future is bright, anticipating growing autonomy for girl group members to exercise their true visions.” love, and individuality. Little Mix demonstrate a feminist turning point in our expectations of the girl group.

Other girl groups of the 2010s, like literal sisterhood HAIM, have found mainstream success by reconstructing the girl group as an image of solidarity, an expression of their loyalty to each other. As well as this, developments higher up in the music industry have created more opportunities for women. A recent Netflix documentary sees Charli XCX cultivate all-female band Nasty Cherry from the very beginning. Girl groups are being managed by women, for women. Rather than being created by the industry, girl groups are evolving the industry themselves.

The continuing interest in the notion of the girl group can be attributed to a wider stylistic resurrection of the early 2000s - a y2k renaissance.

You only need to walk into Urban Outfitters to witness the revival of flares, cargo print, and the restocking of Juicy Couture. The revival of the girl group as a pop-staple forms part of this selective y2k renaissance. We cherish the bands of the ‘90s/’00s for their confidence, chart-topping charisma, and musical prowess, but have closed the door on toxic marketing and expectations of rivalry. We’ve resurrected the Spice Girls’ mantras of girl power and sisterhood, infusing them with an extra dose of positivity. The future is bright, anticipating growing autonomy for girl group members to exercise their true visions. Women musicians can finally see their peers as collaborators, and not their competitors.

Illustration by Hollie Piff

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PAY ATTENTION

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PAY ATTENTION. THERE IS NO TIME. BECOME THE PERSON YOU ASSUMED YOU’D NEVER BE. SOON WE WILL NOT BE ANYTHING AT ALL. IT’S TIME TO START CRYING AT FILMS. THE END IS NIGH, SO SHAVE YOUR HEAD. TELL YOUR MOTHER YOU HAVE SHAVED YOUR HEAD AND PIERCED YOUR NOSE AND GOT A TATTOO – TELL HER THE FOG IS COMING. DANCE LIKE IT IS THE LAST NIGHT OF YOUR LIFE. ONE DAY THERE WILL BE NO MUSIC TO DANCE TO, NO FRIENDS TO DANCE WITH, NO TROLLEYS TO FALL OUT OF, NO HEADACHES TO HIDE FROM. MAKE AN APOCALYPSE PLAYLIST. TAKE CONTROL OF YOURSELF. WHEN THE STREETS FLOOD, YOU WILL REGRET NEVER DEMANDING RESPECT. Words by Caitlin Barr

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WE NEED TO TALK ABOUT:

CANCEL CULTURE RAZZ Publicity Officer, Emma Ingledew, and RAZZ writer, Isabelle Gray, question if cancel culture allows for redemption and whether it should.

BY EMMA INGLEDEW Cancel culture is not a culture without redemption. Firstly, cancel culture never seems to truly cancel anybody, see how Jeffree Starr and Shane Dawson’s ‘Conspiracy’ palette made the pair $54 million, despite their ‘cancelled’ status. Instead, cancel culture is often a mislabelling of when people quite rightly hold celebrities responsible for their actions.

What we know as cancel culture is often merely fans just asking for celebrities to either explain or apologise for their harmful actions. Instead, what often happens is celebrities deliver an insincere apology, or refuse to apologise at all. This is what begins the idea of ‘cancellation’, directly as a result of celebrities refusing to be held accountable for their actions.

A lot of the distaste towards cancel culture seems to stem from the idea that celebrities can apologise, and this still isn’t enough to save them from being cancelled. Instead, 48

perhaps they consider that their apologies aren’t good enough. Many celebrity apologies have been accepted, for example, Mark Hamill recently came under fire for liking a transphobic tweet by JK Rowling.

Rather than double down, Hamill delivered a sincere apology, citing how he had incorrectly read the tweet, and apologised for any harm done. Similarly, Stormzy tweeted a thread about his previous use of homophobic language, which crucially owned up to any harm he may have done, whilst explaining the contexts in which he had used it - not as an excuse, but as an explanation. Apologies like this, for genuine mistakes, are often all the people ‘cancelling’ celebrities ask for.

Another main criticism of ‘cancel culture’ stems from the idea that a celebrity can make a poorly judged, but otherwise innocent remark, apologise, and have this apology ignored in favour of a viral moment. One such case is Emma Watson, with her receiving substantial backlash after her speech at the UN, for promoting what was perceived as a very whitewashed version of feminism. However, in a letter to her book club, ‘Our Shared Shelf’, Emma Watson addressed her white privilege, and how her ‘cancelling’ led to an overall positive expe-

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rience, as she dedicated herself to learning more about feminism and intersectionality.

Emma Watson has remained committed to both activism and her acting career since her ‘cancellation’ in 2015, and has remained prominent and successful in both. Cancel culture is not a tool to destroy celebrities, but rather to make them better, and to help them evolve.

Therefore, what often gets labelled as cancel culture not leaving room for forgiveness is instead what often happens when the celebrity delivers a half-hearted response.

This phenomenon of quickly rushed apologies has become so common they are known as ‘notes app apologies’. These insincere responses to valid criticism often apologise more for the public being offended, rather than expressing genuine remorse for their actions. Many people rejected Camila

“Instead, cancel culture is often a mislabelling of when people quite rightly hold celebrities responsible for their actions.”

Cabello’s apology for previous leaked racist messages, in which she used the N-word towards her Fifth Harmony bandmates, as it refused to reveal any sincere reflection on her actions. Instead, Cabello refused to even use the word racism to describe her actions, or even describe the incidents she was apologising for, and the apology followed years of denial and repeated racial insensitivity.

So what allows for redemption within cancel culture? Primarily, a genuine admission of guilt, and a response that actually considers how their actions have harmed and hurt others. Most importantly, with an apology, one cannot demand that it be accepted, or place the responsibility for your redemption on the offended party.

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BY ISABELLE GRAY Cancel culture, or call-out culture, in its essence seeks to hold people accountable for their actions and remove problematic individuals from mainstream culture. You can see this happening all the time on Twitter. Its core value seeks to do good, with its main argument being that, despite someone having whatever talent or relevance within culture, they shouldn’t become untouchable or higher than the law. However, cancel culture is often criticised for essentially doing the most, reaching too high and wide to the point where no one can ever step out of line. An alternative measure of an educational approach is proposed. Whilst this criticism has some merit in certain cases, it veers on a dangerous perspective on enabling marginalised people to be in charge of educating people to be better, and having to defend why they shouldn’t be oppressed.

The most pressing issue surrounding cancel culture at the moment is not the quantity of people being ‘cancelled’, it’s the lack of care and acknowledgement of the serious effects of these people’s actions, enabling the ‘cancel’ to feel insincere and without proper purpose. Cancel culture has its strength in actively calling out the likes of Chris Brown, who was found guilty of assaulting then girlfriend Rihanna in 2009, as well as receiving a five year restraining order from ex-girlfriend Karrueche in 2017.

It is important to call out this behaviour, but when people are simultaneously ‘cancelling’ their friends for preferring In-N-Out over Five Guys, it starts to lose its credibility and is ultimately taken less seriously. Cancel culture needs to remain focused and not transferable to anything people disagree with.

Cancel culture needs to be taken more seriously in order for actual victims to be heard and seen. Their pain needs to be given jus50

tice, instead of surviving as a Twitter hashtag for a day and then everyone moving on with their lives, leaving them silenced once more.

Moreover, countless times after someone has been ‘cancelled’ on Twitter, they continue to thrive and be successful. You may have subtweeted a Kanye video announcing him as ‘cancelled’, yet he is still one of the richest, most successful and influential men on the planet. James Charles lost a million subscribers on YouTube in a day after being ‘cancelled’, and within weeks he had more than ever. Cancel culture could get to the point where it distracts us from feeling the need to campaign for legitimate change and justice for the people affected by these ‘cancelled’ people.

Starting a dialogue about holding people accountable is important and well intentioned, but more needs to be done in order for us to no longer have to cancel a new celebrity everyday, whilst they shrug at their phones and then go sign another film deal contract or earn a number one single. Cancel culture in its essence should be aiming to make an example of the people it cancels - in turn, others should be encouraged to better themselves after seeing the consequences of spouting bigotry.

Let me be clear, I’m really not trying to cancel cancel culture. In a world of social media where anyone has the platform to voice hateful opinions, calling it out is a vital process. The main concern is it becoming trivialised and a meme format, instead of a powerful tool in standing up against harmful behaviour and demanding better.

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“CANCEL CULTURE COULD GET TO THE POINT WHERE IT DISTRACTS US FROM FEELING THE NEED TO CAMPAIGN FOR LEGITIMATE CHANGE AND JUSTICE FOR THE PEOPLE AFFECTED BY THESE ‘CANCELLED’ PEOPLE.”

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WHAT DOES BRITISHNESS MEAN? RAZZ writer, Bryony Gooch, explores the changing connotations of ‘Britishness’ and what the term means to people from different social backgrounds.

During the last decade, the concept of national identity and what it means to be British found itself constantly challenged in British politics. The Windrush scandal appallingly sent many British citizens away from their homes under the most despicable technicalities. The Scottish referendum challenged the very union of the United Kingdom and Great Britain. And, as a nation, we made the decision to leave the European Union, whatever the consequences may be for that.

Considering this lack of certainty and clarity, it seemed only logical to question what it meant to be British and how that could be navigated.

So, I asked people from a variety of backgrounds and nationalities.

Keeping in mind the size of my own network and who would approach me to take part, I asked them what Britishness meant to them. How do people understand their national identity and associate with the British identity? How can I understand my own relationship with Britishness through this?

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I think it’s interesting that fewer people officially identify as British than you would believe. Michelle, born and raised in Scotland and working in the service industry, quickly corrected me when I asked her if she was proud to be British: “I’m not British, I’m Scottish”, further expressing that “I honestly believe that Scotland should be given their independence. They are a better country on their own...”

These divisions within the very identity of Britain emphasise ongoing discussions of sovereignty and freedom, painting an uncomfortable picture of the union that is Great Britain. Interestingly, a BBC survey in 2018 found that national identity – particularly between notions of Englishness and Britishness – also varied within generations.

While 83% of 18-24-year-olds surveyed felt a strong association with Britain, only 45% felt proud identifying as English. Pride in Britishness seemed to vary among individuals.

English-born Exeter students Erica and Lydia expressed neutrality, with the former doubtfully noting

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she was “probably not”, and the latter saying she had “no opinion on it”. When I asked Michelle why she thought so many Brits were proud of their nationhood she scathingly replied, “they have to be, because nobody else is proud of Britain”.

When asked what they associated with Britishness, people frequently mentioned systemic concepts of order. British-born Indian Priti, an events manager, observed that “being brought up in the UK has given me some order and some structure in life.

Where I feel that in India in comparison it’s a very laid back attitude”. Similarly, Magda, a Polish NHS nurse, noted that “It’s a very well-organised country”. When I asked of her experience working in the NHS compared with working both as a nurse in Poland and experiencing South Africa’s medical system, she drew a comparison between the NHS’ socialised healthcare and South Africa’s private system: “I think it’s a very good concept, the NHS, because we have experience from South Africa of the private health funds.” Magda told of how this had affected her own work, noting that

“it’s like somebody ties your hands and tells you to look after the patients the best you can and it’s very frustrating […] it’s still a good organisation, it just needs more funding and more people”.

Erica and Lydia similarly expressed that Britain had the structures to be well-organised but needed the funding for those systems to actually work. Erica went on to observe that “Britain’s structure is ingrained and so in some ways we have systems that do their job but the side effect is we have massively ingrained class inequality”. Erica cited the benefits system as an example of a system to help and yet, when run poorly, has a hindering effect. The idea of Britain’s so-called organisation being more of a hindrance was reaffirmed by Indian international student Neha, who asked “what is organisation? As a nation you are organised very clearly into classes and demarcations that are incredibly steep and delineated”.

She similarly expressed that the notions of Britain as well-organised and polite were to be questioned, as Britishness “defines itself

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in terms of how it stands against other nations and other cultures in a sense. When saying the British are polite, the implicit message is that other nations aren’t polite”.

Neha also described a pre-departure briefing from the University which included a “list of British norms or British culture and how to adapt to these”. Unbelievably, this list included being told “not to cook funny curries in the flats because that might turn your flatmates off a bit”. In hearing these two accounts of the welcome received by those who moved to Britain, community was contradicted with a necessity for swift assimilation, and perhaps a gradual acceptance afterwards. This doesn’t sound very communal to me.

Furthermore, people so often posit British history as being something we should be proud of, most often citing World War II. In fact, the topic of World War II came up frequently, being cited as a moment of national pride; shop manager Paul illustrated this by pointing out that this “tiny little island, on a massive planet […] managed to win two world wars against some really fierce, fierce oppositions”. But how often do we consider our colonial history? Priti observed that “I don’t think I was ever taught about when the British colonised India [...] I 54

think I picked it up through conversations and films”, citing Bollywood as teaching her more about colonialism than our own education system. The lack of colonial history frequently came up - Univeristy of Exeter student Will mentioned that “we simultaneously preserve and are proud of our history […] equally we gloss over and whitewash our history”. The question is, how can we be proud of our history when we don’t really get taught about it?

So, after speaking to many people about their perspectives on Britishness, despite key themes reoccurring, the only real consensus seemed to be that they all had different ideas. A spectrum of definitions and perspectives came to light, from sheer patriotism to more sceptical, strongly apathetic ideologies. I guess for myself, I learned that it was unrealistic to define Britishness – especially in a time where lifestyles and opinions vary so widely and are constantly evolving. And with the contemporary conversations of Brexit, political representation, and diversity of opinion on these things, it feels increasingly clear that Britishness really is more of a spectrum of perspectives surrounding one complicated identity.

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TOXIC MASCULINITY, BODY IMAGE, AND SPORTS CULTURE RAZZ writer, Esther Huntington-Whiteley, explores how toxic masculinity can lead to unrealistic body ideals that impact male mental health.

Plenty of us are aware of the issues surrounding female body image, specifically the societal pressures and expectations we have come to accept as a normalised component of modern femininity. What is less talked about though is its male counterpart: the manifestations of toxic masculinity as perpetrating an unrealistic, ‘perfect’, male body. Men are just as likely to fall victim to an impossible balance of idealised physical appearance - big but not fat, slim but not skinny, tall but not lanky. As a leading sports university, Exeter could be considered to be maintaining a harmful sport culture in which men’s physical and mental wellbeing is overlooked and compromised in the name of exterior manifestations of masculinity.

As we see increasing concern and subsequent activism for men’s mental health (reflected in the University’s involvement with the Movember movement at the end of last year), it feels like a good time to contemplate the specific factors that may

be contributing to the underlying societal problem. Research from Dr Phillippa Diedrichs at the University of the West of England shows that 80% of men suffer from appearance-related anxiety, compared to 75% of women. Furthermore, the research shows that 38% of men would sacrifice at least a year of their life in exchange for the ‘perfect’ body, which is also a higher proportion than that for women.

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Why are these figures so high? And why aren’t we doing more to change them?

Perhaps one of the fundamental reasons for this problem, and why it is difficult to

talk about, is because of the ways men have been taught to hide their feelings, from themselves and others. Moreover, we often equate physical attributes with emotional characteristics. For instance, we associate strength with aggression, being overweight with laziness and overindulgence, fitness with vanity. This occurs without ever stopping to consider the irrevocable damage this can cause. There is an inevitable and legitimate interdependency between physical and mental health, but we must work to ensure that this is nurtured in a healthy and constructive way.

One also wonders how much of men’s distress and anxiety surrounding body image comes from, or is exacerbated by, the sporting and fitness lifestyle which they may or may not be involved in. The University of Exeter is the top sports university in the South of England and Wales, but is there a price to pay for this sporting success? Not necessarily affecting all male members of the University, and perhaps seen less prominently in mixed sports teams or smaller clubs that are less affiliated with the AU, it is undeniable that Exeter’s image perfectionism will take its toll on the students. In BBC

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“Evidently, the unavoidable existence of media in the contemporary world only heightens male body image pressure, which is why it is more important than ever to address the issue.”

Sport’s Man Up: Part 3 - How do men battle with body image?, footballer Olu Maintain talks about the pressure at Tottenham to “fit this image of what a footballer’s supposed to look like”, having to go through processes such as body fat testing, and always being made to feel like you’re not good enough. Albeit on a smaller scale, it is possible that encouraging extreme competitiveness within a university environment, whether in sport or otherwise, is only

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adding to the pressure of student life. A Today Show/AOL Body Image survey in 2014 told us that men worry about physical appearance more than any other aspect of their life, such as health, family, and profession, and by encouraging men to prioritise external presentation over internal perceptions of themselves we are only making the problem worse.

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In our current society, this message is everywhere, facilitated by the influence of mass mainstream media - whether this is social media, reality TV, advertising and marketing, or even photoshop and other similar software which enables the creation of these distorted realities.

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“it is undeniable that Exeter’s image perfectionism will take its toll on the students”

Data from the Australian Psychological Society shows that male body image dissatisfaction has tripled in the last 25 years from 15% to 45%, potentially due to the increased exposure that technological advancements have catalysed. Women’s magazines and the idealised prototype of fashion/catwalk models have been around forever, but the broadening prominence of photo-sharing apps such as Instagram, Snapchat, and Facebook, alongside a near-constant bombardment of ads, means that the idealised male body is everywhere now too. Reality TV star Josh Denzel talks about how, “I lived in the gym to go on Love Island”, and that “for the thousands of nice comments you get, you seem to remember the negative ten”, emphasising the fact that conscious self-esteem and the competitive nature surrounding attractiveness is not a solely female issue. Evidently, the unavoid-

able existence of media in the contemporary world only heightens male body image pressure, which is why it is more important than ever to address the issue.

Does our conversation around male body image need to change? Absolutely. The question is whether we are willing to change it. Overcoming societal pressures surrounding negative body image is a crucial issue of our time, and affects both men and women in equal measure. In recent years, we have seen some changes in the way that people talk about body image, but the prototypical male body remains much the same. Encouraging healthy lifestyles, without compromising underlying mental and physical health, is a difficult balance to achieve, but it is a balance that we nonetheless must work towards.

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THE

EVOLUTION OF THE WELLNESS INDUSTRY: EXTREME DIET CULTURE TO INSTA-FAMOUS INFLUENCERS RAZZ writer, Hannah Judge, discusses the pressures of the modern wellness industry and the danger of complying with its demands.

The wellness industry first began to boom in the 1980s, with a focus on popular diet programmes and home workouts. Today, the global wellness industry is worth $4.5 trillion and is growing at an unprecedented rate. Through a rise in the popularity of healthy eating, gym plans, and personal trainers, the wellness industry is evolving.

We are encouraged to maintain a healthy lifestyle in order to keep our bodies nourished. From a base level, these changes are dominated by body image pressures, but the wellness industry orientates around the obsession for our bodies to be at peak levels of performance, health, and stamina. This is evident through its recent lack of endorsement of diet programmes such as Weight Watchers, which encourages people to count calories and macros. Likewise, the popularity of personalised gym programmes derives from their marketing as healthy habits built around a busy lifestyle that can easily be maintained.

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However, people wanting to evolve their lifestyle have been exploited by the wellness industry whose intense marketing encourages poor habits for your mental health. In recent years, social media influencers have been essential to this marketing strategy. The idealisation of famous bodies has encouraged some influencers to profit off the popularity of their body image. This is achieved by featuring fitness products such as skinny-teas and appetite suppressant lollipops that supposedly help you lose weight. This approach has been the subject of controversy for critics, such as Jameela Jamil, who believe that it is dangerous to expose young people to this rhetoric. There is a lot of debate around the ethics of influencers making profit off the body image pressures and insecurities that lead many people to purchase their products. However, the general public need to remain aware that influencers are constantly marketing themselves in a certain way that does not accurately represent the reality of their daily life. Audiences need to consider who they follow on Instagram according to the demands of their own mental wellbeing.

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Additionally, alongside the current environmental crisis, veganism has captivated the wellness industry. However, the wellness industry’s fixation on healthy food has been co-opted by an obsessive control over foods, leading the media to brand Instagram as a leading cause for the rise in orthorexia.

Currently, the wellness industry often turns a blind eye to mental health. We are now starting to see a decline in the popularity of brands such as Victoria’s Secret who target this audience and a very specific body type. The Victoria’s Secret Angels were known for their intense workouts and extreme diets. This has lost popularity due to awareness of how unhealthy dieting left the Angels with eating disorders, ruined digestive systems, and chronic anxiety. Moving forward, the wellness industry will have to evolve to take this on board and incorporate inclusivity into their marketing strategy. Currently, its flaws are concealed as marketplace feminism. The wellness industry uses a feminist marketing strategy of strength and power to entice women into their wellness programmes.

This brushes over and mitigates the politics of gender inequality.

Balance and mental health are extremely important factors in life. We are slowly becoming more aware of this, as we try to escape the pressures of the modern world the wellness industry will continue to grow. However, as consumers we must be aware of the industry’s shortcomings and the fact that targeting our insecurities is the easiest way for people to make a profit. Compliance to this is self destructive, hence we need to see change in many factors of the current wellness industry or we will spiral. To begin, people must not take social media at face value in order to not get swept away in the trending fitness crazes, and the evolved influencer wellness industry that exploits people’s mental health for material gain.

Illustrations by Hollie Piff & Jessica Sydenham

“The wellness industry uses a feminist marketing strategy of strength and power to entice women into their wellness programmes.”

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DON’T LET THIS WORLD MAKE YOU COLD

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EVIL IS WINNING. CHARITY IS EXPLOITED. GOOD MEN WILL ALWAYS LOSE IN THE FACE OF LIARS AND CHEATS. SO YOU MUST SHOUT! MAKE KINDNESS A RADICAL ACT! GENTLENESS WILL COST MORE THAN VIOLENCE! YET WE MUST HOLD ONTO EACH OTHER REGARDLESS! DON’T LET THIS WORLD MAKE YOU COLD. GO FORTH AND LOVE NOT JUST DESPITE OF BUT BECAUSE OF THE COST. Words by Emma Ingledew

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N A I AM R U E T A AM RAZZ writer, Emily Coleman, asks why she doesn’t feel like an adult yet in her twenties.

If I am to describe myself accurately, I am a pseudo-adult.

Legally, adulthood begins when you turn eighteen. You can vote, buy alcohol and cigarettes, buy a house, apply for a mortgage, marry someone, serve on a jury, and open a bank account in your own name.

Being an adult appears synonymous with a new freedom where you can buy anything, be with anyone, and go anywhere. When I turned eighteen, back in a small village at an enforced family function with uninvited lectures about politics, these were never the concerns surfacing in my mind. I did neither blissfully nor gracefully slide into adulthood, but rather stumbled, tripped, and fell into this stage of independence (I did fall later that evening when I realised mastering my maturity meant mastering my drinking first). Turning eighteen did not feel as though I had entered a new stage of my life with freedom at my fingertips. I was still in school, I still lived at home and the only person I could envision marrying at that stage was Dean from Gilmore Girls (the latter still hasn’t changed).

Even now, after nearly three years of university and many wonderfully chaotic experiences, I would still say I am far from an 66

adult. I’ve lost my wallet three times, I have fallen down most inclines in Exeter, taken five driving tests, and dropped my phone twice down the loo. With these experiences, I think adulthood would deny me entry.

The only times I ever feel I have achieved a sense of adulthood is when I do separate colour washes, speak to a stranger on the phone rather than email, drink wine from a glass instead of a mug, and devise a dinner far removed from the university staple of pesto pasta.

Ultimately, I think, like many others, I am too chaotic for adulthood. I’ve always seen being an adult as the day I stopped making mistakes. I thought when I truly became an adult all the imperfections, idiosyncrasies, and inconsistencies tarnishing my character would be polished and rectified.

It seemed adulthood needed a risk assessment and I cannot say that I passed it without a list of modifications and necessary measures to consider. I feel as though I need stabilisers, a warning sign or reins.

What I am trying to say, in my overly descriptive and self-deprecating way, is I am scared about the prospect of becoming an adult precisely because I don’t think I’ll ever become one.

What I find unsettling about the prospect of adulthood is that whenever I envision my

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G N I T L U D AT A future, it has never been entirely optimistic.

I always saw myself as struggling, stuck in the monotony of existing purely between the 9 to 5 temporal trap, persisting on Tinder looking for the 21st century’s rendition of true love. I’ll be how I am currently, at this moment, but with more cardigans and maybe a bottle of wine which is not Tesco own brand.

It is easy to think negatively about yourself, dim your potential and dampen your spirit.

It is easy to convey a future for yourself of limited success because if you fail it will not come as a shock. I have had positive perceptions of the future in the past, and they never manifest as I expected. Thinking negatively, I suppose, is my way of protecting myself from disappointment. Yet, in writing this, sat in my student living room surrounded by my housemates who all have their own bright futures, it is counterproductive to think as negatively as I do about myself and my prospects. Getting older is inevitable, we cannot all stay youthful like Peter Pan or the women in Olay adverts. We will grow more mature as life throws obstacles our way. But if I begin to think positively about my future, I will not be startled by disappointment but perhaps pleasantly surprised by what I can achieve and where life will take me.

I am going to make an argument here that

there is no such thing as an adult - it is a myth. Those we perceive to be adults are those who continue to meander and muddle through life as they must do. Being an ‘adult’ is actually just continuing to exist and continuing to learn, getting to grips with the nebulous nature of life. It is wrong to think that being an adult means no longer making mistakes. If anything, it is a mistake to think that. I’ll still make mistakes whether I am 21, 30 or 40, but that is how I know I am learning and living. Being an adult is continuing to be myself.

I may never be an adult, but I am in a persistent state of developing, changing and evolving. Being an adult is not receiving the arrival of a mature essence, it’s not seeing the world differently or being different.

Adulthood should not be seen as an endpoint, or something that will actually ever arrive. Evolving here means there is no finish line but an endless timeline of progression in which maturity will come in waves and not all at once. I’ll still make mistakes; I won’t be perfect, but maybe I’ll perfect being imperfect.

Yet, I can’t lie to you, I do really hope when I reach 30 I have my shit together.

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BABY STEPS RAZZ writers take us through the small steps that made a significant impact on their lives.

LOOKING IN THE MIRROR

BY SIOBHAN BAHL I decided that when getting dressed in the morning I’ll look at myself in the mirror once. I’d found myself spending unhealthy amounts of time analysing my body, actively finding faults in myself and my outfit. The majority of the time I felt self-conscious, letting my brain override the enjoyment of creativity in fashion with negative thoughts and doubts.

Since creating this rule, even if the day doesn’t pan out as planned, even if there are bumps in the road, I start the day on a mentally higher note rather than starting low and letting small things bring me lower. I enjoy fashion and expressing myself in how I look, despite the ‘artificial’ and ‘superficial’ connotations some people assign to fashion habits. Rather than letting how I look and what I wear be a source of self-degradation and bullying, it is now a source of pleasure for me. I cannot say that I continuously stride out with full self-confidence daily.

But, as I continue to take that one glance in the mirror, my sense of self-worth has improved. And more importantly, the fun and excitement from getting dressed now overrides the anxiety of public perception.

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STICKERS,

BY JULIETTE SIMON A trivial but perhaps daunting question: “when I get a cool sticker, where will I ever put it?” It’s too pretty to ‘waste’. I don’t want to stick it somewhere it will get damaged or that I’ll not see very much. And so I have a bunch of prized stickers sitting in a drawer somewhere, waiting for their chance. Or I had, at least. My friend and I received cute bear stickers as freebies from an online order, and they were so cute we both stuck them on the back of our laptops so we would match. Placing this pink bear sticker on my laptop feels like I’ve put a good luck charm on my work, and it helps with the bad executive dysfunction I get with my ADHD. It might not look like much, but it’s a sliver of motivation to open up my computer and start typing that I really appreciate, especially in third year.

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TIME SPENT ON INSTAGRAM

BY EUGENIE COCKLE Despite having Instagram for many years now, only recently did I decide to moderate my routine of dwelling over the picture-perfect lives advertised throughout the platform and become less ignorant of its fantasy. Instagram’s ostensible ‘pretty equals popular’ system left me measuring my appearance against the number of likes obtained by my selfie, with my looks and self-worth being compared to the skinny, bikini-clad models enveloping my feed.

Brooding in self-consciousness and hypervigilant of any slight blemish, mark, or weight gain my body endured, I acknowledged a severe drop in self-esteem. To drastically limit my time spent on the app seemed the only promising solution. Removing this fixation over users’ excessively-photoshopped Instagram façades allowed me to recognise that beauty isn’t defined by an approving double tap on a picture or an increase in followers, and my self-esteem soared as my concern for responses to my posts subsided. Alleviating my Instagram obsession has enabled an appreciation of the unedited world around me, as well as my own image. It’s a positive move I avidly recommend.

ACRYLIC NAILS

BY ISABELLE GRAY About a year ago, I started getting acrylic nails. Despite its expense, no longer being able to pick up dropped pennies, and the very stressful task of choosing a colour, it is a constant sense of joy to me. Maybe that’s a little absurd and shallow for me to admit, but I am always looking forward to the next trip. There is something about going to the nail salon and having no choice but to sit there for an hour and watch someone sort out your nails. No phone, just you and this slice of self care. I've had arguments in my head while getting my nails done and I've thought about things to be grateful for.

This isn’t just getting your nails done - this is straight up meditation, people. The process of getting them done aside, there is nothing like a day when you feel really shit about your appearance, greasy hair, toothpaste around your lips, but you know you can look down to your hands and rely on your nails to look so damn good.

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HOW TO BE A BETTER ALLY We must strive to improve ourselves so that we can better support marginalised communities.

RAZZ writer, Siobhan Bahl, outlines how to best approach bettering yourself as an ally.

1. Be intolerant of intolerance.

2. Challenge, debate, and educate people of similar backgrounds to you.

3. Listen, not just to one voice, but multiple. Really listen beyond the words and hear the message.

4. Don’t let the conversation become about you. Rather, see your voice as the voice of a collective. Amplify, don’t overshadow, and platform movements set by the leaders of the marginalised identities.

5. Recognise your privilege, whatever form it comes in. Don’t take your privilege as something to hide from, to be guilty of. Use the agency it gives you to aid a wider, benevolent cause.

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6. Don't take allyship as a status. Being an ally is an action, it is engagement.

It is for those you are attempting to ally with to have enough trust to choose to recognise you as an ally.

7. Be willing to be proactive, for a lifetime.

8. Make small, everyday changes first. Check yourself, that word you use, the assumption you make, the thought you may have.

Acknowledge that ]subconscious social bias.

9. Confront yourself. Question and embrace your discomfort as a privileged identity. Confront yourself in order to learn to do better 10. Realise that being an ally requires continuous learning. Movements aren’t linear, they ebb and flow with the evolving modern climate. You must stay with the wave of change.

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WHAT IS ALLYSHIP? Allyship is the active, ongoing involvement in the promotion of cultural inclusion and equality. It is the supportive association with marginalised and mistreated groups of people. Pivotally, allyship is a proactive life-long practice that seeks to: challenge and unlearn everyday prejudices; build relationships founded on trust and accountability; and use inherent individual privilege to amplify silenced voices, supporting and elevating the groups we seek to ally with.

It is about turning the spotlight from those of privilege onto the oppressed groups of society, to create that space to allow their voices, their ideas, their value to shine.

Illustration by Libby Trubridge

WHY SHOULD YOU BE AN ALLY? To put it bluntly, it’s 2020.

We are supposed to be living in a multicultural, liberal society. We are meant to be championing principles of tolerance, inclusion, equality, and democracy. But the reality is that, while progress has been made, groups in our society are marginalised, unable to express their identity without resistance. Turning the fortune of privilege towards promoting equality will only enrich our society. Now more than ever, in the face of ecological, political, and social crises, we need to stand with marginalised communities. It’s time to re-evaluate our own privilege, recognise our faults, stop, listen, and expose ourselves to uncomfortable truths.

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THE PAST, PRESENT FUTURE OF BRITISH BOOKSHOPS RAZZ writer, Eleanor Braham, details how bookshops have changed over the past few decades and what this means for their future.

The number of independent UK bookstores is now under 1,000. Shocked? Most people aren’t. In a time of convenience, it is far easier to order something online rather than go to the shop. As fashion stores and restaurants struggle on high streets, it cannot come as a surprise that bookshops are too. The online shopping world is dominating the physical - many more people try to find their next novel cheaper on Amazon than on the shelves of an independent bookshop. Our bookshops have evolved and they will continue to do so, but where did they begin?

Bookselling holds its roots in Ancient Rome, when the spread of Christianity led to a demand for copies of the Gospels. But it really took off after the printing press was invented by Johannes Gutenberg in the 15th century. Bookselling then became a global sensation, particularly during the rise of the novel in the 18th century. Now, it has begun to sink into the shadow of the online world.

I have distinct memories of an independent book shop in the high street near my primary school. Trying to inspire us to read more, our teachers took us there on a trip.

I remember walking up the spiraling, rickety stairs to the children’s section, staring at the illustrated covers of Harry Potter and 72

The Famous Five. A little later, the shop shut. I cannot even remember its name.

Ten years later, the same high street now has a Waterstones. For ten years, there was no bookshop.

In 1982, Tim Waterstone founded the most famous chain of book shops in the UK: Waterstones. Describing themselves as “an icon of the British cultural landscape”, they continue to expand, ignoring the threat of the online world. Although their confidence on their “About Us” page online reassures me, I do feel nervous for them. The more success you have, the further you can fall. It is undeniable that the collapse of a company as iconic as Waterstones would come as a blow to book lovers.

“THERE IS STILL HOPE FOR INDEPENDENT BOOKSHOPS.” There is still hope for independent bookshops. The Topsham Bookshop along the River Exe is an independent, second hand bookshop. A 17th century building with three floors, it is a reader’s paradise. I discussed the situation of independent bookshops with the manager, Lily Neal, over the phone. Her shop is magnetic for customers with its array of 30,000 books. The tidiness of the shop, friendliness of the staff, and great location in Topsham for tourism keeps it thriving. However, there is still the challenge of selling books against online platforms. Lily is active on ABE Books, a

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Illustration by Hollie Piff platform owned by Amazon which is useful for selling her books. Yet, they charge commission and are time-consuming, leading her to prefer selling books in person. Curious, I asked her how she buys her books as a customer. She admitted that shopping online is more convenient when buying a specific book, yet decided that she would find her particular paperback on ABE Books and contact a local seller.

We warmly agreed that finding a book in a shop is better, particularly when the books are second hand so that you can experience the condition that they are in.

Many businesses are working to prevent the destruction of book shops, independent or not. NearSt is a company allowing customers to select a product they want from a local bookshop, and then collect it from that location. It has plans for overpowering Amazon, however, I cannot see how its claim to be better than Amazon is effective. Amazon deliver to your door.

In the convenience age, why would anyone want to go and collect their purchase when they could just have it brought

“IT IS UNDENIABLE THAT THE COLLAPSE OF A COMPANY AS ICONIC AS WATERSTONES WOULD COME AS A BLOW TO BOOK LOVERS.” to them? The best way would be for the bookshops themselves to expand their own digital footprint and deliver themselves, or have an enticement for customers to come to the shop in person, such as the magnetism of The Topsham Bookshop.

As another example, branches of Waterstones are often huge, located in large towns and have cafés. This gives them the appeal of a shopping experience for book lovers, rather than just being situated in a shadowy corner of a street without the temptation of cake and coffee.

There is still hope for the future of independent bookshops, but they are going to have to work harder to thrive in this age of technology and online shopping.

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RAZZ ‘EVOLVE’ PLAYLIST RAZZ has put together a playlist for this issue to accompany our articles and help you with your own evolution.

‘WIN’ - NASTY CHERRY

‘I CAN’T BELIEVE’ CYN ‘HAND OF GOD - OUTRO’ JON BELLION ‘ALL FOR US’ - LABRINTH FT. ZENDAYA ‘WORK IT OUT’ - BLITHE

CHECK OUT THE PLAYLIST HERE:

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‘PSYCHO’ - DAVE ‘MISERABLE AMERICA’ KEVIN ABSTRACT ‘PRETTY UGLY’ TIERRA WHACK

‘CROWN’ STORMZY ‘THE ARCHER’ TAYLOR SWIFT

Image Credits: “Jon Bellion 77635” uploaded by cvf2011 on Coveralia, licensed under Creative Commons Attribution-Share Alike 3.0 Generic “Deutsch: Stormzy live auf dem Openair Frauenfeld 2019” by Frank Schwichtenberg, licensed under CC BY-SA 4.0 “Brockhampton” by Nicolas Padovani is licensed under CC BY 2.0 “Taylor Swift 1989 Tour at Ford Field in Detroit, 5/30/15” by Gabbo T, licensed under CC BY-SA 2.0 “Labrinth 46517” uploaded by Mokus1992 on Coveralia, licensed under Creative Commons Attribution-Share Alike 3.0 Generic

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